Posts Tagged ‘sam raimi’

Revival House: Nine Great DVD Audio Commentary Tracks

“Hey, roll it, ’cause I’ll tell ya, you know, you’re listening to a guy who learned a lot about ripping off movies from watching laserdiscs with director commentary.” —Paul Thomas Anderson, from the Boogie Nights audio commentary

Okay, so I’m an audio commentary junkie. Sometimes I’ll buy a movie I don’t particularly like all that much just because it has a commentary track or other cool extras. It seems like I’m always repurchasing some movie I already own simply because the new version has extra features.

In the laserdisc days there was Criterion. The very first audio commentary track was done by film historian Ronald Haver on the 1984 Criterion laserdisc of King Kong (1933). Unfortunately, many of those Criterion tracks still haven’t made it to DVD, including Martin Scorsese’s commentaries for Raging Bull and Taxi Driver, and Terry Gilliam’s for The Fisher King (all worth checking out, provided you can find a working laserdisc player).

BoogieNightsBoogie Nights (1997; director Paul Thomas Anderson). This is pretty much everything I look for in a commentary track, so it’s really too bad Anderson doesn’t seem to want to record them anymore (to date, this is the last one he’s done). There’s a lot of cool information here, including many anecdotes about the production of the film, but the real fun for me is hearing Anderson talk excitedly about how much he loves to write material for certain actors.

ANDERSON (on actor William H. Macy): And you know, everything you write, you better know what you’ve written, because he is going to say every single word exactly as you’ve written it. And he’ll sort of look at the punctuation, find out what it means. A dash means this, an ellipses means that. You know, this is in quotes, this has been underlined, this has been italicized … He’s all about finding out what the writer means, you know, and he studies the script clearly so well that as a director you don’t really have to do shit. You just have to watch him, because I feel like I did my job as a writer, so being a director was just being a fan.

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No Concessions: To “Hell” and Back with Sam Raimi

Some horror film directors unnerve us with little ripples of tension that unexpectedly crescendo into waves of terror. Sam Raimi is not one of those horror film directors. Pauline Kael once said that Mel Brooks’ grab-you-by-the-lapels comedy wasn’t necessarily funny; it was the being grabbed by the lapels that made you laugh. So it goes with Raimi: His latest film in the genre, Drag Me to Hell, doesn’t have that much in the way of innovative shocks or surprises, but it’s always head-locking you and screaming “Boo!” in deafening Dolby Digital. “This is fucking stupid,” said the guy in back of me, at a raucous midweek showing. “But it’s kind of fun.”

The Brooks comparison is apt. Young Frankenstein (1974) is one of the very best horror comedies, not that it’s a terribly long list. Raimi doesn’t really make horror comedies, but outside of his killer debut, The Evil Dead (1983), he’s not a straight-up scaremeister, either. I remember the chill of anticipation when I went to see The Evil Dead; Stephen King loved it (back when I hung onto his every word), and it was released unrated, which in itself promised something subversive. I wasn’t disappointed. The infamous “tree rape” sequence was a bit much (his subsequent films have shied away almost entirely from sex—too grownup) but everything else was a satisfyingly scary part of a whole: The funhouse colors, the cranked soundtrack (I can still hear the creepy voices on the tape), and the basic style, a kind of retro-primitive. Plus Bruce Campbell, who came as part of the package (but is not in the new film, having gone from catch-as-catch-can cult star to a steady gig on Burn Notice.) (more…)

DVD Review: “My Name Is Bruce”

Cover of "My Name Is Bruce"I have to admit, I’ve always been more a fan of B-movie living legend Bruce Campbell’s personality than I have any of his films. Like most celebrities, there are conflicting stories of whether Bruce is a duke or a douche, but from every interview I’ve ever seen or read concerning him, he seems to be a very down-to-earth guy who’s well aware of his place in the universe, and which in turn makes him appear to be a more affable guy than most…and in the long run, makes watching those few films I’ve seen him in(the big ones like the Evil Dead trilogy, and the seldom-seen like Terminal Invasion) easier to enjoy.

I love any actor who’s willing to poke fun at themselves and deflate their perceived image whenever possible, and in his newest flick, My Name Is Bruce, Campbell pokes long and hard, and does a whole lot of deflating. Playing a sleazy version of himself–jackass on set, living in a beat-up trailer and drinking Shemp Whiskey out of his dog Sam’nRob’s (one of the many homages within the film to friends, associates and others during his long and storied career) bowl–this Campbell is at the lowest point in his life, making a sequel to CaveAlien, the crappiest film in his crappy career. About to fire his agent (Ted Raimi, brother of Evil Dead and Spider-Man director Sam), Bruce is lulled into a false hope that his agent has bigger and better things in store for him when he’s told a big “surprise” awaits him on his birthday. Shortly thereafter, Bruce is approached by Jeff (Taylor Sharpe), a teenager who tries to convince him to come to the small town of Gold Lick, which is being menaced by a vengeful Chinese demon/warrior god named Guan-di (played by James Peck, and based on the actual legendary Chinese warrior/deity Guan Yu). When Bruce refuses, Jeff abducts him.

Finally let out of Jeff’s car trunk, Bruce is at first ready to sue the townsfolk, until he catches a glimpse of Jeff’s hottie mom, Kelly (Grace Thorsen). Thinking this whole Guan-di thing might be a more upscale flick set up by his agent (and very much wanting to get into Kelly’s pants), Bruce decides to play along…little knowing the menace of Guan-di is very real, and that the townsfolk–identifying him a bit too closely with his kick-ass Evil Dead character Ash–expect him to face down the warrior deity and save their town.

My Name Is Bruce proudly displays its B-movie pedigree on its sleeve–the blatant fake background behind cars when they drive, the obvious dummies attempting to pass for beheaded corpses, the fact that teenagers seeking sexual congress in graveyards are distinct wrongdoers who must be punished–and is more of a fun ride for it. In some ways, it has no choice: shot for a budget of just $1.5 million, and having its widest release in only four theaters (thus amassing not even $200,000 as of this writing), the guerilla-style nature which Campbell as director (he also produced the film) was forced to employ would do Ed Wood proud…and believe me, in this case that’s actually a compliment. (more…)