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Friday, Jan 5, 2007


Spalding Gray was more than just a monologist. He was a capturer of moments, a filterer of the fallacies of man, turning insecurity, insanity and ineffectualness into an artform. Using that long lost human gift of communication to sell his sensibility, he worked in autobiographical shades, hoping his well-rehearsed screeds would lead individuals into some manner of performance epiphany. Though many may have known him from his minor turns in motion pictures, it was Swimming to Cambodia, and that story’s endless search for a perfect moment, that finally won him real recognition. That film, by live concert juggernaut Jonathan Demme, dealt with Gray’s growing discontent with life, his small role in Roland Joffe’s The Killing Fields, and a momentous swim in the Indian Ocean which resulted in a kind of karmic closure.


How ironic it is then that, nearly three years ago, the man took his life by throwing himself in the East River. New York was where he felt the most comfortable, the most escaped from his haunted New England past. The issues surrounding his upbringing (distant father, cracked Christian Scientist mother) and his late in life turn toward fatherhood (longtime companion and first wife Renée Shafransky was out, new spouse Kathleen and their two kids were in) have been dissected before. In his CD only offering, It’s a Slippery Slope, Gray used the noted philosophical metaphor to discuss both happiness and depression. Any person, he believes, poised on the precipice of both emotions, can easily see himself or herself sliding down, landing in an arena of tremendous joy, or endless torment.


If Cambodia was prophetic, then Monster in a Box is a last gasp warning. Genial in its tone but devastating in the problems it presents, Gray’s fierce follow-up to his sudden celebrity is at once a denouncement of such stardom, and a strangled attempt at dealing with his mother’s emotional suicide. Framed around the writing of Gray’s only novel, the eerily reflective Impossible Vacation, the process reveals a man in desperate inner pain, projecting his mental unease on everything and anything around him. As we follow his adventures at a writer’s colony, a bungalow in Beverly Hills (complete with earthquake), trips to Nicaragua and Russia, and a stint as the Stage Manager in Thorton Wilder’s play Our Town, we hear someone slowly coming apart at the seams. Every adventure is attached to a disaster, all progress measured against endless internal angst.


Perhaps the best example of this collaboration of contradictions comes when Gray spends Thanksgiving in Manhattan. Ecstatic to be away from LA’s combination of cars and culture shock, he attends a screening of Cher’s Moonstruck. Prior to the event, his girlfriend Renee shocks him with the news that the rash she has on her inner thigh (something Gray describes as “radioactive blue shingles”) is sometimes considered a sign of AIDS. What follows is a perplexing combination of psychosomatic insanity (Gray gets incredibly sweaty feet, dry mouth, and tends to bark like a dog) and deliciously vile descriptions of the stage door slut who may have given him the disease. On the one hand, he celebrates the sexual score. On the other, he worries about the price he must pay.


Almost all of Gray’s monologues deal with mortality. One of his first was entitled Sex and Death to the Age 14. Gray’s Anatomy, the film that followed Monster, dealt with an eye condition and his investigation of alternative medicines. To call him hypochondriacal would be the cup of kindness. Gray is goofy on human physicality, awash in worries that no normal person places on themselves. The threat doesn’t have to be interior either. During Monster‘s fact finding tour of Central America (a trip as part of a potential film script deal for Columbia), he discovers that his roommate, a tightly wound pedantics major from Berkeley, is so paranoid that he’s threatening the groups security. Hoping to keep him out of a Nicaraguan asylum, Gray and the gang try to comfort him. Unfortunately, all our hero can do is make the man’s fears all the more fathomable (“No, I’m not part of the CIA…I think…”).


