Randy Jurgensen – People Talking

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 Movie Review – ‘Superman’ – The Light to Show The Way

Original Release Date: December 15, 1978
Directed by Richard Donner
Creative Consultant: Tom Mankiewicz
Written by Mario Puzo (story and screenplay), David & Leslie Newman (screenplay), and Robert Benton (screenplay), based on the character “Superman” created by Jerry Siegel & Joe Shuster
Cast: Marlon Brando, Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper, Glenn Ford, Trevor Howard, Margot Kidder, Jack O’Halloran, Valerie Perrine, Maria Schell, Terence Stamp, Phyllis Thaxter, Susannah York, Jeff East, Marc McClure, Sarah Douglas, Harry Andrews, John Hollis, Rex Reed, Steve Kahan, Ray Hassett, Randy Jurgensen, Michael Ensign, Larry Hagman, John Ratzenberger, Shane Rimmer
Soundtrack: John Williams

Of all the movies I went to see theatrically in 2016, none got me more excited than this one.

There are people out there who will try to convince you that 1978’s Superman is overrated, or that it doesn’t hold up, or even that it’s flat-out bad.

Don’t believe them, because this film is still the Gold Standard for superhero motion pictures.

What the non-believers don’t take into account is that this movie had no template. There was no other comparable film to use as a reference point, and, by-and-large, when the filmmakers wanted to do something new, they had to straight-up invent whatever technology it took to do so (e.g. the flying sequences). These were the days when special effects were still special, and to watch money burn on screen usually meant something actually burning and/or blowing up. Frankly, even now there are still a few things that I see and can’t figure out how they were done, which is a true testament to the level of craftsmanship.

No, Superman is not entirely perfect (most movies aren’t). It’s a bit clunky at times, it’s got some plot holes (heaven forbid!), and the ending doesn’t make any logical sense (kind of sounds like The Dark Knight Rises), but it’s big, adventurous, fun, exciting, and charming. Some call it corny; I call it earnest.

And, let’s not mince words here: Christopher Reeve IS Superman.

Although, it’s not like he’s the only one who’s impeccably cast, because just about everybody is great in this. Yes, Reeve, Margot Kidder, and Gene Hackman are your core, but even people who barely get five minutes of screen time, like Glenn Ford, give you so much in their performances.

And did I mention how BIG this movie is? Honestly, the scale is like Star Wars and James Bond combined, which makes sense given that production designer John Barry and second unit director John Glen had the same roles on A New Hope and The Spy Who Loved Me, respectively (not to mention plenty of other cast and crew overlaps). The set of Lex Luthor’s lair alone is award-worthy (yet, somehow, the production design was not even nominated; come on, man).

Of course, I’d be remiss if I didn’t mention John Williams’ score, which…it’s perfect. There’s nothing else I can say.

Most of all, I have to give credit to director Richard Donner (who somehow is not nearly as recognized as many of his contemporaries) for holding everything together. Superman was one of the largest productions ever taken on (three countries on two continents), with an all-star cast, and unbelievable hype from name-recognition alone, yet somehow he pulled it off. It’s truly a shame he was not allowed to finish the sequel at the time (though he got some of his own back with the 2006 home release of his cut).

Even beyond being a fantastic film, Superman actually added to the mythos of the D.C. Universe, namely the the ‘S’ on the chest being an El family symbol, and the Kryptonian crystalline technology. On the flip side, it’s s shame that the character of Lex Luthor hadn’t yet transitioned from criminal mastermind to corrupt business magnate, but as John Byrne’s ‘The Man of Steel’ wouldn’t come around until 1986, I can hardly hold this against the movie; it’s merely a thought.

Truly though, Superman is an emotionally-charged visual spectacle for the ages. It’ll make you laugh, cry, swoon, and cheer.

Again, it’s not perfect, but I give it five stars for effort. I can’t recommend it highly enough as an all-time great film, a cultural touchstone, and a lasting example of movie magic.

I count myself blessed for having been able to see it on 35mm.

Rating: ★★★★★

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 – Spring Round-Up

Someday I won’t be writing these posts months after the fact, but, for now, we press on.

‘Big Trouble in Little China’ (1986)

Sure, technically speaking, ‘Ghostbusters 2′ is the sequel to ‘Ghost Busters‘, but ‘Big Trouble in Little China’ isn’t exactly far off. The tone is similar, the stakes are about the same, and the proportion of comedy to horror is almost equal. The one major difference is John Carpenter was moving from horror into comedy whereas Ivan Reitman was moving from comedy into horror.

