Author: Derrick

12 Years A Slave

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2013

Regency Enterprises/Film4/Plan B Entertainment

Directed by Steve McQueen

Produced by Brad Pitt, Dede Gardner and Bill Pohlad

Screenplay by John Ridley

Based on “Twelve Years A Slave” by Solomon Northup

 

Let me say this up front so that you won’t waste your time reading this review: if you’re the type of movie goer whose mantra is “When I go to see a movie I just want to turn off my brain and be entertained” then you should give 12 YEARS A SLAVE a pass. And I’m not saying that to put you down. Your movie choices are your own and God Bless. But 12 YEARS A SLAVE simply isn’t that kind of movie where you can turn off your brain. It won’t let you. It’s not mental bubble gum that you enjoy while it’s on the screen and then can barely remember what it was about the next day. And it’s not a casual date night movie. It’s not a movie you approach as light entertainment. I actually hesitate to call 12 YEARS A SLAVE an entertainment because of the subject matter and the way the story is told. It’s a movie that transports you right into the middle of the hell of slavery. It doesn’t turn away from the brutality, violence and dehumanization of slavery. I honestly haven’t had feelings like this watching a movie since I saw “The Passion of The Christ.” Unlike “Django Unchained” which uses slavery as a backdrop for its pulp spaghetti western inspired revenge epic, 12 YEARS A SLAVE is about the pure horror of slavery from start to finish and never once during its 134 minutes does it let you forget that.

Solomon Northup (Chiwetel Ejiofor) is a free black man living in Saratoga, New York in the Year of Our Lord 1841. Solomon supports his wife and two children as a professional violin player. He’s a true gentleman of education and manners, quiet spoken and compassionate. He’s a man of property who owns his own home and he’s treated with respect by his white and black neighbors alike. So Solomon doesn’t attach any nefarious doings to two seemingly respectable white men who approach him about touring with their travelling show. The pay is good and they assure him he’ll be back home by the time his family returns from their own out of town trip. Solomon agrees.

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Solomon goes out for dinner and drinks with his newfound friends and passes out from what he assumes is too much drink. Actually he’s been drugged and when he awakens it’s in chains as he’s been sold into slavery. His protests that he is a free man only earns him hideously savage beatings. Renamed ‘Platt’ he’s transported along with other Shanghaied free black men and women to New Orleans where he is purchased by William Ford (Benedict Cumberbatch) and taken to work on his plantation. Master Ford actually isn’t that bad a master, Solomon says to Eliza (Adepero Oduye) whose children have been sold to another plantation. Eliza points out to Solomon with wickedly barbed common sense that just by the very way Solomon speaks it’s obvious he isn’t just another uneducated field nigger but Master Ford pointedly ignores that fact since that means he might have to acknowledge some facts that could land him in jail.

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Solomon’s real trials are still yet to come when in order to save his life from a sadistic overseer (Paul Dano) Ford has to sell him to Edwin Epps (Michael Fassbender) who demands that his slaves pick 200 pounds of cotton a day. Each. If they don’t they are whipped. If that wasn’t horrific enough, the slaves are used as living pawns in a vicious war between Epps and his wife Mary (Sarah Paulson.) The main pawn being Patsey (Lupita Nyong’o) a beautiful slave girl Epps uses as a spittoon for his sperm, brazenly flaunting it in front of his wife. Not only does Patsey have to endure being raped by him but suffer frenzied attacks from Mary. Solomon has to walk a fine line with the Epps, both of whom are clearly insane and possibly derive some kind of sexual satisfaction from their mutual abuse of their slaves. Solomon clings to the shreds of hope that somehow, someway he’ll be able to get word up north and get somebody, anybody to come down south with his papers proving he’s a free man and save him from this waking nightmare.

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I can’t emphasize enough that 12 YEARS A SLAVE is a difficult movie to sit through. Some may question if we really need a movie this graphic in its depiction of slave life on a southern plantation and I think we do. Sometimes movies shouldn’t be all about having a good time. It should be about making us feel and think about things we’d rather not feel or think about and on that level, this movie succeeds magnificently.

