The Last Few Movies I Saw: Episode XVII – Wrapping Up 2015

 As always, I rank the films on no concrete scale or rubric. Just what I thought of them. The further down the list, the more I liked it. It’s not science.
Although, it must be said, I did not dislike any of the films this time. Even the lowest ones on the list might be worth checking out and I’m glad I watched them.
Meh/Misguided:

“What was that? You backwards troglodyte, you. Have some wine.”

The Last Supper (1995), directed by Stacey Title, has a good premise, but quickly proves it’s not as clever as it thinks it is. A group of pretentious college liberals decide to poison conservative idiots over dinner and bury them in the backyard. It’s quirky. It’s dark. But it’s a little too smug for its own good. It presents simplistic caricatures of right wing beliefs (some of which are genuinely held by a frightening portion of the population, but they are played so ham-fistedly it fails to register as meaningful) and pretty much zero attempt at presenting a left wing perspective (apart from murderous hatred toward their ideological adversaries). Bill Paxton (Twister) and Ron Perlman (Hellboy) make memorable appearances, but it is probably Courtney B. Vance (The Hunt for Red October) who steals most of the show with his cold, calculating performance as the group’s ringleader. Also stars Cameron Diaz (Charlie’s Angels).

Not exactly Don Bluth.

What do you get if you cross The Secret of NIMH (1982) with Watership Down (1978) and try to tell a gritty noir with cats? You get the bizarre German cartoon Felidae (1994). While I don’t count this as a good film, I can give it some points for trying something offbeat and I did want to know where the story was going. My beef: you can be an adult animation without being so forced and unnatural about it. The unintentionally awkward cursing and gory violence is so over the top at times that it feels more like South Park than Chinatown. The serial murder mystery itself is a bit of a letdown and our protagonist, Francis, is so feckless and flat that it barely registers when he’s fleeing danger or having casual sex with feral felines. It doesn’t work, but as a curiosity, it’s not a total waste of time and the animation isn’t bad.

Stop it and make “Hellboy 3.”

Guillermo del Toro’s Crimson Peak (2015) looks gorgeous and was eagerly anticipated by me, but something was missing. In its earnest attempt to pay homage to classic haunted house films like The Haunting (1963) and The Innocents (1961), it just comes off as a bad aping of those superior films. I was also reminded of Hitchcock’s Rebecca (1940) and the wild color palette was reminiscent of the exaggerated Italian horror flicks of Mario Bava (Black Sabbath) and Dario Argento (Suspiria). Hearkening back to such classic ghost-mansion cinema can be a good thing…as long as it improves upon or diverts from them in some innovative way. I still love del Toro and I love the sumptuousness of the costumes and sets and the dense atmosphere, but a romantic horror tale that lacks both decent romance and horror counts as a bit of a misfire for me. Pan’s Labyrinth, Cronos, and The Devil’s Backbone are all marvelous examples of the slowburn terrors that lurk in the Mexican auteur’s wheelhouse. Maybe my problem is I watch so many films that they have to work extra hard to titillate me.
Interestinger:

As a kid I remember reading in an old Guinness Book about Hoffman portraying the widest age range ever in this film. I wonder if anybody has it beat yet.

Arthur Penn (Bonnie and Clyde) directed the strange revisionist western Little Big Man (1970) starring Dustin Hoffman (Marathon Man). The film—told in flashback—may be one of the earlier examples of cinema being sympathetic to the Native Americans, portraying them as victims of a truly horrific genocide and the white Americans as the evil, arrogant savages stealing lands without mercy or feeling. It’s quite episodic and perhaps a little too cartoonish for the seriousness of the subject matter, but it’s odd quirkiness makes it at least a watchably uneven history lesson. I enjoyed Hoffman and Faye Dunaway (Network), but ultimately the portrayals of the Native tribes and the American generals were so comic-booky and naive, it took away from what could have been a very impactful film.

“I need you to scream directly into my soul.”

Toby Jones (The Mist) stars as an English sound engineer working on Italian horror flicks in Peter Strickland’s Berberian Sound Studio (2012). It’s a slow, seemingly plotless movie that lingers on one timid sound man’s gradual descent into a subtle madness. It takes its time and you may want it to do more or go deeper, but I was engaged enough with the character that I didn’t mind not knowing where it was going…or if it would go anywhere at all.

“I do Wes Anderson and movies like this now. Murray Christmas, folks.”

