Turn The Other Cheek to "Vigilante."

The 1983 film, “Vigilante” is exactly what you might expect with that title. Robert Forster plays Eddie Marino, a man whose wife and child are killed by a gang of street thugs. A group of citizens who are sick and tired of street violence and police indifference to said violence acts alone in cleaning the streets. This group is led by the great Fred Williamson, a veteran of many exploitation films, including several of the Italian variety, including the awesome, “1990: The Bronx Warriors.” After the man accused of killing Eddie Marino’s wife and child is sentenced to a mere two years in prison, Marino expresses his frustration about the justice system in the courtroom and is convicted to one month in prison for his outburst. During his one month in prison, Marino gets roughed up and is befriended by a fellow prisoner played by the older, but still physically impressive Rake (Woody Strode). One of the coolest scenes in the film involves Rake, so watch out for it. After Marino is released from prison, he is ready,with the help of Nick (Fred Williamson) and his group to kick some ass. If you go into this film ready to watch some ass-kicking, you will be pleased with the result, however, to my surprise, there was not as much ass-kicking as I thought there might be. The film is a bit more subdued than I thought. This works to the film’s advantage as it does not focus on the violence, either of the gang members/thugs or of the vigilante group. The story focuses more on what was perceived at the time as indifference and inaction of big city police departments to respond to violent crime. The inaction of the police in the film is the catalyst for all of the unfortunate things that happen to Marino’s family.

I liked Robert Forster’s quiet, subdued performance as Marino. I also enjoyed Fred Williamson’s performance as the no-nonsense leader of the citizen vigilante group who helps Forster enact his revenge. “Vigilante” is a very straight-forward film. It does not waste time with any extraneous elements. There are no subplots involving a love triangle, a romantic backstory, or anything else that would derail the action. One does not usually begin watching the dvd of such films wanting to be embroiled in a tired story of failed romance. One thing “Vigilante” does well, however, it was probably not by design, though it may have been, was to make the audience understand the gravity of what has happened to Marino’s family without beating the audience over the head with extra scenes of the family having a great time or showing how cutesy the child is at being cute. These kinds of scenes are usually unnecessary and are often present in weak scripts. The audience does not need to be reminded of the cuteness of the child to be enraged at the fact that street vermin has committed murder. There is one scene that introduces Marino and his wife and child to the audience. They are at a park playing. They are having fun and Marino loves his wife. The scene is brief and the point is made. That is all that is needed. The poster for "Vigilante" is a tad misleading, as it leads one to believe that the focus of the film is a street gang. This is not the case. The focus of the film, as you have, by now, gathered, is the story of Eddie Marino and his desire for justice. I am not a big revenge movie fan, however, when made well, such as is the case with “Vigilante,” they can be quite rousing. Another revenge film which is very exciting is the recent Liam Neeson film, “Taken.” “Taken” is fantastic and never stops for any superfluous bullshit. Nor does “Vigilante.” William Lustig (“Maniac,” “Maniac Cop”) directs “Vigilante” with fast-moving precision, while, in the quick pace of the film, allows for the story to unfold coherently and allows for sympathy to be gained for the character of Marino. Seek out the dvd of “Vigilante” and turn both cheeks towards it.

A Fine Cast in Dark Shadows

The best part of Tim Burton’s “Dark Shadows” is the performance of Johnny Depp as Barnabas Collins, a member of the Collins family of Maine who is awakened after lying in a coffin, imprisoned, for 196 years until a “yellow dragon” awakens him from his slumber. I have never seen an episode of the 1968-72 television series upon which this film is based. I consider that a good thing so I could go into the film fresh without any expectations. I did know the film was going to be a comedy. The trailers for the film allow for no mistake to be made in that regard.

