THE WHALE: regret to redemption

Photo caption: Brendan Fraser in THE WHALE. Courtesy of A24.

The emotionally powerful The Whale depicts a week in the life of Charlie (Brendan Fraser). The first thing we notice about Charlie is his obesity – his 600 pounds makes getting out of a chair a major challenge, and there’s just no way he can bend over to pick anything off the floor.  Refusing to seek medical attention despite labored breathing and catastrophic blood pressure, Charlie has exasperated his friend/caregiver Liz (Hong Chau), a nurse. He has congestive heart failure, and both Liz and Charlie know that he may be in his last week of life.

He is a grotesque, but unlike Quasimodo or The Elephant Man, he’s a grotesque of his own making. Charlie is grieving from a loss nine years before and is regretting a failed relationship with his child; he has reacted by emotionally eating himself to near-death. He no longer ever leaves his apartment, where he works remotely by teaching a college writing course on-line.

Charlie is a man of immense sensitivity, unusually moved by the sporadic snippets of crude honesty in his students’ writing. He is so sensitive that he is swallowed by grief, and cannot handle the anger of others. Charlie is constantly saying “I’m sorry”, but there are two things that he is decidedly not sorry for – fathering a daughter and falling in love with a man.

Charlie’s sad routine is interrupted by a visit from the young door-to-door missionary Thomas (Ty Simpkins), and then by an appearance from his estranged daughter Ellie (Sadie Sink), now a seething teen. It’s only a mater of time before Liz brings by his ex-wife Mary (Samantha Morton), too. Will Charlie mend his relationships? Will he find inner peace? Will he even survive?

What makes The Whale an exceptional movie is Brendan Fraser’s unforgettable performance as Charlie. He’s not just impersonating an extremely obese person; he’s portraying a complex character- a man who is weakened by self loathing and physical disability, but whose passions and humanity gleam through. Encased in a latex and CGI fat suit, Fraser makes us understand Charlie with his own beautiful and expressive blue eyes and with Charlie’s lurching and plodding.

Fraser has always been an appealing actor, and one of great humor. 25 years ago, the strikingly handsome Fraser used his physicality in The Mummy franchise and, literally in a loincloth, in George of the Jungle. It’s useful to remember that he did a serious art movie, Gods and Monsters, in that period, too.  His build, rangy then, has since morphed into burly, and in last years thriller No Sudden Move, to hulking. 

Of course, Fraser will be nominated for an Oscar, because the actors who vote for awards love performances with major physical transformations. But it’s important not to downgrade Fraser’s performance because of that phenomenon – this is a remarkable exploration into a character’s inner life.

Hong Chau has been doing strong and versatile work lately (Driveways, The Menu); her Liz is an uncommonly good and award-worthy performance. 

Samantha Morton is piercingly credible as the ex-wife.  (Where has SHE been since Minority Report and In America?)

The story is a play by Samuel D. Hunter. Darren Aronofsky, a director known for making splashy, pedal-to-the-metal movies (Requiem for a Dream, The Wrestler, Black Swan) has the artistic judgment to keep the camera in Charlie’s dank, claustrophobic apartment and let Hunter’s dialogue reveal the characters.

While The Whale is one of the best films of 2022, it has its flaws, especially Sadie Sink’s not-very-textured performance as the daughter (and I didn’t find Ty Simpkins very compelling, either).  The thread about the young missionary Thomas has at least one contrivance too many. Also, the weepy soap opera music cues underneath The Whale’s most emotionally powerful moments are unnecessary, distracting and unforgivable.

The scenes where Charlie is gorging himself are tough to watch.  I saw The Whale at a theater that is essentially next to my favorite French restaurant, and I like to cap a morning movie with a lunch of salade lyonnaise and steak tartare; but emerging from The Whale at lunchtime, I just couldn’t do that.  I recommend this film, but not for a movie/dinner or dinner/movie date.

Nevertheless, this is still one of the year’s best films because of Charlie’s compelling story and Brendan Frazier’s magnificent portrayal.

THE PALE BLUE EYE: Gothic and so-so, except for a great Harry Melling

Photo caption: Harry Melling in THE PALE BLUE EYE. Courtesy of Netflix.