Gosh, is it that time in Bill Murray’s career already? I love Bill Murray and nearly all Bill Murray movies and, while I can’t say the same for Theodore Melfi’s St. Vincent (2014), I won’t say it’s not passably amusing. Murray plays a crotchety old war vet who reluctantly befriends a precocious young boy (Jaeden Lieberher) in this schmaltzy dramedy that seems intent on hitting many of the predictable indie beats. Despite it’s familiar formula and a few questionable accents (my brain knows Murray too well to accept the NYC brogue he dons), the charm of the cast (including Melissa McCarthy and Naomi Watts) makes you forgive a multitude of contrivances.

Where Are We Now?:

Dumb luck.

In the spirit of Forrest Gump (heck, Little Big Man too), a lovable but somewhat simple old man recounts his wild history-romping life with peaceful detachment in Felix Herngren’s The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared (2013). Allen Karlsson (Robert Gustafsson) decides to escape the nursing home and embarks on a lackadaisical adventure  full of stolen money, gangsters, car chases, new friends, and at least one elephant. Throughout the modern day shenanigans, Allen tells of his life as a haphazardly globe-trotting self-taught demolitions expert devoid of political affiliations (he’s on every side of history from revolutionaries to Franco to Stalin to Truman). It’s a light-hearted comedy with a refreshingly pensive pulse.

You know Francis Ford Coppola, right? His daughter directed “A Very Murray Christmas” on Netflix. …and yeah, he did “The Godfather.”

Francis Ford Coppola (Apocalypse Now) directs Gene Hackman (The French Connection) as a surveillance expert whose own past and the potential futures of those he spies upon addle him in The Conversation (1974). This is one of those gritty 70s movies your film professor talked about and I’m only just now getting to it. It’s a gradual descent into paranoia and ethical dilemmas. Also features John Cazale (Dog Day Afternoon).

Prepare to be alienated.

Gregg Turkington stars as a burnt-out comedian (in the spirit of his Neil Hamburger character) hitting gig after depressing gig in the Mojave desert in Rick Alverson’s Entertainment (2015). The characters are unpleasant and dim and thoroughly exhausted. The film itself feels Lynchian in its elliptical oddness. The weird insights we get into these unlikable people and their circumstances speaks more to our own human interactions than our demand to be entertained by a clown.

Getting Higher:

Yes, one of his friends is Zero from “The Grand Budapest Hotel.”

Rick Famuyiwa’s coming-of-age tale of three high school kids from Inglewood who wind up with a bag full of unwanted drugs is a colorful breeze. Dope (2015) hits a lot of familiar genre marks, but, like St. Vincent, gets by on its style, wit, and charisma of its lead (played by Shameik Moore). It may not be the most original story, but its attitude covers a lot.

The main villain is a lactose-intolerant transvestite obsessed with increasing his social status by way of genocide. We haven’t seen that before.

Coraline (2009) and ParaNorman (2012) were marvelous stop-motion fantasies with edge and flair to spare. Laika Studios’ The Boxtrolls (2014) is another cinematic gift brimming with imagination and style. A young boy, raised by the hunted subterranean creatures, must rediscover who he is and unite the warring civilizations. An amazing voice cast (Sir Ben Kingsley, Jared Harris, Richard Ayoade, Nick Frost, and more) and spectacularly realized hand-crafted visuals make this family adventure a memorable treat.

The kid is annoying in this movie…but I think that’s part of the point.

 “If it’s in a word, or it’s in a look, you can’t get rid of The Babadook (2014)”, an Australian horror flick directed by Jennifer Kent. When a strange picture book appears on her son’s shelf, a widowed mother (Essie Davis) unwittingly unleashes a most unnerving evil presence that latches onto them. What follows is a gripping examination of the negative powers of grief and loss. The Babadook is far more insidious than a mere supernatural monster. And that is one of the reasons this chiller lingers in the memory.
Visions:

I know. I know. I’m late to the game. I still think I love “Bronson” more.

I finally watched Nicolas Winding Refn’s Drive (2011). Ryan Gosling (Blue Valentine) stars as a stoic mechanic and getaway driver who becomes increasingly entangled with criminals after he helps out his next door neighbor (Carey Mulligan). Like all Refn work, it’s languid and stylish and brooding and violent and absolutely hypnotic. Also stars Ron Perlman, Oscar Isaac, Bryan Cranston, Albert Brooks, and Christina Hendricks.

Get a good look. This is what socialism looks like.

