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“The Last Stop in Yuma County” - Directed by Francis Galluppi (2024)

Francis Galluppi’s The Last Stop in Yuma County is a neo-noir thriller that channels a bit of the Coen Brothers’ flair for dark humor and escalating tension. Set almost entirely in a sunbaked Arizona diner, the film transforms its limited setting into a pressure cooker of suspense, where every glance and gesture carries weight.

Cinematographer Mac Fisken employs static shots and natural lighting to craft a visually engrossing atmosphere, reminiscent of classic Westerns. The interplay of light and shadow, combined with deliberate camera movements, heightens a sense of impending doom.

The ensemble cast delivers compelling performances, with Jim Cummings portraying a severely uptight knife salesman, Jocelin Donahue as the composed waitress Charlotte, and Richard Brake and Nicholas Logan as the menacing bank robbers. Each actor brings depth to their roles, contributing to the film’s tense, character-driven narrative.

Galluppi’s confident direction and sharp writing make The Last Stop in Yuma County a standout debut, offering a suspenseful and stylistically rich ride that leaves a lasting impression.

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“The Narrow Margin” - Directed by Richard Fleischer + William Cameron Menzies (1952)

The Narrow Margin is a masterclass in economical filmmaking, a lean, taut B-movie that punches well above its class. The film wastes no time in delivering a suspenseful, claustrophobic story set almost entirely on a moving train. Directed by Richard Fleischer (with uncredited additions by Production designer William Cameron Menzies), The Narrow Margin is tight, innovative and efficient, using confined spaces and hand-held cinematography to heighten tension and amplify paranoia.

The dialogue crackles with hard-boiled wit, true to the best noir traditions. It’s sharp, snappy, and never overindulgent, revealing character through rhythm and innuendo rather than exposition. Charles McGraw gives a standout performance as the grizzled cop with a gravelly voice and a growing sense of moral conflict. Marie Windsor brings depth and danger to her role, handling the film’s twists with a kind of dignified composure.

At just over an hour, The Narrow Margin is a textbook example of how to do more with less—short on budget but rich in craft and ideas.

[jimsharpe]

"The Outfit" - Directed by John Flynn (1973)

John Flynn's adaptation of Richard Stark's novel delivers a lean crime thriller that embodies 1970s hardboiled cinema, in the same vein as “Prime Cut” “the Getaway” “Point Blank” or “Straight Time”. Robert Duvall is outstanding as Earl Macklin, an ex-con methodically hunting the mob bosses who killed his brother.

The film's simplicity is its strength. Flynn forgoes flashy technique for tight, streamlined storytelling as Macklin and his partner (Joe Don Baker) systematically hit mob operations to reach crime boss Mailer (Robert Ryan in one of his final roles).

Duvall's understated intensity drives this movie, supported by strong performances from Karen Black and Timothy Carey. While lacking the grandeur of contemporaries like "The Godfather," this stripped-down crime film delivers with brutal efficiency and deserves greater recognition. Recommended.

[jimsharpe]

Nashville - Directed by Robert Altman (1975)

Robert Altman’s Nashville takes a sprawling look at American culture through the lens of the country music scene. With 24 characters and intersecting storylines, it captures the chaos, ambition, and contradictions of 1970s America.

Altman’s signature style—overlapping dialogue, loose structure, and naturalistic performances—gives the film a direct, lived-in feel. The ensemble cast is strong, and the music, performed by the actors themselves, adds authenticity. It’s long and intentionally messy, but it’s also sharp, funny, and deeply moving — one of Altman’s masterpieces. Outstanding!

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Black Bag - Directed by Steven Soderbergh (2025)

Steven Soderbergh’s Black Bag is a sleek, well crafted spy thriller that’s both thought-provoking and entertaining. Michael Fassbender and Cate Blanchett deliver compelling performances as George and Kathryn, a married couple working as high-level, British intelligence agents. The film’s taut 93-minute runtime is packed with sharp dialogue and palpable tension, particularly during a pivotal dinner party scene that unravels layers of deception. Soderbergh’s direction, and a script by David Koepp, crafts a narrative that cleverly explores themes of loyalty and fidelity amid high stakes espionage. Black Bag stands out as a sophisticated addition to the spy thriller, offering a fresh take that prioritizes psychological tension and character over the more typical action approach. Recommended!

