The fine director Lynn Shelton has died at age 54. Shelton’s drama Outside In begins when a man (Jay Duplass of Transparent) returns to his small town community after 20 years in prison. Having been incarcerated since he was a teenager, he’s a bit emotionally stunted; he was a good kid who is now trying to be a good man. He tries to negotiate his way among his not-so-supportive family, some former friends who share a secret and suspicious townspeople.
He’s free only because of a persistent campaign for justice by one of his high school teachers (Edie Falco). The case has been an obsession for the teacher, much to annoyance of her blue-collar husband. Now that the campaign has ended, the teacher must fill that vacuum with another passion.
There isn’t much passion in her marriage. Shelton brilliantly depicts a husband who has expectations of their relationship and their future – he just doesn’t communicate them to his wife, or check to see if those expectations are shared. He’s not a terrible person, and the relationship isn’t abusive – it’s just lapsed into staleness.
The freed convict and the teacher are comforted by each other. There are several ways that this story could go, several of them trite. Let’s just say that Shelton takes us in some unpredictable directions, while maintaining authenticity.
Outside In is a story of self-discovery. The teacher must assess what will make her happy and make some hard choices. In a tour de force, Falco takes us through her confusion, dissatisfaction, longing, passion and, finally, determination.
Kaitlin Dever (Justified) is also excellent as the teacher’s teen daughter. Outside In is an acting showcase for Falco, Duplass and Dever. Falco’s performance, however, is stunning.
I saw Outside In before its release at Silicon Valley’s Cinema Club. It can be streamed on Netflix, Amazon, Vudu, YouTube and Google Play.
More overlooked movies to watch at home: the funniest and saddest movie – all in one – and two jaw-dropping documentaries. Plus an amazingly charismatic star in a classic noir…from Poland! Scroll down for remembrances of Jerry Stiller and Little Richard.
ON VIDEO
SPACESHIP EARTH, Courtesy of Spaceship Earth
Spaceship Earth: The latest from Silicon Valley native filmmaker Matt Wolf, this documentary traces an audacious scientific quasi-experiment of the 1990s, the Biosphere 2, perhaps the Last Stand of the Renaissance Man. Just released this weekend, Spaceship Earth can be streamed from iTunes, Hulu, Vudu, YouTube and Google Play.
Cold Case Hammarskjöld: This eccentric and irresistible documentary purports to solve a historical mystery, buts it”s an excuse for the filmmaker to hop around Africa talking to aged fixers and mercenaries. It’s both an investigatory documentary and a send-up of the genre. Available on most streaming platforms.
Night on Earth: this Jim Jarmusch indie has one of the very funniest scenes and one of the very saddest scenes – in the same movie. Night on Earth is comprised of five vignettes, each in a taxi and each in a different city: Los Angeles, New York, Paris, Rome and, of all places, Helsinki. It’s now available to stream from the Criterion Collection and Amazon. Do not confuse this 1991 Jarmusch film with the 2020 miniseries of the same name.
Ashes and Diamonds: This Polish thriller is one of my Overlooked Noir. A masterful director and his charismatic star make this a Can’t Miss. Last week I wrote when Turner Classic Movies aired it, but if you missed it, you can stream Ashes and Diamonds from Amazon and iTunes.
The most eclectic watch-at-home recommendations you’ll find ANYWHERE:
On May 16, Turner Classic Movies will air The Crimson Kimono, another sensationalistic and deliciously exploitative cop noir from the great Sam Fuller. Always looking to add some shock value, Fuller delivered a Japanese-American leading man (James Shigeta), an inter-racial romance and a stripper victim. The groundbreaking aspect of The Crimson Kimono is that Fuller’s writing and Shigeta’s performance normalized the Japanese-American character. This film is on my list of Overlooked Noir.
James Shigeta (Right) in THE CRIMSON KIMONO
REMEMBRANCES
Jerry Stiller, along with his wife and professional partner Anne Meara (scroll down), was a comedy pioneer. He’s best remembered for playing George Costanza’s father on TV’s Seinfeld and for being Ben Stiller’s real life dad. But Stiller sandwiched some good work in movies (The Taking of Pelham One Two Three, The Ritz, Hairspray) between the early and later phases of his work.
The Rock pioneer Little Richard has died. I fondly remember his hilarious turn in Down and Out in Beverly Hills as the neighbor to Richard Dreyfus’ family, Orvis Goodnight. He appeared in one of the very first rock n roll movies Don’t Knock the Rock (1956), a same-year followup to Rock Around the Clock. His music was featured in hundred of films and television shows.
Night on Earth has one of the very funniest scenes and one of the very saddest scenes – in the same movie. Written and directed by Jim Jarmusch in 1991, Night on Earth is comprised of five vignettes, each in a taxi and each in a different city: Los Angeles, New York, Paris, Rome and, of all places, Helsinki.