Interspersed throughout these travails are snippets of Vacation, an incredibly insular book that basically uses wild eccentricities, gay sex, and a few passages of sweeping literary majesty to mask the fact that Gray never forgave his loveable loon of a mother for taking her own life. The metaphor he uses – the notion of getting away and spending time in the leisurely pursuit of relaxation – is rather obvious, and its one he employs in Monster as well. The numerous projects he takes on post-Cambodia (an HBO special on UFO abductees, a year in residence at a LA theater interviewing people, etc.) become excuses, ways of not dealing with his mom’s decades-old decision. Even when he begins therapy with a strict Freudian shrink in California, his sessions are more an avoidance than an admission. Gray even states that Vacation was a way of working out his Oedipal issues. Sadly, it seems like it didn’t work.


Luckily, there is more to Monster in a Box than mental insights into a frayed and fractured soul. One of the reasons so many grieve for Gray is that, as a performer, he remains remarkable. His monologues are funny, full of snide little swipes at inanity and the impracticalities of modern life. When his LA assistant refuses to leave her car to help locate some potential interview subjects, Gray condemns her for having a “35 mph mentality” (nothing traveling below that speed registers on her retina). Similarly, a chance meeting with other Americans while in Russia results in the celebrity being booted from the Hermitage. The crime? Impersonating royalty. Like a less reference oriented Woody Allen, Gray mixed metropolitan life with personal phobias to enter a realm of vicarious victimization. And we simply sit back and laugh along.


Revisiting this movie today, some 14-plus years after its release (Image Entertainment deserves kudos for finally bringing it on everyone’s favorite digital domain), one is struck by how poignant and hopeful the ending is. As he describes his dream job – starring in Our Town – one senses a sort of finality for Gray. Even as he explores his moments of resignation and resolve, we can actually hear him exhale, subconsciously giving up a little of the ground the past has stolen from him. It’s just too bad that elements that most people find centering – family, children, success – didn’t really help this talented yet troubled man. As the middle sequence in a trilogy of trauma, Monster in a Box is Spalding Gray’s masterwork. It begs to be experienced, not only for what it says about this fine, fallen artist, but about life in general. 



Image Entertainment’s‘s DVD version of Monster in a Box was released on 28 November, 2006. For information on this title from Amazon.com, just click here


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Friday, Jan 5, 2007


Nominees, Best Actor: 2006
Sacha Baron Cohen for Borat
Matt Damon for The Departed
Leonardo DiCaprio for The Departed *
Ryan Gosling for Half Nelson
Ray Winstone for The Proposition


Other notable performances:
Edward Norton for Down in the Valley, The Illusionist, and The Painted Veil
Patrick Wilson for Little Children


The Best Actor races of awards seasons past have been really heating up in the past few years. 2006 is turning out to be more of a lean race for the men, where it’s really anyone’s guess as to who will take home the Oscar at the end of all of the pre-awards lunacy, but the same few names keep popping up as being “in the running”.


In his last two outings with Martin Scorsese, Dicaprio was either not the focus of the attention (he was far out-classed by Daniel Day Lewis’ Bill the Butcher in Gangs of New York; wearing a horrible fright wig and saddled with the wooden Cameron Diaz as a co-star), or he was passably functional but not “classic Scorsese” great (as Howard Hughes in The Aviator, he had some terrific moments, but for my money was miscast). Third times a charm, it seems: Leo has finally given us a “classic Scorsese” performance with The Departed. Filled with rage, youthful macho abandon, and the expertly shaded heroics of Scorsese’s pack of anti-heroes of past awards seasons his character really stacks up favorable next to some of Robert DeNiro’s early work with Scorsese (the rawness in Mean Streets for some reason comes to my mind). DiCaprio has finally delivered fully on the promise everyone has been talking about for years now. We get it; you’re a very serious actor, Leonardo.


Co-star Matt Damon would be an equally compelling choice as actor of the year for his stellar, similarly surprising turn in Scorsese’s film; it seems as though Damon just gets better and better with age. In a cast that is filled with knockout turns, Damon fits perfectly. With strong performances in diverse lead and supporting roles (from tortured gay misfit in The Talented Mr. Ripley to the sublime action of the Bourne films franchise) for more than ten years now, Damon’s collaboration with Scorsese makes perfect sense. It will be very exciting to see his next move after the third Bourne installment this year.


