Will Pfeifer's Blog, page 12

Movies I Watched in January, Part 2

Well, obviously I wasn't going to keep that sort of pace up forever -- or even for two consecutive posts. So here, way behind schedule, is the next recap of the next few movies I watched last month...


Obviously this one has appeared on the blog more than a few times, but like the other recent viewings of the Marx Brothers movies, this came courtesy of the new Blu-ray set collecting their first five (and, in this reviewer's humble opinion, five best) movies, the ones they made for Paramount. I go back and fourth as to whether this or "Horse Feathers" is my favorite Marx movie, but they're both truly great, and this one goes so far it's hard to see how they could top it. (As proven by the movies they made at next MGM, they didn't even try.) One thing that struck me this time around is that every time a scene in a comic book or cartoon has a character call for help followed by rapid cuts/images of increasingly ridiculous aid coming their way (cops, army, monkeys, lions, dolphins, etc.), the result was taken straight from "Duck Soup." Trust me on this.


One of Amy's favorites. Not normally my cup of tea, but we watched it (on VHS!) after she'd had a long day at work and just wanted to unwind. (Can you possibly imagine the unholy number of insane movies I force her to sit through?) The story, in case you don't now, involves a modern guy (well, modern for 1980) played by Christopher Reed, who hypnotizes himself to time travel back to the early 1900s to romance an actress (Jane Seymour) he's become obsessed with. Though it has the low-budget blandness of a TV movie, the two leads are appealing, and Christopher Plummer makes a great, hissable villain. Plus, there's a nice twist at the end -- though it's not spoiling anything to let you know that, yes, through fate or magic or just plain death, our lovers do wind up together.


Another Marx Blu-ray, this one was the first Marx Brothers movie I ever saw, back when the rights isues got straightened out in the mid 1970s and it could finally be screened and shown on TV, which is where I caught it. It's not one of the greatest Marx Brothers movies, too stagebound (it was based on a hit play) to reach the insane heights of, say, "Duck Soup," but as I've probably mentioned here before, seeing it on TV was one of those landmark moments in my life when I could feel the world shift under my feet. I'd never seen anything like it before, and had no idea movies -- much less old, black-and-white movies -- could be so outrageous. I still think the moment when Groucho tells Margaret Dumont and the other society dame that he has to have a "strange interlude," then excuses himself to walk up to the camera and spout a bunch of gibberish is one of the funniest things I've ever seen. (And back then, I didn't know it was a spoof of a Eugene O'Neill play.) This Blu-ray, by the way, besides looking better than it has in more than 85 years, also has some restored jokes. They're sprinkled in here and there, and having seen the movie a dozen or more times, it feels weird to experience a different rhythm, even if I can't pinpoint exactly which jokes are "new."

Coming up: Two actual theatrical releases, plus a genuinely scary documentary

Movies I Watched in January, Part 1

Hey hey! It's only a few days into February, and I've already got the first part of last month's movie recap written and posted! How about that?
Continuing my backwards trip through the cinematic ouevre of Rudy Ray Moore, we arrive at the this 1977 comedy -- though referring to it as a simple comedy is really selling it short. It’s really, like all of Moore’s movies, a staggering combination of genres -- comedy, sure, but also religious parable, African American folk tale, action flick, semi-musical and god only knows what else. Moore plays the title character (of course), who, after dying in a machine gun attack on a funeral (really!) makes a deal with the devil so he can come back to life and seek vengeance. The price? Petey has to marry the devil’s unfathomably ugly daughter -- hence the subtitle. Even by the usual standards of a Rudy Ray Moore movie the plot is insane, with constant interruptions for musical numbers, standup bits and awkwardly staged action scenes. The badguys are none other than Ernest Mayhand and Leroy Daniels, aka Skillet and Leroy, a longtime comedy team familiar from “Sanford and Son” reruns. What’s more, none other than “Wildman” Steve Gallon from “Supersoul Brother” (reviewed here) shows up as Petey’s sidekick. It’s a crazy movie -- probably Moore’s craziest -- but my favorite part in the entire film comes when they need a Petey Wheatstraw duplicate to trick the devil, and Petey turns to a buddy and says “You’ve always been good at making masks -- can you make one of me?” and before long, they’ve created a Petey duplicate out of some poor wino. That’s the sort of thing you only get in a movie starring Rudy Ray Moore.


