Narrative Junkie

For Albert Brooks fans

 If you're really into Albert Brooks, Saturday Night Live, season 1, features short films by Brooks, before he started making features. Now rentable.

Recommended movies, recently seen

• Bunny Lake is Missing
• The Earrings of Madame De
• Let the Right One In
• The Wrestler
• Night of the Demon
• Into the Wild

Happy July 4th

What's left of it. These clips should help you get in the mood.

Review - Drag Me To Hell

I usually don’t read reviews of a film I intend to write about, but I thought Sam Raimi’s Drag Me To Hell so ridiculous that I had the nagging suspicion I was missing something. I know Raimi’s reputation, of course, though not so much his actual films, and I hate to think I’m the only semi-literate filmgoer that didn’t get the joke.

Turns out I was. Many critics thought the movie a sly and facile romp through the gory landscape of accumulated horror-movie history.

I tend to dismiss horror films that tinker with the genre for the sheer exercise of it. I like my evil without psychological symbolism or ironic sub-text, and I'm not keen on sociological metaphors or over-the-top splatter with a Halloween-fun feel. I like the original Invasion of the Bodysnatchers not because it’s an allegory for McCarthyism, but because it’s genuinely chilling – at least the first five or six times. A fine scary movie, in my book, is one that  obliterates, not suspends, disbelief.  Maybe five films have done this well enough to genuinely set my skin crawling: Night of the Living Dead, The Exorcist, Rosemary’s Baby, and The Blair Witch Project. Each uses a different strategy in eating away that prophylactic awareness of artifice that evolution's put in place to keep you from soiling your pants at thigns happening in two dimensions. In Night of the Living Dead, it’s the running commentary on the radio cleverly mimicking the viewer’s own disbelief at the events on-screen. The Exorcist imagines perfectly realistic reactions of people witnessing a supernatural event. Rosemary’s Baby uses the trappings of modern Manhattan, the very antithesis of the remote and gothic settings of conventional horror, to depict evil hidden in plain sight. And The Blair Witch Project leverages the documentary form in achieving maximum verisimilitude. That film, which I saw in my 30s, scared me so thoroughly it reminded me of the weekly appointment my grade-school eyes kept with the palms of my hands during New York City's "Creature Features" in the early 70s. (In the lobby after one screening of The Blair Witch Project, I witnessed an usher's explaining to two shaken adolescent girls that the film they'd just seen wasn't real.) These films tap into my primitive narrative self – the one whose greatest titillation comes from pretending what’s on screen is actually occurring.

Which is all my way of saying that I'm not the best audience for the wink-and-a-nod Raimi. I either missed or ignored all the meta stuff going on in Drag Me to Hell and instead found it to be a by-the-numbers exercise in the most tired trappings of the genre: gypsies, goo, flies, poltergeist manifestations, oblique camera angles, and a hunted heroine, Christine Brown (Alison Lohman), a bank loan officer in a workplace competition with an oily toady  for a promotion. When a gypsy from the same tribe as Maria Ouspenskaya in The Wolf Man comes in asking to renegotiate a foreclosure (the gypsies really need a Hollywood anti-defamation chapter), Christine’s manager (David Paymer) treats it as a test of her management potential. It's a sign of the times that the evil unleashed in the film stems from a mortgage gone awry, and I wouldn't be surprised if the character of the avaricious bank manager heralds the supplanting of lawyers by financial industry sleazeballs as Hollywood's uber-pariahs of choice. The culture of banking takes a beating here: A big sign advertising low-rate mortgages gets a lot of screen time, there's an allusion to all the money banks make from "foreclosure fees," and Christine's boss says of her coworker competition, “he’s quite aggressive and we like that,” as if describing a budding Bernie Madoff.  CONTINUED

An unappreciated art

Maybe because they usually sucker you into seeing something you don't want to. But what about the 50 Greatest Trailers of All Time? From IFC.

One of my favorite movies

'Do The Right Thing' still asks burning questions (AP)

Twenty years later, the trash can is still crashing through America's window. At the climax of Spike Lee's 1989 drama "Do The Right Thing," the eternal battle between love and hate teeters on a razor's edge. The young black man Radio Raheem has been choked to death by white police after a fight with a Brooklyn pizzeria owner. A seething crowd gathers in front of the shop. full story

Just saw Wendy and Lucy. Terrific movie, but anything sad like that with a dog pushes me over the edge. Umberto D., for instance, is an amazingly great film, but the last sequence put me in a state of near-hysterical sadness when I saw it 15 years ago. It actually was a kind of traumatic experience, and I'm not sure I can ever watch it again.

Go ahead. I dare you.

...than watch TCM all day.

Asked some uncomfortable questions by Terry Gross in this interview.

Great interview on Fresh Air today.

Wendy and Lucy and Umberto D.

Just saw Wendy and Lucy. Terrific movie, but anything sad like that with a dog pushes me over the edge. Umberto D., for instance, is an amazingly great film, but the last sequence put me in a state of near-hysterical sadness when I saw it 15 years ago. It actually was a kind of traumatic experience, and I'm not sure I can ever watch it again.

Go ahead. I dare you.

You could do worse...

...than watch TCM all day.

Woody Allen on Fresh Air

Asked some uncomfortable questions by Terry Gross in this interview.

Cloris Leachman unleashed

Great interview on Fresh Air today.