Trailesque

Oddly likeable, low budget comedy about a couple of black guys who get into the weed business. You know what you are getting when you sit down to watch something like this.

If you like gritty, kitchen sink realism, than this could be your new favorite film. It frequently looks and feels like a documentary, what with its shaky camera and naturalistic acting. This is about as unglamorous a viewing experience as can be found anywhere. The story follows the decline of a 62 year-old man, a heavy drinker (I dare you to try one of his "mastropols", a blend of double strength hootch, vanilla, and caramel, served in a plastic one liter bottle). He is taken from his home in an ambulance and then sent from one hospital to another, with doctors viewing him with contempt, and his diagnosis changing from liver problems to brain problems. A big-hearted paramedic does the best she can for him, but what is really on display is bureaucratic bs and human selfishness and sadness.

An excellent performance by Robert Carlyle as a washed-up British rock star, now living in the Golden State, is the outstanding feature of this film

It helps to know a fair amount about Brasilian politics to get the most out of this. The film is very impressive in many ways, especially regarding access. Petra Costa personally knew some of the key figures in Brasil, and she was able to film them up close. Unfortunately, it is a little tedious for those viewers who (like me) know very little about national politics in Brasil.

I was excited to see this because of the talents involved: director Schrader, writer Ellis, actress Lohan, and porn star James Deen in a leading role. That sounds promising, but this film did do well. It gets terrible reviews and ratings, but imo it is not really such a bad flick. It certainly has some flaws, but it is pretty intriguing. In this few cynical Hollywood tale, a few young movie biz characters have sex with, cheat on, lie to, and double cross each other. The story develops in an interesting way, as more is revealed about the characters and their relations as things move forward. Among the problems are a hunky character that appears at the beginning and seems like he is going to be part of the story, but then vanishes, the fact that most of the characters are not very likeable, and the downbeat ending.

I am a big admirer of many of the talents involved in this film: Preminger, Greene, Stoppard, and of course the cast members. It is a complex flick, but not a very exciting one. It is set in the world of British espionage, which is portrayed here as a dull, civil service-type profession. Someone has been leaking information, and the leaders of Section 61 (South Africa dept.) have a good idea who it is, and they want to discreetly murder him. There are some twists and turns, and a range of characters, but mostly it feels dated and fails to ignite. The eventual revelation of the spy and his motives are among the film's strong points. Iman (later to be Mrs. David Bowie) is a beauty but a stiff, chilly actress. Robert Morley is genuinely frightening as a charming, kindly doctor who is willing and able to kill. The star, Williamson, is all too effective at portraying a boring bureaucrat. The direction, sets, and camera work also fall into line.

This is an interesting animated film, for sure. Writer-director Clapin uses a realistic style, showing us the struggles of a nice young man, from a North African background, as he tries to find love and fulfilling work. This story is then mingled with a horror/sf story concerning an evil severed hand that is making its way around Paris. The two narratives don't compliment each other well imo, but this is still worth seeing.

Spaghetti Western nirvana! It is interesting to note that one of the greatest Westerns of all time was shot in Spain by Italian filmmakers. It bubbles over with violence, greed, and treachery, plus a serving of humor. There is some astonishing mise-en-scene, with huge casts of extras, explosions, and more. The final showdown is unforgettable, and the 3 main actors are all just right. Eastwood at the time was a not-widely-known TV actor who got $15,000 for the part.

Now what the heck was the point of this dark, bizarre tale? Does it need to have a point, you might say. Well, if you are going to make a film about a master of the universe type young billionaire, and have him become violent and unhinged, then you should be saying something about something. Some fine talent got wasted in this one.

This made a big impact when it was released; it was an art house favorite and was very popular with the gay community. It introduced the world to the talents of writer Kureishi, director Frears (who had been directing for British TV), and actor Lewis. It seems to be mostly forgotten now (in 2026); it is not on Amazon streaming, Netflix, or Criterion. MBF is a lively, humorous, and provocative film, but clearly not a flawless one. I appreciated its forays into politics, race relations, and the gay life, even if much of it did not seem very realistic. Gordon Warnecke plays Omar, a young man from a London-based Pakistani family, a surprisingly lascivious and corrupt family. His father, a former political activist who sits at home drinking, sends him off to his brother in the hopes of getting him started in business and possibly marriage to a cousin. This turns out to be unlikely, since Omar appears to be mostly attracted to his old friend Johnny, a young, working class bloke who appears partway into the film. (I can understand why Pakistanis were upset with the film when it came out and protested at screenings of it.) Using some funds he appropriated from a drug-dealing relative (there is a funny moment in which some hard drugs are smuggled in a fake beard), Omar and Johnny go into business together running a fancy laundromat. They also have to contend with the hostility **** of local losers who have no great love for immigrants. The story moves along at a good clip, and there are many good laughs, strong images, and interesting moments. This was a milestone film, is still quite enjoyable today.

