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See this film: Paradise Lost 3, Purgatory (2012)

Wed, 01 Feb 2012 18:15:00 -0500

It’s almost hard to believe that I saw the first Paradise Lost film when I was only thirteen. My family has always had HBO: sometimes legally, sometimes illegally and their late night documentaries were an early obsession of mine. Paradise Lost: The Child Murders at Robin Hood Hills introduced us to a small town murder and a tale more engrossing than a six hour marathon of Law and Order: SVU. On May 6th, 1993 in West Memphis, Arkansas three eight year old boys were brutally murdered, their tiny nude bodies and bicycles left in a ditch. Three teenage outcasts: Damien Echols, Jason Baldwin, and Jessie Misskelley Jr. are quickly rounded up and accused of their murder. The “evidence” consisting of little more than a love of black clothing, Metallica, and possession of some unique haircuts. The tide of whispers against the three and rumors of Satanism silenced the defense and any investigation of additional suspects. Add to that an understaffed police force buckling under the weight of a sophisticated homicide and a poorly processed crime scene. The film ends on a somber note with all three being convicted and beginning their new life behind bars.

Five years later the filmmakers revisit West Memphis for Paradise Lost 2: The Ballad of Mark Byers. The second films focuses of the families, support groups for the accused and their appeals. The incarcerated boys are now men and it’s obvious they did not understand the gravity of their situation at the time. Damien now sits on death row. The film garnered them national attention, the moniker The West Memphis Three, and some friends and supporters in high places. Yet they still have their enemies, mainly in Mark Byers: a stepfather of one of the victims. Byers belongs on a golden era Jerry Springer Show set. His crooked smile, slow draw, and humble bible belt roots giving way to this larger than life persona. You can almost hear that Deliverance banjo playing whenever he enters the frame. But when he invites the cameras to follow him, suspicions of his involvement grow. New evidence is introduced and disputed between experts, each subsequent appeal is rejected and another chapter begins.

And now we arrive at Paradise Lost 3: Purgatory. Eighteen years later so many questions still remain. Why was their no blood at the scene? Who was the man at the Bojangles restaurant? Why wasn’t stepfather Terry Dobbs initially questioned? Are there bite marks on the bodies? Etc. The saddest part of this trilogy is in the sheer number of victims. Not only the men incarcerated but the families and the young murder victims who almost take a back seat to the narrative of the sensational trial of the West Memphis Three. After nearly eighteen years behind bars they are freed in what is called an Alfred Plea: a grim epilogue that only adds more mystery to this story. Truth is truly stranger than fiction. It’s safe to say that Damien, Jason, and Jessie owe their lives to filmmakers Joe Berlinger and Bruce Sinofsky. Miscarriages of justice like this happen everyday and not everyone is fortunate enough to have not only cameras rolling but a very captive audience.

BONUS: Láska (1973)

Mon, 16 Jan 2012 21:04:00 -0500

You deserve a Golden Globe: Michael Fassbender in Shame (2011)

Fri, 13 Jan 2012 12:41:00 -0500

I saw Shame and it made me want to take a shower. I mean that as a huge compliment to director Steve McQueen as his film succeeds in making the viewer feel the sad, dirty depths to which one man will stoop. Shame is a meditation in sex addiction and the dysfunctional relationship between two distant siblings. Michael Fassbender (M. Fassy if you’re nasty) is fearless here as Brandon Sullivan, baring all (ladies read: all.nude.everything.) and diving headfirst into territory rarely seen on film. There are a million films about the downward spiral of drug and alcohol addiction yet very few about sex addiction. There’s a level of comfort here that Fassbender embodies in his sexual candor and lack of inhibition that goes past your standard movie “o” face. For a film called Shame, Fassy has none. And it’s incredible to watch.

If you close your eyes and imagine what a sex addict might look like your mind may picture a Ron Jeremy type of character. Not the handsome, charismatic, and successful Brandon. He floats through a series of empty encounters with prostitutes, strangers, webcam girls, and even desperately rubs one out in his office bathroom. We witness lots of sex, most of which isn’t what you would call sexy. And while tons of kudos belong to director Steve McQueen, Fassbender is the reason to see this uncomfortable (but beautifully shot!) film.

