Tag: movies

When Bob Dylan was the greatest rock star in America

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I’ve seen Bob Dylan four or five times, but it’s mostly been when he’s been in his 60s and 70s. 

Dylan can be inconsistent as a live performer – at one show every lyric sounded like “muzza muzza BUZZA muzza” and on another, he was an elegant elder statesman who even SMILED at one point. 

But there was a point where Dylan was a blazing fireball on stage, during his mid-1970s Rolling Thunder Revue tour. It’s the subject of a new documentary by Martin Scorsese, and it’s must watching for anyone who thinks Dylan couldn’t sizzle live on stage. The man was fierce. 

In 1975, Dylan hadn’t really toured since his late ‘60s motorcycle accident. He put together a kind of travelling show featuring guests like Joan Baez, Mick Ronson, Roger McGuinn, Allen Ginsberg and more to play smaller, intimate venues. The Rolling Thunder Revue had a theatrical bent – Dylan painted his face white, like a kabuki performer, and added touches like a dazzling electric violinist to his songs. There was a freewheeling electricity to the atmosphere. 

He’s performed thousands of shows over more than 50 years, but I’d argue that for the 50 or so shows of Rolling Thunder, Dylan was never better. Scorsese’s documentary shows him commanding the stage, stalking, staring and singing like his life depends on it. There’s no mumbling here.  He spits every syllable of “The Lonesome Death of Hattie Carroll” with a power that makes this account of a racist murder a harrowing listen. Chestnuts like “Knockin’ On Heaven’s Door” or “Blowin’ In The Wind” seem revitalised. Then-current songs like “Isis” and “Hurricane” rage when he performs them. 

Clear-eyed and potent, there’s a fierceness to Dylan’s presence that’s remarkable to watch. Sparks fly off him when he enters a room, not in a showy David Bowie or Mick Jagger way, but in a concentrated, smouldering focus. He combines the intensity of young folkie Dylan with the more grizzled maturity of someone in their mid-thirties, and it lends his songs new power. 

“Rolling Thunder Revue: A Bob Dylan Story” is a great movie, and fitting with Dylan’s mystique there’s a bit of flirting with fiction and masks (let’s just say some of the people interviewed are not what they seem). But in the end it’s a celebration of one of Dylan’s most fertile periods and a reminder that one of the greatest songwriters of all time could throw down with the best of them when he wanted. 

Batman mania revisited, 30 years on

2008_CSK_05425_0129_000()Thirty years ago today, I was standing in a line. A bunch of us were all queued up for what was then the biggest comic book movie of all time, Tim Burton’s Batman. Nobody quite knew what to expect.

There’s a lot of thinkpieces lately about what an event Batman was. You couldn’t escape that symbol, on T-shirts and lunchboxes and gum wrappers. It was the first superhero movie marketing event (the original Superman movies were a lot less pimped out by industry, to be honest). We’ve grown pretty used to that in the years since, but at the time it was dazzling. Good or bad, you HAD to see this movie.

As a kid who’d already been reading comic books for years before “Batman” hit the screen, I was hopeful. I remember painstakingly clipping out newspaper articles about the casting in the months before release – Jack Nicholson as the Joker, well, everybody knew that was perfect, but Michael Keaton as Batman was a bigger question mark. If there was an internet back then, casting “Mr Mom” as Bats would’ve cracked it in half. 

s3-BatmanWaikiki3It’s hard to explain to fans of today’s slick, streamlined and gorgeous Marvel Universe movies that seeing a comic book movie in the ‘80s and ‘90s was mostly a matter of lowering expectations, of accepting flaws and looking for the bits that worked.

Sure, Superman IV was godawful, but hey, the scene where Christopher Reeve tells the UN he’s taking away the world’s nukes was cool. Yeah, Tommy Lee Jones and Jim Carrey shred the screen as the most overacting villains of all time in Batman Forever, but I kinda dug Val Kilmer. OK, Howard The Duck might not have quite worked, but… well…. the puppet was interesting….