While comedy doesn’t really play well with most film critics organizations that dole out awards (generally to the most austere dramatic performances), Sacha Baron Cohen’s skilled portrayal of a hapless, hysterical Kazakhstan-born reporter is not only one of the best comedic performances of this year, but of any in recent memory. Tackling the outrageous physical demands of the part without any vanity, Cohen has seen his name popping up on year-end “best actor” lists all over the country. He shared the Los Angeles Film Critics award for Best Actor this year with Forest Whitaker’s ferocious characterization of Idi Amin in The Last King of Scotland (talk about an odd couple), and snagged a Golden Globe nod the same week. His is a performance so buzzed about, that at this point he might be considered a favorite for an Oscar nomination, provided of course, they can look past the whole testicles-in-the-face scene (or the anti-Semitism, or the sexism, or the… well you get the point).


Two men flying under the radar of everyone this year, are Ryan Gosling for his searing, natural work in the indie drug-addiction drama Half Nelson and Ray Winstone as a English lawman in lawless Colonial Australia in Nick Cave’s revisionist western The Proposition. Both turned in career-best work that is shamefully going unnoticed by the predictable critic’s groups, mainly because everyone is so obsessed with Whitaker’s role in a shamefully by-the-numbers biography film. I guess original characters aren’t interesting to watch anymore?



Nominees, Best Actress: 2006
Penelope Cruz for Volver
Laura Dern for Inland Empire *
Kirsten Dunst for Marie Antionette
Jennifer Hudson for Dreamgirls
Kate Winslet Little Children


Other notable performances:
Judi Dench for Notes on a Scandal
Cate Blanchett for Little Fish
Fernanda Montenegro for House of Sand


In the category of Best Actress this year, the only name anyone seems to be able to say is: Helen Mirren. Mirren has been fantastic consistently for so long that her sweep of critic’s prizes (and it’s very likely she will take the Oscar too) doesn’t seem particularly gratuitous, even though it sort of is. She is good in The Queen as Elizabeth, but she has been so much better elsewhere that it seems a little insulting that this sort of stock (at times boring) impersonation is being heralded as her career-best when there are so many other more interesting options in this race. Like in the case of Best Actor and Actress winners of the past (and the list is long), playing a real-life character will likely be Mirren’s ticket to a clean sweep of acting prizes this year.


Nothing any other artist, male or female, will pull off this year will top the experimental Laura Dern/David Lynch alliance in Inland Empire. It’s the kind of performance that will be talked about for years to come and will be properly understood sometime in the future, too late. Dern has been kicking ass and taking names since 1985 (with the underrated teen drama Smooth Talk, which was immediately followed by her first Lynch outing, 1986’s Blue Velvet) and this is he best work to date. As she’s gotten older, her acting choices have become some of the most interesting of any woman in the industry: another Lynch turn in 1990 with Wild at Heart, her Oscar-nominated Rambling Rose, the razor sharp Citizen Ruth, and the searing relationship drama We Don’t Live Here Anymore offer a mere sampling of her film work; while her small screen work has been equally effective (just check out 1998’s The Baby Dance, in which she goes toe to toe with the formidable Stockard Channing, if you don’t believe me). Lynch’s film could very well turn out to be one of the worst-reviewed of the year, but even the critics who hate the film couldn’t help singling out the brave performance of Dern.


Another revelation this year is Penelope Cruz, working again with director Pedro Almodovar on Volver (the two last worked together in 1999 for All About My Mother, in which Cruz played a pregnant nun with AIDS). It’s probably a sound bet for any actress to take even the smallest part with Almodovar, who is so famous for drawing out unique, memorable women but never has such a familiar actress caught me this off-guard: I am not at all a fan of Cruz’s technique, but found her utterly compelling here. When she is performing in English, I always feel like something is missing or something isn’t really connecting properly. In her native Spanish, she comes across deadly sexy, fiercely intelligent and totally committed to her material; it’s like we are watching a completely transformed woman. Though she continues to churn out misfire after misfire in the US (my apologies if anyone was really into her “performance” in Sahara), Almodovar continues to see something exceptional in Cruz, which is lucky for fans of great female acting everywhere in the world.


