Larry Ratliff

Going retro for the great Dillinger performance

 

Warren Oates and Michelle Phillips (as girlfriend Billie Frechette) in "Dillinger." (American International Pictures)

Remember Warren Oates? 

No?

Ever even heard of one of the greatest character actors of all time?

That's OK.  On the eve of Johnny Depp's splashy performance as 1930s bank robber John Dillinger, however, you need to know about Oates' portrayal of Public Enemy No. 1 in writer-director John Milius's "Dillinger" of 1973.

I'll have plenty to say about Depp's performance when my review of "Public Enemies" hits this Web site just after midnight tonight (to honor the review embargo).

For now, just be aware that the consummate Dillinger performance comes from Oates, whose rugged face perfectly translated the kind of thug Dillinger was.

Never achieving marquee idol movie star status, Oates graced dozens of movies and TV shows as an acting grunt.  A pretty remarkable acting grunt, if you ask me.

Oates drew top billing in a couple of cult flicks; "Two-Lane Blacktop" and "Bring Me the Head of Alfredo Garcia," which is about exactly what the title suggests.

It was as John Dillinger, however, that Oates took his place in Hollywood lore, at least from this aisle seat.  To tell you the truth, I can't recall how I stumbled across "Dillinger" the first time.

I don't recall seeing it first-run on a movie screen back then.  There's a good chance I happened across it a few years later on the late-late show.  I've been a Warren Oates devoted fan ever since, though, and saddened when he died in 1982.

"Dillinger" probably can't be located easily at your corner video store.  But spending a little time locating a copy online would not be time wasted for any true movie fan.

As Oates says in "Dillinger:"

"You're being robbed by the John Dillinger gang.  That's the best there is."

The same can be said for Oates as the tommy gun-wielding man himself.

When lousy movies attack ... and conquer

 

Ravage the Decepticon does its thing.  (Paramount Pictures)

If you surf the Web today you'll see news of the phenomenal box-office success of "Transformers:  Revenge of the Fallen" over the past few days.

The Hollywood bean counters have been busy getting final weekend figures together today (Monday).  Variety is reporting on its Web site that in addition to the truly remarkable five-day domestic tally (we'll get to that in a minute), "Transformers 2" broke records in several countries overseas.

The result:  A $390.4 million worldwide grab since the Michael Bay-directed sequel debuted on Wednesday.

"Official weekend numbers released Monday morning showed 'Transformers 2' grossing $200.1 million domestically--slightly less than the $201.2 million estimated on Sunday--over the course of its five-day opening. That easily eclipsed the $152.4 million earned by 'Spider-Man 2,' which previously held the five-day record for a Wednesday launch.

"And 'Transformers 2' came within shouting distance of the best five-day gross of all time: $203.8 million for WB’s 'The Dark Knight,'" the Variety article stated.

Massive figures like this don't surprise me.  They do disturb me, though, and not just because we're talking about a sequel to a movie made about Go-bots.

Never mind that "Transformers 2" isn't a good movie.  It drags on forever.  The acting is generally undisciplined (except for the always excellent John Turturro as Simmons) and embarrassingly goofy.  The sound and special effects, while impressive for the first few metal-on-metal morphing minutes, become little more than never-ending squeals, clanks and squeaks after a while.

Click  here to read my "Transformers 2" review.

You think I'm miffed now, you don't want to know what I would have written if "Transformers 2" had surpassed "The Dark Knight."  Christopher Nolan's "Batman Begins" sequel, which drew a posthumous Academy Award for the late Heath Ledger, has special-effects driven as well.

Unlike "Transformers 2," however, "The Dark Knight" crackled on screen with precise, excess-free direction, a dandy challenging plot-line and stellar acting in every key role.

I have no problem with movie fans who want to line up for Hollywood's summer tentpole releases. 

But come on folks, we need to demand a little more than gyrating GM parts and clanking soundtracks, especially from record breakers.

R.I.P.: King of Pop, Queen of '70s Pop Culture

People die all the time.  The fact is that none of us are getting out of here alive.

