Players: Vincent Gallo, Christina Ricci and Ben Gazzara
Review:What for some reason I would've originally envisioned as a quirky comedy, or a wannabe cool crime caper in the vein of Pulp Fiction, Vincent Gallo's semi-autographical tale comes across as a suprisingly original character study. Directing, writing, and starring, Gallo also adds his creative talents through the soundtrack, making this comedy/drama effectively his. Based on its understated focus and brilliance, I cannot imagine that this association is unwelcome.
Just released from Prison, Billy (Gallo) gradually appears to have a mission to get back his former life in the city of Buffalo. We discover everything from why he was imprisoned in the first place, what his ultimate plan is, and how truly obsessive a fan his mother (Anjelica Huston) is of the Buffalo Bills.
Right away, we begin to discover the character through all interaction and reaction. While it may appear as having purely comic intentions, his desperate attempts to find a bathroom moments after becoming a free man showcase desperation, annoyance and negativity he relays in all future instances. As we proceed not only to this inadvertently causing his meeting (but intentional kidnapping) of Christina Ricci's character, we see our understanding of Billy grow, from his history with his unsympathetic parents, to his seemingly only cherished memories: those of a juvenile bowling champion. Every happenstance plays into who Billy is, giving us the knowledge to gradually empathize with him more and more, even as he knowingly/unknowingly emulates selfish and narcissistic attitudes ostensibly caused by his parents’ lack of tutelage and respect.
Keeping a very fine balance between drama and comedy, it can be difficult to decide when to laugh and when to remain silent. However this is just one of the film's many strengths, along with beautifully stark cinematography and a minimalist and atmospheric score, appropriate for the film's tone and some of its more bizarre showcases (one scene shows Ricci tap-dancing alone in a bowling alley). The plot may not scream "vitality" or "excitement" at the viewer, but the film's in-depth and concentrated look at this child of Buffalo, NY is more than enough to keep me enthralled.
Tidbit: Gallo grew up in the house we see Billy's parent living in.
Drink of Choice: Buffalo is the home of the original buffalo wing (Anchor Bar, to be precise). When I eat wings, I normally have a Tecate with lime (maybe two…). However, the city being the downtrodden and gray locale that it is, here is something harder as an alternative:
Niagra Falls:
2 parts vodka
2 parts orange liquer
1 part lemon juice
1/2 part sugar syrup (equal parts sugar and water, boiled)
Stars: Jean Reno, Ryôko Hirosue, and Michel Muller
Plot: Dispatching crimanls with succinct success but also collateral damage ala Riggs/Murtaugh, policeman Hubert Fiorentini is pushed to vacation while still pining over his lost love for the last 19 years. After receiving a phone call that she has passed away, he returns to Japan where he once lived to obtain her remaining effects… including the daughter he never knew.
Review: Borrowing this from a friend at work, I can say I was not exactly sure what I was in for. Based on the artwork, it had to be fun, entertaining, and have a certain mix of euro-action and comedy that’s come to be known in varying degrees throughout Luc Besson’s work (The Professional, Taken). Upon completion, I can say it was mostly expected and enjoyable, but not totally without surprise.
Fairly consistent action and fast paced camera work are almost required with this pedigree of film. You generally have a cop, hitman, or anyone who can easily eliminate a plethora of bad guys, and then throw in a personal “hook” that challenges them (i.e. plethora ad infinitum) to the point of every action junkie’s pleasure. Here we have the same ingredients: bad ass policeman who along with finding out he has a daughter, discovers her mother stumbled onto something sinister, resulting in her demise. Enter guns and explosions…well at least the former.
For being marketed as an action film, there is oddly not much. That is not to say its isn’t vibrant like one, also including plenty of entertaining moments featuring our protagonist (Jean Reno) taking out baddies creatively yet efficiently. However, the newfound relationship between parent and child (of which the the latter is oblivious of for some time) appears prominent, and refreshingly so. Fiorentini discovers his daughter actually hates policemen, as well as the idea of her father, enticing him to remain silent of his role while a bond between slowly but surely develops. With the mystery being fleshed out alongside, we have a fairly effective and believable look into family members meeting for the first time, even with the fairly unbelievable action surrounding it.