I was pleasantly surprised at how much I enjoyed “Dark Shadows.” Now, I do not think it is a great film, however, it is a good, surprisingly subdued film. I am not a huge Tim Burton fan, so I was a bit hesitant to see this film. I am glad I did, as I enjoyed a fantastic performance by Johnny Depp. He is not as overbearingly over-the-top as he was in “Pirates of the Caribbean.” The best thing about Depp’s performance in “Dark Shadows” is that his portrayal of Collins is not one of bumbling stupidity or the typical “fish out of water” scenario. Collins, who emerges in 1972 from his imprisonment, though thrown into a completely different time period from what he knew, is able to quickly adjust to his new surroundings and lead the Collins family towards regaining their once proud name. In fact, once adjusting to his new life, Barnabas Collins’ focus is on reclaiming the town of Collinwood as his family’s own. He does this not for personal gain, but for family pride. This is a very wise choice by the screenwriter. There are plenty of opportunities for goofiness, stupidity, and other unnecessary tomfoolery, however, thankfully, the film, only briefly on one occasion strays into such territory. You will know that occasion when you hear the Barry White song. That is a goofy, but thankfully, brief scene. The rest of the cast is fine supporting Depp. Michelle Pfeiffer, is always pleasant to see…and is still pleasant to look at, I do not mind saying. Pfeiffer plays Elizabeth Collins Stoddard, a how ever many great-greats, relative of Barnabas Collins. She lives in the run-down, but still ornate, Collins mansion with her husband, Roger (Jonny Lee Miller), their daughter, Carolyn (Chloe Grace Moritz), and their son David (Gulliver McGrath). Also living in the house are caretaker of the mansion, Willie Loomis (the great Jackie Earle Haley), and Dr. Julia Hoffman (Helena Bonham Carter). Dr. Hoffman has been employed to treat David, who is thought to have some psychological dysfunction. “Dark Shadows” is a pleasant film, mostly thanks to Johnny Depp’s excellent performance. Again, there are few bumps in the road as far as the screenplay goes. The played for laughs romantic scene between Barnabas and business competitor, Angelique Brouchard (Eva Green), is a bit cringe-inducing as the good, but overused “You’re The First, The Last, My Everything” by Barry White plays on the soundtrack. We find out at the beginning of the film that Angelique is the woman who cursed Barnabas Collins to a life of imprisonment, the imprisonment from which he escapes thanks to the earlier referenced “yellow dragon.” The best part of the film is the frequent usage by Barnabas Collins of the old English used in the 1700’s. It is a typical trope used in films involving a character who has emerged in modern times. In “Dark Shadows,” this type of dialogue is fresh and Depp’s delivery of this dialogue is perfect. This dialogue of which I speak is a character in the film. As music can be sometimes a character in a film, the old English dialogue spoken by Barnabas in “Dark Shadows” is also a character, and a good one. Every time Depp’s Barnabas Collins appeared on screen I was happy. This is a very complimentary thing to say about an actor’s performance. The film took a tad too long to wrap up, as is a trend in big-budget Hollywood films these days. The finale of the film is heavily CGI-laden and my mind numbs at such heavy usage of CGI. Despite that, however, I recommend Tim Burton’s “Dark Shadows,” for Johnny Depp’s wonderful performance and his dialogue delivery. Anyone who fancies themselves a lover of language will likely enjoy the film for his line reading. Go forth into the dark shadows and see it or the yellow dragon will swallow you whole.

Let in Visitor Q

Takashi Miike’s 2001 film “Visitor Q” is what many people would consider a difficult and uncomfortable film to watch, however, I welcome such films. Films such as “Visitor Q” challenge the audience to shun the conformity found in most Hollywood films. Strange people such as myself gravitate towards films like this, not because of the content or what the film may be about, but rather, because we know we are in for a different film experience from what is common. Let me stress that though “Visitor Q” would be considered an extreme film with scenes that would shock many, it is not because of such scenes that I appreciate such films. Take a film like David Mamet’s “Oleanna.” Just take it. There you go. Trust me, it is great! Another film that is not shocking or disturbing, but is unique is “The Music of Chance.” It does not follow the normal conventions of filmmaking, yet it manages to tell a concise, coherent story through the usage of a great script and wonderful performances.

