Editorial

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 16)

EPISODE 16: SADDLE UP, PT.2

Hope you had a good rest there, pardner. Let’s pack up camp and get movin on down the prairie.

In our last installment, we were able to see Clint in a variety of situations regarding his iconic cowboy status. Stunningly, while the characteristics remain more or less the same on a base level, Clint was indeed able to maneuver between sub genres within the Western setting in a way that can only recall the studio contract players of yesteryear. Having started in the 1950’s, Clint was able to receive training from the traditional set and then gradually over the decades expand into more thoughtful territory. It may be what has kept him popular for so long. While not the acting of traditional masters and legends of the craft, Clints consistency is nonetheless admirable. That admiration can definitely be seen in the three films to be discussed today.

Covering three different decades at nearly ten years apart, these films show how his approach to the Western evolved from aesthetic to thematic. So lets mosey on in to town and take a gander at some local hanging’s, anti-war odyssey’s, and spiritual apparitions.

HANG ‘EM HIGH
3 OUTTA 4 PAT HINGLE’S

Mistaken for a man wanted for murder and cattle rustling, Jed Cooper (Eastwood) is strung up and left for dead, only to be saved in the nick of time. Thus propelling the audience of HANG ‘EM HIGH into a interesting world of vengeance. With the help of Judge Fenton (Pat Hingle), Cooper seeks out to capture alive the men who wronged him. Spoiler: none really survive. Yet the traditional revenge motif is clouded intriguingly by the themes of the old west that the film chooses to explore, of only for brief moments. One of the most thrilling is a simple conversation between Fenton and Cooper over the necessity to hang two people who assisted Clint in capturing a known murderer. Within the argument is a sense of actual thematic conflict beyond the “wronged man” arena, but sadly it moves away to quickly to actually be discussed. The same can be said for the people who actually wronged Clint, who have a few brief moments of actual regret and one particular scene of extrapolating their dilemma. Hence, while a much standard and of the time piece, HANG ‘EM HIGH shows the promise of compelling material for future films to explore.

THE OUTLAW JOSEY WALES
3.5 OUTTA 4 MIRACLE ELIXERS

THE OUTLAW JOSEY WALES has been touted as one of Clints greatest ventures into the western genre for fair reasons. A sprawling epic journey of a Confederate mercenary in a post- Civil War U.S. seeking retreat from a world filled with horror and personal tragedy that does still have enough in it so many years later. The films outlook on history is extremely embellished and assumed from a very certain point of view, let does have an eternally fascinating outlook on anti-war sentiments combined with the traditional Western tropes. Clints direction is one of the films two greatest assets, as he becomes contemplative with the genre for the first time (but certainly not the last). The road is hard in WALES and the characters suffer intensely before any possible reprieve is achieved, and Clint makes you go through every mile of it without loss of detail. The other stand out is the incredible turn by Cheif Dan George as Lone Watie, a Native American who joins Wales on his journey. Its a role that is interesting to watch, given the tone and attitude of the story, and stands out as easily the films best acting performance. Ultimately, THE OUTLAW JOESY WALES still stands as a prime example of what the best westerns can do, even if it has aged in regards to many of its attitudes.

PALE RIDER
3.5 OUTTA 4 PEOPLE FINDING GOLD IN THEM HILLS

PALE RIDER is the last western Clint participates in that goes in and out of theatrical existence without fanfare or hurrah or significance. If one were to know that after this there would only be one final statement, I wonder how the reaction might’ve been in advance. As is with Clints career, he just seems to keep moving with very little regard for any sentimentality in favor of reflection (regardless of how warped or aged). RIDER’s tale of The Preacher (Eastwood) defending and emboldening a community of miners from the oppression of a Mining Tycoon wanders around a blend of dreary myth and harsh reality. The former is key, and not just for the simple fact that Clint’s character is a Ghost. The film pushes a narrative of the hand of fate via the prayer of a young girl that leads to the salvation of the struggling miners at the hand of , what the film wants us to see is, harsh lessons. A lot of it works, but the key areas where it doesn’t are represented in picking and choosing areas of faith and struggle to focus the lens on. The cost of this ghosts violence is tethered tightly to the old stamina of “good vs evil”, thus lacking much tangible tension. All that aside, it’s a bold outing that does a better job at its balancing act than you would expect, with great performances from Michael Moriarty and Sydney Penny. Add to that, yet another example is on display here of Clint’s ability to photograph a Western in profound ways.

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Now let’s stop off at the Saloon to settle after a long day of trekkin. When we get back to moving forward, we’ll actually go backward to discuss the relationship between Clint and an Italian master of the Spaghetti Western.

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 15)

EPISODE 15: SADDLE UP

A shot of the prairie landscape with a lonely rider intruding on the serene space is the best way to start this. For it will ultimately be the way we recollect the memory of Eastwood for better or for worse. And one does have to wonder if that recollection is too closely held to heart as this lionized genres impact continues in different shapes and forms.

In a film career that spans 62 years at minimum, Clint’s image is solidly planted in the mythos of the old west and the stories they behold within. Its an image that in many ways disrupts tradition for this genre and has defined its approach up to and probably beyond the present. The Western is the oldest form of storytelling film has realistically. This came out of practicality in the early days of Hollywood, where the then widely undisturbed landscape of California was suitable and cheap for Westerns to dominate the film output over any multitude of genres that required more complicated sets and controlled environments. As it progressed through the earliest parts of the 20th Century, the Western stamp was firmly defined by traditional heroics that now seem either cheesy or completely outdated. If there was a world where Clints Westerns were not around; we’d probably still have grown beyond the Ford/Wayne image, but it would have taken time. The Ford/Wayne image of the west defined lines of good and bad with a strict line down the middle, not too mention relied heavily on severely outdated notions of gender roles and race relations. It’s an image that sadly still persists in the memory of some as the definitive Western mythos.

