Posts Tagged ‘Mickey Rourke’

No Concessions: Summer Shorts, with Woody, Coppola, “Tony Manero,” and Zowie Bowie

Just about this time last year I devoted a column to indie or indie-ish movies hunkered down out there among the multiplex behemoths, titled “Summer Shorts.” It’s time for the sequel. The “specialty” market needs all the help it can get—this year’s biggest grosser among the littles has been Sunshine Cleaning, which washed up with a paltry $12 million in the till, or about what it costs to stage a Quidditch match. Consider this a lifeline, for them and for you, if you’re sick of super-stuff (and don’t forget the excellent The Hurt Locker, which I reviewed two weeks ago).

What I liked best about Moon, which I saw this opportune week, was its retro look. Director Duncan Jones (once known as “Zowie Bowie,” son of the formerly named David Jones) was inspired by the industrial design of Silent Running, Alien, and Outland, which production designer Tony Noble and visual effects supervisor Gavin Rothery translated with models rather than computer graphics. Every time the movie, shot in slightly distressed widescreen by Gary Shaw, ventures outside to the lunar surface I was transported to the pre-digital era. This movie has those movies in mind and also the worlds of Gerry Anderson, of TV’s Thunderbirds and Space: 1999, whose 1969 feature Journey to the Far Side of the Sun is another clear inspiration. (And maybe The Man Who Fell to Earth, but Jones is careful to distance himself from his space oddity dad.) (more…)

No Concessions: Men Behaving Badly (And One, Very Well)

How funny is The Hangover? Funny enough to get the two guys in the next row off their Crackberries for minutes at a time. I used to go to the movies in the early afternoon, when no one was there. Now, I go to the last show of the evening, which is often the same, except that the few who are at last call are sleepier. So it was gratifying to sit with a full, and mostly attentive, post-10pm audience for a change.

I watched The Hangover with ’80s flashbacks in mind. Its crassness isn’t a lot different than, say, that of 1984’s Bachelor Party, a credit in the “other work” section of Tom Hanks’ resume these days. The Hangover is Bachelor Party cross-bred with Martin Scorsese’s After Hours (1985), with the Vegas section of the underrated Go (1999) thrown in. It’s a hybrid that runs on its own steam, and despite the lateness of the hour I would’ve texted “LOL!” to all my buddies if I had a device handy (no, I wouldn’t have). The only annoying thing about it is that I may have to check out the two other hit comedies written by Jon Lucas and Scott Moore, Four Christmases and Ghosts of Girlfriends Past, to see how they got here. Someday.

They specialize in stories centered on visiting and revisiting, and their idea this time was clever: Take all the standard wild-night-in-Vegas business and turn it into a comic mystery. Laid out end-to-end, the movie wouldn’t be as amusing as it is. Removing 12 hours from the story, then retracing them, was inspired. Director Todd Phillips, who made the semi-classic Old School (2003), paired the concept with actors who come to mesh as a team. Bachelor Justin Bartha, who sits out most of the movie, gets the film in gear with his disappearance but doesn’t really count. The heavy lifting is done, and done well, by a slyly misogynistic Bradley Cooper (who I figured for a big push when he co-starred with Julia Roberts and the rising Paul Rudd in the headline-grabbing Broadway revival of Three Days of Rain a couple of seasons back), Ed Helms (purposefully aggravating on The Office, more appealing here as a strait-jacketed single) and the out-to-lunch Zach Galifianakis, referred to in the movie as “Fat Jesus,” and a natural for Hagar the Horrible if he ever makes it to the big screen. (more…)

Long, Cold Winter: The Music of “The Wrestler”


“The only place I get hurt is out there. The world don’t give a shit about me.”

I. Well, I’m Frustrated and Outdated

The first voice you hear is a dead man’s scream. It’s one of those full-throated primal belts, like Roger Daltrey’s in “Won’t Get Fooled Again.” Here it’s Kevin DuBrow, his scalded screech busting the floodgates for “Bang Your Head (Metal Health),” the second single from Quiet Riot’s landmark Metal Health (1983), the first slab of fuzz ’n’ meedley to ever reach #1 on the Billboard Albums chart.

The band was at its mainstream zenith then. Randy “The Ram” Robinson (Mickey Rourke) was probably just getting started, years of toil finally paying off as professional wrestling graduated from the sweathouse din of high school gyms to respectable arenas in metropolitan cities. It came with a price, of course. Regional territories were swallowed by ambitious, growing monoliths. But that wouldn’t matter for a while, not even to the Ram. Luckily, he was in his prime, synchronous with the era. He was the ’80s.

