Movies

The Idolmaker

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1980

UNITED ARTISTS

Directed by Taylor Hackford

Produced by Gene Kirkwood and Howard W. Koch, Jr.

Written by Edward Di Lorenzo

Original Music by Jeff Barry

There were a lot of great performances in 1980. Robert DeNiro took home the Oscar for Best Actor in “Raging Bull.” John Hurt, Jack Lemmon, Peter O’Toole for “The Stunt Man” and Robert Duvall were also nominated. Great actors and great performances all. Now while I’m not suggesting that Mr. DeNiro didn’t deserve to win what I am saying is that it was downright criminal that Ray Sharkey wasn’t even nominated for his white-hot performance in THE IDOLMAKER. Most people remember him as Sonny Steelgrave in the TV series “Wiseguy.” But me, I’ll always think of him as the rock and roll promoter Vincent Vacarri. Apparently somebody did see him in THE IDOLMAKER because he won the Golden Globe that year for it. Ray Sharkey tragically died at the age of 40 but he left behind some truly wonderful performances. For me, THE IDOLMAKER is at the top.

Vincent ‘Vinnie’ Vacarri is busting his hump trying to break into the rock and roll business during the 1950’s. Rapidly approaching 30, he’s working as a busboy in his brother’s restaurant by day and haunting the clubs by night trying to find that Next Big Act that will jumpstart his career. Vinnie’s mother (Olympia Dukakis) wonders why Vinnie doesn’t just record his own songs. Vinnie tells her he’s too old and doesn’t have the heartthrob looks to be a teen idol and that’s what the industry and the public wants. Sure, Vinnie is talented but he doesn’t have IT.

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Vinnie goes to a club one night at the urging of his friend, saxophonist Tomaso DeLorussa (Paul Land) to watch his band play. Noticing that Tomaso gets the crowd jumping and jiving more than the band’s lead singer, Vinnie convinces him to become a singer. Vinnie teaches him how to move on stage and changes his name to “Tommy Dee.” Under Vinne’s undeniable genius at marketing, Tommy Dee becomes an overnight teen sensation. Vinnie’s street smarts and know-how of the industry attracts the attention of Brenda Roberts (Tovah Feldshuh) the editor of ‘Teen Scene’ and not just in a business way, if you get what I mean.

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Tommy Dee rises like a rocket to the top of the charts and the higher he goes, the more unmanageable he gets. Part of it is rebellion against Vinnie’s near maniacal need to control every aspect of Tommy Dee’s life. Vinnie tells his songwriting partner Gino Pilato (Joe Pantoliano) that they need a backup. Vinnie finds it in Guido (Peter Gallagher) a busboy working at his brother’s restaurant. It doesn’t phase Vinnie in the least that Guido can’t sing or dance. Vinnie’s convinced he can take this no talent kid and teach him how to be a superstar on stage. By now, it’s obvious to Gino, Brenda and Tommy that what Vinnie really wants to do is have somebody he can turn into a sort of avatar so that he can vicariously live out his own unfulfilled dreams of being a star through him. It’s a destructive streak just as poisonous as any drug or alcohol addiction and one that Vinnie is sadly oblivious to.

The thing that sets THE IDOLMAKER apart from other movies of this type is that usually we see it through the eyes of the star. This movie we see through the eyes of the guy who makes the stars what they are. And the thing is that Vinnie is damn good at his job. Maybe too good. Especially with Guido who he renames Caesare and through shrewd manipulation of the media turns the kid into a superstar before he even sings a note.

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Ray Sharkey is backed up by some really excellent supporting players that don’t seem to be working that hard at making an impression on the screen but they do. I’ve already mentioned Olympia Dukakis, Joe Pantoliano and Tovah Feldshuh. Keep your eyes open for Marcia Brady herself, Maureen McCormick, who does a really good job playing a surprisingly sleazy reporter specializing in covering teen idols. And the movie wouldn’t work if we don’t buy Paul Land and Peter Gallagher as the teen idols and they sell it. Tommy Dee is a likeable but egotistical jerk but we sympathize with his just wanting to enjoy the success he never really asked for or sought. He doesn’t have the lofty goals that Vinnie has. He just wants to have a good time. Guido is a scared, insecure kid who simply can’t believe he can get out on stage and perform. But he does. Man, does he ever. Peter Gallagher gets the movie’s show-stopping song; “However Dark The Night” and it’s worth waiting for. And speaking of songs, pay attention to “Ooo Wee Baby” playing during the opening and closing credits. It’s sung by Darlene Love who plays Danny Glover’s wife in the “Lethal Weapon” movies. It’s a nice touch to have her vocals in this movie as she was one of Phil Spector’s artists and sang lead on the #1 hit “He’s A Rebel”