 Jules Dassin’s Rififi (1955) is a masterful example of heist cinema. It has all the ingredients that would eventually become the staple of the genre and, for an early outing, it hits the marks extremely well. The setup and ensuing heist is fantastic, but as things turn sour in the aftermath of the crime, blood is let and it all culminates into a magnificent, heart-pounding final act.

Why don’t we dress like this?

For people who like the 80s and like awkward indie flicks and like hilariously over-the-top gore, Turbo Kid (2015), directed by François Simard, Anouk Whissell and Yoann-Karl Whissell, is a blast and a half. In a post-apocalyptic 1997, Mad Max-ian marauders on bicycles rule the wastelands. Where Kung Fury (2015) ran out of steam minutes into its short runtime, Turbo Kid maintains a straight face and continues to present absurd visions of violence, wild characters, and wacky dialogue delivered in earnest with unyielding confidece. It looks great and the cast does a fine job with the bonkers material. Laurence Laboeuf in particular shines as the unflappably weird Apple.

“Fan Service: The Motion Picture”

I took the Kool-aid. J.J. Abrams’ Star Wars: The Force Awakens (2015) is a great big-budget science-fantasy speeder chase down Nostalgia Lane. There’s plenty stupid to the plot, but the cast shines (Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Lupita Nyong’o, Harrison Ford) and the special effects scintillate. It’s amazing how much more immersive and tangible models, puppets, animatronics, real locations, and constructed sets are. And humor. And engaging characters. And emotional depth. And recognizable stakes clearly established in each lightsaber and spaceship altercation. While it’s an extremely busy story and it does retread a lot of the original film’s plot points, it also just feels good to be back in the Star Wars universe. This is the movie fans have been waiting for since 1983.

The Final Crest:

Maybe don’t bring the kids to this one.

Folks who love fairy tales that don’t shy away from the darkness will undoubtedly enjoy the sumptuous Tale of Tales (2015), directed by Matteo Garrone. A series of haunting medieval yarns overlap in this anthology of old Italian fables by Giambattista Basile. Stylish and sexy but also savage and grotesque, it’s an uncompromisingly adult trek through fairy tale kingdoms that comes highly recommended. Features Salma Hayek, Toby Jones, John C. Reilly, and Vincent Cassel. Weird and beautiful.

“Nobody respects Santa Claus anymore.”

It may be hard to explain why I liked Miguel Llansó Crumbs (2015) so much. In a post-apocalyptic Ethiopia, a hunchbacked scavenger named Candy (Daniel Tadesse) embarks on a private adventure to request Santa Claus (Tsegaye Abegaz) to allow him to reclaim his Kryptonian throne and board a perpetually hovering spaceship with his woman. It’s slow and surreal and might best be described as Turbo Kid as imagined by Werner Herzog. It may not be for everyone, but it has enough innovative and clever details to entertain an odd person like me.

“I killed Mufasa. His vagina was all wrong.”

For some reason, this weird film has not left me. David Cronenberg (Videodrome) directs Jeremy Irons (Lolita) as a pair of identical twin gynecologists in this enigmatic thriller, Dead Ringers (1988). When they split sexual duties with a famous client (Geneviève Bujold) it opens up the doors of insecurity in both of them. When she discovers the trick they’ve been playing on her and ends it, the brothers begin a spiraling journey into obsession, addiction, and a longing to understand the nature of their individual identities. It’s a disturbing slow-burn, but worth it if you get Cronenberg and you want to see one of Irons’ best performances.

Whatever. Any recommendations for me?

The Last Few Movies I Saw: Episode VI – Stop Me!

Kill yourself:

We should quit while we're ahead.

We should quit while we’re ahead.

I already wrote at length about The Lone Ranger (2013). Read why it sucks HERE and save ten bucks.

Like the ladykillers themselves masquerading as musicians so too the Coens seem to have been masquerading as the Farrellys.

Like the ladykillers themselves masquerading as musicians so too the Coens seem to have been masquerading as the Farrellys.

It’s weird to see a film by the Coen Bros. (Fargo, No Country for Old Men) so far down on a list like this, but their version of The Ladykillers (2004) is just terrible. A decent cast, colorful setting, and great cinematography can’t make this garbage barge float. It looks pretty and some fun, goofy faces but the comedy and tone is so off. Sorry, Coens, but you don’t get to take one of my favorite British comedies and remake it dumber and with fart jokes. You are better than that. Stars Tom Hanks, Marlon Wayans, J.K. Simmons, and Irma P. Hall.

