Nine Directorial Debuts That Blow My Mind

2014 was a great year for first-time directors.  If you’ve been listening to the ITMODCast, you’ve heard Brad and Darren rave about The Babadook, the feature film debut of actress-turned-director Jennifer Kent, and The One I Love, from Charlie McDowell, which Brad described as “marriage therapy as done by Ray Bradbury.” One of my favorites of last year was Dear White People, a searing debut from Justin Simien that hasn’t been talked about much on this blog or the podcast but that I found exceptionally wonderful, with its distinct point-of-view and sprawling cast of characters.  And while it wouldn’t have made my top films list, Obvious Child from Gillian Robespierre holds the promise of films fronted by female characters that feel more real and robust than 99% of what is out there in the market currently.

With so many new directors coming out strong in the last year, I’ve been thinking about directorial debuts throughout film history that have so confidently and surely defined a director and introduced them onto the scene as a force that cannot be ignored.  I’ve come up with a list of nine directorial debuts that I consider the best and must-see films for anyone who considers themselves a film nerd.  

A few notes (because I like rules and structure):  this list is unranked, as I’m looking specifically at the strength of the debut and how it relates to the directors’ filmography and not as interested in comparing or ranking the individual films.  To be included, the film must be the director’s first feature length film with some sort of distribution or release- any shorts or television direction is irrelevant here as are unreleased student films.  This is also purely a list based on my personal preferences and what I’ve seen, so there are definitely films missing.  Please leave a comment or tweet me (@beccagrawl) or the blog (@ITMODCast) or write on the Facebook page to let me know what I’ve missed!

Citizen Kane

There is no way this isn’t the first debut that comes to mind when you think about directors releasing a film that announces that they have arrived.  Citizen Kane has been discussed often on this blog and the podcast (and in the world of film nerdom) ad nauseum but everything that’s said is true.  To think that this film - so beautifully constructed, the characters so richly drawn, the performances so memorable, and the technological aspects of the film so innovative and evocative - came from a first time director is mind-boggling.  

Hard Eight (Sydney)

I love Paul Thomas Anderson and his films.  It is hard to find a director with a body of work that is so overwhelmingly great, without a single true misstep or flop, and PTA has that in spades.  You can debate and discuss the failings and merits of any given film but his entire body of work is some of the best ever put on film ever.  And it all starts with Hard Eight.  It is not big and bold the way other films on the list are but it has compelling, complex characters that feel real and honest and not particularly likeable, which is truly the hallmark of any given PTA film.  

She’s Gotta Have It

Spike Lee is the opposite of PTA for me, in a many ways.  His career has missteps and flops and films where he feels like he’s trying too hard to be “Spike Lee” and films where he feels like he’s trying too hard NOT to be “Spike Lee.”  But he has directed some of my favorite films and some of the greatest American films ever.  His debut, She’s Gotta Have It, gives the audience a great sense of what a “Spike Lee” film will be and what, at his best, that means for us and for society.  Not to mention that this film reminds us that some of the best female film characters can be written by men and directed by male directors, if they take the time and energy to craft real representations of women for their movies.

This Is Spinal Tap

Comedic sensibility is a strange thing.  It’s so specific to an individual - something I find hilarious might leave you cold or something that tickles me yesterday might enrage me tomorrow.  But I’d have to say you’re an idiot or a fool if you don’t find This Is Spinal Tap hilarious.  A lot of folks forget that while it features Christopher Guest and much of the crew who will appear in his films, this one is directed by Rob Reiner.  And while I easily could have chosen The Big Picture (Guest’s debut), I chosen Spinal Tap because A) it still cracks me up after a few dozen viewings and B) it’s a wonderful harbinger of the memorable films Reiner gives us immediately following this one - Stand By Me, The Princess Bride, When Harry Met Sally, Misery, A Few Good Men, The American President.  Reiner comes out strong as a director in this film and he showcases his ability to direct comedy, drama, satire, and just about everything else.

Bottle Rocket

Some might say that Bottle Rocket is the least Wes Anderson-y film that Wes Anderson ever directed and that may be true.  For me, the Wes Anderson elements are clearly fermenting in the film - his particular eye for casting against type or against audience expectations, his enjoyment in luxuriating in visual spaces, and his enjoyment of the comedy l’absurde.  The filmmaking here shows confidence and a specific point-of-view, which defines Anderson’s work and if it’s good enough to be named one of Martin Scorcese’s best films of the 1990s, it’s good enough for me.  (Also, gotta show some support for my fellow Houstonian.)

sex, lies, and videotape

I didn’t watch sex, lies, and videotape until college, so I was definitely experiencing this film through the eyes of “redefines independent film for a new era.”  That doesn’t lessen the fact that Steven Soderbergh does redefine independent film with his debut.  While it’s not my favorite Soderbergh and it might not be to everyone’s tastes, I love how nuanced and mature the script is without being tawdry or cheesy and it’s clear that Soderbergh has a command over his actors and an ability to pull interesting and deep performances from his cast.  

