The Screengrab : jackie earle haley

Not Readily Available on Legally Authorized Commercial DVD Release in the Continental United States: "The Outside Man" (1972)

Phil Nugent — Thu, 28 May 2009 16:00:00 GMT

The French director Jacques Deray had an international hit with the period gangster film Borsalino, starring Alain Delon and Jean-Paul Belmondo. That probably helps account for his getting to make The Outside Man, a thriller whose special appeal derives in part from its outsider's look at both Los Angeles and the kinds of movies that grow there. The movie, whose script is credited to Deray, Jean-Claude Carrière (who also worked on Borsalino as well as Belle de Jour, That Obscure Object of Desire, The Unbearable Lightness of Being, The Return of Martin Guerre, and Godard's Every Man for Himself) and Ian McLellan Hunter (an English writer best known for serving as a front for the blacklisted Dalton Trumbo on Roman Holiday), is notable for being the only movie I know of to lure Jean-Louis Trintignant to the States. (The only other English-language production I've ever seen him in, 1983's Under Fire, was set in Nicaragua and shot in Mexico.)

Trintignant plays a hit man who is seen arriving in L.A. and taking a cab from the airport to the accompaniment of a blaxploitation-worthy song, with a vocalist named Joe Morton braying a catalog of the never-ending headaches that go with being an outside man. (Despite extensive research, I have been unable to determine whether this is the Joe Morton, star of stage and screen. But based on the sound of the singer's voice and the state of Morton's career circa 1972, I will list the possibility that it is him as "plausible" until given reason to believe otherwise.) He has been flown in to dispatch a leathery old gangster (played, in his final performance, by the veteran movie tough guy Ted de Corsia, of such second-string noir classics as The Naked City, The Enforcer, and The Big Combo), a task he performs before the movie has hit the fifteen minute mark. For a minute there I thought this was going to be one short movie. Luckily, Trintignant has been hired by the kind of people who think that allowing the smart professional killer who has done the job you flew him in from Paris to do simply get on the next plane and go back home makes less sense than hiring Roy Scheider to run all over creation trying to kill him. No wonder that former gangsters ranging from George Raft to Henry Hill in professional experience have had no trouble making sense of how they do things in Hollywood.

The Outside Man is a deep-dish slice of early '70s crime movie, but with a slightly askew line of sight. Not until Quentin Tarantino hit the ground running had an L.A. movie shot in so many locations that no one had ever thought to include in a movie before, and never would again. A traveler, not a tourist, Deray revels in the kind of everyday, billboards-and-storefronts tackiness that most Hollywood filmmakers would shell out thousands of dollars to get the locals to cover up. On the run from Sheriff Brody, Trintignant carjacks Georgia Engel, Ted Baxter's girlfriend, in the parking lot of a Safeway and holds up with her and her mouthy little boy (played by Rorshach himself, Jackie Earle Haley) in their apartment, which looks as if it should be in black and white, with a pool of blood on the carpet and a caption crediting the photograph to Weegee. Having sampled the wonders of American TV and broken the world record for enduring Jackie Earle Haley's company, Trintignant commandeers a vehicle and hits the highway. He picks up a hitchhiking hippie who expresses concern for his soul. "Lis'sen, fren'", says Trintignant, "evert'ing is just fine between me and Jesus." Unconvinced, the hippie continues to lecture Trintignant on the importance of beign saved. Then he notices that Roy Scheider is in the next lane and has a gun pointed at them. "Jesus!" says the hippies, just before Trintignant ducks and Scheider puts a bullet between his eyes. I hope that answers any questions you had about why a man in Trintignant's position would be picking up hitchhikers.

The Jesus freak scene is probably The Outside Man's funniest moment, but nothing can prepare you for the wild and woolly climax, with Trintignant flying in his own reinforcements and using them to crash Ted de Corsia's funeral, "crash" being the operative word. The funeral parlor scene is brightened by a funny cameo by Talia Shire as a chatty cosmetician, and George Engel is a hoot: long after you think she's gone from the movie, the cops keep bringing her back, every time somebody is killed, to ask her if it's the guy who abducted her, and of course it's always somebody else. (She eulogizes Scheider thusly: "I mean, he was polite and all, but he had a gun.") It's too bad that Ann-Margret, as a bartender who becomes Trintignant's helpmate, doesn't bring too much to the party; she acts awfully grand for somebody who works in a strip bar wearing what looks like a fifty-pound marshmallow on her head. (Or, for that matter, somebody who co-starred in Viva Las Vegas.) But Angie Dickinson is in fine, cougariffic form as the murdered mobster's wife, who appears to have had him whacked so that she can move in on both his money and her stepson. The Outside Man is ready to do whatever it takes to to pump some life back into its genre, whether it's put Angie in a bikini, deliver Georgette to a crime scene, or drag Trintignant to the roller derby. As Larry David says, whatever works.