“Batman 1989” isn’t perfect either, but seen decades on, it’s still a remarkably intense, dynamic vision, one that shaped the portrayal of Batman in the comics for years to come. The late Anton Furst’s designs of a haunted, impressionist Gotham City are still remarkable – while the Marvel movies are pretty great, they’ve rarely created as bold a sense of place as Burton’s Gotham is. It’s a WEIRD town, explored further in the sequels, where gangs dress like clowns and oppressive architecture overwhelms humanity at every turn. 

Jack Nicholson’s Joker, which received the lion’s share of press going in, has dated a lot worse than Keaton’s Batman. It’s never a bad performance, but it’s hard not to just see it as “Jack doing his Jack thing”. Recently I’ve been rewatching a few of Nicholson’s classic ‘70s films like “The Last Detail” and “Five Easy Pieces,” where you see what a fiery talent he was, and compared to those years, his “Batman” role is more reminiscent of when actors like Vincent Price would appear on the old ‘60s Batman TV show – amusing, yet not all that deep. 

84-ogBut Keaton’s Batman has only grown in strength over the years. He never quite has the classic physical profile – seen in a tuxedo in an early scene, his Bruce Wayne’s shoulders would barely fill half the Bat-suit – but acting is often concentrated in the eyes, and Keaton’s eyes hold a balance of resolve and regret. His Bruce Wayne seems closer to the edge than some – look at the scene where he takes on the Joker in his civilian clothes: “You want nuts? Let’s get nuts!” In contrast, his Batman is more of a blank, grim slate, a mask that wipes out Wayne’s humanity and focuses his mission. 

I’d argue that Christian Bale and even Val Kilmer (who I think is kinda underrated in the Bat-acting pantheon) better represent the Batman character from the comics, but Keaton’s Batman still has a mysterious haunted power that makes him unforgettable. 

Standing in that line outside the theatre 30 years ago, I never would’ve imagined as a middle-aged dude I’d still be lining up for movies featuring characters like Ant-Man, Aquaman and Dr. Strange, but I’m glad I am. There’s a lot of movies given credit as ‘ground zero’ for the current superhero explosion, from “X-Men” to “Blade,” but as a phenomenon, there’s still no touching the craziness that Batman inspired three decades ago. 

Movies I’ve Never Seen #1: ‘Head’, or how the Monkees blew themselves up

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It took me a little while to warm up to The Monkees. 

They were the pre-fab, ‘reality TV’ Beatles, or so I thought. But eventually, I cottoned on to their easygoing talents, the goofy charms of the TV show, and some of the most ingratiating pop nuggets of all time. 

I’ve seen what’s left of The Monkees twice in the past few years – in 2016, Micky Dolenz and Peter Tork did a terrific Monkees revue here in Auckland, and last weekend, Dolenz and the only other surviving Monkee Mike Nesmith took one last turn through town for another nostalgic blast. (Peter Tork died this past February, sadly.) The 2019 show was good fun, although hampered by muddy sound and the ageing limitations of the surviving band (the 2016 show was a lot more energetic, to be honest). I was still really glad to see Nesmith, 76, who’s been in ailing health, because he’s one of the great unsung songwriters of our time. 

movie-poster-for-the-film-head-starring-the-monkeesI’ve seen three of the Monkees live now, and I’m happy to have done so. But there was one last Monkee fan hurdle for me to cross: Their mysterious, controversial 1968 movie “Head,” which is either their finest moment or their nadir, depending on who you ask. 

I’d never seen it until this week. I expected a dated hippie mess. I had no idea it was a dazzling comic horror movie that would fill me with existential dread. 

“Head” is a strange, groundbreaking film that assumes you know who the madcap Monkees are, and then proceeds to tear the ground out from under you. There’s not much of a plot – the movie apes the surreal skit humour of the TV series, but with a jarringly nasty edge. You know you’re not in kiddieville anymore when a song featuring shots of screaming female fans cross-cuts into the infamous images from the execution of a Viet Cong officer – it’s like a Backstreet Boys video suddenly morphing into a Marilyn Manson joint. 