The Pale Blue Eye stars Christian Bale as a detective pulled out of retirement to solve a murder mystery at West Point in 1830. He enlists a cadet as his assistant – none other than Edgar Allen Poe (Harry Melling), in his one unsuccessful year at the Military Academy. Except for Harry Melling, The Pale Blue Eye is not great.

As the two keep peeling the onion, the bodies and more weirdness keep piling up, including a distractingly incredible dive into the occult. Just when the whodunit is seemingly wrapped up, there’s one more twisty Big Reveal. The whodunit is far from thrilling, and the final twist isn’t enough to pay off.

The fine director Scott Cooper (Crazy Heart, Hostiles) frames the whole thing in a Gothic horror patina, but that’s not enough to keep the story interesting. Cooper’s adaptation of Louis Bayard’s story is a slog.

Christian Bale ably plays his character with world-weariness and just the right hint of slyness. Two of the world’s greatest screen actors, Charlotte Gainsbourg and Timothy Spall, are embarrassingly wasted in underwritten roles. Toby Jones and Gillian Anderson don’t fare much better.

Harry Melling goes big as Edgar Allen Poe, reveling in a southern accent (Poe grew up in Virginia) and the florid 18th century speech. His Poe has the confidence, perhaps from narcissism, that belies his unpopularity with peers, and his lack of accomplishment. And. of course, Melling embues his Poe with a discernible creepiness. This isn’t a big deal IMO, but Melling is made up to look just like a young Poe would have looked, before the mustache and the dissolution.

As a kid, Melling broke through as Dudley Dursley in the Harry Potter franchise, which he needed to finish in a fat suit because he had slimmed down so much. In the last year or so, Melling has produced some great work in The Queen’s Gambit, Please Baby Please and The Tragedy of Macbeth. Before that, he was the best element of The Ballad of Buster Scruggs. He is now one of cinema’s great scene-stealers.

The Pale Blue Eye is streaming on Netflix.

Movies to See Right Now

Photo caption: One of my favorite character actors, the late L.Q. Jones in HANG ‘EM HIGH.

Happy New Year from The Movie Gourmet. This week – new reviews of Babyon and Glass Onion: A Knives Out Mystery. Don’t overlook my year-end features:

  • Best Movies of 2022.
  • 2022 Farewells: on the screen (Sidney Poitier, William Hurt, Jean-Louis Trintignant,, Angela Lansbury, James Caan, Louise Fletcher, Ray Liotta, Bo Hopkins, Clu Gulager, Henry Silva,  L.Q. Jones, Roger E. Mosley, Anne Heche, Meat Loaf, Tony Sirico and Ronnie Hawkins).
  • 2022 Farewells: behind the camera (Peter Bogdanovich, Alan Ladd Jr., Jean-Luc Godard, Bob Rafaelson, Wolfgang Peterson and Monty Norman).

CURRENT MOVIES

Janelle Monáe in GLASS ONION: A KNIVES OUT MYSTERY. Credit: John Wilson. Courtesy of Netflix.

WATCH AT HOME

During the Holidays, I suspend my usual The most eclectic watch-at-home recommendations you’ll find ANYWHERE so I can highlight the very best movies from earlier in 2022. These are on my list of Best Movies of 2022 and they shouldn’t be overlooked. Now you can watch them all at home.

  • Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.
  • The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.
  • 12 Months: an authentic relationship evolves. Amazon.

ON TV

Susan Hayward in I WANT TO LIVE!

On January 9, Turner Classic Movies will air I Want to Live! Susan Hayward’s performance as a good-hearted, but very unlucky, floozy won her an Oscar. It’s about a party girl who takes up with a couple of lowlifes. The lowlifes commit a murder and pin it on her. There is a great jazz soundtrack and a dramatic walk to The Chair.

GLASS ONION: A KNIVES OUT MYSTERY: skewer the rich

Photo caption: Daniel Craig and Janelle Monae in GLASS ONION: A KNIVES OUT MYSTERY. Courtesy of Netflix.

