Christmas is in the air, but more importantly, so is Star Wars – a lot of it, a truly nauseating amount of it really, but who are we to back away from the roaring fire of Star Wars contemplation that is the internet in the 4th quarter of 2015? So here’s yet another look at the much-maligned Prequel Trilogy, and George Lucas, and why things are the way they are.
Director: Carlo Lizzani
Screenplay: Lucio Battistrada, Andrew Baxter, Adriano Bolzoni, Denis Greene, Edward Williams
Starring: Lou Castel, Mark Damon, Pier Paolo Pasolini
Country: Italy, West Germany
Running Time: 107 min
BBFC Certificate: 15
After re-releasing the ‘baguette western’ Cemetery Without Crosses, Arrow Video head back to Italy to bring us a true spaghetti western in the form of Requiescant. This is no cookie cutter entry to the genre though. Director Carlo Lizzani delivers a fairly serious film with more meat to chew on than most of its contemporaries.
Requiescant opens with the brutal massacre of a group of Mexicans at the hands of Confederate soldiers, led by the aristocratic officer George Bellow Ferguson. Tricked into a deal before their deaths, the Mexicans’ land is snatched by Ferguson and over the years he comes to rule the area, known as San Antonio. A small boy survives the massacre though and is found by a travelling preacher, who brings him up as his own son. The boy grows up to be a young man known as Requiescant, who ends up in San Antonio as he looks for his stepsister Princy who has run away in search of a more sinful life. She finds it in that town and ends up the property of Ferguson’s right hand man, Dean Light.
When Requiescant finds Princy, Dean is of course none-too-keen to give up his woman and doesn’t take kindly to the young dark skinned man (no one knows he’s Mexican to begin with). When Ferguson gets involved he surprisingly gives Princy her freedom, as he feels women are harmful to his best man. The landowner also takes a shine to Requiescant, believing he can use his freakishly good marksmanship abilities to his advantage. When these abilities seem to overshadow his own, Ferguson gets jealous though so, along with Dean’s anger, San Antonio doesn’t seem to be such a nice place for Requiescant and his sister to stay. As the body count grows and the truth of Requiescant’s heritage is revealed, the waters are further muddied by stirrings of revolution amongst the downtrodden Mexicans, pushed on by a mysterious group led by Father Juan (played by the controversial director Pier Paolo Pasolini).
Each episode, Corey Pierce welcomes a guest (or guests) onto the show who has chosen a compilation or soundtrack that speaks to a memorable era of their life. The soundtrack will play underneath and serves as a springboard to discussion about the music itself, how it works within the film, and what was going on with their life at the time of its release.
After a 5 month hiatus (which the show will get into, perhaps too much), Corey returns with episode 14 with Toronto documentarian/professional editor /Lindsay Ragone in tow. After an extended intro about Linsday’s upcoming feature Braingasm, we jump into one of Corey’s very favourite soundtracks, 1993’s beloved Dazed and Confused, known for being one of the very best “all in one night” stories, one of the best coming-of-age stories, and for being stacked front to back with 70s rock radio hits. This episode also gets pretty weepy in its bookends, with an update on what this absence has been all about.
Well it clearly isn’t a David Mamet script, but it looks like a fun, through probably a plot hole level 10, actioner. It seems like the big plan heist movie has been done about 1,323 times. And nearly every time, some screen writer’s creativity boosts and the film is something new and fun (even when it isn’t); so I’m in.
When their attempt to rob a casino owned by the feared gangster Pope goes awry and a shootout ensues, Vaughn and Cox are forced to flee on foot and hijack city Bus 657 and take the passengers hostage. Now, in a high speed chase, Vaughn will not only have to outwit the police, led by Officer Bajos who are in hot pursuit, but he will have to contend with Pope’s maniacal right hand man, Dog, in order to make it through the day alive. But we quickly learn that things are not what they seem, and Vaughn has more than one card up his sleeve.