I’ve generally a low tolerance for psychedelic storytelling, which tends to really only work if you’re stoned yourself, but the Jack Nicholson script (yes – THAT Jack Nicholson) to “Head” never gets too completely up its own navel to become incoherent. Despite its scattershot approach, “Head” is about a fictional famous band who are trapped on a treadmill of fame in a world they can’t escape. “Head” frequently breaks the fourth wall to show the sets and cameras the Monkees are forced to perform on, but it never gives us the possibility of escape. It’s “meta” before anyone really even knew what that meant. The movie even rewrites the famous theme song:

maxresdefaultHey, hey, we are The Monkees / You know we love to please / A manufactured image / With no philosophies. 

In a world where “Love Island,” “Married At First Sight” and their ilk have overwhelmed commercial TV, it’s still a cutting little blade of a film. It’s a movie that begins with Micky Dolenz’s apparent suicide and ends with the screaming Monkees being stuffed into a featureless black box and driving away into unknown horrors, forced to perform endlessly in a never-ending hell, a scene that is as dark as any ending from a David Lynch film. (Twin Peaks, meet The Monkees!) I can’t imagine how a teenybopper fan of the band would’ve reacted to it in 1968. 

“Head” is weird, funny and fragmented, but it’s also a stunning little rebuttal to the goofy hijinks of the Monkees TV series and a warped meditation on the fame machine. It’s a miracle it ever got made, and it’s no surprise it sank like a stone at the box office, who expected “A Hard Day’s Night” and got something like a Monkees Apocalypse Now. More than 50 years on, it’s a stone cold trip. 

Sellers’ market: The very worst of Peter Sellers

THERESAGIRLINMYSOUPLC8I have a bizarre fascination with the bad movies of Peter Sellers, of which there are many. 

I love Peter Sellers, but before his untimely death at just 54 in 1980, he wasted his protean talent in an awful, awful lot of trash. The chameleon was an actor who was reborn in each role in startling ways, from French detectives to Hindu partygoers to Christ-like savant politician. “The Pink Panther” series, “Being There,” “Dr. Strangelove” – the man starred in a lot of classic movies. 

But of the somewhere around 50 movies he starred in, many are clumsy, dated and a bit offensive by modern standards. He didn’t have a great eye for picking his projects, many of which scream “paycheck!” Yet I’m still drawn to Sellers in them, who holds the cinematic light like a candle in the dark through even the most slapdash of productions. 

magicchristian_ringo_sellersI’ve been making my way as a kind of punishing completist chore through the most obscure of Sellers’ oeuvre, movies that are barely remembered today. Sellers was a difficult, demon-haunted man, whose talent was crippled by bad health and serious psychological issues (there’s the famous quote “There is no me. I do not exist. There used to be a me, but I had it surgically removed,” which more than anything sums up the man). 

Many of Sellers’ best bad movies are those only-in-the-‘60s crazed drug dreams of cinema, like “The Magic Christian” with Ringo Starr as Sellers’ son, or “What’s New, Pussycat?,” the definitive swinging ‘60s all-star lunatic comedy. 

In the 1970s Sellers’ movies got weirder and worse, tipping from good-bad to bad-bad. There’s “Soft Beds, Hard Battles,” a weirdly inept WWII comedy about a brothel, featuring Sellers in six roles, including Adolf Hitler. “Where Does It Hurt?” is a justly-forgotten lame, sloppy 1972 “comedy” about a corrupt hospital that drags for 85 endless minutes, only lifted when Sellers’ malevolent hospital administrator stalks through the scenery.

project-of-the-day-ghost-peter-sellersAnd I am absolutely dying to see the new documentary “The Ghost of Peter Sellers,” an entire film about the apocalyptic making of one of his flops, the pirate film “Ghost In The Noonday Sun.” 

“Being There” climaxed his career with an Oscar nomination, but it wasn’t Sellers’ last gasp – that was “The Fiendish Plot of Dr. Fu Manchu,” one of the strangest Hollywood movies of all time, with Sellers playing both “yellow peril” villain Fu and his nemesis Nayland Smith in another cobbled-together, rambling mess of a movie that ends with an Elvis impersonation. That one is good-bad-good-bad-bad on a whole new level. 

I wish he’d done a dozen more “Being Theres” instead of ten “There’s A Girl In My Soups” but sometimes you find gems in the dross, like “The Blockhouse,” an almost forgotten serious drama about D-Day which is one of Sellers’ best, least remembered movies. 

