Movie Madness with Richard Doyle

Richard Doyle's
MOVIE MADNESS

Half Japanese: The Band That Would Be King (Jeff Feuerzeig, 1993)

It's impossible for me to be impartial, since I love Half Japanese, but, it's a surprisingly impartial documentary for such a piece of cult subjectmatter. The documentary covers David and Jad Fair, and other members of Half Japanese from their beginnings as a band recording albums in their basement to their current incarnation, recording albums in their basement. Includes interviews with Penn Jillette, Mo Tucker, and Gerard Cosloy.

A River Runs Through It (Robert Redford, 1992)

On the whole, I have not been a big fan of Redford's directorial career, and this is no exception. Too much Americana for my tastes, paced at the speed of paint drying. Maybe if I had any interest in fly fishing ... but I don't. The performances are universally good, with Tom Skerritt and Brad Pitt as the standouts. Redford narrates, which is an odd choice since the film is supposed to be told from the point of view of an elderly man. Features marvelous photography of the beautiful Montana landscape.

Lost Highway (David Lynch, 1997)

I have grown to really love this film and it's difficult to say why. Perhaps I've simply given up on making any sense of it and just succumbed to the beautiful atmosphere. Anyway, I think it's a wonderful surreal nightmare of a film that you should definitely not watch if you want a film to make narrative sense.

The Stuff (Larry Cohen, 1985)

Cohen specializes in quirky, fun genre flicks, and this one continues the trend. A substance that bubbles up from the ground is packaged and sold as a dessert treat called "The Stuff". It creates a sensation, addicting those who try it, controlling their minds while it rots their bodies. An industrial spy (Michael Moriarty), an advertising exec (Andrea Marcovicci), a small boy (Scott Bloom), a chocolate chip cookie king (Garrett Morris), and a right-wing militia leader (Paul Sorvino) team up to uncover the conspiracy. The film blends sci-fi/horror with social satire, and although it's poorly directed at times, delivers the genre goods. Danny Aiello has a small role as a corrupt FDA worker.

Oscar and Lucinda (Gillian Armstrong, 1997)

An odd and engaging film from Australia. Part tragic romance, part costume drama about gambling addiction, the film stars Ralph Fiennes as an English minister and Cate Blanchett as an Australian glassworks owner, whose paths collide leading to romance and tragedy. Fiennes is unusually good, dropping his typical stiff blandness in favour of a quirky, comic performance, but still handling the film's serious moments. The film ends with a surreal image worthy of Werner Herzog.

The Decalogue, Parts 3 & 4
(Krzysztof Kieslowski, 1987)

Two parts of Kieslowski's 10 part mini-series for Polish television based on the ten commandments. In part 3 ("Honour the Sabbath Day"), a cab driver is pulled away from his family by a former lover who needs his help finding her missing husband. In part 4 ("Honour thy Father and thy Mother"), a young women discovers a letter from her deceased mother that forever alters her relationship with her father. Both stories cover very cerebral subject matter yet are emotionally involving, mainly due to Kieslowski's deep sympathy for his characters.

The End of the Affair (Neil Jordan, 1999)

Ralph Fiennes, in his most stiff and detached mode, plays an English writer drawn into spying on an ex-lover (Julianne Moore) whose husband suspects she is having an affair. Jordan treats the central romance in a dry and cerebral manner, draining the film of any emotion or sympathy for the characters. Much of the dialogue is unintentionally funny.

Reversal of Fortune (Barbet Schroeder, 1990)

Jeremy Irons turns in a quiet, humourous, and vaguely menacing performance as Claus von Bülow, convicted of attempting to murder his wife Sunny. Continuing his fascination with dark and controversial figures, Schroeder and Irons manage to humanize von Bülow without deciding his innocence for the viewer. The film remains riveting throughout while doing a good job of addressing the legal issues involved, and quite surprisingly, avoiding most courtroom drama clichés by devoting almost no time to the court case itself.