Meh:

Still. Better than a Bert I. Gordon movie.

Still. Better than a Bert I. Gordon movie.

Bryan Singer’s Jack the Giant Slayer (2013) is almost a lot of fun. I watched it because Stanley Tucci was in it and Ewan McGregor’s mustache and hair looked cool. I really did appreciate this film’s levity and that it managed to have scary monster fights in sunny daylight (unlike Pacific Rim) It’s light and weightless and anodyne. The special effects aren’t great and the story is fairly simple, but you could do worse.

Remember "Badlands"?

Remember “Badlands”?

Terrence Malick is responsible for several interesting and visually stunning movies (Tree of Life) and while his latest, To the Wonder (2012), is indeed beautifully shot, but its murky, elliptical plot comes off as a little pretentious. Looks good, but don’t really connect with the aimless story, which is a shame, because I feel like he was touching upon some important issues about love, faith, and feeling culturally isolated. Stars Ben Affleck, Olga Kurylenko, Javier Bardem, and Rachel McAdams.

That might make you a vegetarian.

This might make you a vegetarian.

I wish John Dies at the End (2012) was a better movie. It has so much wonderfully sick, inspired lunacy going for it and many of the zany twists are pulled off nicely. Dropouts have to save the world from a metaphysical alien drug that could destroy everything. The stuff Don Coscarelli (Bubba Ho-tep) tries to pull off here is crazy. Only he could pull it off. Or maybe Sam Raimi. Alas, much of the finished product feels disjointed and half-baked. It has made me want to read the book though. Paul Giamatti has a supporting role.

You can fly? That's weirdly charming.

You can fly? That’s weirdly charming.

Woody Allen only makes two kinds of movies: masterpieces and mediocres. I might be the only person in the world who was not smitten by the musical comedy, Everyone Says I Love You (1996). Some of the songs are cute and fun and it does have a couple funny moments, but ultimately it feels like a Hallmark card. It’s corny and harmless, but maybe Woody Allen doesn’t do ‘sweet’ as well as other things. Features Woody, Goldie Hawn, Alan Alda, Eward Norton, Julia Roberts, Natalie Portman, Drew Barrymore, and more.

Getting More Interesting:

I kid you not, the worst review I saw of this film was a long, angry rant about how the Sicilian accents were not accurate enough.

I kid you not, the worst review I saw of this film was a long, angry rant about how the Sicilian accents were not accurate enough.

It Was the Son (2012) is an Italian movie about paying debts to the mob following the unfortunate death of a young girl. The film looks great and has some interesting characters and a killer final two minutes. It’s not higher up because my brain wasn’t sure whether it was watching a comedy or a drama. I think it’s a bit of both, but I don’t know if it all congeals the way it should. I also probably shoould watch it when I’m not on a plane.

Is the lighting gonna be like this the whole movie? ---Yeah, pretty much.

Is the lighting gonna be like this the whole movie? —Yeah, pretty much.

There was nothing but praise for Steven Spielberg’s Lincoln (2012) so my lukewarm feelings were met with some hostility. It’s a fine film with some fine performances and shows one of the most important acts of legislation in American history. It looks normal and has a few of those scenes where a side character says something important at just the right time and a few scenes wrought with sudden emotional weight or a perfectly timed monologue. I guess it all felt a little safe and simple. Maybe that’s what was needed, but I be curious to see what a different director might have done with it.

Godzilla could still kick it's ass.

Godzilla could still kick it’s ass.

Guillermo del Toro (Hellboy, Pan’s Labyrinth) was the perfect guy to direct the kaiju-homage flick, Pacific Rim (2013). I wish I liked this one more. The first few monster fights were fun, but they become repetitive. The robot suits are great, but they kill off the Russian and Chinese guys too soon. I thought it was going to be a fun all-the-countries-band-together-to-fight-the-monsters type thing. Most of the main characters are boring and tool-ish and the “drifting” thing is weird and ill-explained. I like the old kaiju movies for their cheesiness, and it was fun to see awesome special effects realize them with affection and detail, if only the story and characters had gotten a similar upgrade.

Here we go:

Choke me.

Choke me.

If you like sado-masochism, Japanese nudity, and genitalia-severence then this is the movie for you. Nagisa Ôshima’s controversial In the Realm of the Senses (1976) is based on the true story of a steamy romance that requires increasing amounts of pain incorporated into the act of sex until their mounting obsession results in tragedy. It’s got a lot of sex, but it ain’t always sexy and that’s part of the point, I think.

