Category Archives: 30Hz Cinema

The 30Hz movie-related ramblings

Hooptober / Cinema Shame 31 Days of Horror 2018

31 days of horror 2018

As the ions change and the leaves consider when to launch thousands of aimless country car rides to “view the foliage,” the Cinemonster (@ElCinemonster on the Twitters) is posting his directives for another round of Hooptober Horror Moviewatching.

Once again I will be participating in watching an unhealthy slate of horror movies in the name of personal growth, watchpile erosion and general FOMO. I tie this into my Cinema Shame project because I’ll do my best to watch 31+ movies I’ve never seen before. Not all of them will be “Shames” because, let’s be honest here, I’m not feeling any kind of remorse about not having watched The Dark (1979) — but it helps fill one of this year’s criteria and it’s unwatched and on my shelf.

You can listen to last year’s Cinema Shame episode in which The Cinemonster and I discuss the joys of Hooptober and I finally watch Friday the 13th

Hooptober / Cinema Shame 31 Days of Horror 2018 Ground Rules

Let’s lay down some quick rules for like-minded lunatics that want to play the home version of the Cinema Shame / Hooptober Challenge for 2018.

Pick 31+ never-before-seen (or unwatched DVD purchases) horror movies — “horror” is broadly defined as anything containing elements of the horror genre. So, for example, I’ve counted the Abbott & Costello monster films in the past because of the classic movie monsters. Watch as many as you can stomach during your “month” of October.

I’m air-quoting “month” because, as I mentioned earlier, I’m borrowing The Cinemonster’s notion that we’re busy goddamn people and 31 days is just not a reasonable duration for busy people to watch 31 horror movies. He’s beginning his “month” on September 15th. I plan to do the same.

I’m going to pluck as many movies as possible from my Watch Pile (any film I already own that hasn’t been watched). I’ve been making a more concerted effort to watch more movies than I buy. The worthy remain. The ones I don’t see myself watching again hit eBay. I’ll note the outcome of each disc in my blurb.

And speaking of blurbs… after each movie, I’ll toss up a mini-review and a 30Hz rating that will correspond to my review on Letterboxd.com. The review may or may not contain any actual insight. The reviews are the part of this project that will leave you a quivering pile of bloody goo. And now for the more specific 2018 Hooptober demonic hurdles, courtesy of The Cinemonster. Here’s the original post on Letterboxd.com.

  • 10 Anniversary Films (release years ending in an 8, excluding 2018)
  • 6 countries of origin
  • 6 decades of release
  • 6 films made before 1970
  • 6 films from the following directors: Romero, Cronenberg, Clive Barker, Terence Fischer, Sergio Martino, Bill Lustig (mix-and-match, or all one)
  • 2 flying things that kill you films
  • 1 silent film as a tribute to A Quiet Place
  • 1 aquatic menace film as a tribute to The Meg
  • 2 films directed by women
  • 1 inanimate-object-comes-alive film
  • 1 film featuring Barbara Crampton
  • 2 Tobe Hooper films (there must ALWAYS be a Hooper film)
  • ***Extra Credit: Watch Tales from the Hood and Tales from the Hood 2, which drops Oct. 2***

Clearly one film can satisfy multiple criteria. Viewing and reviewing will begin at 12:01am CST on Sept 15th.

31 Days of Horror 2018 Roster

I plan to call some audibles when spur-of-the-moment cravings strike, but here’s my blueprint for the 31 Days Of Horror 2018 CinemaShame/Hoop-Tober Watch Pile Shame-a-Thon.