Left out of every major critical outing this year (unjustly) is Sofia Coppola’s Marie Antionette, but specifically the deviously girlish performance of Kirsten Dunst, who like Cruz, sometimes has trouble connecting to characters that are perhaps outside of her range or experience. As the young queen, Dunst was able to register on screen like she never had before: she was appropriately beguiling, and eventually commandingly tragic. It’s another case of an actress really hitting her artistic stride alongside a favorite director (2000’s The Virgin Suicides was their first successful match up), which looks to be the most surefire way to achieve a modicum of artistic merit this year.


Little Children was one of the best films of the year that, unfortunately, no one saw. Kate Winslet can apparently not give a bad performance, audience or not: her turn as a bourgeois suburbanite mother whose life is uproariously stirred up by a neighbor is one of the most introspective and well-thought out pieces of acting she has done to date (think American Beauty meets Madame Bovary, and you’ll get the idea of where she is coming from). Considering the career that Winslet has nurtured over the years, it’s a bold statement to call this her best work, but it is clear that she wholly identifies with the material and connects with it on a very important level, being a young mother herself in real life. Playing a woman who isn’t concerned with appearances at all, and who also might not be a great mother, Winslet is able to speak volumes with the most seemingly insignificant gestures and looks; but also with a singular lack of personal vanity. In Little Children Winslet’s beauty is presented as many things other than just physical: it’s empowering, tragic, and even stoic.


And lastly, we have the biggest, boldest hype of the year: Jennifer Hudson. She of the mega-buildup, she of American Idol fame has had a maddening amount of buzz being spilled her way for her tour-de-force debut performance as the now-mythical Broadway character Effie White in Bill Condon’s adaptation of the musical Dreamgirls. It is the only time in recent memory I can confidently say that the performance lives up to the hoopla: Hudson is flat-out astonishing. At the end of her huge diva number that closes the first act, prepare to be amazed at her skillful combination of real, gritty emotion (that isn’t glam in the least), theatricality, and vocal prowess. The audience I saw this scene with, outside of Detroit, erupted in thunderous applause and cheers in the middle of the film, after this scene (something I have not seen with any other performance, in any other film).  Hudson is charming, and it is refreshing to see a real woman like her run away with show. She may not be as skinny as co-star Beyonce Knowles or as popular, but she is way, way cooler.


Hudson’s off-screen persona compliments her character’s transition from nothing to star to has-been and back again perfectly and naturally. The only issue I have with her performance is that she is being promoted (and winning) supporting actress honors all over the place, when really she is the lead of the film: she has more screen time than her co-stars and is so expressive that when she is not onscreen, you are still thinking about her and hoping she will be back soon. Like her character in the film, she is being screwed out of what is rightfully hers just so Knowles, who is more of a supporting character in the story than Hudson, can be primed to take a spot in the lead actress categories. At least losing gracefully this time will likely result in an Hudson getting Oscar for Best Supporting Actress, rather than an insult from Simon Cowell. Thanks, J.Hud for taking one for the team, a classy, winning move indeed.


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Wednesday, Jan 3, 2007


Nominees, Best Supporting Actor: 2006
Jackie Earle Haley for Little Children*
Garrison Keillor for A Prairie Home Companion
Eddie Murphy for Dreamgirls
Jack Nicholson for The Departed
Mark Wahlberg for The Departed


Other notable performances:
Danny Huston for The Proposition
Paul Dano for Little Miss Sunshine
Brad Pitt for Babel


With ease, I would give Supporting Actor of the year honors to the comeback of the year: Jackie Earle Haley for his creepy, dryly funny characterization of a sex offender living in the most judgmental of all suburban enclaves in Little Children. Most film lovers will remember the former child actor from his work in the 1970s in popular films like The Bad News Bears, Breaking Away or perhaps as the unstable, feminine child star that causes complete, unhinged pandemonium at the end of The Day of the Locust (a truly delirious, weird performance). No matter what sort of disturbing or popular work he’s done in the past, Haley’s current work as a man struggling to keep his urges in check while living with his understanding mother is the most solid, original supporting turn this year.