Someday that would come back to haunt him, but someday was just a harmless, nebulous future. For now we’re in his past. Wisely, director Darren Aronofsky (on a Robert D. Siegel script) never shows us this past except as a collage of scattered magazines and handbills against the ghostly chatter of ringside patter and a raucous anthem that rocked a long-gone summer, growled by a man who in 2007 was silenced forever.

But Ram still struts to this hoary buzzsaw, having plucked it during its popularity and transformed it into his ring-entrance music. When the riffs kick in to summon his fist-pumping form, the crowds respond as they would at a concert. They know what’s coming: a classic blast from their childhoods, riding into town with a near-suicidal need to entertain. And the outcome is always predetermined. Once their faded hero climbs the ropes and drops that old-school Ram Jam finisher — his greatest hit — it’s over, brother.

All over. (more…)

Unsolicited Career Advice for… Michael Stipe

Who knows how Uncle Donnie gets to know someone like Michael Stipe well enough to receive the gift of dishware from him?  Granted, these are strange times in which we live, so finding something like this in the memo stack was not entirely a surprise, though Mike Mills and Peter Buck might not be too happy with U.D.’s nicknames for them. —RS

TO: Michael Stipe
FROM: Don Skwatzenschitz
RE: Career Advice

Mike, thanks so much for the Basquiat dinner plates. Nothing like getting to the bottom of one of Mitzi’s casseroles and seeing a neo-Expressionist skull staring back at me.  We’d have you over for dinner, but I know you’re a vegetarian, and she puts beef broth in everything (makes for an interesting apple pie, let me tell you).

Mike, I know you and the boys got a bit of a bump in popularity last year, with the Accelerate album and the return to rocking out and such and so forth. You’re at your best when you and the nerdy one let the schlubby one turn up his amps and blow a hole through whatever wall happens to be nearby. Don’t get me wrong—I actually liked Around the Sun (leaving New York is never easy, but there’s so much more of the country to see) and Up. To my ears, Reveal is the only truly crap record you guys have made. Man, did that stink. I mean, no redeeming qualities whatsoever, aside from maybe—maybe—“Imitation of Life,” but that got old pretty quickly. You guys dropped a turd on that one. Most bands don’t recover from something that rank.

Which is why you should look out for yourself more, for your own career, your own life apart from the nerdy one and the schlubby one. I’ve got some ideas you might want to consider:

  • Go nuts. You’re a dignified, middle aged man with intellectual, political, and artistic pursuits beyond the music you are best known for. You appreciate privacy and go to some lengths to protect it. You support worthy people and worthier causes. Mike, it’s a wonder anyone knows who the hell you are. You need to pull a Britney. Or an Amy Winehouse. Go out for a night on the town without any underwear … or pants. Or put on the underwear, smoke five or six pounds of crack, and go wandering down the street on a crying jag. Better yet, get fat, take steroids, get plastic surgery to the point where you’re barely recognizable, take in a bunch of stray dogs, and do a lot of interviews about how you’ve hit rock bottom and are now bouncing back. It worked for Mickey Rourke—he even got an Oscar nomination. Speaking of which …
  • Become an actor. They’re actually making a remake of The Three Stooges, with Jim-friggin’-Carey as Curly. Michael, you were born for that role. It’s totally playing against type (unless Curly was really a shy, mumbling alternative type and we just didn’t know it), which is why you’ll blow everyone away with your “Nyuk-nyuk-nyuk-nyuks” and your “Whoop-whoop-whoops” and you “Oh, wiseguys.” Forget that whole movie producer thing, Mike. You were born to be in front of the camera. Acting like Curly Stooge.
  • Two words: Food Network. You and Mario Batali were so awesome together on that Sundance show. The two of you need to do a cooking show together—Mike and Mario’s Vegetarian Kitchen or some such thing. It’ll knock that conniving bitch Paula Deen right off the network.
  • Fake your death. There’d be a state funeral in Georgia. Flags at half-staff at the next Lollapalooza show. Courtney Love might write a song for you (or get Billy Corgan to do it and say she wrote it). Rolling Stone would put you on the cover and give every album five stars in the next Record Guide (including Reveal, which really was a turd, Mike). Warners might actually earn back some of your advance from the last REM contract. And you—you get to disappear, find a little place on the beach somewhere and live out your days listening to Patti Smith bootlegs and reading Rene Ricard collections to your heart’s content. Sound good? I knew it would.

All the best,
Don

No Concessions: Academy Awards Night

storagecanoecaEven if you don’t like what the Academy Awards represent–those questionable nominees, that PR flackery, all the “industry” sanctimony–it’s more than possible to enjoy the show itself. Didn’t we all kind of grow up with it? I watched it with mom, in college, in Hong Kong, Italy, and San Jose, CA, with my Oscar posse in Manhattan and now in Brooklyn, with my family (not that I kept my infant daughter up).

