“Against All Odds” (1984)

Terry Brogan, portrayed by Oscar winner, Jeff Bridges (Crazy Heart), is a wide receiver for the L.A. Outlaws. He suffers a shoulder injury, which leads to him being cut from the team. Unfortunately for Terry, while his athletic prowess on the football field made him a star, his financial decisions were less than stellar. After he contacts his lawyer, Steve Kirsch (Saul Rubinek), and doesn’t get the assistance he needs, there is one other person Terry can reach out to for help. (As an aside: Jeff Bridges modeled his character on Bob Chandler, who was a Hall of Fame wide receiver for the Buffalo Bills from 1971 through 1979, and the Oakland Raiders from 1980 through 1982).                   

The friend Terry seeks help from is Jake Wise, who is played by two time Oscar nominee and two time Emmy winner, James Woods (Salvador). Wise gives Terry the task of tracking down his girlfriend, Jessie Wyler. The character is played by three time Golden Globe nominee, Rachel Ward (The Thorn Birds). A viewer should get a sense that there is more than friendship that exists between Terry and Jake. The glorified bookie, and owner of the nightclub Jake’s Place, has something on Terry. At that point in the film, it is not revealed to the viewer what it is, but one thing seems certain, Terry must take the job. Adding intrigue to the situation, is that Jessie is the daughter of L.A. Outlaw owner, Mrs. Wyler (Jane Greer).

Terry locates Jessie in Mexico. Instead of contacting Jake, and letting him know where she is, Terry develops a strong attraction to Jessie. The feeling is mutual. The two embark on a romantic affair, filled with lazy days at the beach, and long nights of pleasure. The new couple’s fantasy existence is brought back to reality with the arrival of Hank Sully (Alex Karras). He is one of Terry’s former coaches on The Outlaws. Prior to his tracking Terry and Jessie to their location, Sully had been a friend and ally to Terry. During a melee, in which Sully has a gun, and is coming after the couple, Jessie flees. The confrontation between Terry and Sully leads to Sully being killed, which sets up the second half of the film.

Will Terry not only lose Jessie, but also his freedom? Where does Jessie run to? What information does Jake have on Terry? Is the owner of the L.A. Outlaws concerned with more than merely winning football games? All of those questions and more will be answered by the film’s conclusion. 

Additional cast members include, amongst others: Golden Globe winner, Richard Widmark (Judgment at Nuremberg), as Ben Caxton, an advisor to Mrs. Wyler. Emmy nominee, Dorian Harewood (Hank Aaron: Chasing the Dream), plays Tommy, Jake’s omnipresent assistant. Also, Emmy winner, Swoosie Kurtz (Carol & Company), appears as Edie. She is Terry’s lawyer’s secretary, who winds up becoming more valuable to him than his legal advisor.   

The film was directed by Oscar and two time Grammy winner, Taylor Hackford (Ray). Erich Hughes (White Nights), wrote the screenplay, based, in part, on a screenplay written by Daniel Mainwaring for the 1947 film “Out of the Past.” The film is comprised of six different genres: action, adventure, crime, drama, romance, and thriller, and has a runtime of 128 minutes. It was released on March 2, 1984 to American theaters. Music for the film was composed by four time Grammy winner, Larry Carlton (Take Your Pick), and Golden Globe and three time Grammy nominee, Michel Colombier (The Golden Child). The theme song for the movie “Against All Odds (Take a Look at Me Now”) was the first number one single in America for eight time Grammy winner, Phil Collins. (As an aside: Mainwaring adapted his 1946 novel “Build My Gallows High,” for the screenplay he wrote for the film “Out of the Past”).  

“Against All Odds” is a well executed movie, in the noir tradition. Bridges, Ward, and Woods are excellent and believable in their respective roles. For that matter, the entire cast is competent. Overall it is an entertaining film, that should hold the interest of viewers, especially those of you, who are fans of the leads. As of the writing of this post the movie is streaming on Netflix.                                                                                                                         

“Rear Window” (1954)

In the film “Rear Window,” top tier photographer L.B. Jefferies is portrayed by Oscar winner, Jimmy Stewart (The Philadelphia Story). His character has a broken leg. As the viewer learns at the start of the film, Jefferies has been confined to a wheelchair, in his apartment, for the past six weeks. He’s trapped with nothing to do, nothing that is, except gaze out at his neighbors in the apartment complex across the way.   

On a daily basis, Jeffries, or ‘Jeff,’ (which is what his friends call him), has two people who spend time with him. One is his sharp witted, but caring nurse Stella, played by six time Oscar nominee, Thelma Ritter (Pillow Talk). She provides the comic relief in the film. The other is his love interest, the optimistic socialite, Lisa Fremont, a role acted by Oscar winner, Grace Kelly (The Country Girl). She is very keen to turn her relationship with Jeff into a marriage. Stewart’s character, however, makes an assortment of excuses as to why marriage would never work for them. He’s normally a man of action, who travels the world and packs lightly, is frequently in danger, eats whatever local cuisine is available, no matter how disgusting it might look, and has to go stretches of time without showering, as well as, getting very little sleep. He implores Lisa to realize that the life he lives, compared to the crowd she normally socializes with, would not be something that she would enjoy.   

The weeks of boredom pass for Jeff. The voyeuristic pursuits he engages in, by spying on the apartment complex across the way, yields him information regarding those whom he watches. He takes to giving names to the people in the building based on their behavior. There is Judith Evelyn, who portrays Miss Lonelyhearts. She is a woman who goes through all of the motions of preparing a romantic dinner, replete with table settings, wine, and conversation that she shares with her non-existent suitor. Miss Torso (Georgine Darcy) also throws parties, but hers are attended by several different men, all of whom are vying for her affections. Sara Berner and Frank Cady are cast in the roles of a married couple who take to sleeping on the fire escape to try to stay cool during the stifling heat that has taken hold of the city. Rand Harper and Havis Davenport are a newly married couple whose blinds are quickly drawn after they move into their new apartment. Each time the husband sticks his head out for a breath of air, he is called back to the marital bed by his new bride. In addition, there is the musical composer, acted by Ross Bagdasarian, who, based on his actions, is discontented with the way his career is progressing. Lastly, but of central importance to the story, is two time Emmy winner, Raymond Burr’s (Perry Mason) character of Lars Thorwald. He is married to a woman that spends all day in bed and makes his life difficult with her constant nagging. One day, she is viewed no more by the ever prying eyes of Jeff. He comes to the conclusion that Thorwald has murdered her. His reasoning behind that mindset is based on the clues he has pieced together. Mrs. Thorwald is no longer present in the apartment. Jeff spots Thorwald with a knife and a saw. He witnesses him making three early morning trips out of his apartment, carrying his metallic suitcase, the contents of which are left to the imagination of both Jeff and the viewer. Then, there’s a spot that Thorwald has recently dug in the garden of the courtyard that becomes of interest to a small dog owned by the people who sleep on the fire escape.

