Displaying items by tag: Kevin Bacon

MAXXXINE

US, 2024, 104 minutes, Colour.

Mia Goth, Elizabeth Debicki, Bobby Cannavale, Michelle Monaghan, Kevin Bacon, Lily Collins, Simon Prast, Giancarlo Esposito, Moses Sumney.

Directed by Ti West.

In recent years, writer-director Ti West, has directed many television episodes. However, he made his mark around 2010 with some horror films, especially The Innkeepers. He also made a revenge Western, In a Valley of Violence, 2016, with Ethan Hawke and John Travolta. Then he made X, something of an exploitation film at a mansion out in the countryside of the Midwest. It featured Mia Goth. And it was a commercial success.

West then decided to go back in history and make a period piece, again about an ambitious actress, again played by Mia Goth, Pool. And with the same somewhat sensationalist themes and treatment.

This is the third film in his trilogy, this time set in 1985. And the audience is taken to a version of Hollywood of that period, a style of cinematography that is garish and sometimes lurid, as a symbol and as a location for part of the climax. West is enthusiastic about this portrayal of Hollywood, emphasising the seedy side, cheap apartments, video stores which were becoming popular at the time, the adult movie industry, sleazy agents in their offices. There is also the world of filmmaking, auditions, the movie lots, a visit to the Psycho motel as well as action there, sinister mansions in the Hollywood Hills. Very strong on atmosphere – and with many of the songs of the period, as was all kinds of in the occasions, billboards, almonds theatre, the stars on the walk of fame, cinemas showing St Elmo’s Fire.

Once again, this is a showcase for Mia Goth who seems to relish her performances as actresses who have more than relish and ambitions for their careers. And the supporting cast is more notable, Elizabeth Debicki as a somewhat pretentious and ambitious director, filming a sequel to The Puritan with all kinds of religious right protesters outside the studio with their placards. Kevin Bacon offers something of an absurd private eye who gets a dreadful comeuppance. Bobby Cannavale and Michelle Monaghan are the investigating police, he a would-be actor, she rather stern and critical. Lily Collins has a cameo as a British actress, Giancarlo Esposito is the agent, and Simon Prast who was a religious fanatic in X is even more terrifying here as Maxine’s avenging father.

So, a mixture of exploitative ingredients, sex, violence, ambition, religious intolerance.

1. The work of the director, his trilogy, themes, moviemaking, collaboration with Mia Goth?
2. The relationship of this film to the other two? Characters, themes, movies, sexuality and exploitation, violence and murder, ambitions and ruthlessness, religious fanaticism?
3. The title, Maxine, from Miller to Minx, adding the Xs to her name? Her car number plate? And the way that she ruthlessly drove her car?
4. The prologue, the little girl, dancing, the interview with her religious father? All of this sequence in the revelations of what was happening?
5. 1985, Hollywood, the sign and symbol, the streets, the stars and Grauman’s theatre, garish look, lurid touches? The streets, the motels, the studios, legal offices, Universal lot, the motel from Psycho, exteriors and interiors? The musical score, the range of songs from the 1980s?
6. Maxine, in Los Angeles, the move from Texas, ambitions, to get the life that she deserved, her intensity, the adult movies, pornography, her reputation and people recognising her at the studio? Her friends, performance? The apartment, moving from job to job, the video store, the owner, conversations, watching videos with him, enlisting his help to identify the mysterious video and its origins? His relationship with Maxine, exasperation with her? The brutality of his murder and her response to his being carried out?
7. The audition, the film, The Puritan, the sequel? The director, imperious presence, height, not American accent, expectations? The interview, her being in adult movies, her body? Her getting the part? Going back to the studio, the interviews with the director, her demands? The scene of making the cast of her head, the past memories, her panic? And the later final sequence with the cast of her head in the glass? The background of the, Night Stalker the many deaths, and her friend, their discussions, the discovery of the two dead bodies, the symbolic mark?
8. Mysterious video and her watching it, her panic? The address of the windscreen? The encounter with John, Kevin Bacon and the satiric performance? Confrontations, pursuit, his threats and self-confidence? Not identifying the employer? The drinks and conversation? Is appearance at the studio, the pursuit and chase, the weapon and her wound in his nose? The later encounters, the Psycho motel? Her explaining this to her agent, Ted and his personality, manner, sleazy? The confrontation with John, and the brutal crushing of the car and him?
9. The police officers, the would-be actor and his performances, the tough woman in charge? Confronting Maxine, with the death of her video store friend, the continued interrogations, her refusal to answer, the threats?
10. Demonstrations, against The Puritan, the religious right? Protests and placards?
11. The buildup to the climax, Maxine and her fears, the decision to go to the address, the detectives deciding to follow her, her entering the house, eerie, discovering her father, his speeches, showing her the video from her childhood, the massacres in Texas, fleeing? Her father, religious fanatic, his campaign, stamping Satan out of Hollywood, his followers and the ritual, the attempt to exorcise Maxine, tying her up, close-ups of his face, the arrival of the police, the shootout? Maxine free, confronting her father, eventually shooting him? The detectives, shot, wounded, dead? The hovering helicopter?
12. The aftermath,, Maxine as a celebrity, the interviews, the director and her advice? Set, her becoming respectable, the plaster cast of her head?

