American Heart

Movie Name: American Heart
Year of Release: 1992
Director: Martin Bell
Starring: Jeff Bridges, Edward Furlong, Lucinda Jenney, Don Harvey, Tracey Kapisky, Melvyn Hayward, Jayne Entwistle
Genre: Drama
Score out of ten (whole numbers only): 6 
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Synopsis and Review:

Director Martin Bell has made a name for himself mostly as a documentary film maker. "American Heart" was his narrative feature debut, which premiered at the Toronto Film Festival in 1992, and to a larger audience in May of 93 (the same year Jeff Bridges was also in Peter Weir's superlative "Fearless"). The film follows the story of Jack Kelson, who has been released from prison, on a work furlough program. He goes back to Seattle where he reunites with his teenage son, who in the meantime has been living with his aunt. Jack tries to avoid the life of crime, and takes a job as a window washer, while Nick, his son, has problems of his own at school, which prompts him to hang out with other dispossessed kids. Even if the relationship between father and son is rocky at first, they eventually settle on a plan of moving to Alaska and starting a new life there. That is until a series of misfires catches up with them, and crime comes back to gobble Jack up.
"American Heart" is a film that much like Martin Bell's documentaries, attempts to capture the realities of living on the fringe of society. How do people rebuild their lives after going through the prison system. It's also a film about a father and a son trying to build a relationship, with the parental figure initially uncertain of his own role, his legacy and his impact on the life of his offspring. While the film doesn't document uncharted territory, and for the most part, touches on a lot of topics that other films have done in the past (that same year alone, it's interesting to compare this film with Clint Eastwood's "A Perfect World" for instance), it does allow for the actors to stretch and show their range and versatility. The final chapter of this film is also its less successful moment, but the cast makes this story compelling and watchable. Jeff Bridges is, as always, phenomenal in this part, making Jack a multifaceted person, who eventually comes into his own and matures, while Edward Furlong, back then on a upward trajectory, makes Nick a young man filled with questions, but also looking for a path for his own existence. The supporting work from Lucinda Jenney (who made a brief impact on Ridley Scott's "Thelma and Louise") is solid, as is the work from the production team (and a highlight goes to the late iconic photographer Mary Ellen Mark, who photographed the lead actors for the stunning posters that accompanied the release of this film, and who was married to director Martin Bell). A film worth watching.   

Adams Family Values

Movie Name: Adams Family Values
Year of Release: 1993
Director: Barry Sonnenfeld
Starring: Anjelica Huston, Raul Julia, Christopher Lloyd, Christina Ricci, Joan Cusack, Carel Struycken, Carol Kane, Jimmy Workman, David Krumholtz, Dana Ivey, Christine Baranski, Peter MacNicol
Genre: Comedy
Score out of ten (whole numbers only): 6 
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Synopsis and Review:

The critical and commercial success of "The Adams Family" prompted the desire for a sequel which came out a mere two years later, coincidentally in a year where Barry Sonnenfeld had another release, "For Love or Money" (featuring Michael J. Fox). The film picks up from the events from the first feature, but this time around Gomez and Morticia add a baby to their brood. The other children, Wednesday and Pugsley, include him in their habitual playtime, with the intent of eventually killing him, Adams Family style. An additional new player also comes into the family in the shape of Debbie Jellinsky, originally hired as a nanny, but in reality, a Black Widow, who wants to marry Fester and kill the remainder of the family in order to walk away with the family money. Through shrewd manipulation, Debbie sends the older children to Summer camp, and manages to marry Fester. As her constant attempts to kill him, only entice him further, Debbie resorts to drastic plans in order to decimate the Adams clan, while the children at camp are literally throwing that entire experience into disarray.
"Adams Family Values" continues much of what Barry Sonnenfeld had done with the first feature. Working from a script authored by Paul Rudnick, the film finesses the family dynamics, with the introduction of the spirited baby, all the while bringing into the film that true magnet of attention, in the shape of Joan Cusack's Debbie. The phenomenal actress, manages to perfectly encapsulate the whole range of emotions, from sweet, devoted and kind nanny, to lustful seductress, to maniacal, edgy killer, and for all intended purposes, she walk away with the film. Another high point of the feature is Paul Rudnick's twist of the typical All American Summer camp experience, through the eyes of the Adams, making that section of the film one of its funniest bits. Overall it's a film where the parental figures of the family, cede way to the children and to a ravenous killer subplot, while still being present and part of the ecosystem that the previous chapter put in place. Barry Sonnenfeld illustrates the action stylistically, thanks to the beautiful production design from the late Ken Adams, and equally the great cinematography from the late Don Peterman. An entertaining feature worth watching.