The movie is based on the career of rock promoter and manager Bob Marcucci who discovered and promoted Frankie Avalon and Fabian. Mr. Marcucci served as technical advisor on this movie and perhaps that’s another reason why the story and performances are so strong. There’s a strong stream of truth straight down the middle all the way from beginning to end that’s undeniable.

So should you see THE IDOLMAKER? Absolutely. The songs are actually the movie’s weak link as with the exception of “Ooo Wee Baby” “However Dark The Night” and “I Believe It Can Be Done” they’re pretty disposable teen pop tunes that don’t stick to your brain. It’s the story and the performances that sell the movie and worth seeing just on that basis alone. Especially that really terrific Ray Sharkey performance I can’t praise highly enough. Enjoy.

Rated PG

117 Minutes

The Expendables 3

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Directed by Patrick Hughes

Produced by Avi Lerner, Kevin King-Templeton, Danny Lerner, Les Weldon and John Thompson

Screenplay by Creighton Rothenberger, Katrin Benedikt and Sylvester Stallone

Based on a story by Sylvester Stallone

Based on characters by David Callaham

It seems like a small and petty thing, I know. But every time I watch an Expendables movie I always wish I had thought to name one of my characters Hale Caesar before these series of movies started. What does that have to do with my review of THE EXPENDABLES 3? Absolutely nothing. It was just a random thought that occurred to me when Terry Crews showed up on the screen I thought I’d share. The time it took for me to relate that thought is also about the same amount of screen time that Terry Crews/Hale Caesar has before he’s shot by Conrad Stonebanks (Mel Gibson) the man who co-founded The Expendables along with Barney Ross (Sylvester Stallone) Stonebanks turned on his own team to become an illegal international weapons dealer, forcing Barney to come after him. Barney thought he had killed Stonebanks. He thought wrong.

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Barney’s CIA contact Max Drummer (Harrison Ford) tells Barney he’s got one more shot at Stonebanks as he’s wanted by The Hague to stand trial as a war criminal. For reasons that are never really made clear, Barney fires his current team: His second-in-command and knife expert Lee Christmas (Jason Statham) Sniper Gunner Jensen (Dolph Lundren) Demolitions expert Toll Road (Randy Couture) and Doctor Death (Wesley Snipes) one of the original Expendables who just might be as good if not better with knives as Lee Christmas and also acts as team medic.

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With the help of “talent scout” Bonaparte (Kelsey Grammer) Barney recruits a younger, hipper squad of Expendables: ex-Navy Seal John Smilee (Kellan Lutz) Hand-to-hand combat specialist and professional bouncer Luna (Ronda Rousy) hacker Thorn (Glenn Powell) and sharpshooter Mars (Victor Ortiz) The one more shot at Stonebanks goes fubar and Barney has to swallow his pride to get his old team back to help him rescue the kids, assisted by Barney’s best frenemy Trench Mauser (Arnold Schwarzenegger) martial artist Yin Yang (Jet Li) and Galgo (Antonio Banderas) expert sharpshooter and professional madman.

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Whew. Sounds like a lot to keep track of, doesn’t it? Well, there are a whole lot of characters and because we’ve got so many characters, the plot seems a lot more complicated than it actually is. While I enjoyed THE EXPENDABLES 3 a lot I can’t help but think that this one should have focused totally on the Stonebanks plot and saved recruiting a new team of younger Expendables for the fourth movie. Because the biggest WTH in the movie is Barney firing the old guys who most certainly have more of a reason for taking Stonebanks down since it’s their teammate he put in the hospital and both Barney and Doctor Death were on the original team betrayed by Stonebanks.

It also sticks out like the moles on Morgan Freeman’s face that the movie adheres to the rule that there can only be one black guy on a team at a time. Me, I’d have had Gunner get shot and near death for most of the movie’s running time. Nothing against Dolph Lundgren, understand. I just like Terry Crews/Hale Caesar more and would have enjoyed seeing him get more screen time and usually it’s him and Randy Couture who get shorted in the two sequels we’ve had.