31 days of horror 2017

Past #31DaysOfHorror Shame-a-thons: 2013 | 2014 | 2015 Part 1 | 2015 Part 2 | 20162017

*rewatch

The Fall of the House of Usher (1928)*
The Black Doll (1938)
Abbott and Costello Meet Frankenstein (1948)*
Dracula (1958)
The Hound of the Baskervilles (1959)
Blood Bath (1966)
In the Castle of Bloody Desires (1968)
Death Laid an Egg (1968)*
Count Dracula (1970)
She Killed in Ecstacy (1971)
Torso (1973)
Messiah of Evil (1973)*
Hannah, Queen of the Vampires (1973)
Inquisition (1978)
The Bloodstained Shadow (1978)
The Swarm (1978)
The Dark (1979)
The Hearse (1980)
Alligator (1980)
Possession (1981)
Scanners (1981)
Chopping Mall (1986)
Invaders from Mars (1986)
Blood Diner (1987)
Brain Damage (1988)
Maniac Cop (1988)
Deadly Games (1989)
Nightbreed (1990)
Tales from the Hood (1995)*
Deep Rising (1998)
Medousa (1998)
The Mist (2007)
A Girl Walks Home Alone at Night (2014)
Tales from the Hood 2 (2018)

What’s your list? What’s your plan for horror movie watching this year? If you’re keeping a list or participating in the Hooptober challenge, I’ll link you in the header for my posts. Just leave a note with a link in the comments. Together we shall overcome… or we’ll be the loser pumped off in the first act to establish indomitable menace. It’s more comforting to know you’re not doing this alone.

80s Flashback: The Jewel of the Nile

the jewel of the nile french poster

Rekindling my love for Romancing the Stone propelled me onward. My wife and I tossed in the much maligned sequel Jewel of the Nile, a movie I remembered as trite but entertaining. An innocent lark that didn’t live up to expectations. Or was that just widespread popular consensus encroaching on personal taste? I ordered up the Blu-ray from Netflix and hunkered down to complete the Turner/Douglas/DeVito trilogy.

jewel of the nile
Obligatory proof of physical media because PHYSICAL MEDIA.

Jewel: What are you doing?

Joan Wilder: In my last novel, ‘Angelina and the Savage Secret’ Angelina used a nail file to chip away at the bars of her cell to remove them and escape to freedom.

Jewel: How long did this take?

Joan Wilder: Two pages.

Jewel of the Nile Elevator Pitch

Romance novelist Joan Wilder sails the seas, explores exotic ports of call with newly-minted man of leisure Jack Colton until the restless, writers-blocked Joan sets off for North Africa with the first man who takes her seriously as a writer. It just so happens he’s a cruel authoritarian dictator who wants her to write propaganda or die so he can put on a Laser Floyd show and convince everyone he’s some sort of mystical cleric. Meanwhile Jack and his new partner-in-crime Ralph set out to maybe rescue Joan but definitely find the mysterious and fabled Jewel of the Nile.

No Sheep is Safe Tonight!

Foggy images of Danny DeVito in a makeshift turban. The only trace memory left about Jewel of the Nile. Much of it came flooding back during my viewing, but not exactly as I’d recalled.

Director Lewis Teague carved out a niche in the horror genre during the early 1980s having directed Alligator, Cujo and Cat’s Eye. When Teague attempted to break away from the genre and prove he was more than just another hack horror director from the Corman filmmaking machine, he displayed the hammer-fisted nuance of someone who hadn’t apprenticed under Sydney Pollack or edited films for Monte Hellman and Jonathan Demme.

the jewel of the nile
Lewis Teague proved capable of showcasing extraordinary vistas, but little else in this big-budget misfire.

Robert Zemeckis had abdicated the director’s chair, presumably because he’d already begun production on Back to the Future. Not that Jewel had ever been a desirable property for the up-and-coming director. 20th Century Fox had been blindsided by the $115million international success of the $10million Romancing the Stone and immediately rushed Jewel into production. By giving an 18-month start-to-finish turnaround time for the sequel, Fox alienated its writer and stars and made Zemeckis’ return an impossibility.

Once More Into the Breach (of Contract), Dear Friends!

Fox exercised the sequel option embedded in the contracts of both Kathleen Turner and Michael Douglas. Douglas approached Stone writer Diane Thomas about penning the sequel. Due to some combination of money, timing and/or commitments to Steven Spielberg (her script for him would become Always), Thomas wouldn’t come aboard this anti-pleasure cruise.