Jeff calls his friend on the police force, an old army pal of his, Detective Doyle, played by Wendell Corey (The Search). After listening to what Jeff has to say about what has been transpiring, he is dismissive of Jeff’s accusations. When he does conduct an investigation into the validity of Jeff’s claims it leads nowhere. There are two witnesses who claim to have seen Thorwald leaving the apartment complex with his wife, in order to take her to the train station. One of the witnesses is the building superintendant. Doyle also tells Jeff that a trunk, which Thorwald had two moving men pick up, was searched when it arrived at its destination and contained nothing but Mrs. Thorwald’s clothing and that Mrs. Thorwald eventually showed up to retrieve it. None of those revelations deter Jeff for a minute. He truly suspects murder has been committed. Jeff is going to hold on to the validity of his suspicions until the end. His perseverance sets up the second half of the film.

One of the brilliant aspects of the movie is that even though, we as viewers, get to see everything that Jeff sees, we still can’t be certain that a crime has been committed. The presentation is done in a manner that, at least initially, makes one wonder if Jeff’s imagination is over-active due to his being confined to his apartment. Is he merely projecting onto Raymond Burr’s character of Thorwald what he wants to be taking place rather than reality? Jeff is joined on his mission to validate his suspicions by Stella and Lisa. They take active roles in an attempt to help Jeff solve the mystery, including what could be a very dangerous move by Lisa.

The suspenseful, “Rear Window,” was directed by BAFTA winner, and five time Oscar nominee, the iconic, Alfred Hitchcock (Vertigo). Written for the screen by two time Oscar nominee, John Michael Hayes, (Peyton Place), it was based on a short story by Cornell Woolrich, (Original Sin). Parts mystery and thriller, the movie has a runtime of 112 minutes. The film premiered on August 1, 1954 in New York, New York. In 1998, there was a remake of the film, which starred BAFTA winner, Christopher Reeve (Superman); Daryl Hannah (Kill Bill); and Oscar nominee, Robert Foster (Jackie Brown).

Trivia buffs take note: With the exception of his usual cameo appearance, where he is winding a clock in the apartment of the composer, Hitchcock directed only from Jeff’s apartment. In order to communicate with the other members of the cast, the director had them wear earpieces so that he could radio instructions to them as to what he wanted them to do in a particular scene. John Michael Hayes based the character Grace Kelly played on his wife, Lisa, who had been a fashion model. The 35mm camera that Jimmy Stewart used in the movie was a 1950’s Exakta VX. The apartment complex that Jeff looks at for most of the film was all built on a single set. At the time of production, it was the largest indoor set that had ever been built at Paramount Studios. 

Will Lisa be caught? Has Thorwald really committed murder? What did he do with his wife’s body if he did kill her? Will Jeff be proven right that foul play has taken place? All of those questions and more will be answered if you take the time to view this classic. The American Film Institute has honored the movie on two separate occasions: once in 2007, as number forty-eight on their list of the one hundred greatest films of all time; and again in 2008 as number three on their list of the top ten greatest films in the genre of mystery.                                                                                                                                                                                                                                                                                                                                           

“Moneyball” (2011)

With the baseball season in full swing, no pun intended, I decided to re-watch the 2011 film, “Moneyball.” To those who are unaware that it is a true story, the movie might appear to be just another clichéd underdog sports movie. It is in fact, not, however, the type of film that has been produced ad nauseam, where a group of players, (who no one believes in), bands together to buck the odds and win the championship of whatever particular sport the movie deals with. Whether a fictional story or  loosely based on a true story, I’ve seen those sorts of movies. I will wholeheartedly admit that on occasion, I have loved them, “Miracle” (2004) immediately comes to mind, but that is not the sort of story “Moneyball” centers on. Instead of providing excitement through clichéd victory, it is a factually based portrait of the cold and calculating business side of the game of baseball.  

Directed by two time Oscar nominee, Bennett Miller, (Foxcatcher), “Moneyball” is the story of the 2002 Oakland Athletics baseball team which ascended to notoriety because of its low payroll and unorthodox player selection. The 133 minute film premiered on September 9, 2011, at the Toronto International Film Festival. Oscar winner, Steven Zaillian (Schindler’s List), and six time Emmy winner, Aaron Sorkin (The West Wing), co-wrote an emotionally satisfying and sharp screenplay, adapted from Michael Lewis’s bestselling book “Moneyball: The Art of Winning an Unfair Game.” The film’s narrative flow centers mainly on Oakland’s general manager Billy Beane, a former can’t-miss prospect, who had a lackluster career in the major leagues. He is portrayed by two time Oscar winner, the charismatic and talented Brad Pitt (Once Upon a Time…in Hollywood), who fuels the film for several reasons. Firstly, he conveys the emotional turmoil that is simmering under the surface of his character. Secondly, the way Pitt was able to display to the viewer, through his eyes, the catharsis that his character is dealing with during moments of self reflection that have to do with frustration, pain and the what if questions of life.

The catalyst which kicks off the plot of “Moneyball” is game five of the 2001 American League Division Series. The often times hated, (with the obvious exception of their fan base), New York Yankees have eliminated the Oakland A’s from advancing to the American League Championship series. To add insult to injury, Oakland’s general manager, Billy Beane, knows that was his last shot to win the World Series with his three marquee players that he will be losing to free agency due to his team’s budget constraints. First baseman Jason Giambi signed with the Yankees, centerfielder Johnny Damon went on to become one of the key players to help the Boston Red Sox end the so-called Curse of the Bambino in 2004, and relief pitcher Jason Isringhausen was a free agent and signed with the St. Louis Cardinals.

