My Two Cents: This Week's Number One Hit from 1977 (40 Years Ago): "How Deep Is Your Love" - The Bee Gees

Hello, one and all.

40 Christmases ago, the UK/Australian family act The Bee Gees would score their fourth number one US single with "How Deep Is Your Love". It was a ballad that was a smash years since their first US number one single: "How Can You Mend a Broken Heart"; which also had the word "How" in it. It was also the lead-in single to the soundtrack to "Saturday Night Fever", the John Travolta film that catapulted the one-time Sweathog from "Welcome Back, Kotter" into movie stardom. It would also cement the trio's status as one of the hottest pop acts from the 1970's. Their youngest brother, the late Andy Gibb, was also a pop superstar in his own right, scoring his first US number one with his debut single: "I Just Want To Be Your Everything", written by his older brother, Barry Gibb. 

Many '70's artists had hits based off Gibb song compositions. Yvonne Elliman, Samantha Sang and Frankie Valli to name a few. Follow-up hits would continue from the hit movie and soundtrack which became the biggest selling soundtrack of all-time; until the 1992 soundtrack for the Kevin Costner and Whitney Houston vehicle: "The Bodyguard", would eclipse the 1977 bestseller. Their hit would also usher in 1978 and the hit streak onto the summer and fall of that year.

Rounding out the top five of that year, Pat Boone's singer/daughter Debby Boone had her white-hot, ten-consecutive-week end, pushing her to number two with the theme to the now-ever-forgotten movie "You Light Up My Life". Linda Ronstadt would hold steady at number three with her Roy Orbison cover: "Blue Bayou". The Greensboro, NC R&B/funk group, L.T.D. (standing for Love, Togetherness and Devotion) scored their highest-peaking hit at number four with their disco hit: "(Every Time I Turn Around) Back In Love Again". Finally, Linda Ronstadt would have her second hit in the top five with another cover; this one from Buddy Holly and his band The Crickets: "It's So Easy".

Merry Christmas and a Happy New Year in 2018.

The 1977 Bee Gees Video

Can "Stephen King's IT" Be Nominated For a 2017 Best Picture Oscar?

With horror movies making a comeback, Jordan Peele's "Get Out" is already awards buzzing; can this full-bloodied Stephen King horror story make it to the Oscar Best Pic Ten?

So, on December 19, 2017, the new version of "IT" will hit digital media and those of us, like myself with Amazon are already queueing our hard-earned dollars to relive one of the best and most-successful horror movies of the year. It is also one of the more successful reboot films of the decade. For those of us with short attentions spans, us 1970's children will indeed remember the chilling 1990 two-part TV miniseries that gave us the brilliant Tim Curry performance of Pennywise, the dancing (and child-eating) clown. Yet, director Andy Muschietti gave us a nuanced, intelligent, human and yes, undeniably scary adaptation of the 1986 Stephen King 1000 plus page bestseller gave us Bill Skarsgård as the voraciously nasty evil Pennywise, this time out, The film has grossed almost $700 million on a $35 million budget and with a second film: "IT: Chapter Two" poised for release in September of 2019. It made my very super-duper short list of the best films of 2017, but, will it even stand a chance at this year's Academy Awards?

Another horror film with wild buzz this year was Jordan Peele's "Get Out" which is already generating buzz as a possible contender. I admittedly haven't seen it yet, but it's on my catch-up list. As a die-hard horror fan, I was thrilled that filmmakers are starting to make quality horror films again, but it would be a stretch to expect a possible nomination for this film. The only Stephen King horror film to win an Oscar was "Misery" in 1990 and that was for Kathy Bates' mesmerizing performance. But other King adaptations weren't so lucky. "Carrie" from 1976 received acting nods for Sissy Spacek and Piper Laurie, but they lost. Frank Darabont ("The Walking Dead") had the one-two punch of having "The Shawshank Redemption" and "The Green Mile" both earned ceaseless praise and were Best Picture contenders in 1994 and 1999 respectively, but didn't win any. "The Exorcist", "The Silence of the Lambs", "The Sixth Sense" and "Black Swan" were all contenders and all, save "The Sixth Sense" had won Oscars; with "Lambs" the only Best Picture winner so far.

I will be the first to admit I'm not a fan of reboots, but since the source material in questions was a TV miniseries on ABC-TV and not an actual film, I have no qualm about seeing this film receive such recognition. Although, can a very violent, CGI-laden, teens-spewing-profanity with a child-eating clown earn the respect of the American Film Academy? With Peele's film receiving massive accolades and this film being considered by many as one of the best Stephen King adaptations (by many, considering it the best, although Brian De Palma's 1976 film adaptation still stands as the king...or queen), I am somewhat hopeful. 

Stay tuned, horror movie lovers.

Watch The 2017 Trailer!

Holiday Movie Review: 'Home Alone' (1990)

The holiday movie that proved a child could be a one-man security system.


"This is my house! I have to defend it!"

- Macaulay Culkin as Kevin McAllister


Hello one and all.

