Frank Pesce – People Talking

Larry Cohen Twofer – ‘The Ambulance’ and ‘Original Gangstas’ – Perpetual Motion

There’s no shortage of love for writer/director/producer Larry Cohen in this space.

It’s now a couple of months on since his passing, and I think we can safely say that while not all of his movies were great (some may have even been downright bad), he always exuded a true independent spirit while making films intended to be entertaining, his last two theatrical features being no exception.

Let’s take a look, shall we?

Many filmmakers have done great New York movies (William Friedkin and Martin Scorsese perhaps chief among them), but few could do NYC on a budget like Larry Cohen (though this one did have a little more money behind it than usual).

Which is not to say that The Ambulance is on the level of The French Connection or Taxi Driver (far from it, to be honest), but there is a certain
je ne sais quoi about it that still resonates with those familiar with the city today.

Eric Roberts plays a Marvel Comics illustrator (before you even ask, yes, Stan Lee is in the movie in his first film appearance) who meets a girl on the street. She collapses and is taken away in a ambulance. The only trouble is that he can’t seem to find her in any known hospital, thus igniting the mystery plot.

If I have one big issue with The Ambulance, it’s that the tone is a bit muddled. It’s a little more lighthearted than you’d expect, which isn’t the worst thing, but overall the movie would have benefited from a harder edge.

However, the cast is solid, especially James Earl Jones in a literal scenery-chewing role, and there’s some classic death-defying practical stunt-work; and, on the whole, the film just looks good (shout-out to cinematographer Jacques Haitkin, who does action unit work on a lot of big movies these days).

It’s not Larry Cohen’s best movie, but, like much of his work, it’s fun, enjoyable, and an interesting time capsule of pre-Giuliani New York.

Rating: ★★★½ (out of five)

So, it’s Super Bowl weekend, and I’m sitting in a Pam Grier marathon at Alamo Drafthouse Yonkers. Movie #1 was Jackie Brown, which is great, but basically impossible for any other film to follow; Movie #2 was Friday Foster; and Movie #3 was Scream Blacula Scream. After #2 and #3, I said to myself, “You know, I think I would have enjoyed those a lot more had they been directed by Larry Cohen.”

Enter Movie #4: Original Gangstas, his last theatrical feature (Movie #5 was Black Mama, White Mama, just in case you were curious).

Shot on location in Gary, Indiana (the murder capital of the U.S. at the time, and sadly still deeply struggling today), Original Gangstas is mainly a big Blaxploitation reunion, featuring an incredible top-to-bottom cast, including Fred Williamson (Hammer), Jim Brown (Slaughter), Pam Grier (Coffy), Paul Winfield (Gordon’s War), Richard Roundtree (Shaft), and Ron O’Neal (Super Fly).

It may seem like an odd fit for someone like Larry Cohen to direct, but he and Fred Williamson go all the way back to Black Caesar and Hell Up in Harlem in 1973, so he’s well familiar with the tradition at play, and of course he brings his trademark budget-efficient panache to the Midwestern venue; in particular getting a lot of mileage out of Gary’s abandoned Union Station.

Original Gangstas was a flop at the time of it’s release, and I can understand why (I mean, it’s no Boyz n the Hood); for one thing, the synthesized music score hasn’t aged well at all, and thematically it’s a bit messy, but, again, it’s entertaining, and it’s fun to see so many familiar faces (both young and old).

I’ll admit, I may be over-hyping it, but in this case I’m not going to feel bad about it.

Because we love Larry Cohen.

Rating: ★★★★☆

New & Old Twofer – ‘King Cohen’ and ‘God Told Me To’

King Cohen: The Wild World of Filmmaker Larry Cohen

Written and Directed by Steve Mitchell
Interviewees: J.J. Abrams, Rick Baker, Eric Bogosian, Barbara Carrera, Larry Cohen, Joe Dante, James Dixon, F.X. Feeney, Robert Forster, Megan Gallagher, Mick Garris, Yaphet Kotto, Paul Kurta, John Landis, Laurene Landon, Traci Lords, Michael Moriarty, Frank Pesce, Tara Reid, Eric Roberts, Martin Scorsese, Fred Williamson
Soundtrack: Joe Kraemer

Even before seeing this documentary, I was reasonably familiar with Larry Cohen, as I’d seen his collaborations with Bill Lustig (aka the Maniac Cop trilogy and Uncle Sam), as well as (and perhaps more importantly) The Stuff, which he wrote, produced, and directed (as he often did), and which I have great affection for.