Morning Deal Report: Jackie Earle Haley's Nightmare

Scott Von Doviak — Wed, 08 Apr 2009 14:00:00 GMT

He’ll always be Kelly Leak to some of us, but in his recent comeback phase, Jackie Earle Haley has played a child molester, a violent vigilante and now…a violent child killer. And he seemed like such a nice boy. Haley will indeed assume the mantle of Freddy Krueger in a new remake of A Nightmare on Elm Street. I think every Wes Craven movie has now been remade, except that one with Meryl Streep playing the violin. “Looking at his performance in Watchmen, here’s a guy playing a character under a mask yet you feel tremendous empathy for him,” director Samuel Bayer told The Hollywood Reporter. “And in Nightmare, he is going to be under prosthetic make-up. You have to feel something for the character. The greatest villains are multi-dimensional and I think he will bring that to the character.”

“Larry Charles is set to take on geriatric sex in his next project,” Variety tells me before I’ve even had my first cup of coffee. Thanks, Variety! “The Borat director is in final negotiations to helm Columbia Pictures comedy Winter's Discontent, which centers on a sexually frustrated widower who moves into a retirement community with his best buddy -- looking to get laid.”

More yelling for Al Pacino! Pacino will play Napoleon! It’s “a screen adaptation of Staton Rabin's children's book Betsy and the Emperor”! You child!

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Pacino Finds New Role Involving Lots of Yelling

In Defense of Watchmen

Andrew Osborne — Sun, 05 Apr 2009 16:16:00 GMT

So, I finally got around to seeing Watchmen last night, and I certainly agree with many of the opinions blogged previously by my esteemed colleagues Scott Von Doviak and Paul Clark, i.e.: “There are a million reasons a Watchmen movie should never have been made,” and also, “That said, the movie is far from a disaster.”

True, there’s way too much voice-over, the faux-Nixon proboscis is like a bad Saturday Night Live sight gag and the audience at the screening I attended actually burst into derisive laughter in response to the instant cliché usage of Leonard Cohen’s “Hallelujah” during what would otherwise have been a perfectly lovely sex scene between Patrick Wilson’s Nite Owl II and the va-voomy Malin Akerman’s Silk Spectre II.

And I can’t imagine what I would have made of the movie if I wasn’t already familiar with the source material: the numerous backstory digressions killed the propulsive, race-against time whodunnit nature of the plot (in a way they didn’t in the graphic novel), and even with North Korea actually launching missiles in the real world, the original work’s haunting sense of impending doom never felt as vivid in the film...mostly, I think, because I was more emotionally connected to my memories of the characters on the page than the oddly flat performances unspooling before me on screen.

To read Watchmen is to spend a decent amount of time with the various inhabitants of Alan Moore’s alternate reality universe up inside your head, from the heroes to the innocent bystanders they’re supposed to be “protecting” (like the newstand guy and the kid with the Tales of the Black Freighter comic, who make only blink-and-you-miss-it cameos in the film). But it’s hard to share the elder and junior Nite Owls’ nostalgia for crime-fighting camaraderie when all we’ve really seen of it is Jeffrey Dean Morgan’s Comedian mowing down gooks and brutally raping Carla Gugino’s Sally Jupiter...itself a vividly unpleasant scene that undoes the character’s later, seemingly straight-faced longing for the old days.

And yet, and yet...for all its flaws, Zack Snyder’s Watchmen at least aspires to art, and the sheer improbability of its existence is kinda breathtaking: a pointy-headed, existential think piece on the nature of good and evil (and the miracle of life) uneasily coupled with everything from standard CGI superhero action to naked tits, a big blue schlong and a child’s corpse being devoured by dogs....the fuck?

Compared to cynical drek like, say, The Spirit (or the atrocious Sam Hamm adaptation of Watchmen that thankfully never came to pass), Snyder’s fealty to Moore’s vision is quixotic, fascinating and (for me, at least) never boring despite its titanic running time. And unlike the misguided yet entertaining Troll 2-esque passion projects of the midnight cult movie circuit or muddle-headed misfires like Howard The Duck and The Last Action Hero, there’s plenty in Watchmen that legitimately works, from the big prison break set-piece to Jackie Earle Haley’s marrow-chewing Rorschach and the eye/brain candy of Billy Crudup’s Dr. Manhattan.

So who should watch Watchmen? Hard to say, really...I’m just glad that I did.

