This here is really me catching up: I mentioned it briefly in my 2014 positivity post, but I’m co-hosting the Daily Grindhouse podcast now with Joe and Freeman. Our most recent episode found us discussing 1976’s VIGILANTE FORCE, written and directed by George Armitage and starring Kris Kristofferson, Jan-Michael Vincent, Victoria Principal, and Bernadette Peters. It’s a crazy good time (we’re two for two on movie choices! And just wait until you hear our third episode, coming this week!)
Here is the trailer and then the copy I read on the show: I feel like I stumbled over my words a bit so for clarity’s sake and for completists, I wanted to make it available. (Sometimes I listen to my own voice and feel so deeply grateful my parents decided to make me pretty.)
Elk Hills, California is a boom town. Oil-field workers drawn to the town by black gold run wild in the streets, drinking heavily and getting in raucous and very costly bar fights (staged by veteran stuntman Buddy Joe Hooker). This movie is set in the 1970s, when it was made, but it plays out like the Old West. One early bar fight BEGINS with a man getting shot in the gut and then escalates from there. The marauders have shoot-outs in the street with the police. One young man decides he’s had enough. Ben Arnold (played by Jan-Michael Vincent) is a widower and single father with a nice, pretty girlfriend (played by Victoria Principal). Ben tells the city elders, including the mayor (played by Brad Dexter, the member of THE MAGNIFICENT SEVEN everyone always forgets) and David Doyle (best known as Bosley from Charlie’s Angels) that he’s going for outside help.
Ben’s older brother Aaron is a Vietnam vet working a lousy menial job at an airfield. Ben recruits Aaron and his shitkicking drinking buddies from the service to come to Elk Hills to clean it up. Because Aaron is played by the ruggedly handsome and endlessly charming singer, songwriter, and movie star Kris Kristofferson, we feel like we may have seen this movie before: Good-guy gunslinger comes to lawless town and cleans it up for the decent folks. This isn’t what happens. After beating the oil workers down, Aaron makes a deal with some shady characters – one of them played by professional hard-ass Paul Gleason, best remembered for TRADING PLACES, THE BREAKFAST CLUB, and DIE HARD — to shake down the townspeople so that Aaron and his boys can swoop in and collect the protection tax. Aaron takes up with a spacey nightclub singer – Bernadette Peters, who nearly steals the movie away – but his callous treatment of her echoes his cruel treatment of the town. As Aaron’s tyranny escalates, Ben slowly realizes that his brother is kind of a monster, and recruits his own vigilante force to take him down. This happens in a wild, almost absurdly explosive climax well befitting a story with Biblical undertones. Call it Will Kane and Abel. That’s a HIGH NOON reference, son.
A Vietnam allegory that’s actually about Vietnam, VIGILANTE FORCE was written and directed by a smart, savvy, and sorely under-recognized filmmaker named George Armitage. Armitage started out directing for Roger Corman (whose brother Gene produced VIGILANTE FORCE). His feature previous to this one was HIT MAN, an Americanized version of GET CARTER starring Bernie Casey and Pam Grier. After VIGILANTE FORCE, he didn’t direct a theatrical feature until 1990’s MIAMI BLUES, the cult classic adaptation of the Charles Willeford novel starring a young Alec Baldwin. After writing the screenplay for the HBO movie THE LATE SHIFT, Armitage directed another cult classic, the John Cusack-starring GROSSE POINTE BLANK. Next, Armitage directed THE BIG BOUNCE, a poorly-received Elmore Leonard adaptation starring Owen Wilson and Morgan Freeman. That was 2004. He hasn’t made a film since. This is a mystery that all of humanity should be working to solve.