If you’re completely unfamiliar with Larry Cohen (which I imagine is most people), he’s mostly known for being a purveyor of low-budget exploitation films throughout the Seventies and Eighties, but he actually started out as a mainstream television writer (including creating a little series called Branded), and he’s continued to sell screenplays throughout the Nineties and into the Aughts (most notably Phone Booth).

More often than not telling stories on the streets of New York (where he was born and raised), Cohen was notorious for shooting without permits and stealing whatever shots he could to add production value without adding to the budget, giving his films a realism and an energy beyond many other similarly budgeted projects.

The documentary itself isn’t as out-and-out entertaining as, say, Electric Boogaloo, but this is more than made up for by the content, as Larry’s career arc is quite fascinating unto itself. Mostly though, King Cohen is a testament to choosing artistic control over more money, and a record of a time gone by when Americans were allowed to enjoy a little more everyday danger (before the terrorists won).

Whether you’re an aspiring filmmaker, a cinephile, or just a fan of documentaries, this is a worthwhile watch all-around.

Rating: ★★★★☆

God Told Me To

Original Release Date: October 22, 1976
Written and Directed by Larry Cohen
Cast: Tony Lo Bianco, Deborah Raffin, Sandy Dennis, Sylvia Sidney, Sam Levene, Robert Drivas, Mike Kellin, Richard Lynch, Sammy Williams, Harry Bellaver, Andy Kaufman, Randy Jurgensen, Mason Adams
Soundtrack: Frank Cordell

I’d seen the trailer for this at many an Alamo Drafthouse pre-show and always laughed it off, but, to my surprise, God Told Me To is highly watchable, engaging, and, in general, probably much better than it has any right to be (although the final button didn’t make much sense to me, but I’m feeling generous, so I can forgive that).

The film starts out as something of a police procedural. There’s a string of mysterious mass murders perpetrated by separate and unrelated people. The only element that connects them is they all tell NYPD Det. Peter Nicholas (Tony Lo Bianco, in one of his best performances) that “God told me to,” before they themselves die. Det. Nicholas, being a devout Catholic (yet maintaining an extra-marital affair; it’s complicated), is understandably shaken by this, yet is nevertheless determined to discover the truth behind the murders, be it God, Satan, mass hysteria, or something else entirely.

I won’t say anymore about the plot as it would spoil the movie (spoiler alert: they reveal it in the aforementioned documentary), but, suffice it to say, the movie most likely does not go where you think it will, and as such is an enjoyable ride.

Is it a masterpiece? Hardly, but if nothing else it’s noteworthy for featuring Andy Kaufman in his first role (in one of those trademark grandiose Larry Cohen stolen sequences), and, as Cohen’s films often do, it punches above its weight class.

Rating: ★★★½

Classic Twofer – ‘Cruising’ & ‘Hit List’ – Red Light, Red Light

Original Release Date: February 15, 1980
Written and Directed by William Friedkin, based on the novel of the same name by Gerald Walker
Cast: Al Pacino, Paul Sorvino, Karen Allen, Richard Cox, Don Scardino, Joe Spinell, Jay Acovone, Randy Jurgensen, Barton Heyman, Gene Davis, Allan Miller, Sonny Grosso, Ed O’Neill, James Remar, William Russ, Mike Starr, Powers Boothe
Soundtrack: Jack Nitzsche

It’s virtually impossible to talk about this movie without at least some discussion of the controversy surrounding it, so I won’t pretend to ignore it.