[jimsharpe]

Going Places - Directed by Bertrand Blier (1974)

Bertrand Blier’s Going Places is a provocative, chaotic road movie following two petty, amoral, goofballs (a young Gérard Depardieu and Patrick Dewaere) as they wander through a series of reckless, often disturbing misadventures and outright criminal behavior.

The film is anarchic, confrontational, cynical and definitely not PC—a mix of dark comedy and social critique. By today’s standards, this film would likely not be produced or released, given the sex scenes with an underage girl and the generally abusive tendency toward most of the female characters. Beneath the shock value however, there’s an odd, disarming humanity to these characters. For all their selfishness and cruelty, Blier allows glimpses of vulnerability and tenderness that complicate the picture. It’s messy, uncomfortable, cringy and divisive—but also bold and oddly moving in moments—just like life. I think it’s excellent, but if you’re easily offended by violence and politically incorrect sexual behavior, then maybe pass on this one.

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Becoming Led Zeppelin - Directed by Bernard MacMahon (2025)

Becoming Led Zeppelin takes a clear, streamlined, chronological approach to the band’s formation and early rise. With first-hand interviews from Page, Plant, and Jones, (Bonham, who died in 1980, is represented by a previously unreleased interview with clips) plus tons of archival footage and performance clips, it gives a clear sense of how the band came together and why they hit so hard so fast.

The film is strongest when it focuses on the music—the influences, the studio work, and the live shows. It’s less interested in the personal drama or darker chapters, which makes the story feel somewhat one-sided. But as a portrait of the band’s creative drive and momentum, it works.

It’s not the definitive Zeppelin doc, but it’s a strong, well-crafted origin story. Definitely a must for fans.

[jimsharpe]

Bastards

Directed by Claire Denis (2013)

Claire Denis’s Bastards is an unsettling neo-noir that unfolds like a slow, gnawing nightmare. Loosely structured and emotionally charged, it follows a man pulled into a web of family trauma, abuse, and corporate corruption after his brother-in-law’s suicide.

Denis tells the story in fragments, favoring mood over clarity. The cinematography is moody and claustrophobic, the performances—especially from Vincent Lindon and Chiara Mastroianni—are understated but deeply affecting. There’s an overall sense of dread and fatalism that hangs over every scene.

This isn’t a film that hands you answers. It’s cryptic, morally murky, and emotionally intense. However, if you’re willing to lean into its disorientation, it’s a powerful, if somewhat disturbing experience.

[jimsharpe]

Thoughts on a few more films I saw recently...

Anora. Directed by Sean Baker. 2024

In Anora, Sean Baker delivers a unique mix of screwball comedy and emotional drama. Mikey Madison (in a stand-out performance) plays Anora, a young Brooklyn sex worker who impulsively marries the son of a Russian oligarch. What starts out as a transactional arrangement and then a romantic moment of madness made real, soon turns into a tense struggle when his powerful family intervenes, threatening to annul the marriage.

While the first half of the film feels light, sexy and comedic, the tone shifts in the second half, revealing the emotional toll of Anora's situation. This transition could easily feel uneven, but Madison's portrayal keeps the narrative grounded. She’s excellent at balancing Anora’s comedic, carefree moments with the raw vulnerability and strength required in her situation. This approach reminds me a bit of Sixties Italian Comic/dramas like I knew her Well, Il Sorpasso and Mafioso among others, a type of film which appears as a comedy, but has a darker side to reveal.

Madison brings depth, subtlety and complexity to this role, capturing both the humor and heartbreak of her character's life. Almost to the very end there is a level of humor imbued in almost every scene, until reality catches Anora — and us — in the wink of an eye. Madison’s performance is the heart of the film, making Anora’s transformation both believable and moving. This movie is a keeper!

Nosferatu. Directed by Robert Eggers. 2024

We went to see Nosferatu in a packed cinema and it was glorious! It’s been a while since I’ve been to see a mainstream movie where the theater was essentially sold out. So happy to see that can still happen.

So, this version of Nosferatu I must say is a bonafide masterpiece. It’s well executed on every level. The actors all bring their best work, with Lily-Rose Depp giving an amazing performance. Bill Skarsgård is astounding as Count Orlok/Nosferatu, with the sound design/treatment around his voice giving his performance a tangible degree of creepiness and horror. The cinematography alone (by Jarin Blaschke) deserves an academy award for its beauty and unique tone and style.

