Archives for September 2024

Laemmle Royal Theatre to host 30th anniversary screening of ‘The Last Seduction’ with special guest, director John Dahl

September 27, 2024 by

“Linda Fiorentino [is] the baddest of the bad women, the most full-blown yet utterly believable femme fatale to come along in years.”

— Mick LaSalle, San Francisco Chronicle

Critic Mick LaSalle was writing about “The Last Seduction” (1994, John Dahl) and if you’ve never seen it, you’d better have a damn good reason!

Angelenos can watch this unforgettable neo-noir on the big screen on Tuesday, Oct. 8, at 7 pm, at the Laemmle Royal Theatre in West Los Angeles. Director John Dahl will be the special guest. In honor of the event, part of Laemmle’s Anniversary Classics Series, we’re rerunning our “Last Seduction” review.

The Last Seduction/1994/ITC/110 min.

Years ago, I wrote a weekly column for the Chicago Tribune. I interviewed experts on ways women could work smart and climb the corporate ladder. Most of the time, no matter what the obstacle or dilemma was – job hunting, negotiating a raise, getting a promotion – the bottom line was: do your homework, highlight your achievements and ask for what you want.

In 1994’s “The Last Seduction” by director John Dahl and writer Steve Barancik, Linda Fiorentino as Bridget Gregory takes this advice to dazzling new heights. As the story unfolds, this career maven excels in not just one job, but several. In the opening scene, she’s a supervisor at a telemarketing sales firm in New York City, where she doesn’t ask, she demands. Then she needles her hapless sales guys mercilessly, calling them “maggots, eunuchs and bastards.”

At least they know where they stand. That pat-on-the-back stuff is way overrated.

Later she becomes Director of Lead Generation at an insurance company in a small town in New York state. Under her own steam (at night, of course, this being a noir) she researches prospects for a telemarketing murder business. Hey, it’s not like there isn’t a market.

And she launches an entrepreneurial venture in which she steals a boatload of cash from her husband, malleable Clay (Bill Pullman) and taps loyal-to-a-fault Mike, her lover/investment partner (Peter Berg), to help her. Neither of these dudes is much of a match for her – their chief virtue (besides being good looking) is that they are good at following orders, which is especially true in Mike’s case.

Bill Pullman and Linda Fiorentino play husband and wife.

When one of Mike’s friends asks him: “whadd’ya see in her?” he replies: “a new set of balls.” Her résumé also includes legs that never stop, bedroom eyes and a ready laugh, especially at the expense of doofuses or dumpy small-town mores. Just when you think an interfering man is going to impede her climb to the top, she flicks him away like a speck of lint from her sleek pinstripe suit.

Having done her due diligence, she’s hoping to close the deal in such a way that neither Clay nor Mike can claim a penny of the profit. Talk about multi-tasking. It’s understandable that so much juggling might make Bridget a little irritable from time to time.

Luckily, Mike is nothing if not supportive and just turns the other (butt) cheek when she calls him a rural Neanderthal. When he suggests they go on a date and chat sometime; she asks: “What for?”

When Mike (Peter Berg) suggests going on an actual date, Bridget (Linda Fiorentino) asks, “What for?”

To say that Fiorentino, a Philly native with a fiery intensity, nails the part is an understatement. She is one of the fiercest femmes fatales in all of neo-noir moviemaking. If I were a guy, I think seeing this performance would surely give me an uneasy night’s sleep. I would have loved to see Fiorentino work with Quentin Tarantino, but her career short-circuited fairly early. I have heard she was a tad hard to work with – shocker! Pullman, Berg and the rest of the cast more than hold their own, underplaying their parts and letting Fiorentino hold bitchy court.

Director Dahl is a neo-noir specialist (he also directed “Red Rock West,” “Kill Me Again” and “Rounders”) and the sharp, funny script is peppered with references to noir classics. For instance, Dahl tips his hat to “Double Indemnity” by having Bridget and Mike both work at an insurance company and, when Bridget calls the police to falsely accuse a guy of exposing himself (so she can make a getaway), she gives her name as “Mrs. Neff.”

I suppose that could be evidence of her truly tender heart – in her imagination, the doomed lovers Walter Neff and Phyllis Dietrichson get married and live happily ever after. Yeah, right. But, if Bridget said it, you’d believe her.