"I used to protect Natalie Portman you know... where the hell is MY oscar?"Besides surprising devotion to characters, humor and laughs are fairly constant throughout. The writing and acting are no doubt thanks to that, with Jean Reno bringing bittersweet comedy to his bad ass cop without a family, while Ryôko Hirosue (playing his daughter) is young and vibrant, ignorant to the fact this man is protecting her (to hilarious effect). Adding comedic support is Michel Muller playing a bumbling former colleague in Japan, always saying the wrong thing while attempting to back up his friend throughout his ordeal.
Even though one may easily see a formula at work, Wasabi succeeds at throwing out fun oddities; look at the title? The actual Japanese horseradish only plays a small cameo and joke in the film, but makes sense as the title, with Japan playing the main setting. Even phonetically it somehow seems right. Is the film really spicy though? Medium to medium hot.
Cast: William Powell, Myrna Loy, Maureen O'Sullivan, Nat Pendleton, Minna Gombell, Cesar Romero (The original Joker!), Porter Hall and Skippy the Dog
Synopsis: Former ace detective Nick Charles (Powell) is happily enjoying his retirement with his rich heiress wife Nora (Loy) and their dog Astor (Skippy) content to drink booze and crack wise the rest of his days. But when a famous, and notoriously eccentric, inventor is missing and suspected of murdering his wife an opportunity to come out of retirement arises. Nora, who finds the prospect of seeing her husband working exciting, as well as many of Nick's old friends urging him to take on the case he begrudgingly acquiesces even if the only case he is interested in is "that case of scotch".
Reluctant, but no less brilliant, Nick sticks on his old gumshoes and proves why he is the greatest detective in New York, retired or otherwise. What follows is a case of intrigue, deception, lust, alcohol and all of the other fun sins culminating in a classic whodunit dinner party where one of the guests is none other than the murderer!
Nick: "Oh ... It's all right. It's my dog. And, uh, my wife." Nora: "Well you might have mentioned me first on the billing."
Review: The now classic 1934 screwball comedy The Thin Man wasn't supposed to be anything great, thrown together in under a few weeks and harvesting actors that were under contract with MGM it was at most supposed to be a fun throwaway comedy. What resulted, however, was cinematic magic that still feels fresh and fun almost 80 years later. The Thin Man is pretty much a perfect movie that could end up being your favorite even if you haven't heard of it until now.
Credit where credit is due, the writing by Albert Hackett and Francis Goodrich was nothing less than inspired. Adapting a Dashiell Hammett (also author of The Maltese Falcon) hard-boiled detective novel of the same name and making it into a comedy while maintaining the same thriller aspect was a gutsy move but they sure as hell pulled it off. But as fun as the mystery aspect is it easily takes a backseat to what is the most thrilling aspect of The Thin Man; the performances of Powell and Loy. The reason The Thin Man is a timeless classic is almost undefinable but it surely isn't undeniable. I am speaking of course of the chemistry between William Powell and Myrna Loy as Nick and Nora Charles. I have never seen a husband/wife relationship on screen that was so genuinely fun and fresh. Between the witty banter and the playful insults lies a believable relationship. Both are accomplished actors, and had also co-starred in the Clark Gable classic Manhattan Melodrama which was released only a couple of weeks prior, but The Thin Man (and it's several sequels) will always be my favorite movie that they are paired up in.
Nora: "I read where you were shot 5 times in the tabloids." Nick: "It's not true. He didn't come anywhere near my tabloids!"
On his own William Powell puts up a grand nonchalant front as Nick Charles, for most of the film he is laid back and content to drink cocktails and spend his days with his wife. But when he is on the case there is a calculating coldness about him, the wheels in his head are always turning even when he appears to be hungover after a night of indulgance. Yes he carries a gun but his greatest weapons would have to be his amicability and sharp wit. Roger Ebert put it best; stating Powell "is to dialogue as Fred Astaire is to dance. His delivery is so droll and insinuating, so knowing and innocent at the same time, that it hardly matters what he's saying." He can talk his way out of almost any situation using humor and more often than not will leave a friend, and Nick has many friends. Even the men he has in the past sent up the river for various crimes hold him in high respect and treat him as a pal, much to the amusment, and sometimes annoyance, of his wife Nora. Powell carries himslef in this manner, somewhere between playboy and hardboiled detective, and he not only makes it work he excells at it. There is no Thin Man without William Powell (Or is there?) his dapper deviousness and classy cynicism are the essance of Nick Charles and I can think of few actors that could ever have pulled that off, even fewer contemporary examples.