Unforgiven

Movie Name: Unforgiven
Year of Release: 1992
Director: Clint Eastwood
Starring: Clint Eastwood, Gene Hackman, Morgan Freeman, Richard Harris, Frances Fisher, Jaimz Woolvett, Saul Rubinek, Anna Thomson, Rob Campbell, Anthony James, David Mucci
Genre: Drama, Western
Score out of ten (whole numbers only): 8
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Synopsis and Review:

Actor/Producer/Director Clint Eastwood started the 90s with the diptych "White Hunter Black Heart" and "The Rookie", which were met with different levels of accolades, but quickly soared to new levels of accomplishment and critical recognition when "Unforgiven" premiered in August of 1992. The film focuses on the story of William Munny, a retired gunslinger, who now lives on a farm with his children. He's visited by a young admirer by the name of "Schofield Kid", who wants to pursue the bounty placed on two cowboys, who disfigured a young prostitute in a small town by the name of Big Whiskey. He enlists the assistance of a friend, another retired outlaw by the name of Logan. The three of them head for the small town, where the sheriff of the town, the sadistic Bill has already handled a British born gunfighter, and generally keeps the town under his thumb. While in the town's saloon, Bill beats and kicks Munny out, which still doesn't deter him from finding and killing the men whose bounty had originally started this whole odyssey. As his friend Logan, wanting to move away from this life, is killed by Bill, Munny plans out a comeback to Big Whiskey to exact his revenge.
"Unforgiven", much like some of Clint Eastwood's best Westerns, "The Outlaw Josey Wales" and "Pale Rider", is a film peppered with some of his trademarks, but with a substantial difference this time around: unlike the other features, the central character, Munny, is a man who has had his fair share of violence and death, who primarily longs for a peaceful life with his children. The story has the mantle and heavy burden of mortality to it, as the central characters know and realize they're of a certain age, time is catching up with them, and they desperately want to break away from a path that still clings to them. It's also a film that unlike the lightness and adventuresome aspect of Lawrence Kasdan's "Silverado", goes for a grittier and toned down capture of the life of retired outlaws, with meek means of survival, and who simply have to make the best they can with what they have. It's a film with a certain melancholy and nostalgia in tone, with the right amounts of humor. Written by David Webb Peoples (who also wrote Ridley Scott's "Blade Runner", Richard Donner's "Ladyhawke" and Terry Gilliam's "12 Monkeys"), it is also perfectly and deftly shot, courtesy of Jack N. Green, and features all around indelible performances, including Eastwood, the terrific Gene Hackman (who won a series of awards for this role), Morgan Freeman, Richard Harris and Frances Fisher. A great film from a very prolific and talented film maker.

Twin Peaks: Fire Walk with Me

Movie Name: Twin Peaks: Fire Walk with Me
Year of Release: 1992
Director: David Lynch
Starring: Sheryl Lee, Ray Wise, Moira Kelly, James Marshall, Kyle MacLachlan, Peggy Lipton, Grace Zabriskie, Madchen Amick, Dana Ashbrook, Phoebe Augustine, David Bowie, Miguel Ferrer, Chris Isaak, Kiefer Sutherland, Pamela Gidley, Heather Graham, David Lynch, Eric DaRe, Harry Dean Stanton, Lenny Von Dohlen, Frances Bay, Jurgen Prochnow, Michael J. Anderson, Frank Silva, Al Strobel, Catherine E. Coulson
Genre: Drama, Mystery, Horror
Score out of ten (whole numbers only): 8
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Synopsis and Review:

After the ending of the show "Twin Peaks" in 1991, director David Lynch reconvened much of the same team, to essentially write a prequel to the events that took place on the show. Whereas the show was about the shock that permeated across the small community of Twin Peaks, when their young and beautiful prom Queen got murdered, and how everything in that city had an underlying darkness that wasn't immediately visible to the naked eye, the film went back in time and focused on the last 7 days of the life of focus of all attention, Laura Palmer. We're introduced to Laura, and her every day life, which includes going to high school with her best friend Donna, who herself, only knows a very limited amount of what goes on in Laura's life. Laura is dating her classmate Bobby, who is also her dealer, while secretly she has a relationship with James Hurley, another classmate, a sensitive and kind biker who truly loves her. Laura is also secretly escorting to get money for drugs, while shielding, when she can, the sexual abuse of a man by the name of Bob. As Laura and her world starts crashing upon itself, and she uncovers the truth about her years of abuse, the FBI is on a path of their own, where they're investigating the death of young women, which can be traced to Twin Peaks itself.
After winning the Palm D'Or at Cannes in 1990 with the wonderful "Wild at Heart", David Lynch returned in 1992 with "Twin Peaks; Fire Walk with Me", where the film suffered some critical backlash, following the immense success of the first season of the show in which it is based (and the somewhat less accomplished second season, which precipitated the cancellation of the show). Since then the film has been reevaluated, but having seen the film many times since its debut in 1992, it continues to be a film that dazzles and haunts, much like the best films from this director. If the show at its best, was an interesting hybrid of observing the social habits of a small town in America, and what was laying underneath it (much like what "Blue Velvet" had already touched upon), mixed with the oneiric or otherworldly aspect of David Lynch's imagination/universe, the film abandons that balance, opting instead for fully embracing this otherworldly state of existence, where creatures can inhabit humans, influencing their habits and behaviors. The film is a deeper dive to everything that the show had somewhat slightly hinted at, showcasing Laura's life as never before, someone who's been abused, who tries to deal with her pain by numbing it with drugs and a plethora of lovers, who merely see an idolized version of her, and not her real self. It's a film that also, and intently, departs from what the TV show set in motion, opting instead for a rawer approach, abandoning the whole quirkiness of the characters, much like "Northern Exposure". As usual with David Lynch it's a film that asks questions to the viewers, and effectively takes you on a dark journey, one where no character is exactly who they seem to be. The cast of the show is almost all back (save for Lara Flynn Boyle, the original Donna), but Sheryl Lee creates a solid central character, with good support from Kyle MacLachlan, Moira Kelly, Ray Wise and David Lynch himself. The cinematography from Ron Garcia is fantastic as is the score from Angelo Badalamenti. A great film from a unique voice in cinema, always worth revisiting.