Watched it again, for the umpteenth time on Turner Classics, and it was just as great as ever. Considering that the shower scene doesn’t arrive until almost the middle of the movie, it’s amazing how mesmerizing Hitchcock manages to make the entire film. It’s never, ever boring no matter how many times you’ve seen it -- and if you read this blog, you know I’ve seen it a lot.


Another movie I’ve seen a lot, but I’d never seen it like this. Santa brought me the new Marx Brothers blu-ray set, collecting their first five films, and it’s a revelation. Remastered from fairly pristine elements, this must be what it was like to see the film when it debuted back in 1931. It’s so crisp and clean I almost missed a few jokes as I was staring in wonder at the picture. As for the movie itself, it’s great -- just a notch below “Horsefeathers” and “Duck Soup” on my all-time Marx list. And it has one of my all time favorite Chico lines: Groucho is thinking of setting up his mustache with Chico’s grandfather’s beard (don’t ask), and wonders if the beard has any money. Chico replies “Why he fell hair to a fortune!” Damn, those guys were funny.


Getting about as far from the Marxes as possible, I watched "Hitch-Hike," a bare-bones, nasty-as-hell 1977 thriller starring Franco Nero (the original Django), Corrine Clery (the Bond Girl Who Dies in “Moonraker”) and David Hess (the lead killer from “Last House on the Left”). It’s a jolly romp about a bickering couple (Nero and Clery) who pick up a hitchhiker (Hess) who turns out to be an escaped maniac. Naturally, things go wrong in every possible way, and by the end of the movie, our “hero” Franco has betrayed every single person in the film and is ready to continue the murder streak that Hess started. It’s not exactly good, but it’s definitely compelling, assuming you’re a fan of this sort of thing (and obviously I am). If you have the DVD/Blu-ray, be sure to watch the bonus interviews to see how everyone loved making the movie even though, on the surface, it looks like it would be a completely miserable experience for everyone involved.

Up next: Two more Marx Brothers movies and a romantic fantasy starring Superman and Solitaire!

Some behind-the-scenes art from HERO

Way back in 2004, when I was writing my first actual comic book series, DC's HERO, I was lucky enough to work with artist Leonard Kirk on issues 12 through 14. The premise of the series, in case you never read it, was that various people would find a magical keypad (updated from the dial in the original), and when the typed in H-E-R-O, they'd turn into a superhero.

Or, in the case of this story a super-heroine. In the three-part story, entitled "CH-CH-CHANGES," Joe Hamill, a he-man construction worker, typed in those letters and became Electro-Lass, a female hero with electrical powers. Then he promptly lost the keypad, never to find it again -- or change back to his old, male self. (As far as I know, he's still female, somewhere deep inside of DC continuity.) The story avoids almost all crime-fighting action and instead focuses on Joe's changing relationships with his wife, Amy, and his buddy, Mike. It was written in the days before gender fluidity was much talked about, and I'm guessing the story reads a lot different in 2017 than it read back in 2004. Still, I think it's pretty solid, and I especially like the scene where Joe tries on his normally-shaped wife's clothes when he's got the physique of Power Girl.

Anyway, back to Mr. Kirk. When I attended the Mid Ohio Con the next year, Leonard (whom I'd never met) was kind enough to give me three pieces of conceptual art he worked up for the series, along with the full-page splash that closed the story. I think you'll agree they're excellent...


First up, Joe (our hero/heroine), Mike (his confused buddy) and Amy (his confused wife)

Then the star of our story, Electro Lass, Joe's heroic identity. The costume is meant to be ridiculously revealing -- honest!

Another costume design. Like I said, we went with the more revealing version.

And finally, the last page, which is really a beautiful piece of work. That's Mike, by the way, on the sidewalk after being tossed out of The Hideout by the bouncers. Poor guy is still hung up on Electro Lass (or "Shocking Suzi," her nom de dance) after all these years.

Honestly, if anyone wants to re-read this story with 2017 eyes and let me know their reaction, I'd be very curious to hear it.

And thanks again, Leonard, for the pages and drawings. Believe me, they hold a proud place in my collection!

Movies I Watched in December, Part 3

Finally (finally!) wrapping up the last movies of 2016...

Er, spoilers, I guess?