I'm not sure why this movie stuck, but it did. In my early youth, I was a less discerning lad of 18 years who would eat up anything advertised for the multiplexes back then; and this of course, was before the advent of YouTube. John Hughes was a perennial favorite writer/director of mine since "Sixteen Candles" and "The Breakfast Club", but after one of his best movies, "She's Having a Baby" from 1988 with Kevin Bacon flopped, it would seem almost expected that he would reinvent himself as a kiddie movie writer/director. In 1989, he would re-team with John Candy with his rebound hit: "Uncle Buck", which would cast a relatively unknown child actor named Macaulay Culkin who had a toe-to-toe scene with the late venerable comedian. He would then be cast as an 8-year-old kid part of an extended family in his next movie, a holiday romp called "Home Alone".

Released in November of 1990, it would be heavily marketed on the new Fox TV network (20th Century Fox studios of course, being the parent company and the studio that released it) and re-introduce us all to a long dormant comedy subsection: The Holiday Comedy. Directed by Chris Columbus, known for his hit teen-caper comedy, "Adventures In Babysitting" and for writing "Gremlins" and "The Goonies", Columbus and Hughes would tap into a fascinating premise and that was, the inadvertent ditching of a family member by accident (especially someone under the age of 10) and the complicated dynamics of family, but from the perspective of a child. Also, adding a third; what happens when moronic adults who burglarize for a living are face-to-face with a resourceful 8-year-old boy who can do wonders with Matchbox cars, tar, blowtorches, barbecue tongs, BB guns, paint cans, glue guns, pillow feathers, tree ornaments, irons, ice and of course, a runaway pet tarantula.

The gist of the plot. Kevin McCallister's extended family are desperate to pack and get the kids suppered and ready for bed, as they have an early morning flight to Paris, France at dawn. McCallister is the very snarky, but perceptive kid who is always marginalized. A police officer (or perhaps one impersonating one; played by the always reliable Joe Pesci) is doing some reconnaisance on the house while a pizza delivery kid awaits payment for the supper. Kevin's boorish older brother (Devin Ratray) delights in tormenting his younger brother over the fact that he ate the last only-cheese pizza and blitzes him, causing pandemonium in the kitchen. Kevin's mother (Catherine O'Hara) and father (the late John Heard), of course, side with the older brother and punish him for the night. Of course, Kevin indulges in some wishful thinking in hoping his family vanishes and never returns. Of course, a blizzard knocks out the power and they miss their early wake-up airport van call. The entire house brood makes a mad dash to get ready to leave and they do make it to the airport on time and it seems like a pleasant enough flight - until Mom realizes mid-flight that she had forgotten to wake up the punished lad and have him accounted for.

Subplot gist. The phony cop and his partner (Daniel Stern) are neighborhood cat burglars dubbed the Wet Bandits, who stake the block for vacationing holiday families. The McCallister's being one of them, their house seems an apropos target, until they learn that Kevin was indeed left behind by accident , but are willing to risk a kidnapping charge. What they of course didn't count on, was Kevin's resilience and his ability to keep the the dopey adults from keeping the house from being pilfered and ransacked. Meantime, Mom makes a desperate and frantic flight with too-many-pit-stops home where she meets (no surprise) Good Samaritan polka player John Candy who channels his "Planes, Trains and Automobiles" character, and rescues her with a ride home with his band.

In conclusion, I still can't recollect why I enjoyed this film so much, except to say that it had so many pleasing elements that it's either hard to choose or even to care why. It just is. It has the fun ingredients of a kiddie dysfunctional family comedy as well as a "Three Stooges" slapstick comedy with all the bumps, bruises, yet strangely zero blood poundings-to-the-head, although I still wonder just how much internal bleeding and concussions these guys fictitiously avoided. Culkin, as a child star, held our attention with his sweet cockiness and charm, although its still sad that this may be his one-and-only claim to fame. Pesci and Stern were perfect second bananas and yes, the "Tarantula-to-the-nose" scene still busts my internal organs to this day. O'Hara and the late Heard prove likable parents and yes, Ratray succeeds at being the "Older Brother From Hell" who gets his just desserts in the end.

"Home Alone" was such a smash that with little to no shock, yielded a sequel in 1992: "Home Alone 2: Lost In New York", which had the exact same elements, but had little to zero of the charm and fun of the first. It may also be noteworthy (or better yet, infamous) of a certain real estate developer who would meet our young hero at a hotel lobby and point out where the restroom is. He is now sadly running our country.

Happy Holidays.

Watch the 1990 Trailer!

My Two Cents: Number One 30 Years Ago. "Faith" - George Michael (1987)

Hello one and all.

Exactly 30 years ago today, Georgios Kyriacos Panayiotou, who was known to the world as the iconic George Michael, scored his first solo number one smash with "Faith", the lead off song to his 1987 debut solo album of the same title. He had scored a number two hit with his second solo hit, the controversial funk/pop hit; "I Want Your Sex", but was denied the top spot, perhaps because the song was only played after hours, but sold relatively well. His solo effort marked a departure from the sun-shiny, teen pop image he had when he was one-half of the UK pop duo, Wham! with Andrew Ridgeley in an effort to give him a much more adult and mature sound and image. As a solo artist, his musical repertoire would include more R&B, funk, rockabilly, jazz and even country.