Moving west to east across the time zones, Night on Earth opens with the contrast between a working class driver (Wynona Ryder) and a striver executive (Gena Rowlands) and how they connect – or don’t.
Then we move to New York where a totally disoriented East German immigrant (Armin Mueller-Stahl) gets a job driving a hack (on his first or second day in the US) and picks up potty-mouthed passengers (Giancarlo Esposito and Rosie Perez).
The LA and NYC scenes are good, but Night on Earth really accelerates in Paris when an African immigrant driver (Isaach De Bankolé) picks up a blind woman (the gap-toothed beauty Béatrice Dall). They both are a bit touchy and immediately get underneath each others skins. The prickly conversation that follows teaches each a little about the other.
Now we get to perhaps the funniest episode in the movies (yes, I mean in the history of cinema). A manic, motormouth Roman cabbie (Roberto Benigni) picks up an ailing Catholic cleric and regales him with an unwanted stream of consciousness confession, highlighting his own ever more inappropriate sexual partners, including a pumpkin and a sheep. It’s a rapid fire comedic assault sure to convulse any audience.
Finally, in Helsinki, two guys toss their passed-out buddy into a cab, and explain that he’s had the worst day ever – he has lost his job just when he has a wife looking for a divorce and a pregnant daughter. But the driver (Matti Pellonpää) tells them a story that tops it. Profound sadness.
The cult director and indie favorite Jarmusch made Night on Earth in 1991 after he first made a splash with Mystery Train. He followed it with Dead Man, Ghost Dog: The Way of the Samurai, Coffee and Cigarettes, Broken Flowers and Paterson. Night on Earth is one of the few movies that I own on DVD, and it’s now available from the Criterion Collection. But you can now stream it from Amazon. Go for it. Do not confuse this 1991 Jarmusch film with the 2020 miniseries of the same name.
More unjustly overlooked movies to enjoy at home: an erotic plot-twister, an unforgettable coming of age film, some political economics and an amazingly charismatic star in a classic noir…from Poland!
Tonight, I’ll be streaming the newest from documentarian Matt Wolf – Spaceship Earth, about the 1990s Biosphere 2 experiments.
ON VIDEO
After a few minutes of The Handmaiden, we learn that it’s a con artist movie. After 100 minutes, we think we’ve watched an excellent con artist movie, but then we’re surprised by a huge PLOT TWIST, and we’re in for two more episodes and lots of surprises in a gripping and absorbing final hour. It’s also one of the most visually beautiful and highly erotic films of the year. Stream it on Amazon, iTunes, Vudu, YouTube and Google Play.
The unforgettable coming of age film Me and Earl and the Dying Girl is perched right on the knife-edge between tragedy and comedy. The title suggests a weeper (and it is), but 90% of Me and Earl is flat-out hilarious. Stream it from Amazon, iTunes, Vudu, YouTube and Google Play.
On May 10, Turner Classic Movies presents the Polish thriller Ashes and Diamonds, one of my Overlooked Noir. A masterful director and his charismatic star make this a Can’t Miss. I’ll be writing more about this tomorrow.
Olivia Cooke and Thomas Mann in ME AND EARL AND THE DYING GIRL
Here’s a MUST SEE – the unforgettable coming of age Me and Earl and the Dying Girl, a brilliant second feature from director Alfonso Gomez-Rejon. The title suggests a weeper (and it is), but 90% of Me and Earl is flat-out hilarious. It’s high on my list of the Best Movies of 2015 .
Greg (Thomas Mann) is a Pittsburgh teenager who has decided that the best strategy for navigating high school is to foster good relations with every school clique while belonging to none. Embracing the adage “hot girls destroy your life”, he gives the opposite gender a very wide berth. Outwardly genial, Greg is emphatically anti-social in practice, except for his best friend Earl (Ronald Cyler II). But he even refuses to admit that Earl is his friend, describing him “as more of a co-worker”.
Greg’s parents disrupt Greg’s routine by forcing him to visit his classmate Rachel (Olivia Cooke), who has just been diagnosed with leukemia. Rachel doesn’t want any pity, so this is awkward all around until Greg makes Rachel laugh, which draws him back again to visit -and again. A friendship, based on their shared quirky senses of humor, blossoms, but – given her diagnosis – how far can it go?
Rachel is delighted to learn that Greg and Earl shoot their own movies – short knock-offs of iconic cinema classics. She first laughs when she finds that he has remade Rashomon as MonoRash. Their other titles include Death in Tennis, Brew Velvet and A Box of Lips Now.