Douglas, stuck in the dual roles of reluctant star and reluctant producer, had to carry on with Jewel pre-production while filming A Chorus Line for Richard Attenborough. Douglas approached writers Mark Rosenthal and Lawrence Konner — a writing duo that had nothing but TV credits to their names. (They would go on to write scripts for Superman IV: The Quest for Peace an Star Trek V: The Undiscovered Country.

[Insert audible groans here.]

Despite her contractual obligation, Turner tried to back out of the project, calling the script “terrible, formulaic, and sentimental.” Fox threatened Turner with a $25million breach of contract lawsuit, and Turner returned only after Douglas promised rewrites on the script.

Douglas and Turner attempted to cobble together something resembling an acceptable script from various drafts while in their Moroccan hotel as The Jewel of the Nile prepared to shoot. In her Vulture interview, Turner indicates that she never found any comfort in their efforts to resuscitate the dead fish penne by Konner and Rosenthal.

When the Going Gets Tough

From there the production went further downhill. First, there was the oppressive heat. The production also had to bribe local officials to push filming equipment through customs. A plane crash killed production designers Richard Dawking and Brian Coates while scouting locations. Even Douglas and Turner had an air scare when severe winds made for a tense a landing in Morocco.

And now we’ll return to Lewis Teague. Teague, who’d been weened on small, tightly controlled productions found the demands of a rushed Hollywood blockbuster unwieldy. After hours of staging and preparing a complicated night scene, the director discovered that they’d neglected to put film in the camera. The shoot had to be rescheduled entirely as the film crew scrambled to find more film stock.

Despite tepid reviews and unhappy fans, The Jewel of the Nile’s ($75.9million) domestic box office rivaled that of Romancing the Stone ($76.5million).

Bonus Points for Timeliness?

Some of the spirit of adventure and banter remains, but The Jewel of the Nile is a desperate, tiresome movie shadowboxing its far superior predecessor.

The Jewel of the Nile

Like Romancing the Stone, Jewel opens with a scene from Joan’s novel in progress, a swashbuckling pirate adventure on the high seas. The scene in Stone developed the hopeless (and gullible) romantic inside Joan Wilder and set our expectations for the inevitable arrival of Jack Colton (only to have them undermined by the less than chivalrous reality of a treasure-hunting mercenary).

The Jewel of the Nile uses this scene as a gag that fails to propel or inform anything that subsequently happens in the story. It’s an empty recall. The writers failed to grasp how the scene served the film. This, unfortunately, becomes a common theme.

Jack Colton becomes a Budweiser swilling, woman-ignoring man of leisure while Joan reverts back to cat-lady Joan with sunscreen plastered on her nose, slaving away all day on a book she can’t finish. Somehow, the writers of The Jewel of the Nile managed to transpose the moldy, 1950’s “man of the house” relationship onto these exotic adventurers.

While the narrative certainly proves problematic, Turner could have used a rewrite on this dress.

The movie takes liberties with the characters in the name of narrative convenience. Jack catches a case of petulant jealousy. Joan seizes her latent need to become a serious writer and, rebelling against Jack’s condescension, accepts the first offer that comes her way.

Obvious fascist potentate: Hi. You don’t know me. I’m a great admirer of your work, Joan Wilder. I’m also a great great great great man who is not entirely dangerously full of himself at all. Won’t you write my biography?

Joan: YES! YES! A THOUSAND TIMES YES.

Jack: Maybe you should rethink this.

Joan: YOU JUST DON’T THINK I’M GOOD ENOUGH.

Jack: Maybe that’s the way it came out because the movie needed to manufacture artificial drama by making me the ignorant man, but I honestly, really, truly think that you’re making a poor decision running off with this man that is clearly a dictator.

Joan: GOODBYE, JACK. Dick.

Jack: FINE. I’LL JUST COME GET YOU IN A MINUTE, THO. WE’LL ENJOY SOME AWKWARD POTENTIALLY RACIALLY PROBLEMATIC ADVENTURES THROUGH NORTH AFRICA!

