The Contraption (1977)

The Contraption is a short film I saw years ago, maybe Night Flight on the USA Network, although I recall seeing it in the daytime. The interesting mix of sound effects and the building of the mystery device, as well as it's purpose, made me realize how less can be more. 

From Dusk Till Dawn: The Series

Apparently no one has ever heard of this series, or the channel it’s on (El Ray), and those few who have aren’t very fond of it. It’s better than The Walking Dead, in my opinion, because so far half the episodes haven’t focused on the cast wandering around and arguing about stupid, petty shit that no one would have time for during a zombie apocalypse. The movie has a huge cult following, and Robert Rodriguez was smart enough to realize the further potential for the series, especially among the large Latino demographic currently under-represented in television, and one that El Ray is aiming at. While similar to the film, obviously, the series heavily expands on it, adding new characters, and fleshing out the vague plot details of its predecessor.

A lot of people said they felt the initial episodes were cheap, but I didn’t really see any of that. Maybe I’m wrong? Doubt it. It’s not big budget, yet it includes some Tarantino staples, such as Big Kahuna Burger, real looking locations, from motels to bars and even convenience stores. The vehicles and costumes look nice, and honestly, the acting and pretty much everything you can think of are on par with most TV shows on similar channels.

A popular complaint is that the brothers are not like their movie counterparts.  That’s probably because they are written by different writers and played by different actors and this isn’t the movie at all. This Seth Gecko (D. J. Cotrona), formerly played by George Clooney, doesn’t have the same charisma or cool, calm demeanor, but the series also isn’t a vehicle for him to be the star, so it’s nice that he doesn’t overshadow the far more disturbed Richie Gecko (Zane Holtz), formerly played by Quintin Tarantino. George Clooney is an A-List star, so casting him in a low budget series on a startup network wouldn’t really work very well. Don Johnson adds a little star power as Texas Ranger Earl McGraw, although after the first episode he’s little more than a bunch of cameos. Lesser known Jesse Garcia plays his protégé with big shoes to fill, Freddie Gonzalez, a family man and modern perception of the knight, tracking down the Gecko brothers. Robert Patrick takes over where Harvey Keitel left off in Jacob Fuller, the missionary dad with the RV, and the subplot is less random than before. Don’t laugh, but Wilmer Valderrama, yes, Fez from That 70’s Show, plays the sinister Carlos, who is a little more than just a drug lord. Elza Gonzalez replaces the irreplaceable Salma Hayek as Santanica Pandemonium; we’ll see, but good luck with that. 

Another popular complaint is that the series is a rehash of the former plot. ……………. No shit! It’s the same damn plot, only expanded, because it’s called From Dusk Till Dawn: The Series. But the point of the series was that it had a lot of potential to use the ridiculously large Mesoamerican mythology the characters were based on. It also heavily draws on the folk saints and other newer aspects of Catholicism that are very popular in Spanish-speaking countries. It’s a really interesting culture, especially when you examine the syncretism of beliefs, and what better way than to attribute them to bloodthirsty monsters?

The book is better! Fuck off and go read it then. That was a necessary outburst since, had the film or this series been based off a book, I would also have to entertain that complaint as well. My point is, if you tune into The Walking Dead, or any other show that wastes half of the episodes doing nothing, then you should at least enjoy this, which has better writers, and better direction. It is interesting to note that outside of, I presume the United States, the show is a Netflix Original Series. 

"The guy behind me will be one of the stars of this show."

The Crow (1994)

Want a review of the film, then head over to For It Is Man's Number to get a proper dose of one. But The Crow, to me, was an exaggeration of the cold, harsh reality, we live in. I saw this film when it came out and I was still in high school. Almost three years earlier, I myself was assaulted, with an attempt on my life. The experience was nothing short of horrific, since I had never experienced anything so violent and unnecessary. I had done nothing wrong, aside from being in a public place that someone who had a hankering for random attacks decided I didn't need to be in. Unfortunately for those involved, I could not, and still cannot, be killed. They learned that lesson after their attempts to cave my skull in failed and I was still standing, getting ready to turn around and rip their faces off. (In reality, I was walking alongside a railing, and upon the head trauma, I grabbed a strong hold on it, briefly blacked out for a split second, and instantly went into shock, unsure of what had just happened, where I was, who I was, etc.) My attackers ran and my parents made the decision for me to go the legal route and having my day in court, which I did, but not to my content.