BEVERLEY HILL COP-AXEL F

US, 2024, 118 minutes, Colour.

Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Bronson Pinchot, Kevin Bacon.

Directed by Mark Molloy.

Older moviegoers remember and realise that they first met a young 20 something Eddie Murphy as Detroit Cop operating in Los Angeles, Beverly Hills, Axel Foley, and the first Beverley Hills Cop, 1984. There was a sequel. And the third film was released, in fact, 20 years ago, 1994. Could the franchise be resurrected after 20 years? What is the status of Eddie Murphy and film roles by 2024?

The quick answer is that the older fans are very happy to see Axel Foley again, enjoyed Eddie Murphy screen presence, his grin, brashness, ability to take on major criminals. So, it looks as if he will be welcomed by the younger film fans.

In many of the comments, the word nostalgia is used. The first film was such a hit and Eddie Murphy went on to make such engaging films as 48 Hours, Trading Places, Coming to America… As well as having a very successful career with such franchises as Dr Dolittle and the Nutty Professor. But, in more recent times collapse in popularity but a revival within the last 10 years on screen in cinemas and television.

Watching this film, we would think we were back 30 years, Eddie Murphy just the same, absolutely self-confident, grinning and laughing, wisecracks, willing to take on the world, crusading against the criminals. And, for nostalgia so, three characters from the original films return, the police chief played by John Ashton, the partner played by Judge Reinhold, the eccentric manager played by Bronson Pinchot.

But, this time there is Axel Foley’s daughter, estranged from her father, a lawyer in Los Angeles, taking on a client who has been framed by powerful drug dealers, even pushed from a top story garage and her car dangling high above the street. And Axel gets a phone call from Rosewood, Judge Reinhold, which sets him on the course for Beverly Hills, reconciling with his daughter, getting the criminals – headed by a rather sinister -looking and smug-sounding Kevin Bacon.

But, action sequences were the mark of the previous films and, of course, here they are. A robbery is going on at the ice hockey stadium, leading to pursuit, an elaborate car chase, motorbikes, a huge grader and the smashing of cars galore (which, while spectacular, does seem too much of a bad thing). And there will be chases naturally in Los Angeles. And quite a turn with a helicopter falling down, along the streets, a golf course.

In Beverly Hills, Axel makes such an entry, going to Rosewood’s apartment to find him, thugs ransacking the apartment, pursuit and subsequent arrest. Contacting his daughter, Jane (Taylour Paige) who does not want anything to do with him. And there is also her former boyfriend in the Department played by Joseph Gordon-Levitt. And his old boss, Taggart, John Ashton.

Not difficult to see where the plot developments will go – confrontations with the smarmy Kevin Bacon, his thugs, thwarting drug deals, rescuing Rosewood, and all the time the ups and downs with his daughter.

Which means then that this Axel Foley outing is what audiences were expecting, hoping for – and, most seem to be happy with the outcome. And another one?

SPACE ODDITY

US, 2022, 95 minutes, Colour.

Kyle Allen, Alexandra Shipp, Madeleine Brewer, Simon Helberg, Carrie Preston, Kevin Bacon, Alfre Woodard.

Directed by Kyra Sedgwick.

Perhaps a bit dangerous to use the word “oddity” in the title. And this film is something of an oddity, but a more thoughtful oddity. It has been directed by actress and director, Kyra Sedgwick, and features her husband, Kevin Bacon, as the father of the odd family.

The focus is on the son and the family, Alex, an interesting sometimes laid-back, sometimes aggressive, performance by Kyle Allen. We learn that there is grief in the family, the death in an accident of the older brother, Alex in the car. This weighs heavily on the grieving mother, Carrie Preston, on the professional gardener father and on the very businesslike daughter, Liz, played by Madeleine Brewer.

All might have been well if Alex were not brooding, wanting out of this world, caught up with a group who are planning an expedition to Mars, a one-way trip, an opportunity to make a better world. His mother goes along with it. His father, wanting to hand on the garden to his son, is patient, impatient. And his pragmatic sister cannot understand it at all. A visit to the sympathetic therapist, Alfre Woodard, conversations with the Russian assistant in the garden work, Simon Helberg.