Writer-director Rian Johnson follows his wonderful Knives Out with Glass Onion: A Knives Out Mystery, another satirical drawing room murder mystery with super detective Benoit Blanc (Daniel Craig). Again, the rich are skewered and, again, Blanc is overshadowed by a younger female of color. It’s all good fun.

Glass Onion is set on the extravagant private island (think the hideout of a Bond supervillain) of an untethered, narcissistic billionaire (think Elon Musk). The billionaire (a perfect Edward Norton) invites four of buddies from his past (Kate Hudson, Dave Bautista, Leslie Odom, Jr., and Katharine Hahn) for a weekend house party, plus a girlfriend (Madelyn Cline) and an assistant (Jessica Henwick – whose compelling presence is wasted in this often sniveling role). And Benoit Blanc comes, too, which is fitting because the weekend’s theme is a Clue-like mystery game. Another mysterious friend from the past (Janelle Monáe) shows up; her relationship to the others is complicated, and she puts everyone on edge.

There’s a murder to be solved and a Macguffin to be found. Along the way there are several massive plot twists. Clues dropped early hint that a fortune has been made, not by intellectual talent and hard work, but by manipulation and cheating. Rian Johnson loves to expose treachery among the 1 percent, and here he brings us a classic emperor-has-no-clothes comeuppance.

Knives Out was one of 2019’s smartest and funniest films, and Glass Onion is not in that class – but is still very entertaining. The first forty minutes of set-up are not that compelling, but the pace picks up once the plot twists start piling up and Janelle Monáe takes over the movie.

Janelle Monáe in GLASS ONION: A KNIVES OUT MYSTERY. Credit: John Wilson. Courtesy of Netflix.

The cast is excellent, especially Craig and Norton. But the most riveting performance is by the singular Janelle Monáe. The stunningly beautiful Monáe is a captivating screen presence. She’s also demonstrated serious dramatic acting chops in her who-is-THAT? performance in her first feature film Moonlight, and again in Hidden Figures. Monáe’s own music and fashion projects are startlingly original, and her artsy sensibility seems impervious to risk. I say, let her direct a movie if she wants – just get her back up on the movie screen.

Glass Onion looks several times glossier than its $40 million budget. Glass Onion has spent over a week as the #1 film on Netflix, which is excellent because it means that Netflix will likely fund another Rian Johnson movie.

Glass Onion: A Knives Out Mystery is streaming on Netflix.

Best Movies of 2022

Daniel Kaluuya in NOPE. Courtesy of Universal Pictures.

Every year, I keep a running list of the best movies I’ve seen this year.  By the end of the year, I usually end up with a Top Ten and another 5-15 mentions. Here are my Best Movies of 2021 and Best Movies of 2020 lists. To get on my year-end list, a movie has to be one that thrills me while I’m watching it and one that I’m still thinking about a couple of days later.

I’ve seen one hundred-and-three 2022 films so far, but I have yet to see promising prestige films like Women Talking, Broker, The Son, Empire of Light and The Whale. Pretty sure some of those will end up high on my list when I finalize it in a couple months. (BTW that 103 total for 2022 doesn’t include the 86 festival submissions that I’ve screened (those will be 2023 films) nor the 79 movies from earlier years that I watched this year.)

I almost always pick an international film like Drive My Car or Incendies or an indie like Winter’s Bone, Hell or High Water or Leave no Trace as my top movie of the year. So, readers may be surprised that my top choice his year was Nope, a sci fi and horror film -a popcorn movie. (I did pick a science fiction movie, Ex Machina, as my top movie of 2015.) I especially admired – and recommend – Nope because of:

  • Jordan Peele’s ingenious take on our current culture – instead of seeking to battle or befriend space aliens, Peele knows many would ask, how can we monetize this?
  • The deep, textured and fresh characters of OJ, Emerald, Angel and Jupe – unusual for a popcorn movie.
  • Nope’s reflection of Peele’s love of movies with its combination of the horror, sci fi, western, comedy and show biz movie genres.
  • My hopeful thought. Will Jordan Peele bring young moviegoers to theaters for horror thrills and teach them to expect SMART movies?

Here’s the complete list:

Frankie Corio and Paul Mescal in AFTERSUN. Courtesy of A24.