[/scene]

The Tough Get Going

Some spoilers ahead.

Much of The Jewel of the Nile fills me with disinterest, but there’s a creative spark that prevents me from dismissing it. The hook that the Jewel isn’t actually a gem, but a person, elevates the film over the pusillanimous goings-on. Avner Eisenberg, the American vaudevillian/magician/mime, steals the show. He’s a gifted comic performer and the only reason (other than Turner’s spirited performance) to endure the final third of the film.

There’s such a cacophony of noise and destruction in the wake of Jack and Joan’s travels that the mild-mannered clowning performed by Eisenberg feels refreshing and earnest. A grounded plane levels a city, Jack makes stuff explode for the fun of it (showing none of the guile that allowed him to survive the Colombian wilds), and armadas of camel-born insurgents blast Whodini’s “Freaks Come Out at Night” on a boombox. (Where do they get all the batteries?)

I’ll admit to enjoying the last part.

But this criticism highlights the major problem with The Jewel of the Nile. Like Romancing the Stone, the pleasures are to be found in the smaller moments. Barbed dialogue, the wit and charm of its actors, and comfortable genre familiarity. The Jewel of the Nile amplifies the aspects of the original that had been limited by budget at the expense of creative ingenuity and the chemistry between Douglas and Turner. In other words, all the worst tendencies of a sequel.

Cue Billy Ocean.

James David Patrick is a writer. He’s written just about everything at some point or another. Add The Jewel of the Nile to that list. Follow his blog at www.thirtyhertzrumble.com and find him on TwitterInstagram, and Facebook.

Disclaimer: I earn rewards from DVD.Netflix.com, which has thousands of movies to choose from, many that you won’t find on streaming services. I do this because the availability of physical media is important. The popular streaming notion of “everything available all the time” is a myth. We are always our own best curators. #PhysicalMedia #DVDNation #ad

80’s Flashback: Romancing the Stone

Joan Wilder: You’re the best time I’ve ever had.
Jack Colton: I’ve never been anybody’s best time.

romancing the stone poster

Romancing the Stone Elevator Pitch

Romance novelist fish-out-of-waters through the Columbian wilds as she attempts to ransom her sister from smalltime schemesters by delivering the map to a jewel called El Corazon, meets Indiana Jungle Jones and winds up afoul of not only the schemesters but a faction of the Colombian army — all hell bent on taking the jewel for themselves.

Those Were Italian!

Few movies sew those nostalgic oats quite like Romancing the Stone. The movie implanted one of my earliest moviegoing memories that didn’t involve Star Wars. Robert Zemeckis’ 1984 adventurer wasn’t my very first theatrical live action film experience, it often feels like it. An early moment in the film indirectly reminds me what it was like to be six years old and staring up at the big screen in wonder.

Jack grows tired of Kathleen Turner’s romance novelist hobbling around the South American jungle. He takes his machete and chops the heels off her shoes.

Joan Wilder: Those were Italian.
Jack Colton: Now they’re practical.

What did I know about women’s shoes? Not a thing. I probably wore velcro Kangaroos with the little pockets to the theater. Still, 6yo me marked that down as hilarious. I remember using that “Those were Italian!” line in many different circumstances. I might accidentally break something and exclaim “Those were Italian!” like a catch-all expletive. You get the picture. I never succeeded in making “Those were Italian!” my own personal catchphrase, but the scene itself acts as a time capsule. I’m instantly granted the gift a piece of me as I was in 1984.

Nostalgia’s a wonderful thing in moderation. We can never go home again, but cinematic moments like these, the ones we latch onto for whatever reason, grant us a fleeting reprieve from the bustle of adulthood.

romancing the stone kathleen turner

Kathleen Turner Overdrive

After reading Kathleen Turner’s nuclear interview by David Marchese of Vulture, my wife and I began winding through Turner’s filmography. I started with a first-time viewing of The War of the Roses (1988) and then returned to the beginning of the Douglas/Turner/DeVito era with a Romancing the Stone refresher.

