Wazoo Reviews

Stop Making Sense (1984)

an exhilarating experience

[12 May 2000]

I've been a Talking Heads fan since the mid-eighties, which was around the time that I first saw this film. Since it's been re-released on its 15th anniversary, I picked up a copy, figuring it would be a worthy addition to my video collection. I have a correction to make: it's one of the BEST films in my collection, and quite possible the best concert film ever made. If you're already a Heads fan, you won't be disappointed. If you're not familiar with their music, i guarantee you'll be a fan by the end of the movie.

Director Jonathan Demme knows what he's doing here. Instead of gratuitous audience shots, he focuses on the band. Not only is the music wonderful and breathtaking, the background slides, lighting and costumes make the whole show very entertaining without distracting you from the music. The band is incredibly energetic throughout the entire performance -- they seem genuinely thrilled to be on stage. There isn't a single moment where the performance falters -- not even during the silly Tom Tom Club number, which has its charm. Lead singer/songwriter David Byrne is undoubtedly the focus of the show, and his funky geek persona comes through loud and clear. It's truly a marvelous concert film. Words don't do it justice. Rent it today!

Mo' Better Blues (1990)

Not Spike's best, but still a great movie

[26 April 2000]

Spike Lee is, in my opinion, one of the most exciting young filmmakers to emerge in the last 20 years. While "Mo' Better Blues" is not as wonderful as "Do the Right Thing" or "Malcolm X," it still deserves considerable recognition as one of his more solid efforts. The story is a bit uneven, but the acting and the music more than make up for it.

Denzel Washington plays Bleek Gilliam, a NYC trumpet player who fronts his own jazz quintet to sell-out crowds at a local club. He's managed by Giant (played by Lee), an irresponsible compulsive gambler who is only Bleek's manager because they're childhood friends. Meanwhile, Bleek is seeing two different women (played by Joie Lee [Spike's real-life sister] and Cynda Williams), and is torn between his passion for music and his inability to control his relationships.

Things go haywire when Bleek's sax player, Shadow (Wesley Snipes), vies for the affections of one of Bleek's women, promising her fortune and fame as a jazz singer since Bleek only cares about himself anyway.

Giant's gambling problems, Bleek's convictions as a "serious" musician, and the tightrope one walks between love and professional dedication are themes all visited in this exciting, vibrant film.

Besides the wonderful performances (by Washington, Snipes, and the always-underrated Lee standby Giancarlo Esposito, among others), Ernest Dicekrson's cinematography is stunning, and the music -- performed in real life by Branford Marsalis, who has a cameo in the film -- is dazzling. The way the "band" mimes the performances is thoroughlly convincing (although it must be noted that Bleek's drummer is played by Jeff "Tain" Watts, a real jazz drummer who actually performs on the tracks themselves).

If you're a jazz lover and a lover of Spike Lee's movies, check this out -- you'll be glad you did.

The Insider (1999)

A tense, riveting drama

[24 April 2000]

"The Insider" is highly reminiscent of "All the President's Men" in that it's a tense thriller about uncovering the truth against all odds. Russell Crowe gives a breakthrough performance as Jeffrey Wigand, the recently fired tobacco company scientist who knows too much and is torn between doing what he feels is right and staying safe and alive. Al Pacino is the "60 Minutes" producer who wants him to tell all.

The film was directed by Michael Mann, a filmmaker I'm not entirely familiar with. I know he was responsible for "Miami Vice" in the 1980s, and he directed "Heat" a few years ago, a film that I considered decent but overblown. Here Mann uses techniques that seem borrowed from Oliver Stone and Martin Scorcese to create a wonderful feeling of tension. The score is brilliant, and the cast second-to-none. Pacino tones down his recent penchant for over-acting by turning in a fiery yet intelligent performance. Crowe is sure to be the Next Big Thing, as long as he continues to choose intelligent roles such as this one. Other notable performances include those by Christopher Plummer, Colm Feore, Diane Venora, Phillip Baker Hall and Gina Gershon.

Definitely one of the best, if not THE best film of 1999. Highly recommended.