MV5BM2JiMjQ0NzQtZmUxZS00YTkyLWIxOWEtMzZiMTNhYjIxOThlXkEyXkFqcGdeQXVyNDY2NzgwOTE@._V1_SY1000_CR0,0,1247,1000_AL_There’s a kernel of something golden in even his worst movies. His Fu Manchu is objectively a racist joke played far too long, but there’s a strange sadness Sellers summons up between the lame puns in his portrayal of an immortal villain.

When they say something is “strictly for the fans,” I often think of Peter Sellers’ bad movies. They really are only for obsessed fans like me, who can watch a gifted, protean actor bring a little sparkle of talent to B-movie comedies that didn’t deserve him. 

Godzilla, or, sometimes you just need to smash shit up

godzillaI love Godzilla, because when I’m in the mood, you just want to watch a giant lizard smash the hell out of everything around you. Another big-budget Godzilla movie opened this weekend, and it’s gotten the usual mixed reviews from people who don’t really get the point of a Godzilla movie. 

I never heard the word ‘kaiju’ until I was in my early 30s and every hipster with a DVD collection was spouting it, but it does trip off the tongue better than “giant monster movies.” I love all kinds of monsters and aliens, but Godzilla kaiju movies are the pure biscuits and gravy of the casino buffet of cinema. For more than 60 years now, they’ve been stomping along to the same general formula – Godzilla returns, stomps around a lot, fights another monster or two, sometimes Godzilla’s the good guy and sometimes the bad, and there’s always an annoying human-focused side plot or three. 

godzilla-vs-king-kongMy first Godzilla movie was a battered VHS tape of 1963’s “King Kong Vs. Godzilla”, and to this day it’s one of my desert island flicks. It’s absurd – this Kong looks more like a squashed and mangy grizzly bear than a gorilla, really – but so much damned fun as this duo wrestle and tumble around Japan.

Did you know there’s been an insane thirty-five Godzilla movies since 1954’s original? They range from the Saturday morning-matinee cheese of the “Showa” era to the steroid-infused bombast of the “Heisei” films in the 1980s and 1990s to the flashy, crazed “Millennium” period of the early 2000s. Some of the movies are worse than others, but usually they’re at least worth a watch (except for 1998’s misbegotten “igunazilla” Hollywood bomb, of which we won’t speak again). 

gigan2For those who think the current Godzilla: King of the Monsters is wacky, check out 1991’s utterly unhinged “Godzilla Vs. King Ghidorah,” which features time-travel, a ridiculous “Terminator” riff and the spectacle of Mecha-Ghidorah. For those who want something a little deeper, 2016’s “Shin Godzilla” is a strange satire of Japanese bureaucracy mixed up with some of the most awe-inspiring Godzilla scenes ever. For those who just remember Godzilla wrestling other rubber-suited goofballs on sound stages, 1972’s “Godzilla Vs Gigan” is the kaiju-fest you’ve been hunting for, and Gigan, with his chicken beak, massive talons and inexplicable buzzsaw blade sticking out of the middle of his chest, is peak kaiju craziness. Meanwhile, 1971’s eco-thriller “Godzilla Vs Hedorah” (aka “Godzilla Vs The Smog Monster”) features hippies and the goopiest Godzilla nemesis of all. It also features this anecdote courtesy of Wikipedia that’s too crazy not to mention: Kenpachiro Satsuma, the actor who played Hedorah, was struck with appendicitis during the production. Doctors were forced to perform the appendectomy while he was still wearing the Hedorah suit, due to the length of time it took to take off. Let me repeat that: A man dressed as a kaiju had his appendix taken out. 

“Godzilla: King of the Monsters,” aka Godzilla II, has all the horsepower of a million CGI-producing gigabytes behind it to produce images the original Toho team could’ve only dreamt of, but at its core it’s just as silly and funky as the guy in a rubber suit movies of the ‘60s despite its Hollywood cast. Thankfully, it takes itself much less seriously than 2014’s too-ponderous Godzilla reboot, and delivers images of almost painterly beauty amongst the mayhem. You get a four-way monster-mash throw down reducing downtown Boston to shreds at one point, and honestly, that’s all I want out of a Godzilla movie. If you disregard the fact that every single human character in Godzilla II should’ve died 17 times over, it’s a lot of fun. 