Yet Thursday's double-whammy death of Michael Jackson and Farrah Fawcett, and, of course, Ed McMahon's passing earlier in the week on Tuesday, hit celebrity watchers and fans around the world particularly hard.

Jackson's sudden collapse and death Thursday in Beverly Hills was the shocker, of course.  Jackson, reports have indicated, was preparing for a comeback tour -- "a final curtain call" he referred to it -- to show his kids what their dad did for a living.

Now, just like that, the King of Pop is gone.  The Jackson legacy dirt will fly once the mourning settles a bit.  For now, though, it's time to reflect on a life that thrilled millions.

Many of the people I've read who talked about Fawcett's career mention that they had her iconic poster on their wall growing up.  That's no surprise, either.   Fawcett's big-smile, big hair swimsuit pose of 1976 has been called the best selling pin-up poster of all time.

For all practical purposes, the Corpus Christi native who attended U.T. Austin and went on to fame as a TV "Charlie's Angel" was the iconic symbol of 1970s celebrity in this country.  Apparently, though, Fawcett wanted to make her mark in drama, which she finally did with a heart-breaking documentary about her cancer fight as the disease worked its terrifying, unrelenting destruction.

We lost three entertainment icons this week.

May they all rest in peace. 

Photos:  Michael Jackson doing what he did best. (Courtesy Missguided.co.uk) and Farrah Fawcett at the height of her fame in London, circa 1978 (Courtesy TV Guide)  

Oscar's double-dip too late for 'Dark Knight'

The move by the Academy Awards to jump to 10 Best Picture nominees next year arrives a little late for "The Dark Knight." (Warner Bros. Pictures)

Wednesday's announcement out of Oscar's camp that the Academy Awards will double Best Picture nominees next year from five to 10 came as a bit of a shock.

Academy president Sid Ganis said from the Academy's Samuel Goldwyn Theater in L.A. that the move is a "return to the past."

According to a story posted on the Hollywood Reporter Web site:

"Ganis . . . was flanked by posters listing the 10 nominees for 1939 -- widely regarded as the high-water mark for quality studio releases. That year, the lineup ranged from Westerns ('Stagecoach') to sophisticated comedies ('Ninotchka') to melodramas ('Dark Victory') to all-time classics like 'Mr. Smith Goes to Washington,' 'The Wizard of Oz' and eventual winner 'Gone With the Wind.'

"'Suppose you had to narrow that field down to five nominees? Which of these films would you keep? Whichever five movies you selected, you'd be losing five extraordinary films,' Ganis asked rhetorically," the Hollywood Reporter post stated. (Click here to read the entire article.)

Fine, Sid.  But what about last year?  What about the critically acclaimed fantasy-thriller "The Dark Knight."  Clearly one of the finest films of 2008, "The Dark Knight" should have easily cracked the top five.

The Academy's problem has long been nominating five of the most deserving films.  The solution is not upping the ante to 10, but finding the most deserving five.

In fact, I would have locked "The Dark Knight" in above three of last year's films that made the cut; before "The Reader," "Milk" and, especially before "The Curious Case of Benjamin Button."

A best pic race between "Slumdog Millionaire" (the deserving winner), "Frost/Nixon," "Milk," "The Dark Knight" and an excellent dark horse like Sweden's mesmerizing horror-drama "Let the Right One In" (let's hear it for irony) would have generated spirited interest throughout awards season.

That's what this 10 in '10 double-dip is all about, except for also doubling up on money and hype generated by doubling down.

If the Academy had this move in the works, why didn't they roll it out last year when it might have done some good.  At least excellent films like "The Dark Knight," "WALL-E," "Burn After Reading" and even the wonderful documentary "Young at Heart" could have had a shot at a Best Picture golden statuette.

Excuse me, Mr. Ganis, but what about the other major categories?  Can you really have 10 Best Picture nominees without 10 Best Actresses and 10 Best Actors?

And while we're on a soap box, we can now forget the idea of shortening the usually boring Oscar telecast.  That's the serious problem the Academy should be focusing on. 