I’m torn on this one, I really am. On the one hand, I realize that a big chunk of the film was, as they say, “fan service,” little tidbits from the old (I’m tempted to say “actual”) “Star Wars” films -- glimpses of the Death Star coming together, Artoo and Threepio, a whole lot of Grand Moff Tarkin, a tiny peek at Princess Leia (the poignancy of seeing this right before her death made the janky CGI a little easier to swallow) and, of course, Darth Vader. (More on him in a bit.) The rest of the movie was a bunch of characters I didn’t care about doing something I knew they’d succeed at. (Though, admittedly, I was surprised not a single one made it out alive – and I admire the movie for taking advantage of that opportunity.) I like the idea of “Star Wars” movies going beyond the people and stories we know to tell some other tales of life under the Empire, I really do. The trouble is, I wasn’t made to care about any of these characters, and I could barely remember even their names once the end credits rolled. Having a strong female character at the center of a “Star Wars” movie is a fine idea (though Princess Leia was no pushover herself), but the key is to make sure she's an interesting character – otherwise, who cares? About any of them, male, female or robot? That, in a typically roundabout way, brings me back to why I’m torn on "Rogue One." I hate the idea of being played like a Stradivarius by filmmakers who sprinkle in those Easter eggs, knowing the 10-year-old “Star Wars” fan deep inside me will respond, but the truth is, that’s what I responded to in “Rogue One” – in fact, looking back, it’s just about the only thing I responded to. It was a two-hour, 13-minute movie, but all I can remember now – and remember fondly – are those few seconds of Vader rampaging through a crew of anonymous rebels handing off the Death Star plans. That’s the scene that thrilled me. In fact, those anonymous rebels – lacking any backstory whatsoever but loaded with determination, desperatation and self-sacrifice – were the most compelling characters in the movie.

I ask, is there anything more enjoyable than watching vintage 1971 Charlton Heston tooling around the empty streets of Los Angeles in a bright red gas guzzler, picking at the remains of what’s left of the human race? If there is, I don’t want to know about it. This adaptation of Richard Matheson’s durable “I Am Legend” isn’t perfect, but Heston was at his cocky best in 1971, with “Planet of the Apes” a few years behind him and “Soylent Green” a few years ahead. You can’t help but admire the life he’s carved out for himself as the supposed last man on Earth, screening “Woodstock” so often he knows the stage banter by heart (consider that nightmare for a moment) thenretiring at night to his apartment fortress to play chess with a mannequin and blast his spotlights at the invading vampire/zombie/hippie horde. Naturally, he’s not really the last man on Earth (they never are), and between the vampires/zombies/hippies and the beautiful babe (Rosalind Cash, doing a brief nude scene my family did NOT expect to see on Turner Classic Movies), things get a little crowded before the suitably downbeat/upbeat ending. Anthony Zerbe adds to the fun as the surprisingly philosophical leader of the vampire/zombie/hippie hordes, but it’s Heston who brings it. Boy, does he bring it.

Watched this one partly because I’d heard raves, partly because I’d just seen director Denis Villenueve’s new movie, “Arrival,” and partly because I’ve always enjoyed the work of its stars, Emily Blunt, Josh Brolin and Benicio Del Toro. It’s pretty damned good – not quite on the level of “Arrival” – but well worth checking out. Following the complex (both morally and logistically) efforts of various government agents to combat the Mexican drug trade, it’s essentially a series of great scenes tied together by some slightly less great moments. Still, it maintains an impressive tension throughout, and those great scenes are genuinely great --- the opening is startling and the much-lauded scene involving a traffic jam at the border is one of the best single sequences I’ve seen in a while. Well worth a look, in other words.


I stumbled onto this one on HBO a few weeks ago, and I'm glad I did. Though director Danny Boyle had been hit-and-miss, to say the least, and writer Aaron Sorkin has been more miss than hit, this odd little star-studded biopic plays to both their strengths. The reason genius is in the structure of Sorkin's script, which avoids the life story route and instead focuses on three moments in Job's life: the introduction of the Mac, the introduction of the NeXT computer and the introduction of the iMac. Even better, it doesn't focus on those grand public scenes themselves. Instead, we see Jobs (Michael Fassbender -- excellent) getting ready for those spectacles as a variety of employees, old friends, old foes and estranged family members confront him backstage. This allows Sorkin to play to his strengths -- long, complicated conversations loaded with pre-show tension -- and lets Boyle avoid his weaknesses -- by keeping everything simple and confined, he's not allowed to go too far over the top, and instead adds a bit of visual excitement to what would otherwise be a pretty talky movie. The fact that all the reconciliation, public arguments and last-minute epiphanies are completely made up doesn't hurt the movie one little bit. In fact, it's good enough to have earned a spot on my semi-coveted Best Movies I Saw in 2016 list.