Related Posts:
Screengrab Review: “Watchmen”
Screengrab Review: Watchmen (Paul’s Take)

Screengrab Review: Watchmen (Paul's Take)

Paul Clark — Thu, 05 Mar 2009 17:00:00 GMT

Well, it’s finally here, folks. After more than two decades in development, Watchmen is finally hitting screens nationwide this weekend. In a way, it’s sort of miraculous that it actually panned out. Of course, the road hasn’t been easy, with a seemingly endless parade of directors, screenwriters, producers and stars attached to the project at some point. But to me, it’s even more interesting to observe how comic book culture has progressed to this point. Just over a decade ago, it seems like Batman was the only comic getting the blockbuster treatment, and just about everything else was played for campy nostalgia, e.g. The Phantom. Hell, back in 2000 studios were worried whether the X-Men could sell tickets. So the fact that there’s not only a massively budgeted adaptation of Watchmen out there but also one that’s surprisingly faithful to its dense, ambitious source material just shows how far comics- and comic-book movies- have come in the last ten years. If only the movie was better, this saga would have the happy ending that all Watchmen fans crave.

Admittedly, Watchmen is a tough nut to crack. Combining a murder mystery, a deconstruction of superhero mythology, and a meditation on society brought to the brink of apocalypse, it’s a far cry from the classic potboilers of yesteryear. Even in an adaptation as close as this one, some material would inevitably be pared away (so long, “Tales of the Black Freighter”). But while director Zack Snyder has sworn fidelity to the original graphic novel from the beginning, it’s one thing to visually translate Alan Moore and Dave Gibbons’ creation to the big screen, and another entirely to turn it into something cinematic. And although Snyder pulls off the former, he falls short of the latter. It looks great, but it never quite works as an honest-to-goodness movie.

Part of the problem is that Snyder never manages to reconcile the inherent expectations of comic book blockbusters with the more literary aspects of Watchmen. There’s plenty of violence in the graphic novel, but to me the action has always taken a back seat to the ideas and themes. Watchmen is less about its heroes’ powers than about their differing ideologies and the way they’re brought out, not only by their circumstances, but also by the times in which they live. This idea that even mankind’s saviors are complex and troubled is a potent one.

Unfortunately, Snyder doesn’t explore this idea in much depth. It’s a shame, since there’s a lot of potential here, especially among the more “freakish” members of the group- Rorschach (Jackie Earle Haley), essentially a masked Travis Bickle; The Comedian (Jeffrey Dean Morgan), an aging Captain America gone to seed; and “quantum hero” Dr. Manhattan (Billy Crudup), whose sad plight has led him to grow ever more detached from human concerns. But while these characters are pregnant with possibilities, Snyder instead makes the least interesting Watchmen- the second Silk Spectre (Malin Akerman) and Night Owl II (Patrick Wilson)- the central players in the drama. It doesn’t help that Akerman’s performance is easily the worst in the movie- she can’t even convincingly gasp for air when she first arrives on Mars- or that Wilson is saddled with a look that makes him look less like Gibbons’ creation than a young Chevy Chase.

But if Snyder doesn’t quite get a grasp on the thematic and subtextual undercurrents of Watchmen, he doesn’t make it work as a straight-up comic book movie either. Oddly enough, some of the blame should be placed on Snyder and his insistence on taking his visual cues straight from the graphic novel. On a shot-by-shot basis, the film is often remarkable to behold, but in putting them together, Snyder and editor William Hoy too often fall back on the shot order used in the graphic novel rather than editing the film in a way that allows scenes to build naturally and in an exciting way. The result is a film that feels like it’s been frozen in amber, beautiful but difficult to embrace.

That said, the movie is far from a disaster. In fact, there’s still plenty to admire about Watchmen, beginning with Snyder’s attention to detail. If nothing else, the visuals of Watchmen are eye candy to fans who’ve longed for years to see this story brought to life. And some of performances are actually quite good, especially those given by Crudup, Morgan, and Haley, who not only feels just right as Rorschach but also even delivers his trademark “hurm” perfectly. Less successful is Matthew Goode as the formidably intelligent Ozymandias- Goode looks and acts the part well enough, but the role really needed some big-star charisma to make it sing, and it’s a little disappointing to think what Tom Cruise, who was allegedly interest in playing the role, might have done with it.

When I saw Watchmen the other night, I was accompanied by someone who’d never read the graphic novel but enjoys darker comic book movies like The Dark Knight. And while I couldn’t help but judge the movie in comparison to the original material (and frankly, doesn’t Snyder more or less invite this?), my friend was able to enjoy the film on the screen, unburdened as he was by expectations. I think this contrast is illustrative. If you’re in the market for something more than the usual heroes-and-villains comic book thriller, Watchmen might just hit the spot. But if you’ve seen this story play out in its ideal medium, any other version will be inherently disappointing. My only hope is that maybe some of those who enjoy the movie will be inspired to pick up the graphic novel, so they too can experience this material the way it was meant to be experienced.

