In Brief: Though it comes a week early, it can be fairly said that this is the Thursday Horror Picture Show's Thanksgiving turkey, but what an entertaining turkey it is. Saying that Bride of the Monster (1955) is the best movie Ed Wood ever made isn’t exactly showering it with praise, since that’s based on the sliding scale of relative claims. In any other context — except that of the true Lugosiphile who understands that to truly love Lugosi is to love bad Bela — this is dire stuff. This is Lugosi as Dr. Eric Vornoff, some kind of unhinged Soviet scientist driven from his homeland and forced to take up residency in a swamp with only stock footage of an octopus and a hulking mute Tibetan named Lobo (Tor Johnson) for company. To while away the time, he continues his experiments for turning humans into “atomic supermen” — with the most economical lab you ever saw. His principle equipment — apart from a refrigerator and a stove — seems to be a photo enlarger and a stainless steel mixing bowl with spark plugs stuck in it. It hardly matters since none of his experiments ever survive the attempt. Everything you may have heard about Bride of the Monster is probably true — deliriously so. A very special classic — of a sort. The Thursday Horror Picture Show will screen Bride of the Monster Thursday, Nov. 20, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
The Story: An up-and-coming pop star, struggling with her rise to fame, falls in love with a humble police officer. The Lowdown: A mature, realistic romance that struggles due to a lack of cinematic style and dramatic tension.
In Brief: This is a make-up showing of The Day Carl Sandburg Died, which the Hendersonville Film Society had slated to run some considerable time ago. The film is a scrupulously detailed, reasonably comprehensive and beautifully presented documentary on the great American poet Carl Sandburg from Asheville filmmaker Paul Bonesteel. Whatever you think you know about Sandburg, I suspect this movie — and the people in it — know more than you do, and it’s quite a pleasure to find out. The Hendersonville Film Society will show The Day Carl Sandburg Died Sunday, Nov. 23, at 2 p.m. in the Smoky Mountain Theater at Lake Pointe Landing Retirement Community (behind Epic Cinemas), 333 Thompson St., Hendersonville.
The Story: Twenty years after the fact, we get the further adventures of Harry and Lloyd. The Lowdown: The “much-anticipated” (they say) sequel to Dumb and Dumber (1994) is a shapeless retread of things that supposedly worked in the first movie. One of the worst films of 2014.
In Brief: Exempting the multi-director film Stimulantia (1967), Ingmar Bergman’s Hour of the Wolf (1968) follows his equally disturbing Persona (1966) and is stylistically and tonally very similar. Why Hour of the Wolf is classified as a horror-drama and Persona as a drama is a matter for debate. Both are nightmarish. Both deal (as does a lot of Bergman) with identity and the effects of isolation. But Hour of the Wolf — which is basically about an artist (and by extension, his wife) going insane on a lonely island — is steeped in the language of the horror film, with its Gothic trappings and collection of grotesque characters, in a way that Persona is not. You can, if you choose, ignore the horror content of Persona, but Hour of the Wolf is another matter. Yes, it’s art house horror, but it’s horror all the same — and creepier than most horror pictures. Classic World Cinema by Courtyard Gallery will present Hour of the Wolf Friday, Nov. 21, at 8 p.m. at Phil Mechanic Studios, 109 Roberts St., River Arts District (upstairs in the Railroad Library). Info: 273-3332, www.ashevillecourtyard.com
The Story: Activist documentary on whistle-blower Edward Snowden. The Lowdown: Clearly — and unquestioningly — in the pro-Snowden camp, this film lacks balance, which is expected in this type of movie. But it also tries to create urgency with a story where we already know the ending (such as it is). Worthy, but a good bit shy of greatness.