It would be a fools errand to suggest that Clint’s Westerns solved the aforementioned issue with the Old Western tropes. The films that are at hand here are very much of a time and place culturally that several things will make you cringe within the current sphere. Undeniably though, what Clints films in the Western genre do accomplish are the breaking of many barriers from aesthetic on down to characterization. Gone are the clean cut, only slightly dirty, noble hero ethics. No, these Westerns are dirty. They inherently ask a loyal fan base to question their love of a genre that had inherently never understood the reality of their backdrop. An unrelenting free for all where everything could and probably would happen. The randomness of life and death, the amoral selfishness, and the lack of control are what define the Western atmosphere. It frankly wasnt until Clints films that we actually saw what the west was (barring some exceptions prior).

So going forward, we are tackling the stories of Clint saddling up to adventures unknown on the lone prairie. The best place to kick it off is with the Westerns he made with Universal. The three films at hand today each show a unique aspect to how Clint, whether as actor or director, handled the west in the late 60’s and early 70’s. Each shows a great desire to break convention, and in their own way they do just that.

So lets get along little doggies, as we discuss a drunk gunslinger, a mercenary with mules, and a vengeful spirit.

JOE KIDD
3 OUTTA 4 BAR SANDWICHES

With a script by the legendary Elmore Leonard, JOE KIDD is the closest to to traditional western in regards to it’s approach. In the town of Sinola, former bounty hunter Joe Kidd (Eastwood) is arrested for drunk and disorderly by the Sheriff and about to serve 10 days rather than pay his ten dollar fine. His sentence is interrupted by the disruption of a Mexican Revolutionary named Luis Chama (weirdly played by John Saxon), who becomes the target of the villainous and land hungry Frank Harlan (Robert Duvall). Harlan hires Kidd to dispose of Chama so that his acquisition of Native land will remain undisturbed by legal claim, thus pushing our reluctant gunslinger to a pulpy adventure where all is made right by Kidd refusing to go along with his employers scheme. Joe Kidd is a quick 87 minutes that gets in and out with enough action and tension to satiate, yet it revels in its desire to be anything but a fun ride. It’s glossing over of key thematic potential is almost necessary to it’s function as a good guys vs bad guys story. Clint is fun in the film, clearly having the time of his life sticking it to authority and going his own way, even if there is little depth in the process. It’s a performance that has all the Clint tropes without thematic baggage, and in a way is closer to the icon of Clint rather than the reality. Nevertheless, it’s complete fun watching his character swing into action and his final shootout with Robert Duvall is Pulp Gold.

TWO MULES FOR SISTER SARA
3.5 OUTTA 4 “NUNS”

TWO MULES FOR SISTER SARA is an interesting beast because it dares to balance comedy with tense action in a way that many viewers may think is closest to a Tarantino film than anything else they can recall. Directed by Clint mainstay Don Siegel, Clint plays a mercenary for hire who saves a nun, Sister Sara (Shirley MacClaine) from four undesirables in the desert. He then teams up with Sister Sara to help Mexican Revolutionaries in their struggle against French Soldiers during the French intervention of Mexico, and along the way develop feelings for each other. SISTER SARA’S strength in the film is putting Shirley MacClaine on almost equal footing with Eastwood in terms of grit, ability, and wit. To be honest, it is astounding that they didnt do more films together, as they are almost a match made in heaven, with their squabbling debates on religion and morals providing for some excellent character moments. In a scene where he is instructing MacClaine on how to remove an arrow from his shoulder, we see him get progressively drunk and numb while she attempts to follow steps. It’s a prolonged sequence that is worth every frame. For Clint’s part, it’s a delight to watch the character develop with the help of his co-star, and provides for some memorable moments and one liners. He definitely shows us why we would follow him for so long beyond the silent drifter. In addition, Don Siegels direction is unsurprisingly masterful, with the climatic battle at the French Army camp being an exhilarating and bombastic watch. Plus, if you ever wanted to see Shirley MacClaine eat a rattlesnake and declare it good grub, this is your movie.

HIGH PLAINS DRIFTER
4 OUTTA 4 BUCKETS OF RED PAINT

Clint Eastwood should have made a truly traditional horror film. I think he would have done fantastic with the genre. Previously we discussed PLAY MISTY FOR ME, and how it operates as a supreme slasher film worthy of that distinction. With HIGH PLAINS DRIFTER, Clint makes a Horror Western that operates on a similar level to the art house horror films we gobble up like candy today. A stranger (Eastwood) enters the seemingly timid town of Lago and from that point forward, raises hell. Despite a very disturbing first impression, the townsfolk ask The Stranger for assistance with gunning down three killers who are due to be released from prison and will undoubtedly return to the town. It is truly best, if you havent seen the film, to not go beyond this point plot wise. While the fact of it being a scary ghost story has already been spoiled, the story as it develops and plays out is much more spoiler- filled from and aesthetic and thematic sense. HIGH PLAINS DRIFTER is a brutal and unrelenting film supremely directed by Eastwood who utilizes his standard dark and shadowy imagery to full effect. It’s beats hit hard and by the end you have gone on a dizzying yet endlessly fascinating and effective horror ride. Clints performance as The Stranger, for that matter, is a horror performance that is nearly iconic and should not go unnoticed. The same praise goes to the ensemble cast, particularly the recently passed Verna Bloom and the always amazing Geoffrey Lewis. I would love to do a whole podcast episode on HIGH PLAINS DRIFTER at this point. Revisiting it for this series left me speechless in a way I never acknowledged the first time I saw it years ago.

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All right, we’re gonna stop and camp here for the night. Next time we arise and head out on the trail, we shall visit more of Clint’s journeys on the wild frontier.

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 14)

Episode 14: The Final “Clint Catch Up” Roundup

Alrighty folks, I’m a massive liar… well, I guess it’s only massive in the scheme of this Filmography Breakdown.

We are going to get to the Westerns and the final articles in the series, but in going through the list of Clint’s massive (and I mean, Massive) filmography, there are two films that I neglected to put on other respective entries in the analysis. Human error has been frequent as of late in regards to this 3 years running series of dissection. It’s not unlike the errors in some of Clint’s characters. The best laid plans usually falter, leaving only reflection and regret regardless of tiny victories.

The final two films of “Clint Catch Up” definitely mirror those sentiments, as they show very unique looks at Clints range in acting. The two films on their own could not be further apart if you drive them to different planets in a rocket ship, yet their commonality lies in how whether you are a good guy in the military or a bank robber on the lamb, the specter of regret and frustration lingers.