I really can’t pick out one actor over the other to award the acting honors to as everybody brings their A game to the court. I’ve enjoyed Chiwetel Ejiofor in other movies such as “Kinky Boots” “Serenity” and “Dirty Pretty Things” and in this movie, just as in those three he uses his incredibly expressive eyes to maximum effects, especially in a gutpunch of a scene where through his joining in singing a spiritual with the other slaves we realize that he has accepted his fate and committed himself body and soul to being a slave.

Michael Fassbender is utterly demonic as Epps and never less than believable. It would have been way too easy to have turned Epps into a mustache twirling Simon Legree but the complicated relationship he has with his wife and Solomon allows him to explore his character in interesting ways. Like many of the other white characters in the movie, Epps is aware that there’s something radically different about this slave. It’s that difference that causes Epps to alternately elevate Solomon at times and at others try to kill him.

Lupita Nyong’o as Patsey is nothing less than extraordinary. This is the kind of film debut that earns actors and actresses Academy Awards. There are some really disturbing scenes involving Patsey and Lupita Nyong’o handles them with sensitivity and real emotion. I can’t sing her praises enough.

Benedict Cumberbatch doesn’t have a major role here but he more than makes the most of his screen time. This is a guy who I can easily see having a career like Michael Caine or Albert Finney as he’s that good. Michael K. Williams from ‘The Wire’ and ‘Boardwalk Empire’ has a pivotal cameo here as does Brad Pitt.

So should you see 12 YEARS A SLAVE. If I could I’d pay for all of you to see it, that’s how important a movie I think this is. But I also have to be fair to those of you who may be too sensitive for the horrendous brutality depicted so graphically and do not wish to see such. And there are many scenes of graphic violence. I can’t put it any plainer than that.

But if you want to see a movie that has the courage to not sugarcoat or trivialize the cruel, soulless brutality of slavery and is relentless in showing the atrocities done then by all means go see 12 YEARS A SLAVE as this is about a true horror story. One we all still live with today.

134 minutes

Rated R for extremely graphic violence

Escape Plan

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2013

Summit Entertainment/Lionsgate

Directed by Mikael Hafstrom

Produced by Robbie Brenner and Mark Canton

Screenplay by Jason Keller and Miles Chapman

Story by Miles Chapman

My guess is that Sylvester Stallone and Arnold Schwarzenegger had way more fun acting together than they thought they would in the two “Expendables” movies. In the first “Expendables” Stallone and Schwarzenegger shared the screen (along with Bruce Willis) for maybe two or three minutes. “The Expendables 2” gave Stallone and Schwarzenegger more screen time together but ESCAPE PLAN has them truly co-starring for the first time in an action movie together. And let’s be honest, seeing two of the greatest and most successful action stars of the 80’s in a movie together is the drawing power of this movie. What surprised me is that there also was a damn good story to go along with the pairing of Stallone and Schwarzenegger with Ah-nuld doing some really good acting.

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Ray Breslin (Sylvester Stallone) is partnered with Lester Clark (Vincent D’Onofrio) in a highly unusual security firm. Ray is an absolute genius at breaking out of maximum security prisons. To date he’s broken out of 14. The goal is to show where the weaknesses in the prison security are so that they can be corrected. Ray is offered an obscene amount of money by the CIA to test a top secret corporately funded prison. The Tomb is an experiment in escape proof prisons. The location is secret and unlike most prisons, since it’s run by a for-profit corporation, if you have enough money to pay them to keep somebody you don’t like locked up for as long as you like, it’s all good.