Films that are unique and offer the audience something different are the kinds of films to which I gravitate, it does not matter to me what genre a particular film falls into. “Jim, the World’s Greatest” is a normal film about a young adult which does not pander to the audience. It does not treat the audience as simpletons who need to see stuff get exploded or see kids throwing up on an out of control Ferris wheel. The unique films of which I write are oftentimes very smart films as well. “Visitor Q” offers up the story, which we learn throughout the course of the film, of a young man who ends up staying at the home of a man, his wife, and their son. Nobody knows exactly who this young man is or what he wants. He just is there. This may sound familiar, as the 2010 film “Hesher,” follows a similar premise. This is the only similarity between the two films. “Hesher” is a great film, but it does not go to the bizarre lengths that one finds in “Visitor Q.” I do not want to give too much away, as “Visitor Q” can be obtained from Netflix and many of the strange elements of the film are key ingredients of the story. Basically, through a series of strange events, which are graphically depicted in the film, a family goes from very dysfunctional to a more nurturing, caring family. It is like “Hesher,” but a lot more extreme, graphic, scattological, and not lactose-intolerant. Miike’s film does appear to have a point as you may understand once it concludes. I believe I understood the point of the film. This strange man, known only as the visitor (Kazushi Watanabe) ends up in a family’s home, witnesses and does some bizarre things, and in the end, somehow assists the family into a better life for themselves. Explaining better than that would begin to give too much away and I prefer not to do that should anyone reading this may seek out this film. The only other Takashi Miike film I have seen is the 1999 film, “Audition.” “Visitor Q” is stranger than “Audition,” so if that was too much for you to take, you may want to skip “Visitor Q.” However, if you enjoy challenging films that are not afraid to be graphic, while still able to tell an interesting story and not just being gross for the sake of being gross, then queue up “Visitor Q.” Let him stay for awhile. If you don’t like him, you can always kick him out. He will not say much about it.

What's the Deal With Phacoemulsification?

Everyone wants to know more about phacoemulsification. Here is a great video that explains this procedure to remove cataracts from the eye. If you do try this at home, make sure you have plenty of gauze, baked ham, and cherry Jello.