Movies I Watched in December, Part 2

And, we're back!
I’ve been slowly working my way (backwards, for some reason) through the excellent quartet of Rudy Ray Moore Blu-rays released by the fine folks at Vinegar Syndrome. This 1979 film, his last “major” movie, is both his most mainstream (the plot actually aims for some sort of social message, and Mr. Moore plays an unabashed good guy) and one of his strangest (oh, those angel dust hallucination sequences). A mix of musical, comedy, message picture and (of course) action flick, “Disco Godfather” stars Moore as Tucker Williams, an ex-cop who’s now the DJ/Owner of the popular disco, Blueberry Hill. But when his basketball star nephew gets hooked on PCP, Tucker takes to the streets and declares he’s going to “attack the wack!” (Everyone in the movie declares this, in fact – repeatedly.) Like all Rudy Ray Moore movies, it’s a charming mix of heart, incompetence and jaw-dropping moments. My favorite of the latter is the finale, when Tucker himself succumbs to PCP and has some genuinely unnerving hallucinations. But the entire movie is wildly entertaining, from the crazed, homemade-looking disco scenes to Tucker’s over-the-top reaction to his nephew’s overdose: “Tell them what he has HAY-AD!” (I wrote about the movie’s opening credits, of all things, in this post.)

Great, smart, funny action comedy from the mind of Shane Black and starring Russell Crowe and Ryan Gosling. As the rule goes, the chubbier Russell Crowe is, the better the movie, and he’s plenty plump here. And though I have yet to see “La La Land,” I can’t imagine Gosling turning in a better performance in that film than he does in “Nice Guys,” especially since he delivers a dead-on Lou Costello imitation in “Nice Guys.” In fact, this movie is so good, it made my best of 2016 list.
I first heard of the forgotten 1941 movie “Cracked Nuts” in an old issue of my personal movie bible, Psychotronic Video magazine. It sounded amazing – a crazy robot, old-timey humor, crazy plot twists – and Shemp Howard! But it had never been released on video, then or now, and I, like the rest of the world, promptly forgot about it. That is, until author and pop culture maven Kliph Nesteroff (who wrote the highly recommended book “The Comedians”) posted a link on his Tumblr account (also highly recommended) to a You Tube version of “Cracked Nuts.” Running just over an hour and made on what was a pretty modest budget (though there is a car chase at the end), it’s a somewhat amusing, completely fascinating look at what comedy was in the early 1940s. A little innuendo, a complicated plot, some decent sight gags and that amazing robot – which isn’t really a robot after all. Oh, and, of course, a little vintage racism revolving around the (pretty funny) performances of Mantan Moreland and Hattie Noel. Curious? You can watch the whole thing right here.

Watched this again, of course, on Christmas Eve, of course. Allie’s become fascinated with it, and hell, I don’t mind – it’s a pretty good little movie. Nice performances, solid jokes, a convincing recreation of the era (though my wife, Amy, always complains about Melinda Dillon’s anachronistic hairdo) and a genuine sense of love and kindness, despite the chaos. I’m always impressed by the parents, played by Dillon and the late, great Darrin McGavin. It would be easy to reduce them to grumpy, out-of-touch clichés (like, say, in ever John Hughes movie ever made), but both mom and dad are good people who obviously love their kids – mom keeps the secret about Ralphie’s fight and, in the end, dad is the one who really knew what Ralphie wanted for Christmas. Unlike my daughter, I feel no great desire to revisit this in, say, July, but I’ll be more than happy to rewatch it next December 24th.


My aforementioned loving wife got me this excellent W.C.Fields DVD set, which crams a whopping 18 (!) movies onto a mere five DVDs. I couldn’t resist checking out this, my favorite Fields flick, and it was just as funny as ever. I love the ramshackle, slapped-together feeling of the screenplay (by Mahatma Kane Jeeves – Fields hiding behind a punny pseudonym). Fields, playing Egbert Souse (“accent grave over the ‘e’”) goes from helping a chauffeur fix a car (and destroying it) to meeting a Hollywood type at the (ahem) Black Pussy Café to directing a scene in a movie to foiling a bank robbery to working as the titular “bank dick” to embezzling money to invest in a “beefstake mine” to foiling another robbery to living like a king, all in a mere 72 minutes. Like I said, it’s one of my favorite movies – I wrote a lot more about it here.