For me, 2008 stretched from 6:30pm EST and the first red carpet roundup on ABC (Phoebe Cates, in red, was the premiere star sighting, if she and husband Kevin Kline still rate in the firmament), through Barbara Walters’ 28th pre-show special (with Barbara chatting up the Jonas Brothers on purity, Anne Hathaway on her state of mind–”happy”–Mickey Rourke on suicide, and getting a lap dance from show host Hugh Jackman), a second, official red carpet roundelay with the A-listers (tip: Wear Chopard, win an Oscar) and onto the show, a promised “new look” Oscars. Just under midnight, Oscar’s 81st was (finally!) one for the books. I swapped a few thoughts with Scott (Kung Fu Panda) Malchus, who began with this as we move semi-chronologically, Reader-style, through the evening:

Scott Malchus: When I was a child, I loved Academy Awards night (it was a Monday back then). I was one of the many who dreamed of someday holding one of those gold statues and thanking all of the people I knew, etc. (BC: It can still happen, Slumdog. Thank me from the podium.) Something happened in the late ’90s when these awards lost some of their glamor to me. It was probably around the time that Harvey Weinstein was campaigning the shit out of Shakespeare in Love that I realized that these awards weren’t so much about quality, but about marketing. Convince enough people that your movie is the best and they’ll probably vote for it, even if they haven’t seen the movie. Each year since my kids have been born, I take less interest in the awards to the point that I completely forgot when the nominations were announced this year.

Of course, one of the things that existed when I was younger that doesn’t now is the mystery of who might actually win. With so many award shows, anyone can follow the trends and easily predict who will win. That said, there always seems to be one or two upsets in the major categories, usually the Supporting Actor/Actress slot. I hope that holds true this year, too. (BC: There were exactly two upsets, but not there.)

Bob Cashill: Well, we made it through the ABC Red Carpet segment, which you deemed “atrocious.” (Wear Chopard next year and see how you feel.) You’re jazzed about the hard-working Michael Giacchino finding time from Lost to act as musical director. I’ve interviewed David Rockwell a few times about his set design work, and as we move on in I like what he’s done, giving the space a cooler, more intimate nightclub feel–but I’m not sure about what they’ve put up there on center stage. It’s not Hugh Jackman–he’s a consummate pro–but it didn’t quite come off. Not an Allan Carr disaster, but not a slam dunk, either, for the “new look” Oscars. (more…)

The Bigger Picture: Earnest Goes to the Movies

300_49943I recently had the pleasure of watching Darren Aronofsky’s film The Wrestler.  This was after I wrote my Oscar tirade, though the experience I had in that film has only added to my furor.  An often overlooked quality in film is the ability to be earnest, but it is so rarely accomplished.

There is a fine line to be walked between sincerity and pompousness.  Too often, filmmakers want to make you cry, rather than actually accomplishing it.  It is difficult not to be moved by a child’s tears, but once the youngster gets a taste of your sympathy he will exploit your kindness.  Hollywood often follows the “boy who cried wolf” method during the awards season, as if the only time audiences are allowed to cry is between December and February (not a bad strategy, as this is a stressful time of year).

In The Wrestler, Mickey Rourke plays a washed up pro wrestler who is still clinging to the glory of his past.  If you replace the words “pro wrestler” with “actor,” you will be describing Rourke’s own career.  This leads to an incredibly genuine performance, and I actually walked away from the theater with an appreciation for professional wrestling that I didn’t have before.

Aronofsky himself probably realized the need to make a stripped-down film after receiving criticism that his previous films were pretentious.  Pi and Requiem for a Dream are pretty good movies, but I probably wouldn’t want to watch them more than once.  There wouldn’t be a need for a second viewing anyway, as every film student I have ever met has expounded on their brilliance.  The Fountain is a film I like very much for its ambition and beauty, but I can understand why someone would criticize it.

If you watch The Wrestler with a critical eye, you can see from the very beginning that you are watching the work of a filmmaker who consciously tried to rely less on his technique and more on his instincts.  For the first time in an Aronofsky film, the direction isn’t noticed and the actors are able to shine through.  There is one scene that I would even point out as the anti-Aronofsky, in which Rourke’s character finally lets go of “The Ram” for a moment and embraces a new life working the deli counter at a grocery store.  This scene is so expertly choreographed between director and actor, and we see Rourke use his charm by giving nicknames to his customers.  The camera, however, only reveals the customer after the christening so that we may chuckle at the appropriate handle. (more…)