If you like us talking about VIGILANTE FORCE, be sure to check out our episode on STREET WARS!:
M. Night Shyamalan, the kinda-sorta auteurist filmmaker who rocketed to above-the-title fame with a couple movies only to struggle critically over the tail end of the past decade, has a new movie coming out this summer. It’s called AFTER EARTH and it stars Will Smith, one of the last dependable movie stars, and his son Jaden. The movie is a sci-fi epic about a father and son who return to Earth in the deep future, long after the planet has been abandoned by humanity. I included AFTER EARTH on my list of 2013’s potentially strangest movies, which is totally a dick move on my part. I mean, how much have I done with MY life to be sitting here taking cheap shots? At least this guy is out there making movies, and making them with some of the world’s hugest stars. In my heart, I’m really not a so-called hater.
Quite the contrary in this case, in fact. I think there’s a particular angst for movie lovers when we start following a talented filmmaker who then makes a severe right turn down the off-roads of unfulfilled or squandered promise. It happened to me with Kevin Smith, for example, a witty, bold, and perceptive writer who I always hoped would take an interest in learning what to do with a camera, but it turned out he’d rather pursue other interests besides visual storytelling. By contrast, Shyamalan never had a problem being cinematic, but he certainly grew overly enamored of certain tics that precluded concise and coherent films. I would have liked to remain a fan, but at a certain point I had to decide that I didn’t want to follow these guys up their own asses.
So here’s a chronicle of me falling in love with another man’s talent, and then rapidly falling out of it. I wrote most of this piece back in 2008 but unfortunately my mind hasn’t much changed since then.
NOTE: This will not include anything Shyamalan did before THESIXTHSENSE,because I haven’t seen any of that stuff. I’m most interested in the Shyamalan of self-created myth & legend, the Shyamalan we have come to know in the past decade, the one who – like a young Bruce Wayne in his study who looked up at a bat and gained an instant career direction – looked up at the RAIDERS OF THE LOST ARK poster in his office and asked himself why he wasn’t making those kind of movies. That is the filmography I will be talking about here.
I also won’t be talking about anything after THE HAPPENING, for reasons that may soon enough become apparent.
THE SIXTH SENSE (1999) – This one came out of nowhere in the summer of 1999 and blew most people’s minds. It was a ghost story with the emphasis on story. The dramatic twist near the end actually deepens the experience, and it doesn’t hurt that it makes you want to re-watch the movie with the twist now in mind. This is an extremely solid movie about faith and the after-life and how those intersect and overlap. Is it maybe even good enough to one day sit on a shelf alongside another one of the director’s inspirations, THE EXORCIST? That may be going a little far. But it does serve as an answer to the most vehement haters, the ones who, burned by his later films, have rechristened him F. Night Shyamalan:
Anybody wondering why they still allow this guy to make movies should re-watch THE SIXTH SENSE. It was a massive financial success achieved with an actually good movie. The people who make the decisions are no doubt optimistic that one day, this guy will do that again. (So am I, for the record.)
But the movie itself does indeed hold up to revisiting. To prospective screenwriters like myself, I also recommend reading it in script form, if you can track that down, because it’s still just as affecting on the page. This movie is so solid that it has a good performance by Donnie Wahlberg. That’s directing, son.
The truth is that Shyamalan’s filmmaking talent is very real. Every movie he has made since THE SIXTH SENSE has contained varying degrees of that copious cinematic talent. Key word: “varying.” It’s why his filmography is so frustrating. He wouldn’t be so widely discussed if he wasn’t so capable.
UNBREAKABLE (2000) – I loved this one when it was first released. Saw it twice theatrically and a couple more times on DVD. So I hope that earns me enough leeway to suggest that it does not really hold up viscerally eight years later. It’s slow as a turtle attempting to moonwalk. Okay, hang on–
Here’s a rule: You can’t make a movie that’s more boring than real life. You just can’t. It’s why — to take a random and unrelated example — BROKEN FLOWERS was so disappointing to me. No matter how much Bill Murray you pour into a movie, you can’t slow a story down so much that you leave out the space for narrative.