Up next: The December wrap-up wraps up with Star Wars, Chuck Heston and two very different movies brought to you by the letter 'S'

Movies I Watched in December, Part 1

By now, you know the drill. Month almost over. Blogger procrastinating as usual. Better write about movies of December before January ends. Make it short and sweet. So here we go.


Watched this in preparation for our special Out of Theaters crossover episode focusing on "The Empire Strikes Back," which was timed to coincide with the release (sort of) of "Rogue One" (which we'll get to soon). I know I've written about "Empire" before, but it really is the best "Star Wars" movie ever made, partly because it doesn't have to worry about a beginning or ending and gets to focus, instead, on the nice, juicy middle. Highlights: the battle of Hoth (which feels like an actual battle), the introduction of Yoda (puppet, not CGI, and better for it) and the best light saber battle in the entire series. Plus, of course, The Big Revelation. Listen to our podcast discussion here .


One of the classic, entertaining movies from Hollywood's Golden Age, beautifully re-released from the fine folks at Criterion. A group of tough-as-nails pilots in a fictional South American country congregate around a bar/hotel/airfield and go through a series of rivalries, pissing contests (I'm speaking metaphorically -- this is 1939, after all) and bouts of male bonding. It's great stuff with a great cast -- Cary Grant, Thomas Mitchell, Jean Arthur, Richard Barthlemess, Rita Hayworth, Sig Ruman -- and a wonderful combination of action, drama, comedy and surprising moments of heartfelt emotion. Seriously, this is one of the greats. Check it out if you've never seen it.


Charming little documentary about Canadian cartoonist Seth, one of the most interesting, idiosyncratic artists working today. It focuses on his life, his work and the many offbeat projects he's undertaken over the years, including an elaborate miniature town beautifully built from cardboard boxes and a complete design of his wife's barber shop. Befitting Seth's sophisticated design sense, the DVD comes packaged in a gorgeous hardcover book that opens from both the front and back -- one side with photos from Seth's life, the other with examples of his work. Highly recommended, especially if you're a fan of Seth (or cartooning in general).


Caught this one late one night on Turner Classic Movies, and I couldn't believe what I was seeing. Now, more than a month later, I'm still not sure what I saw. It's an anthology horror film that was cobbled together from three full-length failed movies and awkwardly linked by a framing sequence that involves God and Satan on a train making vague bets about humanity while a disco song accompanied by very '80s dancers plays incessantly. It sounds terrible -- and it is, on a certain level -- but it's also one of the most astounding things I've seen in a long time. I really can't convey how insane this movie is on every possible level --story, direction, editing, performances, you name it. In other words, it's awful. And great.


Watched this one for our annual "Die Hard" Christmas episode of Out of Theaters. Here's a bit of what I said in the intro to that episode:

"It’s no surprise that Hollywood rushed out a sequel to “Die Hard” a mere two years after the original hit theater screens. What is surprising is how everything that went right the first time around was royally screwed up for Part 2. The elegantly simple skyscraper setting was swapped for a sprawling, confusing airport. Poor Al Powell, who played so nicely off our hero in the original film was relegated to a mere cameo here. The diabolical Hans Gruber (Rickman) was replaced by a whole bunch of villains, none of them especially memorable. And Bruce Willis, whose wisecracking asides made the original “Die Hard” special — and refreshingly human — came across as an asshole this time around, strutting through the movie arrogantly, making most of it a genuine pain to watch."

In other words, it's not as good as you might have been remembering it. You can hear our podcast discussion of its various shortcomings here .

Up next: Russell Crowe, Ryan Gosling and Rudy Ray Moore!

The Best Movies I Saw (for the First Time) in 2016: Part 2

Continuing where we left off....
Looking for Mr. Goodbar
This was, by far, the most startling movie I saw this year, and it was released almost 40 years ago. Diane Keaton, the same year she made “Annie Hall,” plays a very different character here, a manic, sexually adventurous (to say the least) woman who descends into a nightmarish underworld of one-night-stands, creepy hookups and very dangerous men. I’d heard about it for years but was never able to find a copy, until it aired very late one night on the greatest of all channels, TCM. It’s not a pleasant ride by any means, but it is fascinating, and it ends with one of the most brutal, bleakest scenes I’ve witnessed in a long time. Worth a look, if you’re braced for this sort of thing.