Rebuilding time had come to Oakland, albeit rebuilding with a meager payroll, when compared to the big market teams and their financial resources. Beane decides to approach the problem in a radical way that is put forth by his new assistant general manager, Peter Brand played by two time Oscar nominee, Jonah Hill (The Wolf of Wall Street). Brand is a timid, Yale educated, economically minded person. He is a proponent of Sabermetrics, a concept put forth and coined by baseball historian, statistician, and writer, Bill James. In 2006, James was named by Time magazine as one of the 100 hundred most influential people in the world. Sabermetrics, to bring the concept down to its bare basics, uses statistical information to analyze a player’s performance, in regard to the player’s contribution to the team, instead of individual statistics like batting average, or how many errors they make. Furthermore, Sabermetrics also takes into account with its analysis the entire team’s offensive output in terms of runs, not merely the team’s batting average. James himself has said that sabermetrics is the “the search for objective knowledge about baseball.” (As an aside, in this blogger’s opinion, Jonah Hill asserts himself in the role of Brand as an actor whose range far exceeds many of his previous roles, up until that point, in the raunchy comedies that he was known for). 

At wits end, due to an ownership that won’t spend money for talent, Pitt’s character adopts the sabermetrics system. Beane and Brand go about plugging the Oakland lineup with players that are unwanted or undervalued by other teams. Naturally, Beane is met with harsh criticism and opposition from most people involved with the organization. One of the opponents to the A’s new system is the then Oakland manager, Art Howe, a role acted by Oscar winner, Philip Seymour Hoffman (Capote). Howe is a weary looking man, who comes across as both standoffish and stubborn. He does not embrace the new system. Instead, he opts to stick to managing the team based on his baseball instincts. It is not until Beane removes all of the players Howe is defiantly sticking with, that he is forced to abandon instincts, and activate the players that were brought on board based on Brand’s sabermetrics analysis.                                                                                          

Trivia buffs take note, the character Jonah Hill is portraying is actually that of Paul DePodesta, who was Billy Beane’s assistant, but did not wish to have his real name used in the film. In addition, during the 2002 season, The Oakland A’s did set the new American League record for consecutive wins with twenty straight victories. The all time major league baseball record for consecutive wins is twenty-six held by the 1916 New York Giants (San Francisco Giants since 1958).“Moneyball” was nominated for six Oscars at the 84^th annual Academy Awards, including best picture, making it the first baseball themed movie to be considered for that prestigious award since “Field of Dreams” was nominated twenty-two years earlier. Sadly, no one involved with the film walked away with a golden statuette. 

Additional cast members include, amongst others: Golden Globe winner, Robin Wright (House of Cards); and Chris Pratt (Guardians of the Galaxy). I recommend it to those of you who are fans of America’s pastime. Furthermore, non-baseball fans should be able to appreciate the film’s emotion, strong character driven performances, and intelligence. As of the writing of this post, “Moneyball”  is currently streaming on Netflix.

                                                                    

 

“Late Night with the Devil” (2023)

In the interest of full disclosure, I have not been a proponent of found footage films for many years now. From the intentional shaky camera work, subpar lighting, often laughable acting, and nonsensical plots, they have been one of my least favorite genres of film. “Late Night with the Devil” written and directed by Cameron and Colin Cairnes, is the antithesis of all that I normally grumble about, when it comes to found footage movies. The casting of the actors, and their performances were excellent. The pacing of the film, set decoration, lighting, soundtrack, and wardrobe were all spot on. The plot made sense. It convinced me, through a short, but necessary exposition at the beginning of the movie, that the main character would make the decisions he ultimately does, regardless of the consequences. Everything about the film connected in a seemingly flawless manner. (As an aside, the introduction to the movie is narrated by Michael Ironside (Scanners).

At the start of “Late Night with the Devil” it is revealed to the viewer that Jack Delroy (David Dastmalchian), the host of The Night Owls with Jack Delroy, is in a competition with perennial, late night ratings leader, Johnny Carson. The charismatic Delroy comes across as both amiable and humorous. He has come close to claiming the top spot, but has never been able to unseat Carson. Tragedy has also struck Delroy’s life, with the passing of his wife Madeleine (Georgina Haig) from cancer. Delroy has one last chance to prove his show is a winner, and deserves the top spot. Everything is riding on the show’s Halloween episode, which starts on the Monday of Sweeps Week. Delroy’s guests will include: Renowned psychic, Christou (Fayssal Bazzi); psychic debunker, Carmichael Haig (Ian Bliss), who will pay $100,000, to anyone who can prove that they have genuine psychic abilities; paranormal psychiatrist and author of “Conversations with the Devil”; Dr. June-Ross Mitchell (Laura Gordon); and Lilly (Ingrid Torelli), the teenage girl under her care. Lilly is no ordinary teenager. She was born, and lived among satanic worshipers, headed by Szander D’Abo (Steve Mouzakis). When the FBI raided the house used by the worshipers, D’Abo instructed his followers to kill themselves by setting the house on fire. Lilly was the only survivor. Furthermore, Lilly is believed to be possessed by a demon, that she refers to as Mr. Wriggles.

The Halloween broadcast begins on a light note. There are some tame jokes, a bit of good natured banter between Jack, and his sidekick, Gus (Rhys Auteri), before the first guest, Christou, comes out to wow the audience with his psychic abilities. From that moment forward, however, the evening starts to take a dark turn. Things don’t happen immediately, instead, the filmmakers allow the tension to build. As a viewer, I was wondering when the supernatural would present itself? 

For those viewers who are wondering if the possession scene is the entirety of the film’s horror and supernatural presence, it is not. In terms of what else there is, I won’t spoil it for those of you who haven’t seen the film, but would like to. Off camera, during a commercial break, Dr. Mitchell confides in Delroy, that she doesn’t think that it is a good idea to attempt to evoke the demon to come out of Lilly. Dr. Mitchell insists that Lilly’s hands be restrained to the chair. Delroy can’t risk not having Dr. Mitchell try to bring forth the demon she claims possesses Lilly. He has promised the audience and the viewers watching at home, that the broadcast was going to be like nothing they had ever seen. He also has the single minded purpose of beating Carson, no matter what needs to be done. Will Delroy’s – do whatever it takes to be number one in the ratings – become a decision that he regrets?  