This Nosferatu is essentially a remake of the original 1922 film by Murnau, and remains true to the original, while at the same time, taking it to another level. It goes beyond the usual expectations by adding some extreme moments that are rarely touched upon in films. For example, when Friedrich Harding’s wife and children are killed (another shocker since children are often spared) by Orlock/Nosferatu, he does something that is beyond the usual mourning husband you might see in a typical film. It’s not pretty and it’s shocking, but it takes you to a different place within the horror genre where you might not normally go — and this ratchets up the creepiness and discomfort way more than you’d typically have in a movie like this.

See this movie in a theater if you can, because if you wait to watch it on a TV, no matter how big your LCD screen is, it won’t be able to deliver the nuances of the images you will see on a large cinema screen. This is an excellent movie.

Manchester by the Sea. Directed by Kenneth Lonergan. 2016

I missed this film when it was released 9 years ago, but was reminded of it through a film podcast I was recently listening to. As I watched the film I realized that I had initially missed out on a very well made and written film. Casey Affleck deservedly won an academy award for his role in this movie about a man who is mourning a death in his family, but is emotionally distant. Michelle Williams as Lee’s (Affleck) estranged ex-wife also gives an emotionally powerful performance.

As the film unfolds, we slowly discover the reasons for his difficult connections to those around him — which are profoundly painful and disturbing. To complicate his life, he is tasked with being the guardian of his recently deceased brother’s son. The writing, acting, cinematography and editing of this film are executed with incredible restraint and nuance. The editing lends a somewhat disorienting flow to the course of events, mirroring the chaos and flashes of memory that can upturn ones life during a major life crisis. It’s sometimes slow, but methodical in its delivery of events, and worth the effort. This is an excellent, slice-of-life type of film that you don’t see often done this well. Definitely worth repeated viewing and excellent.

[jimsharpe]

Recent Screenings/Re-Screenings

The last couple of weeks have led me down a particular path with a handful of movies that delve into the darker aspects of human behavior and activity. Not that I was actively seeking it, but perhaps it's a sign of the times. Here are six films I either watched for the first time or revisited after a second—or maybe third—viewing:

Manhunter (1986) Directed by Michael Mann This movie stars William Petersen in the lead, one of the most puzzling casting choices for any role, let alone as a leading man. For reasons that elude me, Petersen appeared in a couple of highly regarded films in the 1980s—this one and To Live and Die in L.A.—before gaining fame with a long stint on CSI. Personally, I find him completely unconvincing: his performances feel overacted, transparent, and lacking in depth.

Mann's career took off early with his first feature, Thief. That film certainly had plenty of swagger and style, but it also benefited from an actor (James Caan) with the chops to anchor a story so heavily reliant on visuals and atmosphere. Manhunter exemplifies Michael Mann's typical approach: stylized visuals, a moody atmosphere, and a tightly curated soundtrack. While some might describe this as "cinematic," I find his approach forced and overly self-conscious. Even strong supporting performances by Brian Cox and Tom Noonan can't redeem it for me. At times, it's unintentionally laughable. I'd skip it—but feel free to judge for yourself.

Happiness (1998) Directed by Todd Solondz I hadn't seen this since it first hit theaters in 1998, but I vividly remembered its radical, warped, and deeply unsettling nature. Even more remarkable is that Solondz managed to secure funding for such a project. This is easily one of the most misanthropic, malignant, and perverse depictions of humanity ever put on film.

The ensemble cast takes on challenging roles with excellent performances, particularly the late Philip Seymour Hoffman and Dylan Baker. Their characters are sick, twisted, and almost unforgivable, yet their portrayals are rich and disturbingly real.

This film delves into the lives of deeply flawed individuals—pedophiles, sexual deviants, pretentious poseurs, and even a murderer—all portrayed in a stark, matter-of-fact manner. It's not an easy watch; you might feel compelled to take a long, hot shower afterward. Yet, its brilliance lies in its execution and its excellent performances, making the discomfort worthwhile. Happiness is arguably Solondz's masterpiece, though it's certainly not for the faint of heart.

