Hidden Netflix Gems is a new feature designed to help readers answer that burning question, “What should I watch tonight?” It will be updated every Saturday before the sun goes down.
The second narrative feature from director Penelope Spheeris – who is perhaps best known for helming the best Saturday Night Live movie of all time, Wayne’s World – is a quintessentially ’80s movie, from its squealing guitar-heavy soundtrack to its fetishization of 1950s greaser attitude. It is also compelling, tense and rather brutal, and though it seems to be reaching for relevant social commentary, it never sacrifices its pure entertainment value for this higher goal. This is a film that knows what it does well and sets about doing just that, without pretension.
The Boys Next Door stars a young, pre-“passion,” Charlie Sheen as Bo Richards, a high school outcast whose only real friend is the even more ostracized Roy Alston (Maxwell Caulfield). After a gripping opening credits sequence featuring pictures and voice-over narration of various well-known mass murderers, including David “Son of Sam” Berkowitz and Kenneth “Hillside Strangler” Bianchi, the pair are introduced playing a childish prank on their high school on the last day of their senior year. Faced with nothing better than a future of low-wage labor at a nearby factory, the two crash and basically ruin a party attended by the more popular kids before hitting the streets of L.A. to try and pick up girls by yelling at them from their car windows, with all the success such a method usually brings. Before long, they vent their sexual and social frustrations in a series of increasingly violent acts that escalate from assault to multiple murders in the span of a few hours.
It is interesting to think of Bo and Roy in parallel to Spheeris’ most famous protagonists, Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) from Wayne’s World. Here, as in that film, we have a dark-haired youth (Bo), who is the smarter and less socially awkward of the two, paired with a blonde guy (Roy), of whom he seems to take care in many ways. Relatively early in the film we see Roy having a one-sided conversation with his neglectful, drunken father (Ron Ross) before hitting the town with Bo, who is shown time and again to have a stronger connection to the world of normal, socially accepted people. In its depiction of the frustrations and alienation that lead to extreme, random violence, The Boys Next Door seems to predict some of the most shocking mass murder cases of the past decade or so, from Columbine to Virginia Tech, among others. However, as disturbing as it often gets in its frank depictions of the boys’ unleashed rage, this movie can best be described as a lurid good time; fans of exploitation movies such as The Last House on the Left and Death Wish are especially encouraged to give this one a look.
Another link to cinema’s past has left us with the passing of the legendary Italian and eventually American producer at age 91. A truly old school style movie mogul with all the good and bad that went with that, creatively speaking, Dino De Laurentiis was instrumental in launching the worldwide vogue for European cinema, particularly in his partnership with fellow powerhouse producer Carlo Ponti and ultimate Italian auteur Federico Fellini.
During a period I personally consider Fellini’s creative prime, De Laurentiis co-produced two of the director’s most powerful films, the classic tearjerker “La Strada” with Anthony Quinn and the great Giulietta Masina, and “Nights of Cabiria” also with Masina, a great tragicomedy and a huge personal favorite of mine. He also produced two now somewhat obscure adaptations, a version of Tolstoy’s “War and Peace” with Audrey Hepburn and “Ulysses.” Fortunately, the latter was not an adaptation of the James Joyce stream-of-consciousness meganovel, but Homer’s “The Odyssey,” and starred Kirk Douglas in the heroic title role.
No snob, De Laurentiis had a gift for commingling arthouse fare, quality middlebrow entertainment, and complete schlock — some of it fun, some it merely schlocky. Geeks cried foul when he eschewed stop-motion for an unworkable animatronic monstrosity and, mostly, Rick Baker in a monkey suit for his silly mega-blockbuster remake attempt, “King Kong,” but that movie was a classic when compared to something like the hugely regrettable killer-whale flick “Orca.”
So, we have just two major releases this week and while one is hard-edged remake of a franchise-spawning eighties horror hit and the other is a purported family film, to me all signs this weekend in terms of major new releases (and one tiny release) scream: “Be afraid, be very afraid.” For the most part, the critics aren’t disagreeing.
For starters, we have “A Nightmare on Elm Street” which brings us Jackie Earle Haley in the role made famous by Robert Englund — the child-murderer of everyone’s dreams with the specially augmented fingers, Freddy Kruger. Now, as someone who is such a wuss that he was unable to get past the first twenty minutes or so of the original on VHS — that Wes Craven guy really knows how to scare people — I’m not really one to judge. However, the critics are thoroughly unimpressed with the new version directed by another music video alum, Samuel Bayer, granting it a dismal 11% “Fresh” rating on Rotten Tomatoes as of this writing.
Still, even if the original version is regarded as something of a classic today by critics, this movie has “critic proof” written all over it. Indeed, jolly Carl DiOrio, assures us that it’s “tracking” very well and will top the box office with “as much as” $30 million for Warner Brothers. He also gets a bit less jolly in his video this week and actually complains about the use of the word “reboot” to describe films like “Nightmare.” Well, considering that you’re starting over an existing franchise as if the original had never happened, I’m not sure what you’re supposed to call it. It’s not only a remake.