Ronald Cyler II and Thomas Mann in ME AND EARL AND THE DYING GIRL
Why is Me and Earl so successful? Most importantly, it perches right on the knife-edge between tragedy and comedy, and does so more than any movie I can think of. As funny as it is, we all know that there’s that leukemia thing just under the surface. But, with its originality and resistance to sentimentality, Me and Earl is the farthest thing from a disease-of-the-week movie.
Any movie lover will love all the movie references, as well as Greg and Earl’s many short films. Gomez-Rejon shot these shorts with Super 8, Bolex, digital Bolex and iPhone. Jesse Andrews adapted his own novel, and, as Gomez-Rejon expanded the number of “films within the film”, he called on Andrews to supply him with the new titles – and there are scores of them, right through the ending credits.
Finally, Me and Earl’s art direction is the most singular of any coming of age film. In fact, all the art direction led to the movie’s very satisfying ending; Gomez-Rejon brought in those surprises on the wall at the end – it’s not in the novel.
But Me and Earl and the Dying Girl is at its heart a coming of age story. Sure, the character of Greg is an original, but the life lessons that he must learn are universal.
Thomas Mann is hilarious as Greg; he could be a great comic talent in the making. Cooke and newcomer Cyler are also excellent. Nick Offerman and Connie Britton are perfect as Greg’s well-meaning parents, as is Molly Shannon as Rachel’s needy mom. Jon Bernthal also rocks the role of Mr. McCarthy, another great character we haven’t seen before – a boisterously vital, but grounded history teacher; Mr. McCarthy lets Greg and Earl spend their lunch hours in his office watching Werner Herzog movies on YouTube. (And Herzog himself reportedly loves the references.)
Alfonso Gomez-Rejon started as a personal assistant to Martin Scorsese and worked his way up to second unit director. With the startling originality of Me and Earl, he’s proved his chops as an auteur.
I saw Me and Earl and the Dying Girl in May 2015 at the San Francisco International Film Festival (SFFILM) at a screening with Gomez-Rejon.
Me and Earl and the Dying Girl is a guaranteed crowd-pleaser and a Must See. It’s available on DVD from Netflix and Redbox and streaming from Amazon, iTunes, Vudu, YouTube and Google Play.
After a few minutes of The Handmaiden, we learn that it’s a con artist movie. After 100 minutes, we think we’ve watched an excellent con artist movie, but then we’re surprised by a huge PLOT TWIST, and we’re in for two more episodes and lots of surprises in a gripping and absorbing final hour. It’s also one of the most visually beautiful and highly erotic films of the year.
Director and co-writer Chan-wook Park sets the story in 1930s Korea during Japanese occupation (Japanese dialogue is subtitled in yellow and Korean dialogue in white). A young heiress has been secluded from childhood by her guardian uncle, who intends to marry her himself for her fortune. A con man embarks on a campaign to seduce and marry the wealthy young woman to harvest her inheritance himself. The con man enlists a pickpocket to become handmaiden to the heiress – and his mole. I’m not going to tell you more about the plot, but the audience is in for a wild ride.
The Handmaiden takes its time revealing its secrets. Who is conning who? Who is attracted to whom? How naive is the heiress? How loyal is the handmaiden? Who is really Japanese and who is really Korean? What’s in those antique books? What’s in the basement? Is the uncle perverted or REALLY perverted? And what legendary sex toy will show up in the final scene?
THE HANDMAIDEN
Chan-wook Park’s 2003 US art house hit Oldboy is highly sexualized, trippy and disturbing. The Handmaiden is much more mainstream and accessible than Oldboy, but its sexuality packs a punch.
Gorgeous and erotic, The Handmaiden is one of the most gloriously entertaining films of the year. You can order the DVD from Netflix or stream it on Amazon Instant Video, iTunes, Vudu, YouTube and Google Play.
This week, The Movie Gourmet adds more three overlooked gems to watch at home: a real life survival story, an irresistible glimpse into The New Yorker cartoons and a forgotten anti-war classic.
ON VIDEO
The compelling The Deep tells the fact-based survival story of a shipwrecked Icelandic fisherman’s ordeal in frigid waters. You can stream The Deep on Amazon, Vudu, YouTube and Google Play.
If you’re like me and you worship the cartoons in The New Yorker, then the documentaryVery Semi-Serious is a Must See. You can stream it from Amazon (free with Prime), iTunes, YouTube and Google Play.
In the absorbing crime thriller The Whistlers, a shady cop and a mysterious woman are walking a tightrope of treachery. The Whistlers was a hit at last year’s Cannes Film Festival, but COVID-19 impaired its 2020 theatrical release in the US. You can stream it from Amazon, Vudu, YouTube and Google Play.
