Category Archives: Dark Comedies

Things to Do in Denver When You’re Dead, the Film

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Francis Ford Coppola’s The Godfather trilogy, along with Quentin Tarantino’s Reservoir Dogs and Pulp Fiction, are some of the most intriguing films I’ve ever seen, if only because they never question whether their criminal characters are good or evil. Instead, their stories plunge viewers deep into a world where doing evil is such a given, it’s the norm. Even in these evil worlds, however, criminals have some moral standards by which to judge the behavior of their fellow thieves, gangsters, and murderers. It is this exploration of good and evil within an already evil world that makes these films so fascinating.

The 1995 neo-noir crime film, Things to Do in Denver When You’re Dead, featuring an ensemble cast of Hollywood heavy-hitters, examines morality, honor, and justice among people who would scare most of us to death if we simply saw them on the street. The film’s unexpected story-delivery and darkly comedic scenes don’t hide its tragic moments, but , instead, lift it beyond the ordinary story of crime-from-the-criminal-perspective to that of a classic. Things to Do in Denver When You’re Dead  is a film you’ll want to watch multiple times so you can decide which of its quirky criminal characters you like best.

Andy Garcia as Jimmy the Saint, Things to Do in Denver When You’re Dead © Miramax

The film’s premise is a familiar one in crime stories: seriously bad-ass gangster wants to abandon the criminal life, go straight, and earn some good karma in the remaining time he has left, but somehow gets coerced, by someone much more dangerously bad-ass and way more powerful, into doing “one last job,” which, of course, goes terribly wrong. In Things to Do in Denver When You’re Dead, Jimmy the Saint (Andy Garcia) is a former hitman attempting to be a legitimate businessman with his Afterlife Advice services, where the terminally ill record reminiscences, advice, or other final messages for their loved ones. Unfortunately, Jimmy’s non-criminal life isn’t paying well enough to keep him solvent, and his former boss has paid off Jimmy’s debts and now wants him to do one last job.

Narrated by Joe (Jack Warden), to anyone who’ll listen, in a malt shop, the film’s quirky start gives you a hint of the film’s compelling and unique slang while letting you know that virtually everyone involved in the story, but especially Jimmy the Saint, is already a legend.

In those days, you wanted a piece of quim, you knew where to go. You’d go with a big noise guy, you know, a cake-eater. Before you could say “beef bayonets,” you’ve got a bangtail on your arm, sweet as Dutch cheese.

Christopher Walken as The Man with the Plan, Things to Do in Denver When You’re Dead © Miramax

The “big noise guy” in this film is The Man with the Plan (Christopher Walken), and he has a son, Bernard (Michael Nicolosi), who’s tried to kidnap a little girl off the school playground.

Michael Nicolosi as Bernard, Things to Do in Denver When You’re Dead © Miramax

This is not a good thing, even in their criminal world. The Man with the Plan believes that if his son Bernard were reunited with his former girlfriend, Meg, things would be like the good ol’ days, when everyone was happy, and Bernard would be “cured.”

Christopher Walken as The Man with the Plan, Sarah Trigger as former-girlfriend Meg, and Michael Nicolosi as Bernard, Things to Do in Denver When You’re Dead © Miramax

Unfortunately, Meg has a new boyfriend, and something has to be done. The Man with the Plan wants “an action,” not a “piece of work,” i.e., Jimmy is to scare the current boyfriend away from Meg and no one is to be physically hurt, let alone killed.

Christopher Walken, Things to Do in Denver When You’re Dead © Miramax

Because The Man with the Plan, confined to a wheelchair after an assassination attempt, repeatedly emphasizes that this is only an “action” and not a “piece of work,” the viewers immediately know that something is bound to go terribly wrong and that it’s going to effect all the characters in the film, not just Bernard or his former girlfriend Meg.

Gabrielle Anwar as Dagney, and Andy Garcia as Jimmy, Things to Do in Denver When You’re Dead © Miramax

Despite having met Dagney (Gabrielle Anwar), with whom he’s falling in love, and despite trying to help a friend Lucinda (Fairuza Balk) get out of the street-walking life and go straight so she doesn’t die from drugs or disease, Jimmy goes back to work for The Man with the Plan.

Fairuza Balk as Lucinda, and Andy Garcia as Jimmy, Things to Do in Denver When You’re Dead © Miramax

Jimmy gathers together his old gang (below, L-R): Critical Bill (Treat Williams, in his career-best performance), Easy Wind (Bill Nunn), Franchise (William Forsythe), and Pieces (Christopher Lloyd). Then, on a symbollically dark and rainy night, they wait on the side of the highway to scare away Meg’s new boyfriend.