Dark Horse (2011) Directed by Todd Solondz Following a string of solid films in the 2000s, Solondz delivered Dark Horse, his last feature before an extended hiatus. While it doesn't have the same impact as Happiness or Welcome to the Dollhouse, it still offers a compelling exploration of human failings and poor life choices.

The film follows Abe (Jordan Gelber), a grown man-child overshadowed by his father (Christopher Walken), infantilized by his mother (Mia Farrow), and secretly admired by a coworker (Donna Murphy). Abe's unlikely relationship with a semi-catatonic Selma Blair leads to a spiral of failures, culminating in catastrophic consequences.

The film relentlessly subjects its protagonist to ridicule and humiliation, making it a challenging watch. It's yet another exploration of human weakness and failure by Solondz. While it lacks the punch of Happiness, it's still worth a shot.

Candy Mountain (1987) Directed by Robert Frank and Rudy Wurlitzer I'm a sucker for road movies, and Candy Mountain offers a gritty, unconventional take on the genre. On a rewatch, I found myself appreciating its story and atmosphere more than when I first saw it in the late 1980s.

Kevin J. O'Connor plays Julius, a young musician who’s somewhat lost and naive, but also ambitious and willing to stick out his neck to get ahead. The problem I have is that the actor’s performance often comes across as forced and unnatural, even awkward at times.

With a stronger actor in the lead, the film could have felt more authentic and effectively conveyed the character's struggles—both internal and external. Fortunately, the supporting cast shines: cameos from Tom Waits, Dr. John, Joe Strummer, and Rockets Redglare bring vibrancy and depth to the film.

Visually and thematically, the film tries to capture the tension between an older, accomplished master and a younger, aimless musician. While flawed, it's an interesting, worthwhile watch.

They Shoot Horses, Don't They? (1969) Directed by Sydney Pollack Sydney Pollack's career includes several outstanding films, such as Tootsie, Three Days of the Condor, and Absence of Malice. They Shoot Horses, Don't They? is among his bleakest works, set during a Depression-era dance marathon. The surrounding locale feels like a relic of a lost world—empty, desolate, cold, and dark—imbuing the interior hall with an almost claustrophobic atmosphere.

Jane Fonda gives an unforgettable performance as Gloria, a disillusioned and deeply cynical woman fighting to win $1,500 in a grueling last-couple-standing contest. Michael Sarrazin, Susanna York, and Gig Young also deliver outstanding performances.

This is a profoundly sad film, unflinchingly exposing the despair and desolation of its characters. The ending is devastating. It's tough to watch, but it's an essential piece of cinema.

Oh, Canada (2024) Directed by Paul Schrader

Paul Schrader has been on a creative streak over the past eight years, producing small, introspective films that dive deep into the psyches of flawed protagonists. Oh, Canada continues this tradition.

The story centers on Leo Fife (Richard Gere), a dying, reclusive filmmaker whose career is the subject of a documentary crew's latest project. However, Fife hijacks the narrative, turning it into a confessional about his youth, marked by cowardice and broken relationships. Does this absolve his poor life choices in the end? It’s an open question…

One standout scene features Fife recounting how he dodged the draft during the 1960s by pretending to be gay, only to be called a "coward" by the officer in charge. This moment reflects a deeper cowardice—one that defines Fife's life choices. Oh, Canada is the kind of small, character-driven film that appeals to adult audiences seeking more than mere entertainment. It's understated yet deeply resonant. While not his best, it aligns closely with Schrader's best work.

[jimsharpe]

Recent movie screenings/Re-viewings:

U-Turn. Directed by Oliver Stone, 1997 Sean Penn lands in Superior, Arizona while en route to Los Angeles to pay off a large debt. Once in town, various characters that he interacts with will be an ongoing hinderance verging on despair. There are some absurd elements nearing Lynch territory here, but somewhat more comical. It’s also highly stylized which at times can be annoyingly obvious, but the story keeps you wondering how it’s all going to end. Very much in the vein of the ‘90s Neo-noir. I enjoyed it.

High Sierra. Raoul Walsh, 1941 Humphrey Bogart appeared in this the same year he appeared in The Maltese Falcon and one year before Casablanca. High Sierra was also co-written by his pal and director John Huston. Co-starring the great Ida Lupino, this is an excellent early noir worthy of repeated viewings. Recommended.