The acting honors in this one goes to Mel Gibson who played a bad guy in “Machete Kills” and stole that movie like he steals this one. Stonebanks really doesn’t have much characterization or motivation for what he does but he’s a bad guy who so obviously enjoys being a bad guy I ended up liking him a lot. And Antonio Banderas is practically a live action cartoon as a mercenary desperate to join The Expendables who simply cannot stop talking. Banderas acts totally off the wall and is obviously having a lot of fun. Out of all the new Expendables introduced I’d most like to see him and Ronda Rousey return. A female MMA who is ranked at being #1 in the world in her class, she gets some really terrific fight scenes in the climactic battle between The Expendables, old team and new versus the onslaught of Stonebanks’ private army. I really enjoyed the chemistry she has with Banderas and hope they exploit it in the next movie (what, you really think that there isn’t going to be an “Expendables 4?’)

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I’ve heard and read some less than favorable reviews of THE EXPENDABLES 3 and I’m not going to say that they’re not valid. But for me, I went into the movie expecting nothing more an an action movie version of “The Avengers” and that’s what I got. For me it’s just a lot of fun seeing all these actors together on the same screen blowing shit up and shooting everything in sight. I’ve heard some complaints that there’s really no reason for people like Harrison Ford and Kelsey Grammer to be in the movie and that Jet Li should have had more to do. I was perfectly happy with Kelsey Grammer coming in, doing what he’s supposed to be doing and then he’s gone. Jet Li has already been established as a team member so having him show up for the final fight to back up his friends is okay by me.

So should you see THE EXPENDABLES 3? If you saw and enjoyed the first two, then Yes. The action sequences will definitely get your adrenaline pumping and I for one appreciated the effort on the part of the screenwriters to give us a story totally different from from the first two “Expendables” and at least make an effort to take the franchise in a new direction. Now the real test is going to come in “The Expendables 4” Are the new kids going to stick around and we’ll see Barney work at integrating the old-timers with the new kids and teaching them how to work as one unit? I hope so. We’ll see. In the meantime, go see THE EXPENDABLES 3 and have a good time.

126 minutes

Rated PG-13

 

The Baby

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1973

Quintet Productions

Directed by Ted Post

Produced by Abe Polsky, Milton Polsky and Elliott Feinman

Written by Abe Polsky

I am so thankful and grateful that I live in a world where movies like THE BABY were once made. There is absolutely no way on God’s green Earth that THE BABY could have been made today. It’s a movie that is so totally and absolutely batshit insane that even while you’re watching it you honestly can’t believe what you’re watching. And I do not exaggerate, trust me. Just when you think THE BABY can’t get any crazier it ups the ante and gets crazier. And the last fifteen minutes of the movie finishes up the job of blowing what few fuses are left intact in your brain.

Ann Gentry (Anjanette Comer) is an earnest, well-meaning social worker who is assigned a new case involving the Wadsworth family. There’s Mrs. Wadsworth (Ruth Roman) and her two daughters: Germaine (Mariana Hill) and Alba (Suzanne Zenor). And then there’s the youngest and strangest member of the Wadsworth family. Baby (David Manzy) is a mentally impaired man in his early twenties who mind is still that of an infant and so he acts as such. The behavior is strongly reinforced by his mother and sisters who treat him as such. His mother never even bothered giving him a proper name and so everybody calls him “Baby.” He sleeps in an oversized crib and crawls around on hands and knees just like….well, just like a baby. And yeah, I know what you’re thinking: that doesn’t seem very creepy or horrific. You just go ahead and watch the movie and then try and tell me that, cousin. David Manzy is a guy who throws himself into his role so well you may end up like me, wondering exactly what he did to prepare for the role.

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Ann takes a special interest in the case, thinking that if Baby has proper training and treatment in the proper facility he can start acting older and more appropriate for his age. No, he’ll never be a “Jeopardy” contestant but at least he won’t be wearing a diaper. Seeing as how she and her daughters are getting a nice chunk of change from the state for Baby’s welfare, Mrs. Wadsworth has a solid reason for keeping Baby exactly the way he is. In addition, Alba gets her kicks from torturing her little brother with a cattle prod while Germaine likes to sneak into Baby’s giant sized crib at night to play Doctor.