Screengrab Review: “Watchmen”

Scott Von Doviak — Wed, 04 Mar 2009 20:00:00 GMT

There are a million reasons a Watchmen movie should never have been made and no good reason it should have, aside from the obvious one: superheroes are big box office, and Watchmen was one of the most tantalizing untouched superhero properties available. It’s also an incredibly dense, multi-layered work, deriving much of its power from its subversion of five decades worth of comic book conventions. Having read the script Sam Hamm penned for Terry Gilliam’s aborted attempt at mounting Watchmen for the screen back in the early ‘90s, I know the new adaptation of the acclaimed graphic novel by Alan Moore and Dave Gibbons from “visionary director” Zack Snyder isn’t the worst case scenario. Nor does it exceed expectations. It’s just sort of pointless, which is what most fans of the classic comic have probably been expecting all along.

So can we separate the movie from its source material and judge it on its own merits? We can try, but Snyder doesn’t make it easy. It’s not a good sign when the movie kicks off with the image of an aging Richard Nixon portrayed by an actor wearing a ridiculous putty ski-slope nose and tons of awful aging makeup, quickly followed by a “Pat Buchanan” who looks and sounds exactly nothing like Pat Buchanan. The set-up here, should you be completely unfamiliar with the world of Watchmen: it’s 1985, and Richard Nixon has been re-elected to an unprecedented fifth term as President. Tensions between the United States and the Soviet Union are at an all-time high, and nuclear war appears to be inevitable.

The events of this alternate timeline have been aided and abetted by costumed heroes, among them The Comedian (Jeffrey Dean Morgan), who helped lead the U.S. to quick victory in Vietnam. As Watchmen opens, the aging Comedian is murdered in his own apartment, leading masked vigilante Rorschach (Jackie Earle Haley) to believe that someone is picking off the Watchmen, a superhero group whose members also include dumpy Nite Owl (Patrick Wilson), sultry Silk Spectre (Malin Akerman), and superhuman Dr. Manhattan (Billy Crudup, boasting a pendulous blue schlong that may disturb and frighten younger viewers – or any viewers, really).

In the comics, Moore and Gibbons amplify the major plotlines concerning the hunt for the mask-killer and the quest to avert global armageddon with flashbacks to the heroes’ origins (some of which date back to a superhero team of the 1940s called the Minutemen), along with various subplots including a love triangle among Silk Spectre, Nite Owl and Dr. Manhattan and a prison detour for Rorschach. To their credit, Snyder and screenwriters David Hayter and Alex Tse include as much of this material as possible (the Watchmen comic-within-the-comic Tales from the Black Freighter is getting a separate DVD release)…so why does the 168-minute running time still seem bloated beyond all necessity?

Part of it comes down to your definition of what constitutes a “faithful” adaptation. Great swaths of dialogue are lifted intact from the graphic novel, and the major visual set-pieces are painstakingly recreated (with at least one notable exception), and that may be enough to satisfy a segment of the audience. But the pacing is often leaden, the plotting lumpy and disjointed, the storytelling single-layered at best. The connective tissue between the big moments is thin to nonexistent; for instance, viewers coming to the movie cold may be forgiven for wondering how a sketchy character like Ozymandias (Matthew Goode and his dreadful wandering accent) turns out to be so crucial to the proceedings. Snyder seems most fully engaged when the action is at its most conventional, as when Nite Owl and Silk Spectre rescue kids from a burning building or Rorschach fends off assailants in prison.

Watchmen does have its moments. The closest it comes to capturing the texture of the graphic novel is the lyrical sequence in which Dr. Manhattan, having exiled himself to Mars, relives the events that led to his transformation into a godlike being. There’s visual razzle-dazzle to spare: an arctic fortress, a demolished city, a massive clockwork gizmo floating above the surface of Mars. And Jackie Earle Haley is terrific – he knows he’s playing a Clint Eastwood character times five, and he brings the appropriate psycho gusto to lines like “I’m not locked in here with you – you’re locked in here with me!”

I’ll even give Snyder some credit for improving the ending slightly, which wasn’t difficult (blasphemy, I know, but I re-read the last two Watchmen issues last night just to refresh my memory and that is not good stuff). But I can’t think of too many “visionary” directors who would use so many obvious, overplayed music cues (the love scene set to Leonard Cohen’s “Hallelujah” is snicker-out-loud embarrassing) or cast so many nonentities in major roles (the listless Akerman is the worst offender). His approach is depressingly literal, and none of the scenes build on what has come before – they’re just meticulously reconstructed Scenes From Watchmen. It took more than 20 years to bring his most famous work to the big screen, and now Alan Moore isn’t the only one wondering why anybody bothered.