All right, enough introspection, lets dive into the final “Clint Catch Up” as we watch a Marine learn to use his words and Jeff Bridges in a dress.

HEARTBREAK RIDGE

3 outta 4 Members of Recon Platoon

Heartbreak Ridge, at its most audacious, must be seen within the context of the time it was made and released. Centering on Sgt. Highway (Clint) and his attempts to mold the minds of the young Marines in the Reconnaissance Platoon, the film unfolds in an Old Fashioned “Rising to the Occasion” fashion that does remain an interesting watch. The film’s only real crutch may honestly lie in its final moments, recreating the invasion of Greneda. It is not to say it is an error on a technical level by any means, but it plays out (especially today) as a Pro-Regan hurrah. The finale aside, the film as a whole does a wonderfully tight job of creating characters you want to follow and care about. The Sgt. Highway character is most interesting when he is attempting to reconcile with the wife he neglected (a strong and confident Marsha Mason ) and watching him fumble through the attempts at getting in touch with his “feminine side” (which the way this films figures is severely outmoded thinking). It is a film very much of its time, but expertly made enough to be worth a glance, especially if you have an interest in war films.

THUNDERBOLT AND LIGHTFOOT
4 outta 4 Cars Stolen

Without THUNDERBOLT AND LIGHTFOOT, you dont have THE DEER HUNTER or HEAVENS GATE (the latter of which can be amongst yourselves to debate about). Michael Cimon’s feature directorial debut is one that gets oft under looked by the noteworthy entries previously mentioned, primarily because it does not demand attention from you whether you’re a film scholar or a casual movie buff. Set in and around Montana, the film follows Clint as “The Thunderbolt”, a bank robber on the run from a gang that thinks he betrayed them. He encounters Lightfoot (the always astounding Jeff Bridges) and the two set off on a search to find the hidden loot Thunderbolt claims to not have squealed about. What follows is a rather reflective film around male bonds and the decisive divide of the reliable past and the ever evolving present. The film has a cycle to it and takes delight in humiliating its two leads along with Thunderbolts bandit compatriots (George Kennedy and Geoffrey Lewis). Its almost omniscient of the films Clint himself would later direct. The film is low key despite having a steady supply of action and a 20mm Cannon being shot at a bank wall, an incredible feat that is entirely thanks to Ciminos script and direction. Clints performance is more subtle than most of this era, and takes on a mentor mentality that feels more in line from something you really notice come the time of Unforgiven. It’s almost as if he was already drawing out in his mind how he would like to be remembered: Cool and tough but also sad and wise. In addition, you cannot leave this film without loving Jeff Bridges. Even this early, Bridges is full of the charm and lively energy that counts among the reasons we still enjoy seeing him in films today.

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Good, it’s finished… no more catch up. Stay tuned Clints western material (Fucking Finally) .

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 13)

Episode 13: You Have The Right To Remain a Punk.

Welcome back once again to the Clint Eastwood article jamboree…

‘Jamboree’ may be too strong a proclamation of enthusiasm. As fun as this series has been to tackle over the past 3 years, its definitely a series of ups and downs in tone, emotion, and quality. No one can ever say though that Clints work isn’t consistently entertaining, regardless of the quality. But like all great performers, you take a few blows along the way.

I cannot think of a better way than that to introduce us to todays article, which tackles a body of Clints Cop work that has nothing to do with the iconic Harry Callahan. Some of those films have been tackled but were deemed fit for other categories and articles (also a matter of what I had time and or access to watch at any given moment). The 4 films we will be looking at today are easily the most forgettable (with the possible exception of one), and they tend to be further down the slide bar on a google search of Clints filmography. Nevertheless, these films do show a varied approach that proves at the very least interesting to explore. In the end, no matter how strong the films or its possible fans can be, they lack the dynamic and watchable San Francisco rule breaking renegade.

So go for a ride along with Clint as we tackle an Organ Donor mystery, an Mad Max- esque finale, Clint in the Big Apple, and a moment with groin punches to dummies.

BLOOD WORK
1.5 OUTTA 4 Organs
*Spoilers*

The very late 90’s and very early 2000’s are weird time in Clints filmography, and none is more noticeable than Blood Work. Directed by Clint and with a screenplay by Brian Helgeland, the film follows Clint as a retired FBI agent tracking down serial killer who killed the invividual whose organs were donated to Clint. It’s a premise that certainly makes for an interesting trailer, but lacks any gusto to back up its initial pitch. The film heavily relies on melancholy and regret that tries much to hard to be as gritty as Fincher film. *Spoilers for a 2002 film* When the killer is revealed to be Jeff Daniels, it honestly has the odor of, “We need a John Doe reveal.” The films primary merit is really just spending time with Clints playing a cop going around the red tape or his interactions with Anjelica Huston as his doctor. All of Clints talents behind and in front of the camera are there, but the story and the plodding along do not measure up.

THE GAUNTLET
2.5 OUTTA 4 Buses

Efficiently directed in 1977 by Clint regular, Don Siegel, THE GAUNTLET is most decidedly a Dirty Harry rip off, and part of the reason that is rated as high as it is. The film follows Clint as a balls to the wall blitzed on booze Phoenix cop who is sent to Las Vegas to extradite a prostitute (Played by former flame Sondra Locke) and get her back to Phoenix to testify in a trial. The film falls down a rabbit hole of twists and turns that are fair but certainly convenient the “Everyone is against Clint” structure. The films saving grace and reason for placement in a history book is this insane finale. In it, Clint and Sondra hijack a city bus equipped with armor that looks like it was stolen from a George Miller film. The remained of the film is a fun for its time and still so action packed scene that is great to watch on a technical level alone. Its a testament to Siegels abilities as a director to make even one of his most mediocre outings and entertaining splash.