Reservoir Dogs

If you’re about my age and share my interest in film, you usually fall into two categories - those who saw Pulp Fiction first or those who saw Reservoir Dogs first.  I happened to have seen Reservoir Dogs first (a couple years after it came out) before I saw Pulp Fiction, so for me, this is the best Quentin Tarantino film, period.  This film so distinctly showcases who Tarantino is as a director, who his influences are as a filmmaker, and what sort of films he’s going to give us over the course of his career.  It is the defining film for several of the actors who appear and it has a timeless quality that is difficult to achieve for a first time filmmaker.  Talk to anyone involved with this blog or the podcast and Reservoir Dogs will come up in the first 15 minutes, guaranteed.

Badlands

So much about Terrence Malick and his films that don’t connect with viewers and are ripe for criticism.  I have always loved Malick - so much that The Thin Red Line was part of my senior thesis and I hosted a film screening to try to lure people on the Malick train - but regardless of how you feel about the director, you can’t deny that Badlands is a stellar debut.  Malick took a true crime story and spun a dark, gritty, sparse tale about two doomed lovers/killers, played brilliantly by Martin Sheen and Sissy Spacek.  This film is unique on this list as I find Badlands to be the least-Malick-y film he ever made, thus making more accessible to viewers and audiences that might not be inclined to connect to his other films.  Many people I know who don’t care for Malick haven’t seen Badlands, and I implore you to check this out if you haven’t.   

Blood Simple

The Coen Brothers make great films.  That’s just the truth of it.  Not every film is a winner but they make great films.  There is so much to love about this film - the debut of the Coens, the first feature for Barry Sonnenfeld, incredible performances from a fantastic cast, and a story that brings neo-Film Noir back in the 1980s.  It might not be your favorite Coens Brothers movie and it isn’t the best Coens Brothers movie but it’s a fantastic introduction to what the Coens Brothers are best at, which is redefining and subverting genre expectations.  It’s equally violent and funny and a film that I find myself constantly recommending to folks who love the Coens but seemed to have missed it. 

-Rebecca

 

Brad's Week in Dork! (12/29/13-1/4/14)

HAPPY NEW YEAR!  That feels good.  2013 was a gas, but I'm quite pleased to be through the Holiday Hoopla, and I'm looking forward to devoting more attention to the blog.  Most of this week was concerned with formulating my Favorite Films of the year as well as the rest of the Dorkies.  As I stated there, 2013 ended up being one of my favorites as far as the Pop Culture scene was concerned.  Nicholas Winding Refn cranked out his best film yet (Only God Forgives), Martin Scorsese proved that no matter how hard they try (American Hustle) there is still only one guy right for the job (The Wolf of Wall Street), and the more I think on it, Edgar Wright's latest (The World's End) slowly eeks its way to the top of the Cornetto Trilogy.

Not to mention, this year I actually witnessed Martin Scorsese deliver his Jefferson Lecture "The Persistence of Vision," I sat in the front row of Hall H where Samuel L Jackson actually stared me down, saw the 4K Restoration of Lawrence of Arabia at the AFI Silver, met Peter Tork, discovered the surreal genius of Keoma, and won a Tyler Stout Mondo Print signed by Simon Pegg, Nick Frost, & Edgar Wright at the Cornetto Trilogy Screening of The Alamo Drafthouse, which in turn has become my new home away from home.  Yeah, I should say that's a pretty good year.

Jaime Foxx Does Django For Spidey (I Took This Photo!!!)

I'm pretty gosh darn excited by the prospect of the new year.  How can 2014 top 2013?  Dunno, but I can't wait to find out.  This particular week in transition began with another bit of cinematic shame finally getting checked off my Resolution list - Singin' in the Rain.  How had I never seen this before?  Not sure.  I was just never much of a musical kid; I'm happy to report that I thoroughly enjoyed it.  The last film I saw in the theater in 2013 was David Fincher's Zodiac (again, at The Alamo Drafthouse).  One of my all time favorite films, I was a bit bummed that co-dork Matt doesn't seem to quite "get it."  My first film of the new year was Man of Steel, the rewatch was prompted by a conversation I had with my brother-in-law at our annual New Year's Party.  So much to love, so much to hate.  But the first film I saw theatrically of the New Year was Saving Mr. Banks.  I enjoyed it, but certainly not as much as The Wife.  She got all filled with emotions with this Marry Poppins lovefest.