In Brief: Will Rogers once called John Ford’s Judge Priest the best movie he ever made. Of course, he was promoting the film when he said that. Whether or not it’s quite true, it’s easily his most controversial — and most problematic for modern viewers. The story — adapted from the writings of American humorist and occasional actor Irvin S. Cobb — takes place in a heavily romanticized 19th-century small town in Kentucky where the Civil War and the Confederacy are very much a part of everyday life. In fact, most of the characters — including Rogers’ title character — are Confederate veterans. It can be easy to take this undeniably sentimental and sympathetic approach to the Confederacy at face value — especially with Stepin Fetchit (here given special billing) as Rogers’ servant and confidante, Jeff Poindexter — and think of the movie as racist and reactionary. And to some degree it is, but this is Ford, and nothing is as easy as it seems. The film — while clearly celebrating a glamorized view of the Old South — lays bare the hypocrisy, pomposity and bigotry that lies beneath the outward gentility of this world. Judge Priest himself is a champion of the disenfranchised and the social outcasts — a man who honors the glorified past but recognizes its shortcomings and injustices. Take it in the context of its time and as a fairly major work of a major filmmaker. The Asheville Film Society will screen Judge Priest Tuesday, Nov. 25, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
The Story: Fact-based story of Iranian-born, Canada-based journalist Maziar Bahari’s imprisonment and torture by the government of Iran. The Lowdown: The hook here is that this is the writing-directing debut of Jon Stewart. The results are a mixed bag, with moments of greatness that aren’t enough to make the film itself great. It is, however, an interesting film and worth a look.
In Brief: For their final Budget Big Screen film of 2014 (the free Tuesday and Thursday showings will continue through the winter and the BBS series will return in the spring), the Asheville Film Society is running Charles Chaplin’s first talkie, The Great Dictator (1940). Chaplin held out against talking pictures longer than anyone — feeling that dialogue would kill his Little Tramp character, but this was something different. While vestiges of the Tramp were certainly evident in his Jewish Barber character, the larger thrust here was Chaplin’s satire on Adolf Hitler — here presented by Chaplin as Adenoid Hynkel, the great dictator of the title. It was perhaps an act of revenge of a sort, since Hitler had co-opted Chaplin’s mustache. But there’s more here — much more. Chaplin had something to say, and he would use his newfound voice to say it. His Hynkel is an amazing caricature of Hitler — the garbled phony German speeches sound like the real thing — and represents some of Chaplin’s finest comedic moments. However there’s a deeper — frankly terrifying — aspect to this bold film, which is brazenly set in the period “between two world wars” — something that in 1940 was inevitable, but which was rarely expressed openly. It is Chaplin at his best and bravest — a genuine classic of film by one of its greatest masters at the height of his power. The Asheville Film Society is showing The Great Dictator Wednesday, Nov. 19, at 7:30 p.m. at The Carolina Asheville as part of the Budget Big Screen series. Admission is $6 for AFS members and $8 for the general public. Xpress movie critics Ken Hanke and Justin Souther will introduce the film.
In Brief: Fritz Lang’s American films tend to be pretty hit or miss, but this adaptation of Graham Greene’s novel that he made for Paramount is definitely in the hit category. Lang and screenwriter Seton I. Miller have stripped the story of its deeper implications — like a lot of Greene’s work, the novel is drenched in Catholic guilt — and turned it into the kind of wild and woolly melodrama Lang so loved and so thrived on. Ray Milland stars as Stephen Neale, a man fresh out of a stint in an insane asylum for the mercy killing of his wife. On a whim, while waiting for his train back to London, Neale wanders into a church fete where as luck — and the dictates of this kind of story — would have it, he accidentally gives the code phrase that causes him to be given the information that allows him to win a cake that’s being raffled. Of course, this is no ordinary cake, and he soon finds himself under attack by a bogus blind man (Eustace Wyatt) — who, along with the cake, is blown up in a Nazi air raid. From this, Neale is plunged into a world of spies, seances, duplicitous “friends” — and is set up on a murder charge. The only way to clear himself is to expose these spies and find out what exactly was hidden in that cake. There’s a romantic interest in the form of Paramount contract player Marjorie Reynolds and a large portion of Hitchcockian comedy. It’s all fast and breezy — and fairly implausible — entertainment from a director in his element. The Asheville Film Society will screen Ministry of Fear Tuesday, Nov. 18, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
In Brief: Joyeux Noël (2005) is a pretty good movie with something like a great one buried inside it. The trick is getting to that movie. The premise comes from an actual historical event — here, greatly enlarged and romanticized — in WWI where warring soldiers in “no man’s land” called a very unofficial truce on Christmas Eve and fraternized with the enemy. As a story, it’s a good one, and — despite its embellishments, easy message and fermenting melodrama — it plays well. It has everything needed to make an effective “feel good” antiwar picture of the crowd-pleasing variety. And I’ve no doubt that many people will find it just that. I can overlook its shameless manipulation and pushy sentiment, but I have more trouble with the first 30 or so minutes of the movie that get us to the central event. Never have I seen such a ragtag collection of WWI movie clichés. I kept thinking I wasn’t even looking at new footage, but an assemblage of clips from movies I saw 40-50 years ago. It made for pretty tough sledding to get to the much better, more interesting story the film wanted to tell. The Hendersonville Film Society will show Joyeux Noël Sunday, Nov. 16, at 2 p.m. in the Smoky Mountain Theater at Lake Pointe Landing Retirement Community (behind Epic Cinemas), 333 Thompson St., Hendersonville.
