craigjclark Reviews

Space Ghost Coast to Coast (1993–2012)

"Feh! Just who came up with the stupid idea of giving Space Ghost a talk show in the first place?"

[10/10 · 20 November 2005]

Looking for the most unusual show on television? Well, look no further, because you've found it. "Space Ghost Coast to Coast" is more than just an animated talk show starring a washed-up '60s cartoon hero and his evil sidekicks. It's also a deconstruction of the superhero mythos, an attack on the culture of celebrity, and both a celebration and interrogation of the pop culture wasteland from which it sprang.

It's also one of the funniest shows that has ever been -- and ever will be -- on television. It features episodes that make you scratch your head ("Story Book," "Woody Allen's Fall Project," "Brilliant Number One"), ones that take you behind the scenes and show you their process ("Transcript," "Table Read") and ones of such dizzying inventiveness ("Jacksonville," "Pavement," "Joshua," "Knifin' Around") that they make you glad that someone, somewhere thought the idea of giving Space Ghost his own talk show wasn't so stupid.

"All right, my little unhappy monkeys."

El (1953)

A treat from Bunuel's Mexican period

[9/10 · 20 November 2005]

Made in 1952, between "Robinson Crusoe" and "Wuthering Heights," this may not be one of Bunuel's major films, but it contains several of his key themes and recurring images, starting with the ceremonial washing and kissing of feet. The film also goes into the politics of submission and domination, the effects of long-term sexual repression, and -- of course -- sewing.

Bunuel understood obsession and was able to convey it on screen like no other director. As irrational as his characters can get (and Francisco gets plenty irrational in this film), Bunuel knows that we all have our hangups which seem normal to us, no matter how grotesque they may look to an outside viewer. (There's a reason why the alternate title for this film is "This Strange Passion.")

At Last the 1948 Show (1967)

Proto-Python

[5 August 2005]

Believed lost for decades, this series is finally available on DVD (well, five episodes of it, at least), and it is definitely one of the great comedy finds. Written by and starring Graham Chapman, John Cleese, Tim Brooke-Taylor and Marty Feldman, it is one of the clearest forerunners of "Monty Python's Flying Circus" (along with "Do Not Adjust Your Set," which has also been given an archival release). Not only that, it shows four bright, young comedians clearly having fun with the medium and producing some high-quality comedy.

The series even features Eric Idle in various bit parts, so some of the cross-pollination that lead to the creation of Python was already taking place. Pity the other eight episodes are still lost.

Do Not Adjust Your Set (1967–1969)

Proto-Python, Part 2

[5 August 2005]

Finally seeing the light of day again thanks to the release of nine episodes of the series on DVD, "Do Not Adjust Your Set" is -- along with "At Last the 1948 Show" -- the clearest forerunner of "Monty Python's Flying Circus." Written by and starring Eric Idle, Terry Jones and Michael Palin, with David Jason, Denise Coffey and the Bonzo Dog Doo Dah Band (as well as some animations by Terry Gilliam in the second series), "Do Not Adjust Your Set" aspires to be the same kind of anarchic free-form comedy series, albeit one suitable for children. (It was, after all, originally meant to be a children's show, but it quickly developed a cult audience among the grown-up set.)

The DVD only covers the first series, though, so none of Terry Gilliam's animations are present (don't let the packaging fool you). Even so, it's definitely worth checking out.

King of the Ants (I) (2003)

An intelligent alternative to "The Punisher"

[10/10 · 14 April 2004]

I saw this last night at the Philadelphia Film Festival and I have to say, it is a ferocious tour de force from director Stuart Gordon. It's not really a horror film, though, so anybody going in expecting something like "Re-Animator" or "Dagon" is probably going to end up disappointed. Sure, there's violence and some nightmarish dream sequences (one of which made the audience I saw it with groan in disgust), but for the most part it is a straightforward crime story about redemption and revenge.

On the acting front, I have no complaints. Chris L. McKenna plays the ordinary man who puts himself in an unenviable position -- and has to squirm his way out of it -- perfectly, George Wendt will make you forget he ever was the lovable Norm from "Cheers," and Daniel Baldwin does a really good impression of his brother Alec (which does not detract from his performance, by the way).