Godzilla movies are an acquired taste. They’ll never achieve the crossover success of, say, Marvel movies or Star Wars, but like I said, sometimes all you want out of a movie is watching one monster shove another one’s head through a skyscraper. And next year, they’re releasing a remake of Godzilla’s championship title bout with King Kong. I’ll be there opening day. 

The woman behind the monster: ‘Lady From The Black Lagoon’

344445_poster_lI’ve written often before about my undying love for Creature From The Black Lagoon. It’s one of the best Universal monster movies of all time, a fantastic creepy love story with a fairy tale’s elegance and one of the most unforgettable monsters of all time. As a fanboy, I thought I knew almost all there was to know about it. 

Mallory O’Meara’s fascinating new biography “The Lady From The Black Lagoon: Hollywood Monsters And The Lost Legacy of Milicent Patrick” dredges the swamps of the past, unearthing the story of a forgotten pioneer for women in film in a witty, bittersweet and fierce look at Hollywood’s golden age. 

Milicent Patrick (1915-1998) was never quite a Hollywood superstar. She was a talented artist and designer, a model and a minor actress in a slew of b-movies. But she had a keen creative eye and before her career was derailed by depressingly familiar sexism, she worked for Walt Disney as one of very few women in animation (including on the classic “Fantasia”) and later on, she designed creatures for movies like “This Island Earth.” 

a15d5c39bb5d653cb6b184f45682ccbeBut her biggest claim to glory today is that she designed the epic look of the Creature From The Black Lagoon. The Creature is, I’d argue, the second-best monster design of all time (sorry, but Karloff’s Frankenstein’s monster has to take the top crown). It’s alien, yet human; terrifying, yet captivating. 

Unfortunately, the elegant, humble Patrick rarely got the credit she deserved for the work – a nasty piece of work named Bud Westmore who ran makeup for Universal Studios took all the credit, and later fired her entirely when Patrick actually started to get some acclaim for her designs (and ample publicity for what, at the time, was a novelty of an attractive young woman working in horror movies). That same sad story of a poor excuse for a man destroying a talented woman’s livelihood can be found a thousand times in Hollywood history. 

“Lagoon” is an often angry book – O’Meara’s conversational, amiably digressive style makes it very clear how personally she takes the tale of Patrick’s rise and fall. Women are often treated worst of all in traditionally male-dominated industries. You don’t have to look further than outraged fanboy reactions to “Captain Marvel” or “The Last Jedi” to see how cancerous the worst of fossilised blokes can be. Patrick went on to have a pretty decent life post-Hollywood, but you still wonder what could’ve been. I love the classic Hollywood films, but you just can’t ignore that they were a very male-dominated, non-diverse world, and think about how many Milicent Patricks were out there.  

01chapmanMonster.popIn “Lagoon,” O’Meara also shows the hard work that goes into the biography of a somewhat obscure person, hunting down leads and tracing dusty steps in the past. The story is as much about her and her experiences as a young woman in Hollywood as it is about Milicent Patrick. Some of the anecdotes O’Meara tells of her own treatment are truly dismaying, especially because they are all too common. The real monsters are still out there in Hollywood, hiding in broad daylight.

“Lady From the Black Lagoon” is well worth reading for any fan of classic film, and O’Meara deserves applause for shining a spotlight on the many unremembered women who played a part – and deserved to play a bigger one – in crafting the films and creatures that haunt our dreams. 

Give me animation: The Disney remakes nobody ever really asked for

fullwidth.21a338c9So the first autumn cold of the season hit the household, and I spent most of a day prone on the couch undertaking a surefire cure for the blues: Cartoons. 

I mainlined a bunch of old Disney classics I hadn’t seen in years in between sips of lemon tea, like “Pinocchio” and “Dumbo” and “Beauty and the Beast.” And for the first time in ages I saw them through childlike (and decongestant-addled) eyes, as the remarkable works of art they are. Thousands and thousands of hours of labour went into their creation. Watching the lush colours and textures of “Pinocchio” unfold, it’s hard to imagine that this was only a decade removed from the black-and-white doodles of “Steamboat Willie.”