Screengrab Presents: Cinema’s Greatest Comebacks (Part Four)

Andrew Osborne — Thu, 18 Dec 2008 22:30:00 GMT

JACKIE EARLE HALEY in LITTLE CHILDREN (2006)

Some people on this list needed comebacks after destroying their own careers through bad choices or behavior, but the triumphant, Oscar-nominated comeback of Jackie Earle Haley in 2006’s Little Children was extra sweet because it was such a Cinderella story...and, as they say, it couldn’t have happened to a nicer guy. After memorable breakthrough roles as the punk turned Little League champ in The Bad News Bears (1976) and the Cutter with the heart of gold in Breaking Away (1979), Haley suffered the child star curse and saw his career nosedive into obscurity during the ‘80s, ‘90s and most of the oughts. According to Haley (as quoted on the Internet Movie Database), “I'd always avoided stuff like 'Where are they now?' or 'Whatever happened to?'...You tell me, have you ever seen a 'Whatever happened to' where they seemed anything but pathetic? I could do that or just disappear.” And so, like so many creative types before him who’d ridden their dreams as far as they could, Haley rejoined the everyday rat race where most of us live, delivering pizzas, refinishing furniture, working variously as a security guard, a limousine driver and such, until A-list director Steven Zaillian, in the kind of wet dream moment that (usually) never comes true, just happened to remember the actor’s earlier work and cast him, more or less out of the blue, in the 2006 Sean Penn adaptation of All The President’s Men, which in turn led to Haley’s true comeback via his harrowing, heartbreaking performance later that year as the neighborhood pedophile in Todd Field’s Little Children...which in turn led to a part in Martin Scorsese’s Shutter Island and the plum role of Rorschach in Zack Snyder’s 800-pound gorilla, Watchmen. So who knows? Maybe there’s hope.

STERLING HAYDEN in DR. STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964)

Tall, striking Sterling Hayden developed into one of the biggest stars of the 1950s thanks to his unique looks, cruelly laconic performances and ability to bring mysterious depths to even noir lowlifes. But his heart had never really been in acting, which he found to be a frivolous and often unengaging profession. He had an extremely standoffish relationship with capitalism, and his ability to land roles in high-grossing films was, to him, merely a means to an end: i.e., his habit of sailing, which got him away from an American consumer culture he often reviled. In 1958, he was involved in a nasty divorce and decided to leave it all behind once and for all; defying a court order, he took his kids, packed up a sailboat for the long haul, and headed off to Tahiti, where he would remain for almost six years. Aside from one brief television appearance, the only thing he did during that time that had anything to do with the entertainment industry was to write a hugely entertaining and profoundly thoughtful autobiography called Wanderer, in which he essentially repudiated his life as a movie star. Still, a nautical life is expensive, and in the 1960s, he enjoyed a protracted comeback which began in the best possible way: with an unforgettably loony performance as the unhinged General Jack D. Ripper in Stanley Kubrick’s pitch-black Cold War comedy Dr. Strangelove.

JOHN HUSTON, UNDER THE VOLCANO (1984)

John Huston couldn’t possibly have had a more charmed career. He was practically born into Hollywood royalty; his father, Walter Huston, preceded him in a career as a double-threat director and actor. John himself added more to the package: he was a terrific writer, an intellectual, a keen spotter of talent. His very first movie as a director, The Maltese Falcon, is one of the greatest Hollywood movies of all time, and he followed it up with classics like The Treasure of the Sierra Madre, Key Largo, The Asphalt Jungle, The African Queen and Beat the Devil. Things started to go awry for him in the mid-‘50s, though, after an ambitious but failed adaptation of Moby Dick, and by the 1960s, he was directing second-tier work like The List of Adrian Messenger and the disastrous Reflections in a Golden Eye. In the 1970s, he launched some work that contained sparks of genius, but nothing that coalesced into coherence: there were moments of greatness in The Life and Times of Judge Roy Bean, The Man Who Would Be King, and Wise Blood, but all of them fell apart under the weight of their flaws. By the 1980s, he was producing pure schlock like Victory and Annie. Forty years as a director is far longer than anyone has a right to be successful, and people were willing to forgive his sad descent because of the greatness of his earlier work: but Huston, a career rebel, wasn’t about to go out without a fight. In 1984, he directed a stunning Albert Finney in an imperfect but still highly impressive adaptation of the great Malcolm Lowry novel Under the Volcano; it signaled a genuine late-career comeback for Huston, who went on to direct the enjoyable Prizzi’s Honor and the astonishing movie version of James Joyce’s The Dead before finally dying himself in 1987.

TERENCE STAMP in THE LIMEY (1999)

While most of the people on this list have rejuvenated their careers once or twice, the outstanding British actor Terence Stamp has had more comebacks than most people have had hot dinners. He rose to fame alongside his old flatmate Michael Caine and went on to become one of the most celebrated actors of the 1960s, as well as a sort of living symbol of the Carnaby Street crowd of London’s swinging sixties; it was at the end of that decade, after a highly public breakup with girlfriend Jeannie Shrimpton, that he had his first downturn, decamping for an Indian ashram and taking much of the 1970s off. He followed that with his first major comeback, in the juicily hammy role of General Zod in Superman II, and enjoyed a brief resurgence in the ‘80s that faded just as quickly in the waning part of that decade. 1994 found him mounting another big comeback through the simple act of donning a dress in The Adventures of Priscilla, Queen of the Desert, but he floundered a bit after that, until 1999, when screenwriter Lem Dobbs and director Steven Soderbergh came through with a role crafted especially for him. Revisiting (and updating) Stamp’s nasty, edgy, working-class persona, and even going so far as to use recycled footage from one of his old films as “archival footage” of the character he was playing, the two created, in the vengeful ex-hoodlum Wilson, the role he’d been working towards his whole career. Stamp’s performance was universally celebrated and allowed him to stage yet another comeback – which has now faded enough that he’s about due for one more.