But Ann is determined to get Baby the help he needs and gradually it dawns on us that Ann is just a little too determined. It doesn’t take Mrs. Wadsworth long to pick up on the fact that Ann has her own agenda for Baby. One that doesn’t include the Wadsworths.

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In a very weird ass way, THE BABY is a woman’s picture. A cracked woman’s picture, I grant you. Compared to the chicks in this movie, Joan Crawford and Betty Davis in “Whatever Happened To Baby Jane” come off as being almost downright reasonable in their behavior. The few men in this movie are totally ineffectual and useless. I’m sure those of you with a psychological bent could make something out of the fact that the movie comes down to a bunch of women fighting for control of a man who is an infant and can’t take care of himself. Me, I take it as a superior psychological thriller with some surprisingly good performances.

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The production values are also better than you would expect from a movie of such sleaze and exploitation but that’s part of the reason why I love THE BABY so much. It looks much better than it had to and the actors treat the material with a respect and seriousness I didn’t expect. They’re committed to the story, no matter how WTF it is and it shows and that gives the truly surprising conclusion an added wallop to the gut.

So should you see THE BABY? Without a doubt. This is definitely one of those movies that goes on the You Have To See It To Believe It list. It would make an excellent Saturday night double feature with that king of WTF movies; “The Apple.” Enjoy.

PG

84 minutes

American Pop

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1981

Columbia Pictures

Directed by Ralph Bakshi

Produced by Ralph Bakshi and Martin Ranshohoff

Written by Ronni Kern

Music Adaptation and Original Music by Lee Holdridge

How much do I love AMERICAN POP? I saw the movie during its original theatrical run back in 1981 in a Times Square theater. Back then, they didn’t kick you out after each show was over. If you wanted to stay there all day long and watch the same movie over and over, the management didn’t care as long as you behaved yourself. I stayed to watch AMERICAN POP three times that day. And since then I reckon I’ve seen it maybe two dozen times and I’m still enthralled by the story, the music and the animation.

The animation is done in the rotoscope style Bakshi pioneered during his heyday. Live actors are filmed and then the footage is given to animators who actually draw over the live action images frame by frame. It gave Ralph Bakshi’s movies a look totally unlike any other animated movie being done at the time and I think that he never used it better than he did in AMERICAN POP which also uses archival footage to great effect as well along with some really fabulous water color paintings in the opening credits.

I’ve argued at length with those who insist that Bakshi’s “Wizards” or “Heavy Traffic” is his masterpiece and put AMERICAN POP below those two. I don’t agree, plain and simple. None of Bakshi’s urban movies such as “Fritz The Cat” “Heavy Traffic” or “Hey, Good Lookin’” have aged well at all. But movies such as “Fire and Ice” his fantasy film collaboration with Frank Frazetta, Roy Thomas and Gerry Conway along with his “Lord of The Rings” still hold up very well and are still watchable. In fact, in a lot of ways I prefer Bakshi’s single “Lord of The Rings” movie to Peter Jackson’s trilogy but that’s another review for another time.

AMERICAN POP still holds up very well due to the generational saga that it tells about an immigrant Russian Jewish family whose story is told using the history of American popular music as a backdrop. It takes us from vaudeville to the swing era to the big band era to 1950’s jazz, blues and doowop to the 1960’s folk and rock scene and ends up in the 1980’s and hard rock/punk rock ruling the music charts.

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Zalmie Belinsky (Jeffrey Lippa) escapes Imperial Russia with his mother even his father is killed by Cossacks. Once in America, Zalmie is drawn to the burlesque houses and becomes the sidekick of Louie (Jerry Holland) a second rate performer who becomes his best friend and guardian when Zalmie’s mother dies in a fire. The two become an act, performing for the troops overseas in World War I. It is while performing as the bottom half of a horse act that Zalmie takes a bullet to the throat, ending his dream of becoming a singer.

Zalmie passes on his love of music to his son, Bennie. By this time Zalmie and Louie have become deeply involved in organized crime and Bennie marries the daughter of mob boss Nicky Palumbo at his father’s request. But it’s Bennie’s decision to go fight in World War II. A decision with tragic results.