Nowhere. Directed by Alberto Pintó. 2023 This is a story of survival that goes to eleven more or less from the start. The odds are against the main character, played by an incredible Anna Castillo who carries this film with amazing intensity. There are some over-the-top elements here (somewhat hokey set design and overall premise) that you just have to accept for the story — suspend disbelief and you’ll enjoy this white knuckle ride. Good.

The Hot Spot. Directed by Dennis Hopper. 1990 When I first came across this film on a streaming platform I almost passed on it based solely on the fact that it’s main star is Don Johnson. However, the slow burn of this movie (and the fact that Hopper directed it) got to me. It’s very much in that 80s/90s “Neo-noir” approach, with a lot of elements of classic noir at play: the moody, smart-but flawed, not-so-innocent protagonist who is seduced by the femme fatale (a fun and wild performance by Virginia Madsen, worthy of Gloria Graham in her prime!), a flimsy bank robbery, the other real love interest with the truly innocent but damaged “good” girl (played by a young Jennifer Connelly), etc. This is probably Hopper’s last effort that shows any of his better qualities as a director: Here, he taps into a lot of classic noir tropes that make this film engaging, while Don Johnson gives what is arguably one of his best performances. Good.

The Rules of Attraction. Directed by Roger Avary, 2002 Based on the book by Bret Easton Ellis, it is a harsh take on privileged youth living out a fantasy existence (much like his earlier effort “Less than Zero”). It all takes place at an upper class New England college. The level of depravity, drug use, casual if unsatisfying sex, and narcissism are dialed up as far as is tolerable. You might ask why would I, or should I care about these spoiled brats? The main protagonist is certainly an asshole, completely self-absorbed, and yet oddly melancholic on some level. It’s an interesting study of this sort of person, and if you’re of a certain age and have been to college in the United States in the past 50 years or so, you’re likely to have come across people like this who seem to float above the fray of existence, without a care about the outside world and it’s myriad problems. It’s an interesting examination of a particular class of people that will eventually become the leaders and manipulators of our culture and society at large. Worth a look.

Blitz, Directed by Steve McQueen. 2024 Set in London during the period of the “blitz”, this film by the English filmmaker Steve McQueen is not a direct study of the Blitz, but rather told through the eyes of one family trying to survive it. The mother (played by Saoirse Ronan), her nine year old boy George, whose African father was disappeared, and her father (played by punk rocker Paul Weller). It’s beautifully shot by French cinematographer York Le Saux, with great art direction and set design, you get a real sense of place and time. McQueen makes interesting films that dig deep into the lives of people, sometimes dealing with extreme circumstances or duress (Hunger, 12 Years a Slave, Shame and his truly excellent “Small Axe” mini series from 2020). Worth a look.

[jimsharpe]

Recent movie screenings/Re-viewings:

MAC. Directed by John Turturro. 1992 Turturro’s directorial debut is an intense look at the struggles of 3 working class, Italian-American brothers. They work together, love each other and fight intensely over the way their lives should be. It’s great to watch these fantastic actors move through this film and Turturro brings his usual intensity to his role. Recommended.

Rounders. Directed by John Dahl. 1998 Starring Matt Damon, Edward Norton, Gretchen Mol and Martin Landau. Gambling leads to debts — serious debts — with the wrong people. Damon and Norton give excellent performances of two hardcore gamblers trying to get themselves out of trouble with somewhat different perspectives. It’s entertaining and well done, beautifully shot by cinematographer Jean-Yves Escoffier giving New York City a sort of noir-in-color look.

Human Desire. Directed by Fritz Lang. 1954 Starring the great Gloria Graham and Glenn Ford. Loosely based on Émile Zola's 1890 novel La Bête Humaine — Lang’s noir take is a sort of alternate of Double Indemnity, but with a different twist. Graham is especially delicious to watch in this as she maneuvers the men in her life. Great cinematography by Burnett Guffey (In a lonely Place, From Here to Eternity, Bonnie & Clyde, The Sniper, etc.) Excellent.

The Sniper. Directed by Edward Dmytryk. 1952. A psychotic serial killer is on the loose and the cops try to figure him out to catch him. An early example of this now typical story, 14 years before Charles Whitman got up in a tower and started picking off random people with a rifle.