Turns out that Ray has been set up. Warden Hobbs (Jim Caviezel) informs him that The Tomb was built using Ray’s own textbook he wrote on how to build escape proof prisons. A book Hobbs keeps on his desk. The cell walls are transparent, the robotic looking guards have no problem beating prisoners into submission and Hobbs himself is totally merciless when it comes to maintaining order in his prison. Ray’s support team (Amy Ryan and Curtis “50 Cent” Jackson) have no idea where he is or how to find him and Lester is no help at all

However, Ray still believes he can break out, using his method of Layout/Routine/Help. But the help this time comes in the hulking form of a fellow prisoner, Emil Rottmayer (Arnold Schwarzenegger) who joins up with Ray. He’ll use his resources in The Tomb to help Ray and in return, when Ray breaks out, he’ll take Rottmayer with him.

Having spent an obscene amount of time during the 1980’s going to see their movies, I was delighted to see Stallone and Schwarzenegger back in action yet again. Yeah, yeah, I know that they’re older…but so am I. The screenplay affords them the opportunity to use their brains and wits more than they did in their past movies. If this had been made during the 80’s, Stallone and Schwarzenegger would simply have beat the hell out of everybody and walked out of the prison.

The surprising thing here is that Schwarzenegger walks away with the acting honors as he’s the comedy relief in this movie. I estimate he’s got 65% of the funny lines in the movie and it’s truly amusing to watch him and Stallone as a musclebound Crosby/Hope pairing. He also has a great scene where he has to provide a distraction for his partner and goes into a religious rant spoken entirely in German. And he proves that he’s still got it in the action scenes. There’s a part where he finally gets his hand on a heavy machine gun and the audience in the theater just about went nuts because we all knew what was coming next.

Almost as good is Faran Tahir as Javed, the leader of the prison’s Muslim population who joins up with Ray and Rottmayer. The way the relationship between him and Rottmayer is really interesting to watch and it’s always a bonus to see a Muslim character in this type of movie depicted as a man of respect, devout faith and intelligence.

Stallone plays a more cerebral character than we’re used to him seeing and I liked how his smarts was displayed. When Ray is explaining how he’s going to execute his plans and breaks it down step by step, it’s jaw-droppingly good the way director Mikael Hafstrom uses CGI diagrams and floor plans to help explain.

Jim Caviezel is nothing less than amazing and if you like him playing a good guy on TV’s “Person of Interest” then you’re going to enjoy even more seeing him play a bad guy. He’s the best kind of bad guy: the one who doesn’t have to raise his voice because he has no doubt he’s in control. Vinnie Jones as his chief enforcer/guard does his usual barking-mad-foaming-at-the-mouth badass. Nothing special here but Vinnie Jones has got this type of role locked down so well it should have his copyright on it.

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Wish I could say more about Amy Ryan and Curtis “50 Cent” Jackson but the truth of the matter is that they really don’t have much to do other than yell at Lester about why isn’t he doing anything to find Ray. Sam Neill picks up a neat paycheck for playing The Tomb’s doctor. I hate to see an actor of Sam Neill’s talent wasted and he’s here in this movie for one reason and one reason only: to send an email.

So should you see ESCAPE PLAN? If you’re a fan of 80’s action movies and want to watch a movie that’s a throwback to that decade, Yes. If you’re a fan of Sylvester Stallone and Arnold Schwarzenegger, Yes. If you want to watch a decent action thriller that’s a little bit smarter and better acted than it needed to be, Yes.

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115 minutes

Rated R: For violence and language. The “F” bomb must have been dropped about fifty times in this movie so if you’ve got sensitive ears, don’t say I didn’t warn you.

Better In The Dark #153: Just A Couple Of Good Time Guys Sitting Around Jawing-LIVE!