But Powell is only part of the reason The Thin Man is such a great film, his female counterpart Myrna Loy is just as key. Her depiction of Nora Charles is every bit as witty as her detective husband and even when it comes to knocking back drinks she proves to be his equal. Quite often Loy will steal a scene with a quip or a mock despairing eye roll, some of the greatest moments of the film lie not only in her dialog but her subtle mannerisms and smiles. If this was a Film Noir she would be the femme fatale but she puts on no airs of superiority, she is just too busy having fun.
Nora: "Do you want a drink?" Nick:" What do you think?"
In fact that one word wholistically describes exactly what The Thin Man is: fun. The dialog, the performances and yes even the detective story are just fun. If Shane Black (Die Hard, Lethal Weapon, Kiss Kiss Bang Bang) was screenwriting in the 1930's The Thin Man would have been right up his alley and I'm not just saying that because Christmas is the backdrop! The mixture of action, humor and intrigue are exactly what makes The Thin Man such an enjoyable watch and it has longevity and holds up to repeat viewings. If you fall in love with Nick and Nora and their adventures or were ever to get bored of The Thin Man (impossible) then you will be glad to know that this flick spawned a successful franchise of 5 sequels that always brought in acting heavyweights like Jimmy Stewart, Donna Reed, Dean Stockwell and many others. I heartily would reccomend any of the series, but the first is easily the greatest of the six and if you haven't had the pleasure to see The Thin Man just do yourself a favor and pick it up, it still deserves an audience 80 years later.
"You know, that sounds like an interesting case. Why don't you take it?" ~ "I haven't the time. I'm much too busy seeing that you don't lose any of the money I married you for."
The Thin Man endures not only as one of the greatest comedies ever committed to film, but one of the greatest films period.
If you are having trouble finding the films I fully recommend The Complete Thin Man Collection DVD boxed set, mine has seen more than it's fair share of use.
Cast: Christopher Guest, Eugene Levy, Fred Willard, Catherine O’Hara
Plot: In the small Missouri town of Blaine, an effeminate wannabe director from the city attempts to reach stardom by bringing a musical with local residents to the attention of a Broadway representative. And it’s not played cute or fake, but ultimately, and satisfyingly, for REAL.
Review: How truly and utterly refreshing this was, a low budget down-to-Earth look at interesting and believable characters attempting to reach heights in all their naiveté. Anyone familiar with director Christopher Guest and his troupe of regulars, as I am, knows what can await them. All of their other “mockumentaries” including A Mighty Wind, Best in Show, and This Is Spinal Tap (Guest did not direct the latter) impress with their honest takes on unique and hilarious characters. However I had never been privy to this film until after seeing those mentioned, and what a pleasant and hilarious surprise I had to find this might be the best of the bunch.
The story is simple enough: a small town coming together to celebrate their culture and history in an original musical. What really makes this movie effective are the diverse characters, which is ostensibly the director’s modus operandi. Guest had a script in hand, but would basically just give an outline of a scene to the actors, and let them proceed how they wanted (the basic procedure of films to follow, but revolutionary here). In every sense of the word this is a wonderfully goofy character piece, both character driven and character supported.
"A musical is like warm apple pie..."
Other elements in the film come out fine, emulating a fairly cheap documentary atmosphere that completely suits the film, almost to the point that you forget its fake. The use of real location and lack of music also assist in sucking you into verisimilitude. There’s even a slightly exciting underdog element, as they acting troop awaits the arrival of the man from Broadway (the titular Guffman) believing success is truly a possibility.
If there’s one complaint to be had, it’s the fully shown realization of the musical. This does add to the realism of the story, documentary style, and is funny, but it also slightly takes away from the pacing, lacking in the plethora of comedic moments seen earlier. Perhaps its better this way though; being a character driven piece, and actually being able to care for these people, one can appreciate what they have strived for, and it is pleasing to see the group come to fruition.
Ed Felt 