Anyway, that’s why Shyamalan’s “deliberate” pacing falls so often flat. It also plays into the cardinal mistake Shyamalan likes to make of turning lighthearted subject matter — in this case superheroes — into a somber and ponderous suite of melancholy. It’s true that comic books themselves have been doing this for years, and now comic book movies are doing it too, so Shyamalan can’t be entirely faulted there. In a way, he was ahead of the curve.
On an intellectual level, UNBREAKABLE still works. It’s an interesting approach to the standard superhero/supervillain origin story. I just don’t want to rewatch it ever again. Unless…
You know what would solve all its problems? If the once-rumored sequel were to actually happen. Because as it stands now, UNBREAKABLE feels like the longest first act ever. I would definitely be curious as to what happens in the second UNBREAKABLE movie if it ever happened, especially since the second act is traditionally where the majority of the actual story takes place. UNBREAKABLE doesn’t add up to much without its MR. GLASS STRIKES BACK.
SIGNS (2002) – Forget the fact that it’s kind of impossible to look at Mel Gibson anymore without off-the-screen baggage. He’s fine in the movie, really. It’s the movie itself that’s the problem. This is where the storytelling problems infecting Shyamalan’s arsenal start to rear up violently. Shyamalan’s technical skill is still crazy-impressive – every scene where those aliens appear (or don’t) is freaky and great.
It’s the other stuff that just plain doesn’t add up in a coherent way — first and foremost that ending — and there’s been enough cyber-ink spilled on the subject for me to not bother to add to it. But the movie still made tons of money, and enough people still inexplicably say they like it, which is no doubt precisely how the first out-and-out blunder came to pass.
THE VILLAGE (2004) – Or as I call it affectionately: Cinematic blue-balls.
There’s nothing wrong with the original premise – colonial village is surrounded on all sides by a thick forest and maintaining an uneasy truce with the horrible monsters who live there – in fact that’s a great goddamn premise! And the way those red-cloaked spiny creatures are set up is chilling. Even knowing how things turned out, I still get chills thinking of their first couple appearances in the movie, and trust me, I don’t scare easy at movies. The first half of THE VILLAGE does the tough part and brings the fear.
So why completely subvert it for a corny twist ending? I’ll tell you how I figured out the twist after the first five minutes of the movie: “Okay, colonial village, bunch of musty old white people, how are they going to work in a role for the director, a modern-sounding East Indian guy, AHA! – it’s actually set in the present day!” And sure enough, there he was, and so it was. Sorry to ruin the movie, but you’d be a lot happier if you turned it off at the hour-mark anyway.
LADY IN THE WATER (2006) – Even worse, somehow. Massive folly. Near-unbelievable, but I didn’t see it alone, so I know for a fact it really happened.
Reading Shyamalan print interviews is one of my guilty pleasures. I’m just fascinated by how someone so smart and talented can so often be so misguided. I may risk sounding like an asshole to say so, but I truly find it illuminating. For a while there, Shyamalan was fond of defending his work by questioning why so many people criticize him and not his movies. Seems to me that one way to avoid that is to take a break from casting yourself in your movies. Right? Kind of hard to separate the two when, in this case, you’re playing the pivotal role of the man who will write the book that will change the world, even though it will mean he will die a martyr. And you can’t be so naive as to think that notebook-toting, detail-oriented professional film critics won’t pick up on the fact that the only character to meet a gruesome death, in an entire movie about the act of storytelling itself, is the cranky film critic.
The same way that you can’t complain about the way that people are always trying to figure out the twist endings of your movies when you keep putting twist endings in your movies. Right?
I particularly liked how the title character spent very close to the entire running time curled up in the shower. That was exciting.
And Paul Giamatti had the speech impediment coming and going, and that Latino dude with the fucked-up arm… (Now I’m getting confused again.) The wolf made of grass was pretty cool though. (Was I high?) Wikipedia tells me there was in fact a grass-wolf. It was called a “scrunt,” which really isn’t a great word to have in what was intended as a children’s movie.