"Faith" would stay in the top spot for four weeks and other hits off the album would include, "Father Figure", "One More Try", "Monkey"; all number smashes as well and "Kissing a Fool", would become a top five smash. Years of solo success would also haunt the superstar would would wrestle, then be open about his homosexuality and his tireless efforts to raise HIV/AIDS awareness. He would also fight very hard against the bubblegum image he felt was expected of him from his record company, Sony.

Sadly in 2016, at the age of 53, Michael would pass away on Christmas Day of myocarditis. Like many music icons we lost in 2016, he was much loved and many tributes poured in. His solo career began with this smash which evokes the sound of rockabilly made famous by Buddy Holly, Elvis Presley and Bill Haley.

Rounding out the rest of the Billboard top 5: The UK metal band lead by David Coverdale, Whitesnake, scored their second top 10 (their last one) with the power ballad: "Is This Love", a song allegedly written for Tina Turner. The late Whitney Houston would hold at number 3 with the dancey pop hit: "So Emotional" which would go to number one in 1988. Then-teen pop queen Debbie Gibson had her second top 10 hit with "Shake Your Love" and the late former Beatle George Harrison had a comeback hit with "Got My Mind Set on You".

George Michael: Faith

Classic CJG Review: 'Carrie' (1976)

Brian De Palma's seminal masterpiece about an Ugly Duckling who turned her senior prom into a living nightmare!

"Witch! That's Satan's power!"

"It's got nothin' to do with Satan, Mama. It's me - me! If I concentrate hard enough, I can move things!"

Sissy Spacek and Piper Laurie as Carrie and Margaret White.

Hello and welcome one and all!

This is the one. The movie that made me love horror movies! The movie that became the template for all others. Sure, Alfred Hitchcock gave us the brilliant oft-imitated "Psycho". Roman Polanski made us scared of pregnancy with "Rosemary's Baby", William Friedkin gave us the head-spinning, pea-soup-vomiting, crucifix-carrying classic, "The Exorcist" and John Carpenter made us dread October 31st with his iconic killer masterpiece, "Halloween".

But, director Brian De Palma did the unthinkable. Turning a popular Stephen King novel and turning it into something more profound and deeper than initially created. A mistreated misfit teenage girl who only wanted love and acceptance only to be pushed beyond the brink after a horrible prank on her senior prom after being crowned Prom Queen causes her to have a meltdown of cataclysmic proportions - oh yeah, she had the power of telekinesis which would cause that rite of passage/descent into horror to be indelibly etched into the minds of movie-goers for years to come; including this one.

I was only 12 years old when it was shown on a local syndicated television network. I was already familiar with Sissy Spacek's work and of course, John Travolta had been a mainstay on TV shows/movies like "Welcome Back, Kotter", "Saturday Night Fever", "Grease", and I was actually aware of his 1981 film with De Palma called "Blow Out", in which he reteamed with his "Carrie" co-star Nancy Allen. The film was heavily edited for television, but the story intrigued me. Having been a victim of bullying and of abuse via religion, somehow the story spoke volumes to me. 

The most terrifying character as it were, would be Margaret White, played memorably by the iconic Piper Laurie, who plays the character so matter-of-factly, that it left many a shudder in me. She played Carrie White's criminally-insane, Fundamentalist Christian mother who barricades her daughter in a closet, forcing her to pray to a wax figure of a bleeding Jesus (actual fact, it was a statuette of St. Sebastian) and to swear off socializing at school fearing it would lead to sex. What makes this woman an absolute monster is that all of her misguided Christian-oppression disguised as motherly love is a very blatant form of child abuse. It never underlies this fact, but Laurie, under De Palma's brilliant direction, gives a pull-out-all-the-stops performance that makes the character far too human than we really want. The Oscar-nominated performance after a 16-year absence, would cement her in the annals of horror movie-dom as the always scary stand-by: The Mother from Hell.

The plot as best as I can describe it. Sissy Spacek (an Oscar-nominee herself in this) is Ugly Duckling high school senior, Carrie White. A bullied misfit who has just had her first-ever period. It's here that her telekinetic powers manifest. She's afraid of the extent of them, but trains her herself to control them. After a shower room tampon-pelting incident, two girls are about to decide Carrie's fate. Sue Snell (Amy Irving in her film debut) is the repentant good popular girl who is genuinely sorry for abusing Carrie for something she was clearly ignorant about. How to make amends? She gives up her high school prom date; her popular jock boyfriend Tommy Ross (William Katt, also debuting) in order to integrate her into the student body.