Hard Times. Directed by Walter Hill. 1975 Charles Bronson’s minimalist approach as a quiet street fighter during the depression era is an excellent take on the social, political and economic struggles of those times. James Coburn delivers a brash and fun counterpoint to all the misery. Overall an excellent debut for director Walter Hill.

The Assignment. Directed by Walter Hill. 2017 Hill goes out on a limb with yet another story of violent revenge, only this one has an unusual and extreme twist. Sigourney Weaver gives a typically excellent performance as a highly intelligent but twisted doctor performing illegal, underground body modification surgery. Not for the squeamish, entertaining, good action, but ultimately hollow…

Heretic. Directed by Scott Beck & Bryan Woods. 2024 With a strong distaste for religion in general, outstanding performances by the 3 main actors, excellent cinematography by Chung-hoon Chung (Old Boy!); this horror flick is definitely entertaining. It starts out with an atypical build-up to an expected second act that’s the meat of horror films. In the end, it feels a bit thin and too calculated to really make a lasting impact for me, but as I say, it is entertaining.

[jimsharpe]

Since we all have a lot of time on our hands now, we are all trying to stay busy at home and keep ourselves from getting too depressed about, well., IT... for those looking to watch some interesting serial type shows, I've made a list of 10 cable TV programs I quite enjoyed in the past 2 decades. In many ways, TV has replaced cinema in the past 2 decades for intelligent, engaging, dramatic and innovative narrative creations. You might want to check some of these out. Of course, if you don't do TV, then just ignore this… also, some of these may require particular services (IE. Amazon Prime, Netflix, Hulu, etc.overseas pals — you’re on your own!) so, in no particular order:

The Sopranos. What can I say that hasn't already been said about this show? It completely changed the way series programs were approached and changed TV forever. a stone classic. Mad Men. Excellent cultural and subtle socio-political take from the perspective of sixties advertising executives and their immediate families. Really well done:  fantastic art direction, wardrobe, acting, music, etc.Fargo. Each season has a different story line, but in some way staying faithful to the vibe of the original movie. So far, they have all been quite good, with lots of dark humor like the original. The Wire. Another amazing series. to watch it is to see and understand how so many layers of certain aspects of our culture have been completely undermined and how the poorest among us suffer because of it. It shows two sides of a social and political struggle around the issues of illegal drugs, police enforcement and the criminals who stay a step ahead more often than not.. but the consequences, greed, corruption and brutal violence are in constant play. Really well executed from start to finish. Breaking Bad. Yet another game changer of a series. This one is intense and violent, but shows the disintegration of someone who initially starts out with vital and genuine needs, and slowly progresses to a level of pure, voracious need for power and control. It’s slowly watching someone you thought of as decent, become corrupted and disintegrate before your eyes, one episode at a time. Six Feet Under. An early series that showed that TV could actually portray a level of humanity without being insipid or simple minded. Gamorrah. this is an Italian production with subtitles. It's based on the book that was the source of the film with the same title. This is another violent and unrelenting grim series about mafiosi in Naples (the Gamorrah). I recommend the first 2 seasons especially. If you can handle unrelentingly brutal violence, deceit, back-stabbing betrayal, familial fighting and murder, then this may be for you. It’s almost akin to Greek tragedy, with maybe a bit of Grande Guignol thrown in for the hell of it, in the way it deals with familial and social betrayal and disintegration. The Amerikans. Excellent espionage thriller based around Soviet agents living as “average” Americans in the 1970s and doing very dangerous things. Meanwhile, they are raising a family with 2 kids growing up in the U.S. without really knowing that anything is different… until they do, and things slowly begin to unravel. It is an interesting take on the psychological and very real impact on people doing difficult and dangerous work while trying to hide and pretend they are something else… The Handmaid's Tale. Really well done series based on the the book by Margaret Atwood. It’s set in a post-cataclysmic “America” in a sort of alternate present. Here, women have lost the ability to become pregnant, while the ones who can have been sequestered and forced into a life of unwanted procreation under questionable and extreme conditions. Sublimely well crafted and acted, this is a totally engrossing portrayal of power versus need, of corruption versus perseverance, and of cruelty verses compassion. Twin Peaks: The Return. Of all these programs, this one is by far one of the most surreal and challenging — something that we’ve come to expect from David Lynch. And for me, it does not disappoint. It is definitely puzzling, abstract, thrilling, moments of pure cinematic beauty and then moments of sheer brutality. Easily one of the greatest things to come out of television since its birth.  With a bold nod to the fact that this was done in the mold of a soap opera, it delivers that level of saccharine jolt as well, but then turns on a dime and slips you off into the 8th dimension to ruminate on your very sanity and existence. It is a stroke of genius and a work of art, but it also isn’t for everyone… that said, I highly recommend it.

