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Category Archives: Saturday Matinee
Saturday Matinee: Little Shop of Horrors (1986)
By Roger Ebert
Source: RogerEbert.com
At a time when so many movies show such cold-blooded calculation, here’s one heedless enough to be fun. “Little Shop of Horrors” arrives with enough baggage to make it into a thoroughly timid project – what is less likely to make a fresh movie than a long-running stage hit? – and yet the movie has the offhand charm of something that was concocted over the weekend.
This is not only a musical and a comedy, as we expected, but also a revue of sorts: Comic actors such as Bill Murray, John Candy and James Belushi have walk-ons, and Steve Martin almost steals the show as a sadistic, motorcycle-riding dentist. Yet at the heart of the movie is a basic sweetness, an innocence that extends even to the centerpiece of the story, which is a man-eating plant named Audrey II.
The plant makes its appearance one day in a flower shop window, having arrived from another planet. It immediately begins to grow, to look around itself, to attract attention and to exhibit an appetite for human blood. It also changes the lives of the three people who work in the store: the shop assistant, Seymour (Rick Moranis); the salesclerk, Audrey (Ellen Greene), and their kindly, blustering old boss, Mr. Mushnik (Vincent Gardenia). Suddenly, they have the sort of fame thrust on them that is usually reserved for lottery winners and people who survive freak accidents.
There are all sorts of people with ideas about how to exploit the wonderful plant, and others who wish it no good. The movie uses them as the occasion for gentle satire and broad comedy, and there’s the sense that “Little Shop” is amused by just about whatever comes into its mind. There is also a romance; Seymour falls in love with Audrey (I), but must win her away from the evil dentist (Martin), who roars around on a motorcycle and gives her black eyes.
Meanwhile, Audrey (II) inexorably grows, nourishing itself with blood from a nick on Seymour’s finger and developing a taste for human flesh. The progressive growth of the alien plant was, of course, one of the glories of the stage version of “Little Shop,” and the movie’s Audrey, designed by Lyle Conway and directed by Frank Oz, is a marvel of technique. The plant actually does seem to have a personality and is remarkably accomplished during its musical numbers.
Moranis also has developed a personality in this movie and, in a way, that’s as surprising as Audrey II’s achievement. After being typecast as a nerd on SCTV and in such limited and predictable films as “Strange Brew,” he emerges here as a shy, likable leading man in the Woody Allen mode. The movie sometimes makes his work look easy. But he has to carry a lot of the exposition and hold most of the conversations with the plant, and without him the movie might not have been half as confident.
Greene repeats her New York and London role as the human Audrey, and by now the wide-eyed, daffy blond with the pushup bra has become second nature. Her big musical number, “Suddenly Seymour,” has the bravado of a Broadway show-stopper even while undermining itself with satire.
The show is punctuated by musical commentary delivered by a Supremes-style trio (Tichina Arnold, Tisha Campbell and Michelle Weeks), that bounces around the flower shop’s inner-city neighborhood with a message of hope that seems somewhat optimistic, inspired as it is by a carnivorous plant, but fits right in with the movie’s good heart.
All of the wonders of “Little Shop of Horrors” are accomplished with an offhand, casual charm. The movie doesn’t labor its jokes or insist on its virtuoso special effects, but devotes its energies to seeming unforced and delightful. The big laughs, when they come, are explosive (such as the payoff of Martin’s big musical number), but the quiet romantic moments are allowed to have their coy innocence.
This is the kind of movie that cults are made of, and after “Little Shop” finishes its first run, I wouldn’t be at all surprised to see it develop into a successor to “The Rocky Horror Picture Show,” as one of those movies that fans want to include in their lives.
Watch Little Shop of Horrors for free here: https://soap2day.cool/watch-movie/watch-little-shop-of-horrors-free-10873.5306743
Saturday Matinee: The Package
By Paul Willistein
Source: The Morning Call
“The Package” is not a neat little present, but rather one wrapped in a plain brown wrapper – and ticking.
What’s explosive about this thriller set in the glasnost era are the performances of Gene Hackman and Tommy Lee Jones. As the movie races to its conclusion, it discards plot like bumpers and fenders flying from a car in a chase scene. Preventing the movie from coming to a crashing halt are Hackman’s and Jones’ performances.
Inside “The Package,” you’ll find Hackman quietly strong and Jones edgy. There’s a surprise: a steadfast Joanna Cassidy.