Summer of Sam (1999)

Spike has done it again

[20 March 2000]

Love him or hate him, you can't deny it: Spike Lee is one of the most exciting, original filmmakers of the last 20 years. Despite the fact that it received zero Oscar nominations (like the similarly shut-out "Eyes Wide Shut), this is without a doubt the best film Spike has made since the powerful "Malcolm X."

It's the summer of 1977 and New York City is gripped by the terror of the serial killer known as "Son of Sam." The film focuses not so much on the crimes themselves, but on fictional characters that inhabit the city and their reactions to the epidemic. Most of these characters are a tight-knit young community of Italian-Americans, led by the husband and wife team of Vinny and Dionna, played by John Leguizamo and Mira Sorvino. Vinny is a less-than-faithful husband, who feels that his eyewitness account of the killer is a sin from God that he needs to change his philandering ways.

Leguizamo and Sorvino turn in the performances of their careers. Other notable performances are by Adrien Brody and Jennifer Esposito, as Ritchie and Ruby. Ritchie is a neighborhood regular who has recently returned from obscurity, decked out as a full-fledged punk rocker (much to the dismay and amusement of his neighbors). Ruby is the "easy" girl of the neighborhood who changes her ways by becoming monogamous with Ritchie. There are many other interesting cameos in the film, including Bebe Neuwirth as Vinny's boss, Patti Lupone as Ritchie's mother, and Ben Gazarra as a mafia boss who is enlisted by the local police to help find the killer. Spike himself puts in an appearance as a TV reporter, chronicling the events of the serial killer and the city's reactions (that particular performance seems unintentionally silly to me, especially the scene where he interviews African-American residents of the Bedford-Stuyvesant community). The fact that Leguizamo and Brody were not nominated for Oscars is nothing short of criminal.

The film is amazing in its ability to show the tension that the city's inhabitants feel toward the Son of Sam. Although the film lacks the wild, rebellious camera style of Spike's early work (possibly due to the departure of his brilliant cinematographer, Ernest Dickerson), another signature of Spike's films -- his ability to fuse terrific music into the scenes -- is present and accounted for. He puts in the obligatory pop and disco hits of the day, but some of the most effective music is the Who songs he uses. Ritchie, being a Who fan (referring to them as the "Godfathers of Punk"), plays guitar in his garage along to "Baba O'Reilly" in a chillingly effective montage. "Won't Get Fooled Again" is blaring as the Italian neighbors beat on Ritchie, having reached the foolish conclusion that he himself is the Son of Sam.

This is not Spike's best film, but it is indeed a very well-made, effective drama that shows us what can happen to a community when fear and paranoia take over.

Eyes Wide Shut (1999)

Another Kubrick Masterpiece

[20 March 2000]

It's a shame that this movie didn't get a single Oscar nomination. It may not be the year's best picture, but it certainly ranks in the top ten, as far as I'm concerned.

There has been much negativity associated with this film since its release -- many people felt that it wasn't a fitting swan song for Stanley Kubrick, one of the greatest filmmakers that ever lived; many also felt that there was too much hype and the film simply didn't live up to it; others were of the opinion that it was too slow and long. That reminds me of the people I saw who walked out of a David Lynch movie because it was "too weird." It's David Freaking Lynch, what were you expecting? The guy doesn't make mainstream movies!

The same can be said for the late great Kubrick. He had a style all his own, and this film has his fingerprints all over it: grainy, high contrast picture, bright primary colors, a chilling musical score, and an undercurrent of tension.

The film has the style of a thriller, but it's more of a psychological drama. Cruise and Kidman are a husband and wife who live an upper-class Manhattan lifestyle (he's a prominent doctor). During a night of pot smoking, Kidman confesses that she was nearly unfaithful with a Naval officer she met the previous summer. This sends Cruise into a tailspin of jealousy and confusion, as he spends the next couple of nights exploring New York's seamy sexual underbelly. Among his exploits is an evening spent at an extremely creepy orgy which takes place in a mansion outside the city. This is the kind of film where you never know what's going to happen next, and that's where the film's true enjoyment lies. It's also great to see all of the traditional Kubrick elements in place.