Brandon’s lonely existence is disrupted by the arrival of his sister Sissy (Carey Mulligan). Mulligan is not my favorite (true story!) and here she doesn’t completely win me over but she does try. Perhaps a little too hard. This role is an unflattering one, and not in the way where an actress gains eight pounds and says she is method. Camera close-ups, misguided costuming choices, and an unsexy nude scene ask her to give it all. And Mulligan does. The problem is she’s not strong enough to steal any scenes from Fassy. Their interactions are cold, and though there are glimpses of light it’s obvious they share a dark past. “We’re not bad people, we just come from a very dark place” Mulligan whispers into Brandon’s answering machine one night. And after seeing the affects of this dark place, you hope that you never have to go there.

You deserve a Golden Globe: Rooney Mara in The Girl with the Dragon Tattoo (2011)

Fri, 13 Jan 2012 00:04:00 -0500

It all started sometime last February when a new copy of W landed on my desk. The cover featured then unknown actress Rooney Mara’s striking transformation: A new found hardened gaze, raven toned locks, bloody knuckles, and a large winding chest piece. I quickly flipped through the pages desperate to find the ajoining spread. And there she was: a cigarette pressed between her lips leaning over a chair getting a tattoo on her ass. If loving her was wrong than I didn’t want to be right and I basically bought my movie ticket on that day. I had never read one of Stieg Larsson’s novels yet I was intrigued. A few years ago when the series received it’s English translation it felt like they were the only books anyone was reading. You’d enter a packed subway car to be greeted by a sea of their covers. People of every race and age looked down with furrowed brows, heads deep in the pages and feverishly turning to get to the next chapter. “What the fuck is this book?” I kept thinking to myself and now I stood staring down at a glossy photo of its heroine: Lisbeth Salander inhabited by Rooney Mara.

Lisbeth has had a hard knock life to say the least, a series of dissapoinments concluding with an incident with her father (read: attempted murder) that left her a ward of the state. She has guardians, a few of which care for her and others that see her as a freshly seasoned piece of meat they’d love to dig their teeth (among other things) into. There are brutal scenes including a much discussed rape scene which I fear has stunted the film’s success with American audiences. But there’s some redemption in director David Fincher’s treatment of Lisbeth’s vengeance. It turns out that revenge is a dish best served with a large metal dildo and a freshly minted tattoo gun. It’s a scene that stays with you. Mara is magic here as Lisbeth. She’s intelligent, unique, and has a mix of indifferent confidence and a longing to be understood. She doesn’t say much but when she does people listen and never mind that she can hack her way through any firewall with ease. Mara’s performance goes beyond the visual. Yes, she bleached her eyebrows, chopped her hair, basically became an albino, and really got all of those piercings for the role but she truly becomes Salander. And when she teams up with ~~James Bond~~ Daniel Craig their chemistry is undeniable. Led by their brilliant performances, David Fincher treats Larsson’s novel with a careful hand weaving an unsettling yet engrossing film that haunts you after the credits roll.

Honorable Mention: The Opening credits created by Blur Studio and featuring Trent Reznor and Karen O.’s raw cover of Led Zeppelin’s Immigrant Song are brilliant. Watch them below!

Found Stills: Se7en (1995)

Tue, 29 Nov 2011 23:03:14 -0500

See This Film: The Muppets (2011)

