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Tag Archives: Dan Hedaya

Tightrope

25 Saturday Mar 2017

Posted by vinnieh in Movie Reviews

≈ 51 Comments

Tags

1980's, Alison Eastwood, Clint Eastwood, Dan Hedaya, Geneviève Bujold, Richard Tuggle, Thriller, Tightrope

Film Title

Tightrope

Director

Richard Tuggle

Starring

  • Clint Eastwood as Detective Wes Block
  • Geneviève Bujold as Beryl Thibodeaux
  • Dan Hedaya as Detective Molinari
  • Alison Eastwood as Amanda Block

A thriller that functions as a study of the lines between the hunter and the hunted blurring and strange sexual predilections, Tightrope retains an impact as it explores one man’s journey into murky waters that are complicated by startling links with a killer.

In New Orleans, a spate of sexual murders among prostitutes and massage parlour girls is baffling the police. Experienced and tough Detective Wes Block is the main person investigating, while having his own demons to contend with. His wife left him a while back and he is caring for his two young daughters. While he’s a dedicated father, there is a void in his life that he fills with a dark and possibly damaging string of nocturnal activities, they will become integral later on. Beryl Thibodeaux works at a council centre for a rape prevention program that teaches women self-defense and offers shelter from abuse. She advises Block on certain aspects of the case, but Block is initially standoffish with her. Investigating further, Block discovers that he shares quite a lot of similarities with the killer; the main one being the frequenting of downtown New Orleans for hookers in exchange for kinky encounters. This profoundly disturbs Block, who is trying to balance the dark and good of his life carefully. Unfortunately the killer is very much on his tail and when women that Block has employed the services of start to fall, it starts to get extremely personal for Block. Added to this are his growing feelings for Beryl that seem almost foreign as he’s met by a woman who takes no guff and is far from willing to surrender. He must now track down the taunting killer, who seems to know about his own dark needs and is using it to his advantage to torment him.

The unobtrusive direction brings more attention to the story than just having visuals( which are very good at setting the seedy atmosphere) doing it for them, letting it play out as a slow burn that takes its time with what it wants to say. Richard Tuggle is in the director’s seat, though there have been claims over the years that Clint Eastwood actually directed most of it. Whatever the case with who directed it, Tightrope grabs the attention in a way that isn’t obvious, but still enthralling to watch nonetheless. Where Tightrope particularly soars is in the exploration of how Block sees women, and how his deviant side is given a kicking once the killer latches on to him. This proves to be fascinating to watch, particularly in how his relationship with Beryl forms and he begins to let his guard down, for perhaps the first time in a while. What Tightrope sometimes lacks in tension, it makes up for in character development and thematic value. Saying that, there are a number of chilling scenes, not least when Block’s family are targeted by the killer and the case gets very anguishing for him. It’s more the examination of the man and his attitudes that really makes Tightrope worth the watch, with the thriller parts still there but exceptionally allowing the other content to emerge. The seedy underbelly of things is never far from view as Tightrope isn’t afraid to project the unusual sexual angle to the murder, but these are thankfully not just there for sick exploitative material. They actually serve a purpose and to be honest, a lot of the horrible things that happen occur off-screen. Jazz is featured heavily in the film and excellently counteracted by an electronic pulse whenever darkness drives on the scene, providing a flip on the usually relaxed big band stuff that we hear in the beginning.

Clint Eastwood, through subtle degrees of vulnerability and encroaching shock, excellently layers his performance as the detective haunted by his own behaviour and having it replayed in grisly fashion. Just a stiffening of his neck or a slight uneasiness in his eyes says a lot more than simple dialogue can. Eastwood wisely doesn’t make Block an out-and-out creep, rather a tormented man who wants control and finds it through strange sexual activity. This is offset by his clear love for his daughters and how much he cares about them. Bringing the two sides together makes for one of Eastwood’s most understated yet vulnerable performance. Geneviève Bujold is equally as good playing the rape councillor who is far from a damsel and more than a match for the tough Eastwood. she is also the person who breaks down the wall Block has put up, thanks to her deep understanding and persistence. Bujold splendidly imbues her part with a sympathy and  believable forcefulness that ensure her character is taken seriously in the passionate way she helps Block and others. Dan Hedaya is somewhat saddled with role of sidekick police partner but does pretty good, while Alison Eastwood is convincingly mature as Block’s oldest daughter who just wants her dad around a bit more. It helps that she is really Eastwood’s daughter because the bond between them is very touching.