Don Coscarelli's Best and Most Unknown Film

Here begins a review of a film which is very difficult to find anywhere. As far as I know, it has never been released on dvd or vhs and has rarely been shown on television. Netflix, Amazon, and Hulu do not have it available for instant streaming. You can’t even watch it in 10 ten-minute segments on You Tube. The film of which I am speaking, or, in this case, writing, is “Jim, the World’s Greatest,” director Don Coscarelli’s first film. “Jim, the World’s Greatest” was made and, I guess, released somewhere in 1975. It states itself as a Universal release in the credits, however, I do not know if it ever was released in theaters. Since I did not know, I sent a Facebook message to Don Coscarelli. He responded and stated that it was released in a few test markets, but was never released in a wide release around the country. Coscarelli said that he thought there were several great performances in the film, especially that of Angus Scrimm (who is listed as Rory Guy in the opening credits). Coscarelli does not know of any future dvd release of the film. How about that for making it sound like I interviewed Don Coscarelli? I should have asked him more questions, but I did not want to take up too much of his time. Perhaps, though, if he would have known that the questions were for the internationally known and admired blog, “Epistemology Tonight,” he would have welcomed any further questions. Perhaps I will pursue it in the future. I agree with Mr. Coscarelli’s assessment that there were many excellent performances in “Jim, the World’s Greatest.” The film is about a high school student named Jim Nolan (Gregory Harrison)who has a younger brother named Kelly (Robbie Wolcott). If you recognize Gregory Harrison in the film, you will probably recognize him from the 1979-86 tv show, “Trapper John M.D,” on which he played Dr. Gonzo Gates, the doctor who lived, by choice, in a trailer in the hospital parking lot. You may also remember him as Logan on the very short-lived 1977 tv series, “Logan’s Run,” which was based on the 1976 film. You may even know him from the 1985 Australian film, “Razorback,” which has nothing to do with the University of Arkansas. Jim and Kelly live with their alcoholic father, played wonderfully by Angus Scrimm. You may know Scrimm as “The Tall Man” in the four “Phantasm” films. He never speaks in the Phantasm movies, except for his appearance in “Phantasm: Oblivion” (the 4th film), in which he plays two parts. He plays a character named Dr. Jebediah Morningside in “Phantasm: Oblivion” and has the opportunity to speak and deliver a fine performance in that film. During the course of events in “Jim, the World’s Greatest,” we learn that something has happened to turn the father from a great father to Jim to an abusive father towards Kelly. Not only is he physically abusive towards Kelly, but, as referred to before, he has become an alcoholic. It is rare in a film when one can feel sadness towards a character whom you should dislike. You get the sense that the father has undergone quite a bit of pain since the birth of Kelly and Scrimm’s performance is so wonderful, that you feel his sadness. This does not excuse his physical abuse of Kelly, of course, however, the character of the father is so well-written and well-performed, that the undertones of the character are clear and I felt sadness for him. Perhaps it is controversial or unpopular to say that I was moved by the character of an abusive alchoholic. So be it. I was moved. The performance of Robbie Wolcott as the younger brother, Kelly, was also very good. He did not play the character as a goofy little kid and it is to Coscarelli’s credit that he got the most out of the young actor. One of the many wonderful aspects of the film is the love between the two brothers portrayed in the film. Gregory Harrison does a great job of playing a young man who dislikes the father who used to be so loving towards him, but is now abusive towards Kelly. Jim loves his brother very much and is able to successfully juggle his school, job, and football team duties while, at the same time, has time for his little brother. Coscarelli would later write realistic familial relationships into the very good, “Kenny and Company” (which you can find on Netflix and I recommend) and even in the first “Phantasm” film. Yes, even the first “Phantasm” film. Gregory Harrison’s performance was a bit surprising in that all I had seen in were episodes of “Trapper John” and “Logan’s Run.” He is fine on those shows, however, while good and entertaining, these series rarely afforded anyone in the cast with moments that would highlight their acting abilities. Harrison proves to own superb acting skills. After watching this film, I wondered why him and many other actors in Hollywood, who after performing so well in one film, are never offered meatier roles. Most of the reason is typecasting, which is unfortunate. “Jim, the World’s Greatest” is a fantastic film about teenagers and high school/family life. If most films addressing these subjects were as deftly handled as this one, the teenager/high school drama genre would likely be more highly regarded. I do not mean to disparage the brilliance of films like “Screwballs,” “Joysticks,” or “Where the Boys Are ’84.” There is always a place in film history for these films, especially when dvd studios add commentary tracks to what, at that time, were considered to be throwaway T & A movies. Ok…..they are still considered to be throwaway T & A movies, however, they were made in the 80’s and some of the writers and directors of these films are now recorded talking about them on dvd. This is cool, even if some of those movies are lame. “Jim, the World’s Greatest” is a mature, very adult, but not in a dirty way, film. Anybody who sees it will likely be left feeling a variety of emotions upon finishing it. Since it is not available on dvd, if you have any interest in watching “Jim, the World’s Greatest,” perhaps I can meet you somewhere and I can perform for you a one-man show version of this film. My acting range is not terribly vast, however, I would be happy to make a go of it.

New Coming Attractions Blu-Ray on the Way!!

I have enjoyed the coming attraction compilation discs known as "42nd Street Forever." So far, there have been 5 dvd's released in this series. The last three "42nd Street Forever" discs have had fantastic commentary tracks from people knowledgeable about exploitation films of the 1970's and 1980's. On Tuesday, May 8, Synapse DVD will release "42nd Street Forever: the Blu-Ray Edition." I have confirmed via e-mail from a Synapse representative, that this set will feature some trailers from the first two "42nd Street Forever" discs plus some new ones that have not been on any of the previous

five discs. Even better, though, is the fact that this new disc contains a brand new commentary track which will span the entirety of the 225 minute running time!! That is fantastic news which makes the dork in me quite pleased. The commentary track will be conducted by, according to Synapse DVD's website, AVMANIACS.COM's Edwin Samuelson, FANGORIA Magazine's Michael Gingold and TEMPLE OF SCHLOCK's Chris Poggiali. These guys recorded the wonderful commentary tracks for volumes 3 and 4. This should be a very exciting disc which will provide plenty of enjoyment to exploitation movie dorks like myself. It only costs $18.99 on Amazon. Yay!