Filed Under: Neo Noir Reviews Tagged With: , , , , , , , , , , , , ,

‘Speak No Evil’ tells a suspenseful, satirical tale

September 27, 2024 by

2024/1h 50m

“Speak No Evil” – a psychological thriller written and directed by James Watkins – begins its push-pull of nervous energy from the very first frame. After a mysterious, night-time opening shot, we’re introduced to an American family on vacation in sunny Italy. Louise Dalton (Mackenzie Davis), her husband Ben (Scoot McNairy) and their daughter Agnes (Alix West Lefler) are trying to enjoy the trip, but can’t quite seem to relax, despite the scenic views and scrumptious food. For one thing, Louise and Ben disagree on a parenting issue. Ben wants Agnes, almost 12, to put away, once and for all, a stuffed rabbit named Hoppy, which she holds tight when she feels anxious. Louise feels it’s better not to make a big deal about it.

One day, while strolling around town, they encounter another family: friendly and charismatic Paddy (James McAvoy), easy-going Ciara (Aisling Franciosi) and their sweet son Ant (Dan Hough), who is a few years younger than Agnes and has trouble communicating. Paddy instantly impresses Agnes by offering her a ride on his snazzy Vespa.

Later, as the two families share a meal, Ben and Louise reveal that they relocated to London for Ben’s career, but his job was downsized shortly after they moved. Louise works in PR; however, it’s been hard for her to build a new network of contacts. Paddy, a doctor, Ciara, a stay-at-home mom, and Ant live in England’s west country.

The two families meet in Italy. From left to right: Mackenzie Davis, Alix West Lefler, Scoot McNairy, Dan Hough, Aisling Franciosi and James McAvoy.

Once the holiday has ended and the Daltons are back in London, they’re at a loose end workwise and their marital problems are bubbling to the surface. When they receive a letter from Paddy inviting them (for the second time) to come for a visit, Ben and Louise hesitate – it’s a lot of time with new friends they hardly know. On the other hand, they’ve had a nice time together so far and Paddy’s charm makes it hard to say no. After all, what could go wrong?

Quite a lot, actually, with awkward moments starting almost as soon as they arrive at Paddy and Ciara’s rustic farmhouse. Red flags keep popping up and the extent to which Louise and Ben choose to ignore them allows “Speak No Evil” to be a dark comedy of manners as well as an excellent suspenser distinguished by superb storytelling. Though the third act plays out in familiar slasher-movie fashion, it’s preceded by interesting characters played by talented actors, a mood of quiet malice and stunning cinematography (shot in Croatia and Gloucester, England). McAvoy is completely convincing as the jovial alpha male with an undercurrent of hostility while McNairy makes beta male Ben relatable if not entirely likable. Mackenzie Davis is terrific as Louise, who can take charge when needed. Aisling Franciosi plays Ciara with a sweetness that slow-burns into edgy weirdness. Both child actors are excellent as well.

Also, director Watkins (“Eden Lake” 2008 and “The Woman in Black” 2012) deserves praise for the unhurried pacing. (That could be a nod to the Danish film of the same name from 2022 directed by Christian Tafdrup on which Watkins based his movie.) As the story unfolds little by little, layer by layer, we learn more about the cracks in Ben and Louise’s marriage, cringe at the uncomfortable exchanges between the couples, and see well beyond the surface of Paddy and Ciara’s cozy family life – especially when Paddy quotes Philip Larkin’s famous lines about parents and humiliates Ant while the kids are performing a dance they’ve rehearsed. Once the social niceties subside and the polite forbearance finally ends, Louise and Ben must trust each other 100% and work as allies – not to mention wield deadly weapons – to survive this idyllic country getaway, which has spiraled into chilling insanity.

“Speak No Evil” opened Sept. 13 and is playing in theaters nationwide.

Filed Under: Neo Noir Reviews Tagged With: , , , , , , , , , , ,

Courtroom drama dissects defiance of French far-left activist

September 21, 2024 by

2023 France/2024 US/1h 56m

“The Goldman Case” functions as a tense, often-tumultuous courtroom drama, which is based on a true story. At the same time, the film delves into a turbulent period of modern French history – the late 1960s and 1970s – grappling with political, cultural and social-justice issues as it renders an even-handed portrait of an intellectual/self-described revolutionary/criminal agitator.