Trivia buffs take note: The character of Carmichael Haig is based on James Randi, who was a Canadian-American author, scientific skeptic, and magician. He was the co-founder of both the Committee for Skeptical Inquiry, and The James Randi Educational Foundation. Randi’s mission was to debunk anyone who claimed to be a psychic. Randi’s institute, by 1996, was offering a million dollars to any person, who could prove that they had special psychic ability. No person, that held themselves out to be a psychic was ever able to win the money. The reason the film is set in 1977, pertains to the talk show plot, being centered during Sweeps Week. 1977 was the only year in the 1970s, that Halloween was on a Monday. Szander D’Abo is based on real life, Church of Satan founder, Anton Lavey.  

The film premiered at the South by Southwest Film Festival  on March 10, 2023. There is no discernible filler in the movie – every frame was utilized to advance the narrative. Each of the characters, for that matter, were well defined, and served a purpose. Thanks to an outstanding lead in Dastmalchian, as well as wonderful performances from Bliss, Gordon, and Torelli, and a plot that borrows from other horror classics, but does not copy them, “Late Night with the Devil” will more than likely, one day, be spoken about in the same breath as other beloved films of the genre.                                                           

“Road Games” (1981)

While recently watching Oscar winning director, Steven Spielberg’s, (Saving Private Ryan), 1971 film, “Duel,” I began to think about another film that involved a truck driver, and the vastness of the open highway, “Road Games.” Directed by Richard Franklin, (Hotel Sorrento) the engaging, stylish, parts drama and thriller movie was released on June 26, 1981, in Australia. Written for the screen by Everett De Roche, (Storm Warning) it is based on an original story that he co-wrote with the director. The 101 minute film has often been compared to BAFTA winner, and five time Oscar nominee, Alfred Hitchcock’s “Rear Window.”

Franklin gave De Roche a copy of the screenplay for “Rear Window,” while they were working on another project together. After he read the script, De Roche made the suggestion to the director that the scenario contained within “Rear Window,” would make for a terrifically similar suspense film on the open roads of the Australian outback. While the film is certainly a derivative of the 1954 classic, it is not in any way a blatant rip-off, and does veer off into other cinematic territory.

Golden Globe winner, Stacy Keach (Hemmingway), gives an effective performance playing Quid. He is an American working as a truck driver, who transports meat to different locations in Australia. Along for the ride, is his dingo, Boswell, who keeps him company. Quid talks to himself a great deal. He comments on his fellow travelers, usually in a humorous manner, as a way to help pass the time. (As an aside, the actor had to learn how to drive a 16-gear semi truck for the role).

Quid stops off at a hotel to get some rest. He is turned away, thanks to a man driving a green van who manages to get the last vacant room. The man is accompanied by a young female hitchhiker, that Quid had seen earlier, but had not stopped to pick up. Quid opts to not drive further that evening. It is revealed to the viewer, from a conversation he has on his CB radio with his dispatch operator, that Quid has been up for two days straight. He stays parked outside the hotel, and sleeps inside the cab of the truck.

Quid wakes at 5:00A.M., and lets out his dingo, who wanders over to some garbage bags. The dingo starts pawing at one bag in particular. At the same time, Quid spots the man from the green van watching the garbage bags from his hotel window, as the garbage truck makes its way down the street. Quid becomes suspicious of the individual. He will grow even more so, thanks to reports on the news about the murders of several young women, that are happening along the route, both he and the man in the green van are traveling. Portrayed by Grant Page, (Mad Max) the man, who Quid refers to as ‘Smith or Jones,’ and his green van, will play a recurring role throughout the remainder of the film’s runtime. (As an aside, the filmmakers originally wanted to cast BAFTA and Oscar winner, Sean Connery (The Name of the Rose) as Quid, but budgetary restraints precluded them from being able to hire him).  

Along the way, Quid picks up Pamela Rushworth. The character is portrayed by Oscar winner, Jamie Lee Curtis (Everything Everywhere All at Once). He nicknames her ‘Hitch.’ While the free-spirited Pamela is a likable character, the duration of her screen time is brief. During the time that she does appear, a relationship starts to form between her and Quid. No sooner does he start to have feelings for ‘Hitch’, it appears that she has been abducted by ‘Smith or Jones.’ (As an aside, Jamie Lee Curtis was not originally cast to play Hitch. Australian actress, Lisa Peers was given the role, but AVCO Embassy pictures, who had invested a half million dollars in the film, pushed for an American actress to play opposite Keach). 

Initially, Quid is panicked at the prospect that Smith or Jones is the killer, and what he might do to Hitch. Certain clues lead him to think that perhaps Pamela is interested in being with the man in the green van. The is she or isn’t she in trouble question, sets up an interesting dilemma for Quid, as he pursues Smith or Jones on the open road. 

Marian Edward, (The Wild Duck) provides a bit of comic relief, as Madeline ‘Frita’ Day. Credit must also be given to the excellent work done by cinematographer Vincent Monton (Thirst). The budget for the film was approximately 1.75 million dollars, which at the time made history for being the most expensive Australian film ever produced. (As an aside, two time Oscar winner, Quentin Tarantino (Pulp Fiction), considers “Road Games” his favorite Australian film).  

Has Hitch been kidnapped by the man in the green van? Is he the killer the news has been talking about? Are Quid’s feelings justified toward Smith or Jones? Has Quid become paranoid from too much time alone on the road? All of those questions and more will be answered by the film’s conclusion.

The filmmakers opted for restraint with this movie. I appreciated the clever way the story was presented, as well as the utilization of suspense. Excessive blood, violence, and shock value scenes would have only served to diminish the quality of this particular movie. Franklin implies a great deal, but he also leaves many things to the viewer’s imagination as to what is not being shown on screen. I recommend this for fans of well done suspense films. As of the writing of this post “Road Games” is streaming on Peacock.                                                                                                                                                                                                       

          

                                                                                                                                                

“Cherish” (2002)

For the seven seasons that the crime, drama, and mystery series “The Mentalist” aired on CBS (Columbia Broadcasting System), I thoroughly enjoyed watching it. I rooted for the series’ main protagonist, Patrick Jane, portrayed by Emmy and two time Golden Globe nominee, Simon Baker (Breath), as he hunted down the malicious serial killer who murdered his wife and daughter – a man who was known only as “Red John.” At the outset of the series, Jane began working as a consultant for a branch of California law enforcement known as the CBI. The unit Patrick joined was the one which was originally assigned to the case of his murdered family members. Through the years, he becomes close to his CBI boss, Agent Teresa Lisbon, a role acquitted excellently by actress Robin Tunney (The Craft). When I saw that the film “Cherish” was going to be on the Sundance Channel, and that Tunney was the lead, I decided to watch it.

