Saturday, August 20, 2011

THOR- "Recruits"

I don't know about you but when I think of POLICE ACADEMY rip-offs, I think of RECRUITS. This Canadian lensed, Rafal Zielinski (SCREWBALLS) helmed abomination never once made me laugh. Being the sadist I am, that makes it pretty memorable in my book. And it even had a theme song.



Stay tuned afterwards for more Thor galore.

Thursday, July 21, 2011

KILL THE IRISHMAN and the reason why CGI must be stopped.



This past weekend I sat down with Jonathan Hensleigh's KILL THE IRISHMAN. A decent time-waster based on the exploits of Irish American mobster, Danny Greene and the "Bomb City USA" years of 1976 Cleveland. Good acting, competent direction and unfortunately a shit-ton of horrible CGI explosions that really make me consider my devotion to film in general.

This type of lazy filmmaking is exactly what I feared from the rise of CGI. There's nothing remotely real about any of the explosions in this movie. I mean, fuck, couldn't you even build a model and blow it up? At least I'd know some thought and time would've went into it. Even the spliced-in stock footage explosions from EXECUTIONER PART 2 are more realistic.



The idea that you would make a movie revolving around a mob war that hinged on bombing and cheap out on the very thing that made it what it was is pretty fucking galling. And I know there's a bunch of people who wouldn't even give a fuck, that it's me who has the problem. And maybe they're right. After all, if I sucked down video game after video game and was very receptive of lame-ass digital filmmaking done by everyone's grandmother who had an inkling of making a movie once, well, yeah, I guess my expectations would be lowered enough to accept this cinematic chicanery.

Here's a thought: Instead of using the shit passing for explosions here, why not purchase 70's public domain footage of cars exploding and intercut it with the actual Cleveland news footage of the time chronicling the aftermath? It'd be creative in an editorial sense and add a sense of realism that the picture is sorely lacking.

There was a time when spectacle enhanced low-budget cinema if only to belie it's lack of funding. Now it's just an afterthought handled by "visual effects" nerds who've probably never lit a fuse on a firecracker.

So here's to the creators of the post production explosions on KILL THE IRISHMAN. Romanians kicked your ass in 1974.

SEx meets Pyun on the set of The Alamo.



This past Sunday I was in attendance at the Alamo Drafthouse's showing of Albert Pyun's CAPTAIN AMERICA director's cut. I'd never seen the original cut but I'm a big fan of Pyun, especially DOWN TWISTED. DOWN TWISTED is one of the most criminally underrated films of the 1980's. I got to tell him how much I loved it. That made my year.



Some call Albert Pyun a hack and I guess to a certain degree, he is. However, years ago, we called these filmmakers journeymen, people with actual talent who can jump seamlessly from genre to genre. Not many of those people around today. Pyun always seems to get stuck holding the bag as well. And there's usually not enough money in it to finish the film.

It's true that some of his later work is hampered by awful scripts and aforementioned lack of finance but if you really watch his movies, there's a lot of visual artistry at work. You may think he's a hack due to budget, but you can't call him untalented. His work from the 80's will attest to that.

On this night, those in attendance got a sneak peak at the Director's Cut Pyun made and even though it's cheap, it's not bad at all. Quite honestly, I don't like superheroes or comics but his take on the whole CAPTAIN AMERICA thing was way more entertaining than most mainstream films I've seen in the past few years. It isn't bombastic, jarring or expensively fake-looking. For christ sake, it's even thoughtful.

And that's the beauty of Albert Pyun. A vast majority of his films are entertaining as hell even if they are compromised. I sure hope one day he gets the funding and final cut to produce a balls-out action pic that allows him to unleash the style he possesses. And then if it's bad, let the naysayers nay. But I don't think that'd happen. Not by a longshot.

Albert Pyun Website

Pyun @ IMDB

Pyun @ Wikipedia

Saturday, July 16, 2011

Dave Edmunds-Heart Of The City.





Dave Edmunds smokes Nick Lowe on this outing. And I love Nick Lowe. The wack ass guitar soloing here is only equaled by the seven second solo afterthought on The Pagans' "Street Where Nobody Lives". Lyrics, distortion, backbeat. This is rock and roll.



After The Fall Of Classic Rock.

I was 12 in 1986. Still feeling the effects of Italian post-nuclear apocalypse brought on by 1982 Australian post-apocalypse. Maybe my parents wouldn't take me to see the cheapjack Italian ripoffs but soon they would play on The Movie Channel, when Joe Bob Briggs still mattered and BRIMSTONE AND TREACLE gave you quality time with your college-going, Police-obsessed sister over the summer yet still was boring as shit and you realized that family doesn't mean quality. According to this video, 1989 was the year of the apocalyptic skate punk but unfortunately the closest we got in that year of our Lord was CYBORG. It'd take another year with PRAYER OF THE ROLLERBOYS to even get close and that was a far cry from what BOC was doing 4 years earlier, That's okay. Turn and turn and turn we must.