This is no "Clockwork Orange," no "2001," but it's still an enormously entertaining film. For those people who are put off by the film's generally negative reviews, remember this: almost all of Kubrick's films were initially panned. They seem to grow an appreciation over the years. I'm sure that in time, people will recognize EWS for what it is: a masterpiece and a fitting final work in Kubrick's career.

Crimes and Misdemeanors (1989)

One of Woody's best

[20 March 2000]

This film is a bit out of the ordinary for Woody Allen in that of the two intertwining storylines, one of them is deathly serious. Serious subjects have been brought up before in Woody's films ("Interiors," "September") but never as successfully as in this film. The mixture of comedy and drama work so effectively that this has to be one of Woody's best films, on par with "Annie Hall" and "Hannah and her Sisters."

Woody plays Clifford Stern, an independent filmmaker whose marriage is crumbling. In order to make more money and gain recognition, he is offered to make a documentary about his filthy rich, lowbrow, narcissistic TV producer brother-in-law (wonderfully played by Alan Alda). Cliff goes into the project half-heartedly, and his only solace is a doomed relationship with one of the show's producers (played by Mia Farrow).

Meanwhile, Martin Landau plays Judah Ronsenthal, an eye doctor whose mistress (played by Anjelica Huston) is threatening to expose the relationship. Judah considers having her "rubbed out" using the sordid connections of his brother (Jerry Orbach). Wracked by guilt over even thinking such a thing, Judah enlists the spiritual aid of one of his patients, a rabbi whose vision is slowly deteriorating (played by Sam Waterston). The rabbi character, incidentally, is the brother of the Alan Alda character. That's where the stories connect, even though they will continue to cross paths later in the film.

All the performances are brilliantly executed, particularly those of Alda, Waterston, Allen and Landau (who was nominated for an Academy Award). The film is a perfect combination of seriousness and hilarity. Among the funniest scenes are when Woody screens a less-than-flattering rough cut of his documentary to a flabbergasted Alda, and the scene where Woody's sister (played by Caroline Aaron) tells Woody about her disastrous blind date.

If you're a Woody Allen fan, you won't be disappointed. If you aren't familiar with his films, this would be a good place to start.

Does Humor Belong in Music? (1985 Video)

Frank, you are missed

[20 March 2000]

Considering what has been on the pop charts over the past fifty years, it's such a disappointment to realise that Frank Zappa was indeed one of the most under-appreciated artists in the history of music. Fortunately, video artifacts like this one can show the uninitiated what a terrific composer, guitarist and bandleader FZ really was.

There are some flaws here -- this NYC concert was from his 1984 tour, probably his weakest ever, and the selection of songs favours the raunchy crowd-pleasers over the wildly inventive complicated instrumentals -- but overall it's a fantastic representation of Frank's fabulous guitar playing, his band's instrumental capabilities, the great humour and FZ's penchant for just not caring about what people think.

If you want a better FZ band and performance, try and find a copy of the May 1988 Barcelona concert. In the meantime, get yourself a copy of DHBIM and witness rock's only true genius in action.

Thirty Two Short Films About Glenn Gould (1993)

Spellbinding...a treat for the eyes and ears

[28 February 2000]

I had never heard of Glenn Gould before this movie was released, but I had heard so many good things about the film that I just had to check it out. Am I glad I did. The film is quite unconventional in that it is not a strict "biopic" in any sense of the word. The film -- much like the title suggests -- takes 32 vignettes that concern some aspect of GG's life. Gould, a Canadian classical pianist, was by all accounts an unusual yet charming man. A merciless hypochondriac who popped pills incessantly and wore heavy clothing even in the middle of summer, Gould was also enormously talented, both as a pianist and a producer of highly unusual radio programs. The film examines Gould's life, his passions, his obsessions, and of course his music. The soundtrack is breathtaking. Colm Feore portrays the enigmatic Gould brilliantly. If you are a fan of daring, original films -- as well as a Gould fan -- you will not want to miss this.