“The Package” begins in East Berlin where a disarmament conference between the Soviet Union and the United States is shattered by a terrorist attack which occurs on Sgt. Johnny Gallagher’s (Hackman) watch. Reprimanded, he’s given a more menial assignment, delivering a “package” (military parlance for a court-martialed serviceman) back to the United States to serve time.
Hackman and the serviceman (Jones) arrive while the president of the United States and the secretary general of the Soviet Union are meeting just before Christmas in Chicago (where Enrico Fermi’s experiments in the late 1930s led to the nuclear age) to celebrate the Cold War’s end. But Gallagher is brutally beaten in an airport men’s room. His “package” is gone. Checking service records through his ex-wife (Cassidy), Gallagher finds that he delivered the wrong man. Who, then, was the soldier he brought back to the States?
That’s when the twisted web of this political thriller unravels, with an ending worthy of “No Way Out,” another Orion Pictures release in which Hackman starred. “The Package” keeps you guessing, not unlike the Michael Caine starrer, “The Fourth Protocol” (also an Orion release; this studio is almost single-handedly preserving the political thriller genre). Not since “The Manchurian Candidate” has a movie provided so many chilling moments.
“The Package” does get bogged down by plot. A political thriller is nothing if not a well-oiled machine when it comes to plot – the more complex the better. But the plot must be internalized in the psyches of its main characters. Director Andrew Davis (“Above the Law,” “Code of Silence”) doesn’t show us enough of the interior life of Hackman and Cassidy, nor of Jones, for that matter.
Hackman, who’s played Lex Luthor, Superman’s nutty arch fiend, has Superman strength and determination in his heroic efforts in the movie’s latter third. It’s a credit to Hackman’s abilities that he makes it believable. Jones (“Coal Miner’s Daughter,” “Stormy Monday,” TV’s “Lonesome Dove”) again plays a hateful character who you’ll find oddly appealing. Cassidy (“Who Framed Roger Rabbit,” “Blade Runner,” “Under Fire”) has a smallish role but elevates it handsomely (and she looks great in a uniform). There’s also John Heard (“Betrayed”) as the tight-lipped colonel, and Dennis Franz (Lt. Buntz of TV’s “Hill Street Blues”) as a likeable Chicago policeman.
“The Package” is slick and shiny. It will appeal to fans of Hackman, Jones and Cassidy, as well as those who enjoy political thrillers.
Saturday Matinee: The Thousand Faces Of Dunjia
“The Thousand Faces of Dunjia” (2017) is a Chinese fantasy film directed by Yuen Woo-ping; scripted and produced by Tsui Hark, and starring Chengpeng Dong, Aarif Lee, Ni Ni, and Zhou Dongyu as the central core of a ragtag group whose mission is to defend humankind from ancient aliens. It’s a remake of Yuen’s 1982 film The Miracle Fighters.
Watch The Thousand Faces Of Dunjia on Hoopla here: https://www.hoopladigital.com/title/12064080
Saturday Matinee: Land of the Blind
By Ms Mary Lou
Source: The News Blender
“A stale piece of bread is better than nothing.”
LAND OF THE BLIND is a 2006 film directed by Robert Edwards, and written by Edwards five years before. Its message about political corruption and complacency is so resonant that, even though it takes cues from historical figures throughout the centuries, we can still see our current climate reflected in it .
The film starts “Five Years Before” during the reign of President-For-Life Maximilian II (Tom Hollander). Having inherited the position from his father, Maximilian is equal parts politically clueless and personally gluttonous. He doesn’t understand why his constituents aren’t grateful when he commutes those sentenced to the gallows…by sending them to firing squads instead. Unable to stand any critique of himself, he murders his opponents when he can get away with it and sends them to the not-so-secret prisons when he can’t.
One of these prisoners is the de facto leader of the resistance, playwright turned political prisoner Thorne (Donald Sutherland). He’s been imprisoned for years for the crime of being critical of Maximilian. Despite having nearly all communication with the outside world cut off, his followers “The Citizens for Justice and Democracy” continue the movement he inspired. While they wage wars against the administration outside, Thorne is left to write his manifesto on the walls of his cell using any means available.
One of the guards assigned to him, Joe (Ralph Fiennes), serves as our everyman narrator. In the beginning he doesn’t consider himself political, just a man doing his job. The more he has conversations with Thorne, however, the more he sees the corruption in Maximiliam’s regime and becomes determined to help achieve change. From his cell Thorne runs for–and is elected to–parliament and is thus released to serve his term. Now that their leader is accessible the Citizens for Justice and Democracy spring into action.