Speaking of comebacks, where in the hell has Eddie Murphy been hiding? His performance as the James Brown-esque singer in Dreamgirls is a stunning, virtuoso turn that showcases Murphy’s versatility in a fresh new way. While the performance has a few comedic elements to it, Murphy highlights the more dramatic moments of James Thunder Early in addition to his electric musical numbers. It’s a dynamic, show-stopping performance filled with energy, wit and pathos that no one has been able to ever capture from Murphy until now. It’s a revelatory, surprising take on a man who could have descended very easily into parody (especially given the entire film was basically filled with stunt casting). Hopefully this serious attention will translate into Murphy making better movies in the future.


The men of The Departed should maybe have their own special award this year. Martin Scorsese brings the best out of everyone he casts: veteran Jack Nicholson finally gets to go to “Marty school” (to terrifying and humorous result as a very bad man), while Mark Wahlberg (who has flown disturbingly under the awards radar despite such ace performances in films like Boogie Nights, Three Kings, and I Heart Huckabees; any of which he could have feasibly been Oscar-nominated for) gets to make the most out of his relatively limited role infusing his Boston cop with cynicism and humor. It’s clear both actors are having the time of their lives working with the director that most living actors would likely cite as the director they most wanted to work with. Uber-star Brad Pitt (who gave a surprisingly tender and focused performance in Babel), seems poised to steal some awards thunder from the Departed guys, but let’s all remember, he is also doing double duty this year as a producer: on The Departed!


One interesting, less-talked about performance that will likely breeze through the whole hoopla leading up to the Oscars is Garrison Keillor, who stars as a version of himself in Robert Altman’s home spun A Prairie Home Companion. He helped adapt the script, he sings, he jokes, and he finds the heart of, well, himself. It’s a clever, tender performance given he is playing opposite such heavy-hitters as Kevin Kline, Lily Tomlin, and Meryl Streep. The collaboration between Altman and Keillor brings a bittersweet end to the maverick filmmaker’s career, with all of the radio show’s sweet witticisms fitting perfectly within the filmmaker’s signature frenetic, kaleidoscopic-cast vision of Keillor’s fantasy life.



Nominees, Best Supporting Actress: 2006
Adriana Barraza for Babel
Rinko Kikuchi for Babel
Frances McDormand for Friends with Money
Meryl Streep for A Prairie Home Companion *
Emily Watson for The Proposition


Other notable performances:
Jodie Foster for Inside Man
Jessica Lange for Don’t Come Knocking
Carmen Maura for Volver


Fabulously over-crowded with amazing women this year, I find myself scratching my head at my personal choice for Supporting Actress: Meryl Streep for A Prairie Home Companion. I think the woman is vastly overrated (and I think The Devil Wears Prada, for which she is getting an obnoxious amount of awards attention, is one of the worst movies of the year), but I will be damned if she hasn’t returned to top form in a role that requires her to cast all “Streep-isms” aside and actually act. She is funny, poignant, and she sings like an angel (the actress has never found a more appropriate vehicle for her talents to merge within). If you are not moved to tears by the end of the musical number “Goodbye to Mama” (in which Streep and co-star Lily Tomlin sing lovingly about their dead relatives and how much they miss them), chances are you might be a robot or dead inside. In a fitting tribute to the late Robert Altman, in what will be his last film ever, Streep reinvents herself and proves her credibility yet again. Which sadly makes the fact that she is getting all the press for Prada so infuriating: she is being remembered this year for the wrong film!