THE HAPPENING (2008) – Okay. Okay.
It’s starting to become apparent that the director may no longer be interested in suspenseful stories about the supernatural, and has in fact now evolved into the maker of really, really weird comedies.
If you go into THE HAPPENING in this spirit, you will not be disappointed. If you are looking for a creepy edge-of-the-seater, you surely will. Without giving anything important away (I want to leave the half-hearted yet still insane ultimate revelation to the bravest among you), here are some reasons why I enjoyed THE HAPPENING:
“Filbert.” Let me explain: The main characters are fleeing Philadelphia on a railroad train, which inexplicably stops. Someone ducks their head away from the window, and the name of the town in which they are now stranded is revealed: Filbert. FILBERT! Duh-duh-duhhhhh! No, God, please, no, not… Filbert! Filbert! Dooooom! I don’t even care whether or not I’m the only one who laughed at that, because it’s still funny to me. Fucking Filbert, man.
I was NOT, however, the only one who laughed when the construction workers started walking off the building. Everyone in my theater laughed at that. It’s mostly because the plummeting crazies are played by dummies. And if we learned anything from The Three Stooges and Saturday Night Live, it’s that dummies are the greatest of all comedy props.
I don’t know who in all of Hollywood I would cast as a science teacher and a math teacher, respectively, but Mark Wahlberg and John Leguizamo are not they. Likable and down-to-earth actors both, but far better casting for, say, the cranky gym coach and the wisecracking AV teacher. They do their best, but the dialogue they are given does them no favors.
I swear a couple times Shyamalan cuts away from the action to a reaction shot of Zooey Deschanel and it looks like she’s trying to suppress a crack-up. Shyamalan may not have noticed, but I’m sure I did.
Intentional laughs are in the movie for sure, to the point where it’s almost confusing when it happens – stay tuned for the scene where Wahlberg tries to relate on a personal level to a plastic plant. Expertly written and played, and I’m not being sarcastic at all.
Far and away Shyamalan’s best and most hilarious cameo in all of his movies to date happens in THE HAPPENING. If you end up going, please stay for the credits to see what role he played. It’s just got to be a joke. But one of those jokes that only the one making it gets; you know that kind.
The Lion Scene! Oh man, the lion scene. The lion scene is a horror-comedy classic of which an EVIL DEAD 2-era Sam Raimi would be chainsaw-wieldingly envious. Soon to be a YouTube staple, guaranteed.
So if you’re looking for scary, this is not your territory. Watch the news instead. But if you’re a certain kind of moviegoer in a certain kind of mood, grab a couple like-minded buddies and Mystery-Science-Theater away.
Now, I skipped Shyamalan’s 2010 movie, THE LAST AIRBENDER, because I didn’t think my brain could handle all the fart jokes I was destined to make about that title. By every last account (except probably Shyamalan’s), I made the correct decision. But I’m curious about AFTER EARTH. Did the nasty thrashing he got over his last couple flicks make Shyamalan reconsider some of his more over-used quirks? Does the presence of Will Smith, one of the most infallible choosers of successful projects of the last decade-and-a-half, suggest that Shammy has reclaimed his earlier mojo? The AFTER EARTH trailer does not look overtly comical. It’s somewhat well paced, and more importantly, it has hordes of monkeys in it. That’s not any guarantee I’ll be able to stay away.
Daily Grindhouse would be pretty much my favorite website even if I weren’t writing for them, but since I am, here’s a collection of all my work so far. It’s some of my very best stuff. Enjoy!
Make Daily Grindhouse your daily destination for genre movie news, reviews, and interviews — there’s a ton of truly great content over there, beyond just the parts with my name on ’em.
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This collection has been much-requested and a long time coming. To get at the reviews, just click on the movie poster of your choice. And be sure to bookmark this page, because it’s bound to get updated frequently!