Tunney’s character Zoe is a music loving, socially awkward, computer graphics animator. She is unlucky in love. While at work, Zoe overhears her co-workers making plans to get together later that evening. There is even a flyer that has circulated around the office that contains the information as to the where, and what time, the get together is being held. Wanting to join in, she approaches Brynn, (Liz Phair) her boss, and inquires about the event. She is informed that it is an invite only get together. Brynn shreds the flyer with the information for the whereabouts of the event right in front of Zoe. Not to be deterred, Zoe removes the shredded paper from the garbage can, and pieces it back together. She is desperate to attend because Andrew, played by two time Golden Globe nominee, Jason Priestley (Beverly Hills, 90210), her office crush will be there.

At the bar, Andrew seeks Zoe out to talk with her, much to the disappointment of Brynn, and some of the other female co-workers. After a night where Zoe imbibes one too many drinks, he offers her a ride home, which she accepts. Zoe excuses herself to go to her car to get her cell phone. Inside her car, as Zoe reaches for her phone, a man, who has been obsessively stalking her, forces her to start up the engine and drive. While waiting at a red light, Zoe attempts to get the attention of a police officer. She manages to do so with her facial gestures, but when she informs her would be kidnapper that the cop is ordering her to pull over, he puts his foot on Zoe’s foot while it is on the gas. In the process she kills the officer, and crashes the car.     

Zoe is arrested for vehicular homicide, and is found to be driving with a blood alcohol level that is twice the legal limit; a fact which garners the ire of the cops, who want to make her pay for taking the life of one of their own. The man whose actions actually caused the death of the police officer, and the subsequent crash, that landed Zoe in serious trouble, is nowhere to be found. There is no evidence to suggest the would be kidnapper was ever in her car in the first place. No one believes Zoe’s story. To make matters worse, she has a prior DWI, which she received in college. Fortunately for Zoe, her lawyer,  a role acted by Saturday Night Live alum Nora Dunn, manages to get Zoe placed under house arrest, in order to delay the trial as long as possible. She will have to wear an electronic ankle bracelet, and will be restricted to the loft her lawyer has arranged for her to live in. The loft totally lacks in amenities, and is also in an undesirable neighborhood.  

During her house arrest Zoe spends her time roller skating around the floor, blasting music, and watching television. She also makes phone calls in an attempt to get some company to come over and visit her. Zoe eventually befriends her downstairs neighbor, Max (Ricardo Gil). The only problem is Max is disabled, and can’t walk up the stairs to spend time with her. The only other company she receives, besides the neighborhood delivery boy, is Daly, played by Grammy award winner, Tim Blake Nelson (O Brother, Where Art Thou?). Nelson’s character is a technician. He is as socially inept and as lonely in his own private life as Zoe. Daly periodically stops by to make sure that her ankle bracelet has not been tampered with. As much as he attempts to keep things professional, he can’t help but fall in love with Zoe.  

The relationship that’s built up over time between the two, as well as his unspoken love for her, is what leads to her receiving a small window of freedom. Nelson’s character, against his better judgment, manipulates the computer system that monitors the ankle bracelets, and takes the supreme risk of Zoe just taking off, to avoid facing her upcoming trial. He knows, as does she, that if found guilty, she could be facing as much as twenty years to life.

Will Zoe flee and leave Daly to face the consequences of not only losing his job, but receiving his own prison sentence? Does she have enough time to gather evidence against the person she feels has ruined her life by framing her? Is the stalker still watching her, waiting for his opportunity to finish what he started? Those questions will be answered by the film’s conclusion.

Written and directed by Finn Taylor, (Dream with the Fishes) “Cherish” premiered at the Sundance Film Festival on January 14, 2002. The movie is parts comedy, drama, and thriller, and has a runtime of ninety-nine minutes. The acting is excellent, especially Tunney, and Tim Blake Nelson. In addition, the movie features a diverse soundtrack, loaded with hit songs, spanning from 1959 through the 1980s. Furthermore, there are three songs by Noe Venable, who is an experimental pop and folk singer, who has a loyal fan base in her native San Francisco, where the film takes place. If you are fans of either of the leads, then you’ll probably find it worth your time to watch it once.                                                                                                      

                                                                                                              

“The Day of the Jackal” (1973)

August of 1962: French President, Charles de Gaulle (1959-1969), has given independence to Algeria. The action is something which has upset a paramilitary organization known as the OAS (Organisation de l’Armee Secrete). As an act of revenge, the group seeks to assassinate the French leader. As depicted in the opening scene of the film, after a failed attempt by members of the OAS to kill de Gaulle, (Adrien Cayla-Legrand), a three month search is conducted by the top leaders of the OAS to find a professional contract killer. The reason for this, is not only because they haven’t been able to get the job done themselves, but the top commanders are fearful that there are intelligence leaks within the organization. 

Enter the Jackal, portrayed in a convincing manner by three time BAFTA winner, Edward Fox (A Bridge Too Far). He is a well groomed, and properly attired Englishman. The viewer never learns the Jackal’s real identity. In fact, there is no back story given for the character. While watching the Jackal do his work, as viewers, we come to find out how intelligent and resourceful, as well as, ruthless he is.  

There are two requirements that must be adhered to, before the Jackal is willing to accept the job: The sum of $500,000 must be paid to him. In addition, the OAS has to commit to absolute secrecy, in regard to the plans to assassinate de Gaulle. The leadership of the OAS agrees to the Jackal’s terms. In order to pay him his asking price, however, their members must first hold up banks, and ambush armored cars to obtain the money. The foot soldiers that carry out the directives are never told what the money is needed for. This is done as a precaution, in the event they are captured. After the OAS deposits $250,000 in the Jackal’s Swiss bank account, he begins his meticulous preparations. (As an aside, two time Oscar winner, Michael Caine, (The Cider House Rules), three time Oscar winner, Jack Nicholson, (As Good as it Gets), and Golden Globe winner, Roger Moore, (A View to a Kill), were all considered for the part of the Jackal. The filmmakers, however, wanted the role to be portrayed by someone that audiences didn’t already have a connection to). 