On May 3, Turner Classic Movies will present an overlooked masterwork. Set in England just before the D-Day invasion, The Americanization of Emily (1964) is a biting satire and one of the great anti-war movies. James Garner plays an admiral’s staff officer charged with locating luxury goods and willing Englishwomen for the brass. Julie Andrews plays an English driver who has lost her husband and other male family members in the War. She resists emotional entanglements with other servicemen whose lives may be put at risk, but falls for Garner’s “practicing coward”, a man who is under no illusions about the glory of war and is determined to stay as far from combat as possible.
Unfortunately, Garner’s boss (Melvyn Douglas) has fits of derangement and becomes obsessed with the hope that the first American killed on the beach at D-Day be from the Navy. Accordingly, he orders Garner to lead a suicide mission to land ahead of the D-Day landing, ostensibly to film it. Fellow officer James Coburn must guarantee Garner’s martyrdom.
It’s a brilliant screenplay from Paddy Chayefsky, who won screenwriting Oscars for Marty, The Hospital and Network. Today, Americanization holds up as least as well as its contemporary Dr. Strangelove and much better than Failsafe. Reportedly, both Andrews and Garner have tagged this as their favorite film.
One of the “Three Nameless Broads” bedded by the Coburn character is played by Judy Carne, later of Rowan and Martin’s Laugh-In.
Jule Andrews and James Garner in THE AMERICANIZATION OF EMILY
The compelling The Deep tells the fact-based survival story of a shipwrecked Icelandic fisherman’s ordeal in frigid waters. Amazingly, all of the footage was shot in the ocean (no tanks) without stunt professionals. The lead actor Ólafur Darri Ólafsson makes the protagonist endearing, and he must be a hell of a good sport to spend all that time in icy water.
Writer-director Baltasar Kormákur made the unconventional and successful choice not to end the movie with a climactic rescue, but to instead explore the impact of the incident and the attempts to explain how it was possible.
Kormákur also wrote and directed a very different and even better 2006 film, the very dark neo-noir police procedural Jar City, available on DVD and streaming.
I saw The Deep at the 2013 Cinequest. You can stream The Deep on Amazon, Vudu, YouTube and Google Play.
If you’re like me and you worship the cartoons in The New Yorker, then the documentary Very Semi-Serious is a Must See. Very Semi-Serious takes us inside The New Yorker for a glimpse inside the process of creating and selecting the cartoons, chiefly from the perspective of cartoonist and twenty-year New Yorker Cartoon Editor Bob Mankoff. You will know Mankoff from his cartoon with the caption, “How about never? Is never good for you?”. (Mankoff has since left The New Yorker for Esquire and the website Cartoon Collections.)
We also meet rock star cartoonists that include Roz Chast and George Booth, along with The New Yorker Editor David Remnick and some aspiring cartoonist newcomers. We are boggled by the tens of cartoons each cartoonist pitches each week and the hundreds that the Cartoon Editor must review. Rejection is a major part of the cartoon life.
We also learn how Mankoff scientifically studies the eye movements of readers to see how/when/if we “get” the jokes. And we get to laugh again at HUNDREDS of cartoons.
I saw Very Semi-Serious at the 2015 San Francisco International Film Festival (SFFILM), and now you can stream it from Amazon (free with Prime), iTunes, YouTube and Google Play.
We’re still watching our movies at home, so here are plenty of choices. Of the recently released, I am still recommending The Whistlers.
I also wrote about The Dark Horse, an extremely cynical and hilarious comment on American politics from 88 yer ago (and still timely), If you missed it yesterday on TCM, at least watch the clip in my post.
ON VIDEO
In the absorbing crime thriller The Whistlers, a shady cop and a mysterious woman are walking a tightrope of treachery. The Whistlers, was a hit at last year’s Cannes Film Festival, but COVID-19 impaired its 2020 theatrical release in the US. You can stream it from Amazon, Vudu, YouTube and Google Play.
And here’s one that I KNOW you haven’t seen – the droll comedy Radio Dreams. This indie set in the Bay Area explores the ambivalence of the immigrant experience through the portrait of a flamboyant misfit, a man who rides the roller coaster of megalomania and despair. Radio Dreams is available to stream from Amazon, iTunes and kanopy.
On April 29, Turner Classic Movies airs The Unknown, a Lon Chaney silent, and I think that Chaney’s charisma is worth sampling. And as a fun experience, not a “this is good for you” experience.
REMEMBRANCE
The actor Brian Dennehy stood a bear-like 6’3”and could have filled his career by playing menacing heavies (and he had his share of those). But Dennehy had uncommon range, as evidenced by his most well-remembered roles – Rambo’s nemesis in First Blood and the alien in Cocoon. My favorite Dennehy movie roles were the crooked sheriff in Silverado and Harrison Ford’s morally complicated boss in Presumed Innocent. Dennehy was even a bigger star on stage – he won Tony Awards for his Willy Loman in Death of a Salesman and his James in Long Day’s Journey into Night (the role Ralph Richardson played in the movie).