As you may have already guessed, things do not go well.

Treat Williams as Critical Bill, Bill Nunn as Easy Wind, William Forsythe as Franchise, and Christopher Lloyd as Pieces — Jimmy’s gang. Things to Do in Denver When You’re Dead © Miramax

Things go so horribly wrong, in fact, that The Man with the Plan feels obligated to “buckwheats” the entire crew. For this, he hires an outside man, Mr. Shush (Steve Buscemi), who has never failed to complete a job for which he’s been hired.

Steve Buscemi as Mr Shush, Things to Do in Denver When You’re Dead © Miramax

But in this world, as you might have already guessed, nothing ever seems to go right, not even for the criminals who are punishing criminals who (intentionally or inadvertently) disobeyed other criminals’ orders. In almost any world, it seems, disappointment breeds betrayal, and treachery breeds vengeance, no matter who’s involved.

A few critics labeled this neo-noir classic a “copycat” and a “weak sister” of Pulp Fiction by “wanna-be Tarantinos,” but other critics praise Things to Do in Denver When You’re Dead as an “offbeat thriller” that is “relentlessly quirky” and “perversely comic,” allowing it to “dodge any hand-me-down Pulp Ficton formula.

Though Things to Do in Denver When You’re Dead earned only about $529K (USD, $1M adjusted) of its $8M budget at the box-office, it has since developed a cult-following, earning more through DVD sales and streaming services.

Available for free viewing to subscribers of Starz (showing this month) and DirecTV (premium channels), and for rent ($1.99-3.99 SD/HD) from Amazon (free with a 7-day trial of Starz), iTunes, YouTube, GooglePlay, and Vudu.

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Searching for the Meaning of Life on the Danish Island of Dr. Moreau: Men & Chicken, the Film

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H.G. Wells’ classic science fiction novel The Island of Dr. Moreau (1896) is a memorable tale of horror and misguided human aspiration to create a perfect race or, at the very least, an improved kind of human-animal. Moreau, a medical doctor forced to leave England because of questionable experimentation, lives on a remote Pacific island where he continues his morally dubious experiments trying to turn animals into humans — The Beast Folk — or turning humans into animals when they interfere with Moreau’s “research.” Whether or not such a thing is actually biologically possible, even with the introduction of human DNA into the animal surgeries as portrayed by the 1996 film version, the novel was published at a time when the discussion around the morality of vivisection (experimenting on living creatures) was becoming more vocal and public.

The Island of Dr. Moreau explores not only vivisection and Darwinian evolutionary theory but imperialism at its most rudimentary level. Though Moreau, an educated, white Englishman, is not colonizing the island or exploiting its natural products to enrich himself or his countrymen, he clearly considers himself superior to most other humans and certainly to any animal. His attempts to make the island population of beasts into “improved” human-like animals backfires, however, because he fails to take each species’ own inherent natures into consideration. For example, Moreau teaches his Beast Folk that it is bad to go on “all fours” and to hunt, kill, or eat anything else that goes on four legs, thoroughly ignoring the Beast Folk’s primary drives to survive. Though Wells himself called the novel “an exercise in youthful blasphemy,” it is a powerful exploration of human attempts to interfere with nature, cruelty to non-human species, and moral responsibility, especially in the matter of genetically “improving” a native culture or species.

Brothers Gregor, Franz, and Josef (back row), with Elias and Gabriel (front), Men & Chicken, Photo courtesy of Danish Film Institute

In the dark Danish comedy, Men & Chicken (Mænd og Høns, 2015), written and directed by Anders Thomas Jensen, viewers are taken to the island of Dr. Moreau’s geneticist counterpart long after he has successfully completed several experimental atrocities. Beginning and ending with narration reminiscent of a fairy tale, the film depicts five brothers’ unsettling discovery that they have the “most twisted family tree since Hamlet” (Variety). Though its premise is sinister and “suggests a cult horror movie,” Men & Chicken is, instead, a “staggering account of family dysfunction, secret-hoarding, and tragedy.”