A dark film that doesn’t shy away from anything sleazy yet wisely rises above exploitation levels, Tightrope features a complex performance from Clint Eastwood that makes it extremely watchable, especially given the disturbing content. More of a character study than out-and-out thriller, the attention given to the characters is what makes Tightrope that something different.

 

The First Wives Club

03 Friday Mar 2017

Posted by vinnieh in Movie Reviews

≈ 38 Comments

Tags

1990's, Bette Midler, Comedy, Dan Hedaya, Diane Keaton, Goldie Hawn, Hugh Wilson, Maggie Smith, Sarah Jessica Parker, Stephen Collins, The First Wives Club, Victor Garber

Film Title

The First Wives Club

Director

Hugh Wilson

Starring

  • Goldie Hawn as Elise Elliot
  • Bette Midler as Brenda Morelli
  • Diane Keaton as Annie MacDuggan
  • Sarah Jessica Parker as Shelly
  • Maggie Smith as Gunilla Garson Goldberg
  • Dan Hedaya as Morty
  • Victor Garber as Bill
  • Stephen Collins as Aaron

An utterly devilish and fun comedy that follows three women getting back at their menfolk in mischievous ways, The First Wives knows how to be terrific entertainment and a sparkling showcase for Goldie Hawn, Bette Midler and Diane Keaton.

We begin in the late 60’s when four young women; Elise, Brenda, Annie and Cynthia are graduating college and promising to be in touch regularly no matter what. Decades later and the ladies have hardly been in contact with each other, through a variety of reasons despite the fact they all live in New York. the-first-wives-club-posterElise is an actress, who at one point had popularity but is trying to be younger as there is more demand for it in Hollywood and has turned to booze. She has also split from her producer husband Bill after he was caught fooling about with a younger actress and is now asking for alimony. Brenda has a young son and is now separated from her husband Morty;who also played away from home with a younger lady, in this case the bimbo social climber Shelley(even though Brenda was the one who helped him set up his business.) Annie is still technically married to louse Aaron though they are trying a temporary separation. It is through Cynthia that everyone is brought together, as she commits suicide following her husband leaving her and marrying someone else. Elise, Brenda and Annie meet at the funeral and spill their own problems to each other. Although both Elise and Brenda feel anguished, Annie thinks she is getting her marriage back on track, due to her ability to see the good and not confront decisions. That however goes out the window when she learns that he is actually leaving her for her therapist. Getting closer again after so many years apart, the trio decides that they aren’t just going to take this treatment and slowly they band together to formulate a plan. Three heads are better than one as they plot an amusing series of revenge schemes directed at the men in their lives. Much hilarity ensures along the way, showing that revenge can be quite fun and extremely sweet when you know what to do.

Hugh Wilson’s energetic direction moves events with a kinetic drive and humour, yet never sacrifices any of the sympathy or seriousness that The First Wives Club has to offer. There are those that will accuse this movie of man bashing from the start, but I find that to think that is missing some of the point. Sure the men depicted are not dactyl model citizens but the main focus is on the ladies getting perceived justice after being wronged. Everything is mainly done with a sprightly and at times acidic humour that makes the film very funny and not just one that ridicules men. After all it is just a film and I do t think the intention is to alienate men at all, I didn’t feel slighted by the film at all. I had an absolute ball with its mix of comedy and drama, that really got you to feel for these ladies and then take pleasure as they took back control over their lives. And talking of what made the film great, the script of arch one liners and a bundle of hilarious scenes is sufficient enough to pique anyone’s interest. the-first-wives-club-funny-sceneTake for instance, when the ladies sneak into Morty’s apartment to search for papers that prove he’s a crook and must exit when he returns, using a window cleaner lift. If you’re not laughing by the end of that outrageous scene, you clearly have no humour. And that late rendition of ‘You Don’t Own Me’ is a showstopper if ever there was one. The music score provided is one of lively intent and dynamic jumps in tempo, which suits the film down to the ground.

