The crux of “American Mary” depends on the performance by Katharine Isabelle. While the film itself is a unique and very entertaining tale about revenge, madness, and masochism, the lead performance of Mary is most important. Almost any other actor probably would have played the character of Mary Mason completely over the top, but Katharine Isabelle’s turn as a slowly unraveling sadist with revenge on her mind is incredible. Even brilliant.
One of the aspects of “Horse Feathers” that I love is that it introduced me to the sheer radiance that is Thelma Todd. Sure, I ride on a bunch of modern beauties, but out of the slew of reasons why I keep going back to “Horse Feathers,” it’s because of Todd who I’ve managed to have a crush on since I first saw this Marx Bros. comedy masterpiece. Many years ago I viewed this for the first time on VHS and understood why the Marx Brothers were immortal. Suffice it to say I was not let down by “Horse Feathers.” At their prime, the Marx Brothers were unstoppable in the realm of comedy, and delivered laughs at a rapid fire pacing.
According to the epilogue of the film “Shame,” 53 percent of all domestic violence cases were reported by men. And yet we’re still living in a society where domestic abuse on males in intimate relationships are not only shrugged off, but aren’t even considered actual crimes by most people. Though society has built this idea that almost all domestic violence cases have been on women and children, men are often the abused that have to suffer through physical and mental abuse from their spouses.
The best action movie released all year, “Bounty Killer,” finally comes to DVD and Blu-Ray, as director Henry Saine delivers action fans a pulpy apocalyptic thriller worthy of a large fan base. “Bounty Killer” is set in the future where corporations are now enemy number one and have laid waste to civilization with their greed. The government has sent a slew of skilled and crafty bounty killers to hunt down and take down corporate executives daring to run away with their corporation’s profits.
Asking anyone to watch “The Howling: New Moon Rising” should be punishable by jail time and some kind of psychological examination. “New Moon Rising” is so bad it’s inhuman. It’s so bad it makes the former “The Howling” entries seem watchable in comparison. There is no reason why “New Moon Rising” should exist. Near as I can figure, someone took a tourist board video for a small Western town, injected imagery depicting a view through the eyes of a werewolf stalking animals, spliced in footage from the past “The Howling” movies and called it a day.
Imagine waking up one morning to run your errands, and you’re then stopped by police who insist you’ve committed a horrible crime? And what happens when everyone else you come across swears you’ve committed this horrible crime, and you know yourself that you’ve never even held a gun? How do you convince everyone that you’re an innocent man, when people can identify you as a criminal, and present evidence that contradicts your claims? What happens when you’re about to go to jail for a crime you have committed and can’t prove that you didn’t commit it? That’s the nightmare Manny Balestrero, a family man, finds himself in, in Alfred Hitchcock’s gripping and awfully horrifying thriller that sees a wrongly convicted man who has no chance of proving he’s committed the awful crime he’s been accused of.
You have to wonder if Gus Van Sant either garners an enormous amount of hubris, or just has a masochistic streak in him. Why else would he dive head first in to a remake of a hallowed horror and cinematic classic? And why else would he deliver a remake that’s exactly shot for shot? And “Psycho 1998” isn’t a remake that’s shot for shot with some liberties taken. It’s shot for shot to where director Van Sant copies every single shot of the original film, except with new actors. Van Sant fills the remake with a surreal tone in the vein of David Lynch to where the movie is adrift in a time period blurred between the fifties and contemporary time.