The film has a “dry eccentricity that is entertaining and absurd,” with terrific ensemble acting. Though at least one critic found the film “creepy, weird, and condescending,” resembling The Island of Dr. Moreauvia Kierkegaard,” the film’s broader comedy eventually settles down into an intense investigation of the meaning of life, the purpose of civilization, and an exploration of what it means to be human. Men & Chicken begins as almost atrocious slapstick but ultimately becomes a poignant exploration of the meaning of life, family, community, and love.

Mads Mikkelsen as Elias and David Dencik as Gabriel, Men & Chicken, © Danish Film Institute

The film begins on simultaneously tragic and comedic notes. Gabriel (David Dencik, above R) sits at his dying father’s side in the hospital, waiting for his brother. By the time brother Elias (Mads Mikkelsen, above L), arrives, talking more about his blind-date with a psychologist he met online than their dying father, the old man has passed on, leaving his two sons a videotape that reveals he is not their biological father.

As if that weren’t distressing enough, Dad tells them that they did not even have the same mother. Elias, a sensitive thought slightly dim-witted compulsive masturbator, is more concerned about being abandoned by his little brother Gabriel than he is about learning that Dad was not their biological father. Gabriel, a professor and author with an uncontrollable gag reflex who has just been abandoned by his latest girlfriend because he cannot have children, wants to go meet their biological father, who is said to be alive and working at a sanatorium on the island of Ork.

On the trip, we learn more about their personalities, including Elias’ short temper and hatred of being interrupted, and Gabriel’s loneliness for a wife, along with his seemingly infinite patience. When the two brothers arrive at the appropriately creepy sanatorium where their father supposedly lives and works, they meet three other men, all of whom have harelips,* as do Gabriel and Elias. In no time, the three other brothers prove that they are siblings in personality traits as well as biological heritage.

Søren Malling as Franz, Men & Chicken © Danish Film Institute

Franz (Søren Malling), who carries around his taxidermy animals, has the same type of temper as Elias. The only brother with pronounced facial scarring beyond the harelip, Franz is also the only other brother with enough education to be a teacher, as is Gabriel.

Mads Mikkelsen as Elias, and Nicolas Bro as Josef, Men & Chicken © Danish Film Institute

Despite having no formal education, Josef (Nicolas Bro, above R) is as intellectual and philosophical as Gabriel, but rather shy, more like Elias.

Nikolaj Lie Kaas as Gregor, and Mads Mikkelsen as Elias, Men & Chicken © Danish Film Institute

And Josef (Nikolaj Lie Kaas, above L) is as affectionate and desperate to have sex with women as Elias, but as brave and independent as Gabriel.

David Dencik as Gabriel, Men & Chicken © Danish Film Institute

Because Gabriel is injured in the initial meeting with the three siblings at the sanatorium, he and Elias are invited to stay, at least until Gabriel recovers. Though the two brothers cannot see their father, ostensibly because he is ill, the two quickly become interested in staying on.

Bedtime stories with (L-R) Nikolaj Lie Kaas as Gregor, Nicolas Bro as Josef, Mads Mikkelsen as Elias, and Søren Malling as Franz, Men & Chicken © Danish Film Institute

Elias becomes emotionally attached to the three siblings, playing badminton in tennis whites, and hunkering down in beds pushed close together so the brothers can listen to bedtime stories.

Nikolaj Lie Kaas as Gregor, and David Dencik as Gabriel, Men & Chicken © Danish Film Institute

Meanwhile, Gabriel becomes obsessed with discovering why all the brothers look so much alike, despite their having different mothers, and why there are so many animals living in the sanatorium with the younger three brothers who were raised by the biological father. Gabriel is determined to meet their father, Dr. Thanatos, and to learn about his genetic research, despite Franz’s warning that Gabriel will end up “in the cage” for misbehavior or other infractions of the rules.

Ole Thestrup as Mayor of Ork, Bodil Jørgensen as daughter Ellen, and David Dencik as Gabriel, Men & Chicken © Danish Film Institute

When the brothers finally do learn about their biological heritage, along with their father’s mysterious and terrifyingly illegal behavior, their fragile emotional connection to each other is strained to the breaking point, causing the island’s fellow residents to get actively involved in the brothers’ personal drama.

Absurd, darkly comedic, and ultimately surprising, Men & Chicken is a poignant exploration of what it means to be human, to be in a family, and to truly love others. Though the ending might be considered happily-ever-after by some viewers, the conclusion of the film has very tragic undertones. After all, what goes on in the basement is the dark lining that makes this film a drama rather than a comedy of grotesque errors.