Point is, you’ve got Awesome Mode Kurt Russell as a fish-out-of-water on a great adventure against some dark Chinese magic. Throw in a diverse supporting cast (including, but not limited to, the ever-wonderful James Hong, as well as Kim Cattrall at peak loveliness) and some classic 80s special effects (led by Richard Edlund, whose team also did ‘Ghost Busters’), and you’ve got a recipe for a good time. I also think it might be the first Western production to make use of Chinese wire-fighting techniques, but I can’t confirm that.

If you still haven’t seen this one, I understand your trepidation. It took me a while to take the plunge on it, but, trust me, it’s more than worth your time.

Rating: ★★★★☆

‘Vigilante’ (1983)

I have to admit, I’m not sure how highly I’d rate this one if I hadn’t seen it complete with a Q&A session with both the director “Bill” Lustig and former NYPD detective turned all-around movie guy Randy Jurgensen, but they helped me put the film in its proper context, and hopefully I can do the same for you.

On the surface, William Lustig’s ‘Vigilante’ is a poor man’s ‘Death Wish‘, as evidenced by the inexplicably multi-racial gang members, but, more than that, it’s essentially a cinematic cartoon of New York Post headlines from the late-70s and early-80s. Many events and characters have some basis in reality (including the judge, who was based on Bruce McMarion Wright, aka “Turn ‘Em Loose Bruce”).

Just as a movie though, ‘Vigilante’ is a solid enough exploitation revenge film. Robert Forster brings his unique everyman quality to a character pushed to the limit by violence against his family, and Fred Williamson brings his imposing screen presence (and perfectly manicured beard, of which I am jealous) as a man who’s long decided he’s not going to take it anymore.

Perhaps what’s most interesting about ‘Vigilante’, like many movies of its era, is simply New York City as a location. It really is like another character on screen.

Other than that, it’s pretty standard fare.

Rating: ★★★☆☆

P.S.
One note of particular interest from Bill Lustig was that when the film got distribution in countries with oppressive governments (including Brazil and the Philippines, which were under dictatorships at the time), there had to be a title card inserted at the end of the film stating that the vigilante was brought to justice himself. This reminded me of the end of ‘Blood Debts‘, famously highlighted by Red Letter Media, in which a similar title card exists, no doubt because it was a 1985 Filipino production.

‘Alien’ (1979) + ‘Aliens’ (1986)

I’ve heard people accuse me of not being very festive, and I don’t know where they get the notion; you have to be pretty festive to go see ‘Back to the Future 2‘ on October 21, 2015, or go to an ‘Alien’ double feature on 4/26 while sitting in seat 426, but I digress.

I’ve been familiar with ‘Alien’ at minimum since I watched it to prepare myself for ‘Prometheus’, but obviously it’s a different animal on the big screen As I’ve said on many occasions, I’m not a big horror guy, but ‘Alien’ is transcendent, thanks largely to its hard sci-fi base. To say it’s a great looking movie is an understatement; everything has substance, everything feels lived-in, and it’s all in service of what is essentially a blue collar sci-fi story, which is rather uncommon.

What also helps ‘Alien’ in its effectiveness is its small cast (not unlike ‘Predator‘ in that regard). The low number of space truckers and focus on their daily grind ensures we get to know them all pretty well, not to mention a good bit of improvised dialogue in group settings. Sure, it becomes a bit of a haunted house movie in the final act, but between the limitations they had in 1979 and the groundbreaking design of the alien monster, I’m not taking points off for that.

All-in-all, the movie is a timeless classic.

Now, ‘Aliens’ I had never seen before, on any sort of screen. We can debate til the end of time which movie of the two is better, but one thing for certain is that they are different.

‘Aliens’, like most great sequels, builds upon and expands the world we already know, and in this case switches up the genre as well, adding in a whole mess load of action thanks to our friendly neighborhood space marines. James Cameron was correct in keeping the visual aesthetics of the first movie while also adding his own signature touches and new bits of lore (like the M41A Pulse Rifle and the Alien Queen). It’s a fairly unique watch in terms of the simultaneous level of action and terror.

Of course I’d be remiss if I didn’t mention the true thread holding these films together, that being Sigourney Weaver. Her portrayal of Ripley is nearly flawless (although I like her hair better in ‘Alien’, but that’s superficial).

Ultimately, both ‘Alien’ and ‘Aliens’ are must-see, Whether you prefer more slow-moving hard sci-fi or futuristic action will likely determine which you think is better, but, personally, I don’t feel compelled to choose.

Ratings:
‘Alien’ ★★★★☆
‘Aliens’ ★★★★☆

P.S.
Shout out to NECA Toys for showing off some wares and doing some giveaways before each movie.