Brandon Lee represented the worst case scenario of what could have happened to me personally, on screen, and off, when he died. Had I been born of a weaker genetic disposition, I probably wouldn't have lived through my ordeal. Just one lethal blow to the back of my head was all it would take for most, and all it took for Lee to meet his demise in the real world. Of course, The Crow couldn't care less about himself, especially since he was now invulnerable, and got to be judge, jury, and executioner, dealing out justice to the wrongdoers. I wanted to be that, and I doubt, had I had worse parents, I would have had any restraint in pursuing that goal as I aged. I know that in this day and age I would do the same for someone I loved when the law fails. Bloodthirsty, sure, but as this movie and the circumstances around it show, life is not fair. 

For some things, there is no forgiveness. 

Cheap Thrills (2013)

If you like comedies of the darker variety, I can't recommend this film enough. Any working class person ca identify with Craig, a man trying to support his family, but constantly hitting road blocks that prevent it. Any low-life can appreciate Vince, the slacker who gets by doing whatever he can without ever making much of himself. All rich people will enjoy the couple, Colin and Violet, because they're so rich they can make people do anything for money.
That's the basic plot. Friends from high school, Craig and Vince reunite in a bar when the former is down on his luck. A rich couple keeps giving them money for accepting dares, until they eventually make their way back to Colin and Violets where the games get more intense, more competitive, and downright nasty. Obviously, the ending is absolute gold and I cannot spoil it for you, but this film moves so fast you won't feel your time is wasted so go see it now.

Point Break (1991): a Memoir

I don't get bent out of shape over remakes like most, but the original Point Break was one of those movies I used to watch regularly, whenever I felt low and down, and it would instantly cheer me up. The eternally hot Kathryn Bigelow helmed this gem before she decided to get overly involved with war films, and her influence was apparent. 
She took the laughable Keanu Reeves as her star, made him serious in a role that was perfect for him. Shedding the silliness of Bill & Ted, as well as all the other youthful slacker roles prior, Reeves portrayed a very strict and disciplined, almost robotic, FBI agent, driven by ambition to succeed. His early attempts at showing any human elements were quickly dashed by his dickheaded boss, played brilliantly and convincingly by John C. McGinley. He was paired with his exact opposite, the wild and brash veteran agent, Gary Busey. Together, we explored their characters and were introduced to Reeve's ability to share chemistry with anyone on screen. Lori Petty was one of the earlier it's-okay-to-be-a-tomboy characters I remember and her sassy attitude and ability to push men around, while still having a big heart, made her a cult hero of sorts. Matching Reeves as a friend and secret foe with Patrick Swayze created a predictable, but memorable and heartbreaking climax. 
Patrick Swayze was a real man's man who had the ability to appeal to both sexes on screen. Women loved him because he could pull romantic. Men loved him because he stood for being a real man and could beat the crap out of people. His on screen persona was more or less what everyone in my generation, having been raised and closer with their mothers than previous ones, wanted to be. He was that masculine role model we needed, but with all the feminine-aware virtues our moms wanted us to have, and it played out well on the screen. Not your typical bad guy, he had many heroic qualities, such as standing up for what you believe in, and completely avoided the sociopathic stereotypes we're given today. He robbed banks in the name of personal freedom from a mindless job, with no desire to harm others, himself becoming the victim of his own choices, having to kill in order to defend himself and his ideals. 
The film had a beautiful subtext about finding your true self and shedding the skin of a male ego driven society that is imposed on you by cultural norms, and living a more carefree life doing what you love. If only I had listened earlier. It saddens me that someone felt this needed to be remade; it doesn't. Now if you'll excuse me, I called off work today for the first time ever in my life "due to snow" so that I could spend quality time with my VCR on the beach.