COOGANS BLUFF
2 outta 4 Fishes outta Water
If you listened to the Henry Jarvis solo episode of Reel Nerds Podcast, you have already heard his funny glib review of Coogans Bluff. Sadly, I will not be as hilarious as Henry in my analysis… or frankly ever in life period. Anyway, COOGANS BLUFF is actually the earliest of Clints outings as a COP, pre- dating Callahan. In a small way, it’s interesting to see what he takes into Harry and what he leaves behind in the Big Apple. The film follows Clint as ANOTHER Arizona officer who has to extradite a criminal. The twist: He’s gotta get him from New York City. It is a clear “Small Town Country Values in Big City Craziness” story that HEAVILY relies on Clints charm and approach to not grow stale in any way. Also directed by Don Siegel, the films novelty wears down slowly but surely and the outter elements step up to the challenge for the most part. Credit is due though for finding what works and doesnt work for Clint playing a cop, as pre-Callahan can indeed be spotted amidst the sea of aged situational humor.

TIGHTROPE
3 OUTTA 4 Dummies Getting Beat The Fuck Up

TIGHTROPE is an fascinating beast in Clints filmography. I’ll get this out of the way: the film does not hold up entirely well. Its foundation of a troubled New Orleans cop investigating sex crimes while tackling his own twisted desires and attempts to understand from a female point of view are most certainly of their time and do not hold up. If you watch the film in context of a 1984 world, its an underrated film in Clints body of work. The film walks it’s namsake fairly well, only dipping into the insane a few times. Eastwood reportedly directed most of the film while letting initial director (and writer) Richard Tuggle retain credit. That being the case, its interesting to see Clint move toward this feminine understanding, even if it holds zero water by todays standards. It is a film that is psychologically fascinating, and as a cop film manages to be a truly compelling and creepy detective story that thankfully ignores the Callahan Mold.

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Alrighty folks, the Ride Along is over. Next time, we will be doing one more Clint Catch up before we finally Saddle Up for Western Territory.

GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (Part 9)

clint

EPISODE 9: I LOVE TO SING-A!

Welcome back to… JESUS, I HAVEN’T WRITTEN AN ARTICLE SINCE APRIL OF 2016?!?!?!

Yes dear readers, I’m afraid I was away for a while. But I have a good explanation …

You see, after the last article I decided to take a journey to a big city, one with many bridges. I just needed to get away. Well no sooner did I arrive in that big city that I went to one of their many banks to cash a travelers check when a gang of masked clowns burst through the door and robbed it, with one of them escaping on a school bus after killing all his fellow clown robbers and revealing under his mask that he was an even scarier clown. Well I got out of there quickly and got to my hotel and after a few days of watching more Clint movies for this series, I decided to take a barge ride to another part of the city. Wouldn’t you know it though, that same scary clown came over the boat intercom and revealed that if we didn’t turn a switch and blow up another boat, we would be blown up. Thankfully, A big giant bat suited man stopped him and I was whisked off to the police station to write a statement. As I left though I was shaken as I learned that the “Bat” man that saved us was then outlawed. I decided to not rest until he was vindicated… so I started a grassroots campaign to clear his name. Turns out he didn’t need my help, cause he vindicated himself a few months later by stopping a guy in a breathing mask and carrying away a nuclear bomb to a safe distance. The body was never found near the wreckage of his inexplicably high tech plane, so who knows. Maybe he got to safety and is hanging out in a outdoor cafe with the girl from The Princess Diaries…

With that, I packed my bags and came back home, forever changed by this “Bat” man….

Sigh….

Anyway…… CLINT GOES MUSICAL!

Clint though has been very vocal in his appreciation for music. His scores for his own films have been an important part of his legacy. The Warner Brothers even named one of their musical studio buildings after him.

Music themed films take a small yet important 4 film portion of his career. Two are only true musicals, the others are music centric.

So join me once again as we explore a legendary jazz musician, a uncle/nephew tale in the Great Depression, Lee Marvin singing, and THE FOUR SEASONS!!!

BIRD

3.5 outta 4 Saxaphones

When it comes to Jazz biopics, Clint certainly delivers one of the most interesting and compelling. BIRD recounts the story of saxophonist Charlie “Bird” Parker as he runs through the tragic mills of obscurity and drug addiction to make a name for himself in the world of Jazz. The films seemingly lowest quality is in its basic construction. The structure here is loose, even too loose for a film about jazz. As it jumps from moment to moment, it can be seen as directionless. I would challenge one however to view it as more of a exercise on the script and clients part to play the story with style and mood to draw out the right reactions. Its a gamble and it may not work for anyone who detests artsy fare. As usual, this films beautiful cinematography lines up with Clints established style of mood and noir, which gives Bird’s story a proper telling.

PAINT YOUR WAGON

2.5 outta 4 Wagons

Look… if you are like me, you first heard about this films existence from a hilarious bit on an episode of The Simpsons. And while I won’t say the film is as dreadful as Homer and Bart felt it was, I cannot say it holds up very well. Not even an adaptation from the legendary Paddy Chayefsky can make it as timeless as it aspires to be. Set in the Gold Rush days of California, and the hijinks that ensue, the film’s primary set piece of a mining camp has a tone of tongue in cheek that frankly was done better 5 years later by the town of Rock Ridge in Blazing Saddles. The humor sadly falls flat, leaving a plot that while time honored from melodrama, cannot compel. In terms of our hero (in co bill with Lee Marvin), Clint tries his very best in the role of Pardner, and delivers well on the song “I Still See Elisa” in the first moments of the film, but overall, you can tell he is not yet used to stretching beyond his gritty roots. While elaborately staged and technically spot on, it winds up a drag in time.

JERSEY BOYS

3.5 outta 4 References to Martin Scorsese

Now hear me out: this film is not the disappointment it was reported to be upon release in 2014. More to the point, it is actually a entertaining affair more than worth your time as you glide down the dark and strangely humorous slide that is the story of Frankie Valli and the Four Seasons. Lifting primarily from the hit stage show for it’s script, it falls on Clint to visually guide the audience. His choice is familiar in as much as his camera moves nearly point for point as an homage to Goodfellas. While this seems blasphemous, I will remind you that this is ultimately a story about A) a tragic spiral and B) gangsters (albeit somewhat ancillary). This choice does service in comparison to any alternative flat staging that a musical surrounded by pop songs could feasibly be. Added on to that, he grabs wonderful performances from the original broadway cast and a expertly casted Christopher Walkin. Is it perfect? No, but given that Clint stepped into this almost last minute (at least that how it seems given Jon Favreau was attached forever), I’d say, “job well done.”