As for the writing, this is truly a film where you don't know where it's going from one minute to the next. Far from formulaic (if you want that, try the current adaptation of "The Punisher"), it fleshes out its characters (even the so-called "bad guys") and makes you feel their pain (and boy, do they feel a lot of pain). A well-crafted thriller.

The Strange Case of the End of Civilization as We Know It (1977 TV Movie)

A strange case, indeed

[7/10 · 11 August 2003]

Not the most successful television project John Cleese ever did, "Strange Case" has the feel of a first draft that was rushed into production before any revisions could be made. There are some silly ideas throughout and even a few clever ones, but the story as a whole unfortunately doesn't add up to much.

Arthur Lowe is a hoot, though, as Dr. Watson, bionic bits and all. "Good Lord."

Lust in the Dust (1984)

Slight, but funny

[8/10 · 25 July 2003]

Paul Bartel's western-musical-sex farce may not be quite on par with his earlier black comedies, but it still has the good taste not to have any good taste. Plus, it's one of the few places where you can see a Divine performance outside of John Waters' oeuvre -- and boy, does he give a performance.

If you get the DVD, be sure to check out the bombastic trailer. It is quite a hoot.

The President's Analyst (1967)

"Very good, indeed!"

[10/10 · 4 November 2002]

"The President's Analyst" is a satirical counter-culture classic that takes aim at everything and everyone, including the counter culture itself. It's also endlessly quotable and is probably the only movie where you'll hear a line like "Don't say Chinks. Say Chinese restaurant. Chinks is bigoted." Absolutely golden.

My father used to work for The Phone Company and he absolutely loved this movie, as did I from the first time I saw it. I taped it off AMC years ago before they turned evil (back when there were no commercial breaks and they still showed plenty of films letterboxed), and I wouldn't part with my tape for anything in the world -- expect maybe a special edition DVD with all of the original footage and music restored.

To anyone who says this film is boring or unfunny, I say, "Poppycock!"

Cyber Ninja (1988)

Reminiscent of "Star Wars," my butt

[3/10 · 14 October 2002]

Ahh, "Cyber Ninja," where to begin with you?

I got to see this movie at a gaming convention during a weekend-long program wherein a group of people in lab coats showed B-movies to test subjects and then monitored them, keeping track of who said the most funny comments during the movies. Sound familiar? If you're a fan of MST3K, it should. And if you can track down a copy of this movie, you'll probably be able to come up with as many riffs as I did.

I realize I haven't said anything about the movie yet, but that's just as well. The more you discover for yourself as you watch, the more brazen and outlandish the whole thing becomes. Suffice to say, it's a Japanese rip-off of "Star Wars" with "Power Rangers"-type villains and some of the silliest-looking ninja I've ever seen in my life. (Once you see how the mecha-ninja get around, you'll know what I'm talking about.)

Calling this movie "reminiscent of 'Star Wars'" -- as somebody did in the blurb on the front of the box -- is amusing since it's set in a quasi-futuristic feudal Japan (with laser guns and sword battles existing side-by-side), and "Star Wars" itself is "reminiscent" of Akira Kurosawa's "The Hidden Fortress" (i.e. Lucas stole characters and plot points wholesale from it). Does that make this a second generation rip-off? Ladies and gentlemen of the jury, I think it does.

Full Frontal (2002)

Art vs. artifice

[9/10 · 4 August 2002]

Coming hard on the heels of the slick "Ocean's Eleven" and the Oscar-winning duo of "Erin Brockovich" and "Traffic," Steven Soderbergh's "Full Frontal" may be seen as a slap in the face. Point of fact, it is more like a wake-up call, akin to the guerilla-style filmmaking of "Schizopolis," a film it resembles in more ways than one. This time, however, Soderbergh uses a digital camera to produce some astonishingly ugly images (especially when compared to the scenes from "Rendezvous," the handsomely-mounted film-within-a-film, which are intercut with it), but it's all in the service of a frequently clever and well-acted character study. And besides, who cares how good-looking a film is if it's vapid and artificial?

On the acting front, Catherine Keener and David Hyde Pierce stand out as the married couple reaching an impasse, but Nicky Katt damn near steals the movie as a dictatorial actor playing Hitler in a play whose name should not be spoiled. His scenes alone make the whole thing worth it.