In Brief: Fiend Without a Face (1958) is mostly known for its ambulatory — and occasionally leaping — “brain monsters” — and with good reason. This English-made — but set in Canada to make it seem more American and more exportable to the States — sci-fi horror thriller is one of the minor gems of 1950s B cinema. It clearly leans on the success of the Quatermass movies — 1955’s The Quatermass Xperiment (The Creeping Unknown) and 1957’s Quatermass 2 (Enemy from Space) — in both tone and approach. Though it takes a while to get to its big set-piece ending, the film boasts a consistently creepy atmosphere and unsettling mood for its entire length. The selling point, however, is pretty clearly conveyed by the film’s tag line: “New Horrors! Mad Science Spawns Evil Fiends! ... Taking form before your horrified eyes!” This is undeniable, but they don’t take visible form until the film’s climax — invisible fiends being considerably more economical, you know. But when these crawling brain monsters — complete with antennae and a kind of spinal column they use to inch along (thanks to stop frame animation) — the film becomes that rarest of things: a 1950s horror that really delivers the goods — and surprisingly graphically. The Thursday Horror Picture Show will screen Fiend Without a Face Thursday, Nov. 13, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
The Story: A boy, his inflatable robot and his friends track down the person who stole his invention and caused the death of his brother. The Lowdown: Wonderful to look at, blessed with one terrific character and boasting a good deal of honest sentimentality, Big Hero 6 is brought down a notch by a well-worn plot and a desire to be a big superhero effort.
The Story: A teen with dreams of becoming a great jazz drummer must survive his maniacal music teacher. The Lowdown: While it’s little more than your standard coming-of-age/chase-your-dreams type of drama (with considerably more swearing and jazz), the film is elevated with a perfect, expert climax that alone is worth admission.
The Story: The only hope for a dying Earth is the discovery of an inhabitable planet that may — or may not — lie on the other side of a wormhole. The Lowdown: A deeply flawed film that tries to be something more than it can manage, but it’s still an entertaining work of considerable intelligence.
In Brief: Lina Wertmüller was a major force in film for a time, and her work hardly merits the near obscurity it has today. Her sense of comedy might be a little broad, sometimes clunky and a little too predicated on the charm of her usual leading man, Giancarlo Giannini. But her films have drive, style, life and a healthy dose of social commentary. All of these things are true of her first hit, The Seduction of Mimi, a brisk satire that has its hero (Giannini) blacklisted for voting against a Mafia candidate in a supposedly secret election. Fed up, he leaves his wife, moves to Turin, takes up communism and leads a sort of double life with a Maoist girlfriend — only to find himself working for the very gangsters that caused his troubles in the first place. Richly detailed, pointed in its satire and sometimes hysterically funny, it’s a good starting point for a reassessment of a filmmaker worth another look. Classic World Cinema by Courtyard Gallery will present The Seduction of Mimi Friday, Nov. 14, at 8 p.m. at Phil Mechanic Studios, 109 Roberts St., River Arts District (upstairs in the Railroad Library). Info: 273-3332, www.ashevillecourtyard.com
The Story: A washed-up actor known for having played a superhero tries to reinvent and validate himself by writing, producing, directing and starring in a Broadway play. The Lowdown: Full-blown filmmaking written in all capital letters. Birdman is both a stylistic and dramatic tour de force — the kind of nonstop brilliant movie you hope for and almost never get. Here you do get it — and then some.