THE BEST OF 2022

Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.

Aftersunwho’s coming of age is this? In theaters.

Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.

Decision to Leave: he’s obsessed, and she asks, “Am I so wicked?”. In theaters.

The Fabelmans: a mom, a dad and their genius kid. In theaters.

Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.

The Eternal Daughter: consumed by mom. In theaters.

Armageddon Time: coming of age – right into a moral choice. In theaters.

Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.

The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.

12 Months: an authentic relationship evolves. Amazon.

Owen Teague in MONTANA STORY. Courtesy of Bleecker Street.
Sylvie Mix and Bobbi Kitten in POSER. Photo courtesy of the Nashville Film Festival.

Happy Anniversary to The Wife!


Photo caption: The Wife and the Movie Gourmet still enjoying wedded bliss

Happy 22nd Anniversary to The Wife, also known as Lisa, The Love of My Life!

We started out the year by admiring Power of the Dog together and just last week saw Babylon (she was a good sport).

This year, like the previous two, we binged EVEN MORE more episodic television together. Her dad is living with us, and he has an insatiable appetite for crime dramas, so we’ve watched many more seasons of them, especially on Acorn and BritBox, including Blood, Jagged, Rebeckah Martinsson, Bordertown, Secret City, The Chestnut Man, Inventing Anna, The Sounds, Under the Banner of Heaven, Deadpool, Guernsey and Van der Valk. As far as we can tell from TV, the murder epidemic in England, Scotland and Wales having spread to Ireland, France, Iceland and Australia, has now pierced Sweden, Finland, New Zealand, the Netherlands and Utah. Our favorite has been Shetland, but we mourn the report that Douglas Henshall will not be returning for next year’s season. Not all our TV fare was murderous – we also enjoyed the latest episodes of Derry Girls, The Crown and Somebody Feed Phil.

She even got me to watch Encanto and Spirited. She enjoyed my non-mainstream film choices of Hit the Road, A Love Song and Bitterbrush, and she liked The Return of Tanya Tucker even more than I did.

Once again, she tolerated my spending huge chunks of time covering Cinequest in person and Frameline, San Francisco International Film Festival (SFFILM) Nashville Film Festival and San Francisco Jewish Film Festival virtually. She was also OK with my helping out Cinequest by screening 86 Cinequest submissions. I’m getting ready now for to cover Noir City in person and Slamdance virtually (for the first time) in January.

We were in LA twice this year, and we visited the Academy Museum of Motion Pictures and Bunker Hill’s Angel Flight and Bradbury Building, locations for dozens of films.

She’s the biggest fan and supporter of this blog DURING ALL OF ITS TWELVE YEARS, and I appreciate her and love her. Happy Anniversary, Honey!

In the Bradbury Building

BABYLON: “wanton excess” is inadequate to describe this movie

Photo caption: Margot Robbie and Diego Calva in BABYLON. Courtesy of Paramount Pictures.

Babylon is a whole lot of movie. More movie than you’re expecting. And maybe more movie than you want.

Writer-director Damien Chazelle (La La Land, Whiplash) has delivered a kinetic and kaleidoscopic showbiz epic of over three hours, which is visually stunning, ever entertaining and sometimes shocking. Now, is it a good movie?

Set beginning in 1926, Babylon traces Hollywood’s transition from silent film to the talkies by tracing the stories of a mega-movie star Jack Conrad (Brad Pitt), the ambitious starlet Nelly LaRoy (Margot Robbie), the African-American trumpet prodigy Stanley Palmer (Jovan Adebo) and the sultry Chinese entertainer-by-night Lady Fay Zhu (Li Jun Li). The audience largely experiences Babylon from the point of view of Manny Torres (Diego Calva), a Mexican household gofer whose abilities as a fixer propel him up the movie studio ladder. Chazelle’s view of Hollywood is as a human-crunching pool of toxicity, that a person must leave to survive with any decency or happiness.

This is also a Hollywood of unsurpassed debauchery and hedonism, which we taste right away in a movie mogul’s house party with lots of bare-breasted women and naked people engaging in sex, kinky sex, and perverted sex. The scene is clearly inspired by Ceil B. DeMille’s orgy scene in the silent The Ten Commandments, which seems quaint in comparison. This scene could have been imagined by Federico Fellini on speed and Hugh Hefner on acid.