Quickly Joe helps Thorne and his followers get into Maximilian’s castle. Within minutes Thorne puts Maximilian and his wife through a two minute trial in their bedroom, convicts, and executes them. The Maximilian II regime is over.
“Nothing is better than a big, juicy steak.”
With Thorne in the position of President-For-Life, change definitely happens. Maximilian’s indulgences are replaced with a strict moral code. All females are now forced to wear hijabs when outside the house. Re-education camps are opened to make sure everyone is in line with the nation’s moral code. This includes teachers, doctors, people who insist on wearing glasses, and anyone else not in line with the new morality. Children are separated from their parents in order to “fight the narcissism of family.” The revolution has occurred. Long live the revolution.
Joe is retired from the military and held up as a hero for his part in the revolution. He isn’t as thrilled with Thorne’s changes. When pressured to sign a loyalty oath, Joe refuses out of principle. He points out to Thorne that “before the revolution man exploited man. Since the revolution it’s the other way around.” That is enough to get Joe sent to the re-education camps.
What happens in the camps would be unfathomable if I didn’t know how much of this movie was based on historical events. There is physical torture, psychological torture, relentless pressure to accept anything and everything he’s told to believe. Can Joe survive with himself intact and is it worth it if he does?
“Therefore, a stale piece of bread is better than a big, juicy steak.”
LAND OF THE BLIND is not a movie for everyone. There are a lot of questions left unanswered. We don’t learn the characters’ histories. In the end there is no comfortable resolution. The movie will be fascinating for those who know history; they’ll be able to recognize the patterns that have happened and even recognize some that are still going on. Even those who can’t see when Idi Amin or the Khmer Rouge are referenced can still appreciate the movie on its own. The actors are all well cast in their roles and their journeys are completely believable. The music, composed by Guy Farley, is appropriately unsettling and comes in at just the right moments to keep the viewer on edge. Robert Edwards is a master at balancing actual history with a compelling story. I like to watch this movie whenever I find myself getting politically complacent. It’s a reminder that it’s not enough to stand against something; you have to also know what you’re standing for.
Watch Land of the Blind on Hoopla here: https://www.hoopladigital.com/title/14779187
Saturday Matinee: Dragons Forever
By Chrichton
Source: Chrichton’s World
If the majority of the Peking Opera School brothers are involved then you just know it is going to be good. Next to usual suspects Jackie Chan, Sammo Hung and Yuen Biao Yuen Wah (on screen) and Corey Yuen (off screen) are brought into the mix to deliver this martial arts gem. The combination of action and comedy is nothing new to these guys. But romance? That one surprised me because that is not something they do often. And even when it borders to the more sentimental and cheesy kind I could appreciate it since most of it seemed sincere and convincing.
But there are other little surprises that makes Dragons Forever a lot of fun. The first one that sticks out is Yuen Biao’s character Timothy Tung. Timothy is not quite right in the head. No real explanation is given other than that even friend Jackie Lung is surprised by his insanity. When Jackie visits his friend he is met with a lot of hostility. At first he thinks it’s because he doesn’t recognize him. But even when saying who he is and showing his face up close Timothy still has trouble recognizing him. It’s so weirdly disturbing that it becomes hilarious. Especially since throughout the film he seems to be living in his own little world and his friend Jackie just leaves him be. Dismissing his behaviour as quirky and lovable. For example his Goldfish don’t live in aquariums but in tubes placed all over in his home. Actually it looked really cool. It did look like the fish were enjoying themselves. The other surprise is Jackie as a ladies man. I remember him playing a character like this in City Hunter but prior to this I had never actually seen him coming on to women in this fashion. Because usually he plays the straight and righteous guy who rarely crosses the line and in this film he has no trouble being unethical or hiring his friends to do some spying on the plaintiff. Even going so far in allowing friend Luke Wong (Sammo Hung) to seduce the plaintiff and he himself to become more than amicable with the plaintiff’s niece who also is a witness in the court case. This is where the romantic elements come in. Surprisingly these elements gave this film an edge. That and the tone change in the third act. Up until that time Dragons Forever is pretty light and comedic. But then things become real serious and super dark. In most films tone changes like this don’t work. But here they do since in the first two acts you have gotten to know the main characters and that despite their silly antics they do have their hearts in the right place.