I also got off my duff and finally got back into Sweet Tooth comics.  Apart from our Graphic Novel Book Club (aka The Ultimate Justice League of Extraordinary Graphic Novel Book Club), I feel like I've been neglecting the comic book medium lately.  Sure, I hit up Big Planet Comics every week, but I've got a massive stack of graphic novels I need to work my way through.  There's a New Year's Resolution for sure.  Not to mention the fact that I've left both my Scorsese-A-Thon & John Carpenter-A-Thons hanging.  Gotta find my Elvis dvd or simply buy another one.  As far as why I haven't watched New York Stories yet.....it looks dull....but Goodfellas follows that so there are no excuses.  Anyway, let's get on with the mini-reviews shall we?

P.S. I'm growing a beard!

Singin' In The Rain:  "You're nothing but a shadow on film."  I honestly had no idea what this movie was about.  I knew there was rain in it.  I knew there was singing.  Some sorta romance.  And yep, all those things are there.  But I was kinda flabbergasted to discover that the backdrop for the film was the transition from the Silent Era into the Talkies.  That must sound silly to all you die-hards out there, but once the Hollywood biography started to get hashed, my interest immediately perked up.  Sure, the big song & dance numbers are fantastic.  Gene Kelly is great, but I was even more enamored with Donald O'Connor's sidekick character - the "Make 'Em Laugh" number is joyous, but it also has a nice bit of biting truth to it.  What's the next Golden Era Musical I have to hit?  Yankee Doodle Dandy?  Show Boat?  Guys And Dolls?  Certainly The Jazz Singer.  A whole genre of film missing from my brain.  Maybe that's my great quest of 2014.

Pain & Gain:  This was mostly background noise while I worked on this year's Dorkies.  But what beautiful background noise!  Finally all of Michael Bay's weird, misogynistic, homophobic, mocking humor makes all the sense in the world.  A "True Film" about a trilogy of dumbbells committing heinous acts in the pursuit of The American Dream.  It's a hilarious watch, and a rather painful one if you think too deeply into the real events that inspired this idiocracy.  The Rock gives his single greatest performance so far, but Mark Wahlberg should get some serious recognition as well.  No one can do moronic earnestness quite like this guy.  And I still argue that it has as much to say about our deeply flawed Nation as Martin Scorsese's The Wolf of Wall Street.

Keoma:  If I could grow Keoma's beard I most certainly would.  Franco Nero is a wild man native returned home after the cataclysmic conclusion of the Civil War.  A group of bandits (a perfect collection of pricks one can only see in Spaghetti Westerns) have staked claim over the land, and it's up to Nero & Woody Strode to slaughter their hateful asses.  The plot is straightforward, but it's telling is so wonderfully dreamy thanks to its slow-mo gunsmoke ballets, the constant guttural caws of the score, and Keoma's metaphorical ability to walk in & out of his past.   When people think of Italy's contribution to the West they think The Good, The Bad, & The Eastwood.  If they reach a little beyond that then maybe they think of Sergio Corbucci or Django.  But for my money, the niftiest entry of the sub-genre is Enzo Castellari's Keoma.  Is it my favorite?  Tough call...The Great Silence is sooooo beautifully ugly...but give me three or four more rewatches of this Weird Western and Keoma might very well land on the top.

Haywire:  Steven Soderbergh is a fascinating animal.  He burst onto the scene with a Sundance Classic (Sex, Lies, & Videotape) that absolutely revolutionized Hollywood and paved the way for indie darlings like Quentin Tarantino, then Sophomore Slumped for a series of films (Kafka, King of the Hill, The Underneath, Schizopolis), knocked one out of the park (Out of Sight) creating a megacelebrity (George Clooney), crafted a brilliant love letter to John Boorman (The Limey), floundered with Oscar Bait (Erin Brokovich, Traffic), made bank on Blockbusters (The Oceans Trilogy), drowned in drivel (Full Frontal, Bubble, The Good German, Che, The Girlfriend Experience), and found new life in his final series of weirdo genre pictures (The Informant!, Contagion, Magic Mike, Haywire, Side Effects).  Has there ever been a career with more peeks or valleys?  Of his last batch, The Informant! is probably my intellectual favorite, but the one I watch the most is Haywire.  I mean - Wow! - that Fight-to-the-Death hotel room brawl between Gina Carano & Michael Fassbender is AWEsome!  Possibly my favorite asskicking this side of They Live.  The rest of the film is good too, but that Fassbender beatdown....that's some real movie magic.  I wish Soderbergh all the best in TV Land, but I doubt he'll stay there for long.  The Silver Screen will call you again sir.  Whatever type of picture you decide to make should certainly prove interesting.