Margot Robbie (center) and a cast of thousands in BABYLON. Courtesy of Paramount Pictures.

“Wanton excess” is inadequate to describe this party scene and much of Babylon. Like the guitarist in This Is Spinal Tap, Chazelle has set his amp to eleven. There’s so much eye candy here that Babylon will cause Baz Luhrman to feel bad about himself.

This is also the most scatological mainstream movie that I’ve seen. There’s projectile diarrhea (from an elephant), projectile vomit (from a person on a person) and urination (both from a woman onto a titillated man and from a man onto himself).

Back to the story. Chazelle shows us the Silent Era Hollywood studios with wall-to-wall outdoor movie sets, simultaneously grinding out comedies, romances and westerns. We see a cast of thousands in a medieval battle epic, and the transition to sound during the period when the technical challenges were so excruciatingly unforgiving that the sound men briefly usurped the control from the directors. Babylon’s characters are thinly-disguised recreations of John Gilbert, Clara Bow, Fatty Arbuckle, Anna May Wong, Erich von Stroheim and Louella Parsons, with some real life figures like Irving Thalberg.

Brad Pitt and Diego Calva in BABYLON. Courtesy of Paramount Pictures.

If you’re going to cast an actor to play a movie star from the classic era, you’re not going to cast Johnny Depp, Tom Hanks, Tom Cruise, Robert Downey Jr. or Bradley Cooper. Just cast Brad Pitt and you’re most of way there in your storytelling – Pitt’s handsome looks are just weathered enough, and he exudes physicality, confidence and insouciance. If you want a Douglas Fairbanks or Clark Gable type – he’s your guy. And, yes, he is perfect in this film.

Likewise, Jean Smart is your gal for a cleareyed, devastating truthteller. Her character’s matter-of-fact Bad News Good News assessment of Jack Conrad’s career may be the distillation of Chazelle’s core message, if there is one. It’s the most compelling speech in Babylon.

I’ve seen actors throw themselves into Wild Child performances, but none with as much abandon as Margot Robbie. It’s a fearless, over-the-top and singular performance. Unfortunately, Chazelle’s Nelly is two-dimensional. There’s not much there except her insatiable grasping for fame and drugs, but Robbie does wring out every ounce of humanity.

This a well-acted film. Other notable pedal-to-the-metal performances:

  • Li Jun Li soars with sexy charisma in an underwritten part. I want to see more of her.
  • Eric Roberts sparkles as Nelly LaRoy’s venal and opportunistic father, who has reappeared once she is a money machine of a movie star.
  • Tobey Maguire’s performance was perfectly described by David Rooney in The Hollywood Reporter as seeking to “out-weird Dean Stockwell in Blue Velvet and Joaquin Phoenix in Joker combined.”
  • Sydney Palmer’s trumpet work is downright exciting, I assume that someone other than Jovan Adepo is actually playing the instrument, but I couldn’t determine who from the credits. In any case, Adepo gets props for credible fingering, which is no small thing.

The fine cast also includes Lukas Hass, Patrick Fugit, Samara Weaving, Katharine Waterston, Jeff Garlin, Spike Jonze and, very briefly, Olivia Wilde.

Elements of Babylon are indisputably superb and Oscar-worthy, especially the cinematography by Linus Sangren (Oscar winner for La La Land), the production design by Florencia Martin and the costumes by Mary Zophres (Oscar nominated for True Grit, La La Land and The Ballad of Buster Scruggs).

Is this a good movie? There is an unusually wide range of critical assessments, which average into a a middling 59 score on Metacritic. It’s a gorgeous thrill ride, for sure, but we just don’t care about most of the characters. Some viewers will be just too distracted and exhausted by the freneticism. I think it falls short of being a great movie, but it’s so outrageous and fun to watch that it’s a must see.