On top of that the action is top notch. Mostly combat based and the kind I really like and enjoy. It’s beautifully choreographed and exciting. The fights between the three dragons also are delightful since they seemed to be having a lot of fun beating each other up. What I really liked was how this action was blended with the comedy and romantic elements. The film flowed incredibly well and not once did I think that any of the elements fell out of place. Even when it became super dark at the end. But I think we got Sammo Hung and Corey Yuen to thank for that since they both directed this film.
I don’t think I am the type who uses this term very quickly but when I do you can be sure that I mean it wholeheartedly. Dragons Forever is a masterpiece. If you never have seen this film you owe it to yourself to do so. It is easily one of the best films in the genre.
Saturday Matinee: Natural Born Killers
By Richard Propes
Source: The Independent Critic
Is “Natural Born Killers” an indictment of our current society that is so completely fascinated with crime, criminals and everything that waxes dramatic? Or, is it simply a glossy, stylized romp through random acts of violence?
Oliver Stone’s “Natural Born Killers” takes the life of two of society’s rejects, Mickey and Mallory, and allows them to fall in love and embark on a nationwide killing spree that becomes fodder for the press, an obsession for law enforcement and, ultimately, they become folk heroes to the common man across America.
The film, which on the surface appears to be incredibly and over-the-top violent, is actually far less violent than many films with a lesser rating. While we see shootings and killings, the vision is seldom graphic in nature. These events are much more about attitude and atmosphere than they are the violence itself.
The word “intoxication” is the word I think of most when I think of the film “Natural Born Killers.” Mickey (Woody Harrelson) and Mallory (Juliette Lewis) become intoxicated by killing and the fame it brings…Reporter Wayne Gale (Robert Downey, Jr.) becomes intoxicated by the story, the ratings, the spotlight…Warden McClusky (Tommy Lee Jones) is intoxicated by his power and justice.
The script, by Stone and Quentin Tarantino, vividly brings to life this intoxication in scenes that often resemble television shows and other times take on such a psychedelic feeling that it almost feels like we’re in the middle of one of those lava lamps where you look through the hole and you see different visions every time you look in it.
“Natural Born Killers”, for me, is a visionary film because it sees the truth of our society and where we are headed. We are living in a world where celebrity allows you to get away with most anything, such as in the O.J. Simpson trial, and where even the most heinous criminal becomes an overnight celebrity. In “Natural Born Killers,” Stone and Tarantino are, to me, clearly saying that we can’t just blame the criminals for the deterioration of our society…it’s all of us who buy into the drama, the glamour and the excitement that allows the cycle to perpetuate.
Stellar performances, a powerful, insightful script, groundbreaking camerawork and the unique vision of Oliver Stone combine to make “Natural Born Killers” a bold, visionary film that may shock, may offend, may alienate…but, in the end, it is a film you will remember.
Watch Natural Born Killers on Hoopla here: https://www.hoopladigital.com/title/14507250
Saturday Matinee: Din of Celestial Birds
By Jason Hoffman
Source: The Third Eye
Din of Celestial Birds (2006) A film by E. Elias Merhige. Black and white, sound, 16mm, 14 mins.
American filmmaker E. Elias Merhige’s experimental film Din of Celestial Birds (2006) is the second part of an as yet unfinished trilogy of films, the first part being his bold and visionary debut feature Begotten. Most people coming to Din of Celestial Birds will have watched Begotten and are presumably expecting more of the gruesome and haunting imagery that distinguished the style of that feature, however as the movie begins, we are reassured to “Not be afraid … Be comforted … Remember … Our origin…”.
“A transcendental meditation on creation and consciousness”
I came away from the film thinking of it as Begotten enacted on a microscopic scale: a depiction of the divine mystery of creation through an exploration of processes prior to it, but where Begotten did so as a metaphorical psychodrama, Din of Celestial Birds does this as if a nature documentary of life, in a style reminiscent of Man Ray and other Surrealists.
The opening credits actually attribute the film to Q6, a collective consisting of a visual philosopher (whatever that is), a computational visual neuroscientist, a multi-media performance artist, a composer, and a sculptor; all of whom Merhige collected around him to produce the movie in a hands-on fashion employing techniques used by the work of cinema pioneers like the Lumiere brothers, Fritz Lang, and Jean Cocteau, in addition to software and technology created specifically for the film.
Though Din of Celestial Birds arguably ploughs the same furrow as its conceptual predecessor, the film is nevertheless testament to a unique artistic vision, exploring representations of the fringes of consciousness by challenging the limits of cinema.
After the Crash 