The opposing force? Chris Hargensen (Nancy Allen, also a debut and who would star in De Palma's two seminal thrillers: "Dressed to Kill" (1980) and "Blow Out" (1981); and was briefly married to him as well), who just outright hates Carrie. Reasons we don't know why, but let's assume that maybe Carrie is the better human being in the whole school? She learns of the prom-date-torch-passing and vows to make Carrie pay for just being her....by killing a live pig, draining its blood into a bucket; hiding under the stage with a rope tying the bucket to the rafters and waiting for the right moment to tip it over, Her dim-witted boyfriend Billy Nolan (John Travolta in an early film role) assists and allows Chris to rig the prom so that both Carrie and Tommy are voted King and Queen of the Prom. It's a fun night at first, with even Carrie's protective gym teacher (Betty Buckley) giving them her blessing. But, as the names are announced, we get the slow-motion treatment of the happy couple (with even Sue happily bearing witness, until she begins to notice the rope). We sense the impending disaster and when the bucket finally tips over...

***SPOILER ALERT (Eh...you know what? Why bother?)***

For a 41-year-old horror film, we should know what happens by now. It had a 1999 sequel, "The Rage: Carrie 2" and a 2002 remake and a 2013 reboot (more on that later). It even had not one, not two - but SEVERAL musical stage versions! The Stephen King story had been translated into many languages, was used in many subplots and even had its classic shock-through-the-throat ending re-imagined by any horror movie director from here to Timbuktu. This film, as the novel, had also raised awareness about high school bullying; which is a major plus - but in turn, has also been heavily banned in many high school libraries due to connections with high school massacres such as Columbine and Virginia Tech among many others. 

In conclusion, the film and story touch an open nerve. A real horror movie can do that. This one does and does it admirably. Horror stories are just an extension of drama and a really great horror story can also have a great impact on its audience. While the opening films mentioned are all brilliant in their own right; THIS film had something those didn't have or have enough of. Pathos. You feel compassion toward the Sissy character (a testament to Spacek's incredible performance), at least, if its something you can relate to. 

Another credit will go to director Brian De Palma, a controversial filmmaker who has opened many a nerve with his brazen, in-your-face style and films as unapologetic as "Sisters", "Phantom of the Paradise", "The Fury", "Dressed to Kill", "Body Double", "The Untouchables", "Mission: Impossible", "Snake Eyes", "Mission to Mars", "Femme Fatale", and "Passion". This, and his wildly controversial film, his 1983 remake of "Scarface", with superstar Al Pacino, were both daring and potent films that dared to cross the line and even have we (the audience) empathize and care about its anti-heroes. One being an abused teenager who descends into tragedy and the other, a drug kingpin who creates, revels and is undone by tragedy.

A true horror classic. One never forgotten by me, and never will.

My Two Cents: Yes, I also made the mistake of seeing the Kimberly Peirce 2013 reboot (remake, re-hash, repeat offender: blah-blah-blah). I will admit I didn't hate it. As I said, the Stephen King story is timeless and was well-planted into the 2010's; but despite Julianne Moore's chilling interpretation of Margaret White and a solid turn by Judy Greer as the sympathetic gym teacher, Ms. Desjardin (n.e. Betty Buckley's Miss Collins in the 1976 film); I found Chloë Grace Moretz woefully miscast in the title role. Yes, she's a terrific actress and has given many memorable performances, such as "Let Me In" (2010) and "Hugo" (2011), but I felt was too pretty for the role. She was serviceable, but never surpassed the brilliant Sissy Spacek performance. 

I've said it before, I'll say it again. There's NEVER a substitute for the original. 

The 1976 Trailer

My Two Cents: Number One on Billboard Exactly 40 Years Ago. "You Light Up My Life" - Debby Boone (1977)

Hello one and all.

I was a mere boy of 5 years when this artist scored her one and only number one smash: "You Light Up My Life". A song that stayed atop the Billboard Hot 100 for ten consecutive weeks and became the decade's most successful bestselling record. The daughter of 1950s superstar Pat Boone savored success with the song, winning that year's Grammy for Best New Artist and the Joseph Brooks composition winning the Oscar for Best Original Song for his 1977 film that he also wrote and directed. The film, which starred Grease's Didi Conn, had a soundtrack version recorded by the late Kvitka Cisyk that was lip-synched by Conn in the film. Boone's version may have been the most successful song of the 1970's, but it also became the most polarized and later scorned and despised. Boone herself admitted that she's been on the fence regarding the song and its success. It was also the subject of how massive success could lead to enormous failure as Brooks himself became the subject of accusations by many actresses who claimed he had raped them on a casting couch, As he awaited sentencing, Brooks committed suicide in 2011.

Behind this hit was Crystal Gayle's country/pop crossover hit: "Don't It Make My Brown Eyes Blue". Loretta Lynn's sister would peak at number two with this song. Behind her was the Brothers Gibb a.k.a. The Bee Gees with their first release from the now iconic soundtrack "Saturday Night Fever": "How Deep Is Your Love" which would peak at number one at the very last week of 1977, knocking Boone's megasmash off the top. The superband Chicago would continue their hot streak with their ballad, "Baby, What a Big Surprise", which peaked at number 4. Finally, Linda Ronstadt took Roy Orbison's 1963 hit: "Blue Bayou" to number 3, weeks later.