Zodiac:  My favorite film of the last 13 years.  This fact seems to baffle Matt.  He just keeps saying "it sure is 3 hours long."  I tell him it's the best police procedural of all time, he says he preferred The Silence of the Lambs.  I'v been thinking about this.  I too love The Silence of the Lambs.  Great movie. Duh.  But it's not really a procedural, is it?  I think what elevates Zodiac so high in my pantheon of All Time Favorite Movies is how meticulous the film is with the investigation - and the obsession born from it in Robert Graysmith.  There are no real answers here, but Graysmith has to hunt them down.  He sacrifices family for the Zodiac.  He might even fool himself in the process.  It's tragic.  It's ultimately pointless.  And David Fincher perfects his clinical eye with this film, and it's never been more suited for a subject.

Man of Steel:  2013 marked the 75th anniversary of Superman.  A milestone for capes & spandex.  But he's never been a character I've really gravitated towards.  I guess I enjoyed the Christopher Reeve films as much as any kid my age, but when I rewatched them earlier this year they didn't have the same shine I once remembered.  Reeve himself is astonishing as the character.  It's a great performance.  But there's plenty of room for improvement as far as the script and side characters are concerned.  I thought Bryan Singer's love poem, Superman Returns was fairly fun if not utterly forgettable, and I was soooooo ready for Zach Snyder to add a little freeze-frame punch to the franchise.  I am, after all, not a Snyder-hater (yes, yes, yes, Sucker Punch sucked).  What I love about Man of Steel:  Russell Crowe's Jor-El & his holo-ghost, Pa Kent's barnyard revelation to young Clark, Amy Adams's plucky newswoman, and the Metropolis Holocaust (yep, two gods meet in an American City...we are fucked). What I hate about Man of Steel:  Pa Kent's utter fear for his son culminating in his final act, Michael Shannon's Screaming Zod, the kissy face in a crater of human ash, and the neck break.  I could probably handle most of my beef if not for Pa Kent.  His parenting seems all wrong for the character.  That being said, there is enough here for me to enjoy the film for years to come.  I can't really say I'm stoked for Batman vs Superman, but I'm certainly curious to see what they cook up, and how all these icons are going to fit with each other.  But if you really want to get to the heart of the Man of Steel, and you've always had trouble like me, then please read Grant Morrison and Frank Quitely's All-Star Superman.  It's a beautiful depiction of Supes as well as that Golden Age of Comics.

Furious 6:  Not the Action-Packed Roller Coaster Revelation that was Fast Five, this film still manages to pack more fun into car crashes than it has any right.  Frankly, I'm still just shocked at how much of a fan I've become of this franchise.  It wasn't too long ago that I was mocking the first film and downright being a jerk towards 2 Fast 2 Furious.  Now it's 2014, Paul Walker died tragically, and I'm desperately awaiting word on how they'll honor him in Fast Seven.  This series is a goof.  A lark.  But there is something so absolutely charming about the intensity in which they support the notion of family.  We all might be thieves and gunrunners, but we love each other and we know how to crack a skull when we have to.  Fast Five took the franchise into the realm of the unreal, and Furious 6 practically throws a cape over The Rock while he's tossing thugs across rooms.  Don't fool yourself.  This is the very best of Comic Book Cinema.

Saving Mr. Banks:  "The Mouse is Family."  I was a little nervous going into this one.  A friend shot me a link to Harlan Ellison's latest rant, and his tirade nearly brought me into a frenzy against The Disney Machine.  How dare they purport PL Travers's complacency for Mary Poppins when she most certainly did not appreciate the adaptation.  And maybe this film doesn't go into her eventual contempt for the film, but it also doesn't reveal her to be joyous either.  This is a nifty, surface level exploration of  the writing process, and the romance one can have with their creation.  Emma Thompson starts this film as a shrill, nearly psychotic "Writer" battling it out with the Keeper of Dreams, Walt Disney.  A cynic could easily tear this film apart.  But there were several moments in the movie where I thought it understood and appreciated PL Travers's preciousness for her character.  One scene (where musical & biography collide) that nearly brought me to tears in my seat.  Is it the best film of 2013?  No.  Not even close.  But I imagine if you (like my wife) already have great affinity for the Disney Film then you'll just adore Saving Mr. Banks.  And when is Harlan Ellison not ranting? - don't sue me!