BEN AFFLECK, GONE BABY GONE (2007)

Ben Affleck never deserved to be a walking punchline for the following reasons: 1) Good Will Hunting was weak and should never had made anyone famous; 2) the kind of callow, narcissistic performances Affleck gave in movies like Paycheck perfectly reflected and commented upon the material 3) "Bennifer" doesn't mean anything. Nonetheless, having become an all-too-easy punchline, Affleck retreated behind the camera and demonstrated a knack for drawing perfectly judged performances and local color. If Gone Baby Gone seems to be under the delusion that the camera exists solely to record said elements, Affleck has a scarily grounded feel for his Boston hometown. The best decision he ever made was figuring out that the SAG-mandated extras should remain out of sight at all times and he should instead train his camera upon incidental alcoholics and degenrates without flinching. This remains the most pungent film of 2007.

Click Here For Part One, Two, Three & Five

Contributors: Andrew Osborne, Leonard Pierce, Vadim Rizov

Cinema’s Greatest Comebacks & Comebacks We’d Like To See (Part Four)

Andrew Osborne — Thu, 18 Dec 2008 10:30:00 GMT

JACKIE EARLE HALEY in LITTLE CHILDREN (2006)

Some people on this list needed comebacks after destroying their own careers through bad choices or behavior, but the triumphant, Oscar-nominated comeback of Jackie Earle Haley in 2006’s Little Children was extra sweet because it was such a Cinderella story...and, as they say, it couldn’t have happened to a nicer guy. After memorable breakthrough roles as the punk turned Little League champ in The Bad News Bears (1976) and the Cutter with the heart of gold in Breaking Away (1979), Haley suffered the child star curse and saw his career nosedive into obscurity during the ‘80s, ‘90s and most of the oughts. According to Haley (as quoted on the Internet Movie Database), “I'd always avoided stuff like 'Where are they now?' or 'Whatever happened to?'...You tell me, have you ever seen a 'Whatever happened to' where they seemed anything but pathetic? I could do that or just disappear.” And so, like so many creative types before him who’d ridden their dreams as far as they could, Haley rejoined the everyday rat race where most of us live, delivering pizzas, refinishing furniture, working variously as a security guard, a limousine driver and such, until (in the kind of wet dream moment that never really happens) A-list director Steven Zaillian just happened to remember the actor’s earlier work and cast him, more or less out of the blue, in the 2006 Sean Penn adaptation of All The President’s Men, which in turn led to Haley’s true comeback via his harrowing, heartbreaking performance later that year as the neighborhood pedophile in Todd Field’s Little Children...which in turn led to a part in Martin Scorsese’s Shutter Island and, of course, the plum role of Rorschach in Zack Snyder’s 800-pound gorilla, Watchmen. So who knows? Maybe there’s hope.

STERLING HAYDEN in DR. STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964)

Tall, striking Sterling Hayden developed into one of the biggest stars of the 1950s thanks to his unique looks, cruelly laconic performances and ability to bring mysterious depths to even noir lowlifes. But his heart had never really been in acting, which he found to be a frivolous and often unengaging profession. He had an extremely standoffish relationship with capitalism, and his ability to land roles in high-grossing films was, to him, merely a means to an end: i.e., his habit of sailing, which got him away from an American consumer culture he often reviled. In 1958, he was involved in a nasty divorce and decided to leave it all behind once and for all; defying a court order, he took his kids, packed up a sailboat for the long haul, and headed off to Tahiti, where he would remain for almost six years. Aside from one brief television appearance, the only thing he did during that time that had anything to do with the entertainment industry was to write a hugely entertaining and profoundly thoughtful autobiography called Wanderer, in which he essentially repudiated his life as a movie star. Still, a nautical life is expensive, and in the 1960s, he enjoyed a protracted comeback which began in the best possible way: with an unforgettably loony performance as the unhinged General Jack D. Ripper in Stanley Kubrick’s pitch-black Cold War comedy Dr. Strangelove.