Tue, 29 Nov 2011 16:57:00 -0500

For a few misguided minutes over the holiday weekend I almost considered watching Twilight: Breaking Dawn Part 1 in hopes of getting a glimpse of this half breed vampire baby that has been the talk of my office for months. In a moment of clarity I opted for The Muppets instead. Monday Morning Water Cooler Spoiler: No demon baby yet and Breaking Dawn sucks even by Twihard standards. Is that a blow to Team Edward or Team Tay Tay? We may never know. Jason Segal and Nicholas Stoller’s Muppets reboot feels new yet nostalgic. Its full of sarcasm and self awareness (a nod to the original films) for the grownups, kids will appreciate the slapstick and silliness and both will love the way the Muppets throw their heads back and sway à la Stevie Wonder when singing. My only complaint: It could have used more Muppet showcasing scenes, and with that more Muppet songs. Some choice scenes in The Muppets Take Manhattan feature them solving problems in The Port Authority, riding bikes through Central Park or a personal favorite: Rizzo and crew greasing up the diner grill using butter pats as skates. It’s movie magic when you see the Muppets from the waist down and I missed that a little. Though as non-Muppets Segal and Amy Adams were perfect. Also notable, a Muppet power ballad written by Bret McKenzie (One half of Flight of the Conchords) that will have you laughing like a hyena and lingers far after you leave the theater. It’s not exactly Henson’s Muppet Movie but Jason Segal, I tip my Fozzie Bear sized fedora to you.

TYPE: Diner (1982)

Tue, 29 Nov 2011 11:57:50 -0500

People: Gwili Andre by Cecil Beaton (1932)

Tue, 29 Nov 2011 11:57:45 -0500

BONUS: The Pace That Kills (1935)

Tue, 29 Nov 2011 11:57:38 -0500

Daisies/Sedmikrásky (1966): What's a Girl to Do?

Tue, 29 Nov 2011 11:57:32 -0500

Two girls both named Marie are bored, beautiful, and they don’t give a shit. The Maries, much like the Coreys get themselves into all kinds of shenanigans. In this case batting the eyelashes on their heavily lined lids, sulking around in bikinis, setting small fires, and breaking the hearts of naive sugar daddy’s all over the Czech Republic. If it all sounds a little self indulgent it is: Daisies is more surface than substance (much like the Maries themselves) but the film is just sooooo good looking and quirky that it’s hard to deny. It is also considered an important work of the Czech New Wave and pissed off their government so much it was subsequently banned and had its director in hot water with authorities for nearly a decade. How do you say “Chillllll” in Czech? Daisies is a lighthearted romp made more robust by ridiculously cool cinematography, art direction, and, of course two total babes. Sometimes it doesn’t take much.

Hubba Hubba: Ursula Andress (1967)

Mon, 14 Nov 2011 11:54:11 -0500

I have a lot of respect for people who make good music. My friend Christian Banks, who goes by the...

Mon, 14 Nov 2011 10:07:22 -0500

I have a lot of respect for people who make good music. My friend Christian Banks, who goes by the alias Walrus Ghost makes music that is a mix of sampling and live instruments creating a beautiful and ethereal wall of sound that attacks the senses. It’s the kind of music you want to close your eyes to, lay on your back in the grass and get lost in. One might even suggest enhancing the experience with some fungi. I’m not encouraging you to do drugs, but someone might. It also has this cinematic quality. I’d love to see Christian’s approach to scoring cause I’m pretty sure he’d murder it. What makes me appreciate Christian’s music even more is that the guy is one of the nicest dudes ever who’s also got good taste in movies and a knack for creating fake sequels on the fly (See: Snakes and Ladders: The Movie?! or Tombstone II: Wyatt Earp’s Electric Boogaloo). Both of which SHOULD be real movies. I’d even settle for straight to video. Here in no particular order is Christian’s The Perfect Ten.

The Conversation (1974)

I love this film. For me, the most impressive aspect is the sound design and editing as an integral role in the theme of sound perception and paranoia. Also impressive is that Coppola put out this film in the same year as The Godfather II. I thought the French Connection was the shit until I got to see Gene Hackman lose his shit, tear apart an apartment, and then jam on the sax.

Leon the Professional (1994)

Gary Oldman!*Editor’s Note: Yes! This movie, Luc Besson, and Oldman rule “I haven’t got time for this Mickey Mouse bullshit!”

Mother’s Day (1980)

On my 16th birthday I was at my best friend Andrew’s house doing nothing and this movie came on. Hands down one of the weirdest horror-thriller type film I’ve seen. The best of the worst. The ending is priceless.