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In our latest episode, The Guys Outta Brooklyn welcome one of their major fans–and a major presence on our Facebook Group–into The BiTD Cave for a freeform conversation about pop culture.  Listen in as Tom, Derrick and Jay as they discuss the James Bond Expanded Universe, childhood television memories, Stanley Kubrick, reality television, tabloid talk shows and the silliest kaiju ever created!  You know kids are people, too (WackadoWackadoWackado), so get to clicking, and don’t forget to Twitter us at @BITDShow!

http://earth-2.net/podcasts/betterinthedark/betterinthedark.php

Machete Kills

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Directed by Robert Rodriguez

Produced by Rick Schwartz and Alexander Rodnyansky

Screenplay by Kyle Ward

By now the story has become legend: 2010’s “Machete” was a full length feature film based on a fake trailer made for 2007’s “Grindhouse” which was a double feature of movies directed by Robert Rodriguez and Quentin Tarantino. “Grindhouse” was an ambitious experiment to recreate the movie-going experience of the 1970’s when grindhouse theaters showed double features of popular exploitation movies. Five fake trailers were made and of those, two movies actually were made; “Machete” and “Hobo With A Shotgun” starring Rutger Hauer. I’m still holding out for “Werewolf Women of The SS”

“Machete” turned out to be a really damn good movie with Danny Trejo backed up by an all-star supporting cast including Robert DeNiro, Steven Seagal, Cheech Marin, Don Johnson, Lindsey Lohan, Michelle Rodriguez and Jessica Alba. Yeah, the plot was pure pulp absurdity but it was grounded in just enough reality to make the whole thing go down well. And even among all the wild shootouts and Danny Trejo chopping up everything in sight with everything he can get his hands on (one of the enjoyable bits of the movie is how Machete can improvise bladed weapons on the fly) Robert Rodriguez managed to get in some pretty on-point political statements about Mexican-American relations and illegal immigration. It also had Electra and Elise Avellan in nurses uniforms blasting away at rednecks with machine guns, so for me the movie was a major success.

Wish I could say the same about MACHETE KILLS. The initial set-up is just fine and had me sitting up straight to see what was going to happen next but director Rodriguez and his screenwriter Kyle Ward just didn’t know when to leave well enough alone. Be patient just a bit and I’ll tell you where the movie went wrong for me.

Machete Cortez (Danny Trejo) and his girlfriend/partner Sartana Rivera (Jessica Alba) are in the middle of breaking up an illegal arms sale on the Texas/Mexico border. Members of the Texas Army Reserve are selling military weapons to a Mexican drug cartel. A third party intervenes, leaving everybody dead except for Machete who is captured by Sheriff Doakes (William Sadler) who intends to give Machete a quick trial and even quicker execution for messing up his arms deal.

Reprieve comes in the form of not the governor but The President of The United States himself; President Rathcock (Carlos Estevez/Charlie Sheen) who has a mission for Machete. He wants Machete to go back down to Mexico to find and assassinate the revolutionary Marcos Mendez aka The Madman (Demian Bichir) who has a nuclear missile pointed at Washington, D.C. Machete agrees and upon finding Mendez discovers that he has three separate personalities: there’s one who is an out and out psychopath and that’s the one who wants to destroy Washington, D.C. There’s the revolutionary who only wants what’s best for Mexico but doesn’t want to slaughter millions to do it. And then there’s the core personality which is that of Mendez, the undercover government agent who started this whole thing simply to get information on the drug cartels and was forced to watch his wife and daughter be killed.

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This is where I wanted Rodriguez to stop. Right there he had way more than enough plot and characters to work with and I’d have been happy with Machete struggling to stop this three-in-one villain. But no…he’s got to throw in Madame Desdemona (Sofia Vergara) and her crew of machine gun toting prostitutes to chase Machete as well as the metamorphing killer El Camaleon (Lady Gaga/Antonio Banderas/Cuba Gooding, Jr./Walton Goggins) This is before we get to the second half of the movie which is, believe it or not, a straight-up riff on “Moonraker” with Mel Gibson as the James Bondian villain Luther Voz who reveals that Mendez’s missile is only one of many he gave to mentally unstable world leaders so that they could fire them off at each other and destroy the world while Voz takes his selected people to his orbiting space station.