Until next time.

The 1977 Video

My Two Cents: Number One This Week In 1987 "Heaven Is a Place On Earth" - Belinda Carlisle

On December 5, 1987; 30 years ago, this former Go-Go from Hollywood, scored her first number one pop smash with this pop/rocker that had a dash of mild spirituality in its lyrical content. It was her first,a nd only number one smash after she left the all-female group she fronted for a solo career that began in 1986 when she debuted with her number three hit: "Mad About You".

It would be the charttopper right behind the "Dirty Dancing" theme, "(I've Had) The Time of My Life", by Righteous Brother Bill Medley duetting with 70's pop singer Jennifer Warnes. Former "Wham!-er" George Michael was savoring solo success with his first solo album: "Faith" with its lead-off single already poised for the pole position. Sadly, at age 53 on Christmas Day last year, he passed away from myocarditis. Chicago-born and bred pop/rock songwriter/singer Richard Marx had his second top-10 smash with "Should've Known Better". Finally, the UK metal band almost hit the pole position with their second top-10 smash hit: "Is This Love", their followup to their number one debut: "Here I Go Again".

*Source: Billboard Hot 100 - December 5, 1987

The Video

Courtesy of MCA Records.

My Two Cents: Annie (2014)

Dir. Will Gluck

Cast:

Quvenzhané Wallis
Jamie Foxx
Rose Byrne
Bobby Cannavale
Cameron Diaz
Adewale Akinnuoye-Agbaje
David Zayas

As a fan of the 1982 film adaptation of the uber popular Broadway stage hit based on Harold Grey's "Little Orphan Annie" comic strip, gets a punched-up, hip-hoppified reboot courtesy of executive producers Shawn "Jay-Z" Carter and Will Smith and company. Does it make it any better? No. It wasn't such a groundbreaking story to begin with. I did enjoy the Carol Burnett performance as the shrewd and bitter drunk Miss Hannigan; the manager of the orphanage that begat the Aileen Quinn-starring original. Also, Quinn seemed apropos for the part. She also gave a stirring rendition of "Tomorrow" that I always enjoyed from the soundtrack I had bought at the time of its release.

Now, for my take on the 2014 version. Quvenzhané Wallis, who was Oscar-nominated for 2010's "Beasts of The Southern Wild" and holds the record as being the youngest nominee of all time, acquits herself nicely as the new Annie, a plucky NYC foster child who is able to see the good in the world's most jaded city. Even her foster mother (or madam, perhaps - Cameron Diaz in a role that may have kept her out of movie roles for quite an eternity) tries to hate the shit out of her, but finds herself having too soft a spot for her in the end.

By now, unless you've lived in a bomb shelter for the better part of 40 years, you know that Annie (Wallis) will be a political pawn for a billionaire cell phone mogul who's running for NYC mayor (Jamie Foxx who's renamed Will Stacks instead of Oliver "Daddy" Warbucks) whose annoying quirks and need for "space" are the obvious tell-tale signs that the filmmakers won't upset the formula. As for the musical dance numbers, they have the charm of a viral Youtube Nicki Minaj video (PG-rated, of course) on autotune. At least, the John Huston-directed 1982 version, that despite being polarized and still pretty maligned had the benefit of some very splashy choreography and the star-wattage of Carol Burnett as the cruel Hannigan, Ann Reinking as the resourceful Grace Farrell; Warbucks' secretary and Tim Curry as the nefarious villain Rooster Hannigan.


Is the remake a total dog? Not really. Wallis is so charming and likable that she allows me to overlook all of the film's fatal flaws. Rose Byrne adds sweetness to the new Grace Farrell and the foster kids' rendition of "Hard Knock Life" put a smile to my face as I watched it and Foxx and Wallis shared a nice musical number in a helicopter over Ellis Island. More moments like this one and "Annie" 2014 might've made the grade. Still, Diaz's overwrought performance of Miss Hannigan may be the reason why she hasn't graced us movie-wise in three years. Here's hoping to Almighty God that there's no sequel....with or without her.

Movie Review: mother! 2017

Darren Aronofsky's latest is scary indeed - but for all the wrong reasons!

I will extend congratulations to director Darren Aronofsky for making the most polarizing horror film of the year and perhaps, even the decade. I admit I had absolutely no idea what I was in for when I went to see this film. Aronofsky's current girlfriend, Jennifer Lawrence stars in it. That should account for something. Spanish actor Javier Bardem has always given knockout performances; so there was no reason to worry. Veteran stars Ed Harris and Michelle Pfeiffer were also in the cast, so I had no reason to assume the talent wasn't up to par. And Aronofsky had earned my respect years ago when his first film, "π" was released in 1998. Shot in grainy black & white and disturbing from start to finish; it signaled Aronofsky's arrival. He went on to bigger and better things, such as "Requiem for a Dream" (2000), "The Fountain" (2006), "The Wrestler" (2008), "Black Swan" (2010) and "Noah" (2014). So, what could possibly go wrong with is one. In a word? Lots!