The Limey (1999)

I love Terence Stamp, mostly because he reminds of my grandfather who was a cockney Londoner, and also a thieving gangster in his own right. I always really like the disjointed narrative structure of this film and you can never go wrong by throwing Luis Guzman into the mix.*Editor’s Note: I didn’t realize this was Soderbergh, ya learn something new everyday!

Badlands (1973)

No idea how I didn’t know about this film earlier. Justin Hopkins, who does most of the guitar work for Walrus Ghost, frequently talks movies with me and he put me on to this film. The filmscore rules. Nothing like poly-rhythmic marimbas complimenting a young Sissy Spacek’s creepy-ass voice.

Ghostbusters (1984)

The quintessential movie that’s awesome when you’re a kid, but then even better when you’re an adult because of your learned appreciation for Bill Murray.

Big Trouble in Little China (1986)
Kurt Russell at his best: the arrogant jerk-hero. Additionally, James Hong is probably the best Asian villain ever. I like many of John Carpenter’s films (some because they’re really good and others because they’re so bad), but I think this is probably my favorite.

Heat (1995)

Kind of ties with The Insider or Last of the Mohicans as best Michael Mann film for me. A great bank robbery film. The ” macho dude-guy” in me makes this one of the films I never get tired of. It’s almost 3 hours long, and if you happen to catch it on tv with commercials it turns into a 6 hour event; but I’d still sit through the whole thing.

American Movie (1999)

Hilarious, depressing, and honest.*Editor’s Note: This has been on my need to watch list for a minute, I need to get my shit together.

Apocalypse Now (1979)

Kind of “duh it’s good”, but this is definitely competes for my favorite film ever. I was fascinated by Vietnam War history growing up, so when I saw this in 8th grade it was one of those personal “holy shit” moments in my life.

When Christian is not working on music, he’s usually eating Mexican food, cooking, and unsuccessfully trying to not end up like Larry David.

Follow him: walrusghost.tumblr.com

And listen to his music at http://soundcloud.com/walrus-ghost

The Perfect Ten is a weekly series of top ten lists by friends of I Love Hot Dogs.

See This Film: Being Elmo, A Puppeteer's Journey (2011)

Sun, 13 Nov 2011 20:18:00 -0500

It’s hard not to smile when you think of Elmo. One of the most recognizable residents of Sesame Street but more importantly one of the sweetest. Being Elmo introduces us to Kevin Clash, the man, voice, and heart behind the fuzzy red monster that created stampedes of desperate (read: rabid) mothers seeking Tickle Me Elmos and who is beloved by children all over the world. Kevin tells his story of humble beginnings in Baltimore and a very unique dream: to become a puppeteer under Jim Henson. Not an astronaut, veterinarian, fireman or even president, a puppeteer! And with the help of his supportive parents, a local TV station, and Captain Kangaroo he gets eventually noticed by Kermit Love, one of Henson’s partners who guides his dream into becoming a felt covered reality. It’s amazing to see Kevin, the soft spoken and reserved man, turn into Elmo, the loud and silly Muppet. Yet with their surface differences they both share a love of making children smile. I noticed halfway through the film that I had been smiling the entire time and had what I like to call happy Anime eye syndrome. It’s simple: Being Elmo is one of the most satisfying “feel good” movies of the year. Actually, I felt fucking great! You root for him from start to finish. You’ll laugh, you’ll cry (Do NOT skip the Kleenex) and you’ll leave the theater happy. And even the most cynical curmudgeon won’t be able to look at that little Muppet the same again.

Being Elmo is playing in cities across the country.

Titling: Patty Hearst (1988)

Sun, 13 Nov 2011 19:49:00 -0500

Really liking these simple chunky clean letters on black. Nothing fancy, just perfect.