That agitator is French far-left activist Pierre Goldman (Arieh Worthalter). His parents (both Polish) were members of a branch of the French Resistance in WW2; after the war, his mother returned to Poland and Pierre was raised primarily by his father in France. At 19, Pierre became a communist and over the next several years spent time in Cuba and Venezuela, where he was involved with guerrilleros. He was part of the Royal Bank of Canada robbery in Venezuela in 1969, but was not identified and returned to Paris.

He continued his criminal activities and was given a life sentence in 1974 after being convicted of a robbery in which two pharmacists were killed. He denied having committed that robbery (although he’d admitted to three other, earlier robberies and had received a 12-year jail sentence).

While in prison, he wrote a book about his case, “Souvenirs obscurs d’un juif polonais né en France” (“Obscure Memories of a Polish Jew Born in France,” 1975), which caught the attention of Simone Signoret, Jean-Paul Sartre and others, and Goldman became a cause célèbre.

Because of the publicity and emerging questions about the police work, Goldman is granted a retrial. In the courtroom, Goldman frequently disregards protocol and speaks out of turn – arguing his cause, criticizing the proceedings (angrily explaining, for example, why he sees character references as pointless) and asserting racism by the police. His outbursts spur cheers from his many supporters in attendance. Though the judges don’t sanction him (no “order in the court!”), his seeming bent on self-destruction frustrates his defense team.

As various witnesses testify and we learn more about Goldman, his family, his relationships and his mental health, we’re unsure from minute to minute as to his innocence or guilt regarding the murder charges. The rousing speeches from passionate lawyers on both sides and the sometimes-arcane idiosyncrasies of French legal proceedings add to the tension. Confining most of the action to the gloomy, harshly lit courtroom creates a pervasive sense of claustrophobia.

Ably directed by Cédric Kahn (he wrote the screenplay with Nathalie Hertzberg), the acting is solid throughout and it’s hard to take your eyes off Worthalter, who fully inhabits the fiery, ferocious Goldman and brings to life a character and a case that remain fascinating and disturbing long after the film ends.

“The Goldman Case” opened Sept. 13 in Los Angeles and is playing in select theaters nationwide.

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Sly, stylish “Strange Darling” takes us on a weird and wild ride

September 15, 2024 by

2023 Film Festivals/2024 Theatrical Release/1h 37m

In a summer that’s short on must-see movies, “Strange Darling” ranks as essential viewing for fans of neo-noir thriller/horror flicks. A riveting story of a serial killer on the loose in rural Oregon, the film has much to recommend it: compelling creepy characters; superb acting; first-rate visuals; gritty intensity; and taut pacing, clocking in at 96 minutes. But most memorably, “Strange Darling” upends our expectations of the genre in a strikingly original way.

Bookended by stark black and white photography, the film opens with a moody shot, introducing us to the two leads: the red-headed, doe-eyed Lady (Willa Fitzgerald) and the clean-cut, rugged Demon (Kyle Gallner) – two easy-on-the-eyes, mutually attracted strangers who are sitting in the Demon’s truck swigging booze late one night, deciding whether they will take their party to a room at the nearby Blue Angel hotel. She comments that violence is always a risk for a woman in this situation and asks him if he’s a serial killer. He says no. From there, the story unfolds in six non-linear chapters.

Chapter 3 “Can you please help me?” comes first (and the phrase pops up several times throughout the movie). The next morning, the Lady, pale and frail but wiry, is now a blonde and has changed into hideous red scrubs. Driving a red Pinto, she floors it frantically down a quiet road. The gun-toting Demon is in determined, coke-fueled pursuit, but she escapes into dense, sun-dappled woods and eventually pounds on the door of a rustic cabin, occupied by hippie/doomsdayers (with a penchant for butter-laden breakfasts) Genevieve (Barbara Hershey) and Frederick (Ed Begley Jr.), and they let her in.

Terrified, wounded, hungry and hungover, she feasts, like a feral animal, on what’s left of their hearty morning meal. But when Frederick suggests they call the cops, the Lady vehemently disagrees. (Later, we do meet two officers, well played by Steven Michael Quezada and Madisen Beaty, who fall into a figurative snare that’s constructed from gender stereotypes.)

To reveal more of the plot would ruin the movie, so suffice to say as writer/director JT Mollner skillfully puts the puzzle pieces together, holes are tightened and questions are answered. That is, except for the most perplexing, probably unanswerable, question: how do people become crazy enough to go on a bloody killing binge with zero remorse?

The Demon (Kyle Gallner) is on a mission in rural Oregon.