Last year quintessential character actress Frances McDormand received a rather gratuitous Oscar nomination for the absolute dreck that was North Country (playing a woman with Lou Gehrig’s disease—a sure-fire way to get Academy recognition). It is a crying shame that this year she will be sitting it all out on the sidelines after turning in a superior performance in Nicole Holofcener’s Friends with Money. Opposite co-stars Jennifer Aniston, Joan Cusack, and Catherine Keener, McDormand is the clear cast standout. It’s a great contemporary female role (Holofcener is getting really good at being the go-to director for this particular milieu), and McDormand infuses it with everything we have come to expect from her: daffy grace, biting wit, and pure heart as a fed-up working mother who has a potentially gay husband.


Emily Watson is the sort of magnetic presence that sets the tone for any film she graces. This year, in Nick Cave’s bold re-visioning of Colonial Australia as a lawless pseudo-western, Watson was able to play a “wife” role with heart and grace that lends the brutally violent, macho film an ethereal, womanly air each time she appears. Opposite Ray Winstone (as her rigid law man husband), Watson finds a perfect balance between the times: she is neither an inappropriately anachronistic woman ahead of her time, or a wilting flower yielding to every paternal command. Leave it to Watson, the only major female in the film, to leave the biggest impression with only a few key scenes. Her talent for scene-stealing is exciting to watch.


Two of the year’s most persuasive, original characterizations came from the women of Babel, Adriana Barraza and Rinko Kikuchi. The two couldn’t have possibly played characters more different from each other: Barraza was an illegal immigrant nanny involved with bad decisions at the US/Mexico border, while Kikuchi was a Japanese girl dealing with the recent death of her mother and her distant father who also happened to be a deaf/mute. Each woman perfectly captured a different feeling of dissociation, and the effects of being undone by one’s own sadness; but the most interesting thing, I thought about Babel‘s two stand-out cast members was that the script allowed both women (who are separated by many years in age, and many miles in geography), to explore their characters’ sexuality in everyday manner. Barraza’s examination was admittedly only a small part of her story but the detail was a rich one in a story so filled with politically charged injustice and fear. Kikuchi’s overt sexuality (as well as her sexually lashing out towards others), was more on display and more of a fundamental part of her character, but was so startlingly frank that it is bizarre to think that there has never been another character like hers on screen who has looked at sexuality in such a unsentimental, almost dangerous manner. Both women turn their seemingly ordinary characters into almost mythological women.


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Tuesday, Jan 2, 2007


While you were sitting around celebrating the holidays, SE&L was busy compiling its lists of the year’s best (and worst) releases. Focusing on the unique and the illogical, the routine and the outrageous, each assemblage attempted to address both the standard and the strange, releases everyone had heard of and efforts nobody knows.  Beginning with our look at Christmas; Naughty and Nice up and including yesterday’s unusual take at the Best DVDs of the Year, it’s time to play a little collective catch up. As we prepare to unveil a few new features for 2007’s version of the blog, this is an excellent chance to see where we’ve been in the last five months. Thankfully, the road ahead is looking even more remarkable. Enjoy!


Naughty and Nice: The Top 10 Christmas Movies of All Time


The Top 10 Criterion Releases of 2006


The Top 10 Films of 2006 That You’ve Never Heard Of


The 10 Worst Films of 2006


The 10 Worst DVDs of 2006


The 10 Best Films of 2006


The 10 Best DVDs of 2006


 


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Monday, Jan 1, 2007


Double takes are perfectly acceptable. Indeed, this is not your run of the mill Best of list. Look around the web (or in any of the still viable print publications) and it’s a safe bet that many, if not all, of these unusual titles fail to make the Top 10 grade. As a matter of fact, you could probably look from #11 to #100 and not find a single one mentioned. The reason why remains rather simplistic. SE&L is not overly impressed with pure technical merits. A stellar picture and perfect surround sound might be amazing, but when wrapped around the latest lame-ass Hollywood hack job, who gives a digital dung heap? No, what we like is quality – in presentation, in packaging AND in product. That’s why our 2006 tally of the best the home theater medium has to offer is just a wee bit…eclectic. We’d rather celebrate the unknown film in a barebones version than a tricked out work of limited likeability.