The Music of Chance (1993)

This film took me completely by surprise

[28 February 2000]

I rented this movie about five years ago not knowing what to expect. I saw a few raves on the back of the box, and even though the cast looked a bit uneven, I took a chance. I was totally mesmerized. I enjoyed it so much I watched the whole thing all over again the next evening. It's a totally captivating story with wonderful cinematography, a beautiful soundtrack, and it's all held together by the fact that you have no idea what is going to happen next.

The story -- based on the novel by Paul Auster -- is certainly an original one. Mandy Patinkin plays a fireman named Nash who is taking an extended roadtrip/vacation and picks up the James Spader character (Pozzi) on the side of the road, bruised and bloody. Apparently Pozzi, who is normally a card player with a golden touch, lost his shirt to a pair of eccentric millionaires. Nash agrees to front Pozzi the money to get back in a game with the old guys in an attempt to win back his money. Well, one thing leads to another and Nash and Pozzi lose their shirts in the rematch. The payoff scheme conceived by the millionaires eventually drives Nash and Pozzi to the brink of insanity. Without giving away too much more of the plot, let's just say it involves the building of a wall and we'll leave it at that.

All the performances are memorable. It's a small cast, but each actor (Patinkin, Spader, Charles Durning, Joel Grey, M. Emmet Walsh, Christopher Penn and Samantha Mathis) does wonderfully. Patinkin is marvelous as a quiet, sensible man who slowly goes mad. Spader is totally over the top and manages to deliver what's probably his finest performance to date. Durning is terrific, as is the always-dependable character actor Walsh.

A few months after seeing the movie for the first time, I read the book and was pleasantly surprised at how faithful the book was in recreating the story. If you are a fan of this book or any other of Auster's works, this is definitely worth checking out.

Glengarry Glen Ross (1992)

Simply one of the greatest pictures ever made

[28 February 2000]

This movie contains some of the greatest acting ever committed to film. The screenplay, written by David Mamet and based on his Pulitzer Prize-winning play, concerns a group of real estate hustlers desperate for a sale. The all-star cast is nothing short of brilliant. Al Pacino and Jack Lemmon stand above the rest, but the rest are no slouches either...Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce and Alec Baldwin (in a scene-stealing role that's the best thing he's ever done) are all wonderful. The film has a limited amount of sets and is largely dialogue-driven -- it's basically a filmed play -- but that's what makes it so great. It's raw, no-holds-barred acting, full of Mamet's usual over-the-top yelling and screaming (and I mean this in the best way). The soundtrack is moody and gorgeous. The film captures perfectly the feeling of desperation that drives these salesmen. The fact that Al Pacino did not win the Oscar for this role (he instead received the award for his hammy overacting in "Scent of a Woman") and the fact that Jack Lemmon was not even NOMINATED are both nothing short of criminal. Ignore the Academy -- give this film the attention it deserves.

Night on Earth (1991)

A perfect intro to Jim Jarmusch's films

[28 February 2000]

If you've never seen a film directed by Jim Jarmusch, this would be a good place to start. Five vignettes about taxi drivers around the world are presented in this funny, touching, and truly unique picture. The stories range from flat-out hilarious to surprisingly moving, taking place in Los Angeles, New York City, Paris, Rome and Helsinki. The Rome story -- featuring Roberto Beningi as a maniacal cabdriver giving a lewd confession to his priest customer -- is typically hilarious Beningi. The Helsinki story is sad and very moving. An enormous range of emotions will be gleaned from viewing this film. Jarmusch has a tendency for the offbeat and this film is no exception. However, it's a bit more accessible than some of his other works. If you like this, go out and rent "Stranger Than Paradise," "Mystery Train" or "Down By Law."