Deja vu!

Déjà vu!

Peter Lorre and Syndey Greenstreet star in this film noir based on an Eric Ambler novel. Jean Negulesco’s The Mask of Dimitrios (1944) is a bit of a poor man’s The Third Man, but it’s not bad. A pulp novelist becomes mixed up in a real-life European double-cross. It’s got a few decent twists and is a lot of fun if you like your noir.

It wasn't the planes. It was naïveté killed the beast.

It wasn’t the planes. It was naïveté killed the beast.

Jack Black gives a strangely nuanced performance in Richard Linklater’s Bernie (2011). Based on a true story, this little pseudo-mockumentary chronicles the events leading up to the murder of a nasty spinster (Shirley MacLaine) by the ineffably good-natured Bernie (Black). Justice isn’t all black & white and behind every small town tragedy is a hundred smaller stories.

Animals!

There's a predatory animal behind me. It's symbolism.

There’s a predatory animal behind me. It’s symbolism.

I’ll admit there’s not a whole lot terribly special about Murders in the Zoo (1933), but the finale really got me. Lionel Atwill stars as another nefarious ne’er-do-well in another crime melodrama. The lecherous zoo keeper isn’t exactly the most menacing of screen villains and maybe he doesn’t use his animals as much as we might like, but it’s a light romp through the pulpy shadows. It’s a typical genre piece from the period, but the ending is worth it.

Our movie's tiger than your movie's tiger and it's not even real. Pity about the bankruptcy.

Our movie’s tiger is better than your movie’s tiger and it’s not even real. Pity about the bankruptcy.

Ang Lee (Crouching Tiger Hidden Dragon) paints a sumptuous adventure-survival tale with sweeping CG strokes in Life of Pi (2012). The colors and effects and music are great. The story is engaging and exciting. The guy who plays the Canadian author is terrible. It also suffers (or perhaps gains) from an ambiguous ending—that I say was handled slightly better in the book. All in all, it’s a worthy screen adaptation of the fun story of a young boy adrift at sea with a tiger.

Stop taking things so seriously and enjoy life:

You see that Andrzej Wajda movie? "Man of Iron." Yeah, it was terrible. I wasn't in it.

You see that Andrzej Wajda movie? “Man of Iron.” Yeah, it was terrible. I wasn’t in it.

I was somewhat dismissive of the first two Iron Man movies, but Iron Man 3 (2013) was a lot of fun. Kiss Kiss Bang Bang director, Shane Black, gives us more laughs and more exciting action. Robert Downey, Jr. is as snarky as ever and Sir Ben Kingsley provides one of the more interesting twist-foils in any superhero movie. Iron Man might be kind of fun, but wandering Mechanic of Tennessee is more interesting.

beauty is embarrassing

Throw down that strongbox and answer the question.

Beauty is Embarrassing (2012) is a pleasing documentary about kooky, renegade media artist Wayne White. After working on several TV shows (including Pee Wee’s Playhouse, Beakman’s World, and Shining Time Station) he turned his attentions to painting offensive and humorous slogans on top of thrift-shop landscape paintings. Puppet-maker, painter, sculptor, whatever, he’s eccentric and he can’t stop.

Seriously. Recast this whole movie---minus Salma and Harvey. It's so close.

Seriously. Recast this whole movie—minus Salma and Harvey. It’s so close.

Here’s the thing: I might actually hate 30-40% of this movie, but I love the rest. From Dusk Till Dawn (1996) is a wild, genre-bending grindhouse splatterfest from director Robert Rodriguez and writer Quentin Tarantino. Some bad guys kidnap a family to escape across the border and hide out at a rowdy desert bar that is run by…demon vampires! It’s ridiculous fun and the final matte painting composite shot is awesome. It’s a lot of over-the-top, ridiculous fun but it seriously needs to be almost entirely recast (with the exceptions of Harvey Keitel and Salma Hayek).  Also features George Clooney, Quentin Tarantino, Juliette Lewis, John Saxon, Cheech Marin (he can stay), Danny Trejo (he needs to do more cool stuff), Tom Savini (he can stay too), and Fred Williamson (he needs to do more cool stuff too).

Three parts greatness:

Tune in again in 9 years for "Before Brunch."

Tune in again in 9 years for “Before Brunch.”