Truth be told, this list could be a lot bigger. As sales slack off and marketers grow manic over the lack of blockbuster sales, the smaller companies in the distribution game – Troma, Synapse, Subversive and Anchor Bay – have gone out of their way to track down obscure entries, flesh them out with an amazing array of contextual content, and provide them at a price that both aficionado and novice can support. Sure, some big league studio releases turn up here, but you probably won’t recognize the films featured. That’s the great thing about DVD – within its practical and portable format, a wealth of cinematic knowledge and appreciation can be gained. So get out your guidebook and be prepared to jot down a few of these filmic travels for future reference. After you’ve finished with that regular Tinsel Town treat, you can give one of these experimental excursions a try. You won’t be disappointed:


1. Tromeo and Juliet: 10th Anniversary Edition
Marking the second DVD go-round for this beloved Troma title, this double dip is still a significant improvement over the original digital presentation. As before, the Bard’s basic story of star-crossed lovers is fused with a scatological punk rock sensibility to create the first ever gross out version of a Shakespeare play. Perhaps more amazing than the awkward performances, bizarre-world found locations, plentiful gore, and abundant nudity is the number of unknown actors and crewmembers who went on to become famous fixtures in both Hollywood and the Indie film scene. Along with the typical Kaufman crew, screenwriter James Gunn (Scooby-Doo, Dawn of the Dead) Will Keenan (Operation Midnight Climax) and current reigning b-movie scream queen Debbie Rochon all found celebrity inside this insane iambic pentameter.


2. Street Trash: Special Two Disc Meltdown Edition
It is, perhaps, the most unlikely subject matter for a horror film ever devised. A group of homeless winos, led by an ex-Vietnam vet who takes his frequent homicidal flashbacks out on the surrounding populace, begin drinking a new cheap hooch that’s hitting the street. Unfortunately, one of Tenafly Viper’s liquor-laced drawbacks is the unfortunate side effect of personal putrescence. That’s right, one sip and you start to ‘bleed’ out in a multi-colored array of bodily fluids. A masterpiece made by fright film fans for fright film fans, Trash has long been unavailable on DVD. Last year, Synapse Films promised a new, fully tricked out edition, and they weren’t lying. This is, hands down, one of the best movies of the late ‘80s, given a proud near perfect post-millennial package.


3. Christmas Evil
Overlooked upon initial release, Lewis Jackson’s You Better Watch Out is actually a minor masterpiece. Audiences were stunned when they learned that this holiday horror film – later re-titled with the far more lurid Christmas Evil label – featured an unstable man who took the notion of “playing” Santa to uncomfortable extremes. The seedy subtext involving children and random carnage made even the most magnanimous macabre fan a tad queasy. Too bad, since their ready dismissal prevented them from appreciating a truly remarkable movie. More a character study than a standard slice and dice, Jackson’s journey into the mind of a morally misguided man is an unusual artistic triumph. Besides, it’s John Waters’ favorite holiday film. You can’t ask for a better vote of creative confidence than that.


4. Cemetery Man
Cemetery Man is a most unusual horror film. Actually it’s not really a horror film at all. Certainly, it has nods to the normal macabre ideals—zombies and murders and the foul stench of death. Still, this is not really a chiller. Instead, it’s a thriller, in the most soul-uplifting definition of the word. It is a movie so bafflingly beautiful that it argues for its acceptance as art. Anyone coming to this movie hoping to continue their fascination with flesh-eating corpses will have to get their Romero/Fulci fill elsewhere. In the hands of the amazing Michele Soavi, this is poetry, cinema as a stunning visual feast. It remains one of the most important fantasy films ever made, one that shows the true power inherent in thoughts and imagery.