The plot of ‘Cruising’ involves a serial killer targeting gay men in the Lower Manhattan S&M scene (which may or may not still exist today; I have a distinct lack of expertise in this area), and the effort to bring him to justice by a young undercover cop (played by Al Pacino). Needless to say, many in the gay community were outraged at what they perceived to be an unfair portrayal, and, in fact, the protests during filming were so vigorous that none of the audio from outdoor night shoots was usable. Combined with the fact that much of America was not ready for any sort of look at homosexuality, let alone such a lurid and peculiar slice of it, it’s easy to see how ‘Cruising’ was a critical and commercial nightmare waiting to happen (although it did just fine in Europe).

Based on the novel of the same name (though reportedly in title only), but more so based on the real-life experiences of former NYPD detective Randy Jurgensen (the film’s technical adviser and one of the supporting actors, with whom there was a Q&A with after the screening), ‘Cruising’ is a movie that is not without its issues. The third act especially becomes somewhat disjointed, and character motivations become frustratingly hazy (not to mention Karen Allen is basically given nothing to do). And yet, despite all of its flaws, ‘Cruising’ is a movie I would absolutely watch again in the future, even if I can’t fully articulate why.

One reason is that buried under all of the layers of controversy and shock value are a wonderfully subtle performance from Al Pacino (one of the last times audiences got to see him before he became a self-caricature, which I’m not complaining about, just saying), a beautifully eclectic musical soundtrack (including some really great stuff from Willy DeVille), and a reasonably effective crime thriller story. Add in a lot of name actors in before-they-were-famous roles, along with more than a pinch of genuine New York City grindhouse feel, and you’ve definitely got something cooking.

It is, for sure, not his best film, and I don’t think I would recommend it for general audiences, but, William Friedkin’s ‘Cruising’ is quite the mood piece. If you’re curious enough to step beyond the controversy (and not be put off by the more lascivious elements), check it out, You might be surprised by what you find.

Rating: ★★★½ (out of five)

Original Release Date: March 3, 1989
Directed by William Lustig
Written by Aubrey K. Rattan (story), John F. Goff and Peter Brosnan (screenplay)
Cast: Jan-Michael Vincent, Leo Rossi, Lance Henriksen, Charles Napier, Rip Torn, Harold Sylvester, Harriet Hall, Ken Lerner, Nick Barbaro, Lou Bonacki, Robert A. Ferretti, Vic Manni, Frank Pesce
Soundtrack: Garry Schyman

This was actually director William Lustig’s personal film print, and was not only willing to share it with an audience, he also provided quite a bit of behind-the-scenes insight (not unlike what you’d find on a commentary track), so much of my information comes directly from him.

The first thing to know about this movie is that it’s loosely based on Akira Kurosawa’s ‘High and Low‘ (which is itself based on the novel ‘King’s Ransom’ by Ed McBain).

The second thing to know is that William Lustig was conversant with Nicholas Pileggi at the time Pileggi was interviewing Henry Hill (these interviews led to the book ‘Wiseguy’, which led to the movie ‘Goodfellas’), so if you think you hear dialogue in ‘Hit List’ that sounds like it’s straight out of ‘Goodfellas’, you’re not wrong (except ‘Hit List’ came out first).

Other interesting odds and ends include Jan Michael Vincent attempting to make a comeback after a couple years out of work and being, shall we say, difficult to manage (drinking problem), Charles Napier living out of a camper trailer, Rip Torn being tons of fun, Lance Henriksen’s [temporary] back tattoo costing $1000, an uncredited Janusz Kaminski receiving the offer to shoot ‘Schindler’s List’, and Scott Spiegel and Josh Becker being the actual writers (as opposed to the credited CineTel writers).

All that said, I’ll allow the director himself to sum up the movie in one sentence, “It’s ridiculous, but it’s fun.”

As for me, I’d say the movie is full of wonderful accouterments in the form of fun supporting characters and over the top action, but it unfortunately suffers from a lack of chemistry from its two lead actors.

I’ll give ‘Hit List’ credit for having at least a somewhat clever premise (all-American dad and Mafioso team up to find the former’s son), but it’s not a great movie overall. I definitely put the ‘Maniac Cop’ trilogy above it in terms of the William Lustig catalog.

