Tag Archives: Tom Waits

CAPSULE: DRACULA (1992)

AKA Bram Stoker’s Dracula

fourstar

DIRECTED BY:

FEATURING: Gary Oldman, Winona Ryder, Anthony Hopkins, , Tom Waits

PLOT:  Vlad Dracula, a defender of Christendom against invading Muslims, curses God and becomes undead when his beloved bride throws herself from the castle walls due to false reports of his death sent by Turkish spies; centuries later, he plots to seduce his love’s reincarnation in Victorian London.

Still from Dracula (1992)

WHY IT WON’T MAKE THE LIST: Coppola’s take on the Dracula myth is dreamy, glossy, and visually experimental for a blockbuster, but too mainstream to be truly weird.

COMMENTS:  Coppola had a chance to make one of the classic Dracula films; in the end, he made not a classic, but he did make the most visually advanced and beautiful vampire movie of our times.  The early reels are taken up with crisp visual experiments, such as when the Transylvanian countryside outside Johnathan Harker’s carriage turns blood red while Dracula’s eyes appear superimposed in the sky.  Another trick Coppola employs—making the Count’s shadow move independently of its host, displaying his hostile intent while its host blathers on about business matters—has become iconic.  The best sequence the director invents is Harker’s encounter with Dracula’s three beautiful undead brides, a scene that moves effortlessly from dreamy eroticism to outright surreal horror when the temptresses reveal their true nature (one of the bloodsucking succubi was played by soon-to-be-famous, ethereal beauty Monica Belluci).  The scene of an enticing vampiress scuttling on the masonry like a startled spider is pleasantly jolting, and the entire picture in fact swings back and forth between the sexual and the diabolical with a natural ease.  Coppola displays great discipline in the film, making the film stylish, sexy and horrifying in audience-pleasing measures.  The various camera tricks, the shadow plays, the grandiose sets and costumes, the boldly unreal colors, the switches between film stock, never draw too much attention to themselves, but always work in service of creating an operatic hyperreality, a world that’s strange and exaggerated, but cinematically familiar.

What prevents the movie from being a classic is the uneven ensemble acting.  The good Continue reading CAPSULE: DRACULA (1992)

CAPSULE: WRISTCUTTERS: A LOVE STORY (2006)

Recommended

DIRECTED BY: Goran Dukic

FEATURING: Patrick Fugit, Shannyn Sossamon, Shea Whigham, Tom Waits

PLOT:  In a special afterlife reserved for suicides, three lost souls hit the road: Zia is

wristcutters_a_love_story

searching for his earthly lover, Mikal is convinced she’s here by mistake and is looking for the People in Charge, and Eugene is along for the ride because he has nothing better to do.

WHY IT WON’T MAKE THE LIST:  Despite the sunglasses-snatching black hole that’s taken up permanent residence under the passenger seat in Eugene’s old beater, Wristcutters never really crosses the shaky border into the land of the weird.  A few magical realist touches decorate this otherwise conventional, indie-flavored road movie/love triangle that’s best described as “quirky.”  (If you know of a review that doesn’t use the word “quirky” to describe this movie, please contact the proper authorities; the writer needs to have his or her critical credentials yanked).

COMMENTS:  Adapted from a story by Etgar Keret, Wristcutters is a romantic comedy disguised as a black comedy, a conventional movie disguised as a bizarre movie, and a shamelessly hopeful movie disguised as a bleak movie.  None of those disguises are particularly hard to penetrate.  “Who could think of a better punishment, really?  Everything’s the same here, it’s just a little worse,” newly deceased wristcutter Zia realizes soon after he gets a pizza delivery job in the afterlife.  In Wristcutters, new suicides wake to discover a Great Beyond that’s not so great: in fact, it’s set in the middle of the Mojave desert where everything is so run down and recycled, even the automobiles are held together mostly by duct tape.  Furthermore, in the most dreadful dissimilarity to the living world, its denizens find themselves unable to smile, a restriction that makes the sympathetic performances of the young principals all the more impressive.  Still, the movie always has a hopeful sense that the main characters can find a way out of their existential predicament, and it doesn’t disappoint those hoping for a happy ending (though some may consider it a cop-out).  Although Wristcutters sometimes reeks of missed opportunities to explore deeper themes and blacker comedy in a more mystical landscape, it’s also apparent that director/scripter Dukic has hit exactly the lightly offbeat tone he was aiming for, and he has the good sense to wrap the story up quickly after his world runs out of new Purgatorial quirks to offer.  A couple of tunes by Tom Waits (who also offers up a memorable turn as ramshackle but wizardly guiding spirit Kneller) and Gogol Bordello bump up the cool quotient considerably.

After this successful debut, Croatian director Dukic is poised between worlds: he could use this feature as springboard to do something even more conventional, or push his offbeat impulses to their logically weird conclusion.  We’ll keep an eye on him.

WHAT THE CRITICS SAY:

“What makes it work is that the performers, trapped in a weird movie about a weird place, underplay their astonishment.”–A.O. Scott, New York Times (contemporaneous)

(This movie was nominated for review by reader “Natalia.” Suggest a weird movie of your own here.)