Do the Right Thing (1989)

A groundbreaking masterpiece that was robbed at the Oscars

[28 February 2000]

Spike Lee has made some amazing films, but this is definitely his best (with "Malcolm X" a close second). It's the hottest day of the summer, and a Brooklyn neighborhood is teeming with life. By day's end, racial tensions flare to the point of unspeakable violence. The movie has some hilarious moments (including anything said by the three old guys on the street corner), but more than anything, it's a portrait of racial relations and different peoples' attitudes toward it. Much ink has been spilled over the apathetic, messy ending, but I feel that it's probably just Spike's way of showing us that there are no easy answers. The cinematography (by Lee mainstay Ernest Dickerson) is vivid and mesmerizing, and set a standard for many films that would follow. The acting is nothing short of superb, with electrifying performances by Danny Aiello, Ossie Davis and the extremely underrated Giancarlo Esposito. Unthinkably, this movie received no Oscars (if I'm not mistaken). Ignore the Academy and rent this masterpiece.

My Dinner with Andre (1981)

One of my all-time favorite movies

[28 February 2000]

I first saw this movie around 1984 or 1985 one summer evening when it was airing on PBS. I had no idea what I was in for. It may seem strange that a film consisting of nothing but a conversation over dinner could be so entertaining, but this film is exactly that. Wallace Shawn and Andre Gregory (presumably playing themselves) are old friends who have not been in touch for some time and decide to catch up over dinner at a fancy NYC restaurant. Wallace is a struggling actor/playwright, while Andre is far more successful. Recently Andre has had some quite interesting experiences, including a stint in Poland with an experimental theater group. Andre does most of the talking, and he is indeed a spellbinding storyteller. Not only are his stories entertaining, but his views on life in general are well worth hearing and will definitely make you think. One of the highlights is when Andre is talking to Wally about a strange, experimental evening he spent with friends on Long Island one Halloween. The fear in his trembling voice as he tells this chilling story is one of the most realistic moments I've encountered in cinema. This is going to sound very trite and cliche, but...this movie changed my life. I agree that it may not be for everyone, but if you're willing to try something different and have a taste for bold, unusual filmmaking, rent this today.

The French Connection (1971)

One of the best cop movie of the 70s, maybe ever

[8 February 2000]

The French Connection lives up to all its praise and more. The suspenseful story of a couple of NYPD cops (played brilliantly by Gene Hackman and Roy Scheider) who try to stop a heroin shipment from France is full of great acting and is aided by a terrific story. Hackman fully deserved the Oscar he received for this performance. There has been a lot of talk about the famous car chase, and while I'm not a fan of car chases or shootouts (I prefer acting, plot and character development), the scene is indeed impressive. Also impressive is the scene where the Hackman character is following the French drug kingpin Charnier (played by Fernando Rey) around the streets of New York. The timing and editing in this scene is flawless.

If you like intelligent, well-acted police thrillers, rent French Connection today...you won't we disappointed. A great film!

Rushmore (1998)

I LOVE THIS MOVIE!!

[11 July 1999]

Easily the best movie of 1998. It's laugh-out-loud hilarious, and a bit touching as well. Jason Schwartzman plays a nerdy teen who's booted from his beloved private high school, where he's more interested in joining every possible extra-curricular club than actually concentrating on his grades. He forms an unusual friendship with a local tycoon (expertly played by Bill Murray), and they eventually both fall for the same woman. I laughed my butt off throughout the entire film, but also was mesmerized by the great performances, the expert use of music, and the whole originality of the movie itself. In a world of "Armageddons" and whatever crap Adam Sandler is dishing out these days, "Rushmore" is a true gem.

Sneakers (1992)

Funny and suspenseful, a great film

[20 May 1999]

It's a shame that this movie has never really received the recognition it deserves, because it's a terrific combination of comedy and suspense. The all-star cast is brilliant, especially Redford, Poitier, Strathairn and a very quirky River Phoenix. Even if the computerese goes over your head (which it certainly did for me) you can simply kick back, relax and enjoy an entertaining story with some great actors. I only have two complaints: first of all, why did Cosmo go through the trouble of having the "heat sensor" mechanism in his office when he could have just installed a closed-circuit camera; and second of all, was the shoot-out on top of the Playtronics building really necessary? This movie was too intelligent to get bogged down in the old shootout cliche. Overall, though, a great flick!