The OAS plans are learned by the French government. The movie would be rather dull, if it were an easy task for the Jackal to assassinate de Gaulle. From the moment the OAS plans are discovered, the plot begins to take shape on two levels. There are the Jackal’s painstaking preparations and advancement toward the fateful day when the assassination is to be carried out. Second, is the work being conducted by his polar opposite, the unwaveringly determined, Deputy Police Commissioner, Claude Lebel. The character is played by Michael Lonsdale, who received a BAFTA nomination for his work on the film. Lebel is appointed to the mission of hunting down the Jackal before the assassination can be carried out. At first, his character depicts to the viewer a prevailing sense of unease. Lebel feels that he is not up to the herculean challenge of capturing the illusive Jackal. As the search for the assassin gets more involved, Lebel’s character transforms into an aggressor, who begins to project confidence. When that happens, it sets up the remainder of the movie, in which a captivating game of cat and mouse between the Jackal and Lebel takes place. The Jackal always manages to stay one step ahead of his pursuer.

In addition to Fox and Lonsdale, the supporting cast members are all uniformly competent. In the event of a leak, and as a further safe guard, the OAS assigns a female operative, Denise, (Olga Georges Picot). Her fiancée was killed in Algeria. Denise’s assignment, is to get close to a high ranking government cabinet minister, in order to report on what actions the French government is taking to protect de Gaulle. This in turn will help to aid the Jackal. Cyril Cusack’s (Harold and Maude), character is a gun maker. He assembles the murder weapon for the Jackal, which is an unusual looking weapon. Two time Emmy winner, Derek Jacobi (Frasier), plays the part of Caron. He is Lebel’s dedicated, and indispensable right hand man. Furthermore, there is Scotland Yard investigator, Inspector Thomas, a role acted by BAFTA nominee, Tony Britton (The Nearly Man). He assists with the manhunt. BAFTA nominee, Delphine Seyrig, (The Discreet Charm of the Bourgeoisie), appears as Colette. She is a wealthy woman, who has had a sexual encounter with the Jackal, which may lead to her untimely death. Those are members of the rather large and talented cast that help to advance the narrative throughout the film.

“The Day of the Jackal,” is based on best-selling author Frederick Forsyth’s (The Dogs of War), 1971 suspense novel of the same name. Oscar winner Fred Zinnemann, (From Here to Eternity), directed the film. It was adapted for the screen by BAFTA nominee, Kenneth Ross (The Odessa File). After the first five minutes of the movie, there is no background score. Music can be heard from marching bands, and playing on the radio, but Zinnemann didn’t want a traditional score to distract the viewer. The sound effects that are heard, help to add a greater sense of realism to what is transpiring on screen. Cinematographer Jean Tournier (The Train), did an excellent job of capturing the European locations. The film premiered on May 16, 1973, in New York City. Parts crime, drama, and thriller, the movie has a runtime of 143 minutes.  

Will the OAS get their revenge using the Jackal as their instrument of execution? Does Lebel figure out the true identity of the ghost, who is haunting his every waking hour before it is too late? What circumstances lead to the Jackal’s eventual success, or Lebel’s thwarting of the assassination of de Gaulle? All of those questions and more will be answered while watching the well paced and compelling film.                                                                                                                                                                                                                                                                                                                                                            

“Hearts in Atlantis” (2001)

“Hearts in Atlantis” is shown via flashback from the perspective of Bobby Garfield, portrayed by two time Emmy nominee, David Morse (John Adams). He is a professional photographer who has returned home to Harwich, Connecticut, to attend the funeral of one of his best friends from childhood, John Sullivan (Will Rothhaar). Bobby begins to reflect back to the time of his eleventh birthday. He wanted a particular bicycle, that was on display in the window of a store in his town, but he couldn’t afford it. Instead, he spends the majority of his time with John, and his other best friend, the tomboyish, Carol Geber (Mika Boorem). In addition to being Bobby’s good friend, Carol is his first great love.    

When the film focuses on Bobby’s youth, the character is played by Anton Yelchin (Star Trek). Bobby is being raised by his widowed, working class mother Liz. The part of Liz is effectively acted by two time Golden Globe nominee, Hope Davis (Succession). She comes across as selfish; as she opts to spend money on an array of new dresses, as opposed to purchasing Bobby the bike for his birthday present. The only gift he receives, is an adult library card, that she picked up for him for free. The reason proffered by Liz for his not getting the bicycle – even though she spends money on herself – is that Bobby’s father was never able to pass up an inside straight, so he didn’t leave them any money. It is a story Bobby has apparently heard on numerous occasions. His attempt to gain further insight into who his father was is in vain. It is a subject which his mother refuses to broach.

Into Bobby’s and Liz’s life comes Ted Brautigan, a mysterious older gentleman. The character is poignantly portrayed by two time Oscar winner, Anthony Hopkins, (Silence of the Lambs). Unbeknownst to Bobby and Liz, Brautigan has extraordinary psychic abilities. He moves his belongings in paper bags, as opposed to luggage; much to the chagrin of Liz. Brautigan has come to rent the room in the upstairs portion of the Garfield home. Ted is friendly, attentive, and he enjoys spending time with Bobby. He imparts no information about who he is, and what he has done, throughout the course of his lifetime. Bobby takes an instant liking to him and during one of their earliest conversations, Ted offers Bobby a job. He will pay him $1 a week. It was a good deal of money to a child back in 1960, the time in which the film takes place. All Bobby needs do to earn the money is read Mr. Brautigan the newspapers, since his eyesight is not what it used to be. Bobby is also to keep watch for any ‘missing’ notices posted by the ‘low men,’ as Ted refers to them. They are a group of people, who are hunting Ted and haunt his thoughts whenever he thinks they are getting too close to capturing him. Bobby doesn’t particularly believe Ted, but when he sees the first strange sign, he rips it down out of fear of losing his new friend.      