Most people will take one look at the premise of Daniel Barber’s “Harry Brown” and immediately liken it to a British version of “Gran Torino.” The two films certainly share a lot of similarities – both are about older men battling a gang of young punks, and both star one of the greatest actors of their generation – but where “Harry Brown” differs is in the violent behavior of its title character and his victims. The end result is a little more like “Death Wish,” and although it may be difficult to imagine someone as mild-mannered as Michael Caine in a vigilante role, it’s exactly what makes “Harry Brown” so damn entertaining.
You wouldn’t think he was even capable of such violence when you first meet Harry Brown (Caine), an army veteran whose days consist of meticulous visits his sick wife in the hospital and playing chess with his only friend, Leonard (David Bradley), at their favorite pub. But when his wife passes away and Leonard is killed by some local street thugs who had been harassing him for months, Harry finds himself all alone in a town dominated by crime. After the police detectives (Emily Mortimer and Charlie Creed-Miles) assigned to Leonard’s murder case fail to catch the kids involved, Harry takes it upon himself to track down those responsible and teach them a lesson in how to treat your elders.
It’s been a while since Michael Caine played the part of the action star, and while he’s not doing anything too physically demanding as Harry Brown, it’s a nice throwback to his earlier films. He’s like Jack Carter with an AARP card, and though he may seem harmless at first, once Brown picks up a gun, he immediately becomes the most dangerous man on the block. Only an actor like Caine could provide the gravitas needed to sell such a potentially outlandish role, but once you accept him as someone capable of committing such acts of violence, it allows for some of the more darkly comical moments to exist without coming off as parody. Unfortunately, Caine is the only bright spot in the cast. Emily Mortimer doesn’t have very much to do as the detective suspicious of Brown, while Liam Cunningham is underused as the owner of the pub.
That’s hardly the fault of the actors, however, as the film is primarily designed as a vehicle for its lead star. Some might even consider first-time director David Barber lucky for landing such a great actor to play the title role, but Barber brings his own strengths to the project as well. The decision to open the film with gritty handheld footage of an innocent woman being gunned down in the park is both unsettling and necessary to setting the stage for the story that follows, while Brown’s back-alley meeting with a couple of drug-addicted gun dealers makes for one of the most suspenseful cinematic moments in recent memory. This is the kind of movie that not only gets your heart beating, but spurs applause from the audience with each vengeful kill. It’s definitely not one of Caine’s better films, but “Harry Brown” is a real crowd-pleaser nonetheless.
If you’re craving variety and unpredictability in your movie weekend, then this weekend is for you. Still, most of the smart money seems to agree that the week’s likely fiscal winner is Spike Jonze’s new PG-rated adaptation of Maurice Sendak’s multi-layered picture book classic, “Where the Wild Things Are.” The family film boasts an outstanding cast, both onscreen and as voice talent, including Catherine Keener, James Gandolfini, Lauren Ambrose, and Forest Whitaker. It’s also got a director synonymous with high-quality and not-quite-mainstream fare and its hep cred is further bolstered by the name of bestselling author and McSweeney’s founder Dave Eggers on the screenplay. Best of all, commercially speaking, it’s based on a book that’s been read and loved by practically everyone. All told, it seems like a canny blending of mainstream recognition, family appeal, and more than a dash of arthouse appeal, but therein may lie the difficulty.
This is a film that really should bit a big hit with critics, and its advertising certainly sells the film’s visual beauty — always a plus with cinephile critics. However, it turns out our David Medskar’s very mild 3/5 star review is pretty typical of the critical reaction. Rating a good-but-not-great 68% Fresh on the Rotten Tomatoes scoreboard, critics are expressing sentiments similar to Dave, who found it “lacking in terms of emotional weight.” Since emotional weight — laughter and tears, etc. — not arresting filmmaking technique — is what most people are looking for at the movies, you have to wonder about whether the film will show any legs over the long term. Still, jolly Carl DiOrio’s prediction of a $25-30 million dollar weekend seems more than reasonable given the audience’s voracious appetite for strong family films with cross-generational appeal. On the other hand, Disney’s decision to extend the run of the 3-D double bill of “Toy Story” and “Toy Story 2” could cut into the “Wild” numbers just a bit with a terrific package of tried-and-true family fair bolstered by the appeal of 3-D. For some decidedly non-kid-friendly fair, Director F. Gary Gray and writer Kurt Wimmer’s “Law Abiding Citizen” boasts two more or less A-list leads as Jamie Foxx portrays as a careerist D.A. pitted against against tragedy stricken family man turned imprisoned vigilante serial killer played by Gerard Butler. I think Butler has starred in like 200 million mainstream movies this year. None of those movies has been a hit with the critics so far, and “Citizen” is no exception.