In Brief: Like Ridley’s best-known film (he’s only made three) The Reflecting Skin (1990), this is very clearly a horror movie — some of it is quite graphic — but it’s more of a very perverse fairy tale than a traditional horror movie. Put briefly, it’s the story of a young man (Sturgess) with a large, disfiguring, heart-shaped birthmark on his face, who — after discovering that lizard-like demons are terrorizing East London — loses everything, but is offered a deal with the devil (Joseph Mawle) — or a close approximation — to have the life he wants, i.e., a life without his birthmark. Naturally — since the Prince of Darkness is not known as a square shooter — there’s a catch. And it’s not only more of a catch than was bargained for, but the rules keep changing — always in the devil’s favor. Weird and unashamedly mystical, it’s a must-see for serious horror fans — and for anyone who likes something out of the ordinary. The Thursday Horror Picture Show will screen Heartless Thursday, Nov. 6, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.
In Brief: How you feel about The Red Pony (1949) is going to depend a great deal on how you feel about the John Steinbeck story and the Aaron Copland music. Not being a fan of either — and just having a basic aversion to “life lesson” stories that deal with the death of a beloved pet — it’s a movie I tend to avoid whenever possible. Although it’s obviously a low-budget attempt to duplicate the success of Clarence Brown’s The Yearling (1946), I can’t really fault the film as a solid version of the story. Oh, the animated birds are pretty bad, and the idea of literalizing the boy’s daydreams should have been drowned at birth, but it’s certainly not a bad movie. Director Lewis Milestone was past his glory days of the 1930s, but he crafts a handsome movie — even if it lacks the bravura touches that mark Milestone’s great films. The Hendersonville Film Society will show The Red Pony Sunday, Nov. 9, at 2 p.m. in the Smoky Mountain Theater at Lake Pointe Landing Retirement Community (behind Epic Cinemas), 333 Thompson St., Hendersonville.
In Brief: I am quite certain that after watching The Turin Horse (2011) I swore I would never get suckered into sitting through another film by the Hungarian master of molasses-slow miserablism, Béla Tarr. Well, somehow I went back on that — partly out of curiosity to see what Mr. Tarr would do with color in his only non-black-and-white movie Almanac of Fall (1984). I will say that the film’s use of color is interesting and creative, though I doubt if Tarr’s use of colored gels actually means anything. It is, however, undeniably sinister. Technically, the film is well made and the direction is solid, but whether you’d actually enjoy the results or merely be relieved when the movie stops is another matter. For fans only. Classic World Cinema by Courtyard Gallery will present Almanac of Fall Friday, Nov. 7, at 8 p.m. at Phil Mechanic Studios, 109 Roberts St., River Arts District (upstairs in the Railroad Library). Info: 273-3332, www.ashevillecourtyard.com
In Brief: Generally reviled at the time of its release, Joseph McGrath’s The Magic Christian (1969) has seen its appreciation skyrocket in recent years — deservedly so. What was once dismissed as tasteless and messy (never mind that these were deliberate) has now come to be seen as a brilliantly anarchic satire and perhaps the apotheosis of 1960s British Invasion filmmaking. Its tale of the world’s richest eccentric, Sir Guy Grand (Peter Sellers), and his adopted son Youngman (Ringo Starr) setting out to prove that everyone can be bought if the price is high enough left few, if any, sacred cows standing. Subversive, very funny and wildly inventive, The Magic Christian is a gem of 1960s film. The Asheville Film Society will screen The Magic Christian Tuesday, Nov. 11, at 8 p.m. in Theater Six at The Carolina Asheville and will be hosted by Xpress movie critics Ken Hanke and Justin Souther.