The film is exactly two hours long. That would seem indeed the apropo time for a horror film. The set up is intruiging enough. The characters have no names; (I checked two sources and the characters' names are mother and Him). Lawrence portrays Mother and Bardem is Him. They're a seemingly loving married couple living in a remote farmhouse in an undisclosed town. He's a poet who keeps a very secret, ornate bauble in his observatory. Him (he) seems to have writer's block. His wife (mother) is fixing the house after being burned down in a fire. She is seemingly quiet and introspective. Suddenly, a knock at the door and arrives a stranger. His 'name' is man (lower case) and is played by Ed Harris. His wife (woman) arrives shortly; she's played by Michelle Pfeiffer in one of her patented 'ice queen' roles. Him has absolutely no problem being generous of spirit and letting them stay. Not so much, mother. She's curious, yet nervous. Who are they and what do they want? She questions why her husband is being so open to these people without her consent - but, says absolutely nothing.

Mother's senses are in complete overdrive. Him happily entertains them, but Woman quickly latches her claws onto Mother. She taunts her cruelly about not having children. Woman is abrasive and disrespectful to Mother. It's soon clear that both Man and Woman are fans of Him and want all His attention deviated away from Mother. There are also some tell-tale signs that they seek Him out for reasons that border on...Biblical. Are you lost, yet? That's okay. I was too.

Man (Harris) seems to have a form of lung cancer, though he smokes regularly. He has a scar from his lower rib. Woman, his wife, almost spitefully destroys the secret crystal bauble Him has in his observatory. Then, worsening the situation, their sons; Eldest Son (Domhnall Gleeson) and Younger Brother (Brian Gleeson; both are indeed sons of Irish actor Brendan Gleeson) show up unexpectedly and viciously argue about the parents' will. One thing leads to another and Younger Brother is killed by Eldest Son. Are you with me so far? (Rib, Sin, Brother kills brother etc. etc.)

Uninvited guests are now popping up for an unscheduled wake. Poor Mother is desperate to get her life back to normal, which Him refuses to do on account that He is now enjoying some much needed adullation. Arguing ensues as the discussion of having a baby leads to coitus and yep - she becomes pregnant. Happily ever after? This IS a Darren Aronofsky film, need I remind you. Not even Natalie Portman in "Black Swan" was due for a happy ending.

I will leave it right there. The clues are tantamount. This is NOT "Rosemary's Baby", despite Aronofsky clearly, even gleefully, mimicking that film's every plot nuance. Lawrence (Mother) herself seems to be channeling both Mia Farrow from that iconic Roman Polanski film as well as Sissy Spacek from "Carrie". Hell, Aronofsky even joyfully rips the bucket-of-blood motif from that film. Bardem is easily the John Cassavetes of the film, with a small dash of Jack Nicholson in "The Shining". The fact that Mother (no real human name) is strangely passive-aggressive, until it truly begins to affect her; Him is adamant about letting strangers into their home and letting them throw their lives into upheaval; having no ability to write until she is pregnant and finally, upon the birth of the child, Him is willing to sacrifice it like a deity would to a mob of fanatics, much like the story of Isaac and Jacob, or....

Seriously, NOW do you get it?

Okay, taking now a step back and giving my two cents. Aronofsky and company are indeed making a statement, and in no way, underlying it. Subtlety is NOT Aronofsky's strong suit. This is a full-throttle horror film with blatant anti-Christian allegory and giving fair warning, will illicit strong, even violent reactions. Much like William Friedkin's 1973 masterpiece, "The Exorcist" or even Roman Polanski's seminal 1968 classic, "Rosemary's Baby", it defies, dares. assaults, and even outright blasphemes without any thought for the audience. I'd like to believe that is (and can) be a good thing. Horror and religion are often bizarre narrative bedfellows, but when they're done well, they provoke thought and can shock us legitimately, but all the while, still playing fair with its audience's sensibilities. This one, does not. It just goes after its audience like a voracious and angry pit bull to the face.

I'm afraid, "mother!" (exclamation point required) has about the subtlety of a chainsaw to the nether regions. I have always admired Aronofsky and yes, it will not deter me from seeing his next film, whenever that may be. Lawrence, Bardem and the rest of the cast are all superb and do the job required of them, which is to go so over the top until they've rocketed past the ceiling. The film is NOT a bad per se, but I simply cannot go on record to recommend this film. Yes, if you see it, you've been aptly warned. Me? I value the one thing I can truly call mine. My sanity.

Review: 'Justice League' (2017)

A lot of hype for this new (or perhaps recycled) DC Comics superhero-crossover epic - but, is it worth it?

Okay, as an amateur movie critic, I'm not super well-versed on the burgeoning and ever-endless growing comic-book-franchises that are popping up like weeds in the desert. I do find that both the powerhouse comic book forces, DC Comics and Marvel Studios are in some sort of battle royale to get their respective movie superheroes into multiplexes as fast as you can chug a 2-liter soda bottle in three to five seconds. I haven't seen "Thor: Ragnarok" yet and I'm reserving judgement for when I do see it, but if and when I do, I won't be drawing parallels between the DC Extended Universe and the Marvel Universe. Nope - thankfully, "Justice League" will do all that for me. Yes, there'll be a breach of movie etiquette of comparing crosshatching dueling comic book movie franchises. The question will be, did I enjoy it and do I recommend it? The answer may surprise you.