MIA this grisly summer: The R rating

As Wolverine, Hugh Jackman comes out of the "X-Men Origins:  Wolverine" melting pot none too happy.  (James Fisher/Twentieth Century Fox)

This issue has been gnawing at me ever since "X-Men Origins:  Wolverine" kicked of Movie Summer '09 with almost constant extreme violence, spewed profanity, adult situations and ... a PG-13 rating.

From May 1st until the debut of the gear-jamming, explosive and sex-flaunting "Transformers 2" at one minute past midnight this morning, only two of the potential summer blockbusters have hit our multiplex screens with what I'd call the appropriate R rating.

What can the Motion Picture Association of America (MPAA) possibly be thinking?

I mean, come on.  More than one person gets dragged to hell graphically in the appropriately titled "Drag Me to Hell."  Personally, I had a great time with Sam Raimi's alternately horrific and humorous roller coaster ride.  But I've seen my share of PG-13 movies, folks.  This is not one of them.

All I can surmise is that the MPAA rating voters covered their eyes during the extremely graphic violence.

Are we to assume that sex trumps violence when it comes to leaving damaging impressions on young developing minds?

That, sadly, appears to be the case.  "The Hangover," a lowbrow slither through sex, drugs and more sex rolled out with an audience-limiting R rating on June 5.  That hasn't been my favorite flick of the summer, but at least it had the guts to play out in the proper rating arena.

Meanwhile, exercises in rampant, excessive violence like "Transformers 2," "X-Men Origins," "Terminator Salvation" and others got the free ride to wider teen audiences with the PG-13 rating.

I'm not director Tony Scott's biggest fan.  But I have to tip my Texas Rangers gimme cap to the director of "The Taking of Pelham 1 2 3."  For two reasons, actually.  At least to my knowledge, Scott and Sony Pictures knew they had an R-rated suspense-thriller and didn't fight the deserving tag.

The other reason?

"The Taking of Pelham 1 2 3," despite erupting into shocking violence at regular intervals, also managed to squeeze real suspenseful drama (thanks to Denzel Washington and John Travolta) into the mayhem.

We need more movies like that.  Even in the summertime when graphic movie violence blasts away almost constantly at our kids' psyches. 

'Transformers' 2 @ midnight; Let's roll

They're b-a-a-a-a-a-k! (Paramount Pictures)

It's 10 p.m. (or close to it), do you know where your teenagers and gadget movie fanboys are?

I'm guessing that by about now they're lining up (or already in line) for "Transformers:  Revenge of the Fallen," which unspools at a click or two after midnight at theaters all over most major cities.  (Check your local listings.)

Directed by Michael Bay, the "Transformers" sequel once again pits the Autobots against the evil Decepticons and cranks up -- appropriately enough -- two years after the 2007 original in both movie time and real time.

Shia LaBeouf and Megan Fox both return as humans caught in the middle of a battle royale that even out clanks the original. 

R.I.P.: Ed McMahon

Ed McMahon, left, and Johnny Carson on the "Tonight Show." (Courtesy NBC)

Ed McMahon, Johnny Carson's faithful second banana on NBC's "Tonight Show" for 30 years (1962-1992), died early this morning (June 23) at the Ronald Reagan UCLA Medical Center in L.A.

We all knew it was coming.  McMahon, a well-known TV pitchman after his tenure alongside the late Carson had ended, did not have what anyone will call an easy time of it late in his 86-year life.

McMahon almost lost his home to foreclosure, had numerous health problems and even suffered a fall that resulted in a broken neck.

I think I know why a death like this -- even an expected one -- has such an impact.  McMahon and Carson were like guests in our homes, or we were guests in theirs.  With a simple press of a button, there they were night after night laughing and kidding; always (seemingly at least) in a great mood.

The dynamic duo of late-night TV lifted my spirits hundreds of times during their three decades together. They accomplished that just by being there.  Just by being a constant, an unsinkable jovial force, as the drama, losses and rare fulfilling days of my everyday life played out. 

So here's to you, Ed.  May you finally rest in peace, unburdened at last by a mansion infested with mold, a sometimes unsettled personal life and, darn the ill luck, a broken neck late in life.