The three main ladies of this comedy are sensational and their chemistry is a highlight. Goldie Hawn is side-splittingly hilarious as the vain and shallow Elise, who is desperately trying to be young through cosmetic surgery and is at times very highly strung. the-first-wives-club-ladiesThe energy of Hawn is superbly suited to the often manic but creative character, who emerges as quite decisive in the plans to ruin the man who wronged her. Really capturing the attention is Bette Midler; the most vindictively amusing and loud of the club. You can’t fault Midler and her knack for comedic zingers, which are dispensed with vigorous style and attitude. Diane Keaton completes the triangle of great ladies by playing the repressed Annie as a bottle of jangled nerves, waiting to explode. Keaton is a dab hand at humour but also gets the right notes of sympathy for the character too as her strength slowly reveals itself. As aforementioned, these three ladies work beautifully together and it is clear as day that they had a good time making this comedy. Sarah Jessica Parker elicits plenty of laughs playing the trashy girlfriend of Morty with an eye on getting to the top, while an amusingly tart Maggie Smith rocks it as the much widowed society lady with significant tricks up her sleeve and resources to burn. Dan Hedaya, Victor Garber and Stephen Collins are the men of the film who find out just how much revenge can hurt. Hedaya is the clear standout of the guys with his constant attempts to explain away his actions quite funny.

Funny yet knowing when to be serious, The First Wives Club is great viewing as a comedy and to watch three great actresses working together with gusto.

Alien Resurrection

25 Wednesday Mar 2015

Posted by vinnieh in Movie Reviews

≈ 79 Comments

Tags

1990's, Alien Resurrection, Brad Dourif, Dan Hedaya, Dominique Pinon, Gary Dourdan, Horror, J. E. Freeman, Jean-Pierre Jeunet, Kim Flowers, Leland Orser, Michael Wincott, Raymond Cruz, Ron Perlman, Science Fiction, Sigourney Weaver, Winona Ryder

Film Title

Alien Resurrection

Director

Jean-Pierre Jeunet

Starring

  • Sigourney Weaver as Ellen Ripley
  • Winona Ryder as Call
  • Ron Perlman as Johner
  • Dominique Pinon as Vriess
  • Gary Dourdan as Christie
  • J. E. Freeman as Wren
  • Raymond Cruz as Distephano
  • Brad Dourif as Dr Gediman
  • Dan Hedaya as General Perez
  • Michael Wincott as Elgyn
  • Kim Flowers as Hillard
  • Leland Orser as Purvis

Coming after the misunderstood and much maligned Alien 3, Alien Resurrection emerges as a mixed bag. We’ve got the horror and action for entertainment as well as some interesting and very stylish ideas, but also some wasted opportunities that could have been expanded on.