A few runners up: Deadwood The Black Mirror Killing Eve Mr. In between The Man in the High Castle True Detective (first season only) Better Call Saul The Office (both US and UK versions) Dexter

[jimsharpe]

EL Sur. VIctor Erice, 1983. I have been a fan of Erice's Spirit of the Beehive for decades now, one of the most beautiful and rich films I have ever seen, a mesmerizing work of art. So it was a shock to me when I sat down to casually watch Erice's second feature El Sur from '83 -- a film Erice calls an unfinished film in a short documentary about the making of El Sur. Shocked because it took me this long to see this film! Shocked because it carries the same profound and thoughtful approach to every image as in Spirit of the Beehive, and then some. From the first image dissolving out of the opening credits, you can see that there is something really special here. There are some images that are so beautiful they conjure comparisons to works by Caravaggio or Vermeer they are so sublime and stunning! The story revolves around the relationship between a young girl growing up in a small town and her doctor father, who also has some sort of secret that slowly unfolds -- but, is never completely resolved because the third part of the story was never completed! the film was released as it is due to financial issues that arose mid-production. The film was then edited to the best possible conclusion which is the film that exists today. Still, it's use of light and shadow and the way the images carry the characters to each new realization is simply and obviously the work of a true master of the form. The story is handled with amazing subtlety and perception. It is sad that someone with so much insight and command has only made 3 films in over four decades! I can't recommend it enough! And if you haven't already seen Spirit of the Beehive, see that one too!

[jimsharpe]

I recently watched "the Fugitive Kind" by Sidney Lumet based on Tennessee Williams's play "Orpheus Descending". I couldn't remember seeing the film before, but i did recall certain elements, like Valentine's snakeskin jacket, and Joanne Woodward in her beat up sports car. So, it happened to be on tv and i was immediately sucked in to the story and Brando's spectacular performance. The story, even by the great Williams has some problems that are tough to overlook; In particular the supposed attraction between Brando's Valentine and Anna Magnani's "Lady". And the over-the-top performance by Joanne Woodward as Carol is a bit much I think, but understandable given her character's oversized flaws and deep need. However, these and some of the other inconsistencies aside, Brando at this time in his career and the absolutely great Anna Magnani are just amazing to watch. The story is bleak and tragic as one would expect from the pen of Tennessee Williams, but watching these actors at the height of their respective powers is just a treat. Lumet's direction here is well thought out, but it has Williams text and Brando and Magnani's performances to manage -- probably not an easy task, or maybe it was and he just gave them a wide path. Watching it today, you have the sense that these artists were trying to break new ground from within the limitations of a Hollywood production. Its dated in ways, but certain themes are still applicable to today's culture (prejudice, bigotry, loneliness, corruption, etc.). Absolutely worth a viewing.

[jimsharpe]

