From Dusk Till Dawn (1996)

I used to work at Blockbuster. One time while trying to recommend a movie to someone, I was asked why it is that I watch and collect so many older films. Granted, the person doing the asking was a vapid high schooler who, and I'm not joking here, refused to watch any movie that had been made more than 10 years ago on the basis of it "being old." They looked at me, head tilted to the side and said "Why would you watch that? It's old. I don't want to watch old movies." My answer was the suitably snide, condescending remark "Right, because they never made any good films until 2004." The sarcasm was dripping.

Of course the real answer as to why I am always playing catch up with older films is because there are just so many awesome ones out there that I haven't seen yet. Every time I pick up a title that I missed back in the day, I'm always secretly hoping that I'll be kicking myself for missing it earlier. Even better is when that one film leads to the discovery of the body of work of a director or actor I didn't even know about before, but find myself being a big fan of. It's like discovering an old friend you never knew you had.

And "From Dusk Till Dawn" most certainly fits that bill. Why, why, why...WHY IN THE NAME OF ZORDON did I never see this movie until 2013? I don't know how much I would have liked it back in the day, but after seeing it now I can safely say it's some of the most fun I've had watching a movie in a long time.

"From Dusk Till Dawn" is directed by Robert Rodriguez, famous for "Desperado," "Machete," "Planet Terror" among other hyper-violent bloodbaths which are ludicrously entertaining. He also does kids movies. He's not very good at them. Why he does both I have no idea. It's kind of weird. Anyway, Rodriguez is a director I like, and the screenplay was done by one of my all-time favorite writers, Quentin Tarantino, who also stars in the film. There is no way I'm not going to love this film.

From the very beginning of the film, which Rodriguez gives a hot, steamy, sweaty look right from the start, it's not difficult to imagine that this is a lost Tarantino film. The dialogue is punchy, funny, and so packed with fire coming from the mouths of the actors, all of whom are so good it's unreal, that the tension is through the roof and nearly unbearable. This is especially so in the first half of the movie, which plays out kind of like "Reservoir Dogs" mixed with "Natural Born Killers."

Oh yeah. There's no way this is a Tarantino movie with a shot like that.

The story begins in a gas station in Texas, as Texas Ranger Earl McGraw (a recurring Tarantino character played by the inimitable Michael Parks) stops by for a drink and a friendly chat with the attendant (a pre-"Deadwood" John Hawkes). What seems like random chit-chat takes a sudden, shocking turn as the bank-robbing Gecko Brothers, Seth and Richie (George Clooney and Quentin Tarantino respectively) show up to turn a relatively simple hostage situation into a bloodbath. Most of this is due to Richie being a total and irredeemable psychopath.

You know, not much is ever made about Tarantino as an actor, but he really deserves more credit for that than he gets. He's in almost all of his movies, but nobody ever really talks about how good he is when he shows up in any large capacity. His turn as Mr. Brown in "Reservoir Dogs" and Jimmy in "Pulp Fiction" were really good, but in "From Dusk Till Dawn" he really knocks it out of the park. He plays Richie so off-the-handle and so creepily evil that there's never any telling what in the hell he's going to do next. In fact he pretty much carries all the tension of the first half of the film by himself, and there's plenty of tension to be found.

Well, tension AND release...

Seth has to constantly do damage control for his brother, and Clooney is quite magnetic as the calmer, less overtly crazy brother. He'd still be a total scumbag no matter where he was, but next to Richie he's a pretty reasonable dude. Yeah, Seth set a guy on fire, but it was only after Richie started the whole mess. And once you account for Clooney's natural charm, you've got a character who is a villain, but a really likeable one, and you really want to see him make it. Tarantino plays a great character, but you can't help but constantly be amazed by how much Richie sucks, and you wouldn't be too sad if he bought it. In fact you're kind of waiting for it to happen. The biggest question is whether or not Seth is going to be the one to finally take him out or not.

"From Dusk Till Dawn" isn't really structured like an average three act film. It's more like two halves. The first half is vintage Tarantino, full of tension and fantastic dialogue as Seth and Richie kidnap a family and make them drive to Mexico and freedom from the police and FBI who's hot on their trail. The family is Jacob (Harvey Keitel), his daughter Kate (Juliette Lewis) and adopted son Scott (Ernest Liu). Jacob is a former preacher whose faith is shaken after losing his wife, and is on an indefinite road trip to clear his head. They go along with the Gecko brother's orders, but there's always the lingering doubt in both his and the audience's mind whether or not they'll be let go as promised at the end of the journey. This is especially so with Richie being insane and killing people over looks he imagined they had.

Not long after they reach their destination, a strip club in Mexico called "The Titty Twister," is when the movie begins the second half. And it's here that I will suggest, if you've never seen "From Dusk Till Dawn," and have no knowledge of it whatsoever, you stop reading IMMEDIATELY. Don't even watch the trailer. Don't look up any pictures of it. Don't do any research whatsoever. Don't even read the description on the back of the case or on Netflix. You need to go in blind because the second half of this film has one of the most radical, drastic and completely off-the-wall twists I've ever seen, and unless you've seen the trailer (which completely spoils it) there's no possible way you'd ever come close to imagining what's in store.