Over the years, Stone has become comfort food for this 80’s soul. Unfortunately it seems that younger viewers don’t appreciate the simplicity of Stone‘s form and function. My observations come purely from casual browsing of Letterboxd.com, so please don’t @ me with demographic studies that show most women aged 18-25 rate Romancing the Stone four stars or higher (unless of course those demographic studies support my remedial investigation).

war of the roses

Turner just goes for it. In every film. That was never more apparent than in The War of the Roses where she gives an absolutely savage performance. I’ve always felt that Romancing the Stone was a Michael Douglas movie — the charmer, the expat vigilante treasure hunter. I had it all wrong. Turner’s romance novelist makes the journey from a fainting woman of words to an action hero. Without Turner’s commitment to both sides of Joan Wilder, the scripted character could have remained nothing more than a distressed damsel. She made more of the character than was on the page.

 Misplaced Treasure of Classic Cinema

While Romancing the Stone proffers a style of entertainment rooted in the trends of the 1980’s, it also recalls screwball films and swashbuckling action/adventurers of the 1930’s. Michael Douglas’ Jack Colton character might be a less studious Indiana Jones, but he’s, at heart, an amalgamation of many matinee idols. Gary Cooper or Johnny Weissmuller without the patina of glossy perfection. And it’s hardly a stretch to imagine Cary Grant and Katherine Hepburn as Jack Colton and Joan Wilder slashing through a soundstage populated by ferns and palms and verbal barbs.

the philadelphia story
Take Cary Grant and Katherine Hepburn in The Philadelphia Story and just add jungle.

The Grant/Hepburn substitution feels natural. Robert Zemeckis directed Romancing the Stone with the pretense of propping up the charisma of his stars as the main attraction, a decidedly old school filmmaking methodology. Stone sells the pretense of action and stuntwork, but the focus remains small and the danger never feels entirely real (owing to the cartoonish pursuit by the hyperbolic DeVito) and his megalomaniacal-ish cousin Ira (Zack Norman). Though the stunts occur in regular beats, none of them take the form of a centerpiece — except perhaps the escape from Juan’s compound. Even that, however, stands out as a result of the comedic talents of the great character actor Alfonso Arau.

romancing the stone alfonso arau

It’s entirely understandable hen someone says that Romancing the Stone didn’t live up to their expectations. Stone retains its status as a certified 80s classic. As a result viewers’ expectations likely skew bigger and broader. Raiders of the Lost Ark, the standard-bearer for 1980’s adventure cinema, casts a long shadow over other similar films of the era.

Character and Spectacle, Take 2

Best known for the Back to the Future films, Robert Zemeckis makes character-driven narratives within the modern iteration of the Hollywood dream machine. At its most basic component, behind the flash and spectacle of a time-traveling DeLorean, Back to the Future, like Romancing the Stone, is high concept narrative buoyed by the establishment and development of character.

romancing the stone

I’ll forgive first-time viewers that didn’t have their expectations met, but I’ll also suggest they go back for a second ride once their initial disappointment has evaporated. Focus on the interplay between Douglas and Turner. Focus on how their screwball banter and evolves beyond the idol worship of shadowy matinee man of action and romance. Consider how Romancing the Stone and Douglas then undermine the notion of the soft-focus man meat that inhabits Joan Wilder’s romance novels.

If all else fails, just give it another chance to appreciate Hollywood’s discovery of Kathleen Turner, superstar. She’s the real gem here, not the costume jewelry macguffin Joan and Jack rescue from a cave.

romancing the stone

On the next episode of 80’s Flashback, I’ll exorcise some demons and discuss my disappointment with The Jewel of the Nile.

Gene’s Picks, Netflix, and the War on Physical Media

I’ve been thinking about the war on physical media lately. And usually that’s trouble. I’ve been writing blog posts based on Netflix DVD arrivals. These are posts I’d have written normally, but because I feel indebted to physical media in some capacity I make sure to point out that I held the movie I watched in my hand before placing it in my region-free Blu-ray player and viewing it on my television.