Twin Peaks: Fire Walk with Me & Twin Peaks Series Reboot. I went back to re-watch the movie Twin Peaks: Fire Walk With Me to get a handle on all the details floating in the reboot of the new Twin Peaks series. I don't get all the crap that had been written about the movie Fire Walk With Me, mostly at the time of it's release, critics -- and lots of Lynch fans too -- tore it apart and just outright hated it. For me, the movie was forward thinking and as innovative and brilliant as anything Lynch has ever come up with. For one thing, he doesn't just make a follow-up to the TV series, but rather a "prequel" which was a concept not in wide general use yet in 1992. Second, he didn't simply rehash the same tropes as in the series, but rather heightened them, augmented them, twisted them. The film is several genres at once: We have a sort of dark, semi-comic parody of a soap opera going on on one level -- the direction of actors and the treatment of their respective roles was already a given in this sense in the series. It is a send-up of the detective/murder mystery genre with absurd twists and turns. It is a supernatural horror story -- with a surrealistic, evil, murderous spook and spiritual possession (BOB!), etc. It is a disturbing thriller dealing with incest, drug abuse and mental illness that eventually reveal themselves and smack you in the face. All of these elements are at play in the movie and it all gels and works in tandem with the tv series from '90-'91. They are handled deftly and with typical mastery of detail and form which Lynch is known for. I think the movie was disliked by some partly because of the missing characters and the comedic bits from the tv series which did a couple of different things: One, it injected some comic relief into the story; it was entertaining to see all of these odd characters and made the whole package less heavy and oppressive. It provided for lots of separate subplots for viewers to engage in, which was also quite entertaining. It also supported the notion of parallel worlds existing simultaneously and revealing a sort of duality of existence and what can lay just below the banal exterior of everyday life. For all his artiness, Lynch understands one of the basic tenets of movies and movie making: do whatever, be as outrageous, arty and experimental as you want as long as it's entertaining! And he does! In the film however, after the first third or so of various set ups and new characters, we are back to a basic, streamlined story all about Laura Palmer. For whatever reason, this did not sit well with most critics, viewers, or fans for that matter. On the other hand, Fire Walk With Me is a little over 2 hours long and is a stand alone film, but it is an extension of the series. All those oddball characters, as entertaining as they were, would not serve the function of the film to get its point across, not to mention that it would need hours to flesh out so many characters -- a pointless endeavor and not useful to the film: The central point/theme being the story of Laura Palmer and what happens to her. Also, because it was made for theaters, the central theme of the movie -- which is a dark and disturbing one -- would have been trivialized by the surreal snarky/goofy bits that people liked in the series. So, too dark for some, not enough goofy bits for others... Too bad. In the end, Fire Walk with Me turns out to be a fantastic movie and in my view, a necessary primer to the new series reboot, and it holds up really well 25 years later. Much has already been hurled at the new series too. So far, i think it's great! Lynch takes his time with it's development and pacing and many have noticed and remarked that it is "slow". I'm not one of those. Much of the approach to character and scene development is a retooling from the original series, only now, Lynch is more or less free to do it however he sees fit -- and this means a more laid back pace and a willingness to immerse the viewer in some of the most unbridled, surreal imagery Lynch has ever cooked up. As far ahead of it's time as Eraserhead and the original series were in their respective times, Twin Peaks, Season 3 appears to once again break new ground. There are still a bunch of episodes to go to get the whole picture, but given the first 5, I am more than impressed with its direction. Whether it will live up to the original series and movie, fail, or -- go much further than either, we will have to wait and see.

[jimsharpe]

To live and Die in L.A., Directed by William Friedkin. 1985 I had heard so many things about this movie over the years – good things: A Dark, neo-noir cop thriller, with a modern twist, blah, blah… Thumbs up reviews all over – even Roger Ebert gave it a positive review! I missed it when it was originally released, and for whatever reason, every time it was screened in some revival or festival of ‘80s films, i would still miss it. I kept missing this movie for over 30 years! This should have been a sign that some things weren’t meant to be. But curiosity got the better of me, and i ended up buying a dvd of it on Ebay for $4 including shipping (it wasn’t available on netflix or amazon streaming services). As I watched this movie I was struck by how often I was laughing. But wait, this wasn’t supposed to be a comedy! What was wrong and why were so many people enamored of this movie? So, what do i think? Well, since you ask, here it is: this movie stinks! it is one badly executed movie on many levels – mind you, we are talking about director William Friedkin here (The Exorcist, The French Connection, Sorcerer, etc.), but that doesn’t matter. His direction of the actors in this turgid mess is hardly subtle, more like blunt force trauma. The main character, played by William Petersen is really hammy and lacks nuance and simply isn’t convincing for the badass he is supposed to be. In fact, I am thinking he is the heir apparent to William Shatner in terms of style and delivery in this film. Even the usually excellent Willem Dafoe comes across as just a cipher here. Moreover, the film as a whole suffers from poor stylistic and aesthetic choices that make this thing just a laughable turkey! The cinematography is really uninspired, dull and at times even ugly. The sets and wardrobe awful in the most banal ways imaginable. And the music is the worst of the worst cliched sort of crap that was floated in the 1980s, actually very annoying at times – reminded me a bit of Miami Vice (tv) in this regard. Well, you get the idea… So why was it praised so highly? Beats the crap out of me! It was an unfortunate 2 hours extracted from my life which i could have used to do something else and will never retrieve!