They don't make langorous, emotional, fractured family dramas like this any more, do they? Imho it is a bit overrated, probably due to the starpower involved. A man named Travis stumbles mutely out of the desert, his brother comes and takes him back to his place, and here the story grows complicated. There is a boy there, the lost fellow's son, and he is really at the heart of the story. Images of the big, lonesome American West play a key role too. (SPOILER ALERT) Despite the fact that the kid is being well taken care of by his aunt and uncle, his absentee dad takes him on the road for Texas, and a hoped-for encounter with the woman (beautiful Kinski) who left them both behind. A lot of it is slow and none too thrilling, but there is a powerful emotional climax waiting (Shepard was good at writing those) if you stick it out. The title btw refers to the place where Travis wants to build a happy home - something that he - and we - know ain't gonna happen.

Fans of intense, weird characters (and documentaries about such characters) will not want to miss this. Co-directed and co-produced by Neil Young, amazingly enough. It is a little hard to miss that Graves, despite his energy and talent, is a little nuts, and so is his music--but he is unique, for sure!

The graphic style and techniques employed in this anime classic are very impressive. However, the story is hard to follow; it concerns cyborgs, intrigues involving government agencies, and a super hacker called the Puppet Master. Most likely this was based on a comic book of some kind. I see some viewers were taken by its philosophical aspects, and thought that it explored some interesting ideas. I am sorry to report that this viewer did not really grasp that side of it, but it is cool to watch.

This turned out to be a lot better than I expected. Funny and well put together. This shows that there is hope for us all, and that movies with the right amount of corn are still welcome around the holiday season. Burns is fascinating to watch, and I found myself puzzling over his being cast as God Almighty, but after some consideration he seems to be the perfect choice.

This neo-noir is noteworthy for its weird main characters and odd story that plays with expectations. Perkins is just right as a dangerous but vulnerable loon.

This 4 1/2 hour long film is an intriguing mix of Wenders road movie, science fiction, and not-too-believable romance, as the long-suffering Sam Neill character and the seemingly shady William Hurt character compete for the hand of the fickle, questing female lead, played by Solveig Dommartin. Hurt turns out to be a good guy who, along with his father, has invented a device that converts people's brainwaves into video. The scene shifts from Paris to Morocco to San Francisco and elsewhere. At the end of the film, the whole bunch, on the run from an out of control nuclear satellite, ends up at a compound in the Australian outback. This is a 1990s look at the future, and some of the forecasting is spot on. It also reaches back into the past for some good old globetrotting and classic espionage. It is hard to take this too seriously, but the tone is not ironic or satirical either, which makes it a bit of a headscratcher. The soundtrack features several major musicians, and was made especially for the film.

As a fan of Bruce Robinson's work, I am sorry he has not directed more. This is a smart, intriguing, neo-noir; a serial killer and cops story that deserves more respect than it gets.

I have to hand it to Cronenberg. This is a totally weird film. The ending was a little unsatisfying imo, but this is a unique cinematic experience, and there are not many of those these days.

In this we follow the travails and clashes **** of depressed, stupid, squabbling **** in Thatcher's London. It is a Mike Leigh film, so of course low budget, gritty, unglamorous realism is the mode. Future stars Gary Oldman and Tim Roth both appear in prominent roles. Much of it is unpleasant to the eye and ear, but nevertheless I could not tear my eyes away.

This offers up some cheesy graphics, along with fascinating (and sometimes scary) tales of celebrities taking LSD.

I have said the same thing about many other flicks, and no doubt will say it again. This presents very cool animation but a fairly silly story. A list actors doing the voice-overs does nothing to improve it.

This begins drearily with Neesom as an older, world weary Philip Marlowe, investigating a mysterious disappearance and mixing it up with highest and the lowest of Los Angeles society in the 1930s. It picks up steam towards the end with the appearance **** gangster and his Black manservant. It is nice to look at even tho it drags a bit. Based on a novel by the fine Irish writer John Banville.

Things don't get much weirder than what happens in this troubling documentary, set in rural New York State. It focuses on the Ward brothers, a group of hick farmers who are disconnected from all things female or modern. One of the brothers has turned up dead, and it may have been a natural occurrence, or he may have been euthanized by his brother. Oh, and . . . ahem . . . there may have been a sexual relationship between the brothers (good golly). The story of the prosecution and the reactions of neighbors and the media are fascinating. The filmmakers got a lot of cooperation from all involved, so the viewer gets to see many sides of the story. This really is a unique film. Morgan Spurlock said in an interview that this was his favorite film, and that made me want to see it.

Here Sinatra stars in a film directed by Preminger and based on a novel by Nelson Algren. It is about a musician, a well-intentioned loser who, despite his efforts, keeps slipping back into drug addiction. It is a story that has been told many times in the movies, and this was one of the first instances. It must have been ground-breaking in its day, but seems pretty melodramatic now. Still worth watching.

This is crazy, nightmarish, and nonsensical; an avant garde horror-drama. The story never comes together at all. Lynch's last feature film was possibly his worst. A fine performance by Laura Dean goes wasted.