Sunday, July 10, 2011

Movies Worth Seeing of Atlanta, GA. To paraphrase Mr. Arthur Conley: "Kings of them all, y'all".


In 1999, I got the best job I will ever have. And at a video store. The best video store in Atlanta. The de facto go-to, fight the man, I can't believe they're stocking this shit, this is why I moved from Jacksonville, Florida video store. It was all VHS back then. And it was beautiful.

I got the job because of Shawn Murphy. Shawn was working for Anne and Jerry Rubenstein, the visionaries of Movies Worth Seeing (MWS) (he put in a good word for me). They might not think they're visionaries but that's only because it's their style. Actually, most of their motavation in retrospect was probably like "Look, we'll stock the hits but for fuck's sake, you can't possibly want to watch that new shit constantly. We'll stock the classics, the weird and the wonderful and when FIREWALKER is checked out, we'll turn you onto DOWN BY LAW." And not in a pretentious way.

Anne and Jerry Rubenstein were successful, well-informed, down to earth entrepreneurs (hence, the store's longetivity) and equally as important, loved film. For them, it was commodity but they never treated the medium like widgets. And by that I mean, they knew they had to buy crap but they knew exactly how much crap to buy and be able to get the real unheralded treasures.

A lot of people opened up video rental stores during those Golden Days Of VHS. And a lot of them didn't get past the format wars of Beta vs. VHS much less the advent of DVD. By the time I moved to Atlanta, Mom and Pop stores were a thing of the past. For you kids today, next time you walk past some weird unlicensed-looking kiosk selling cellphones that has some remote tie to a major carrier, that was video rental in the 80's and for a few moments in the 90's. There was money to be made, but no soul. Those without soul perished to the Wal-Mart mentality of Blockbuster. Those that made it through that upheaval A) lived and did business in an area that was probably a large metropolitan city with a liberal, go-local mentality that embraced an alternative to the in-stock 400 copies of EXTREME MEASURES at corporate competitors or B) lived in a town so small that Blockbuster didn't even know they existed and therefore, had an open market. And you were lucky if if one of the two copies of EXTREME MEASURES was in.

Jesus H. Christ, I'm drunk.

But that's okay. Because last night in the city of Atlanta, there was a farewell/reunion that celebrated the legacy/closing of the oldest video store in Atlanta. Former employees and customers came together to pine, lament and be thankful they ever had such an opportunity to be a part of something so pure in spirit and heart yet payed the rent of a load of us who had the good fortune to be hired by the best bosses ever.

I wish I could've been there tonight. I wish I could've been there on the last night of operation. I wished it never closed at all.

When I found out about the closing of MWS, I wrote a note to Anne and Jerry for publication on their MWS Facebook page. Didn't post it. Dont know why. Didn't seem like the time or place. Today, it seems relevant for publication. So here goes:

Dear Anne and Jerry,

While the closure of Movies leaves everybody saddened and we all lament its demise, what many people don’t hear about is how well you treated your employees. Since leaving in 2004, I’ve been ruined by the concern, generosity and trust you showed me during the 5 years I was with you. You let me get away with shit most people in their right mind would’ve fired me for. But you weren’t crazy. I now believe you saw more worth in me than I saw in myself at the time and as I’ve gotten my stuff together (sort of) since I left, I’ve come to realize how incredible you two were and how damn lucky I was to be a part of your journey. Every employer I’ve worked for since I’ve compared you to and nobody, and I mean NOBODY, comes close. Hell, I now work for a corporate entity that basically treats me better than some “indie” business folk I’ve worked for since my days after MWS. But that’s the thing. Movies Worth Seeing was a different animal all the way around. The more I think about it, your success had nothing to do with the customers or employees. It was all you. You did everything right from the beginning. And the bunch of us nerdy cinematic malcontents love you more than you’ll ever know. I know I do.

Look, I’m not the guy who’s going to be carrying around your videos for you. But if you ever need me for something, I’ll be there.

Walter Hill told me to say that.

Your biggest fan,

Eric Matthew Harvey

Sunday, July 3, 2011

Huh? What? I'z sleeping....

Good lord. It's been over a year since my last post?



Feeling a little saucy. Feeling a little posty. Let's see what happens. I'm not promising anything. But let's see what happens.