MST3K - I Accuse My Parents:  "Can I interest you in a size of ME?"  For the new year, The Wife & I have committed to watching as many episodes of Mystery Science Theater as we can.  When I hear Joel, Tom Servo, and Crooooooow snicker and jeer their way through some shoddy movie it immediately takes me back in time.  I'm 12 years old, it's way past my bedtime, and I'm snorting up a bowl of CT Crunch as The Killer Shrews shuffle about my tv screen.  Ah...bliss.  I Accuse My Parents is one of those terrible cautionary tales in which a teenage shoe salesman goes on a kill crazy rampage because his mom was a drunk.  Boo hoo, kid, it's tough all over.  Good jokes, but also not the finest hour for the Gizmonic Institute.  Looking forward to the next one.

Sweet Tooth Volumes 3-5 by Jeff Lemire:  My goodness, these are some wonderfully sad comics.  Volume 2 left poor Sweet Tooth in the hands of some diabolical scientists, and Volume 3 picks up with Mr Jeppard marching to the rescue before Doctor Singh can gut the deer boy open, and dissect just how these hybrids avoid The Sickness.  I enjoyed the first few chapters of this series, but once Jeff Lemire gets these guys out of the camps and on the road of discovery, the saga really begins to take shape.  What is Sweet Tooth?  A man made creation or some ancient god of the earth?  I don't know, but I'm betting whatever the answer it's a depressing one.  Not for the faint of heart...or the squeamish, Sweet Tooth is an apocalypse story drowning in dread.  And I love it.  One trade to go, should be done in a few days.

Drew - The Man Behind The Poster:  If you're in your mid-30s and you love movies then you love Drew Struzan.  The premiere illustrator who birthed countless posters for such films as Star Wars, Indiana Jones, The Thing, Big Trouble In Little China, Back to the Future, Harry Potter, Masters of the Universe, and Police Academy.  I've been collecting his work since I was fourteen.  Behind every framed poster in my house, you can probably find a Struzan buried behind whatever current obsession.  This is a typical talking-heads documentary, but I was pleased to discover how in-depth it goes into some of his creations.  And I certainly appreciated hearing the praise coming from such icons as George Lucas, Steven Spielberg, Michael J Fox, Ken Kelly, and Steve Guttenberg.  Harrison Ford at the junket, though?  That's awkward.  It's currently on Netflix Streaming, give it a whirl.

--Brad

A Fistful of Double Features! (Brad's Picks)

I love pairing movies.  Grab Eyes Wide Shut off the shelf and double it with Days of Thunder and see what happens.  Or how about Conquest of the Planet of the Apes with Hell Up In Harlem?  I try a lot of weird Double Features here at the apartment, and I love subjecting my wife & friends to the most gonzo of combos.  Listed below are a few of my favorite mixtures, and a couple I'm dying to try out.

 

5.  The Raid/Dredd:  Two films in which a supreme badass kills his way to the top of a drug cartel's diabolical bunker high-rise.  Perfect examples of thrilling ultraviolence that should not be pitted against each other, but partnered like the exploitation beauties they truly are.

4.  Night of the Creeps/Halloween III:  Who's the go-to action hero of the 1980s?  Schwarzenegger?  Stallone?  Yeah, probably one of those guys.  But who's the go-to action hero of 1980s horror films?  Kurt Russell?  Bruce Campbell?  Yeah, probably them.  But standing right over their shoulders is Tom Atkins.  He never got the fame or the fortune, but this mustached madman did confounded rage like no other.  Whether rising to the challenge of "Thrill Me" in Night of the Creeps or screaming "Turn It Off" to a bunch of kiddie hating druids in Halloween III, Tom Atkins ruled the VHS tapes if not the big screen.  I dare you to watch these wildly weird B Movies back-to-back and not come away a fan for life.

3.  Point Blank/The Limey:  Viewed on their own, Point Blank & The Limey are exceptional examples of crime cinema.  But if you watch The Limey immediately after Point Blank then you will discover a great love letter to the movies.  Having already dabbled with John Boorman's dialog/image layering in Out of Sight, Steven Soderbergh goes for broke replicating both the dreamy quality of Point Blank as well as the rage motivating his professional thief.  The fine details might be different, trade a chunk of cash for a dead daughter, but The Limey is practically a remake of the Boorman beast.  A bloody brilliant one.

2.  Dirty Harry/Zodiac:  The San Francisco Zodiac Murders grabbed all the sensational headlines of the late 60s/early 70s.  The killer was never apprehended, but the mystery spawned dozens of What If TV movies & True Crime novels.  The most famous spawn being Clint Eastwood's constitution smasher, Dirty Harry.  When bureaucracy and political red tape get in the way, Detective Harry Callahan is there to put his boot on the perp's knee and beat a confession out of him.  A frustrated public response to indiscernible crime perpetuated by media fear mongers.  Decades later, wannabe sleuth Robert Graysmith would write two books detailing the backwards insanity of the Zodiac investigation, and David Fincher's cinematic adaptation actually incorporates the Dirty Harry premiere as a means of punctuating the passage of time.  I have yet to commit this double feature, but I think Dirty Harry could provide some fantastic catharsis after suffering the procedural frustration of Zodiac.