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Bennie’s son Tony (Ron Thompson) grows up to be an unruly, undisciplined youth with no direction and no plan for the future. But he has the same love of music that drove his father and grandfather. And while he has no talent at singing or playing musical instruments, Tony is a genius when it comes to writing songs. Here’s the part where you have to really suspend your disbelief because according to the movie, Tony writes some to the biggest hits of the 1960’s such as “This Train” “Don’t Think Twice, It’s Alright” “People Are Strange” and “Up, Up and Away.” The credits at the end of the movie acknowledge the actual writers of the song and thanks them for allowing a fictional character to take credit for the songs for the purpose of the movie. The story is that many of the artists whose songs are used in AMERICAN POP were fans of Bakshi and were delighted to have their music included. And I can believe it because the soundtrack of AMERICAN POP is nothing less than astonishing. Songs by Bob Dylan, Sam Cooke, Jefferson Airplane, Pat Benetar, The Mamas & The Papas, Lou Reed, Pete Segar and Herbie Hancock, The Doors and Fabian are used and that’s not even half of the soundtrack.

Tony’s the character we spend the most time with next to Zalmie and the most charismatic. He’s the one who seems to feel the burden of his music inheritance on a spiritual level. He combines a sort of Zen like naivety combined with an old soul that is truly appealing. He’s got most of the movie’s best scenes and lines, such as when he tells a carload of hitchhikers he’s picked up in his cross country travel that the car they’ve been riding in is stolen. And the one night stand he has with a gorgeous blonde haired girl he meets in Kansas sets up an absolutely heartbreaking use of Sam Cooke’s “You Send Me”

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The voice work is outstanding with Ron Thompson as the voice of Tony and Tony’s son Pete leading the way. Marya Small is right behind as Frankie Hart who is a Janis Joplin style singer that meets the same sad fate. Richard Moll has a nice funny bit as a poet in a Greenwich Village coffeshop and Jerry Holland as Louie is just fun to listen to. He creates an entire character history with just his voice. You listen to Louie and you know where he’s been.

So should you see AMERICAN POP? If you haven’t then I don’t wanna know you. You homework assignment is to go see it at your earliest opportunity. I look upon it as Ralph Bakshi’s masterpiece and recommend it highly. It’s a great story with an absolutely killer soundtrack and vibrant, exciting animation that looks great in HD. Enjoy.

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Rated R

96 Minutes

Lucy

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2014

Universal Pictures

Written and Directed by Luc Besson

Produced by Virginie Silla

I know quite a few people who have said that they’re not going to go see LUCY because it’s “scientifically inaccurate.” You see, the plot of the movie hinges upon the long held belief that human beings only use 10% of their brain capacity and that if we ever gained conscious control of our entire brain then the results would be unimaginable. It could be that we would possess godlike abilities such as telekinesis, telepathy, matter reconstruction, time travel, levitation. The 10% thing has long been debunked as myth and I can’t understand why just because LUCY uses it as a MacGuffin that would keep anyone from seeing it. After all, it’s scientifically inaccurate that a high school student can get bitten by a radioactive spider and suddenly gain the ability to climb walls but that didn’t stop people from enjoying Spider-Man movies. It’s scientifically inaccurate that there are hundreds of alien races so close to humanity that they can breathe our atmosphere, mate with us and in general are configured much like humans but that didn’t stop people from enjoying the various Star Trek movies and television series.

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Lucy (Scarlett Johansson) is going to school in Taiwan and after a night of wild partying with her new boyfriend of a week is tricked by him into delivering a locked briefcase to Mr. Jang (Choi Min-sik) a Korean crimelord. The briefcase contains a package of CPH4, a synthetic superdrug that increases brain function. Lucy is drafted into being a drug mule and the package is sewed into her abdomen. There are three other mules, all with identical packages inside their abdomens, heading for different European cities where they will be met by Mr. Jang’s people and the packages removed.

But due to a vicious assault, Lucy’s package leaks and releases CPH4 into her system. It begins expanding her brain functions and she finds herself with greatly enhanced physical capabilities and mental abilities such as telekinesis, telepathy and total control over electronic devices. Due to her now hypergenius status, Lucy realizes she needs the other three packages to continue to expand her capabilities and elevate herself to the next stage of human evolution.

She contacts Professor Samuel Norman (Morgan Freeman) whose research into higher brain functions may be able to help her. And she enlists the aid of a French policeman, Captain Del Rio (Amr Waked) to find and capture the other mules. In the meantime, Mr. Jang is not far behind as he still wants his merchandise and Lucy’s head as well. And he’s bringing an army to get both.