Liz goes away on a business trip. She views the trip through the eyes of an idealist, who thinks that being asked to accompany the boss and several of her co-workers is a step toward advancing her career. She wants Bobby to stay at the Sullivan’s house, but they’re going out of town for John’s grandmother’s birthday. Ted agrees to watch him. The trip does not go as Liz planned. Making matters worse, Carol’s arm gets dislocated. Bobby takes her to Ted for help. When Liz comes through the door to find Carol lying on her back with her shirt undone, she immediately thinks the worst, which sets the stage for the remainder of the film.

Will Carol be able to persuade Liz that Ted was helping to mend her arm and not molesting her as she assumes? Will she not listen to Carol and decide to get the police involved, or worse yet the ‘low men’? Will the ‘low men’ catch up with Ted, thereby causing Bobby to lose his friend? Those questions and several more will be answered by the conclusion of the film’s runtime.

“Hearts in Atlantis” was directed by two time Oscar nominee, Scott Hicks (Shine). Two time Oscar winner, William Goldman, (Butch Cassidy and the Sundance Kid), wrote the screenplay, based on a book written by Stephen King. While the film is taken from King’s work, the story which it presents to the viewer was called “Low Men in Yellow Coats,” and is the first of five stories contained within the novel; however, the film takes its name from the second of the five stories in King’s book. Oscar nominee, Piotr Sobocinski (Three Colors: Red), cinematography does a more than competent job of showcasing the right look for the world in which the adult Bobby lives, as well as, the  nostalgic reminiscing that pertains to his youth. The film premiered on September 7, 2001 at the Toronto International Film Festival. Parts drama and mystery, the movie has a runtime of 101 minutes.

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Trivia buffs take note: King’s character of Ted Brautigan appears in the seventh book of the author’s epic series, “The Dark Tower.” In the novel, Ted’s powers are fully realized as he leads several characters into a closet, which transports them to another land. One of the characters compares the closet in “The Dark Tower” to C.S. Lewis’s magical wardrobe in “The Chronicles of Narnia.” Hope Davis and Anton Yelchin would again play mother and son in the 2007 film “Charlie Bartlett,” directed by Jon Poll. Jeremy Sumpter, who played J.D. McCoy on the NBC football themed drama “Friday Night Lights,” was originally in consideration to play the character of Bobby Garfield.

My one issue with the film is that it didn’t go into enough explanation as to who the ‘low men’ were and where they came from. All the viewer does learn, is that Ted is being sought out  by these men. They most likely want to exploit his psychic abilities, but for what specific purpose? Do they work for the federal government? Are they members of organized crime? Is Ted wanted by an organization not known to the public at large, or is it something else entirely? I read the book before I saw the movie, but for those who didn’t, and watch the film with no prior knowledge, I could understand the viewers enjoyment being a bit hampered by a lack of explanation.

Overall, I liked the film. The cast was good in their respective roles. I would recommend it for fans of Hopkins, Davis, and those who, like myself, eventually get around to reading or watching anything associated with Stephen King’s fiction. As of the writing of this post, the film can be rented on Amazon Prime, Apple TV, and other platforms.  

                                                                

                    

                                    

                                                                                                                                           

“Compliance” (2012)

“Compliance” originally premiered on January 21, 2012 at the Sundance Film Festival. It is an unsettling, thought provoking film, that regrettably, is based almost entirely on actual events. The well acted and excellently paced movie, that is parts crime, drama, and history, should hold a viewer’s attention from the first frame to the conclusion of its 90 minute runtime. Written and directed by two time Emmy nominee, Craig Zobel, (Mare of Easttown), the film is based on an event that transpired in 2004 at a McDonald’s restaurant in Mount Washington, Kentucky. Unfortunately, that particular incident was not an isolated one; seventy such separate similar incidents occurred from 1994 through 2004.  

The plot is not complex. Perhaps that is what enabled the real life individual, who perpetrated the crimes, to get away with his detrimental behavior for a long duration of time. Each incident, including the one depicted in the film, followed a pattern. A man pretending to be a member of law enforcement places a phone call to a fast food restaurant. In each instance, he would ask to speak to the manager. His reason for interrupting the normal course of business was that he needed assistance in helping to solve a crime. The victim was always a female employee, who the person on the other end of the phone line would ask to be removed from her work duties, and brought to a secure location.  

After the person is brought to a manager’s office or back room that is not frequented by other employees, the female ‘under suspicion’ was told that the police were on the phone. The innocent victim of the scenario in Zobel’s film is Becky. She is a teenage girl, who works at the fictional ‘Chickwich’ fast food restaurant, in Ohio. The character is portrayed, in a compelling performance by Dreama Walker (Gran Torino). While working at the register, Becky is asked to accompany her store manager, the already harried, Sandra, portrayed by BAFTA nominee, and Emmy winner, Ann Dowd (The Handmaid’s Tale), who gives a nuanced performance. Sandra’s thoughts are consumed by a shortage of bacon and pickle inventory, as well as, a potential visit from a secret shopper, who is a franchise quality control person. When Becky asks what is going on, she is informed by Sandra that a customer has complained to the police that she stole their money. The accusation is something which Becky emphatically denies. (As an aside: Oscar winner, Robin Williams (Dead Poets Society), starred in an episode of Law and Order: SVU, that was based on the same events). 

The role of Officer Daniels, as the man refers to himself, is embodied by actor Pat Healy (Killers of the Flower Moon). He is an individual who rarely raises his voice, other than to remind someone that he should be addressed as officer or sir. He asks Sandra to go ahead and have Becky empty her pockets. Daniels also instructs her to search Becky’s purse, but that is merely the beginning. The money is not found. Officer Daniels wants Sandra to have Becky remove her clothes to see if she has hidden the money elsewhere. At first Sandra is hesitant. Daniels, however, is able to persuade her to agree to carry out the mortifying act. Sandra is told by Daniels that if Becky cooperates, it will keep her out of jail. Furthermore, he wants Sandra to know that she will earn the adulation of her regional supervisor, Robert Gilmour (Matt Skibiak). According to Daniels, Gilmour is on the other line, and being given constant updates as to the status of what is taking place. Sandra abandons rational thought. She invites Marti (Ashlie Atkinson), a fellow employee, in to witness the event. Unbeknownst to Sandra, she too is being victimized by Daniels. After Becky’s clothes are removed, which  includes her taking off her bra and underwear, no money is found. Is that the end of Becky’s ordeal? (As an aside: When compared to the actual security camera footage that the film took its story from, Zobel refrained from embellishing the actual incidents that transpired. He had no reason to, considering the disturbing situations that occur as the film progresses).