The film opens as I kind of expected. In true comic movie fashion, we get a wink-and-a-nod to the Tim Burton 1989 blockbuster with Ben Affleck as Batman duking it out with a perp atop city rooftops until he gets interrupted by some alien-bug creature who gives him a clue as to who the greater enemy is. Then, it's an altern-rock montage with the recurring theme of Superman's death, that was apparently caused by Batman in "Batman v. Superman: Dawn of Justice" (and even a nod to the late rock icons Prince and David Bowie wasn't lost on me). Then, we get the DC Comics icebreaker standby: the bank robbery with a shitload of hostages; wink-wink-and-a-nod-nod to "The Dark Knight". We get Gal Gadot's Wonder Woman/Diana Prince doing her thing with the Lasso of Truth and then, pseudo-bragging about her boring existence. We then, meet Arthur Curry (Jason Momoa), a barfly/mystery man, whom we learn is a very cool and coy merman who is quite adept at communicating with marine life: hence, we know he's Aquaman. There's fidgety and nervous (not to mention annoyingly talkative) teenager Barry Allen (Ezra Miller) who is as quick as (ahem) lightning, but has too many quirks to rival Norman Bates without the sick Oedipal-psychological tendencies. He's the Flash. If there's a clever and interesting back story among the growing superhero brood; it's high school football wunderkind-turned-death victim-turned....Cyborg. (Ray Fisher who you can sort of call a tragic version of the 'other' iron-clad hero who bears strong resemblance to Robert Downey Jr.) Of course, the other iconic superhero who lost his life in the 2016 sequel to "Man of Steel", played by Henry Cavill in those previous films, is, spoiler alert; expected to pull off a Lazarus comeback this time around. Will he do it convincingly? Will we even care?

Here's the story gist. Like a certain 2012 Marvel Enterprises inception film that introduced us to a motley crew of superheroes, a somewhat Loki-like villain without the coy sense of humor and also NOT a human being (a pure CGI effect from start to finish), but voiced with relish by Irish actor Ciarán Hinds, is hellbent on destroying  Earth with an alien power device called the Mother Box which if you ask me, bears a striking resemblance to what destroyed New York City in that 'other' movie - The Tesseract. Apparently, the freaky evil dressed-as-a-black-devil alien baddie (in a costume that also appears in that 'other' 2017 Marvel superhero movie with Chris Hemsworth worn by an Oscar-winning Austrailan actress...) is clearly wanting to bring the flying monkeys (or flies) to our universe to destroy us and that damn Tesseract-oh, sorry, Mother Box is the equivalent of a chrome briefcase carrying nuclear launch codes ready to annihilate us to smithereens! It's at this point, Bruce Wayne/Batman feels the need to right his wrong (uh, now when its reaaaaally pertinent) and try a clever method to "Frankenstein" Clark Kent/Superman back to life. Does it work? Should we care?

Okay, here's the deal. "Justice League" despite all its flaws and my countless quibbles, was a thoroughly pleasant surprise. I did enjoy it tremendously as I did that 2012 'other' movie, even though its like comparing crisp apples to tangy oranges. Zack Snyder who helmed this, "Batman v. Superman: Dawn of Justice" and "Man of Steel" as well as "300", "Watchmen", "Sucker Punch" and "Dawn of the Dead" is a clear master at creating an almost surreal comic-book-graphic-novel universe in all of his films. Here it's no exception, but this time, he allows us in and lets us care at least a little about each of the heroes in the story. For those who don't know, director Snyder pulled out of the film when his daughter died this year. The director of that 'other' film, Joss Whedon (oh, hell, he made "The Avengers") stepped in to complete the film and its script; perhaps reasoning to me why both films bear such striking resemblance. Both films feature a tight, well-chosen cast and each given some fair screen time and are aided by a killer supporting cast including Diane Lane, Amy Adams, J.K. Simmons, and Jeremy Irons.

I suppose we may never get the perfect comic book movie entertainment in 2017 or any future year; though admittedly "Wonder Woman" with Gadot this year, came close enough. It was nice seeing Marc McLure, the original Jimmy Olsen from the 1978 Richard Donner masterpiece "Superman" makes a fun cameo as a security guard. Billy Crudup from Snyder's "Watchmen" makes an effective cameo as the Flash's father. However, it's a funny kick to see Simmons as the new Commissioner Gordon. I mean, does anyone remember he was newspaper mogul J. Jonah Jameson in the original Marvel "Spider-Man" trilogy?


In wrapping, despite my impatience with comic book movies borrowing, riffing and outright stealing from each other, "Justice League" is still a fun time at the movies. I will be looking forward to seeing Jason Momoa don those aqua-green contacts for his new "Aquaman" movie next December 2018. Don't let the complaints fool you. This is 2017. Expectations must be painfully lowered these days.