5. The Green Pastures
The Green Pastures is a misunderstood movie, but not like Song of the South is misunderstood. Disney’s dilemma remains that, no matter how personable Uncle Remus is as a character, he is still subjugated by a segregated South. No such distinction exists in The Green Pastures - at least, not outwardly. This is a fantasy world composed completely of black people—from the biblical characters to the individuals spinning the yarn. Made in Hollywood, notorious for its mesegenistic view of minorities, one can read all manner of sinister significance in this portrayal. But there is also a strong undercurrent of grace and devotion that constantly countermands the cruelty. It delivers the film and its prejudicial facets out of the realm of repugnance into a region both sublime and subjective.


6. Ganja and Hess
Call it voodoo done right or exploitation gone artsy, but true aficionados find this relatively unknown horror film hard to forget. Playwright Bill Gunn had high hopes for his literate look at vampirism and ancient curses. Sadly, after a less than impressive Big Apple play date, distributors eviscerated Gunn’s original cut and re-released it as Blood Couple. Long out of print, Image Entertainment gets substantial genre props for revisiting Gunn’s version, including the incorporation of additional footage not found in other DVD versions. With a wealth of supplemental information, including commentaries and making-of documentaries, this presentation practically revives Ganja and Hess to its prerelease glory. With all manner of movie macabre clogging the airwaves and retail outlets, this is one unknown quantity worth checking out.


7. The Loved One
Back in 1965, a movie focusing on death in such a callous, cold-hearted manner, vilifying religion with hints of unethical behavior and business-oriented obsessions, and tweaking artists, the English, the Hollywood studio system, and freaked-out fey momma’s boys, was scandalous stuff. Able to make any movie he wanted after Tom Jones’ Oscar wins, British bad boy Tony Richardson was itching to bring Evelyn Waugh’s mortuary satire to the silver screen. Mimicking fellow auteurs like Stanley Kubrick (borrowing Strangelove‘s look and placing comedic star, Jonathan Winters, in a diabolical dual role) and Orson Welles (playing with depth of field and focus), he took pot shots at several “isms”—racism, materialism, populism, commercialism—creating a comic masterwork more or less unseen until this DVD release – 41 years later.


8. The Addams Family Volume 1
It goes without saying that The Addams Family is a product of its time. Viewed some 40 years later, the show is nothing short of luminous. It is superbly cast, brilliantly acted, and rebellious to a fault. What was weird and eccentric in 1964 is now nice and normal, the family’s main mantra of individualism and being true to oneself a coveted current cultural directive. It is easy to see what ‘60s audiences eventually dismissed about this wonderfully inventive comedy. The Addamses were radicals, rocking the boat of suburban conformity with their love of all things dark and dour. Thanks to MGM, and their initial DVD offering of the original black and white episodes, we can experience just how immensely entertaining this sadly underrated series actually is.


9. Wonder Showzen: Season 1 & 2
At one time, Wonder Showzen was the new “it” phenomenon – a corrupted kid-vid concept brilliantly realized and abstractly insane. It was Pee Wee’s Playhouse if that magnificent man-child Paul Reubens’ porn store persona had run the show, a sensationally sick perversion turned into a proto-pedophilic playtime. After a brilliant first season, some feel that creators Vernon Chatman and Johnny Lee went overboard in series two with their unabashedly political take on Hee Haw, Horse Apples. But the fact is that no other recent series has taken on the sacred cows and untouchable taboos of our pro-child society as astutely and caustically as this definitive dada-esque satire. Get both DVD sets now before some state wises up and bans this genuine genius effort all together.


10. Dust Devil: The Final Cut
In 1990, Richard Stanley’s Hardware was a heralded event in genre cinema. It had all the trappings of a classic. However, it was merely a minor success, earning little more than a considered cult following among rapid fright fans. As a result, Stanley found it difficult to get his next film off the ground; the metaphysical spree slaughter South African epic Dust Devil. Miramax promised all kinds of support, but after seeing a work print, they chopped it up and dumped it onto home video. There, it died a completely undeserving death. Thanks to an amazing new box set from Subversive Cinema, we finally get a chance to see Stanley’s visionary work, as well as a chance to visit his career since the entire Devil debacle.


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