The Hateful 8
For some reason, I wasn’t excited about seeing this Quentin Tarantino movie when it was in theaters, but boy was I wrong. I should’ve had faith in Quentin, who has yet to make a movie I didn’t like (though the endless dialogue scenes in “Death Proof” were pushing it, Q). This film had endless dialogue, too, but I found it mesmerizing watching a great cast (Kurt Russell, Samuel Jackson, Jennifer Jason Leigh, Walton Goggins, Bruce Dern and others) drive each other to the brink of murder, then drive each other way past that brink. Looked great, was consistently surprising and, as per Quentin’s usual M.O., was chock full of genuinely shocking violence. It’s long as hell, but I can’t wait to see it again.

The Arrival
Wrote about this one not long ago, so you can read more here. Smart, atmospheric and ultimately hopeful (unlike, ahem, most of the movies on this list), it’s anchored by a truly great Amy Adams performance and creates one of the most thrilling sequences I’ve seen in a long time without using any action, dramatic camera angles or high-tech special effects. (I won’t spoil it, but it’s when she makes a phone call.)

The Nice Guys
I’d heard good things about this crime comedy from writer/director Shane Black, and I was not disappointed. It’s very funny, very well-made and surprisingly sharp. It’s the sort of movie that throws you into the middle of a situation (in this case, a boy in 1970s Los Angeles looking at a model in a girlie mag, then having a car driven by that same model crash through his house) without pausing to make sure you understand what’s going on. Like our confused heroes, Ryan Gosling and Russell Crowe, you’re expected to pay attention and try to keep up, and the effort is well worth it. So many comedies these days are sloppy, lazy affairs that it’s genuinely exciting to see something that’s this dense, packed with great jokes, fun characters and imaginatively staged action scenes. (The end result of the fight between Gosling and Keith David is one of the most memorable, most surprising things I’ve seen all year.) Definitely check this one out.

Steve Jobs
I tend to think Aaron Sorkin is more than a tad overrated, but I have to admit his screenplay for this offbeat biopic was pretty damned brilliant, especially the structure: Instead of trying to pack the Apple co-founder’s entire life into a movie, Sorkin instead focuses on three backstage scenes: Jobs getting ready to introduce the MacIntosh in 1984, Jobs getting ready to introduce the NeXT computer in 1988, and Jobs getting ready to introduce the iMac in 1996. Of course, this being a Sorkin script, there’s plenty of drama with ex-girlfriends, estranged children, angry co-workers and, in an especially Sorkinesque touch, returning mentors. It’s all beautifully done, though, with director Danny Boyle giving each era its own distinct look, and the cast – including Kate Winslet, Seth Rogen, Michael Stuhlbarg, Jeff Daniels and a never-better Michael Fassbinder – bringing it all to life. I wish more biopics would focus on what’s interesting and leave the rest out. The result would be much better movies – movies like this one, for instance.

The Best Movies I Saw (for the First Time) in 2016: Part 1

I didn't get to the theater as much as I'd hoped to this year, meaning some movies that have been showing up on a lot of other Top Ten lists aren't going to make this one, simply because I haven't seen them yet. (That also explains why at least one of last year's best movies made my list this year.) I've also included at least one older film that I finally caught this year and, frankly, was blown away by (look for that one in Part 2). So, with that pointless and ponderous explanation out of the way, here's Part 1 my list, in the order I saw them:

The WitchOr, as the actual title goes, "The VVitch." Probably the best new movie I saw this year, a perfect combination of Kubrickian pacing, strong acting and genuine, balls-out terror. Anna Taylor-Joy is mesmerizing in the lead role, her little brother and sister are creepy as hell, Black Philip (the goat) deserves some sort of special Supporting Oscar, and I couldn't believe the dad was Ralph Ineson, aka Finchy from the British version of "The Office." Bonus points for an ending that goes much further than I expected it to. Much, much further.
The Big ShortMy favorite big, star-studded Hollywood movie of the year (that year being, for reasons explained above, 2015). I admire how director Adam McKay and co-writer Charles Randolph took Michael Lewis' epic tale of the mortgage crisis and turned it into a bizarre tragicomedy. (This is the sort of thing he talked about doing in his interview in Mike Sacks' highly recommended book "Poking a Dead Frog.") Everyone delivered solid performances, but top honors go to Christian Bale and Steve Carell, both playing guys very (very) close to the end of their ropes. Can't wait to watch it again, both to appreciate how it's all put together and to figure out what the hell it's about.