The main interaction is with Daisy, Alexandra Shipp, who had wanted to be a successful swimmer, now works in her uncle’s insurance firm, has to deal with Alex and the legal consequences of insurance for his journey. She becomes the catalyst for his emotions, for testing his strength of intentions on Mars, for, so to speak, helping bring him down-to-earth.

This is a film of many details, in the garden, Alex contemplating himself and his physical preparations for his journey, difficult interactions with Daisy.

1. The title, offputting? Yet accurate concerning Alex?
2. The ordinary American town, home, the extensive gardens and greenhouse, the streets, children playing, offices, atmosphere? The musical score?
3. A film about identity, about grief and its consequences, about mental conditions, mental illness, obsessions and delusions?
4. Alex’s story, his room, the background of Mars, looking in the mirror, assessing himself? Explaining his ambition, to go to Mars, one way ticket, ready to leave Earth, ready to leave his family? His preparations, exercise, jogging, plants and seeds and fostering them…? The contact with the agency and the enthusiasm of the controller?
5. Alex and his family, his father, running the garden, getting older, thinking of selling, offering it to Alex and his refusal, his relationship with Liz, her absence, return, PR expertise, wanting to control him? His mother, her devotion to him? The background of his dead brother, the revelation of the car crash? The effect of the dead brother, favourite, his absence, grief?
6. Alex, dissatisfaction with Earth, wanting a new start, pioneering? The challenges with space? Its mystery? Its challenge? His explanations of himself?
7. His visit to the doctor, her questions, conversations, affirming him, challenging him? Certificating him? The families later visit to her, confidentiality, her explanations?
8. Financial issues, insurance, the encounter with Daisy, in the street, going to the office, her interviewing him, her scepticism? The initial attraction? Accompanying him to the gym, to the first-aid sessions? Talking, her story, wanting to be a swimmer, failing, coming to her home town, working in the insurance office, the meetings with Alex and the discussions about insurance? Going out, social, drinking, the sexual encounter and the consequences? Her accompanying him on jogging? Going with him to the mission control, her disillusionment? Her explanation of her cheating and taking the drugs, Alex turning it against her, her being upset?
9. The children, the games, the marshmallows, space? Building the space ship and the enjoyment of the takeoff?
10. Alex and his discussions with his father, refusing to inherit the garden, his friendship with Dimitri, the discussions, Dimitri at the family table? Daisy coming to meet the family? His father confronting him? Alex’s reaction, tearing up all the flowers? His father telling him to replant and his obeying?
11. The visit to the mission control, the truth about being an obsession and hobby? The consequences?
12. Daisy, suggestions to work for NASA, his inventions, the discussions with Dimitri and encouragement?
13. His change of heart, meeting Daisy, the apology?
14. Reconciling reconciliation within the family, his father’s future, Liz and her PR job, being at home, with the flowers, taking over? Calming his emotional mother?

LEAVE THE WORLD BEHIND

US, 2023, 140 minutes, Colour.

Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la Herreld, Farrah Mackenzie, Charlie Evans, Kevin Bacon.

Directed by Sam Esmail.

The title is to be taken more literally than we might initially have been expecting. At first, it is used to explain an enjoyable weekend away on Long Island, the family renting a beautiful house, comfortable, swimming pool, access to the beach… And it it has been arranged efficiently by the mother, Amanda, a rather tough Julia Roberts, sales consultant, harshly sour view of clients and human nature. By contrast, Ethan Hawke is Clay, her husband, Professor of literature and media. And there are two children, Archie, 16, and Rose, 13, obsessed, even in the drive to the holiday house, with finishing all the episodes of Friends.

It all seems happy enough and off they go to the beach. Then the first sign – an oil tanker glimpsed out at sea, getting closer, finally barging ashore on the sand. All is not well. The familiar world will have to be left behind.

There are various ominous signs, some deer in the back garden appearing, phones and Wi-Fi going out, no television. Then, mysterious noises at night – and a father and daughter knocking at the door in the early hours, claiming that this was their house, that there were blackouts in New York and they decided to come back home.

Which means then that the audience has got to know the family first, is suspicious of the newcomers, but being asked to identify with the harsh treatment interrogation by Amanda or with the more genial approach by Clay. As it turns out, the owners of the house are GH, a talented financial adviser, played by two-time Oscar winner, Mahershala Ali, and his teenage daughter, Ruth (who can match Amanda in clashes, suspicions and invective) played by Myha’la Herrold.