Disney is this kind of insanely massive corporate monolith these days, and that sometimes obscures the creative legacy of the company. Sure, they patented Corporate Cuteness (TM) and there is often a bland, monocultural sameness to much of their work. Yet at their best, the classics mainline the universal themes of the fairy tales they’re often based on to hit some primal notes. 

c03a6b0aa4c0296c0e21828cb06b7326I’d forgotten how bloody DARK “Dumbo” and “Pinocchio” are. There’s runaway children sold into slavery, a mother placed in chains, cruelty from the cartooniest of funny animals. (And we won’t even talk about “Bambi.”) 

The monolith Disney of 2019 is bashing out product on many fronts, some great (Marvel hasn’t put a foot wrong), some less. The frenetic urge to remake their animated classics with technically gorgeous, ultimately heartless CGI “live action” versions is pretty depressing. 

As pop culture continues to eat itself, Disney is avidly mining everything from “Beauty and the Beast” to “The Lion King” and “Mulan” for slick retellings that for all their pizazz never really live up to the simpler hand-drawn lines and colours of their inspirations. I’ve watched a few of these “remakes” and they vanish in the mind like mist, yet images from the original cartoons are un-eraseable. 

aladdin-genieI watched the upcoming “Lion King” trailer and I just felt bored. I don’t hate these remakes, but they seem pointless, just more grist for Scrooge McDuck’s vaults. They’re stretched out (1941 “Dumbo” 64 minutes; 2019 “Dumbo” 112) and excessive elaborations of the gorgeous simple lines of the originals. What’s cute becomes creepy rendered in vivid CGI — blue Will Smith in the also upcoming “Aladdin” remake is something I never really needed to see, and it’s kind of freaking me out. 

The real creativity was seen in the labouring of men and women working in the ‘30s and ‘40s on perfecting an amazing new art form of animation. Their work hasn’t dated in nearly 80 years. 

hqdefaultThere’s nothing I’ve seen yet in a CGI cartoon remake that approaches the stunning surrealism of the original “Pink Elephants on parade” sequence of “Dumbo” or the explosion of colour and passion of “Fantasia.” There have been lots of great original CGI cartoons from Pixar and the like of course, but Disney’s flood of redundant remakes is like a gift nobody really asked for.

Give me an original cartoon every time; it’s the cure for what ails me. 

In defence of ‘Bohemian Rhapsody’

1308227299001_5810993950001_5810990937001-vsReal talk: I liked Bohemian Rhapsody quite a lot. 

Is is the Best Picture of 2018? Hardly – I’d pick BlackKklansman or possibly The Favourite over it any day.

But in this era where there’s often no shades of grey in debate, Rhapsody sure has come under an awful lot of fire by the critical class – who are probably spitting bullets that it won four Academy Awards (more than any other movie this year) and has grossed US$214 million, becoming the biggest biopic of all time. 

“Rhapsody” isn’t a perfect movie, but it’s a rousing entertainment that superbly speaks to the American Dream, circa 2019 – which is, simply, getting famous. Every other person wants to be a star, whether it’s on Instagram or YouTube, and Freddie Mercury’s story hits a chord with them. Farrokh Bulsara, a native of Zanzibar, reinvented himself as a star. 

I remember Freddie Mercury’s death, in 1991, which seems a million years ago now. I’d never have thought we’d still be talking about him quite so much in 2019, but when he died, there was an outpouring of Queen tributes and the songs were inescapable (thank you, Wayne’s World). Mercury’s AIDS-related death at just 45 is a key reason for the ongoing posthumous fame – there’s few more inescapable storylines that run through the annals of rock history than dying young. 

queenQueen are a band critics loved to hate. “Lyrically, Queen’s songs manage to be pretentious and irrelevant,” The New York Times wrote in 1978. Rolling Stone’s Dave Marsh actually called them “the first truly fascist rock band,” which, wow, is not a piece of criticism that’s aged well. 

