Category: External Movie DVDs (Page 38 of 74)

Gospel According to Al Green

Al Green’s angelically seductive voice is unequaled in R&B, and perhaps all of popular music, and the hits he made with legendary producer Willie Mitchell include some of the most evocative songwriting of the early seventies. He might have reached the same heights of mass acclaim as such R&B contemporaries as Stevie Wonder, Marvin Gaye, and Smokey Robinson were it not for a disturbing incident in which an obsessed girlfriend badly scalded him with boiling grits and then committed suicide. Within a few years, the singer became the Reverend Al Green, bought his own church, and for a time abandoned secular pop music entirely.

This fascinating 1984 documentary details the period in which Green became a deliberately obscure figure, allowing the singer to tell his own story in addition to performing some astonishingly good gospel and also preaching at his Memphis Full Gospel Tabernacle. He even deigns to break his own no-secular-music rule and performs a transcendent version of his love song supreme, “Let’s Stay Together” – a performance strong enough to almost make us forget “Pulp Fiction” and that bandage on the back of Ving Rhames neck. Director Robert Mugge’s film captures Green at his musical best – still only in his late thirties and absolutely at the top of his game. A must for fans of both classic soul and gospel music, “Gospel According to Al Green” reveals a conflicted, slightly eccentric, but always utterly sincere performer, while presenting an awe-inspiring reminder of the musical and emotional power of the African-American church.

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Killer Movie

Ever since 1996’s “Scream,” it’s been tough for filmmakers to do subtle parodies of the horror genre without being greeted with a bored “it’s been done.” Kudos to Jeff Fisher, then, for deciding to take a slightly different approach by mocking reality TV and horror movies but managing to get a few laughs without sacrificing the scares. (He has the right resume for it: he used to work on “The Simple Life.”) Although “Killer Movie” can’t be called a groundbreaking scary-movie entry, it has a wittier-than-average script and a strong cast, including Nestor Carbonell (“Lost”) as a sleazy agent who looks sharp but doesn’t think twice about sacrificing morality in favor of a big paycheck, Kaley Cuoco (“The Big Bang Theory”) playing the middle ground between Paris Hilton and Lindsay Lohan, and Leighton Meester (“Gossip Girl”) in what can only be described as a glorified cameo.

The premise of the film involves a reality-show director – played by Paul Wesley, late of ABC Family’s “Fallen” – who gets drafted for a gig covering a high school hockey team in White Plains, ND, but ends up battling with the show’s executive producer (Cyia Batten), who’d rather go sensational and focus on the death of the team’s former coach, who had just gotten out of prison after having had his murder conviction overturned. It will not surprise you that the coach’s death soon becomes only one of many within White Plains, but you probably will find yourself unexpectedly impressed by Cuoco’s performance in the film, which gives one hope that she may yet have a film career ahead of her…not that we’re hastening the end of “The Big Bang Theory,” you understand. Beyond the blood, what keeps the film moving is the decision to intersperse interview footage with the characters between scenes. Though there’s a decent amount of typical horror stuff here, it’s those bits which raise “Killer Movie” a bit above the ordinary.

Click to buy “Killer Movie”

Toots

Saddled with a predilection, if not quite an outright addiction, to too much booze and excessive gambling, Toots Shor somehow avoided being just another Jewish tough guy/borderline crook and instead became one of the most legendary restaurateurs in the history of New York City. His food wasn’t gourmet fair, but that wasn’t really expected in mid-century Manhattan. The key to his success was his way with people, lubricated with plenty of whiskey, and that made his restaurant-saloon into a kind of Valhalla populated by legends of three worlds: sports, entertainment, and crime.

Directed by Schor’s filmmaker granddaughter, Kristi Jacobson, this affectionate but honest documentary portrait from 2006 is constructed largely from reminisces by authors Nicholas Pileggi (“Casino“), Pete Hamill, and Gay Talese; sports personalities Frank Gifford, Yogi Berra, and Joe Garagiola; uber-anchor Walter Cronkite, and many others. More comedy than tragedy, it’s the story of a man whose irresponsibility when it came to practically everything, especially money, was only matched by his sentimental attachment to both friends and family. A full-on gonif who once made his living as professional muscle, but apparently never crossed the line into Murder, Inc. territory, Toots was not a particularly “good” person by any normal definition — except often to the people he loved, and there were apparently quite a lot of them. It’s hard not to like a guy like that.

Click to buy “Toots”

Encounters at the End of the World

I’m a reasonably big fan of Werner Herzog, the film performer, documentarian, and wryly humorous, neurotically heroic philosopher-poet. When it comes to his hugely acclaimed fiction films, however, I can become impatient with their emphasis on pure thought over pure storytelling. Though it is a reasonably straightforward documentary, “Encounters at the End of the World” has elements of both sides of Herzog’s output. Instead of being driven by a sharply dramatic real-life narrative like the one in Herzog’s brilliant 2005 nonfiction, “Grizzly Man”, 2007’s “Encounters” is basically a quasi-philosophical and psychological exploration of just what it is that drives a certain species of extremely intelligent people to frozen (still, for the time being) Antarctica — a place that, as Ernest Shackleton learned the hard way, might as well have had a giant “no human beings allowed without space-age technology or a death wish” sign pasted on it.

Herzog obviously loves the hyper-intelligent rebels and happy misfits the place attracts as much as its sometimes mind-blowing beauty. There’s also plenty of cinematic and verbal rumination, including a soliloquy by Herzog in which he muses about what he sees as the impending end of all human life in a more or less fatalistic matter — not so much an “if” as a “when.” On the other hand, in a brief, intriguing interview with a former linguist, the director also appears to be deeply concerned with preserving dead languages for future generations…so, maybe he’s not expecting the end tomorrow. Still, for all its bone-deep beauty and for the sweetness of its intentions, its Herzogian concern with reality-based eschatology makes “Encounters at the Edge of the World” easily the most disturbing G-rated inquiry into science and possible end times since Robert Wises’ “The Andromeda Strain.”

Click to buy “Encounters at the End of World”

Madame Bovary

Compared to that other famed desperate housewife of world literature, Tolstoy’s sympathetic Anna Karenina, Emma Bovary is, well, kind of a…word that I’m too well brought up to use. Especially as portrayed during Isabelle Huppert’s perfectly minimalist performance, she is more than a little superficial, unable to distinguish between fantasy and reality, and horribly unable to asess the consequences of her own actions. On the other hand, she’s no Paris Hilton, by which I mean she is still very recognizable as an actual human being, all to similar to anyone one of us (her creator, author Gustav Flaubert famously declared, “Madame Bovary, c’est moi!”). Still, the flavor of the story is dry – almost satirical. So, France’s ultra-prolific master of ultra-dry melodramas and tales of suspense, Claude Chabrol, makes perfect sense as the writer-director to bring Flaubert’s revered, frequently filmed novel to the screen. This 1991 production takes a worm’s eye of the tale, which has Emma coldly marrying a goodhearted but deadly dull doctor (Jean-François Balmer) simply to get out of the house. Bored literally to tears, she cuckolds him with a cold-blooded womanizer (Christophe Malavoy) and a seemingly more goodhearted law student (Lucas Belvaux), while literally spending the good doctor and herself to destruction. Yes, this is an evergreen story with a contemporary ring to it – and Chabrol’s cool, dispassionate, and not merely cynical eye is an appropriate counterpoint. This is no tearjerker, but it’s also impossible to stop thinking about this underplayed tragedy of a family destroyed by pretension, materialism, and self-involvement, with innocent victims all around.

Click to buy “Madame Bovary”

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