Thieves Like Us (1974)

Unjustly overlooked

[10/10 · 21 July 2002]

This film may have been a box office disappointment when it was first released, but that's no reason why it should be so completely forgotten today.

"Thieves Like Us" was Altman's second major period piece (after "McCabe and Mrs. Miller"), and he gets the details just right. From the cars to the clothing to the ubiquitous Coca-Cola bottles, everything adds to the feeling that these events could have taken place. It, of course, also helps that he has actors who look like they fit the time period. Keith Carradine, Shelley Duvall, John Schuck and Bert Remsen were born to play these roles, and they get able support from Tom Skerritt and Louise Fletcher.

Instead of a typical soundtrack, Altman uses vintage radio programs to underscore the action (crime dramas during robberies, "Romeo and Juliet" during a love scene). It's a brilliant gamble that pays off and takes the film to a whole new level.

In short, this is one of Altman's most fully realized films. For it to remain unseen is a crime.

The Young Stranger (1957)

Great right out of the gate

[8/10 · 12 July 2002]

The world is going to miss John Frankenheimer. This was his first feature film and it was four years before he directed his second, but don't let that dissuade you from seeking it out. Frankenheimer's direction is assured, and he gets some compelling performances out of his cast.

Someone else has already pointed them out, but I also want to talk up James Gregory and Whit Bissell in two key supporting roles. Both would work for Frankenheimer again -- Gregory most notably as the bumbling senator in "The Manchurian Candidate" -- and they do good work for him here.

If the whole thing seems too simple in the end, that's merely because Frankenheimer and writer Robert Dozier chose to tell a simple story, and they do it well. Keep a lookout for it -- Turner Classic Movies just might show it again.

Hollywood Ending (2002)

Funny enough

[8/10 · 4 May 2002]

"Hollywood Ending" is about as good a film as any Woody Allen has put out the past several years. It's not great, but it's funny and inventive enough to work on its own terms. Allen's performance as a beleaguered director who is struck by hysterical blindness on the eve of production of his big comeback film is his best in years ("Small Time Crooks" comes close, but this tops it), and he definitely has a game cast to work with.

I must single out for praise Barney Chang, as the business student acting as the Chinese cinematographer's translator, who is recruited into the conspiracy to keep Allen's blindness a secret. And Mark Webber -- Scooby in "Storytelling" -- also makes a memorable appearance late in the film.

In closing, I would like to say a word to all those who constantly gripe about the fact that Allen's romantic interests are invariably half his age: Get over it, or stop going to his films. No one's forcing you.

Late Night Shopping (2001)

A view from the other side

[8/10 · 16 April 2002]

I believe I'm the first American to comment on this film, so here's an impression from someone who lives on the other side of the Atlantic.

I just saw this film in the Philadelphia Festival of World Cinema, so it's starting to make the rounds of the festival circuit over here. It really deserves a general release because it is quite a well-made film, especially for a debut feature. All four leads were great and their dialogue was funny and clever. As a comedy, it is very observant. As a study of the desperation that can set in when you work in a meaningless job, it is spot on.

In retrospect, I realize that some of the plot points could have been cleared up without all that much fuss (e.g. if Sean had called his girlfriend), but this is how real people act. Sometimes they do stupid things or play avoidance games. It's called life. And if other things seemed contrived (e.g. the fact that the two other girls turned out to be best friends), that's why there's this disclaimer at the end that states it is a work of fiction. Personally, I had no problem with going along for the ride, even with the bad '80s station on the radio.

There are times when I find it hard to understand why people get so riled up about things that they dislike. This is one of those times.

Much Ado About Something (2001)

Oh, it's about something, all right

[9/10 · 12 April 2002]

"Much Ado About Something" is a fascinating documentary about the debate over who actually wrote Shakespeare's plays and sonnets. Australian Michael Rubbo treats his film like a mystery, feeding us clues and expounding on the various theories that come to light over the course of his investigation. "Much Ado" is also frequently quite funny, as it seems just about everybody involved in the debate is rather on the eccentric side, with those making the case for Christopher Marlowe the most adamant about it.