The narrative of this must have meant something to Pete Townsend; it was the basis of his most audacious album, the barrier-breaking double LP "Tommy." The story can be ignored in Ken Russell's feature film version, but the color and energy of the images cannot be. It offers us a lot to see and, almost as importantly, to discuss. This belongs in the permanent collection for sure.

Chop wood, carry water, like the Zen guy said. The villagers fear that a septic tank will poison their water. A bad plot that meanders into a pointless ending. The story lines go unresolved. A big disappointment.

This is an aptly titled, nonsensical story that follows a long, platonic romance between a young man and a slightly older woman. There is something very charming about it, even if it frequently makes for weird, pointless viewing. In this film, PT Anderson revisits his dreamlike vision of California in the 1970s, which was probably the CA of his youth.

This is an attention-grabbing Russian horror-fantasy tale. It is pretty crazy, and presents an interesting mythical world.

This is a pretentious student film, but fans of Cronenberg should still see it. Think experimental, weird, late 1960s vibe.

This is rather pointless and features an uninteresting main character. Forsyth reaches for a clever concept, but fails to grab hold. A few solid sections are outweighed by some weird period pieces.

This is a stunning, exciting, bizarre documentary. I could hardly believe my eyes. It is the profile of an unforgettable, charming, terrifying character - a very capable, well-funded madman. You have seen his name on security software.

This intense, sleazy biopic features an excellent performance by Kinnear, along with others.

Will Oldham is the standout in this story of a friendship that is fading away in the passage of time.

This is a strong portrayal of its time and place (New York City art world in the late 1960s). There is too much emphasis on sick, crazy Valerie Solanas, but it still makes for interesting viewing.

This operatic film is magnificent in so many ways. Yet it is weakened by unbelievable story developments and over-the-top sentimentality. It tries to be too many things: a Cain and Abel story, a look at the dramatic lives of ordinary Italians, a boxing drama, a noirish crime tale. Enough already.

This starts out slowly but the images and words get under the skin. It is loosely plotted and hard to get a grip on. There is clearly a weird mythos and spirituality at work. I wish the sequel to this were still readily available, but for some reason it is hard to pull it out of the muck.

Troubled youth in France. This was made in 1994, but it has a low budget, early 1970s vibe and soundtrack. The male lead (Cyprian Fouquet) looks a lot like Keanu Reeves.

It is hard to compare this with anything else. The first section focuses on a Coptic Church group that got heavily into marijuana in South Florida in the 1970s. A couple of them ended up doing long stretches in prison. The other main segment deals with boat smugglers in the Everglades, guys that were forced into the cannabis trade when the government took away their fishing licenses. Some pretty wild characters take the stage here, seemingly speaking openly about their sometimes sordid lives. If you like hearing "war stories" of the drug trade, this should catch your attention. It deserves to be a cult classic.

I came across this bizarre and astonishing film on Criterion Channel. Neptune Frost is as weird as it gets, but has some amazing images to show us. But what is it trying to say? Totally freaking unique but unhinged.

This is unique (so far as I know) and more than a little edgy/weird. Johansen and Levitt both give excellent performances.

Here is an old favorite of mine. Some scenes have been cut from the original version, for the sake of political correctness, but they never say that anywhere in the credits. I actually called the production company to complain about this, and the girl who answers the phone just openly lied and said that nothing was missing. Anyway, it belongs in the early 1980s time capsule. And it was also the debut of some very big talents, like Sean Penn (who seems to have single-handedly created the stock character of the stoner surfer) and Robert Romanus.

A fascinating mix of alternate history, political thriller, and ironic comedy. Lots of close-ups for some reason. Never dull and never typical. Worthy of the hype.

A little too much hero worship, but this is still a very fine documentary, featuring awe-inspiring footage of big wave surfers.

NYC is the real star of this gritty crime drama. Excellent cinematography by William H. Daniels.

This seems more like a wide-ranging cinema studies class than a documentary. Some interesting connections are made, mostly between the Wizard of Oz and the films of David Lynch. The main idea is that the 1939 classic (directed by Victor Fleming, who left early to direct Gone With the Wind [!].) was a major influence on much of what Lynch did, and Lynch does not dispute this. Some of the segments got me thinking, but others did not.

The sequence with America's funnies politician, Rudy Giuliani, almost saves this.

This has many of the same good and bad points as other David Lynch films. It answers some of the questions from the TV series, but loses much of the mystery. Some of the plot strands fizzle out.

This is one of my favorites from Woody Allen. Wilson is excellent in the Woody role. It was a deserving winner of the best screenplay Oscar. Anyone who has a thing for Paris and its great artistic period will enjoy this.

A documentary on the life and work of writer Joan Didion, produced and directed by her nephew, Griffin Dunne. It shows us both the clarity and sadness of her work, and the sorrows and successes of her life with her husband (the writer John Griffin Dunne) and daughter, Quintana.