Mass for Cinephile Shut Ins: Part Two

Let us commune over all this vague pre-publicity so as to garner faith and hope for a bright cinematic future. Let us also pass invalid judgment.

This is Part Two.

Mark Walhberg survives the ring

and director David O. Russell.

The Fighter

directed by: David O. Russell

written by: Paul Attanasio, Lewis Colick

starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo

Basically: An Irish boxer tries for the title of world lightweight champion by using his half-brother, a fighter and criminal, to underperform him in matches.

And We Should Care Because: Other than the bountiful possibilities for behind-the-scenes bouts between Bale and O. Russell? Well it's a notable difference in material from O. Russell's last success, I Heart Huckabees, but could find itself more in the vein of his genre-melding Three Kings. While Mark Wahlberg may have struggled with the dramatic punch of The Lovely Bones, hopefully he has no trouble punching the lovely bones of Christian Bale for this drama. The sideline female stars are also worth the attention, as was this project once being attached to director Darren Aronofsky, who would still find his success in the ring with The Wrestler.

Status: Mild Intrigue

Tony Leung for the block.

The Grand Master

directed and written by: Wong Kar Wai

starring: Tony Leung, Gong Li, Zhang Ziyi, Chen Chang, Brigitte Lin

Basically: The life and times of Bruce Lee.

And We Should Care Because: One should never doubt this auteur's potential for arresting output, even after being slightly soured by My Blueberry Nights. Wong Kar Wai also doesn't seem to be a filmmaker who'd be easily swayed by the conventions that the biopic genre so often favors. Instead it leaves plenty of room for the on-the-spot innovation and character play that have served the director's most distinctive works (Chungking Express, In the Mood for Love). Along with many of his favorite collaborators and legends of Chinese cinema (as actors and inspiration), we can hope it has the force of As Tears Go By with the flourish of 2046. If anyone can make ass kicking look sumptuous and sexy, it's Wong Kar Wai and a smokin' (probably chain smokin' ) Tony Leung.

Status: Can't Miss

Ben Stiller flirts with disaster and Greta Gerwig.

Greenberg

directed and written by: Noah Baumbach

starring: Ben Stiller, Greta Gerwig, Jennifer Jason Leigh, Chris Messina, Rhys Ifans

Basically: Aimless Roger Greenberg housesits for his brother and soon finds inspiration and direction in his brother's assistant.

And We Should Care Because: Noah Baumbach's scaldingly funny scripts often seem an acquired taste, but the attachment of Ben Stiller should bring about a different crowd to his wonderfully acidic wit. Greta Gerwig, who has been charming under-the-radar in films like Baghead and The House of the Devil, stars as Stiller's love interest, and she has the realistic deadpan quality that Baumbach seems to look for. Also on board is the immensely underrated Jennifer Jason Leigh, who resonated remarkably in her husband's last feature, the likewise underrated Margot at the Wedding. See the trailer here.

Status: Curious

Sylvain Chomet has something up his sleeve.

The Illusionist

directed by: Sylvain Chomet

written by: Sylvain Chomet, Jacques Tati

Basically: A traveling illusionist must conjure and come clean about his tricks to a young, adoring fan.

And We Should Care Because: Animated marvel The Triplets of Belleville was Sylvain Chomet's last effort, and should prepare us for the more literal magic this time around. The aim to craft a film of such charm and mesmerizing atmosphere without the aid of dialogue seems to be in keeping with this new project. Look forward to something funny, feeling and unapologetically French.

Status: Can't Miss

Christopher Nolan defies expectation and gravity.

Inception

directed and written by: Christopher Nolan

starring: Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page

Basically: A story of a CEO's blackmail and the architecture of the mind.

And We Should Care Because: Remember Sammy Jankis? Well we should all remember that Christopher Nolan's a champ at creating thrillers with scale that don't forsake character and some sort of emotional crux. The hush hush nature of the script seems justified by the advanced footage, which displays a gravity distorting thriller akin to The Matrix, full of stunts and surreal spectacle. With the scope of The Dark Knight and the mindplay of Memento, Nolan looks to do fanboys proud.

Status: Can't Miss

Pass on the chips. And your seed.

The Kids Are All Right

directed by: Lisa Cholodenko

written by: Stuart Blumberg, Lisa Cholodenko

starring: Julianne Moore, Mark Ruffalo, Annette Benning

Basically: Lesbian parents struggle with their biological sperm donor when their child turns 18.