During the rest of this rather long film, there are more ominous signs, even more deer gathering, flamingos swooping into the swimming pool, brief phone messages to say that there is a blackout and perhaps services being hacked. And, there are scenes of dialogue and interaction, GH and Amanda being able to settle some of their differences, Ruth asking Clay embarrassing questions about his life. And the two teenagers puzzled, exploring the surrounding woods, Archie getting an infection with dire consequences for his teeth, Rose, wandering, watching  the deer.

When GH goes to try to get some help and information from neighbours, he discovers chaos, bodies, and an airliner crashing. Clay has tried to drive to town to find help but encountered a frantic Spanish-speaking woman he cannot understand. And a drone follows him dropping leaflets, in Arabic, Death to America.

The audience is invited to share the suspicions, the uncertainties, the growing paranoia. And there is a dramatic scene when GH and Clay take Archie for some medical help from a neighbour, played by Kevin Bacon. Tension, confrontation, defensive…

Is this the end of the world? Who knows? Suggestions of the Russians, Koreans, the Pentagon, finances and deals, creating wariness, hostilities, a destructive civil war, and images of nuclear bombs. Some have been very critical of the final sequence, too laid back all – in a well-stocked bunker, a quiet scene, Rose discovering final episode of Friends…

Older audiences and movie buffs may be reminded of the film and/or television series based on Nevil Shute’s end of the world novel, On the Beach (and the film’s Melbourne ending).

1. The title and expectations? The family going on a holiday, leaving everything behind? The change of tone, the end of the world?
2. The popularity of apocalyptic themes, disasters, the end of the world? Tradition in literature and cinema?
3. The structure of the film, the success of chapters in their tone, meaning?
4. The plausibility of the plot, the initial sign of the tanker, menacing, coming closer to the shore, frightening people, on the beach? The loss of communications, phones, Wi-Fi, television? The story of hacking? Stories of powerful people, wealth, defence budgets, conspiracies? Targeting Korea, Russia, Iran, financiers, powerbrokers?
5. GH and his explanations, his job and moving money, his contacts, famous people, the Pentagon, plans for a people, hacking, blackouts, loss of communications, falls information, building up to Civil War, bombs and destruction?
6. Amanda and Clay, she in public relations, he lecturing in English and media, her statements about hating people, booking the holiday, packing, urging Clay, Archie and Rose? Travelling, the typical family, talk, phones and screens? The holiday weekend?
7. The drive, arriving at the mansion, delight, settling in, Amanda going for the groceries, looking at Dennis and his stocking up in the later memories, the visit to Dennis, his work and repairs, defensive, with the gun, his daughter, the request for the medication, confrontations, what any father would do, his giving the pills, Clay paying the money, and the revelation of the well-stocked bunker that he had constructed?
8. The family at the beach, the happy holiday, the tanker, the panic? Archie, 16, Rose, 13, obsession with Friends and the final session?
9. During the night, the noises, GH and his daughter at the door, sense of fear, menace?
10. The audience identifying with Amanda, Clay of the family, wary of GH and Ruth, taking sides, identifying? Amanda and her harshness, suspicions, treatment, justified or not, Clay more amenable? The request for GH to stay the night, his house, the plausibility story, in New York, the music, the blackout, not climbing 14 stories, his house? And the attitudes of his daughter?
11. GH and his playing the thousand dollars in cash?
12. The interactions between the couples? Amanda and her stances, Clay more amenable, GH in his principles, Ruth and her looking down on Amanda? The information about the emergency, staying the night?
13. The next day, the deer at the back, Rose looking at the deer, more and more numbers, going out with Archie, his being stung, finding the hut, mysterious form, looking towards Rose’s room? Amanda, breakfast, everybody a coffee, something of a truce?
14. Clay, driving into town, abandoned, the Spanish-speaking woman and her frantic request, his not understanding, driving off? The drone and the dropping of the “Death to America” leaflets? His fears? Ruth, sunbathing, Archie in the pool, photographing her, later watching the photos, in bed? The flamingos in the pool?
15. GH, going to the neighbours, finding the devastation, the dead bodies, seeing the plane crash?
16. The increasing communication, understandings and misunderstandings? The brief messages about the blackout and the hacking? GH and his time with Amanda, his explanations about his connections, the apologies, playing the music, the dancing?
17. Clay, talking with Ruth, her blunt questions, sexuality, Amanda and her comments about Clay and his behaviour?
18. Archie, becoming unwell, the morning, his teeth coming out, the drive to Dennis, the confrontation, the money, the tablets, the guns?
19. Rose and her disappearance, going to the mansion, the discovery of the videos and DVDs, Friends, the final episode?
20. Amanda and Ruth, some understanding, searching for Rose?
21. Looking across at the city skyline, the explosion of the bomb? The end, leaving the world behind? And the symbolism of Rose, discovering the bunker, so well-stocked, comfortable, but sitting and watching the last episode of Friends?