2022 Farewells: behind the camera

Photo caption: Peter Bogdanovich with Jesse Hawthorne Ficks at the Roxie in 2019

Peter Bogdanovich will rightly be remembered as the writer-director of at least one undisputed masterpiece, The Last Picture Show. He also directed some near-masterpieces and some infamous flops. But he was also a popularizer of film history and an unsurpassed raconteur. The NYT could appropriately describe his life and career as “a Hollywood drama”. As a personal note, four of my very favorite films are his The Last Picture Show, What’s Up, Doc?, Saint Jack and They All Laughed.

Alan Ladd Jr. (left) with George Lucas.

I don’t often celebrate Hollywood suits, but studio exec and producer Alan Ladd, Jr., had a major artistic and social impact on American cinema. Ladd is being remembered now chiefly for being the guy who greenlit Star Wars, which seems like a no-brainer now, but it wouldn’t have happened without Ladd; then in his thirties, Ladd was younger than his Hollywood peers, but old enough to have enjoyed the Flash Gordon series as a kid. Ladd also supported Mel Brooks’ vision to shoot Young Frankenstein in black and white.

We don’t immediately think of Ladd as a feminist warrior, but it was Ladd who changed the character of Ripley (Sigourney Weaver) in Alien from male to female. And Ladd was the key player behind the most groundbreaking of 1970s feminist cinema: An Unmarried Woman, Norma Rae and 9 to 5, and,15 years later, the iconic Thelma and Louise.

Ladd’s body of work was astounding: Chariots of Fire (Best Picture Oscar), Braveheart (Best Picture Oscar), Body Heat, To Live and Die in LA, The Right Stuff, Moonstruck, A Fish Called Wanda, The Man in the Moon, Gone Baby Gone, All that Jazz, Breaking Away, A Wedding, Julia, The Three Musketeers, Harry and Tonto, The Scent of a Woman, The Omen and even Kagemusha.

Jean-Luc Godard

Writer-director Jean-Luc Godard, with his jump cuts, non-linear structure and other innovations, helped revolutionize cinema as a leader of the French New Wave. He made three masterpieces in early 1960s: Breathless, Contempt and Band of Outsiders. This is the Godard of “All you need to make a movie is a girl and a gun.” But by 1968, Godard’s thinking has become so devoid of humor, nuance, texture and ambiguity that his became one-dimensional and boring.  Indeed, I have found all of the Godard films since 1967’s Weekend to range from disappointing to completely unwatchable. 

Bob Rafaelson was a New Hollywood director, a peer of Martin Scorsese, Francis Ford Coppola, Steven Spielberg, George Lucas, William Friedkin, Peter Bogdanovich and Brian De Palma. But Rafaelson only made one great movie, Five Easy Pieces, which he co-wrote. Five Easy Pieces, though, is by itself an eternal legacy.

Director Wolfgang Peterson made a harrowing submarine masterpiece, Das Boot, one of the great war (and anti-war) movies. Then got to make lots of big Hollywood action epics, none of which were as good as Das Boot.

Composer Monty Norman created the James Bond Theme for Dr. No, which has been used in every Bond film flick since. Norman massaged a tune he had written earlier, and, as his NYT obit quoted him, “I thought,My God, that’s it. His sexiness, his mystery, his ruthlessness — it’s all there in a few notes’.

2022 Farewells: on the screen

Sidney Poitier in THE HEAT OF THE NIGHT

Sidney Poitier was an actor whose great intelligence, charisma and intensity, which combined into a righteous power. He was the first black A-list movie star and a man who changed things forever by insisting on playing empowered, non-degraded roles. Revisit the moment in In the Heat of the Night when his detective informs Carroll O’Connor’s redneck lawman, “They call me Mister Tibbs“. He wasn’t just an iconic actor, either – he was a also an accomplished director and a bona fide civil rights leader.

William Hurt in BODY HEAT.

Actor William Hurt, broke through unforgettably in his first feature film Altered States, which began a stunning run in the 1980s, of which my favorites were Body Heat, The Big Chill and Broadcast News. Hurt’s characters were frequently cerebral, contained and deliberate. His Ned Racine in Body Heat was always thinking, too, just not thinking as quickly or diabolically as Kathleen Turner’s femme fatale Matty Walker. Even after his A-list days had passed, Hurt was uniformly excellent supporting others in films like History of Violence and Into the Wild.