Now by the time we’ve gotten to this point of the movie, we’ve abandoned all reason and entered the realm of WTF as Rodriguez throws armies of killer clones at Machete, has him using a raygun that turns people inside out…and it doesn’t stop there. Voz rides around in a replica of Luke Skywalker’s landspeeder. We’ve got people being machine-gunned and then brought back from the dead.  Mexican workers are being teleported off the planet to labor on Voz’s space station and She (Michelle Rodriguez) no longer runs The Network from a dilapidated warehouse. Her new headquarters are as high-tech as the S.H.I.E.L.D. Helicarrier. It’s as if Machete/ Danny Trejo has been suddenly transplanted into the middle of a Derek Flint movie.

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Before watching this movie I had listened to the review done by the talented guys over at The Grind Pulp Podcast and they mentioned that they thought one of the things about this movie that was detrimental to it was that it looked “too good” and after having seen it for myself, I understand perfectly what they meant. Rodriguez totally abandons the grindhouse look that MACHETE KILLS cries out for. The movie should have looked aged, beat-up. In fact, the trailer for “Machete Kills Again…In Space!” looks the way this entire movie should have looked. I never thought I’d be complaining that a movie looked absolutely spectacular but in this case I am. MACHETE KILLS has amazing cinematography and it shouldn’t. The cinematography should look like shit. Seriously. You know what I mean.

But I’m glad to say that everybody in this movie looks as if they were having an absolute party making it. Everybody shamelessly steals every scene they get with Sofia Vergara and her gatling gun bra being among the standouts. But I totally loved Amber Heard as a secret agent whose cover is that of a professional beauty pagent contestant.

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The running gag of El Cameleon is the best one in the movie among all the craziness going on. Mel Gibson is totally off the wall as a James Bond supervillain and if you have any further doubts about how loopy everybody else is then lemme just say that when mollyfoggin’ Charlie Sheen is your most restrained cast member, nothing more needs be said.

And I have to mention Alexa Vega. As I said in a post on the Better In The Dark Facebook page, after seeing her in this movie I now have to throw away my “Spy Kids” videos as I fear that I can no longer watch the innocent little girl she was in those movies without having pervy old man thoughts of her as Killjoy infecting my consciousness:

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So should you see MACHETE KILLS? Chances are most of you reading this already have and so my review is irrelevant. For those of you who haven’t I’d recommend you catch a matinee if you really want to see it. Otherwise, wait for Netflix or until you can see it for free somewhere. I gotta say this is actually this first movie Robert Rodriguez made that I felt disappointment when the final credits rolled. I think he had the opportunity to continue to make Machete a truly unique Mexican hero and dropped the ball with this movie.

However we do have Electra and Elise Avellan in tuxedo jackets, stiletto heels and mini-skirts blasting away at clones with machine guns so the movie isn’t a total loss.

107 minutes

Rated R

 

 

The Assassination Bureau (LTD)

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THE ASSASSINATION BUREAU (LTD.)

Directed by Basil Deardon

Produced by Michael Relph

Screenplay by Michael Relph and Wolf Mankowitz

Based on the novel by Jack London and Robert L. Fish

“Professional assassination is the highest form of public service.”

Chiun, The Master of Sinanju

I start off this review with that quote because Chiun would understand the underlying philosophy that created the worldwide organization known as THE ASSASSINATION BUREAU (LTD.) being in the same business himself. As the Chairman of the organization, Ivan Dragomiloff (Oliver Reed) puts it; The Assassination Bureau fulfills a necessary evil. The Bureau assassinates those who are evil and who need assassination. They do not kill indiscriminately. They are not murderers. The Bureau assassinates those who only cause pain, misery and suffering. The Assassination Bureau (Ltd.) demands proof that the people who are contracted to be assassinated truly deserve assassination.

