Movies I Watched in August, Part 2

Wrapping things up for the much-overdue August recap. Look for the September movies soon, because I've got an plan that might make these reviews a tad more current...


Rumor has it this was one of Stanley Kubrick’s favorite movies, and it’s not hard to see why. Though it’s a comedy – and a hilarious one – it’s also an oft-excruciating vivisection of, as the title says, modern romance, circa 1981. Albert Brooks stars, directs and co-writes (with Monica Johnson) the story of Robert Cole, a Hollywood editor stuck in an on-again, off-again, on-again, etc. relationship with the much more stable Mary Harvard (Kathryn Harrold). It’s deceptively low-key and simple, with no crazy plot twists to get in the way of Brooks’ breathtakingly neurotic (and endless) worrying. The movie starts with Brooks confidently dumping her, then charts his descent into madness as he schemes to get her back. Though it’s packed with some telltale ‘80s elements – Quaaludes, jogging, cocaine at parties – it’s oddly timeless in its themes of obsession, desire and insecurity. Most of all, like I said, it’s truly hilarious, possibly Brooks’ most consistently funny film (which is really saying something). Even beyond the relationship stuff, there’s also a very funny scene where Bob Einstein (aka Marty Funkhouser, aka Brooks’ big brother) pressures Albert into buying way too much jogging paraphernalia and some classic sequences involving the editing work, with wonderful support from Bruno Kirby, James L. Brooks and, believe it or not, George Kennedy. One of the great comedies of the 1980s, to be sure, and probably all time.

It’s always risky to make a statement like this about a movie, especially when it’s practically brand-new, but I honestly thing this might be one of the best action films I’ve ever seen. It’s packed with jaw-dropping sequences, including a fight in a bathroom that ranks with some of the best close-quarter combat of all time (and even remembers to include a crucial plot point about a mask-making device). Most of the hype surrounding “Mission: Impossible – Fallout” involved star Tom Cruise’s almost extra-human dedication to the film, performing death-defying stunts and working tirelessly to make the movie succeed. Though I’m skeptical of Cruise’s involvement with a certain religion, there’s no denying he really makes this movie something special. It’s more than the stunts and action scenes, though, and by the time we got to the (truly spectacular) helicopter chase that ends the film, I think I realized what it is: Cruise’s character, Ethan Hunt, has an almost supernatural confidence that, somehow, doesn’t come across as arrogant. It’s simply a belief that he can (and will) save the day, not matter how the odds are stacked against him (and, of course, by the end, they’re stacked pretty damned high). It’s like Kirk in “Wrath of Khan” – he just doesn’t believe in the no-win scenario. It sounds silly, and maybe it is, but by the time he’s hanging from a rope under a speeding helicopter, I was 100 percent with him.

If there were any justice in this world, the fine folks at Something Weird Video would win one of those honorary Oscars for their contribution to film history, namely saving (and releasing) hundreds of insanely obscure, insanely strange movies that otherwise would never see the light of day. For instance, this 1968 sexploitation non-classic about a sketchy lesbian gang that kidnaps the boy-toy of a rich woman, who hires a private eye to track him down. As is usually the case, the plot itself if a fragile skeleton upon which the filmmakers (writer Diana Paschal and uncredited director Harry Wuest) hang endless scenes of semi-nude dancing, semi-nude wrestling and other semi-nude activities. It’s a terrible movie by any sane, objective measure, but it is fascinating if you’re a fan of these things. The whole movie, with it’s out-of-nowhere violence and girl gang aesthetic, resembles a bargain-basement version of a Russ Meyer movie – though it's nowhere near as good. And special credit must be given to actress Marni Castle, who plays both Brenda McClain (the aforementioned wealthy woman) and girl gang leader “Big Shim.” She’s not exactly talented, but she is oddly convincing, especially as the grotesque, imposing “Big Shim.”


Ayn Rand’s philosophy is silly, and this movie is even sillier, but thanks to a great cast and some eye-popping direction by King Vidor (which, come to think of it, sounds like the name of an Ayn Rand character), this might be one of the most purely entertaining movies of Hollywood’s golden age. Gary Cooper plays Howard Roark, put-upon architect who refuses to bend to the whims of the masses. Patricia Neal plays Dominque Francon, Randian woman who refuses to be tamed (unless Roark is the one taming her). And, rounding out the holier-than-thou trilogy, Raymond Massey plays Gail Wynand, the oddly named, oddly motivated newspaper publisher who seemingly lusts after both of them. Add to that trio the movie’s wonderful pair of weasels – Roark’s weak-willed buddy Peter Keating (Kent Smith of “Cat People”) and scheming columnist Ellsworth Toohey (Robert Douglas, in a hilariously scenery chewing performance). You can barely believe what’s happening and how these decidedly non-human characters are reacting, but you also can’t look away – it’s so damned much fun. Until someone does a big-budget, black-and-white adaptation of Steve Ditko’s “Mr. A,” it’s going to remain unique in movie history.

Rewatched this with my old Out of Theaters co-host BillyKulpa, and we were both amazed by just how disappointing it was. I like Daniel Craig, and I loved “Skyfall,” but this one, woof. It just didn’t hold our interest, which is the bare minimum I require in a James Bond movie. (Even "Tomorrow Never Dies" managed that simple trick.) Let’s hope the next one is a big improvement. (Nice poster, though.)
Coming up soon: Frank Reynolds! Lee Tracy! Darla Hood (as an adult)! David Soul! And a Marvel double feature!