TheFearmakers
Iscritto in data nov 2016
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Valutazioni1815
Valutazione di TheFearmakers
Recensioni1737
Valutazione di TheFearmakers
Gilbert Gotfried makes a joke about having oral sex with an actress and not minding that it would give him cancer (relating to Michael Douglas, hint) and then says he'd even get some kind of dystrophy, which he ended up dying of...
The thing about this documentary, more of a home movie, is that he's obviously... very, very obviously dying of something...
He's very skinny and he can't talk very well, and it's not just him being his real self unlike the stage persona... so that aspect is the elephant in this otherwise somewhat cozy room...
They say he was a comic's comic (and one of the first to be cancelled), but that doesn't really seem like the right word, seeming more befitting to George Carlin...
He was more of a niche, a deliberately annoying niche, always playing annoying characters...
And despite Corpse Artie Lange being interviewed, Gilbert's best times on The Howard Stern Show was during the 1990's when Howard, talking about when Gilbert was sick in the hospital for a month, got the human side out of him, in spurts...
Which sums up this documentary, spurts, about a guy who is surprised he's rich, famous and has a wife, but, why? He's famous, he's rich... oh and his daughter is so adorable...
It's good he was able to retire with a loving family but it wouldn't be shocking if he had a wife in the 1980's... because that character he played was a character, no different than Rodney Dangerfield getting no respect when he was the most respected comedian ever...
Anyhow, it's a nice little slice, could have been deeper, but makes more sense now that he's already gone (it was made, of course, and released when alive) because it's obvious, again, that he's very sick here.
The thing about this documentary, more of a home movie, is that he's obviously... very, very obviously dying of something...
He's very skinny and he can't talk very well, and it's not just him being his real self unlike the stage persona... so that aspect is the elephant in this otherwise somewhat cozy room...
They say he was a comic's comic (and one of the first to be cancelled), but that doesn't really seem like the right word, seeming more befitting to George Carlin...
He was more of a niche, a deliberately annoying niche, always playing annoying characters...
And despite Corpse Artie Lange being interviewed, Gilbert's best times on The Howard Stern Show was during the 1990's when Howard, talking about when Gilbert was sick in the hospital for a month, got the human side out of him, in spurts...
Which sums up this documentary, spurts, about a guy who is surprised he's rich, famous and has a wife, but, why? He's famous, he's rich... oh and his daughter is so adorable...
It's good he was able to retire with a loving family but it wouldn't be shocking if he had a wife in the 1980's... because that character he played was a character, no different than Rodney Dangerfield getting no respect when he was the most respected comedian ever...
Anyhow, it's a nice little slice, could have been deeper, but makes more sense now that he's already gone (it was made, of course, and released when alive) because it's obvious, again, that he's very sick here.
One of the best documentaries about the nightmare process of filmmaking, similar to HEARTS OF DARKNESS which, ironically, is connected since both centered-on films starred and were marred by Marlon Brando, one of the greatest yet most difficult actors ever...
Ironically, it's another infamously difficult method-man, Val Kilmer, who brings original director Richard Stanley from being the director on set to just one of several scriptwriters... sent back to Los Angeles, where he never arrives...
By the time we learn about how he goes undercover as one of the mutants on set in rural Australia, the doc's almost over, although that's the most interesting story behind the story here... (It seems more like a myth than something that actually happened...)
Stanley had made several noteworthy indie science-fiction films and it seems he just wasn't ready for something this big... for the most part, it seemed like poor Richard had more energy into the storyboards than dealing with big name actors...
Supposedly he got along with Brando in the post-production process, but learning about Val Kilmer makes this equally anti-Val as it's pro-Stanley, and those are perhaps the most intriguing aspects...
So here's one man who won't be mourning Val's death, which happened last week... a great actor when he wanted to be... even when he wasn't happy with the material, he'd rise above it...
But in this movie, taken over by veteran director John Frankenheimer, who was equally as beguiled during as Stanley was beforehand, has one of Kilmer's worst performances...