At least that was the dream of Ivan’s father. However, due through the corrupting influence of the Bureau’s Vice Chairman Lord Bostwick (Telly Savalas) on the other members of the Bureau, the purpose of The Assassination Bureau (Ltd.) is no longer what it once was. That is why Ivan accepts the commission of aspiring journalist and women’s right advocate Sonia Winter (Diana Rigg) to have him assassinated by his own organization. Ivan sees this as the ultimate test of his organization. If they kill him, so be it. He is the supreme assassin and if they kill him they he does not deserve to lead.  But this gives him the opportunity to remove the dead wood from his organization and test their loyalty. It’s kill or be kill, assassin against assassin. And in the middle is Sonia Winter who has no idea that she is feeding vital information to Lord Bostwick, who owns the newspaper she wants to write for as she is unaware of Lord Bostwick’s affiliation with the very organization she wishes to expose.

During the 1970’s there had to be somebody in charge of programming at ABC here in New York who loved THE ASSASSINATION BUREAU (LTD.) I have no idea who they were, if they were male or female but I thank God for them. Because they scheduled THE ASSASSINATION BUREAU (LTD.) on a regular basis on The ABC Sunday Night Movie which is where I first saw and fell in love with this movie. And every time it aired, I watched it. In fact, I turned my mother and father onto it as they simply had to see this movie because if I knew it was coming on Sunday night, I refused to leave the house for any reason at all.

In short, THE ASSASSINATION BUREAU (LTD). is a movie that I fell in love with the first time I saw it and one that I have recommended to everybody who will listen to me. It’s one of the best examples of a pure adventure movie that I’ve ever seen. It’s thrilling, it’s exciting, it’s heart-pounding and it’s funny. In fact, it’s wasn’t until I saw “Raiders of The Lost Ark” that I fell in love with a movie as much and yes, THE ASSASSINATION BUREAU (LTD.) is that good.

As Ivan Dragamiloff Oliver Reed creates a hero who is as charismatic, knowledgeable and brilliantly resourceful as Doc Savage, James Bond or Sherlock Holmes. This movie should be seen simply for seeing Oliver Reed in a heroic role. I love his performance for the same reason I love Richard Boone as Paladin in “Have Gun Will Travel.” These are actors who look more like the bad guys but are able to translate that into good guy roles of interesting dimensions. Oliver Reed’s Ivan Dragamiloff is so much fun to watch because I got the impression watching him in action in this movie because he seems to have so much fun playing a good bad guy.

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And this movie also has to be seen for Diana Rigg and Telly Savalas. THE ASSASSINATION BUREAU (LTD.)  had to be made around the same time as “On Her Majesty’s Secret Service” which they also starred in and their chemistry is apparent in this movie as well. It’s nothing short of a delight to see them on screen together. In fact, everybody’s chemistry works well together. Oliver Reed and Diana Rigg also have a great time in their scenes together and it’s so much fun to watch them work.

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Okay, I’m not going to go on and on and on about it. THE ASSASSINATION BUREAU (LTD.) is one of my favorite movies and if you’ve been reading my reviews all this time then you either trust me or not.  The bottom line is this: if you trust my judgment at all when it comes to movies then watch THE ASSASSINATION BUREAU (LTD.) It’s one on the best movies I can recommend to anybody in terms of story, casing, acting and just sheer fun. It’s one of My Ten Favorite Movies Of All Time and I suspect that after you watch it, it’ll be one of yours.

 

Who Wears It Better? Tina Or Beyonce?

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Suddenly, Last Summer

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1959

Columbia Pictures

Directed by Joseph L. Mankiewicz

Produced by Sam Spiegel

Screenplay by Gore Vidal and Tennessee Williams

Based on the play “Suddenly, Last Summer” by Tennessee Williams

Elizabeth Taylor is an actress who I’m just now finding who new levels of respect for. Oh, sure, I’ve seen “Who’s Afraid of Virginia Woolf” “Cleopatra” “Butterfield 8” and “Cat On A Hot Tin Roof” but it wasn’t until this past summer when I watched “Reflections In A Golden Eye” and SUDDENLY, LAST SUMMER back-to-back that I realized that this chick really could act her well-shaped moneymaker off. You’ve probably read my review of “Reflections In A Golden Eye” so you know how twisted that movie is. Well, believe it or not, SUDDENLY, LAST SUMMER is even more twisted.  In fact, for my money, this movie qualifies as a full-blown, all out deep fried Southern Gothic Horror Movie that should be watched every Halloween.  Don’t believe me? Then what else would you call a movie whose major themes are insanity, lobotomies, implied incest, pedophilia, cannibalism and ritual murder/sacrifice? A movie that takes place mostly in an asylum?