JOHN HUSTON, UNDER THE VOLCANO (1984)

John Huston couldn’t possibly have had a more charmed career. He was practically born into Hollywood royalty; his father, Walter Huston, preceded him in a career as a double-threat director and actor. John himself added more to the package: he was a terrific writer, an intellectual, a keen spotter of talent. His very first movie as a director, The Maltese Falcon, is one of the greatest Hollywood movies of all time, and he followed it up with classics like The Treasure of the Sierra Madre, Key Largo, The Asphalt Jungle, The African Queen and Beat the Devil. Things started to go awry for him in the mid-‘50s, though, after an ambitious but failed adaptation of Moby Dick, and by the 1960s, he was directing second-tier work like The List of Adrian Messenger and the disastrous Reflections in a Golden Eye. In the 1970s, he launched some work that contained sparks of genius, but nothing that coalesced into coherence: there were moments of greatness in The Life and Times of Judge Roy Bean, The Man Who Would Be King, and Wise Blood, but all of them fell apart under the weight of their flaws. By the 1980s, Huston was producing pure schlock like Victory and Annie. Forty years as a director is far longer than anyone has a right to be successful, and people were willing to forgive his sad descent because of the greatness of his earlier work: but Huston, a career rebel, wasn’t about to go out without a fight. In 1984, he directed a stunning Albert Finney in an imperfect but still highly impressive adaptation of the great Malcolm Lowry novel Under the Volcano; it signaled a genuine late-career comeback for Huston, who went on to direct the enjoyable Prizzi’s Honor and the astonishing movie version of James Joyce’s The Dead before finally dying in 1987.

TERENCE STAMP in THE LIMEY (1999)

While most of the people on this list have rejuvenated their careers once or twice, the outstanding British actor Terence Stamp has had more comebacks than most people have had hot dinners. He rose to fame alongside his old flatmate Michael Caine and went on to become one of the most celebrated actors of the 1960s, as well as a sort of living symbol of the Carnaby Street crowd of London’s swinging sixties; it was at the end of that decade, after a highly public breakup with girlfriend Jeannie Shrimpton, that he had his first downturn, decamping for an Indian ashram and taking much of the 1970s off. He followed that with his first major comeback, in the juicily hammy role of General Zod in Superman II, and enjoyed a brief resurgence in the ‘80s that faded just as quickly in the waning part of that decade. 1994 found him mounting another big comeback through the simple act of donning a dress in The Adventures of Priscilla, Queen of the Desert, but he floundered a bit after that, until 1999, when screenwriter Lem Dobbs and director Steven Soderbergh came through with a role crafted especially for him. Revisiting (and updating) Stamp’s nasty, edgy, working-class persona, and even going so far as to use recycled footage from one of his old films as “archival footage” of the character he was playing, the two created, in the vengeful ex-hoodlum Wilson, the role he’d been working towards his whole career. Stamp’s performance was universally celebrated and allowed him to stage yet another comeback – which has now faded enough that he’s about due for one more.

BEN AFFLECK, GONE BABY GONE (2007)

Ben Affleck never deserved to be a walking punchline for the following reasons: 1) Good Will Hunting was weak and should never had made anyone famous; 2) the kind of callow, narcissistic performances Affleck gave in movies like Paycheck perfectly reflected and commented upon the material 3) "Bennifer" doesn't mean anything. Nonetheless, having become an all-too-easy punchline, Affleck retreated behind the camera and demonstrated a knack for drawing perfectly judged performances and local color. If Gone Baby Gone seems to be under the delusion that the camera exists solely to record said elements, Affleck has a scarily grounded feel for his Boston hometown. The best decision he ever made was figuring out that the SAG-mandated extras should remain out of sight at all times and train his camera upon incidental alcoholics and degenrates without flinching. This remains the most pungent film of 2007.

Click Here For Part One, Two, Three, Five, Six & Seven

Contributors: Andrew Osborne, Leonard Pierce, Vadim Rizov

Trailer Review: Watchmen (Trailer #2)

Paul Clark — Fri, 28 Nov 2008 17:00:00 GMT

I somehow missed this trailer a few weeks ago, so apologies if posting it now feels like too little, too late. But I think the important thing is getting it out there for the other three people who didn’t know about it and are interested in the movie, so here you are. As trailers go, this one is actually more enticing than the first one (Philip Glass > Billy Corgan), although I’m still a little uneasy about the Zack Snyder factor. On the one hand, it’s nice to see him shooting on some physical sets this time around, instead of shooting 99% of the damn thing against CGI backdrops like he did with 300. Yet his overreliance on slow-motion is troubling, both in his last movie and in the Watchmen trailers we’ve seen thusfar. After all, the graphic novel is incredibly dense, both in terms of plot and character, and if he’s working with a studio-mandated running time, too much slo-mo will necessitate paring it down the story until a lot of what makes the source material great has been lost. Oh, who am I kidding? I’m there on opening day, not least because the casting looks almost uniformly great. I’m still not sure about Matthew Goode as Ozymandias, but Jackie Earle Haley as Rorschach and especially Jeffrey Dean Morgan as Comedian look perfect.