He had the chance to mirror Dennis Hopper from Apocalypse Now, but seems downright bored... and he was playing the kind of offbeat weirdo that he'd usually revel in...
So not only did we NOT get that cool indie horror-homage from Stanley, but we get a horrible performance by Kilmer, AND Brando (who is equally lackluster, and had deliberately ruined films prior, like MISSOURI BREAKS)...
It's obvious just watching this doc several times (it's THAT addicting) that Richard Stanley would have only been able to make a good middle-budget film with familiar b-actors who need to prove themselves... not a-list actors who don't care about anything...
Making the true light of Lost Souls the fact of Richard Stanley finally having his say because he seems like a fun and involving, offbeat character, and it's a shame his career derailed afterwards, or that he didn't just return to smaller budgeted films, which are usually much better anyway.
Ironically, it's another infamously difficult method-man, Val Kilmer, who brings original director Richard Stanley from being the director on set to just one of several scriptwriters... sent back to Los Angeles, where he never arrives...
By the time we learn about how he goes undercover as one of the mutants on set in rural Australia, the doc's almost over, although that's the most interesting story behind the story here... (It seems more like a myth than something that actually happened...)
Stanley had made several noteworthy indie science-fiction films and it seems he just wasn't ready for something this big... for the most part, it seemed like poor Richard had more energy into the storyboards than dealing with big name actors...
Supposedly he got along with Brando in the post-production process, but learning about Val Kilmer makes this equally anti-Val as it's pro-Stanley, and those are perhaps the most intriguing aspects...
So here's one man who won't be mourning Val's death, which happened last week... a great actor when he wanted to be... even when he wasn't happy with the material, he'd rise above it...
But in this movie, taken over by veteran director John Frankenheimer, who was equally as beguiled during as Stanley was beforehand, has one of Kilmer's worst performances...
He had the chance to mirror Dennis Hopper from Apocalypse Now, but seems downright bored... and he was playing the kind of offbeat weirdo that he'd usually revel in...
So not only did we NOT get that cool indie horror-homage from Stanley, but we get a horrible performance by Kilmer, AND Brando (who is equally lackluster, and had deliberately ruined films prior, like MISSOURI BREAKS)...
It's obvious just watching this doc several times (it's THAT addicting) that Richard Stanley would have only been able to make a good middle-budget film with familiar b-actors who need to prove themselves... not a-list actors who don't care about anything...
Making the true light of Lost Souls the fact of Richard Stanley finally having his say because he seems like a fun and involving, offbeat character, and it's a shame his career derailed afterwards, or that he didn't just return to smaller budgeted films, which are usually much better anyway.
THE WILD LIFE, an underrated, extremely unappreciated and relatively obscure and unknown teenage summertime sex comedy directed by Art Linson and written by FAST TIMES AT RIDGEMONT HIGH creator Cameron Crowe has a somewhat deliberately facetious, misleading title...
Although two of the main characters - Chris Penn as Tom Drake, channeling brother Sean's Jeff Spicoli in jock form, and Ilan-Mitchell Smith as stoner kid Jim Conrad - are rebellious enough, the buried lead goes to Jim's big brother Bill, who, played by Eric Stoltz, moves into an apartment complex for his twenty-something independence...
For the most part, the "wild" in the title becomes something to avoid more than embrace but not for long because, after Penn's Tom, who works with Bill at the local bowling alley, moves in to share the rent, the pad becomes a dilapidated and eventually partying-till-you-drop hangout...
Meanwhile, Bill's ex girlfriend Anita, played by Lea Thompson, is a mousy donut store employee having an affair with a muscular, very married cop. And poor put-upon Bill simply gets no thrill out of life, wild or otherwise...
Unlike long-haired little brother Jim, who confidently wanders town with a ghetto blaster in hand, a cigarette always lit and most importantly, being a fan of APOCALYPSE NOW and friends with a real vet, he's entranced by the Vietnam War (when not trying to impress young cutie Cari Anne Warder)...