O.J.: Made in AmericaWas it a movie? Was it a TV show? Who cares? Either way, it was one of the best things I watched all year, revealing new information about a case I (and the rest of America) thought they knew everything about. Not only does it present footage so startling you can hardly believe it exists (the post-acquital party in his mansion, for instance), but it lays out the history of race relations in southern California so well that that acquittal, which once seemed unbelievable, now feels inevitable.

Hail, Caesar!For some reason, this Hollywood comedy from the Coen Brothers didn't strike me as that great the first time I saw it. But, as these movies tend to do, it fell into heavy rotation on HBO, and as I tend to do, I started seeing things I missed during my initial viewing. Now it feels like, if not top-drawer Coen, something solidly in the upper middle, and I look forward to watching the whole thing again. Big points to Josh Brolin, who ties the whole crazy movie together (and who just missed getting on this list again with his deadpan and unnerving performance in "Sicario.")

High-RiseI'm still not sure I quite comprehend everything that's happening in Ben Wheatley's adaptation of J.G. Ballard's architectural horror novel (and I've read the novel), but it's a wild ride while it lasts, full of ominous decadence, vintage '70s atmosphere and just the right amount of disturbing content. Though its mood is the polar opposite of David Cronenberg's icy Ballard adaptation, "Crash," together they'd make the perfect double feature.

Up next: A Western, a science fiction film, a biopic, a comedy and the most harrowing story about dating every filmed.

Eight Movies Set at Christmas that Aren't Necessarily Christmas Movies

Here, as a sort of last-minute Christmas gift to you, the loyal readers of X-Ray Spex, is a list of eight  of my favorite movies set at Christmas, with the usual suspects left off the list. I love "It's a Wonderful Life" and "Miracle on 34th Street" and "Meet John Doe" and the various Christmas Carols as much as the next guy (probably more, in fact, since I'm a nostalgic, sentimental old sap), but here are some worthwhile films not traditionally regarded as Christmas movies that nonetheless are (a) set during the season and (b) feature some of the trappings -- Santa, celebrations, trees, decorations, you name it. If some idiot relative tries to show that Jim Carrey Grinch abomination this year, speak up and say "Why don't we watch 'Eyes Wide Shut' instead, hmmm?" (Just make sure there aren't any kids in the room if that's your choice.)
I realize some of your personal favorites aren't included on this list, and that doesn't mean I don't like "Die Hard" or "Lethal Weapon" or "The Ref" or "A Christmas Story" or "Home Alone" (though, to be honest, I don't like "Home Alone.") It just means these are the ones I chose, and it's my blog. In the spirit of the season, consider those last two spots yours to fill in with your own favorites. Because, to be honest, I thought these up on the spur of the moment, and could only come up with eight. In other words, like most last-minute gifts, this one is more than a little half-assed. 
Merry Christmas!

The Apartment: Yes, it's my favorite movie, and yes, I always post something about it on this blog, especially at this time of the year. But it really is the perfect film for the season, starting sometime after Halloween and ending at the stroke of midnight (or a few crucial minutes later) on New Year's. Plus, it features a wonderful portrayal of a genuine office Christmas party, circa 1960 -- just check out the drunken debauchery in the photo above!


Brazil: Terry Gilliam's nightmare comedy takes place during the Yuletide season, something made more obvious now that the director's cut is easily available and the previously cut scene featuring Peter Vaughan (RIP 2016) as Father Christmas has been restored. In "Brazil," Christmas is just around the corner, but as one of my friends once pointed out, maybe in this world, Christmas is always just around the corner. Which, of course, makes the whole thing even creepier. Ho ho ho.


Curse of the Cat People: I almost included Val Lewton's original "Cat People" too, since some of the most important scenes are set during Christmas, but this beautiful, thoughtful sequel really cranks up the holiday atmosphere, with the ghost (maybe?) or Irena (Simone Simon, above) turning a suburban backyard into a magical -- but spooky -- winter wonderland.


Eyes Wide Shut: Stanley Kubrick's final film may be a nightmarish odyssey of sex and death, but it's also one hell of a colorful Christmas film, with trees and jolly lighting visible in just about every scene. (I wrote more about that here .)