Trailer Review, Comic-Con Special: Watchmen Teaser

Paul Clark — Mon, 21 Jul 2008 16:00:00 GMT

I guess you could call me old-fashioned, since despite the teaser footage, stills, and hype that has popped up about the upcoming Watchmen movie over the past year, it hasn’t felt real to me until now. And I’ve gotta say, this teaser certainly whets my appetite for the movie. I’d been skeptical about the non-movie-star casting of the movie before, since while I respect director Zack Snyder’s idea that big names would overwhelm the roles themselves, I wasn’t sure if his choices were the right ones, aside from Jackie Earle Haley as Rorschach, a choice I’ve loved from the beginning. But seeing them in this context, I buy them a lot more. I guess my only hesitation now is how flashy and eye-candy-filled this teaser is. Yes, I realize that’s what a teaser is for, but I got the same vibe here that I got from 300, a movie for which I had little use. Of course, the source material for Watchmen beats the hell out of 300’s inspiration any day of the week, and if nothing else, the Snyder imprimatur could mean a lot more business for what might otherwise be a niche title. Oh, what the hell am I saying- this will almost certainly be awesome. Right? RIGHT???

Summer of ’78: “The Bad News Bears Go to Japan”

Scott Von Doviak — Thu, 03 Jul 2008 16:00:00 GMT

Each Thursday this summer we’ll hop in the Screengrab time machine and jump back thirty years to see what was new and exciting at the neighborhood moviehouse this week in…The Summer of ’78!

The Bad News Bears Go to Japan

Release Date: June 30, 1978

Cast: Tony Curtis, Jackie Earle Haley, Tomisaburo Wakayama, Dick Button, Regis Philbin

The Buzz: Bad News Bears! Japan! Whaddaya need, a roadmap?

Keywords: Baseball, Sequel, Japan

The Plot: The Bad News Bears go to Japan. That’s about it, but I’ll try to be a little more specific. The Bears little league team – or at least the members of the team that returned for the concluding film of this essential trilogy – see a news report indicating that the United States will not be sending a team to Tokyo to compete with the Japanese little league champions. The Bears decide they’re the team for the job, and go on TV to tell Regis why they should represent our national pastime in the Land of the Rising Sun. Degenerate gambler Tony Curtis sees the program and decides the Bears are his meal ticket; he’ll take them to Japan in exchange for the lion’s share of the profits from a potential network telecast. Once the team reaches Tokyo, the Bears disappear for large chunks of the movie, which is heavily padded with travelogue material: a karate exhibition, a wrestling match, a game show talent competition. Curtis’s gambling partners fly in three ringers for the big game in order to ensure a U.S. victory, and a brawl breaks out shortly after the match-up at the Tokyo Dome gets underway. The network broadcast falls apart, but the two teams later meet up in an old-fashioned sandlot showdown.

The Test of Time: As I proceed with this series, it’s becoming clear that I spent the summer of ’78 reading a lot of novelizations. I’ve already mentioned Damien: Omen II and Jaws 2, but I also had the Fotonovel of Heaven Can Wait and I definitely had all three Bad News Bears novelizations. Although the original Bears was one of the seminal movies of my childhood, I don’t think I ever saw the sequels on the big screen. I’m sure I wanted to see the first sequel at least, but I had limited options at that age. If it wasn’t playing at the Navy base or in the tiny two-screen theater at the mall in Ellsworth, Maine, I didn’t have much choice. In retrospect I’m glad I didn’t see The Bad News Bears Go to Japan at the time, because I had better things to do in 1978, and now I apparently don’t. The one thing I’ll say on the movie’s behalf is that it didn’t dip nearly as deeply into the waters of cultural insensitivity as I was expecting. That’s not to say it’s a nuanced look at Japan circa the late ’70s, but it’s not as offensive as it could have been. It is, however, horrible. It’s so bad that most of the original cast declined to participate. I’m not just talking about Walter Matthau and Tatum O’Neal here – I mean like the kids who played Tanner and Lupus. Can you imagine how badly Tony Curtis’s career must have been going if he agreed to star in a movie that the kid who played Lupus turned down? The few Bears who do return have pretty much outgrown their cuteness, particularly pudgy catcher Englebert, now roughly the size of Haystacks Calhoun. The Bears aren’t given much to do aside from Kelly Leak (Jackie Earle Haley), the onetime bad boy who has now been Fonzied into a sensitive punk and who gets a perfunctory romance with a Japanese girl. I’m glad Haley had that little comeback a couple years ago, because it would be sad if this was the last thing he’d ever done.

Fashion Highlights: Kelly Leak still has the look with his shiny disco shirts and bell-bottom jeans, but Curtis is tragic in a wide-collared leisure suit with gold chains. Let us not even speak of his flared baseball uniform pants.

2008 Equivalent: The Mummy: Tomb of the Dragon Emperor, just because it’s an unrequested and unnecessary threequel that will undoubtedly suck.

Previously on Summer of '78: Heaven Can Wait