Netflix and DVD and the war on physical media

Netflix

I’ve taken part in their push to maintain physical media relevancy in 2018 at the age of 20. I’ve indulged in their nostalgia and tried to get into the headspace of the 27-year-old me who made The Lake House (2006) his first ever Netflix DVD-by-mail rental. (Who am I kidding? I liked it. No guilt. It’s gonzo romance starring two of my favorite beautiful humans.)

the lake house netflix

I can’t help but think that they’re mocking me, however, with that ‘Nice choice!” crack. I see you Netflix. I know what you’re doing. I’ll see your smarmy judgment and order the movie on SwapaDVD.com. I’ve got extra credits I can spare on statement purchases. I’m not bluffing! Here’s proof.

Still, I couldn’t have recalled that information on my own. The Lake House came as a bit of shock. I would have guessed Series 2 of Red Dwarf, something that would have predated 2006.

Red Dwarf is something you should rent, maybe from Netflix.

As I was saying before The Lake House derailed logical thought (as it tends to do because it’s about a magic mailbox!), I’ve been thinking about the necessity of physical media in this digital age. How the shifting methods of viewing movies have ushered in a world where otherwise sane humans find it perfectly normal to watch entire movies on their phone… when they’re not even on an airplane or at the gym! They choose this method.

Physical Media

The war on physical media is part of a systemic degradation of the film viewing experience — from the cheapening of theatrical exhibition to the general unavailability of films made before 2000 on streaming media. (FilmStruck excepted, of course.)

Dozens of streaming services have popped up, hooking viewers with the promise of unlimited entertainment at their fingertips. Netflix streaming, in fact, would probably have to stand up as the most prominent perpetuator of this myth. And the “everything available all the time” promise of streaming is indeed a myth. You could subscribe to every service imaginable — Netflix, FilmStruck, Shudder, HBOGo, Hulu, etc, etc. — and still barely scratch the service.

Check out the info graphic below and see if you can come out of that experience sober.

The demise of the brick and mortar video store (likely by the hand of Netflix DVD delivery, so that’s a little slice of irony for this meditation) has left a kind of void for moviewatchers of a certain age, those of us old enough to remember the unlimited possibility of the video store.

heroes in the war on physical media
Seattle’s still-thriving Scarecrow Video, a hero in the war on physical media

Gene’s Picks

Streaming services, by and large, require pre-existing notions from viewers. Netflix streaming likes to tell us “Because you watched Glow,” here are twenty other Netflix shows you’ll want to watch. It’s the algorithmic replacement for “Gene’s picks” at our local video store, only Gene didn’t have a financial stake in the number of eyes that watched Weekend at Bernie’s II. Gene placed Weekend at Bernie’s II on that shelf because he liked Weekend at Bernie’s II. Full stop.

When I walked into my local video store, I often didn’t have any idea what I wanted to rent. Sure I had ideas, but I certainly couldn’t guarantee any of those dreams would be in stock. You had no idea what kind of movie would walk out of that video store with you. I browsed the new releases and then wandered the shelves. Some of my most profoundly affecting movie experiences happened as a result of chance rentals.

My first viewing of Suspiria, for example, was inspired by an impulse viewing after seeing the VHS cover at my video store. I rented movies based on VHS covers. I rented movies because “how the hell did this get made?” and because I was there, and they were there, and because what else was I going to do?

heroes in the war on physical media
Gene’s still alright by me, also a hero in the war on physical media.

It was the golden age of discovery, the video store culture, Gene’s picks, chatting up folks who worked as local programmers, tossing rarities on TV/VCR combos behind the counter. It was the age of absurd home video artwork slapped on top of low-budget, direct-to-video offerings clamoring for your attention. We’ve lost all this and for a not insignificant number of movie fans, the near extinction of the local video store felt like a death in the family.

(A vivid memory is the week my wife and I became obsessed with Freaks & Geeks right when it hit first DVD and trying three different video stores to find the third disc because there was a “short wait” from Netflix. I will not wait, thank you very much!)