I wouldn’t call Queen my favourite band by any means, but I appreciate a lot of their work, their raucous anthems and their sprawling eclecticism. Queen didn’t take themselves that seriously – an awful lot of their songs sound like band in-jokes – but they hit on one of the key qualities for rock’n’roll success, the marriage of the sublime and the absurd. There’s few songs more ridiculous than “Bohemian Rhapsody,” but dammit if Mercury’s aching solo verses don’t get me every time. 

Bohemian Rhapsody, penned by Kiwi screenwriter Anthony McCarten, has come under fire for historically fudging the facts. No, Mercury didn’t tell the band he had AIDS before Live Aid. No, the band didn’t break up before that concert. But I’d argue that the biopic as a genre has never been about 100% historical accuracy – look at Amadeus, another Oscar-winning musical which portrayed Mozart and Salieri as mortal enemies, which they weren’t in real life. The biopic tells a story, using history, but it isn’t history. 

McCarten’s screenplay does what it can with Mercury’s complicated sexuality – Mary Austin was indeed the ‘love of his life,’ but Mercury was also gay. He also was extremely private and didn’t reveal his AIDS diagnosis until the day before he died, so the movie’s sometimes cagey take on his private life echoes Mercury’s own.

I wouldn’t argue that Bohemian Rhapsody is fundamentally flawed because it stretches facts, like most other biopics have. There’s a divide in watching it between the head and the heart. My head saw some pretty darned clunky lines and a lot of Rock Movie 101 cliches, but my gut was swayed by Queen’s absurdly catchy songs, Rami Malek’s outstanding performance and that go-for-broke Live Aid show climax which is every fame-chaser’s dream of acceptance. 

PRY8WA-920x584It’s a very simple story of a band that came from nothing and made it big, which has its DNA all over every single reality TV show millions watch every single week. Rhapsody works for many because it speaks to the weirdos and the oddballs, to that dream of getting famous. Everybody wants to be something. It’s no wonder it’s a global hit. 

Look at me, who they once called the gay “Paki” boy with funny teeth, with thousands screaming my name.

Look at me. Aren’t I beautiful? Don’t you want to be me? 

RIP Julie Adams, the Creature’s one true love

DyiRW9YV4AArB-y.jpg-largeJulie Adams wasn’t a household name, but she was legendary in her own way as one of the last surviving “scream queens” of the classic Universal Monster movies of the 1930s-1950s. Adams died at 92 this weekend, and horror geeks like me are mourning her today. 

She had a lengthy and impressive career, but it was as the damsel in distress in 1954’s “Creature From The Black Lagoon” that Adams swam through our dreams. 

She was probably one of the very first celebrities I ever got a crush on, when I saw “Creature” on TV sometime in the early ‘80s. On the page, Adams’ part is nothing too special – the standard “scientist’s girlfriend” seen in a hundred other movies of the era, who has a monster fall in love with her. Yet there’s something so iconic about Adams in the film, with her white swimsuit and wide-eyed charm. 

The scene where she swims idyllically in the lagoon while underneath, the misshapen Creature stalks and pines over her, is the blueprint for a thousand other sequences like it (you wouldn’t have the famous opening of Spielberg’s “Jaws” without this scene).

“Creature” itself will always be in my top 10 movies – elegant, simple and yet pulsing with unexplained mysteries and thanks to Adams’ unforgettable performance, a primal sensuality. Sixty-five years on, it still simmers and entertains.

I can take or leave the Oscars a lot of years, but when Guillermo Del Toro’s superb, dreamy “The Shape of Water” won Best Picture and Best Director last year, I cheered. More than anything Del Toro’s masterpiece is a loving homage to the mystery and magic of classic horror movies, “Creature” in particular, and I couldn’t help but feel it was almost as if the Gill-Man himself was getting a belated honour from the Academy. Del Toro himself wrote yesterday, “I mourn Julie Adams passing.  It hurts in a place deep in me, where monsters swim.”

Creature

The only remaining star of note from “Creature” left is none other than the Gill-Man himself, Ricou Browning, 88, who played the monster in the swimming scenes. When he’s gone, the final curtain will draw at last on the Universal Classic Monster series. But they’ll continue to haunt the dreams of movie-loving fans forever. 

Year in Review: My top 10 pop-culture moments of 2018

I’ve always dug the year-in-review lists, but I’m kind of an old dude now, and I couldn’t tell you 10 albums that came out in 2018 that I dug and I’m usually about 6 months behind on the streaming thing everyone is talking about.