1.  After Hours/Into The Night:  Both of these films are at once absolutely hilarious and deeply depressing in their assault upon their protagonists.  Ever have one of those nights where nothing goes right?  No you haven't.  You might think you have, but after you sit yourself down for these two brutally funny films from Martin Scorsese & John Landis then you'll have a brand new appreciation for your dull, pedestrian life.  Griffin Dunne's nightmare is a little more ordinary than Jeff Goldblum's (certainly fewer David Bowie assassins in After Hours), but both flicks are masterful in their ratcheting of tension. The only release at your disposal is laughter - of the schadenfreude variety.   If you sympathize too much you'll probably go mad after this double feature.

--Brad

Brad's Week in Dork! (9/8/13-9/14/13)

Second week of September and my Criterion month is still going strong.  Granted, I didn't really delve deep into the foreign classics like my initial plan, but what do you expect when you start your dorkery with Michael Bay's The Rock.  I'm still flummoxed that such a seemingly mindless Blockbuster resides in The Criterion Collection, but I guess I see it as a lure to drag mainstream bros into the eclectic artistry of the auteur theory.  Heck, I know that's how I first found myself craving spine numbers.  The first Criterion I ever purchased was The Silence of the Lambs (Spine # 13), and from there I found John Woo's Hard Boiled (Spine # 9), Terry Gilliam's Time Bandits (Spine # 37), and Sam Fuller's Shock Corridor (Spine # 19).  And Shock Corridor is the film responsible for my Criterion obsession.  Looking at this Top 250 Films list from Sight & Sound, I discovered that I still have a long journey ahead of me, but I am more determined than ever to fill those classic cinematic gaps.  If you have that same desire then Criterion is the place to be - just watch your addictive personality.

But let's not forget my fanboy origins.  My absolute favorite film of the week (not including Sweet Smell of Success, a Top 10er for me) was the recent Dark Knight Returns animated film.  After so much crying and whining from the comic book community, we finally have the film we've all wanted to see on the big screen and I'm not hearing enough love from the internet.  This is a masterpiece, and the most fun I've had watching an animated film in years.  Adult entertainment.  No kiddie stuff here.  This is the potential of the medium fully realized.  If you don't trust the blind buy than give it a Netflix.  You won't be sorry.  Parts 1 & 2 are widely available everywhere, but The Complete Cut can now be purchased exclusively in store at Best Buy.

The Rock (Criterion Spine # 108):  So much has changed since 1996.  Remember when the world was Nicholas Cage's oyster, after he jumped from his Oscar darling Leaving Las Vegas to this successful summer smash?  That one-two punch launched the man down a blockbuster gauntlet that would eventually implode with the equally powerful rope-a-dope combo of The Wicker Man & Ghost Rider.  Welcome to the land of Direct-To-DVD, Nic.  Sigh.  Michael Bay, the heir apparent of Tony Scott, reaches deep into his bag of tricks - we get gratuitous car chases, plenty of unnecessary patriotism, random wheelchairs, and heaps of oddball character quirks.  Cage's G-Man chemist not only obsesses over The Beatles, but kills lumbering thugs with the musical might of Elton John!  What the hell?  But it's kind of amazing.  The Rock is a bombastic weird mess of an actioner, but its wandering behemoth narrative doesn't feel as tired or as rote as it would become in the Transformers trilogy...or soon to be quadrilogy.

On The Waterfront (Criterion Spine # 647):  "Ain't nobody tough anymore."  I recognize that for many, On The Waterfront was the birth of a new era in performance, but Brando feels completely apart from the other actors in the film.  His punch drunk stoolie bumbles through the scene, fidgeting props, mumbling dialog, and generally steals the show from the others that dare occupy the frame.  Revolutionary?  Yeah, okay, maybe.  It's hard for me in 2013 to appreciate what was obviously a shock to the audience in 1954, but hindsight being what it is, On The Waterfront has an awkward show-off quality.  It's a film populated with classically earnest performances by Lee J Cobb, Karl Malden, Eva Marie Saint, and Rod Steiger but there's a xonomorph hiding amongst them - Brando, God's Gift to Acting.