Hi-Yo!

Columbia Pics: 'Don't play ball!'

Wow, talk about a major league balk.  It looks like Brad Pitt will be grabbing some bench instead of going before the cameras beginning this week in Steven Soderbergh's baseball drama "Moneyball."

According to several reports posted on line, Columbia Pictures balked at the production only days before this drama about the Oakland Athletics and their general manager Billy Beane was going to throw out the first pitch.

"The decision, which was made Friday, mystified many since the pic was crewed up and scheduled to start shooting this week, with some wondering how issues with the script could give a studio cold feet so late in the game," an article posted on the Hollywood Reporter Web site said.

According to the report, Pitt, on screen in August in Quentin Tarantino's "Inglourious Basterds," and comedian Demetri Martin were the major actors cast.  Other roles were to be played by actual baseball players.

It looks like "Build it and they will come," that old movie baseball phrase from "Field of Dreams," just doesn't work every time. 

(Photo:  Brad Pitt in Quentin Tarantino's "Inglourious Basterds."/The Weinstein Company Inc.)

Good news: Funny girl Sandra Bullock's back

 

If you've missed Sandra Bullock like I have in a solid romantic-comedy, there's good news.  "The Proposal," co-starring Ryan Reynolds and the always reliable Betty White, hits screens today with solid laughs, offbeat romance and a memorable, awkward "'Scuse me" nude scene.

"The Proposal" would be my first stop at the multiplex this weekend.  Click here for my review or check out the Movie Reviews page.

Unless you simply must rush to see every film Jack Black graces, "Year One" wouldn't even be my second stop.   Despite the near-inspired pairing of Black and Michael Cera, director Harold Ramis just can't keep the funny business up in this goofy romp through early Biblical times.

Click here for the "Year One" review. 

I'd hit the nearest art house (check local listings) for "Easy Virtue."  Jessica Biel, Colin Firth and Kristin Scott Thomas head the cast in Stephen Elliott's acid-tongued romantic-comic drama based on Noel Coward's 1925 play.

Let's just say you've never seen Biel like this.  She portrays a mysterious blond race-car driver from Detroit who upsets a staid British household in the 1920s.  Click here for the full review.

Also opening (or already playing this weekend):

"Summer Hours"-- Juliette Binoche in a French import chronicling the dismal days and months following the death of the family matriarch.

"Enlighten Up!" -- An uneven documentary attempting to trace the origins of yoga.  (Click here for the review).

(Photo:  In "The Proposal," Sandra Bullock ends up on the wrong end of a surprise bachelorette booty dance./Touchstone Pictures)

  

If you like ______, you must see ______

 

The summer movie rush is ebbing a bit.  Box-office bean counters are quick to point out that June attendance is down slightly.

That makes this an opportune time to mention upcoming movies that you might want to pencil in on your calendar, especially if you enjoy a particular filmmaker, actor, actress or genre.

If you howl at the mere sighting of Jack Black, for instance, "Year One," opening Friday (June 19), is a must-see.  Michael Cera, who joins Black in this raucous, retro-road comedy, is funny as well.

Then there's "The Proposal," which also opens Friday.  Sandra Bullock makes a strong re-entry into the romantic-comedy genre opposite Ryan Reynolds, even though Bullock balks at calling "The Proposal" a romantic-comedy.  Click here or venture over to this site's Interviews page to find out why.

If you're a Woody Allen or Larry David fan, you've got to catch David doing Woody's schtick in "Whatever Works," opening June 26 in some cities and July 3 in San Antonio.

And, for those who prefer offbeat, period film excellence, don't miss "Easy Virtue," which expands to San Antonio and other cities Friday.

Jessica Biel will surprise some people with a stellar performance as a blond race-car driver from Detroit who upsets a staid British household in the 1920s. Looking for witty dialogue?  "Easy Virtue" is based on Noel Coward's 1925 play, if that tells you anything. 

(Photo:  Michael Cera, left, and Jack Black embark on a primitive road trip in "Year One."/Sony Pictures Entertainment)