Sister Act

Movie Name: Sister Act
Year of Release: 1992
Director: Emile Ardolino
Starring: Whoopi Goldberg, Maggie Smith, Kathy Najimy, Wendy Makkena, Mary Wickes, Harvey Keitel, Bill Nunn, Robert Miranda, Richard Portnow, Ellen Albertini Dow, Carmen Zapata
Genre: Comedy
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Director Emile Ardolino had a brief feature directorial career that tragically ended in 1993 when he passed away. But up until that moment, he managed to direct a series of successful features, primarily documentaries focused on Dance (which allowed him to win Emmys and an Oscar for best documentary), and feature films which included "Dirty Dancing" and the romantic comedy "Chances Are" (with Cybill Shepherd, Robert Downey Jr. and Mary Stuart Masterson). "Sister Act" turned out to be his biggest hit, eventually going on to elicit a less successful sequel, but nonetheless managing to further establish Whoopi Goldberg's career while launching Kathy Najimy's. The film written by the wonderfully talented Paul Rudnick, follows the story of Deloris Van Cartier, who has a singing act in Reno, Nevada. After she witnesses her gangster boyfriend kill a police informant, she flees and is placed under the Witness Protection program. She's hidden in a convent in San Francisco, under a new identity, that of sister Mary Clarence. Initially frowned upon by the Reverend Mother, Deloris/Mary Clarence starts working with the Choir, and her passion and input start translating into better and bigger performances. These performances in turn start bringing more and more people to church, and they collectively start having an impact in the lives of the community. As the trial of her gangster ex-boyfriend is coming up, Deloris/Mary Clarence gives notice to the Reverend Mother of her upcoming departure, but some crooked cops change her plans, leaving the nuns to figure out how to save her.
"Sister Act" initially pitched and devised as a vehicle for Bette Midler, went through a series of iterations, even as production started. The film uses a very typical comedy hook: the fish out of water scenario. In essence, a character who comes into a reality they do not understand, turns it upside down, with everyone learning some valuable lessons by the end of the third act, while simultaneously causing some comedic situations in the interim, precisely due to that unfamiliarity of context by the central character. In the case of "Sister Act", the sharp contrast is outlined by the presence of Deloris and her night club persona, versus the proper and restrained behavior of the Reverend Mother, embodied to perfection by Maggie Smith (who captures a bit of her Charlotte Bartlett character, from "A Room with a View", in that performance). The film lives from these sharp contrasts and from the talented actors embodying these characters, and while the film itself, is not necessarily the most original concept, it still manages to be sufficiently humorous and entertaining to warrant some attention. Whoopi Goldberg is fantastic, as is the supporting cast, including the wonderful Maggie Smith, the always underrated Harvey Keitel, Kathy Najimy and Bill Nunn. Innocuous fun, worth watching. 

Single White Female

Movie Name: Single White Female
Year of Release: 1992
Director: Barbet Schroeder
Starring: Jennifer Jason Leigh, Bridget Fonda, Steven Weber, Stephen Tobolowski, Peter Friedman, Frances Bay, 
Genre: Drama, Thriller
Score out of ten (whole numbers only): 6
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Synopsis and Review:

French based director Barbet Schroeder started his American directorial career with "Barfly", and quickly established himself with the great "Reversal of Fortune". "Single White Female" was his first big commercial success, written by the talented Don Roos (who would go on to write and direct "The Opposite of Sex" and "Happy Endings"). The film follows the story of Allison Jones, a young woman living in NY, who is currently engaged and about to start her own business (she's a software designer). She finds out her fiancée had a fling with his ex-wife, and decides to cancel all the plans they had together. Due to the new circumstances, she decides to place an add for a roommate. She settles on a quiet and somewhat shy, Hedra Carlson. She quickly learns Hedra had a twin who died when she was a child, and that is an event who scarred her life. The two quickly bond, and Hedy becomes increasingly obsessed with Allie, getting her a dog, and deflecting all attempts of communication her ex-fiancée tries to establish. When Allie and Sam decide to reunite, that causes Hedy to become increasingly territorial and jealous. She decides to stop at nothing to keep Allie all to herself.
Barbet Schroeder manages to illustrate Don Roo's screenplay with a certain flair and aplomb. The relationship between the central characters is slowly built, and while initially there's an air of complicity between both women, they both relish the relationship established for different reasons. At first glance, Allison appreciates the company, devotion and attention Hedra gives her, particularly since she's feeling somewhat fragile following a break up, while for Hedra the relationship is quite different, more of an opportunity to recapture something she lost in the past. When their paths go in different directions, that's precisely where the unbalance from Hedra's behavior starts manifesting itself, and the script takes her in the direction of a psychotic individual, someone who will stop at nothing to get that idyllic relationship she created in her own mind, a reality. Much like Adrian Lynne's "Fatal Attraction", and the central Alex Forrest character, the script loses some of its nuance and power, by making Hedra more of a typical movie villain, as opposed to someone who manipulated, but was also used and equally manipulated in a relationship. There's definitely room for other explorations in this film, but the filmmaking team approached it more from a "Dark Half" type of concept, where Hedra is consumed by her affection, and destroys anything in her path. Both central performances are great, with Bridget Fonda at the time cementing her popularity (she had also done Cameron Crowe's "Singles" and previously Francis Ford Coppola's "The Godfather Part III"), and Jennifer Jason Leigh further establishing herself as the tremendous talent she was already known to be (following her roles in George Armitage's "Miami Blues" and Uli Edel's "Last Exit to Brooklyn"). The production team on this film is superb, including the cinematography from Luciano Tovoli, the score from Howard Shore and costumes & production design from acclaimed Milena Canonero. An entertaining film from an interesting director. 