"Huh. Didn't see that coming."

I'm dead serious. Stop reading this and go watch "From Dusk Till Dawn" while 100% ignorant of it. Trust me, it'll be awesome.

I'm not even going to go into great detail about what actually happens on the off chance you're still reading. It's enough to say that during the blood-soaked climax of "From Dusk Till Dawn," there exists enough insanity for around 3 other films. Body parts fly everywhere, blood and other fluids of various colors and origin cover the place like varnish on a dresser, and the cheese is off the meter as "From Dusk Till Dawn" turns into something like a spiritual successor to "The Evil Dead." It's certainly a thing to behold.

The practical effects are skillfully done enough to be disgusting and corny enough to also be a comedic blast for those with a twisted sense of humor. This was also back before CGI blood was the standard, and action wasn't filmed with shaky cam to be "more intense," so there is also a lot of fun artistry to the carnage, harkening back to "The Thing" and once again, "The Evil Dead." There's just something special about seeing practical effects in front of the camera which lends an air of credibility and enjoyment for those of us who like seeing the creative process of film-making at work.

And of course this is all going down around a great cast, like everything Tarantino is involved in. The leads are all still there, but added to the fray once we arrive at the strip club are horror movie legend Tom Savini, NFL and B-movie hero Fred Williamson, Robert Rodriguez BFF Danny Trejo, and finally Cheech Marin in one of the three parts he plays in this film. Selma Hayek even shows up to do some sexy dancing. What's not to like?

"Well this was fun. I'm going to go lay down now."

From the first frame of "From Dusk Till Dawn" to the last, I was glued to the screen. I love this movie. Anyone looking to have a good, bloody time is going to love it. Some may prefer one half over the other, in fact I kind of like the first half more, but they're so vastly different that one can almost look at them as two different films all together. Almost like "Well, that movie's done. That was really tense. Too bad it didn't have much of an ending. Oh well. Let's watch this crazy gory splatterfest next! That's going to be a lot of fun! And hey, it's got the same cast. Neat!"

In fact...holy crap. Flip those two around in terms of order of sequence and cram it into an hour and a half and you've essentially got "From Dusk Till Dawn!"

THE BOTTOM LINE - I'm so upset that I came to this one late, because it's probably one of my favorite movies from the 90's now. In terms of blood, guts, laughs and awesome Tarantino dialogue, few things can top "From Dusk Till Dawn" outside of an actual Quentin Tarantino movie. One of the best action films of that decade. I just wish it hadn't been spoiled for me all those years ago when I saw the trailer. Seeing it blind would have been amazing.

Lincoln (2012)

I've gone on record before saying that my feelings on Steven Spielberg have reached a point of full-out dislike. And I stand by that. I'm not a fan of his films anymore, at least not the ones he's been making lately. And by "lately" I mean roughly the last 15 years. I'm also a complete weirdo in the fact the only movie of his I've seen since "Saving Private Ryan" that I did like was "Kingdom of The Crystal Skull," so please feel free to take whatever I say with a grain of salt since apparently I'm insane.

Here's the thing, though. Spielberg is a good director. Seriously, he is. I'm not going to say he isn't a master at what he does, because that would be ignorant. There are just certain things he does which I don't like, and of the 3 primary issues I have with him, only 1 of those has to do with his actual directing.

The first thing is that I don't like the scripts he chooses. They're cheesy, overly long, preachy, and play it pretty safe and mediocre. He directs them well, but I'm usually very bored by them. Yeah that's a big issue to have, but it has nothing to do with his actual directing. The second thing is that he keeps hiring John Williams. Similar to Danny Elfman and Tim Burton, this symbiotic relationship has gone from working beautifully to becoming one of tired acceptance with a distinct overtone of forgettable "not caring anymore." And at this point, Williams really seems to be running low on ideas as the last memorable piece he wrote was "Duel of the Fates" for "Star Wars: Episode I." Back in 1999.

Third and finally comes the only real issue I have with Spielberg from an actual directorial standpoint. There comes a time, oftentimes several throughout the course of his films, where something dramatic will happen, usually having something to do with racism and the like. In any case, someone will make a dramatic gesture, will say something, or will do something to fly in the face of the established oligarchy that has been opposing them. Everything slows down, the camera pans around everyone at a low angle as they look upwards with thoughtful expressions or mouths agape as they slowly nod their heads with new understanding on life and humanity,  all to John Williams' music swelling underneath.

This happens in nearly every Spielberg drama I can think of. And I hate this scene. I really do. It's so cheesy. It's so telegraphed. It's so cliche. And it's seldom really earned. It's just there because well, that's what Spielberg does a lot of. People are always labeling grand, sweeping action shots as "Spielbergian," but why doesn't anyone else use it to describe that hunk of cheese as well? He uses it more often than the first one, it seems to me.

I think it's the head nod. That's what kills it for me.