If you've ever harbored doubts that a largely unschooled Elizabethan actor-manager could have written many of the greatest works in the English language, then this film is for you.

I Don't Know Jack (2002)

Now I *do* know Jack

[8/10 · 6 April 2002]

Chris Leavens' documentary takes as its subject Jack Nance, star of "Eraserhead" and supporting player in many of David Lynch's other films. Nance's story is told almost entirely through interviews with his family, friends and colleagues, interspersed with clips from many of his films (some of which are more well-known than others). What emerges is a portrait of a complicated man whose self-destructive tendencies sometimes outweighed his creative gifts. It's also frequently funny, as the interview subjects recount some of the more outlandish (but still plausible) stories of his life, right up to the mysterious circumstances surrounding his death.

"I Don't Know Jack" is a fitting tribute to an underrated and under-appreciated actor. It is a must for all fans of David Lynch and Jack Nance.

Zelig (1983)

A unique film from Woody Allen

[10/10 · 13 February 2002]

Unlike "Take the Money and Run" and "Husbands and Wives" -- to choose two Allen films from opposite ends of the spectrum that also use the trappings of the documentary form -- "Zelig" could actually pass for one thanks to the care that was taken in bringing it to the screen. While it can be outlandish at times (e.g. when Zelig is given an experimental drug that literally drives him up a wall), the narration is spoken with such deadpan sincerity that you have no choice but to swallow it. The contemporary interviews also help in this regard (a device that was later employed in "Sweet and Lowdown," also to good effect).

It's no wonder Gordon Willis's fine cinematography was nominated for an Academy Award. In fact, the whole film is carried off so well -- and the documentary aspects so convincing -- that it possibly obscures Allen's achievements as writer and director. (No matter; he would be recognized for both the following year with "Broadway Danny Rose.") And his acting is also frequently overlooked. The scene where, under hypnosis, Zelig reveals that he hates Dr. Fletcher's pancakes is wonderful.

Human Remains (1998)

Dictators are people, too

[10/10 · 9 February 2002]

This is an ingenious and darkly humorous film. Over newsreel footage and home movies, Jay Rosenblatt shares with us intimate details about reprehensible historical characters such as Hitler, Mussolini, Stalin, Franco and Mao -- often times using their own words -- and in the process sheds light on some of the personalities that shaped the 20th century, for good or ill. The end result doesn't humanize then so much as its throws their horrible crimes into sharp relief. They don't teach this kind of stuff in school, but they should.

Another Woman (1988)

Perceptive study of a fascinating character

[10/10 · 29 January 2002]

Woody Allen likes his big ensemble dramas ("Hannah and Her Sisters," "Crimes and Misdemeanors") and is largely successful with them, but it's refreshing when he concentrates on one central character -- as he does in "The Purple Rose of Cairo" and again here with Marion. Making inventive use of the tools of cinema (the use of flashbacks in this film is most intelligent, and Marion's voice-over narration is never intrusive), Allen delves into her psyche in such a way that we understand her about as well as she understands herself at the end of the film. Of course, it helps immeasurably that she is played by Gena Rowlands, an actress who brings great depth to Marion and allows us to see past her cold, seemingly emotionless exterior.

All in all, a big step up from the disappointing "September."

The Limey (1999)

An impressionistic take on a genre film

[10/10 · 24 January 2002]

Just saw this again for the first time since it was in theaters and I was struck by how much its cookie-cutter structure holds up. It's especially meaningful when you know the story and where (and when) the footage is coming from.

Soderbergh has always had a knack for finding interesting ways of telling his stories -- even a mainstream effort like "Erin Brockovich" uses some narrative shorthand -- and "The Limey" is no exception. It rewards the patient viewer and is, at times, brutally funny. My favourite part is the way Wilson deals with security at Valentine's party. Beautiful.

Alice (1990)

The Wood-man starts off the '90s in style

[9/10 · 9 December 2001]

This was the first Woody Allen film I got to see in the theaters and -- since it has such strong fantasy elements -- it was truly a magical experience. Compared to a film like "Crimes and Misdemeanors" it's a bit of a lightweight, but taken on its own terms "Alice" is an enjoyable portrait of a woman trying to find herself and her spiritual center. And there are plenty of funny moments along the way, which I wouldn't dare spoil for you. All I'll say is watch for Bob Balaban (the dead guy in "Deconstructing Harry") in the party scene late in the film.

