Now in its 26th year, the Virginia Film Festival in Charlottesville might not enjoy the high profile of Sundance or Telluride but that’s actually to its credit. While the latter festivals continue to introduce important new filmmakers and work to audiences, the media attention and crowds they attract can often be exhausting and even competitive for attendees trying to get into a select screening. That is not yet the case with VFF which continues to take a relaxed, laid back approach to film festivals despite an ambitious schedule of almost 100 screenings. Very rarely do you have to contend with long lines or sold-out shows. Nor do you often encounter the entertainment press getting priority treatment or trying to impress you with celebrity name-dropping in cellphone conversations that you can’t avoid at other major film industry events. Continue reading
Oswald’s Last Picture Show
50 years ago today (11/22/2013) Lee Harvey Oswald ran into the Texas Theatre in Dallas to hide after shooting police officer J.D. Tippit. The Texas Theatre was showing a double feature that day – WAR IS HELL (1963), a low-budget, Korean War drama directed by Burt Topper and narrated by Audie Murphy, and CRY OF BATTLE (1963), Irving Lerner’s small scale WWII/Pacific Campaign actioner with James MacArthur, Van Heflin and Rita Moreno. Continue reading
Running on Empty
“Once when I was young I was lying in the grass and a spider crawled in my ear…and it crawled out again. Nobody home.” – Vann Siegert
The depiction of serial killers in movies tends to be unconditionally violent, horrific and sensationalized when you’re dealing with real and fictitious murderers like Son of Sam, The Boston Strangler, John Wayne Gacy and Hannibal Lecter. But Vann Siegert, the protagonist of The Minus Man (Hampton Fancher’s 1999 movie adaptation based on the 1991 Lew McCreary novel), doesn’t fit the standard serial killer profile. With his boyish charm, personable manner and disarming sense of humor, you’d never suspect on first impressions that he is a dangerous sociopath. But not dangerous in the predictable way. Instead of indulging in various forms of cruelty like mutilation, torture or rape, Vann is non-violent in his methods. He likes to dispatch his victims, both women and men, with amaretto, spiked with a lethal poison derived from a rare plant fungus. And why does he do this? Vann doesn’t always know the reasons himself but it has something to do with his search for meaning in the universe. It’s as if he’s an alien from another galaxy trying to kindly correct imperfect human behavior. Continue reading
My Visit to Forry’s Ackermansion
I never would have imagined when I was a geeky eleven year old kid hooked on Famous Monsters of Filmland magazine that I would one day meet the brainiac behind it – Forrest J. Ackerman – and be invited inside the world famous Ackermansion. It happened while I was visiting friends in Los Angeles in February 1998. Continue reading
The Deconstructed Honeymoon
A newlywed couple’s road trip into the countryside grows stranger and stranger and then a deranged Michael J. Pollard shows up, wandering out of the wilderness and clutching a stolen wedding dress. Welcome to Morbo, a 1972 film by Gonzalo Suárez which is in the tradition of other dark, disturbing works by Spanish masters like Luis Bunuel (The Exterminating Angel), Juan Antonio Bardem (Death of a Cyclist) and Carlos Saura (The Hunt). Continue reading
Les Blank, 1935-2013
The prolific independent filmmaker Les Blank died on April 7, 2013 but somehow that sad news slipped past me. I’m just now reading a host of glowing eulogies and tributes to the man, mostly from fellow filmmakers and critics. He wasn’t ever a household name because his movies rarely received theatrical distribution outside of a few major cities. Unless you happened to catch one on your local PBS station or attended a film festival, which is where most of his work first premiered, there’s a good chance you never even heard of Les Blank. Even though he made more than 40 non-fiction features and shorts, the only Les Blank film you can view on Netflix is Burden of Dreams (1982), his justly famous chronicle of the trouble plagued production of Werner Herzog’s Fitzcarraldo, filmed on location in the Amazon. Continue reading
…And Bob Dylan Plays a Chainsaw-Wielding Conceptual Artist.
Sometimes the casting in a film is so peculiar and unique that you feel compelled to take a chance on it no matter how many negative things you’ve heard about it. Wouldn’t you want to see a movie that featured Jodie Foster, Vincent Price, Joe Pesci, Charlie Sheen, Dean Stockwell, Bob Dylan and numerous other well-known stars? Such is the case with 1990’s Catchfire, one of Dennis Hopper’s least known movies but there’s a reason for that. Continue reading
Roman Polanski’s Lost Film
The headline is referencing the past, not the present, for A DAY AT THE BEACH, a film that Roman Polanski scripted and co-produced with his partner Gene Gutowski for their short-lived production company, Cadre Films, in 1969 finally surfaced on DVD in 2007 via Odeon Entertainment’s “The Best of British Collection” series in the U.K. and then in the U.S. in 2008, courtesy of Code Red, which specializes in re-releasing cult and lesser known genre films like Rituals (1977) and Group Marriage (1973). For more than thirty five years, the film was considered lost after being shelved by Paramount following an unsuccessful limited release in Europe. But a serviceable print was discovered and preserved and any self-professed fan of Polanski’s films will want to check it out if they haven’t already. It may not be “the lost Roman Polanski masterpiece” that the Code Red DVD cover promises but it is much more than a curiosity piece and quite compelling if you are in the mood for a bitter, bleak and harrowing character study. Continue reading
Silence of the Lamb
First person narration in films can be a tricky proposition. Not only can it become monotonous but it can also work against the visual storytelling, imposing a structure on the film that frustrates the viewer’s attempt to interpret and come to their own conclusions about events, characters and dialogue. One of the rare exceptions to this often overused device is Rolf de Heer’s THE QUIET ROOM (1996), the story of a marriage coming apart as told by the couple’s seven year old daughter. Seen from her viewpoint, the increasingly hostile relationship is something she can’t fully comprehend but she decides to take steps to alter her unhappy situation by refusing to speak until her parents reconcile. Despite a highly stylized visual approach (the cinematography is by Tony Clark), THE QUIET ROOM is a simply told but emotionally complex character study with moments of magical realism and a refreshingly unsentimental but compassionate look at how one child reacts to a marriage on the rocks. Continue reading
Golden Salamander: Treasure and Death in Tunisia
Though relatively unknown today, Golden Salamander (1950), Ronald Neame’s second directorial effort, is one of those unexpected but welcome cinema excursions that actually delivers on its exotic title. On the surface, it appears to be no more than pure pulp, a B-movie thriller, but the casting, direction, music score and atmospheric setting elevate it to A-picture status. It might not be great art but it’s total escapism, executed with flair. Continue reading