HONKYTONK MAN

4 outta 4 People in a car headed for Nashville

What on the One Sheet Poster surface seems like shameless nepotism is actually a tender old fashioned melodrama centered around the dream to make it big. The story concerns Clint as a singer invited to audition for the Grand Ole Opry in the 1930’s. He drags along his young nephew (Played by Clint’s son Kyle Eastwood) and the film recounts their journey to reach Nashville. From the set up to the end, we are actually given a sadder story to contend with. Clint’s character is broken, both figuratively and literally as he pines and comes to terms with his life of bad decisions, surrounded mainly by his nephew who must come to terms with these awkward truths about a man he admires and adores. In a way, it’s one of the greatest performances Clint has ever given, one that easily could’ve snatched an Oscar were it not for the nepotism stigma. Said stigma, as it happens, is not warranted, as Kyle holds his own just as fine as any child actor in the late 70’s/ early 80’s. It is frankly a decent film that, while not necessarily aging well in terms of it’s content, surpasses the hurdle with a captivating performance.

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So there you have it folks, the Eastwood has awaken from it’s slumber, and will continue now once a month until the very end.

Next month, we are gonna dive into films in Clint’s filmography that are on the more bizarre and unexpected side. Ones that make you simply say, “He did what now?”

Stay Tuned. Same Clint Time, Same Clint Channel.

Movies I Want to Watch at the Alamo Drafthouse (Updated for 2016)

3 years ago, I wrote a post featuring all of the catalog movies I wanted to watch at the Littleton Alamo Drafthouse in the hopes that the suggestions would eventually get programmed. Amazingly, in three years, half of my list has come true! Let’s go through the list and see what screened and what I still need screened to complete my life.

Super Mario Bros. (SCREENED)

Not long after watching this at the Esquire, it DID get programmed at the Alamo so I leveled up!

Last Action Hero (SCREENED)

Again, not long after this list was published, Last Action Hero screened and we attended!

Batteries Not Included

Sadly, still has not screened. Will probably never screen. But I still hold out hope. This movie is absolutely delightful. But I know this is a long shot.

Back to the Future Marathon (SCREENED)

Back to the Future day came in 2015 and the Alamo screened the trilogy… but I couldn’t make it. I celebrated the trilogy somewhere else that day but that doesn’t mean I accomplished my goal. I still want to watch II & III at the Alamo. Sadly, I also missed a craft dinner for BTTF II.

Baseketball

Still waiting to be screened. A favorite to quote among my friends. Not essential, but I’d like to have the ticket for it.

Hamlet (1996)

I think they did screen this but I missed it. This would be tough to program given the almost 4 hour runtime, but I want it.

Hook (SCREENED)

The Esquire got this finally but I couldn’t get there to see it that weekend. Here’s hoping Alamo will give me that second chance. Well I did that chance, and Rufio and Don’t Ask were there for a Q&A!

Howard the Duck (SCREENED)

There has to be some Alamo cult programming this is perfect for right? Well turns out they programmed it for the Mile High Sci-Fi show, so I had to endure so-so comedic commentary laid over it.

First Blood

I think I have a good chance of this getting programmed someday. But people will be surprised it’s not balls to the wall action like it’s sequels… which is why it’s my favorite. They programmed Part II as a craft dinner, so First Blood is possible.

Robocop 2

I always enjoyed this one. Want a ticket. They do the original often. Change it up and give me 2!

Star Trek VI (SCREENED)

My personal favorite of the original series. We get Wrath of Khan all the time, let’s change it up. They did it as a great craft dinner just a few weeks ago.

Suburban Commando

I got this picture off the Austin Alamo page. This could happen!!! Still waiting.

Teenage Mutant Ninja Turtles II & III (HALF – SCREENED)

No secret. Huge TMNT fan. But they never show the other two. I lost my mind when the Esquire showed TMNT: The Movie. But they’ve shown it three times since and ever time I went, some jerkoff made a joke about Ninja Rap. So there’s an audience for the second one, I know it! And I never saw the third one in the theater when it came out, so unfinished business. Well turns out, the first sequel doesn’t draw a crowd like the original because attendance was so low at TMNT 2 they’ll most likely never do it again, which ruins TMNT 3’s prospects.

UHF (SCREENED)

Another fav that is perfect for cult programming. They did it and it was fun!

Predator

I’m surprised that with as many times as I’ve heard people yell “Get to da choppah!” this doesn’t roll through Esquire Midnights more, not even around Halloween. Alamo, “Get it to da projectah!” Are you kidding me? Still not this? I swear they even showed Predator 2 at one point.

Heat

Let’s add some new ones to the list! They just did Heat in Austin with Christopher Nolan as host. All I demand is the film (but if Nolan wants to attend we won’t stop him)

Mystery Science Theater 3000: The Movie

I think I might have actually accomplished this at an Esquire Midnight… but who cares. Let’s see it at the Alamo just to be sure.

Content Filter

If you listened to this week’s podcast, Ep. 270: Podcasterminds, we discussed the news that Paramount would once again be spreading the Star Trek Beyond home video release’s bonus content across different retailers. They did this before with Star Trek Into Darkness, and studios do it often with other films. But like most things today, we don’t get outraged until it directly affects us. James clearly expressed his frustrations with that model while Ryan shrugged it off as business as usual for the studios. But, I fall into James’ camp. I can’t shrug it off. I’m a Star Trek fan and “that’s just business” isn’t an acceptable excuse for me.

It’s so easy these days to get your entertainment fix online. You can order a blu-ray from Amazon and it’ll show up at your door, sometimes even before the release date. Or, you can avoid cluttering your shelf with plastic and just watch it online via digital download. In fact, the studios prefer that be your only option but that’s a discussion for a different article. So then, what’s the incentive to stand up, get in your car, battle road morons to get to the store, battle shopping morons to get to your movie, then possibly discover they’ve sold out of that movie? But wait! There’s one last copy buried under a different tag! Congratulations! You’re either old and afraid of change or you’re a collector! (Or both)

I’m not a fan of streaming. It’s convenient for trying out, exploring options for entertainment. But the selection isn’t permanent, the picture quality is always fluctuating, you usually don’t get bonus features, and there’s often a service outage when I want to watch something the most. If I LOVE a movie, I want to own it. What’s more convenient for me is to walk over to my shelf, grab the disc and put it in a blu-ray player that’ll unlock all those bonus features and play the video stream at a consistent rate as the artists intended, and do all that on a whim. Also, I’m a graphic design nerd, so creative package design and box art has an all access pass to my wallet.