Raising Cain

Movie Name: Raising Cain
Year of Release: 1992
Director: Brian De Palma
Starring: John Lithgow, Lolita Davidovich, Steven Bauer, Frances Sternhagen, Gregg Henry, Tom Bower, Mel Harris, Teri Austin, Gabrielle Carteris, Barton Heyman, Amanda Pombo
Genre: Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Following the debacle and critical lambasting of "The Bonfire of the Vanities", director Brian De Palma quickly bounced back with a much smaller in scale film, returning to his roots with "Raising Cain". The film follows the story of Carter Nix, a respected child psychologist, who is having marriage issues. He's very focused on his daughter, but more as a research subject. His wife Jenny in the meantime, is having an affair with an ex-boyfriend, something Carter soon discovers. Jenny plans to end the marriage soon enough, but she doesn't realize Carter has multiple personalities, and one of them is a violent one by the name of Cain (he also has the personalities going by the names of Josh and Margo, a nanny). As the Cain personality takes over, he tries to kill Jenny, who survives and confronts him about his deeds, and the whereabouts of Amy, their daughter. As more information is uncovered about Carter/Cain's past, it's revealed he was abused by his father growing up, himself a therapist, who supposedly committed suicide when confronted with his unusual research processes.
"Raising Cain" is a somewhat forgotten film in Brian De Palma's lengthy career. It followed a particularly high profile debacle from "The Bonfire of the Vanities", but it also cemented his comeback, which came in 1993 with the great "Carlito's Way". "Raising Cain" has the DNA of what has made his best films so indelible, namely the multiple personalities who are at dissonance with themselves (something that for instance worked so well in "Dressed to Kill"), and of course, the progressive disclosure and the heightened suspense that the director effectively constructs. "Raising Cain" is somewhat less effective due to the script being less effective, introducing a plethora of personalities, while also making the supporting characters less dimensional and interesting than his most reward films (the fantastic Nancy Allen for instance in both "Dressed to Kill" and "Blow Out" made a strong mark in both narratives, something that Lolita Davidovich, with all her talent, can't do with a somewhat underwritten role). Independently of its shortcomings, a film by Brian De Palma is always enticing, impeccably shot, and this one in particular, as a central performance from the wonderful John Lithgow, always worth watching. A minor effort, but still worth watching, from a great director. 

Passion Fish

Movie Name: Passion Fish
Year of Release: 1992
Director: John Sayles
Starring: Mary McDonnell, Alfre Woodard, David Strathairn, Vondie Curtis-Hall, Leo Burmester, Angela Bassett, Sheila Kelly, Nora Dunn, Mary Portser, Tom Wright, Jennifer Gardner, Michael Mantell
Genre: Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review:

Director John Sayles may be the perpetual unsung hero of American independent films. He started his career in the late 70s, but really blossomed during the 80s, where he wrote and directed films such as "Lianna", "Matewan" and "Eight Men Out". The 90s started with "City of Hope", quickly followed by this wonderful and little seen "Passion Fish", which popped at the Oscars of 1992 thanks to Mary McDonnell's wonderful performance and Sayles's wonderful script (both of course nominated). The film follows the story of May-Alice, a well known soap opera actress, originally from New Orleans, who is forced to return to her home town, and to her family house, when she suffers a dramatic accident which leaves her paraplegic. Forced to contend with new obstacles, May-Alice resorts to drinking, and goes through an array of nurses, all of which can't deal with her sarcasm, drinking and lack of initiative. That changes when Chantelle is hired. Dealing with her own ghosts of addiction and the consequences of her life choices, Chantelle is determined on keeping afloat and recovering her daughter. She sees May-Alice for who she is, and unlike everyone else, questions her, challenges her, propelling her in a different momentum in life.
"Passion Fish" is a film that manages to be smartly written (and observed), giving two central characters, the opportunity to be more than just a collection of cliches. No matter what their backgrounds or life choices have been, these are two women who live together by force of life circumstances, who learn from occurrences not only of their pasts, but also from their present, accepting all, as they shape the path they want to build for their future. It's the rare script that is filled with drama, but also humor, wit all the while immersing the viewer in the experience of what is living in the American South (Louisiana). In a way, it's the complete opposite of what Barbra Streisand's southern opus, "The Prince of Tides" was about: it's realistic, sentimental without being maudlin, and it provides an authentic look at what the south actually looks like. It's refreshing to witness two lead characters that are flawed, agonizing in a way, and still moving on with their lives, attempting to rebuild, while understanding that the world doesn't stop to assess anyone's pain. That pain exists, becomes part of who you are, and you keep moving forward (or sink in). The performances from all the cast are stupendous, with particular focus on Mary McDonnell and Alfre Woodard, with stellar support from the always fantastic David Strathairn, Leo Burmester and Angela Bassett. The music from Mason Daring is impeccable, as is the cinematography from the incomparable Roger Deakins. A wonderful film always worth revisiting.

Rabid

Movie Name: Rabid
Year of Release: 1977
Director: David Cronenberg
Starring: Marilyn Chambers, Frank Moore, Joe Silver, Howard Ryshpan, Patricia Gage, Susan Roman, Roger Periard, Lynne Deragon, Terry Schonblum, Victor Desy, Julie Anna
Genre: Horror
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Following his celebrated feature film debut with "Shivers", which premiered in 1975, director David Cronenberg quickly followed suit with "Rabid". The film follows the story of Rose, a young woman who, alongside her boyfriend, experiences a motorcycle accident, which leaves her severely injured. She's taken to a nearby clinic for immediate care. The clinic, which specializes in plastic surgery, has an operating team led by Dr. Keloid, who decides to use some new techniques of skin grafting, something they've been testing. While Rose's boyfriend quickly recovers since his injuries were only minor, Rose stays in a coma for a whole month, until she suddenly awakes with an unusual hunger. A fellow patient comes to check on her, and Rose drawn by instinct feeds off of him. As it turns out, the procedure had side effects, that have manifested in a mutation, one that makes Rose need blood to replenish her strengths, as well as she developed this spike that emerges from her armpit, allowing her to feed from her victims. Her victims don't immediately die, but they become carriers of a virus, that drives them insane with rage and lust for blood, which also leads them to die shortly afterwards. As Rose escapes the clinic to head to Montreal, the virus spreads wherever she goes. 
The first part of David Cronenberg's career is populated with films where the writer/director starts exploring a lot of the themes that would run throughout his career in general, and his best films in particular, namely understanding what makes a human being innately human (and how incidents/occurrences shape the perception of what our bodies are). If "Shivers" was in some ways prophetic about the emergence of Aids, "Rabid" is prophetic about pandemic states, in the sense that the virus caused by Rose, just spreads like wild fire. The director is however less interested about the effect that the virus has in society, but more on how Rose adapts her existence to this new condition she has, something that to a certain extent, she's oblivious about. As Rose mutates into something else, her sense of what human is, what that essence and value is all about, also morphs into something quite different. Her new biology dictates more than values or morals: she's driven by hunger, and that trumps everything else. It's a film that once again is prophetic, very pertinent for the times we're living in, and possessed of a unique style that all Cronenberg films had in the late 70s, early 80s (a mix of recognizable reality and a certain futuristic stance). "Rabid" would have benefited from a better central performance, but it's a powerful and entertaining film worth revisiting.