Jean-Louis Trintignant in AMOUR.

Actor Jean-Louis Trintignant starred in some of the most prestigious European movies of the past six decades: Roger Vadim’s …And Man Created Woman with Brigitte Bardot (1956), Claude Leloach’s A Man and a Woman (1966), Claude Chabrol’s Les Biches (1968), Costa-Gravras’ Z (1969), Éric Rohmer’s My Night at Maud’s, Bernardo Bertolucci’s The Conformist (1970), Krzysztof Kieslowski’s Red (1994) and Michael Haneke’s Amour (2012). He even made a Sergio Corbucci spaghetti western The Great Silence in 1968. Trintignant was 91.

Angela Lansbury and Laurence Harvey in THE MANCHURIAN CANDIDATE

Angela Lansbury’s first screen role was as the saucy, self-interested maid in Gaslight, which kicked off a notable Hollywood career.  Her best movie performance was as the evil mother in The Manchurian Candidate, molding her own son into a robotic assassin.  Her memorable work in cinema was outstripped by her careers on Broadway (multiple Tonys for Mame, Sweeney Todd, etc.) and TV (264 episodes and several TV movies of Murder, She Wrote).

James Caan in THE GODFATHER

Actor James Caan is mostly remembered for his vivid portrayal of a guy with too much testosterone – Sonny Corleone in The Godfather (Bada bing!). Caan had been working since age 21 in TV series, with a John Wayne movie thrown in, when he appeared in the TV movie Brian’s Song – a highly popular weeper. He also appeared, with Robert Duvall, in Francis Ford Coppola’s The Rain People. Most underappreciated performance? Probably Rollerball.

Louise Fletcher in ONE FLEW OVER THE CUCKOO’S NEST.

Actress Louise Fletcher was unforgettable in her Oscar-winning performance as Nurse Rached in One Flew Over the Cuckoo’s Nest.  With her cold, assured eyes embodying impervious authority, she could maintain a soft voice and still deflate the charisma of Jack Nicholson’s McMurphy.  Nurse Rached has been voted the second best female villain in all cinema (after The Wicked Witch in The Wizard of Oz).

Ray Liotta in GOODFELLAS.

Actor Ray Liotta became a star with his leading role in 1990’s iconic Goodfelllas and was still at the absolute top of his game this past year in The Many Saints of Newark and No Sudden Move.

Bo Hopkins in AMERICAN GRAFFITI.

Actor Bo Hopkins left us with some absolutely indelible performances in his heyday, a decade starting in the late 1960s. No one has ever been better at portraying a smirking, dimwitted redneck. I liked him best as the ill-fated young robber in The Wild Bunch, the greaser hard guy in American Graffiti and Burt Reynold’s moonshining partner in White Lightning. In this period, he appeared in Cat Ballou, The Getaway, Monte Walsh and Midnight Express.

L.Q. Jones in HANG ‘EM HIGH

Actor L.Q. Jones, born with the already Texas-colorful name of Justus E. McQueen, took the name of his first movie character (in Battle Cry) and rode it through 165 roles, bringing something interesting and different in every one. His NYT obit quoted him as liking to play “a heavy that is not crazy or deranged — although we play those, of course — but rather someone who is a heavy because he enjoys being a heavy.” Jones worked in some excellent war movies (Men in War, Torpedo Run, The Naked and the Dead, Hell Is for Heroes) and revisionist westerns (The Wild Bunch, The Ballad of Cable Hogue, Pat Garrett and Billy the Kid, Hang ‘Em High). He was also a delightful raconteur, which you can enjoy by searching for “LQ Jones” on YouTube.

Clu Gulager in THE LAST PICTURE SHOW

Prolific actor Clu Gulager has died at 93. The last of Gulager’s 165 IMDb credits came just three years ago in Once Upon a Time…In Hollywood. Best known for 105 episodes as the sheriff on The Virginian, Gulager made his living by guest appearances in a zillion TV shows from Wagon Train and Have Gun, Will Travel through Ironside, Cannon, CHiPs and Falcon Crest. One of his three characters on The Name of the Game was named Rex Dakota. I have just learned that he starred in 72 episodes of a 1960-62 TV Western that, amazingly, I do not remember – The Tall Man, with Barry Sullivan as Pat Garrett and Gulager as Billy the Kid. He also peppered his career with cult movies like The Return of the Living Dead and I’m Gonna Get You Sucka. Gulager teamed with Lee Marvin in Don Siegel’s classic neo-noir The Killers. At 87, he sparkled as a loquacious taxi passenger in Tangerine.