So, needless to say, I’m buying Star Trek Beyond on blu-ray in November. And, I’ll walk into ANY store that sells it and come home with a couple of discs that compact the entire experience of Star Trek Beyond because it’s the 50th anniversary of Star Trek this year and Paramount is going all out on making that experience magical and memorable for fans.

Wrong!

Paramount, taking a page out of the Ferengi Rules of Acquisition, is about to exploit your fandom. How big of a fan of Star Trek are you REALLY? Are you fan enough to go to all the outlets selling Star Trek Beyond and complete the experience? C’mon pussy! There’s only one 50th Anniversary ever! You bought every series on DVD and then re-bought TOS and TNG on blu-ray, and also TOS one more time because we remastered the effects for re-broadcast and put that on a newer release! You probably even have a bunch of dusty old VHS’s with only two TOS episodes on each tape in a box somewhere. Are you really gonna argue buying 4 or 5 copies of the same movie is too expensive for you? You baby. A Klingon would kill you where you stand!

Fortunately, America is still free enough that you’re not required to buy everything Paramount produces. (But someday, mark my words, it’s coming. When companies finally rule the nation with impunity and it’s the law to buy 4 or 5 copies of a single movie because Paramount is too big to fail and such a failure would destroy the economy, you’ll buy that fucking Star Trek XXVIII brain implant!) Thus, you have a choice of which copy of Star Trek Beyond is right for you. Here’s what they’re offering format wise: http://www.startrek.com/article/beyond-blu-ray-combo-packs-available-nov-1, which is fine EXCEPT it doesn’t specify a couple things. It reads like DVD owners and 4K Ultra HD adopters don’t get bonus features and 4K doesn’t get 3D.

Now after all that, we also have retailer exclusives (incentives, but for the customer or the retailer? *wink*): http://www.startrek.com/article/star-trek-beyond-blu-ray-details-revealed with some cool things like Amazon and Walmart each have gift sets with model ships in them. But if you look closer, you’ll notice Amazon’s 4K Combo has that aforementioned 3D Blu-ray disc included in their bundle. So that must mean Amazon has the best, most complete purchase of the film? Nope. Target has it’s own second bonus disc with 45 minutes of EXCLUSIVE bonus features. iTunes gets the director’s commentary track. Best Buy has the Steelbook.

Ryan’s correct that retailers have always had product exclusives, but they were often limited to different box art which is a purely cosmetic exclusive and doesn’t limit your experience of the film. Most people don’t do this kind of research before they buy their movie so they don’t even know they’re missing anything. Can you imagine buying Harry Potter and the Cursed Child only to later discover Barnes and Noble’s copies had an extra chapter in them? People would lose their god damn minds! Comics publishers have been selling variant covers for decades but they don’t leave out pages and panels inside some books and not others. I gotta buy the $15 sketchbook variant to get the page that fleshes out the hero’s arc? Fuck yourself.

In the end, we can only vote with our wallets to encourage change. If you don’t like what Paramount is offering you, you can follow James and wait for an acceptable re-release. It’s not ideal but I’m going with the Steelbook. At the end of the day, it’s pretty special that this movie has so many options at all. Meanwhile other great films like The Nice Guys get no special treatment. I’m sure I’ll be disappointed 3 years from now when I’m exploring the special features, wanting to listen to Justin Lin and Simon Pegg’s thoughts about the film, but it’s a small price to pay for shelf image consistency.

Buy Star Trek Beyond November 1st at whichever retailer has the thing you want most. Fuck it.

Star Trek Beyond Nerd Rage

So, this morning, Paramount gave us our first taste of the third Star Trek movie in the reboot series and, don’t worry nerds, Brad, your resident Star Trek aficionado, is here to ease you through what is most likely a difficult time (based upon my glimpse into the comments sections of the trailer. Always a mistake.)

Look. I’m, most likely, the biggest fan of Star Trek among the three of us, so when the franchise churns out another installment, I have the biggest investment in it. When they rebooted the franchise, I accepted that the Trek I knew and loved had moved on because Paramount is in the business of making money, not fan service. Classic Star Trek is almost 50 years old. The studio needed to attract a new generation of fans to keep the revenue flowing for the next 50. I get it.

And as you’ll see from this handy BoxOfficeMojo.com chart, us classic fans weren’t giving enough money to Paramount to keep classic Trek viable.

Star Trek Into Darkness		$228,778,661
Star Trek		$257,730,019
Star Trek: Nemesis		$43,254,409
Star Trek: Insurrection		$70,187,658
Star Trek: First Contact		$92,027,888
Star Trek: Generations		$75,671,125
Star Trek VI: The Undiscovered Country		$74,888,996
Star Trek V: The Final Frontier		$52,210,049
Star Trek IV: The Voyage Home		$109,713,132
Star Trek III: The Search for Spock		$76,471,046
Star Trek II: The Wrath of Khan		$78,912,963
Star Trek: The Motion Picture		$82,258,456

For 20 years, across 7 films, Star Trek attracted about the same domestic box office revenue, the anomalies being ST: IV peaking at almost $110 million in 1986 dollars, and flaming out around $5o million between ST: V & X in 1990’s dollars. Everyone’s favorite Wrath of Khan isn’t even the top earner of the franchise. Remember, Paramount is still in the business of using film to make tons of money and, as we well know, higher box office revenue doesn’t equal higher quality films, just more films. So, to make more Star Trek movies, Paramount needed a blockbuster. They did that by rolling the dice and reaching out to the new audience and wildly succeeded. They filled their coffers, attracted new fans, and did it again four years later (well, maybe not the fans part).