Two hundred years after Ripley sacrificed her life to kill the alien that was growing inside of her, scientists aboard the spaceship Auriga, have managed to create a clone of her, as well as the Alien. Alien Resurrection PosterThe corrupt and greedy scientists are part of an illegal experiment in raising the creature and developing many other like it. The operation is overseen by General Perez, corrupt scientist Wren and creepy Dr Gediman. Perez enlists the illicit services of a group of mercenaries in bringing human cargo aboard. The group of mercenaries consists of leader Elgyn, sarcastic Johner, enigmatic Call, paraplegic Vriess, weapon-bound Christie and Elgyn’s romantic interest Hillard. Once aboard, the cargo that they have provided will be used as the hosts for the Alien. Meanwhile, because of the cloning procedures, Ripley has developed super strength, acidic blood and a mental link to the Alien. Her personality has drastically changed and she is now a slinky, ambivalent and almost predatory shadow of her old self. The Alien itself has also evolved and is now more dangerous than ever. The mysterious Call discovers Ripley and it is revealed that she is part of a resistance movement that want to kill the cloned Ripley, in order to wipe out the Alien. Call is too late and soon enough the intellectually advanced beasts manage to escape and leave a trail of bodies in their wake. Alien Resurrection CrewThe newly cloned Ripley teams with the group, which also acquires the services of soldier Distephano and Purvis, one of the humans who was used as a host for the Alien spawn. There is also the presence of the Newborn, a loathsome hybrid of human and Alien that has been born from the Queen Alien to contend with. With time running out before the ship lands on Earth and carnage erupting from every possible place, Ripley and the group must fight to stay alive and make it out safe.

Alien Resurrection may aim for the claustrophobic impact of the spaceship setting of the original Alien, but there’s something hollow to it here that doesn’t match the iconic first film. Sure, the set design is great with slippery surfaces, dark tunnels and Alien nests to get through, but this style is not enough to sustain an impact. The ghost of the previous and more effective films hangs over Alien Resurrection and thus makes it a weaker sequel to such illustrious predecessors. There is also a wealth of interesting themes at play here, such as the dangers of cloning and hybridity, but they are not developed enough to be sufficiently interesting for the audience. Where Alien Resurrection succeeds is the action and horror, which are both in high supply. Alien Resurrection CallStandout sequences include the gang having to swim to another chamber while being chased by the rapidly advancing Aliens, Ripley’s descent into the nest and the gory scene of the Alien’s putting in motion their brutal escape from confinement. Jean-Pierre Jeunet is in the director’s chair and brings an unusual and eerie quality to this entry of the science fiction saga. Always keen visually, he brings verve to the corridors of botched clones, slimy pits and blood that score highly in my book. There can be an over reliance on special effects to be found in Alien Resurrection, but at least for the most part, Jeunet manages to keep it under wraps. The score provided makes uses of slithering percussion and punctuating brass, twinned with bristling cymbals and twinkling piano to symbolize the link between Ripley and the Alien, as well as the growing terror that the characters are plunged into.

Sigourney Weaver imbues this version of the Ripley character with slinky sex appeal, eerie cynicism and effective strength. Alien Resurrection RipleyWeaver really seems to relish showing us this newly modified Ripley, who may not have the humanity of her human counterpart but still has the unmistakable steel and wits to survive. Essaying the role for the fourth time, Sigourney Weaver is once again as riveting as ever. Winona Ryder brings a mix of pluck and vulnerability to the role of the enigmatic Call, who has own agenda for coming aboard the ship. Ron Perlman brings his familiar quality of being a super bad ass to the part of the dryly humorous Johner, while Dominique Pinon as the wheelchair-bound but heavily armed Vriess is clearly having a blast. Gary Dourdan brings intensity to the part of the skilled fighter Christie, whereas J. E. Freeman oozes oily menace as one of the corrupt scientists aboard the ship. Raymond Cruz is wasted as a renegade soldier who teams with the survivors, while Brad Dourif chews the scenery as the twisted Dr Gediman. Unfortunately Dan Hedaya, Michael Wincott, Kim Flowers and Leland Orser and chronically underused and given barely anything really memorable to do in the film.

A film very much full of ideas but not as thrilling as it could have been, Alien Resurrection is despite its flaws quite entertaining and manages to just about get the job done.