The Ice Harvest: One of director Harold Ramis' last movies, this jet-black comedy noir doesn't get enough notice. The "ice" in the title proves to be a major obstacle to everyone involved, and the story is nicely complicated and refreshingly sharp. Fun cast, including John Cusack and Connie Nielsen (shown above), plus Billy Bob Thornton, Mike Starr and a great turn by Oliver Platt.


Kiss Kiss Bang Bang: Just about all of Shane Black's movies are set during Christmas, so it's no surprise this 2005 action comedy had plenty of Christmas touches, not the least being Michelle Monaghan's memorable Santa suit (see above). Black's latest movie, "The Nice Guys" (one of the best films of 2016, in my opinion) takes place elsewhere during the year, but at least the last scene is set during the holidays.


Lady in the Lake: The fact that this murder-filled Raymond Chandler adaptation takes place during the Christmas season (and has a jolly, yuletide credits sequence to boot) is only the second strangest thing about it. The first is that director/star Robert Montgomery designed the film as a first-person experience, meaning that as you watch, you see exactly what Marlowe sees, and the various supporting characters speak directly to you. It doesn't quite work, but it's an intriguing experiment.


Remember the Night: Here's a great, heartwarming funny comedy drama with a screenplay by the legendary Preston Sturges. Four years before they teamed up for murder in 1944's "Double Indemnity," Barbara Stanwyck and Fred MacMurray co-star as a shoplifter and the DA who takes her home for Christmas. Beulah Bondi (peeking over the piano), who played George Bailey's mom in "It's a Wonderful Life," playes Fred MacMurray's mom in this film. I wrote more about "Remember the Night"  here .

Looking back at the Van-tastic Days of the 1970s

Did you know that, back in the 1970s, you could buy trading cards with pictures of vans on them? Well, you could, and I apparently I did. I was going through some old trading cards from my youth the other day (Happy Days, Six Million Dollar Man, Welcome Back Kotter, a shocking amount of Battlestar Galactica) and I came across these five cards from something called the "Truckin'" series. Each card had a photo of a van on the front, along with a description of the vehicle in question and plea to describe to Truckin' Magazine on the back. (Five bucks for ten issues -- a bargain!)

So here, in the interest of American History, are the vans depicted on those five cards, along with the descriptions included on the back. Travel with me, won't you, back to an era when these majestic beasts ruled the American road.


Owned by Larry Ask of Billings, Montana, this "sharp '74 Ford van features vinyl roof with rack, Super Scoop, molded flares, Hooker headers and side pipes." Also includes "interior sports wood paneling, carpet, cabinets, high back swivel seats, ice box, snack tray, octagon steering wheel and (of course) CB radio."


This '74 Dodge van owned by Winston Mitchell of Ellenwood, Georgia, sports "Western wheel, molded flares, spoiler, side pipes, custom hood, high back seats, overhead console with (of course) CB radio, ice box, bed, TV, floor-to-ceiling carpet." The card mentions that "Winstone did a nice job with paint & design."


Here's what the card says of "Yosemite Sam's" out of Detroit: "The ultimate in customizing is this '71 Dodge Van with 14-inch chopped top, one piece rear door, '75 Cadillac headlights, '75 Chrysler taillights, '71 Thunderbird electric sunroof." Inside, the card continues, the van features "black shag carpeting, Spemco gauges, quad stereo and crushed velvet throughout." No mention of CB radio. Also no mention of the lovely model sporting lime green elephant flares holding open that one piece rear door.

Not, technically speaking, a van, which is why I guess the card series was called "Truckin'" and not "Vannin'." Anyway, owned by Tom McMullen of Fulleron, California, "this '70 Dodge is a super radical street machine, running a fantastically blown 470-inche Checy with a 400 trans, reworked '58 Olds rear end." The card adds that "Tom spent two years at night putting this fine machine together. Tom did all of the work, except for upholstery, pinstriping and internal engine mods." Alas, no mention of a possible CB radio.

Finally, this '70 Ford Econoline was owned by Tom Anderson of Bonner Springs, Kansas, and featured a "handmade metal front spoiler, molded side pipes, Weld wheels, cab top chopped five inches, Vista Cruiser top front window and long side windows." Inside, we're looking a an octogon steering wheel and carpeting accompanied (thank god) by a CB radio. The card adds this interesting, possible child labor law-violating note: "The body work was done by high school students."