And We Should Care Because: Of course the kids are all right. Who better to be your lesbian moms than Julianne Moore and Annette Bening? Director Lisa Cholodenko (High Art, Laurel Canyon) always give her actresses room to delve (think Patricia Clarkson and Frances McDormand), and she's working with two masters of their craft. Advanced word at Sundance hailed its award-worthy performances and effortless emotional backing. Timing couldn't be better given the family-focused content and its relevance in the marriage equality debate. Also notable that Julianne Moore finally plays a decent mother to her kids after years of avoiding, abandoning and fucking them (Boogie Nights, Far From Heaven, The Hours, Savage Grace, etc.).

Status: Can't Miss

Part One here. Part Three SOON.

Do You Have a Permit for That Body?

These ladies are lethal weapons...

Killer bods, indeed.
(Porn via the NRA?)

Quotable: Cathy's Curse (1977)

"Go on, you filthy female cow! Make us laugh!"

Ackkkk!! Thanks to Stacie at Final Girl for enticing me to finally sit through the delightful/excruciating nonsense that is Cathy's Curse (Words). The film, like little possessed Cathy, is a bad apple. Nutritious even though it's rotten. Sometimes all you need is a foul-mouthed child spouting things like, "Fat dried up whore," or "All women are bitches," to bring you back to what really matters.

Go on... Make us laugh!

Cult Oddities: The House of the Devil (2009)

Advertising should always be this effective.

I'm not sure the last time I've loved an ad-campaign this much -- outside of anything presented to me by Jon Hamm, of course. Forget the trailer which spoils far too much of its minimalist, already inevitable story, the marketing team behind Ti West's The House of the Devil has given a wealth of other superb material to its target audience. Beautifully eerie artwork, public fliers for a faux babysitter gig, even a penultimate release on clamshell VHS -- to the swoon of aging horror fans everywhere. Vast viral marketing aimed directly at our niche nostalgia.

Now Available on Videocassette.

It's even more of a marvel then that the film largely lives up to it. It's clever, atmospheric, and true to its demonic roots. Steeped in the acid-washed, feathered age of 1983, The House of the Devil conjures something delightfully ominous, something as seemingly ancient as payphones and high-waisted jeans. Of that same era when babysitting was no longer the safe, easy way to make money, and public paranoia toward satanic cults was at its peak... apparently. The late 70's/early 80's were a time when communication was still sparse, apartments cost $300, and horror films knew how to jangle our nerves with slowly built character and suspense. Turns out those days are still here, or at least they can be stylishly recreated by director Ti West.

It's 1983. Rosemary's fork-tongued Baby is now a teenager. Haddonfield's own Laurie Strode wisely retired from babysitting. Jill Johnson now knows better than to answer When a Stranger Calls. Poor Samantha Hughes (Jocelin Donahue) still needs to pay her rent...

The basic setup is all you need. You know where this is headed with that ominous bit of advertising on the campus postings board -- "Baby$itter Needed" - next to fliers about a rare solar eclipse. The presence of Dee Wallace as Samantha's landlady doesn't bode well either, considering her history of fending off werewolves, rabid dogs and hill people.

The factoid about satanic cults that opened the movie was probably a hint as well. Then there's that title... But getting to the house and peeking into its many suspicious quarters, behind its rumbling pipes, getting to meet the man behind the Baby$itter ads and his quirky family (headed by a superb Tom Noonan and Mary Woronov) -- that's where the fun is. Fun being fear and dread, of course.

West is clearly a devout horror buff, but graciously one not invested in homage. His references come more in spirit than in winks. It aims to be an 80's horror film, without the modern reference points. Even when the film has Samantha catching a glimpse of Night of the Living Dead on TV, it's more about the mood of the moment (and the fact that it's a public domain title) than any sort of ode to Romero. But The House of the Devil similarly deserves to be stumbled upon on whilst bored, surfing channels and stuffing your face with bad pizza -- possibly even whilst babysitting what may or may not be an old woman, who may or may not be in the attic.

Better yet The House of the Devil should be discovered on a dusty VHS that no one's been kind enough to rewind, its cover worn and tattered from years of curious rentals. With that inimitable texture of VHS grain to make you cower closer to the screen in its most shadowy moments, only to be jolted back by the hissing screams on the soundtrack. West's film tempts you to turn on the hallway light, double-check the locks, and anticipate a phone call as if it's coming from inside the house -- which, come to think of it, seems itself almost a charming nostalgia.

