Once again Father Death is typing away. Boy this fella is getting into more films out here than me. I'm jealous. But then I guess he isn't having to do all these dag dum interviews. Sheesh. Do yall have any idea at all how many reporters are out here? More than that. They are everywhere, from everywhere. I mean I'm sitting here in my room killing time till I can do my interview with the Luftwaffe News Service. I really don't have a clue what will happen next! Anyway Father Death here (who I've met and is 3 times hunkier than Brad Pitt for the same part) is doing a great job. So read on...
Again, more reviews from your loyal fan Father Death...
Well, I gotta agree with you GODS & MONSTERS was great. I would also recommend that the distributor pick it up, since it's worth seeing by the wide audience across the U.S.
Anyway, I'll leave to you to your option on GODS & MONSTERS since I feel exactly the same. It was absolutely stunning, very well-directed and well-acted by the Brit master Ian McKellen as the master of horror James Whale with eccentric appetites. I also loved "Ed Wood" and I really liked the movie so I gave it five rating vote.
Anyhow, on to my two other reviews.
I saw "Life According to Muriel" at Park City Library screening, and it's very good. It's about the mother and her 9-year old daughter Muriel taking the trip away from Buenos Aires when their car accidentally went neutal into the lake, with the only money they had. Dead broke, they went to the nearby hotel that has been burned and asked the houseowner living with her two children for shelter. She denied, but eventually gives in. Later, they helped remodel the hotel and Muriel's long-absent father came along, and Muriel and her mother established the relationship with the father who had abandoned them years earlier. It's a heart-warming movie with good acting and dramatic impact. The only problem is the movie moves in slow pace, resulting in a few audience members dozing off until they were jolted with the next scene's music blasting in their ears. I liked it as well, but not too great.
I also saw "Buffalo 66" at the same screening, which is actually the title explaination of the main character played by The Funeral's Vincent Gallo born in Buffalo in 1966. Of course that's a mini-spoiler but who cares. Vincent appeared with black long coat, glasses, and ruggy bush hair was introduced before the screening, and he cussed while discussing his movie (he said F-word 4 or 5 times) so I knew "Buffalo 66" was gojng to be a huge vulgarfest for the screening audience consisting of older movie lovers and Generation-Xers. Well, "Buffalo 66" is quite an intentive low-budget movie (it was made for $230,000 or so I heard) with quirky 60s camera tricks like multi-screens and small screen moving towards the screen while the background scene remains intact, etc. Vincent Gallo plays Billy who was let out of the state penitentary and he had nowhere to go; he came up with the plan to explain his absence by impulsively kidnapping a young, bleach-blonde girl Layla played by Christina Ricci of "THE ICE STORM" and forced her to pose the accomplice as a wife or something. Billy was reunited with his parents, one of whom was a Buffalo Bills football fan (marvelously played by Ben Gazzara and Anjelica Huston). They would debate over the dinner with speculatur point-of-view perspective, from Billy's to Layla's and vice versa. Billy wanted to accomplish the impossible: to kill the Bills kicker who botched the field goal that ruined his life years ago. That aside, there is a cameo appearance by Mickey Rourke talking with Billy in his past he recalled. Much later, Billy and Layle's relationship has bloomed to a tender friendship and intimacy. (SPOILER) There is VERY surrealistic scene in which Billy kills his target at a nightclub and then himself- bizarre stop motion with camera views revolving around the suspended animated faces and blood spurting from their heads. But then it's all an imagination he thought of. Anyway, in my opinion this is overlong and tedious movie (it does have comedic elements at times) with the mindnumbingly long-ass monologue scenes with Vincent and Christi. I was convinced Vincent had ripped off Tarantino (and perhaps Kubrick) for his obsessive indulging of characters who talks almost ALL THE TIME. Vincent really worked Christi's ass off with the long-ass script rehearsals and virtually no pay scale (Huston and Rourke included) just to lend support to oblige Vincent. Vincent would've outranked Oliver Stone, Kevin Smith, Scorese, Tarantino, and even Abel Ferrera in terms of artistic and creative integrity. I mean, it's distressing when you watch his (pretty depressing) vision with obscure shots and used an expletive per 30 seconds in an average running time of approx. 110 minutes, which is definitely a huge impact, and a huge headache-inducer. I have only one complaint, though: "Buffalo 66" is a mean-spirited downer and Vincent always plays a crazed psycho that the audience wouldn't otherwise perceive, which I know and won't care. Overall this is mediocre unless if you're really intelligent and sensitive enough to glue ass to the seat listening to incredibly long and tedious monologue scenes, which is a real neck-stiffer that needs to be cracked once every minute.
Father Death