Secret Honor (Criterion Spine # 257):  But without Brando do we have this tyrannical terror of performance?  For 90 minutes, Phillip Baker Hall as Richard Milhous Nixon rants and raves to the walls of his study as he records his confessional memoir armed with a bottle of scotch and an automatic pistol.  It's a horror show.  Filmed over the course of seven days, and comprised mostly of Robert Altman's University of Michigan students, Secret Honor is an angry declaration against the 37th President that might attempt to highlight some humanity, but really just revels in Nixon's futile attempts to justify his actions.  And I'm 100% cool with that.  Seriously, who doesn't want to see this man put a gun to his head?  At the very least Phillip Baker Hall is easily the most entertaining on-screen Nixon; even confined to four walls, Hall races circles around other impersonators like Anthony Hopkins or Frank Langella.

Star Trek Into Darkness:  "I thought we were explorers?"  Sigh.  Man oh man, I really wish JJ Abrams listened to that painful bit of truth uttered by Scotty halfway through the film.  Of course, the Star Trek films haven't been about exploring since 1979, and look how popular that was?  As you may or may not have figured out by now, we ITMODers are none too happy with this latest Trek.  That being said, I bought the damn movie.  Yep, I'm one of those hypocritical blogger jerkwads that bitches & moans about a film, but still succumbs to the temptation of high definition.  Doesn't that mean that I like Into Darkness on some level?  Maybe.  But it's more indicative of my completist fanboy problem.  I own (and will own) every Star Trek film that has ever hit disc.  Heck, I have far worse Treks than Into Darkness - those being Generations & Nemesis.  So, my goal this week was to pick out all the little bits I actually enjoyed about Star Trek The Reboot Part II.  Uhurah's helmet kiss for Spock, The Nibiru sand drawing disolve, Kirk bedding two cat chicks, Pike chastising Kirk leading to another motivational barroom chat, those spherical ice cubes, Klingon helmets, Scotty's disco nightlife collar, Cumberbatch's crying, and the tumbling gravitational malfunction.  But those superficial "LIKES" are nothing when paired with the stupidity on display within the narrative.  Why does Admiral Marcus unfreeze Khan?  We're told for his savagery...uh okay, let me go get Napoleon to build me a Nuclear Warhead.  Nonsense.

Traffic (Criterion Spine # 151):  The one-two punch of Erin Brockovich & Traffic marks the end of Steven Soderbergh's first wave of filmmaking - goodbye Sex, Lies & Videotape, hello Ocean's 11.  The director graduates from slick indie crime dramas to this Oscar Bait cavalcade of Hollywood Smiles, with show-me filter fun and a serious after school message.  Drugs are bad, ok.  And the War on Drugs is a joke.  When I saw this in 2000, I was in love.  Cynicism + big top performances = college class catnip.  Benicio Del Toro & Don Cheadle are excellent as two cops on two sides of the border pointlessly battling with the cartels.  But Michael Douglas's junkie kids story is dull and annoying, and Catherine Zeta-Jones' mama kingpin routine a bore.  I love early Soderbergh (Sex, Limey, Out of Sight) and modern Soderbergh (Informant, Haywire, Side Effects), but the middle era (Traffic, Oceans, & The Good German) holds little interest these days.

Breaking Bad - Season 2:  As the fifth and final season bears down upon us, I find myself inundated at work with Breaking Bad enthusiasm.  I'm sick and tired of not being a part of the water cooler.  I meandered my way through the first season a while back, but didn't experience the MUST SEE TV effect that others seem to have fallen into.  Watching the second season, I can't say that I'm in love in the same fashion as The Wire or even Justified, but by the last episode I was certainly hooked.  BOOM!  John De Lancie.  Yikes.  Walter White started this series as a family man struggling to provide before he shuffles off, and by the end of Season 2 we see a man doomed by his choices.  It's been impossible to avoid all the spoilers running free on Twitter & Facebook, so I have some idea what villainy the man will eventually achieve...it's kinda depressing.  Not a lot of people to root for in this show, maybe Hank, or the kid...maybe.

Sweet Smell of Success (Criterion Spine # 555):  "You're a liar, Sidney."  This is a mean movie.  And I love mean movies.  Tony Curtis is a weasel of a man, a press agent scamming his way through a slew of clients, desperate to land a juicy line in Burt Lancaster's prized gossip column.  Lancaster, the lord of the New York nightlife, reigns over politicians and cigarette girls alike and has no qualms bartering wordcount for sibling affection.  This demigod charges Tony Curtis with the task of manipulating a jazz musician out of the arms of his younger sister, a trail of bile and hate nearly topples the city...or at least it feels like it should.  Honestly, I cannot think of another movie in which people inject such heated venom into each other simply with words.  I'd take a crack on the head any day over one biting word from Lancaster.  And I'm no cookie filled with arsenic.