Watching this masterful work, you feel the influence of Quentin Tarantino, the Coen brothers, Martin Scorsese, Michael Mann, David Lynch and Alfred Hitchcock. Mollner delivers a picture (his second) that’s bold, clever, sordid and sometimes darkly comic. Shot in 35 mm by cinematographer Giovanni Ribisi, “Strange Darling” is great-looking throughout – boasting rich color and arresting compositions. Composer Craig DeLeon’s score and original songs written and performed by Z Berg help to sustain the suspenseful mood.

Additionally, Mollner elicits terrific performances from the entire cast and especially from the captivating Fitzgerald as she pulls out all the stops playing a Lady you’ll never forget and Gallner, by turns sinister and phlegmatic; threatening and vulnerable.

Granted, “Strange Darling” won’t be everyone’s cup of blood. It’s a dark dive into the world of a serial killer, so if gore and graphic violence are a deal-breaker, you’ll want to give this a pass. (Also, if you’re looking for deep, thoughtful commentary on gender roles and sexual politics, look elsewhere.)

But for those who dig crime tales, sly, stylish “Strange Darling” takes us on a weird and wild ride.

“Strange Darling” opened Aug. 23 and is playing in theaters nationwide.

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Lighthouse Café’s jazz brunch brightens Sunday mornings

September 13, 2024 by

Femmes fatales are naturally nocturnal and enjoy night-time carousing almost as much as they love spending a hefty pile of cold, hard cash. But there are exceptions to that rule.

For example, the Sunday jazz brunch at the Lighthouse Café in Hermosa Beach provides plenty of reasons to be up early-ish on a weekend morning. The event, which runs from 10 am to 2 pm, features classic songs (think Cole Porter, Irving Berlin, George and Ira Gershwin) and attracts first-rate performers, such as vocalist Lia Booth and guitarist Miles Jensen.

Vocalist Lia Booth and guitarist Miles Jensen help the audience mellow out with excellent music.

Sporting Bettie Page bangs and retro specs, classically trained Booth makes each song her own with singular phrasing and Jensen gives a lithe grace to every chord he plays. Most of the songs are audience requests and patrons are encouraged to try to stump the versatile chanteuse.

While jotting down your requests, you can nosh on great brunch fare. Treat yourself to the irresistibly decadent fry up (eggs, hashbrowns, bacon, sausage and toast) or the more demure yogurt and fresh fruit. The raspberry daiquiri pairs remarkably well with both, or go for a savory note and sip a classic Bloody Mary.

If these walls could scat … jazz artists have played here since the place opened in 1949.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

To be sure, performers Booth and Jensen follow in some mighty big footsteps. The Lighthouse Café celebrated its 75th anniversary this summer and has long been known as a ballast of bebop and a hot spot for cool jazz, showcasing legendary musicians like Dizzy Gillespie, Miles Davis and Chet Baker.

In the early days, bassist/band leader/club manager Howard Rumsey put together a house band called the Lighthouse All-Stars, frequently playing with guest musicians. Many artists recorded at the café as well.

Current owner Josh Royal recently told the Daily Breeze he aims to keep the old-school vibe and maintain the café as a live music venue. Besides the brunch, the café hosts a jazz jam session on Monday nights. Royal and his partners took over in 2021. Previously, Paul Hennessey had owned the place for about 40 years.

The neon sign is a nod to the 2016 movie, “La La Land” and its iconic scenes that were shot at the Lighthouse café.

And Musicians aren’t the only ones who are drawn to the historic café. The Lighthouse earned a cinematic claim to fame when it was selected as a location for “La La Land” (2016, Damien Chazelle), starring Emma Stone and Ryan Gosling (pictured below), which won the best Picture Oscar in 2017. Filming took place over four days in late summer, 2015. There is a neon sign that pays tribute to the popular flick; it reads: “Here’s to the fools who dream.”

Ryan Gosling won the Best Actor Oscar for his role in “La La Land.”

 

 

 

 

 

 

 

 

 

 

 

 

Both interior and exterior scenes in “La La Land” were filmed at the café.

Vocalist Lia Booth and guitarist Miles Jensen will play on Sunday, Sept. 15, from 10 am to 2 pm. The Lighthouse Café is located at 30 Pier Ave., Hermosa Beach, CA 90254. Ryan Gosling may or may not be in attendance.

Filed Under: Noir Style, Out of the Shadows Tagged With: , , , , , , , , ,