However, if you’re interested to see how Lance Henriksen might’ve handled the role of The Terminator, I recommend this movie. It’s just a shame it likely won’t ever get a proper home release (unless you’re still good with VHS), thanks to various bankruptcies and legal entanglements.

Rating: ★★½ (out of five)

Quick Thoughts – July Round-Up, Part 1 of 2

‘All Quiet on the Western Front’ (1930)

Of all the armed conflicts in human history, perhaps none was more senselessly brutal than World War I. Early 20th Century Europe was a powder keg waiting for one good spark, and when it came, the continent (and beyond) was plunged into darkness for four long years. Worse yet, the battlefields and high seas were the most violent Petri dishes imaginable, as aging military tactics met groundbreaking new technology: airplanes, submarines, tanks, chemical gas; pretty much anything that could be weaponized was put to such use.

Based on the seminal novel by Erich Maria Remarque, ‘All Quiet on the Western Front’ is an equally important motion picture, as it captures the madness of “The Great War” from the level of the common soldier; from enlistment, to training, to combat, to back home, and, ultimately, to death.

It doesn’t seem logical that a film made four score and six years ago about a war that happened a century ago would feel at all contemporary, yet ‘All Quiet’ somehow manages to do just that. The battle scenes, though not filled with the blood and gore we’re accustomed to now, are as harrowing as can be. What I find even more striking, however, are the characters and their conversations, trying to simultaneously hold onto their humanity while also numbing themselves in order to be effective. If you’ve seen ‘Fury‘ or ‘American Sniper‘ in recent years, you can draw lines back to ‘All Quiet’.

If I have one major criticism, it’s that you feel the movie’s length (it runs over two hours) and sometimes scenes don’t quite flow together, but given how long ago it was produced, that can be forgiven.

There’s little doubt that this is an all-time great film that everyone should see at least once.

Rating: ★★★★½

‘Top Gun’ (1986)

When people ask me what my favorite arthouse film is, I always say it’s the first few minutes of ‘Top Gun’, before “Highway to the Danger Zone” comes in, because it’s nothing but a bunch of long, gorgeous “magic hour” shots of flight deck operations aboard the USS Enterprise, set to that beautifully ambient Harold Faltermeyer score. Really, until Mr. Loggins comes storming in, my brain tells me this is going to be one of the best movies I’ve ever seen, but then reality eventually sets in, and I retreat to a place of disappointment.

That’s right. ‘Top Gun’, that awesome movie you loved when you were a kid, is actually terrible. In fact, by and large, if there aren’t airplanes, Tom Skerritt, or Michael Ironside on the screen, the movie’s a hot mess: the script is bad, the story is dumbed-down, and the romantic sub-plot is horrendous and needlessly log-jammed into the middle of the film. It’s bad. It’s a bad movie.

Now, that’s not to say it’s totally irredeemable, because F-14s are awesome, and F-14s taking on other fighter jets are even more awesome, but all that action doesn’t quite make up for the fact that almost every other element is cringe-worthy.

Basically, ‘Top Gun’ is the kind of movie you put on and fast forward through all the boring parts. There’s absolutely no need to spend all 110 minutes watching the whole thing.

Rating: ★★½

‘Risky Business’ (1983)

‘Risky Business’ is another movie I throw in the Overrated bin. Not unlike ‘Beverly Hills Cop‘, this film lives in the muddled middle: not funny enough to be an effective comedy, and not intense enough to be a cool high school crime drama.

Frankly, the movie is sophomoric, and I get that as a high school story maybe it should be that, but what I really mean is at certain points it feels like it was made by an actual 10th grader. Perhaps the ultimate example of this is when Joel and Lana (Tom Cruise and Rebecca De Mornay) are attempting to get intimate on a Chicago “L” train and the soundtrack is blasting Phil Collins’ “In the Air Tonight”; it’s just such a poor creative choice that made me hate the movie in that moment.

However, there is some good work here, especially the Tangerine Dream score, but not enough for me to recommend the movie outright. Stick to ‘Ferris Bueller’ if you’re looking for a Chicago-area high schooler wish fulfillment movie.

Rating: ★★½