Gulager’s best-ever screen performance was in The Last Picture Show as an oil rig foreman who is the illicit squeeze of his boss’ wife (Ellen Burstyn). This guy is trapped in a job he will never improve upon and in an affair he will never control; Gulager perfectly conveys his bitter dissatisfaction. The Director’s Cut also adds some sizzle to his pool hall sex scene with Jacy (Cybill Shepherd).

Henry Silva

Actor Henry Silva is recognizable from his 140 screen credits (and, outside of the Oceans 11 movies, those roles may have all been villains). He leveraged his acting talent and unusual facial features to project menace as few actors have done, most memorably in the original The Manchurian Candidate.

Actor Roger E. Mosley is best known for his 158 episodes as the helicopter pilot on Magnum, P.I. and over 50 guest appearances in tv series. As the title character in Leadbelly and many TV shows, he paved the way for more positive and empathetic depictions of African-American characters. He also worked in one of best-ever TV movies, The Jericho Mile, in one of the best sports movies, Semi-Tough, and as Sonny Liston (with Muhammad Ali himself) in The Greatest.  

Although her body of work was overshadowed by her off-screen personal life, actor Anne Heche was superb in Wag the Dog. That was one of a remarkable string of Big Movies in 1997 and 1998: Donnie Brasco, Volcano, I Know What You Did Last Summer, Six Days Seven Nights, Return to Paradise and Brian De Palma’s Psycho.

Did Meat Loaf star in The Rocky Horror Picture Show?
Photo caption: Meat Loaf, with Nell Campbell in THE ROCKY HORROR PICTURE SHOW

Meat Loaf unforgettably burst into cinema in the 1975 cult favorite The Rocky Horror Picture Show. Often credited as Meat Loaf Aday, he also acted in a series of character roles, most notably in Fight Club.

Actor Tony Sirico, best known for his Paulie “Walnuts” Gualtieri in The Sopranos, overcame a youth that landed him in Sing Sing to play a slew of movie and TV gangsters (and appear in four Woody Allen films, too.)

Musician Ronnie Hawkins is best known as the irrepressible, earthy rockabilly mentor of The Band. In the movies, he was unforgettable in The Band’s concert film The Last Waltz; (who is THAT guy on stage with Dylan, Clapton, Neil Young and Van Morrison?) He also had an acting role in Heaven’s Gate.

Movies to See Right Now

Photo Caption: Frankie Corio and Paul Mescal in AFTERSUN. Courtesy of A24.

This week on The Movie Gourmet – new reviews of The Eternal Daughter, Kimi and Stars at Noon. Five current movies are on my Best Movies of 2022: Aftersun, The Fabelmans, Decision to Leave, The Eternal Daughter and Armageddon Time. Coming up during the Holidays: my farewells to filmmakers on the screen and behind the camera and my year-end list of the Best Movies of 2022.

CURRENT MOVIES

WATCH AT HOME

Daniel Kaluuya in NOPE. Courtesy of Universal Pictures.

During the Holidays, I suspend my usual The most eclectic watch-at-home recommendations you’ll find ANYWHERE so I can highlight the very best movies from earlier in 2022. These are on my list of Best Movies of 2022, and they shouldn’t be overlooked. Now you can watch them all at home.

  • Nope: an exceptionally intelligent popcorn movie. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Montana Story: a family secret simmers, then explodes. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Compartment No. 6: a surprising journey to connection. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Poser: personal plagiarism. Amazon, AppleTV, Vudu, YouTube, redbox.
  • The Tale of King Crab: storytelling at its best. Amazon, AppleTV, Vudu, YouTube, redbox.
  • 12 Months: an authentic relationship evolves. Amazon.