The 'List: David Cassidy (The Partridge Family) R.I.P.

A belated tribute to one of the biggest talents of the 1970s who redefined the term: "the teen heartthrob".

Hello one and all:

Just two days before Thanksgiving, another iconic music star left our world at the age of 67, the exact same age as Tom Petty. David Bruce Cassidy, the one-time star of the hit 1970s music sitcom: "The Partridge Family" and who carved out an extensive career in television and music, died this past Tuesday of liver failure.

He was born into show business as his father was singer, actor and stage star Jack Cassidy who was married to his on-screen mother, the legendary Shirley Jones, who was his actual stepmother in real life. The surprise was learning that like me, he was born in New York City, not Southern California.

He was an instant star on the show "The Partridge Family" as both he and Jones were the only ones actually singing as the others lipsynched and mimed playing the instruments. The show was intended as a comedic, fictional look at a family rock n' roll band modeled after the popular 1960s band, the Cowsills. But, Cassidy was the one many tuned in to watch. With his long, flowing chestnut hair, hazel eyes and his cream-sounding voice made him a teen heartthrob whose face was all over many "16" and "Tiger Beat" magazines in the early 70s. His life, post the show, was a rollercoaster of ups and downs as he would experience everything from "has-been" status to substance abuse issues, to even financial issues and despite still performing, would also include health issues including dementia. He was also half-brother to another teen heartthrob, Shirley's son from her marriage to Jack Cassidy: Shaun Cassidy, who would star in the popular teen detective series, "The Hardy Boys and Nancy Drew Mysteries" and would score a number one smash with his cover of the Crystals' 1963 hit: "Da Doo Ron Ron" in 1977.

One of my earliest memories in my early 80s youth was watching "The Partridge Family" and actually enjoying it, mainly over the fact that unlike my family, they functioned like a caring, loving family and of course, the interesting fact was that they did it (like myself) without the benefit of a father figure. It was years later that I took the time to listen to their actual music. Cassidy's voice and charm exuded easily on the few tracks that I liked. I found it sad that like many music icons in our time, their lives were cut short all too soon. Still, we always have their music and in Cassidy's case, old episodes of "The Partridge Family", of which I am now watching on Amazon.

Here's a short list of the few faves I'll remember David Cassidy by.


Cherry Picks.

5. "I Woke Up In Love This Morning" (1971)

https://www.youtube.com/watch?v=pfXpHPq9X1o

One of the Partridge's signature hits that made it to radio and cemented both the group's and the show's popularity. It's pure bubblegum pop with Cassidy giving his most assured, vocal performance in a song what was only under three-minutes. The song appeared in the second season debut episode: "Dora, Dora, Dora" where it was performed at a military base.

4. "Come On Get Happy: The Theme to The Partridge Family" (1971)

https://www.youtube.com/watch?v=NvgzNEPhYQA

The iconic second season theme is the most memorable as the classic harpsichord opening is the most prevalent hook. Then, Cassidy with his backup singers do their thing. It was a vast improvement over the first season theme song which had the exact same melody, but was lyrically different. "Hear Us Singin'" was its original title; but this is the theme that will always burn in our brains and hearts.

3. "Cherish" (1971)

https://www.youtube.com/watch?v=Ez-c6aAOt50

Cassidy could do no wrong as he would do a solo cover song of The Association's 1966 classic hit. Sure, apples and oranges here; but Cassidy's earnest vocals and delivery still resonate. He took it into the Billboard top 10 in 1971.

2. "I Write The Songs" (1975)

https://www.youtube.com/watch?v=a_6cwUso8CA

Although the 1976 Barry Manilow classic number one smash is the one widely known to the masses, Cassidy's rendition is also just as stirring and powerful as evidenced in this video clip from 1975. His vocal delivery sells the song just as Manilow's did back in the same year this was released. Interesting fact, it was written by Beach Boy, Brian Johnston who won the Grammy for Song of the Year in 1976 with the Manilow version. It's still a testament to the power of the song's theme of music that another artist could still give us a potent and powerful performance with the same song.

Finally...

1. "I Think I Love You" (1970)

https://www.youtube.com/watch?v=bb4FMn-IWEY

Already widely considered by many as the group's signature song and the only known number one song by a "fictitious" family. The "Ba-ba-baah's" are the first thing that gets our finger's snapping. Cassidy's vocals provide the foundation, leading up to the chorus crescendo. It's the one song known to all of us. The most interesting fact was the song was played mostly in its entirety in an episode where the "family" was booked a gig at a feminist rally set up by Keith Partridge's (Cassidy's character) on-screen girlfriend; a testament to how dated the show is as it dealt with then-issues such as the Vietnam War and the Women's liberation movement. Although...a hilarious prologue involving a skunk and the family dog gave us a preview of the song in one episode. It's the one song that is always a staple in ny 1970s 'list...and always will be.

Thank you, Mr. Cassidy...wherever you are. Rest in peace.