All of this is to say, I’m not that shocked by the Star Trek Beyond trailer. It’s certainly different, and blatantly a strategic marketing effort targeted at the Guardians of the Galaxy/Marvel audience. But that’s where the money is! Young audiences pay for explosions and dark rooms to send texts to their friends! Fuck all us old fans with the tight wallets! Go buy Next Gen on blu-ray and binge watch old Trek if you love it so much! (said some Paramount exec. Probably.)

The reboot movies are still entertaining, the cast has been charming and evocative of the characters, and I want to see more anything written by Simon Pegg, so I’m still in. But for everyone else who is afraid of this Fast & Furious-coated Star Trek Beyond trailer, let me show you how easily music manipulates your perceptions! I layered the Giacchino Star Trek theme over the trailer’s visuals and lowered the Beastie Boys song (as much as I could without the source assets) and it’s back to feeling like a Star Trek movie:

^ Star Trek Beyond re-edited with Reboot Theme

So let’s try not to get so worked up about trailers that we junk up comment threads with our useless opinions from now on, okay?

Brad

(Commence junking up this thread)

GOODBYE NIGHTMARES: AN ODE TO WES CRAVEN

The Horror Maven

Earlier this year I sifted through the NIGHTMARE ON ELM STREET films and as anyone would expect, 1,3, and New Nightmare were among those that got the very positive notice.
This is because they were graced, whether in the fullest extent or even the first draft (Dream Warriors) by one man: Wes Craven.
Cravens name was among those that was mythologized by the time i first saw A NIGHTMARE ON ELM STREET at the age of 12. The film scared me to the point of little to no sleep for 3 days. It’s probably because Craven knew how to tap into the human anxiety through the common thread of a natural state and natural human occurrence, but I also like to think it’s because he was intelligent enough to blend dark humor into the process without letting it get carried away. If i ever learned about dark irony within script writing, it was through Wes first and no one else.

A scene I point to is Freddy taunting Tina by showing her that he can slice his fingers off. Its a cruel and sick joke but it is funny without relieving the tension, thus showcasing his power with horror material.

The film THE LAST HOUSE ON THE LEFT showcases that demeanor as well, as does NEW NIGHTMARE and SCREAM, and to me reasons why he is considered one of the most regarded horror directors in history.

Today we lost an absolute genius in that world. His second to last film was MY SOUL TO TAKE. Even in that film which did not get much regard, I found myself enthralled by his touch and sensibility because you could tell he was there (its not that bad, id check it out if your curious).

He will be missed, his influence is one I shall always hold dear and will embrace to the day I too go to the beyond.

With that, I’d like to share my 5 favorite Wes Craven films with you:

5. THE LAST HOUSE ON THE LEFT (1972)

Essentially and admittedly a remake of Ingmar Bergman’s THE VIRGIN SPRINGS, LAST HOUSE is a complex narrative that digs deep into the post modern affairs of revenge and more to the point how agressive society has become. The scenes in the woods are brutal even by today’s standards, even more so than the remake attempted (which is also a fairly good film itself). The only thing that dates it primarily is the comic relief, but if you can move past or better yet embrace THAT madness, the film will prove a thought provoking ride.

4. CHILLER (1985)

Starring Paul Sorvino, it is not a very well known Craven affair, but the story of a man who loses his soul as the screenplays karmic trade-off for his being revived ten years after death is a strange and fascinating study. One of those few TV films I have pawed over again and again mainly because of Sorvino’s interesting performance, but Cravens influence is easily seen and its a fun watch that’s can be easily found in the 99 cent bin much to my chagrin .

3. A NIGHTMARE ON ELM STREET (1984)

Enough has been said of this films legacy in the previous statement. Suffice it to say, the film is a masterpiece and only one of his many. Watch it and get ready for Freddy.

2. SCREAM (1996)

The more mainstream construct of the New Nightmare that brought horror back from the plunges of obscurity. Williamson’s script is perfection and Cravens mastery in the genre elevates it to the heights that no other horror director probably could have thanks to that mutal affection he and Williamson clearly had for the dark , dark humor. The climax is both unsettling and hilarious at the same time. Its a wonder to still behold.

1. NEW NIGHTMARE (1994)

Possibly the most personal film of Cravens outside of Serpent and the Rainbow (I have my theories), this stunning and Oscar worthy achievement tackles the subject of the monsters we create and how far we must go to defeat them wrapped into the most clever and blunt commentary on horror ever made by one of it’s initial perpetrators . It is a master stroke and one that should be watched on a double bill with the first Elm Street movie.

RIP Wes Craven and here’s hoping the afterlife loves you the way the living did.

GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (Part 6)

Dirty Harry

EPISODE 6: YOU FEELING FORTUNATE? WELL ARE YA SONNY?!?!

Welcome back to Clint-ville eager readers.

The long awaited return to Eastwoods filmography is finally here.

When we last left our hero, he had been on 21 adventres doing a multitude of things ranging from the serious to the seriously ridiculous. But you know, I do feel that the man should be given props for even the films already covered that weren’t so great. He explored his options in great stride throughout his career, and will continue to as his next film will tackle Captain Sully and the Hudson Landing. He’s earned the right, because let’s face it, he could have been shoehorned in the films we are about to explore today. Clint has two major identities: Silent Cowboy and Grizzled Cop on the edge.

The latter has populated his career thusly, but it really took off with a script by Harry Julian Fink and R.M Fink that almost went to Paul Newman. A script that ABC television did not want to touch so it was sold to Warner Brothers and rewritten by the legendary John Millius. A story that capitalized on the terror of the San Francisco area’s most notorious serial killer blended with the anxieties of crime ridden streets in America moving into the 1970’s.

It was the story of Inspector Harry Callahan from homicide. They called him DIRTY HARRY.

DIRTY HARRY challenged the action film convention by moving the Western mythos to the Bay Area, upset many different groups, and solidified Clint Eastwood as the go to action star for a generation.
4 more adventures followed Harry Callahan through his career consistencies of being kicked out of homicide for 5 minutes only to be brought back because shit gets VERY FUCKING REAL. He would dive daringly into third act climaxes where the solutions got crazy and sometimes sincere. And each and every last frame showed Harry walking away from it all for good… or at least until Warner Brothers green lit the next one.