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Now despite what you may have seen in the trailers, LUCY isn’t as much of an action film as you might think. Oh, sure there are gun fights and car chases but this isn’t start-to-finish-punch-punchy-run-run-kiss-kiss-bang-bang which you certainly have a right to expect from Luc Besson. LUCY actually spends quite a bit of its short running time speculating on neuroscience, biology, evolution, philosophy and metaphysics as Lucy struggles to understand what is happening to her and what she will do with her new found knowledge before she ascends to another level of existence.

It’s a lot of fun watching Scarlett Johansson turn from a giddy party girl into Dr. Manhattan from “Watchmen” with a splash of V’ger from “Star Trek: The Motion Picture” added for flavor. As her intelligence and her powers increase, she loses more and more of her emotions but Scarlett Johansson still makes us care for this poor girl who certainly didn’t ask for this to happen to her but desperately wants to do the right thing before she becomes too omnipotent to care.

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Morgan Freeman quite frankly made me crack up because I have never before seen an actor who plainly knows that his one and only function in the movie is to provide plot exposition do it which such gusto. For most of the movie, Freeman is explaining to us what’s happening and what’s going happen and damn if he doesn’t do it in an entertaining manner.

LUCY is a movie that thankfully doesn’t take itself seriously and if you go into it with that attitude that it should be Serious Science Fiction then you’ll be robbing yourself of a solidly made, entertaining thriller than is full of enthusiasm and fun. Luc Besson has yet to make a movie that disappoints me and LUCY is no exception.

Rated R

90 minutes

The Purge: Anarchy

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2014

Universal Pictures

Written and Directed by James DeMonaco

Produced by Jason Blum, Andrew Form, Bradley Fuller, Sebastien Lemercier and Michael Bay

In the interest of full disclosure I should be upfront and say that I had no interest at all in seeing THE PURGE: ANARCHY. I had seen “The Purge” at home about two months ago and thought it one of the most brain dead movies I’d seen in quite a while. Don’t look for a review of it here as I quite honestly wasn’t in the mood that day to rack up wordage on a movie I disliked. But if you do want to read an excellent review of it then I highly recommend you check out Mark Bousquet’s review of “The Purge”

So why did I go see the sequel of a movie that I didn’t like? The theater is why. Patricia and I used to go to a theater on Linden Boulevard here in Brooklyn. But we’ve switched to the Broadway Multiplex Cinema in Hicksville, out in Long Island. Why go all the way out there to go to the movies you ask?

Two-person wide motorized La-Z-Boy leather recliners. That’s why.

We have so fallen in love with the seats in this theater we ended up going to see THE PURGE: ANARCHY even though neither one of us were exactly eager about seeing it. And yeah, I found it just as brain dead as the first one. But I was comfortable as hell while seeing it.

For those of you who didn’t see the first movie (give praise for that) here’s the background. The United States is now administrated by The New Founding Fathers of America who have established The Purge, a 12 hour period taking place annually on March 21/22 from 7PM to 7AM. During this period all crime is legal. Citizens can rob, rape and kill with no fear of legal reprisal whatsoever. The New Founding Fathers insist that The Purge is necessary to give citizens a chance to release their negative and destructive urges. But it’s actually a form of population control as the poor and homeless are usually the victims of The Purge. The rich are rich enough to wait out The Purge in safety in homes that are more like fortified bunkers.

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Diner waitress Eva Sanchez (Carmen Ejogo) hurries home to barricade herself in her apartment along with her daughter Cali (Zoe Soul) and terminally ill father (John Beasley) Married couple Shane (Zach Gilford) and Liz (Kiele Sanchez) stop at a market to get some groceries before heading to the house of Shane’s sister to spend the night. Police Sergeant Leo Barnes quietly assembles an arsenal of guns and assault rifles before strapping on his body armor and climbing into his armor plated car. He plans on a very special Purge.

Through a complicated series of horrifying events these five people find themselves thrown together, trying to survive the night. They lose the car and are forced to take to the streets, avoiding hordes of bloodthirsty Purgers. During the course of the night they learn that The Founding Fathers have been sending out their own death squads to increase the body count by killing off the lower classes. And if that weren’t enough, the Big Rich have been hiring their own squads to kidnap people and bring them to secure locations where the Big Rich play The Most Dangerous Game. They hunt people, Purging in complete safety as they have weapons and their prey doesn’t.