Dr. John Cukrowicz (Montgomery Clift) is fed up with the poor working conditions at the state hospital and he’s ready to quit. But then a lucrative offer is dangled in front of him by the hospital’s alcoholic, sleazy administrator (Albert Dekker) This offer involves Dr. Cukrowicz meeting with the obscenely wealthy and eccentric Violet Venable (Katherine Hepburn). Violet Venable will finance a brand spanking new wing of the hospital with state of the art equipment if Dr. Cukrowicz will do a favor for her.  Seeing as how he’s a brilliant surgeon who is considered the leading pioneer in the field of lobotomy, Violet will come across with the filthy lucre if Dr. Cukrowicz will lobotomize her niece Catherine Holly (Elizabeth Taylor)

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Quite naturally, Dr. Cukrowicz wants to know why such a radical procedure has to be done. Especially after he meets the extraordinarily beautiful Catherine.  It’s his opinion that she has suffered from a severe emotional shock but she’s not lobotomy material.  But it cannot be denied that Catherine’s cousin Sebastian died under highly mysterious circumstances while he and Catherine were on vacation in Europe last summer. Circumstances so frightening that Catherine suffered a nervous breakdown and has blocked the memory of what really happened.

In fact, after having some really bizarre conversations with Violet, Catherine’s mother, Grace (Mercedes McCambridge) and Catherine’s brother George (Gary Raymond) Cukrowicz discovers that they all have reasons to want Catherine to be lobotomized so that the truth about Sebastian’s death can never be known.

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Why did Sebastian suddenly leave his mother behind last summer and take Catherine along with him on that fateful vacation?  During her talks with Cukrowicz, Catherine hints of a possible incestuous relationship between Violet and Sebastian and that Sebastian used his mother on previous vacations to procure underage boys for him to satisfy his pedophiliac lust.  A job that Catherine suggests Violet was a more than willing participant in. A job that Sebastian hoped Catherine would be willing to take over.

Dr. Cukrowicz finally decides to use a combination of truth serum and hypnosis to unlock Catherine’s suppressed memories of what happened the day Sebastian died.  Cukrowicz assembles the family members in an almost Agatha Christie-like gathering where he puts together the clues he’s gotten from all of them and along with the frightening story that Catherine at last remembers and tells he is able to solve the mystery of what happened to Sebastian.

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SUDDENLY, LAST SUMMER to me qualifies as a Horror Movie because of not only the subject matter but halfway through the movie I wasn’t sure that I even wanted to know what had happened to Sebastian Venable. And trust me, when I finally did find out what happened to Sebastian, I wish I hadn’t.  His horrific fate is revealed in a tour de force scene described by Catherine that Shirley Jackson herself would be proud of.

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The acting in SUDDENLY, LAST SUMMER is absolutely first rate. After all, we’re talking about Elizabeth Taylor, Montgomery Clift and Katherine Hepburn here. The only one that let me down in this movie is Mercedes McCambridge.  But that’s only because I’ve seen her play kick-ass women in movies such as “Giant” “Johnny Guitar” and “All The King’s Men” and I really don’t like seeing her play such a wimpy character. But otherwise, you couldn’t wish for better.  Especially Elizabeth Taylor who demonstrates fully the range of her acting ability and more than holds her own in her scenes with Katherine Hepburn.

Take my advice and put SUDDENLY, LAST SUMMER on your list of movies to watch. For the first twenty minutes it may not seem like a horror movie but keep watching and by the time you get to the last twenty minutes, I think you’ll agree with me that it is.

114 Minutes