So it was not without some sense of apprehension that I went to go see "Lincoln." I'm not going to lie, I really wasn't digging this one from the trailers. Maybe if it had been another director I would have had more interest in it, but because it was Spielberg, I knew it would be cheesy and preachy. And I was right about that. It was cheesy. In fact it was cheesier than I had imagined it was going to be. And it was indeed preachy, but not as much as I had feared. So we've got a plus and minus with that.

But one thing I didn't count on "Lincoln" being was so droning, and even bordering on dull on occasion. And the reason for that is because the only reason this film exists is to get a few more Oscar nominations (and probably wins) for Daniel Day-Lewis. Now some of you may read that as being overly callous, but what else am I supposed to think about a film that is made up of Daniel Day-Lewis performing monologues for roughly 73% of the 2 and a half hour run time?

This should have been called "Speech: The Movie."

I'm going to come out and say right now, however, that if you like Daniel Day-Lewis, you will love this film for those exact reasons. Perhaps that is one of the benefits of being a weird method actor that only does a movie once every 5 years or something - when they finally get you to star in something you know nobody else is going to matter.

Daniel Day-Lewis is undoubtedly good as Abraham Lincoln. I did genuinely like him in it, he was quite convincing, and yeah I guess he "became the role" as he is wont to do. But honestly I didn't really feel an appreciable difference between his performance and any other good actor who would have probably played the part just as well. At no time did I think to myself "Only Day-Lewis could have pulled this off. Nobody else would have been close."

Does that make "Lincoln" bad or Day-Lewis' performance not matter? No, of course not. I'm just throwing it out there before the awards season begins and everyone starts kissing his ass as The Greatest Living Actor again. He's good, but perhaps people are mistaking lack of quantity for excess of quality. I call that the "Terrence Malick" effect. Although Day-Lewis is far better at his trade-craft than Malick is at his own.

The rest of the elements really don't matter too much, to be perfectly frank. It's set during Lincoln's last few months as he fights to pass the 13th Amendment, and much of the movie is political maneuvering as the Republicans fight to get a majority of the vote in the Senate in order to pass it. That's all well and good, and it is interesting to learn about aspects of the country's history that I was unaware of. But it's just a backdrop to see Day-Lewis start up with another amusing anecdote, which he does so often that it even becomes the topic of a joke at one point. And yeah, that was actually a funny joke, but we still had to sit through the long, plodding story afterwords.

To be fair there are many speeches Lincoln gives that are quite good. The best one that I recall concerns The Emancipation Proclamation, and the risks involved in doing it, and the potential fallout from it. Not only does that give us great insight into his state of mind, but it dumps a whole lot of exposition on us in a pretty believable manner, and clues us in as to why the 13th Amendment needs to be passed now. That's great stuff, but there just too many dull, repetitive monologues in between the good ones, and it makes Lincoln come off as more than a bit long-winded.

Tommy Lee Jones, playing senator Thaddeus Stevens I found to be a more interesting character than Lincoln, mostly because I liked his story and conflict along with his more fiery personality. The point when he is forced to compromise his values for the greater good is one of the more engrossing moments of the film. Unfortunately it's relegated to a 2 minute sequence and then never really brought up again.

He and his wig were honestly my favorite characters.

Sally Field will probably get some Oscar buzz, as its the kind of role that demands it. Was she good? Yeah, I guess. Am I going to remember her performance in a few days? Probably not. More than paying attention to whom they gave screen time to, I was more annoyed with the actors they wasted. Great actors like Joseph Gordon-Levitt and Jackie Earle Haley who are pushed to the back of the room and given pretty "nothing" roles. For shame.

There isn't much more to say about "Lincoln," honestly. I came away feeling profoundly unmoved. The schmaltz of Spielberg didn't help, especially during the painfully bad opening scene where two soldiers recite The Gettysburg Address back at Lincoln, and the ridiculous closing shot featuring Lincoln superimposed over a flame in a lantern (SYMBOLISM!) which looked straight out of an early 90's sitcom.

There's also the scene right before the Senate vote on the 13th Amendment which has a group of black folk walk into the balcony to be seated. Everyone instantly goes mute, stops what they are doing like they have "black radar" and stares at them. Then one of the senators slowly stands and says with great gravity "We welcome you here" like they're the first black people to set foot in the building. Because apparently Mary Todd Lincoln's servant didn't count even though she was there all the freaking time. But whatever. Everyone gets to slowly nod in approval. That's what's important.

I don't hate Spielberg. I just hate Spielberg's cheese. But since his movies are jammed full of it, it's difficult for me to enjoy one. It bores me and makes me roll my eyes every 5 minutes. But whatever. It will win tons of Oscars. That's what's important.

I miss Bill Oberst Jr.

THE BOTTOM LINE - You know exactly what this movie is, even if you haven't seen it yet. It will do nothing to surprise you. If that's what you want, here you go. Daniel Day-Lewis fans will call it the best of the year and demand Best Actor, although they did that before they even saw the film. I personally found it boring.