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When it got to this part in the movie where our five heroes are on the run on foot I realized that the writer/director wanted so bad for this to be a John Carpenter movie as the situation was one that sort of reminded me of Carpenter’s classic “Assault On Precinct 13” turned on its head. But THE PURGE: ANARCHY is so determined to be So Serious and Say Something Profound About America it’s really not that much fun or that interesting to watch. The movie could use a whole heap of social satire ala the original “Death Race 2000” or “The Running Man”

It also doesn’t help that the characters are so thin that I really couldn’t get interested in what happened to them. There’s an attempt to generate some sympathy for the married couple who have agreed to separate but since I don’t know these people, why should I care if they separate or not? And I really can’t get with a movie that wastes the extraordinary talent of Michael K. Williams. He plays Carmelo, leader of an army of resistance fighters determined to bring down The New Founding Fathers and end The Purge. But for most of the movie we see him ranting and raving on a TV screen and he doesn’t show up in the flesh until near the end of the movie when it’s far too late for him to save it.

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And maybe it’s just me but I simply can’t buy that on a night where any and all crime is allowed, everybody turns into a homicidal maniac bent only on slaughtering everybody in sight. Me, I’m either robbing a bank or looting a Costco, a Wal-Mart or a Target. None of this is shown, except for the super of Eva’s building who has rape on the brain. Apparently everybody in America waits for this one night just so they can go blood simple.

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So should you see THE PURGE: ANARCHY? If you liked the first movie then you most likely have already seen this one. But if you haven’t, stay away from it and wait for it to show up on Netflix. It’s not even worth matinee prices.

Unless of course, your theater has two-person wide motorized La-Z-Boy leather recliners.

103 minutes

Rated R

The White Bus

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1967

Woodfall Film Productions

Directed by Lindsey Anderson

Produced by Oscar Lewenstein

Screenplay by Lindsay Anderson and Shelagh Delany

Based on a story by Shelagh Delaney

If you asked me to explain why I decided out of the clear blue to record THE WHITE BUS and watch it, I couldn’t tell you why. I’d never heard of this movie before and it has no names I recognize as far as the actors or director goes. Anthony Hopkins does have an extremely small role in this movie but I didn’t know he was in it until I read his name in the end credits. I was just scrolling through the guide looking for something to watch and the description of this movie sounded interesting so I set the DVR to record it later on. In fact, I forgot I had recorded the movie and didn’t get around to watching it until two weeks later.

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I watched it once. Got to the end, went to get myself something to eat and then sat down to watch it again. Three days later I watched it for a third time. That’s not as much of a chore as you would think since it’s a short film that’s only 46 minutes long. The reason why I watched it those three times is because the more I watched it the more it reminded me of the films of David Lynch and of “Carnival of Souls” directed by Herk Harvey. Not that it’s a horror film. But there’s a bizarre otherworldly feel to the film. It’s dreamlike and downright surrealistic at times. Strange events take place that are never explained and strange behavior that the characters in the movie just seem to accept calmly as if this kind of oddness happens every day. And in the universe of THE WHITE BUS maybe it does.

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The Girl (Patricia Healy) works in a dull office in a dull office building typing dull reports. It’s so dull she fantasizes about hanging herself right at her desk. Leaving work one day, she hops on a train that takes her to another city. She spends some time wandering around the city and seeing such things as a kidnapping that takes place in broad daylight and a man in an iron lung being transported by an entourage of priests and nuns. The Girl boards a white double decker tour bus. The tour group on the bus is a diverse one. Made up of retirees and foreign tourists. The bus makes stops at a steel mill, a science museum, an art gallery and a school. During the tour The Girl barely speaks a word and simply reacts and listens to her companions on this tour such as The Mayor (Arthur Lowe) who seems to be competing with the official tour guide.  Upon visiting a martial arts school to watch a Kendo match, one middle aged gentleman simply joins in the match, using his cane as a Kendo sword. And the final fate of the tour group and The Girl made me think of Herk Harvey and in fact, THE WHITE BUS would make a nice companion piece to “Carnival of Souls” as I saw certain similarities.

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THE WHITE BUS isn’t a movie that I suggest you put on your Must See list. But if you happen to run across it, by all means check it out. I think you’ll find it highly intriguing and visually interesting if nothing else.

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46 minutes