The “Long Wait” and “Very Long Wait” clocks are indeed very distressing.

The Future of Physical Media

Mail-to-home DVD services might have been the beginning of the end of mom-and-pop video, but it wasn’t until the proliferation of streaming services that people decided, once and for all, that it was just easier to stay in their pajamas and watch whatever was digitally available — whatever the gatekeepers chose to make available at that particular moment in time.

Some of this gatekeeping took place during the video store-era when Blockbuster made it store policy to not stock unrated or NC-17 films to preserve their family-friendly pretense. This resulted in a de facto censorship practice that prevented many innocent films from finding an audience, undermined the relevance of NC-17 and unfairly discriminated against non-pornographic sexual content. But I digress.

The common and wrongheaded idea that the method of watching movies is not important has made life for physical media increasingly difficult in 2018. The quality of streaming differs wildly and is based on factors far outside the control of the original filmmakers. Pixellation, compressed audio. When studios determine that it’s fiscally prudent to eliminate physical media based on your closely tracked digital moviewatching habits, DVDs will go the way of the Laserdisc.

Go ahead. Watch that on your phone. I’m sure it’s the same experience.

I don’t intend to state the obvious, but some people need to hear it, The impact of watching Stanley Kubrick’s 2001 on your phone is not the same was viewing it in 70mm on an IMAX screen. People have said this very thing to me. My argument isn’t based on opinion. It’s 100% fact that your emotional and psychological proximity to the screen is less distant when there are no distractions and the screen extends beyond your standard field of vision. You can say you’ve watched a movie on your phone, but you won’t have felt that film. You won’t have identified with that film on any level beyond the activity of holding your phone and being a click away from your next Snapchat session.

As far as home video is concerned, physical media such as DVDs and Blu-rays and UHDs provide the best experience and broadest catalog of available films. Due to the nature of film rights and distribution, no streaming service could ever compare. Don’t get me wrong, I enjoy how streaming can supplement my ever-increasing home library, but it will never be my main source of entertainment. My stand in the war on physical media will end when you pry these cases out of my cold dead hands.

dvd library
A slice of my library.

This is why it’s still important to support physical media in all of its forms, whether its through a Netflix DVD-by-mail service, by renting locally (if you’re lucky enough to have such a store still available to you) or by purchasing new Blu-rays and DVDs from distributors that give a goddamn. Special mention goes out to the fine folks at Criterion, Warner Archive, Kino Lorber, Twilight Time, Olive Films, Arrow, Shout Factory, and Mondo Macabro and Eureka and Indicator in the UK among many others who still restore and release important films for purchase.

I can have this beloved copy of Little Murders (1971). I can hold it in my hand and put it on my shelf to view whenever the need arises. (Side note: Watch Alan Arkin’s Little Murders.)

little murders

So even though I wish Netflix expanded their available catalog (it stops well short of including releases from many of the above-mentioned niche distributors), it’s still a service worth supporting because they are, by sending out thousands of little red envelopes, fighting on the side of good in the war on physical media.

James David Patrick is a writer. He’s written just about everything at some point or another. Follow his blog at www.thirtyhertzrumble.com and find him on TwitterInstagram, and Facebook.

Disclaimer: I earn rewards from DVD.Netflix.com, which has thousands of movies to choose from, many that you won’t find on streaming services. I do this because the availability of physical media is important. The popular streaming notion of “everything available all the time” is a myth. We are always our own best curators. #PhysicalMedia #DVDNation #ad

 

Shoot to Kill (1988)

Shoot to Kill 1988

Everybody else up here acts like they’ve never seen a black man before. Why should the bear be different? –Sidney Poitier as FBI Agent Warren Stantin in Shoot to Kill (1988)

As I aim to fill in some of the fleeting gaps in my 80’s moviewatching resume, I’ll report on my progress in this general space. I believe I owe this viewing to a recommendation from Brian Saur of Rupert Pupkin Speaks and the Pure Cinema Podcast. His thoughts on Shoot to Kill prompted me to adjust my Netflix  queue accordingly.