This film also marked the first time Allen worked with the amazing Judy Davis, who would make more of an impression in "Husbands and Wives" two years later.

Dead Ringers (1988)

Cronenberg's chilling masterpiece

[10/10 · 28 November 2001]

David Cronenberg is one of my favourite directors of all time and this is one of my favourite films of all time. Eschewing his usual stomach-churning special effects (save for one memorable sequence -- sometimes less *is* more), Cronenberg creates a chilling atmosphere and crafts a story of devastating power.

Some call his films cold and clinical, but there is a deep emotional undercurrent to this one, carried over from his previous features, "The Fly" and "The Dead Zone." Naturally, it helps that he gets career-best performances out of Jeremy Irons and Genevieve Bujold (a criminally underrated actress). And Howard Shore's score is the perfect complement to the claustrophobic visuals.

This is a film that gets better with every viewing, so if you don't like it the first time, give it another chance. It might surprise you.

Safe (1995)

A film that defies convention

[9/10 · 27 November 2001]

Almost entirely composed of long and medium shots, Todd Haynes' second feature is clinical to the point of being Cronenbergian. (Its deliberate pace and glacial camera moves are most reminiscent of Cronenberg's masterpiece, "Dead Ringers.")

Set in the San Fernando Valley in 1987, "Safe" is all about Carol, an idle homemaker played by Julianne Moore, who tries to control her environment, but her environment ends up controlling her. Her husband tries to be as understanding as possible, but when medical science repeatedly fails to find anything wrong with her, it puts a strain on their marriage which would have lead to an explosion of some sort if this had been an ordinary film. Instead, Haynes has something more interesting in mind.

This is a film that is about its environment in so many ways. We hear the traffic sounds when Carol is having lunch with her best friend, the soundtrack of '80s songs frequently reminds us of when we are, and the periodic silences force us to focus on Haynes' compositions and the characters' surroundings. Even early on, when an acquaintance from her aerobics class comments that she doesn't sweat, or she confesses to her doctor that she's a "milkaholic," or she decides on a whim to get a perm, we can guess where Haynes is going, but not necessarily how he will get there. In this film, it's all about how we get there.

It would be foolhardy to claim that this is a film for everyone, but if you have the patience for it, "Safe" can be a very rewarding experience.

Farewell: Live from the Universal Amphitheatre Halloween 1995 (1996 Video)

Boingo's swan song

[10/10 · 1 November 2001]

Six years ago, Oingo Boingo breathed its last on a stage in Universal City, California, and here it is -- the only concert film the band ever made. And, as the only document of the Oingo Boingo live experience, it does nicely, even with the copious crowd shots and hyperkinetic editing style.

At times the set list puts the emphasis on the band's last studio album, but there are enough classics from their 17-year history to satisfy long-time fans. And the performances are spirited, with Danny and the band obviously enjoying themselves immensely.

The tape also features an abbreviated history of the band, backstage shenanigans, and two music videos from both ends of the band's existence. All in all, it's worth tracking down.

Love and Death (1975)

The last of Woody's uneven (but still hilarious) comedies

[10/10 · 11 October 2001]

"Love and Death" is one of my favourite Woody Allen films, right up there with "Manhattan," "Crimes and Misdemeanors" and "Deconstructing Harry." Sure, the jokes are scattershot and don't always work, but when they do the film is a gut-buster. ("A tremendous amount of wheat!") Parodying everything from Russian literature to foreign films (especially those of his beloved Ingmar Bergman), it's also one of Allen's most overtly philosophical films with characters breaking into syllogisms and formal arguments at the most unlikely moments. Students of philosophy should get a kick out of it.

That said, it is accessible to just about anybody. Almost nobody does fish-out-of-water comedy as well as Woody Allen (see also "Bananas" and "Sleeper"), and Diane Keaton shines as usual as the promiscuous object of his desire. And look for Jessica Harper in a small role as the cousin who rattles off a convoluted list of romantic entanglements worthy of Chekhov.

This was the last step of Allen's formative period. After this, his films would get a lot more focused.