The third installment of Richard Linklater, Julie Delpy, and Ethan Hawke’s romantic series, Before Midnight (2013) sees the characters aging more and more. Before Sunrise and Before Sunset comes to a close…maybe? Taking place on one day at the end of a family vacation in Greece, we witness how they deal with their relationships, careers, divorce, children, and each other. While it might be sad that they seem more at each other’s throats than ever, perhaps it is the only logical place these two headstrong characters can go. Perhaps not quite as sublime as the first two films, this latest chapter is rewarding for those of us who love these characters already and want to see what will happen next.

These aren't the state secrets you're looking for.

These aren’t the state secrets you’re looking for.

Carol Reed (The Third Man) directs Sir Alec Guinness (The Bridge on the River Kwai) in an adaptation of Graham Greene’s Our Man in Havana (1959). A milquetoast expat vacuum salesman living in Cuba with his daughter gets commissioned by the British government to be a spy. A slight embellishment gets blown out of proportion in this Cold War comedy and tensions and fears run high as the impromptu spy desperately tries to hide his fib and keep people from getting killed. Also stars Burl Ives, Maureen O’Hara, Ernie Kovacs, Sir Ralph Richardson, and Noel Coward.

Buscemi freak-out in 3-2-1...

Buscemi freak-out in 3-2-1…

Living in Oblivion (1995) is a must-watch for any aspiring filmmaker. Yes, even moreso than Ed Wood. It’s a dark comedy about the struggles and trials of making a low budget independent movie. The mounting tensions, increasingly short fuses, and unraveling strings of sanity are catalogued in three parts, each taking a different perspective. Anyone who has ever worked on a set will recognize every single crisis showcased here and anyone who has not might wonder why anyone would ever want to make a movie if it takes so many headaches. Steve Buschemi, Katherine Keener, Dermot Mulroney, James LeGros, and Peter Dinklage star.

Ever stalwart:

The classic riches to rags to riches story.

The classic riches to rags to riches story.

French comedian and filmmaker, Pierre Étaix, keeps pantomime alive (like Jacques Tati) in Yo Yo (1965). It’s a quaint, cute, and visually inventive comedy about a billionaire who loses everything and joins the circus to find love. The sets and sight gags are wonderful and the story is sweet and complete.

It's been a few scenes since I saran-wrapped a cat.

It’s been a few scenes since I saran-wrapped a cat.

The perverse Australian cult hit Bad Boy Bubby (1993) is sick and twisted and abrasive and strangely pensive, cutting, and eloquent. Bubby (Nicholas Hope) is locked in his sadistic and abusive mother’s basement for 30 years before he escapes only to be confronted by a harsh, terrible, beautiful, tragic, funny, demented world he could never be prepared for. Like Being There and The Enigma of Kaspar Hauser, we learn much about society by watching these obtuse yet perceptive innocents interact with a world we have just learned to accept. Bubby has to learn everything all over again. It’s a deranged and graphic satire full of horrors and heart.

Apex twins:

Love is hard sometimes.

Love is hard sometimes.

In the Mood for Love (2000) is a sad romance about isolation, longing, and missed opportunities. Wong Kar Wai (Chungking Express) directs Tony Leung (Lust, Caution) and Maggie Cheung (2046) as two lonely souls in 1960s Hong Kong. Both feel disconnected from their never-present spouses and seek to enjoy the company of each other, but gradually develop deeper feelings. Through simple interactions and quiet conversations their love grows, but their situation, their culture, and the disaffected sands of time continue to erect barriers. It’s a beautiful film full of regret.

At the time of his death, if he were on Jupiter, Elvis would've weighed six-hundred and forty-eight pounds.

At the time of his death, if he were on Jupiter, Elvis would’ve weighed six-hundred and forty-eight pounds.

Mystery Train (1989) is easily my favorite Jim Jarmusch (Coffee and Cigarettes) film. There are three mostly unrelated stories set in Memphis on the same day. There is a yuppie Japanese couple straining to see their romanticized image of a fabulous musical metropolis rich in blues history. There is a stranded Italian widow (Nicoletta Braschi) who must share a hotel room with a vacuous American chatterbox. And then there is the story of the chatterbox’s unemployed and irascible English boyfriend and his friends (including Steve Buschemi) who try to keep him from hurting himself and others until the sober dawn. All the characters must spend the night at a dilapidated city hotel run by Screamin’ Jay Hawkins and Cinqué Lee.

What did you see? Anything good?