JFK (1991)

A riveting mystery/thriller

[20 May 1999]

Okay, so Oliver Stone's conspiracy theories get way out of hand in this film. Who cares? It's just a movie, and a thoroughly mesmerizing one at that. With a unique editing style, breakneck pacing and a huge, talented cast, Stone has put together a masterpiece. Aside from the fact that it stars Kevin Costner -- who's WAY out of his league among these giants -- the cast is impeccable, most notable Kevin Bacon, Michael Rooker, Gary Oldman (brilliant as Oswald), Tommy Lee Jones, Joe Pesci, Jack Lemmon, and Donald Sutherland as the informant "X". Masterfully crafted. One of my top ten favorite films of all time. Only two things I don't like about this movie: Kevin Costner in the lead (I've never been crazy about that guy) and Sissy Spacek, normally a brilliant actress, is reduced to the role of the whining wife...which is actually not that surprising given Stone's track record on portraying women as one-dimensional caricatures. Still, all that aside, it's still a wonderful, spellbinding picture.

Hannah and Her Sisters (1986)

One of Allen's best and the one that made me a fan

[20 May 1999]

This was my first Woody Allen films...I saw it in a tiny theater in Southern California shortly after it was released and I've been a Woody fanatic ever since. It's a good fan for Woody neophytes to start with, since it has a little bit of everything: Woody's traditional neurosis, laugh-out-loud lines, memorable characters. The intertwining stories are all either hilarious, moving, or both. One of Woody's greatest traits as a filmmaker -- incorporating a terrific and varied ensemble cast -- is evident here. Dianne Wiest fully deserved her Oscar for her portrayal of the whacked-out Holly, Woody is, as always, brilliant as a (what else) neurotic. Max Von Sydow is -- of all things -- hilarious as Hannah's grumpy boyfriend. Sam Waterston, Carrie Fisher, Michael Caine (another Oscar winner here) and well, the whole damn cast are terrific in this warm, funny, typically Woody Allen movie. Highly recommended.

Diner (1982)

The best ensemble comedy-drama ever made

[20 May 1999]

It's funny, touching and has some great music. What more could you ask for? The story of a few young friends in 1959 Baltimore who get together at the local diner, place bets, argue about music, try to come to terms with their confusion regarding women...it's a truly delightful movie. Many of today's actors got their start in this movie, namely Kevin Bacon, Mickey Rourke, Steve Guttenburg, Ellen Barkin, Paul Reiser and Daniel Stern. There are tons of classic scenes here...Shreivie and Fenwick hiding in the closet, the popcorn box scene, the football quiz, Modell and Eddie arguing about who's better: Mathis or Sinatra, Modell and Eddie arguing about the roast beef sandwich. It's a classic film, packed with memorable scenes and a great oldies soundtrack. One of Barry Levinson's first films and easily the best one he's ever done. For those of you tired of shootouts, car chases and stuff blowing up, check out this film...it actually has "characters" as opposed to "special effects."

Marathon Man (1976)

One of the best thrillers ever made

[20 May 1999]

Just over the last few years I've come to the realization that the 1970s produced some of the best thrillers of all time -- All the President's Men, The French Connection, and this fantastic film. Dustin Hoffman once again proves that he's one of the finest actors in film history, this time portraying a college student who becomes unwittingly involved in his brother's secret life as a Nazi courier. Intelligent, well-paced, and wonderfully acted. Laurence Olivier and the always-underrated Roy Scheider make this one worthwhile as well.

The Exorcist (1973)

Still scary after all these years

[20 May 1999]

It may have been made over a quarter-century ago, but it's still scary as hell. The whole dark tone of this movie makes it extremely creepy. It's dark, creepy, exceptionally well-acted, and the chills are all in the right places. Friedkin knew what he was doing when he made this movie. For all of you movie fans that think horror movies equal Nightmare on Elm Street, Friday the 13th, and all these bogus 90's teen horror movies (I Know What Disturbing Behavior You Screamed Last Summer), I urge you to watch this...late at night with the lights out. A masterpiece.