Found Stills: Breathless (1960)

Fri, 11 Nov 2011 17:35:00 -0500

(via cinemasquid)

Things to Do: This is Spinal Tap at BAM tonight 11/11

Fri, 11 Nov 2011 17:34:00 -0500

When This is Spinal Tap came out in 84’ not everyone was laughing. This pitch perfect satire on the rockumentary, rock and roll excess, and absurdity ruffled a few feathered boas. Mainly those of Eddie Van Halen, Ozzy, Robert Plant, Jimmy Page, and Dee Snider to name a few. But to be fair Dee, your band is called Twisted Sister and you were basically banshee drag queens back then. Just sayin. When I was younger my babysitter was really into metal, mainly of the hair variety and got me to appreciate it (perhaps too much). So needless to say this movie really speaks to me. Add Christopher Guest’s signature dry humor (see: Best in Show, Waiting for Guffman) along with Rob Reiner’s direction (who also plays the band’s interviewer) and you’ve got a classic. And tonight BAM is taking it to eleven by playing This is Spinal Tap on 11/11 at 11:11pm. I’m thinking this has to be some kind of luck, this side of Susan Miller. S’go! Or you could see Adam Sandler’s masterpiece Jack & Jill which also comes out today. Do I smell the starting pistol of the Oscar race?

This is Spinal Tap is playing tonight at BAM at 7:00 and 11:11pm. **Special Skype Q&A with Spinal Tap band members Nigel Tufnel and Derek Smalls (Christopher Guest and Harry Shearer) at the 7:00 show**. Get tickets and info here!

Best of Netflix Watch Instantly: Paris is Burning (1990)

Tue, 08 Nov 2011 20:59:00 -0500

I’ve sung the praises of Paris is Burning more than once on this here blog, and even printed mugs to commemorate it’s greatness. My love for this documentary borders on obsession and I’m hoping that one day I’ll have half of the quick wits and realness of any of these ladies. Then it happened. A little gift from the Netflix Watch Instantly Gods: blinding light shone from my laptop screen. Did I just hear a harp? I almost had to squint to read the words “New in Documentary, Paris is Burning”. YEEESSSSS D-A-H-L-I-N-G! As if I need more access to this film? But for those few who haven’t seen it and been introduced to the glory that is Pepper Labeja, Willi Ninja, Octavia St. Laurent, Venus Xtravaganza, Freddie et al. Now is your time.

Hubba Hubba: Elizabeth Taylor (1963)

Mon, 07 Nov 2011 21:10:00 -0500

BONUS: Chelsea Girls (1966)

Mon, 07 Nov 2011 14:00:39 -0500

See This Film: Giorgio Moroder presents Metropolis (1984)

Mon, 07 Nov 2011 11:14:00 -0500

In 1984 Giorgio Moroder, man of a magnificent mustache but more importantly of Grammy and Oscar winning chops set out to add some modern flare to Fritz Lang’s pivotal Sci-fi film Metropolis. Originally made in 1927, the film went through several edits after it’s German premiere until it was chopped and screwed down to an incohesive albeit technically and stylistically brilliant film. Moroder added lost footage, new special effects and color to reintroduce Lang’s masterpiece to the MTV generation, choosing to edit it down to a more palatable 80 minutes (from 153). Then he took it one step further enlisting Pat Benetar, Adam Ant, Bonnie Tyler, Freddie Mercury, and Billy Squire to name a few, to record a modern pop-rock score to accompany the film. And then came the angry mobs and the Razzie nods. Having seen the Kino restored version last year compared to Giorgio’s I will say they feel like two different films. And I think there is a place for both.

As stunning as silent features can be, they tend to drag. Even with early acting’s spastic movements and clown like facial expressions, I always miss the dialogue. For me, Moroder’s score moved the film along and enhanced certain scenes: Bonnie Tyler’s searing introduction of the evil robot in Here She Comes. When the creature turns to camera and gives a slow wink you know little Metropolis is doomed. And Freddie Mercury’s Love Kills shows just how convincing this robot can be as she shimmies to a crowd of tuxedoed salivating men who will rip each other apart just to get closer to her. It’s far from Mercury’s best but I could happily listen to Freddie sing a jury duty roll call sheet. What felt less affective was the colorization of the film, but I think I see what Moroder was going for: I guess if you’re going getting a face lift you might as well get some filler put into your lips too. Metropolis is available on DVD and Blu-Ray November 15th and is showing in cities across the US.

Moroder and his mustache with Donna Summer in 1977.