 

 

The Addams Family

14 Wednesday Aug 2013

Posted by vinnieh in Movie Reviews

≈ 18 Comments

Tags

1990's, Anjelica Huston, Barry Sonnenfeld, Christina Ricci, Christopher Lloyd, Comedy, Dan Hedaya, Elizabeth Wilson, Horror, Jimmy Workman, Judith Malina, Raúl Juliá, The Addams Family

Film Title

The Addams Family

Director

Barry Sonnenfeld

Starring

  • Anjelica Huston as Morticia Addams
  • Raúl Juliá as Gomez Addams
  • Christopher Lloyd as Uncle Fester/Gordon Craven
  • Dan Hedaya as Tully Alford
  • Elizabeth Wilson as Abigail Craven
  • Christina Ricci as Wednesday Addams
  • Jimmy Workman as Pugsley Addams
  • Judith Malina as Grandmama

Ideally cast and brimming with dark humour throughout, The Addams Family retains the dark edge of the original cartoons anThe Addams Family 1991d incorporates some of the madcap moments from the original series. Focusing on a plot to extort the macabre clan out of money by an imposter posing as Uncle Fester, it is a devilish delight for all who watch.

The eponymous clan is a macabre extended family interested in all things dark and mysterious. They consist of the debonair Gomez and his morbidly elegant wife Morticia; their two mischievous children, Wednesday and Pugsley, old Grandmama; zombie like servant Lurch and disembodied hand Thing. For 25 years, Uncle Fester has been missing and Gomez is starting to suspect that his brother may truly be lost. Into the family’s delightfully ghoulish mansion comes Tully Alford, the lawyer who owes a debt to loan sharks. He wants Gomez to invest money as he knows he is worth a fortune, but the head of the family won’t budge. Whilst reporting back to the loan sharks, Abigail Craven and her brutish son Gordon, he notices that Gordon bears a striking resemblance to the long-lost Fester. Seeing the opportunity in this, they disguise him as Uncle Fester so he can infiltrate the Addams gold vault. Although he is welcomed back into the family, Wednesday is the one who begins to suspect that he is not really her Uncle. Gordon himself even comes to question whether he really is Fester as he feels a kinship towards the clan. Cue for ghoulish laughs, Gothic surroundings and the original kooky family.Gomez and Morticia

The first thing to praise in the film is the overall visual look, capturing the gloomy atmosphere that the eponymous family enjoy so much. The mansion in which they live is cleverly constructed, consisting of long corridors, cobweb laden basements and spooky methods of transport. The lively music score perfectly compliments the macabre yet playful activities the family enjoys on a daily basis. One of the biggest assets of the picture is the script, that is laced with a dark humour and sinister joy. Morbidly humorous exchanges provide the most laughs such as when Morticia helps Fester unpack and finds cyanide. Her response “Fester, as if we’d run out”. It’s moments like this that keep the devilish film rolling on along with the many eccentric characters that abound.

The cast assembled for The Addams Family all fill their roles with comic glee and individuality. Raúl Juliá is suitably debonair and romantic as Gomez, he also has dark and lustful chemistry with Anjelica Huston. Huston embodies the role of Morticia, showing a loving mother and a cadaverous yet glamorous vamp, who can flirt likeAddams Family / Addams Family mad when needed and is a dab hand at sinister one liners.  Christopher Lloyd seems born to play the role of Fester, and is particularly convincing as his character begins to wonder whether he is Fester after all. A young Christina Ricci perfectly plays Wednesday with a morbid and severe personality, whilst showing a twisted side to her as she experiments on her brother in startling ways. Jimmy Workman excellently plays of Ricci as Pugsley, who although many times is the one used in experiments, he also manages to repay the favour in his own ghoulish way. In the supporting cast, Dan Hedaya and Elizabeth Wilson stand out as scheming con artists with only money on the mind. Judith Malina also makes an impression as the ragamuffin Grandma, who brings a whole new meaning to the word home cooking.

Even if the plot about the imposter doesn’t interest you, it shouldn’t detract from the humorous exploits of the creepy family and the glee that arises from them. Laced with dark humour and brought to life by Barry Sonnenfeld, The Addams Family is creepy yet fun to watch.

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