The Red Shoes (Criterion Spine # 44):  One year after they concocted their religious psychomelodrama Black Narcissus, Michael Powell & Emric Pressburger return with an even more punishing saga.  The Red Shoes follows the budding relationship between Moira Shearer's dancer and Marius Goring's composer; their romance could be grande if it didn't attract the jealousy of Anton Walbrook's despotic impresario.  I'm not sure how they do it, but as masters of manipulation Powell & Pressburger have crafted a nightmare around ballet that's as captivating and heart pounding as Lawrence of Arabia's war torn deserts or Ridley Scott's space trucking Alien.  Of course, you cannot dismiss Jack Cardiff's technicolor majesty or Robert Helpmann's choreography as their technical brilliance during The Red Shoes fantasy sequence alone makes this essential viewing for all film nuts.

The Small Press Expo 2013:  This was a great year for mini-comics.  Three of my friendly neighborhood comic shopketeers had tables with books as varied as Zodiac Starforce, Gang War, and The Secret Origin of John Elway.  Weird, wild stuff.  Alex Fine's Il Brutto chapbook was certainly a highlight with its Charles Bronson What Ifs, and Trevor Henderson's House print (see below) inspired the course of this Week in Dork.  But my absolute favorite was Thomas Scioli's trilogy of Satan's Soldier comics.  Imagine Superman as an agent of evil with a chubby brood of Super Babies to drown. Really horrible and demented irreverence that you will never see from the big two publishers.  That's the charm of basement pressed comics.

SPX certainly has its share of big names as well.  Jeff Smith brought in a large crowd of Boneville fanboys & girls of every age; it's so nice to see actual kids at a small press convention (Scholastic is doing its job).  Smith was also doing sketches inside of everyone's books, I was stoked to get that Rasl doodle.  He must have seen my giddy appreciation or I was just the lucky early bird in the line, because the cartoonist asked me if I could take his phone and snap some photos of the massive line wrapping the ballroom.  Of course I obliged!  I am happy to report that the man behind some of my all time favorite books (Bone, Rasl, Shazam) is a real sweetheart.  The other big line I braved was for Congressman John Lewis & Nate Powell.  Not a lot of chitchat there, but the Congressman granted a quick photo op, and it was a treat to meet a genuine historical figure.  Haven't cracked into March yet, but that's first up for next week.  Overall, this year's SPX was a smashing success and happily drained my wallet.

The Dark Knight Returns - The Complete Cut:  "I'm not finished yet."  Similar to my Watchmen experience, this cinematic adaption brought a new found appreciation for the source material.  Everyone in the comic book kingdom recognizes Frank Miller's The Dark Knight Returns as a masterpiece of sequential art, but since I entered the medium years after the initial release, I never quite saw the shine of its revered crown.  Is The Dark Knight Returns as good as Jeph Loeb's The Long Halloween or Grant Morrison's Batman Inc? Well, actually, after watching this DC Entertainment I'm pretty sure The Dark Knight Returns is the greatest Batman Story period.  I'll certainly need to revisit the graphic novel soon, but I am deeply in love with this interpretation.  Peter Weller's dogged and beaten dark knight detective is a savage warrior refusing to back into retirement even when good sense and big brother demand otherwise.  Forget fantasies of a cowled Clint Eastwood, Weller is The Dark Knight we've always wanted to see on screen.  The man carries so much regret and anger in his voice; it's impossible to think of anyone else uttering "This isn't a mudhole...it's an operating table.  And I'm the surgeon."  A ridiculous line of of 80s machismo that totally plays thanks to Weller's commitment.  The film contains the book's four act structure: Two-Face, Mutant Leader, Joker, Superman.  This sputtering screenplay might feel awkward to the uninitiated, but as the foils ratchet towards the Reagan Stooge showdown the narrative tightens around the viewer.  When Batman finally gets his hands around Superman's throat I felt a tremendous sense of triumph.  Screw that boy scout.  If Zach Snyder's Man of Steel sequel can only capture a tenth of that feeling then Batman vs Superman will be a rip roaring success.  And in the dark year that is 2013, The Dark Knight Returns is one of this year's very best films.

House (Criterion Spine # 539):  The punchy quote provided on the back of the box says "An episode of Scooby-Doo as directed by Mario Bava."  Close but not quite right.  House certainly has a zany cartoon vibe and features whacky geysers of red reminiscent of various Italian splatter artists, but the hijinks are injected with that Japanese French New Wave obsession.  House rubs shoulders with Tokyo Drifter.  You know, plus school girl munching pianos, dancing chopped up corpses, and spectral blood vomiting kitty cats.  Brooding giallo?  No.  But it's certainly a genre mixing bowl that spawned Sam Raimi's Evil Dead and at least a thirty or forty of Takashi Miike's mondo movies.

--Brad