So lets head to San Francisco where we will see Harry Callahan face off against Crazy Men with a penchant for the song ‘Row Row Row Your Boat’, a group of motorcycle cops with a grudge on crime, a hippie communes quest for city wide control, a woman on the road to revenge, and a man obsessed with knocking off celebrities like Jim Carrey.

Callahan: Go ahead… rate my day.

DIRTY HARRY

4 outta 4 .44 Magnums.

If we are going to talk about the impact of the film we are destined to be here all day. Let’s just focus on the film.

DIRTY HARRY is a film that wraps itself around a very central focus that , while not exactly as mirrored as our society today, does work on many levels. Callahan is a force of nature dealing with another force of nature with a very distinct western vibe. The story itself revolves around the true to life inspiration of the Zodiac murders in the form of Scorpio (Andy Robinson , who brings a perfect diabolical and natsy tone to the character) and the manhunt for him by Dirty Harry. Whats interesting to note is that this is a thriller more than anything, the action spread out in a graceful fashion that shows elegance amidst the raw reality.

Don Siegel directs a glorious symphony of the story of good vs. evil that the lines that blur provide apt thought and inspire conversation. Its the hallmark of any good film. And yes, Clint is superb in the film, as if it needed to be said. He brings a relatable quality to a grizzled angry man who rarely shows his heart. When he does, it is still safley guarded by 10 attack dogs and 3 land mines. Its a wonderful character.

MAGNUM FORCE

3.5 outta 4 Hal Holbrooks

John Millius’ script finds Callahan at the center of a police conspiracy for the second in the Dirty Harry franchise, and for the most part it proves just as perfect a situation as the first Dirty Harry film. Clint shines again in the famous tole with all the cynicism and attitude one expect from Inspector Callahan. Hal Holbrook also proves a formidable antithesis to Harrys way of doing things, but by the time his true nature is revealed, it feels like they wanted it rather than needed it. The twist at the end works, its just that you can tell that its a bit of a stretch when compared to more refined third act twists.

The real weakness in this film is honestly the fact that its coming right after a very definite and defining moment at the end of the first film, which thematically sums up the thesis of the piece. Bringing Callahan back from this defining moment is not disrespectful, but it would have helped if they went into it a bit more and gave some context. In addition, the ultimate point of the film itself almost spits in the face of the rebellious stance the first film takes. Magnum Force seems to be the start of the “safer” Harry Callahan. Thats not wrong, but it is surprising.

As sequels go, it is a fine example of how to continue a character though, delving more into Harrys personal life and his off time. And as a piece of 70s action it is clearly beautiful action filmmaking with wonderful cinematography and music by series contributor Lalo Schifrin.

THE ENFORCER

2.5 outta 4 New Partners.

THE ENFORCER is a moment where people in the theater are still excited but they walk and go, “well, this has to be the last one.”

It’s a great film on its own, but it does the job of further extrapolating a character that doesnt need any further extrapolation. Clint is back as Harry Callahan, and this time he’s after a revolutionary cult that wants to hold the city hostage on Alcatraz. He is the usual slick cop with grit on his mind and grit in his teeth. This time around, he is partnered up with a feamle partner fresh out of the academy (played by Tyne Daly, who handles herself well amidst Callahan’s misguided notions).

This is where the formula of “Stereotype Harry” becomes full force. It has the dying partner in the first act, the new partner, the catchy one liners that were once cool. Everything here does what THE ROOKIE would eventually do as will The Simpsons with McBain.

Being that it’s an early arrival of this ilk, you have to give it props for not being extremely overwrought with cliche, and the direction by James Fargo is something new and exciting to the franchise with much quicker paced action and faster editing that keeps it on par with what the 80’s will bring 5 years later.

SUDDEN IMPACT

3 outta 4 Days Made

“Go Ahead.. Make My Day.”

Outside of asking a punk if he feels lucky, this is one of the biggest take aways from the Dirty Harry franchise in terms of dialogue. It is a line that entered the culture with such a bang, it’s sometimes hard to remember that outside of MAGNUM FORCE, Sudden Impact is one of the best sequels in the Dirty Harry Franchise.

With that though comes a weird tradeoff…. Callahan has many scenes with a stray dog that show his Buster Keaton like grace down a street.

Outside of the rare moments where the film goes to the dogs (HEY MA, I’M CLEVER!), Clint presents a Callahan that in theory is closer to his roots than the previous outing. Whats intriguing is his inner conflict with the upholding of the law vs victims rights as he hunts down a woman (Sondra Locke) who is killing off people who raped her and her now catatonic sister years back. Callahan knows what the law says, but he also knows what his morals say. And with Clint directing this time around, one deals with Callahan mainly in the shadows deciding the fate of the conflict with deep thought and pause. It is wonderful action/suspense filmmaking.

THE DEAD POOL

2 outta 4 Jim Carrey’s Singing Guns and Roses

Buddy Van Horn, a long time Eastwood compatriot has not been treated kindly on my list as of late. His films barely go beyond 2 stars, and I feel bad because the man was a stunt wizard in his prime. He coordinated Clints stunts throughout the years with careful diligence and style that can only find comparison to the legendary Hal Needham. Van Horn is not the best director outside of action pieces though, and Callahan used to be much MUCH more than action. By the time DEAD POOL comes around, we are just itching for the finale to go home.

Clint delivers, but it is clear he’s done with the character and wants to go home and prep Unforgiven. Even his one liners, while still amazing as anything said by the man, are weak and without any support.

I think the funniest thing we get out of this is Jim Carrey as a strung out rock star lip synching to Guns and Roses, and even that seems below Carrey… and no people, I like Carrey, unlike you Pet Detective hating fools.

One fun note though: the scene with a toy car packed with a bomb is a damn hilarious and inspired action scene that I will gladly remember forever.

What we can take away from Harry Callahan is a part of Clints legacy. It is the part of him that frankly will be the most remembered in his career outside of his western work with Sergio Leone.

Hey, what better way to be remembered than as “The Best Movie Cop Ever.”

Not a bad gig Clint… not bad at all.

26 down 31 to go. The marathon will continue next week with a special report on a 2008 film that serves as the eulogy to Dirty Harry.

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