Shoot to Kill Elevator Pitch:

A black FBI agent teams up with a grizzled white woodsman/tracker to hunt down a murderer who’s assumed the identity of a hiker and joined a group of weekend hikers in the Pacific Northwest and taken Kirstie Alley (she’s on a break from Cheers) hostage. It’s the bizarro 48 Hrs.!

Shoot to Kill lobby card

It’s Tom Berenger’s World After All

But this 1988 thriller has another claim to fame. Shoot to Kill boasts Sidney Poitier’s first big screen appearance in 11 years. After 1977’s A Piece of the Action (which he also directed), Poitier went behind the camera for his next three movies. During this time period Poitier directed Stir Crazy (1980), Hanky Panky (1982) and the dance battle flick Fast Forward (1985).

Meanwhile Berenger’s star had reached it’s zenith at the tail end of the decade after starring in Oliver Stone’s Platoon (1985) and Ridley Scott’s underrated (and steamy) thriller Someone to Watch Over Me (1987).

Who couldn’t love a face like that?

The buddy cop premise, a reliable holdover from 1970’s cinema, held strong throughout the 80’s. Tossing two mismatched characters together on a quest to achieve a common goal often creates instant tension and comedy. The concept done well results in entertainers like the aforementioned 48 Hrs. (1982), Lethal Weapon (1987) and Midnight Run (1989). Also, I’d like to throw out a special mention for the The Nice Guys (2016) just because it’s always worth the keystrokes.

Race Relations of the 1980s

Racial tension regularly figures into these scenarios, and Roger Spottiswoode’s Shoot to Kill offers its share of quips about a black man lost in the woods. Spottiswoode’s film never turns Poitier into a racial caricature because it already established Poitier’s FBI agent as hardboiled and utterly capable of navigating urbanity. He’s just city folk, and Knox (Tom Berenger) is a reclusive woodsman whose irascible personality has earned him few friends where there were already few friends to earn.

Though I do take a small issue with the film’s comical insistence on making FBI agent Warren Stantin an action hero. Poitier, who was in his 60’s by this point, hurdles over police cars (when running around them would have clearly been faster) and spends large portions of the film sliding and leaping and running. Even though I know the legendary actor’s still with us, I legitimately felt concern for his retrospective health. It’s not that Poitier’s giving a bad performance here — it’s just that he seems constantly uncomfortable handling the required and sometimes unnecessary physicality.

Humor comes easy between the actors. I’ve always felt that Berenger had a natural gift for understated drollness. As the two are forced to pursue the murderer (the always terrific Clancy Brown) and his hostage through remote wilderness, the isolation brings out the dramatic and comedic best in both.

Shoot to Kill Verdict:

As a genre film, Shoot to Kill excels at expeditiously delivering its premise. The mismatched heroes begrudgingly work together for the moral good and come to respect each other during the process. Ruminate too hard and you’ll expose plenty of questionable narrative decisions. Filling the gaps likely would have killed the film’s momentum. (Can a handgun kill underwater? Wouldn’t Sidney have broken a hip with a leap onto a departing ferry? Why don’t we have more FBI agents on this case?)

Rides like Spottiswoode’s Shoot to Kill don’t need airtight logic; they just require charismatic leads navigating escalating tension with a few laughs about their incompatibility. In that respect, anyone looking back to 1988 with any eye on “a bandanna-clad Tom Berenger hauling 61-year-old Sir Sidney through the woods” thriller won’t be disappointed.

Fine genre entertainment, even beyond those of us who wax nostalgic for the days when Tom Berenger headlined action thrillers.

Shoot to Kill (1988) is available on a ragged 2003 DVD from Amazon. It is at the very least anamorphic, but the print could use significant cleanup. Considering it was released by Touchstone Pictures (Disney), I don’t have much hope that this will reach Blu-ray anytime soon.

 

James David Patrick is a writer. He’s written just about everything at some point or another. Lately it’s been movies. Follow his blog at www.thirtyhertzrumble.com and find him on TwitterInstagram, and Facebook.

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