Suspense remains because the evil at the center is always secondary to the dread surrounding it. Even when the film amps up to a big, bloody payoff, it's the build-up TO the horror that really pays off. Surely the stellar score by Jeff Grace deserves major credit for this as well. Outside of two or three well-timed shock moments (a cemetery surprise is killer), it's the type of horror film intent on getting under the skin rather than ripping it clean off.

Samantha's sympathetic, characteristically aware of any poor decisions, and smart enough to grab the gun when the devilish events transpire. She's also the type of girl that says, "Get a grip," to keep herself grounded. Though she's given some extra personality when dancing about the dank house 80's-montage style set to The Fixx's "One Thing Leads to Another." As one thing inevitably leads to something awful, The House of the Devil lets us know Samantha in all of her everyday boredom as the action builds around her. Jocelin Donahue finds the right desperation and disgust to ground even the film's touchy supernatural streak, with plenty of charm to boot. Satan would do well to have her in his life.

Megan, played by Greta Gerwig, is the goofy but lovable best friend who's wise when she needs to be, yet obnoxious enough to believably be an 80's-movie best friend. She backs her slim role with a great sense of humor. Not enough to seem too snappy or clever, just enough to believe she might be taking bong rips in the back of her Volvo.

"Check it. Volvo. Safest car on the road."

Great marketing. And a great movie. Sometimes they do go hand in hand.

You Should Get Out More

Suspiria (1977)

Howl at the Retro Posters!

(Crypt of the Living Dead)

The Wolfman knows his way around the woods

like the Wolfwoman knows her way around a pole.

(Haunted)

Can you get tetanus from a title?

(When the Clock Strikes)

"When the clock strikes -

the alarm screams "Murder"!

It's probably set to AM talk radio.

(Vanessa)

I think we're gonna need a bigger boat!

(Fatal Games)

"The second prize is death!"

The third prize is a T-shirt from our sponsor.

(The Brides Wore Blood)

The Grooms Wore Gore

...And the Bridesmaids wore something

typically less flattering.

(The Decline of the American Empire)

Needless to say, they lost

this round of The Newlywed Game.

(Wheels of Terror)

"Evil waits. With the motor running."

License Plate: 666...

Your lights are on.

(The Pace That Kills)

There's a wolf at the door...

and he brought rolling papers

and a bag of Doritos.

Profiles in Greatness: Male Hustlers

JOE BUCK & LITTLE JOE

Midnight Cowboy (1969) & Flesh (1968)

Times are hard on the boulevard, and if anyone knows that it's street hustlers. Man's gotta eat. Despite the constant echoes of his girlfriend Crazy Annie, "You're the only one Joe! The only one," Joe Buck is not the only one. Not exactly street wise, but also no stranger to them, Joe Buck and Little Joe were both on 42nd Street back in the day. Those nostalgic days when it was cool to walk the streets in a cowboy hat and bandana looking to get paid for sex. Even in a bad economy, flesh is still a valuable commodity. First things first, get the money up front! Secondly, who foresees the extra monthly expense of paying for your wife's girlfriend's abortion, like poor Little Joe, or having to pay your own clients out of sheer pity, like proud Texan Joe Buck.

Who doesn't want to supplement their income? These boys knew how to hustle their way into infamy and an extra twenty in their pocket. Lest we forget: it's all about the MONY.

"M-O-N-Y.

That's just exactly how you spell it

up there on that big buildin' up there."

Tip 1:

Walk the Walk

Joe Buck:

Accessories from your own hitchin' post

+

Fringe

+

Distracting pants

Little Joe:

Red bandana

+

Moccasins

+

Clean underwear if possible

Tip 2:

Talk the Talk

The Joe Buck Approach:

Look like cowboy tourist + Stalk rich women

The Little Joe Approach:

Look like Joe Dallesandro

Tip 3:

Find Your Fanbase

Joe Buck

1) Rich Old Ladies

2) Drug and Scrabble Enthusiasts

3) Bob Balaban

Little Joe

1) Rich Old Men

2) Art Critics

3) Burn Victims

Tip 4:

Advertise

Joe Buck

Little Joe

Tip 5:

Make Sylvia Miles Cry

Joe Buck

Little Joe

(Hustling his way through Hollywood in Heat (1972)).

NOTE: Club Silencio does not endorse self-prostitution as a means of income, unless you or a loved one is circa-1970's Joe Dallesandro.