HEIST stars Bob DeNiro, Jeffrey Dean Morgan, a talking Dave Bautista, Gina Carano, Morris Chestnut, Kate Bosworth… and would you look at that: Mark-Paul Gosselaar! And I’m kind of hoping D.B. Sweeney plays a bigger role while driving that bus. I’ve not seen any of the shorts or straight to VOD stuff that director Scott Mann has churned out, or writer Stephen Cyrus Sepher for that matter.
Have a quick look at the plan and see if you think we need one more…
My micro-obsession with French-Belgium thriller The Lady In The Car With Glasses And A Gun continues with this handsome, high-contrast and big typeset poster. Emphasizing wardrobe and poise, and the titular sunglasses and firearm, the posters gives off a vaguely exploitation vibe (in some ways it is reminiscent of the I Spit On Your Grave poster, just from a classier angle. This is commensurate with the trailer released yesterday that showcases the sleazier elements of Hitchcock and De Palma (mmm, split screens). I’m always a fan with designers play around with the position of the credits block and ‘above the line’ names, and this does indeed feel aesthetically pleasing.
One minor gripe, is she in fact holding the gun, or is that just kind of photoshopped where her hand is. I’m not sure if it is the illusion of photography or simply weak photoshop.
Apologies for the late episode. Some personal matters came up that required putting the podcast on hold for a few weeks. We’re back now to finish up the October Universal Horror Month with THE MUMMY RETURNS. You can pretty much guess where we all fall on this one.
Attention all trailer cutters. This is certainly one way to do it. The right song, the right rhythm, and beautiful cinematographic imagery to tease and delight anyone who like as a good noirish time at the movies. The Lady In The Car With Glasses And A Gun is a French-Belgium co-production, and for a more English speaking audience, Magnolia, offers it dialogue free, which was usually a sign of being dishonest with the audience about the films spoken language, but here, the perfect and only line of dialogue in the trailer, owns it. Bravo, I say, Bravo.
Based on the novel by Sébastien Japrisot (who also wrote A Very Long Engagement which was adapted into a film Jean-Pierre Jeunet), the trailer reminds me of a recent Canadian film called 88 which despite my affinity for Katherine Isabelle and Christopher Lloyd, is unfortunately a sloppy, and rather uninspired, piece of crap. The Lady In The Car With Glasses And A Gun looks like quality all around; just the kind of Hitchcock/DePalma sensual-sleazy gumbo I like.
Curiously, this is not the first time someone has adapted this novel into a film, and the 1970s version from Colombia Pictures stars Samantha Eggar and Oliver Reed. If you want a lesson in two eras of trailer cutting, and are not afraid of copious spoilers, you can find the original it is here. Fun Fact: Eggar and Reed would go on again to star together in David Cronenberg’s divorce cult classic The Brood
A beautiful secretary steals her boss’ sports car to go joyriding in this stylish psychological thriller. She goes to visit a seaside town she swears she’s never been to, but everyone knows her name. And when a body turns up in the truck of the car, she is suddenly the lead suspect in a murder she knows nothing about. Is she going crazy?
The 2015 film will be getting a day and date release in the US on December 18th.
Here is faster paced, more plot and character heavy UK trailer for the increasingly awesome looking new John Hillcoat picture, Triple 9. A collection of corrupt cops attempt a massive heist, and to distract the rest of the cities branches of law enforcement, they plan to murder one of their fellow officers to create a ‘999’ call which would have most of the police in the city converge in a location as far away the robbery as possible. Featuring the very well stocked cast of Woody Harrelson, Chiwetel Ejiofor, Norman Reedus, Casey Affleck, Aaron Paul, Anthony Mackey, Gal Gadot, Clifton Collins Jr., and Kate Winslet.
Triple 9 hits US theatres in February 2016, and apparently the European market will get a chance to see it as well, albeit no release date is indicated in the trailer.
The year of the Super Ticket sevens continues with double-oh-seven and SPECTRE. Beware SPOILERS ABOUND throughout this podcast – both for this film and the previous Daniel Craig installments. Matt Brown, Matthew Price, Kurt Halfyard and Andrew James serve up this Super Ticket Podcast dissecting the nuance and bombast that is the 24th installment of the James Bond franchise. General consensus is positive but there is some dissension within the group; despite Matt Gamble not being able to be present and shout everyone down.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!