So instead, here’s 10 moments in pop culture that made my year – whether it’s something new to everyone, or something old and glorious I discovered for myself this year. Because frankly, there’s a heck of a lot of great things in the past that are often way more interesting than whatever is flitting through the world this week. 

InfinityWar5a4bb0e7cdea1.0Superheroic golden age: Every once in a while I think how 13-year-old me would’ve reeled at the idea of a new big-budget superhero movie or TV show every few months. I pretty much dug them all in various ways and all the comic book moments they brought to life — Avengers: Infinity War somehow magically capturing Jim Starlin’s complicated villain Thanos without him seeming absurd; Black Panther’s Shakespearean grandeur, as the king returns to take his crown; the gleefully over-the-top Aquaman, with a pitch-perfect Black Manta/Aquaman battle that had me grinning like a loon; the fantastic third season of Daredevil bringing Matt Murdock and Wilson Fisk’s battle to a climax; Ant-Man and the Wasp turning San Francisco’s Fisherman’s Wharf into a size-changing playground. (And I’m still waiting for Into The Spider-Verse to open in New Zealand!)

Orson Welles lives: Who woulda thought we’d see a “new” Welles film 30+ years after his death? I loved The Other Side of the Wind, which was sprawling, chaotic and fragmented like much of Welles’ final work. By its very nature incomplete, it still evoked a dying world of Hollywood legends and graced us with a few more of Welles’ picture-perfect screen compositions. 

Lady Bird: Technically this came out in 2017, but this smart, witty and surprising comedy about a girl’s coming of age in Sacramento is one of the best films I’ve seen in years, with Greta Gerwig building on the promise she’d shown with Frances Ha and other movies. 

robin williams biography main-min“Robin” by Dave Itzkoff: Robin Williams was a remarkable talent who battled addiction and tragedy much of his life. Schlock like Patch Adams made us forget how amazing he could be; this definitive biography brings him back to life and reminds us of what we lost. 

Immortal Hulk: The Hulk is Marvel’s endlessly protean creation, who’s been reconfigured and reimagined dozens of times over the years. This current take by Al Ewing is a moody horror epic that’s creepily unforgettable and shows the Hulk can still surprise after over 50 years. 

John Coltrane: Yep, the man’s been dead for 51 years, but like the best of artists, his work is still capable of endless surprises. I watched the terrific documentary Chasing Trane this year and have been diving into many of Coltrane’s squawkier, chaotic later albums like the superb Sun Ship. It’s not music for every mood, but when it works, peak Coltrane is like watching the sky split open and unfold itself. 

“Leonardo Da Vinci” by Walter Isaacson: A biography that truly reveals an entire world, with fascinating focus on how exactly Da Vinci created his masterpieces, and the world he lived in. Made me want to zip off to Europe to see the works in person. 

Ron-Stallworth-and-Patrice-in-BlacKkKlansmanBlack entertainment: They’ve all got ‘black’ in the name and they all provided strong, uplifting portrayals of the African-American experience – Black Panther, which broke a zillion box office records along the way; Black Lightning, which took a lesser-known DC superhero and gave us one of the realest portrayals of a strong black family on TV in ages; BlacKkKlansman, which was Spike Lee’s strongest movie in years, as feisty, creative and witty as “Do The Right Thing.”  

Let’s go to a gig: I saw some great concerts this year, from Grace Jones’ imperial grandeur at Auckland City Limits to what might’ve been legendary Bob Dylan’s final concert in New Zealand (and the best show I’ve seen from him yet) to cool and somewhat retro gigs by Peter Murphy of Bauhaus, Billy Bragg and the Breeders. Great times all. 

Universal horror: The best thrills are often the old ones. As I battled a variety of health and personal setbacks this year, somehow I got the most comfort from flickering black and white images of horror and mystery. I’ve always loved the old Universal horror movies of the 1930s, 1940s and 1950s, and rarely a week went by where I didn’t resurrect Boris Karloff or Bela Lugosi or Lon Chaney for a bit of spooky pleasure. The immortal ones never really die, you know.