At its center “Compliance,” asks the following question: How far would you go if you were in a similar situation? If you were Sandra, would you start complying with the requests of someone on a telephone line who informed you they were a police office? Would you ask for the officer’s badge number, or for the name of the station they work out of? Would you have enough common sense to realize that police officers don’t ask civilians to conduct strip searches? Conversely, if you were Becky, how far would you allow acts of humiliation to be performed against you before you said enough is enough? Would you have agreed to be strip searched, or would you have left the restaurant to go home, with the mind-set that if the police wanted you they could find you? For me to pose additional questions at this time might ruin the film for those of you who have not already seen it and are interested in doing so. As of the writing of this post, “Compliance” is currently streaming on Peacock.

                                                                                            

“Duel” (1971)

The harrowing, tension filled movie “Duel,” was originally a seventy-four minute television film directed by three time Oscar winner, Steven Spielberg (Saving Private Ryan). It first aired on Canadian television, on November 10, 1971. Three days later, on November 13^th,  it premiered on American television. Based on a story written by prolific author Richard Matheson (I Am Legend), he also wrote the screenplay. The film would go on to win a 1972 Primetime Emmy for Outstanding Achievement in Film Sound Editing. In addition, it was nominated for the Emmy for Outstanding Achievement in Cinematography for Entertainment Programming.  Furthermore, it won the Grand Prize at the 1973 Avoriaz Fantastic Film Festival.   

The premise of the movie is rather straight-forward. Emmy winner, Dennis Weaver (Gunsmoke), portrays businessman David Mann. He is attempting to get to an important appointment, before his client leaves for Hawaii. If he fails to do so, his company might lose the client’s account. David’s mode of transportation is a red, 1970 Plymouth Valiant. His route takes him through a long stretch of narrow California roadway which alternates between winding and mountainous – and – flat barren desert. He is only on the road for a short time when he gets stuck behind a slow moving, dirty, diesel-fume spewing, Peterbilt truck.

Already under pressure, due to the importance of making it to his meeting on time, Mann decides to pass the truck. It does him no good. The rig speeds up and passes Mann’s car, even though a short time earlier, it had been moving along at a plodding pace. Once the truck passes Mann’s car, it reverts to the speed it had been traveling at before David had moved in front of it. Unbeknownst to Mann, he is about to make a crucial error. David passes the truck for a second time. Once again, moments later, the rig driver moves back in front of David – but soon afterwards, extends his arm out the window, and waves for him to pass. David thinks it is safe. He moves into the lane for oncoming traffic, and begins to pass the Peterbilt, only to discover, to his horror, that another car is headed straight for him. That particular moment is the catalyst which begins what will become a deadly game of road rage, where there is only one willing participant.

Much like Spielberg’s blockbuster “Jaws” (1975), “Duel” is effective because it invests the proper time, in order to build suspense, which should grip most viewers. The movie also presents questions that for the most part remain unanswered. Instead, Spielberg leaves the following questions to the viewer’s imagination: Why does the trucker engage in a deadly game of cat and mouse with Mann? Was he that offended that Mann passed him because he was moving too slow? Who is the truck driver? The best I could ascertain was that he is a hand that waves Mann’s character into a potential head-on collision, and cowboy boots that kick at the truck’s tires when both he and Mann stop off at a gas station to re-fuel – is that all we get – or is it? In one well executed scene, after almost being killed by the truck, after his car has slammed into a fence, Mann leaves his vehicle and enters a nearby roadside eatery named Chuck’s Café.

Upon exiting the washroom, Mann sits down in order to calm his nerves, and order some food. As Mann sits and looks out the window, he discovers, much to his terror, that the trucker has also stopped at the café. He scans the faces, as well as, the footwear of the other patrons in the establishment. Unfortunately for Mann, all of the men are wearing cowboy boots. Each of them at one point or another looks in his direction to give him a good once over. Before he exits the café, Mann thinks that he has at last discovered the identity of his tormentor. He starts an altercation with a man eating a sandwich, only to learn that he is not the trucker. He is merely a guy who stopped off to get a bite to eat.

In addition, a further scene that stands out, due to the breadth of its impact, is when Mann pulls over at a roadside place dubbed the “Snakearama” in order to phone the police. Mann gets through to the operator. He is about to be connected with the nearest police department. Mann thinks he is safe from the demented trucker. The phone booth, however, proves to be one more potential death trap for Weaver’s character. He narrowly avoids being run over as the Peterbilt plows into the booth. While it nearly kills Mann, it crashes into the glass tanks that contain the snakes, which frees them, along with some other creatures.

Trivia buffs take note: Three different red, 1970 Plymouth Valiants were used as Mann’s car during the less than two weeks it took to shoot the movie. Steven Spielberg wanted actor Dennis Weaver for the role of Mann after watching his performance as the Mirador motel night manager in the 1958 film “Touch of Evil,” which was written and directed by Oscar and three time Grammy winner, Orson Welles (Citizen Kane). Oscar winner, Gregory Peck (To Kill a Mockingbird) was considered for the role of Mann, before it was determined that the film was going to be a television production instead of a theatrical release. Spielberg had his pick of trucks to use for the movie, but decided on the Peterbilt because he felt that the cab of the truck resembled a face.

The majority of the movie is devoid of dialogue. It does, however, contain several interior monologues, which allow the viewer to know exactly what Mann is thinking, as he fights for his survival. Some fans of the film opine that it is supernatural in nature, thus the reason why we never see the face of the driver, who is using his truck as a murder weapon. Those same fans feel that perhaps the driver is a demon, who has been replicating the sort of behavior we are watching for a long time now, as evidenced by the collection of license plates of various states that hang on the front of the truck. I don’t believe that was what Spielberg was going for, but nonetheless it is an interesting point of view to consider. As of the writing of this post, “Duel” is available to rent or purchase on Amazon, iTunes, and Google Play.