During the late 1970's and early 1980's, with an exception of OVER THE EDGE, not many films showcased heavy metal kids, making Jim liken to one of FAST TIMES scalper Mike Damone's customers, but in the forefront...
And on the flipside, Lea Thompson's Anita is overshadowed by her best friend in punk rock/new wave/new romance hybrid Jenny Wright as Eileen, working at a trendy neon boutique...
While dodging the advances of dorky boss Rick Moranis, she keeps at arm's length with a persistent Tom, seeking her hand in marriage while drinking beer or trying to buy some with a fake ID when not smoking pot, partying at a seedy strip club, and making a real mess of everything he touches...
And yet, the characters aside... and despite Madonna, Prince and Billy Idol being deleted from cable and home video for copyright issues... the most important element is the uniquely awesome soundtrack by Edward Van Halen, providing an eclectic mix of instrumental tracks, equally rocking, funky, soulful and jazzy, one of the few times you'll hear the iconic guitar god jamming (without a vocalist): The colorful riffs especially befit Jim's head-banger odyssey: After all, he's the one who'd probably spend quality time listening to Roth-era Van Halen on his bedroom stereo...
And while neither Penn or Stoltz are strong enough to carry the picture, their opposing synergy becomes that much more dynamic: An Oscar/Felix relationship tugging the apartment in a wishbone fashion, and, unfortunately for Bill and luckily for us, the partying Tom ultimately wins... but only somewhat.
Although two of the main characters - Chris Penn as Tom Drake, channeling brother Sean's Jeff Spicoli in jock form, and Ilan-Mitchell Smith as stoner kid Jim Conrad - are rebellious enough, the buried lead goes to Jim's big brother Bill, who, played by Eric Stoltz, moves into an apartment complex for his twenty-something independence...
For the most part, the "wild" in the title becomes something to avoid more than embrace but not for long because, after Penn's Tom, who works with Bill at the local bowling alley, moves in to share the rent, the pad becomes a dilapidated and eventually partying-till-you-drop hangout...
Meanwhile, Bill's ex girlfriend Anita, played by Lea Thompson, is a mousy donut store employee having an affair with a muscular, very married cop. And poor put-upon Bill simply gets no thrill out of life, wild or otherwise...
Unlike long-haired little brother Jim, who confidently wanders town with a ghetto blaster in hand, a cigarette always lit and most importantly, being a fan of APOCALYPSE NOW and friends with a real vet, he's entranced by the Vietnam War (when not trying to impress young cutie Cari Anne Warder)...
During the late 1970's and early 1980's, with an exception of OVER THE EDGE, not many films showcased heavy metal kids, making Jim liken to one of FAST TIMES scalper Mike Damone's customers, but in the forefront...
And on the flipside, Lea Thompson's Anita is overshadowed by her best friend in punk rock/new wave/new romance hybrid Jenny Wright as Eileen, working at a trendy neon boutique...
While dodging the advances of dorky boss Rick Moranis, she keeps at arm's length with a persistent Tom, seeking her hand in marriage while drinking beer or trying to buy some with a fake ID when not smoking pot, partying at a seedy strip club, and making a real mess of everything he touches...
And yet, the characters aside... and despite Madonna, Prince and Billy Idol being deleted from cable and home video for copyright issues... the most important element is the uniquely awesome soundtrack by Edward Van Halen, providing an eclectic mix of instrumental tracks, equally rocking, funky, soulful and jazzy, one of the few times you'll hear the iconic guitar god jamming (without a vocalist): The colorful riffs especially befit Jim's head-banger odyssey: After all, he's the one who'd probably spend quality time listening to Roth-era Van Halen on his bedroom stereo...
And while neither Penn or Stoltz are strong enough to carry the picture, their opposing synergy becomes that much more dynamic: An Oscar/Felix relationship tugging the apartment in a wishbone fashion, and, unfortunately for Bill and luckily for us, the partying Tom ultimately wins... but only somewhat.