In Danish with English subtitles, Men & Chicken was one of three films shortlisted for Denmark’s entry to the 88th Academy Awards for Best Foreign Films: its ensemble acting is outstanding, as is its satire and irony.

Available for rent ($1.99-2.99, SD/HD, but $4.99 from iTunes) from Amazon (free for Prime members), iTunes, YouTube, GooglePlay, and Vudu.

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* The harelips caused some viewers to remark that Jensen was mocking people with disabilities or different appearances.

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Crime, Passion, Absurdity: More Darkly Twisted Comedies

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In my first blog on Darkly Twisted Comedies, I listed some of my favorite comedies, acknowledging that the selected films are often too dark and twisted to be considered amusing by some audiences. That original post was so popular, and generated so much interaction on readers’ parts, that I’ve written a follow-up listing more films in that genre. To my surprise, it wasn’t difficult to find more brilliantly acted, well-written, sometimes award-winning films that are considered “dark comedy.” Sometimes the absurd premise in these films delivers laughs, sometimes the easily recognizable human scenarios are amusing, and sometimes the compassionate view of humanity against its occasionally blatant stupidity is what does the trick. Here’s my next list of darkly twisted comedies, presented in no particular order unless it’s from least to most “dark,” without any Spoilers, so you can enjoy them for yourselves.

The Last Supper
(1995)

After an accident, a group of five idealistic, liberal graduate students (Cameron Diaz, Annabeth Gish, Courtney B Vance, Ron Eldard, Jonathan Penner) decide to make a difference in the world through action, not talk. Each week, they find someone to invite to Sunday night “dinner and discussion,” where the group attempts to change the guest’s social views.

Guests include Ron Perlman, Bill Paxton,

Jason Alexander, and Charles Durning, among others.

Things quickly go awry, spinning out of the students’ control, forcing each member to re-evaluate his own ethics and morality.

Staged like a play, where most of the action takes place in the confined quarters of the grad students’ dining room and kitchen, The Last Supper is an intriguing exploration of the ever popular “What would you do if…” scenario where you ponder your own hypothetical behavior given a chance to change the world.

The Last Supper is available to rent for $2.99 on Amazon, and is free if you subscribe to Starz or to DirecTV.

 ♦

Death at a Funeral
(2007)

On the day of Daniel’s (Matthew MacFadyen, below R) father’s funeral, everything is supposed to be sedate and dignified. Instead, from the moment the coffin arrives, everything goes topsy-turvy. Daniel desperately strives to maintain order and to stay in control, but everyone else seems to be going mad. From his brother Robert (Rupert Graves, L),

to his wheelchair-bound Uncle Alfie (the late Peter Vaughan),

from his father’s friend Peter (Peter Dinklage),

to his cousins (Daisy Donovan and Kris Marshal),

who accidentally drug the fiancé (Alan Tudyk, below, R),

they all try Daniel’s patience. Despite Daniel’s best attempts, chaos erupts, threatening to expose family rivalries and skeletons.

Witty and farcical, with nudity and a few instances of scatalogical humor, Death at a Funeral encapsulates some of the weirdest and most notorious moments possible at a dysfunctional family’s gathering. Death at a Funeral is available for rent for $3.99 (free if you’re a Prime Member) from Amazon.

The 2010 remake of Death at a Funeral, starring Zoë Saldana, Chris Rock, Kevin Hart, James Marsden, and Peter Dinklage, is available free to DirecTV subscribers, but it’s not the version of the film I saw, so I cannot yet recommend it.

The Lobster
(2015)

In an unnamed place, in an unspecified future, humans — who are known mostly by their “defining characteristics,”  such as a limp, a lisp, or being short-sighted — are not permitted to be alone. If they are widowed or divorced, they must check into The Hotel, where they have 45 days to find another life partner. Unfortunately, it is not as easy as it seems to find someone to love in this dystopian world since partners are required to be physically alike as well as emotionally compatible. If a Guest cannot find a partner within the time limit, s/he is transformed permanently into an animal released into the woods. Newly divorced David (Colin Farrell) wants to be a lobster if he fails, and is accompanied by his brother, who is now a dog.

In order to prolong their stay at The Hotel, Guests may earn additional days by going on a Hunt and killing Loners: people who refuse to find a mate and who hide in the Woods, vowing to forever remain single, isolated, and hidden from society.

David doesn’t know which life is worse: that of the Guests or the Loners, but he knows he’s lonely and doesn’t want to turn into a dog.

Narrated in VoiceOver by the Short-Sighted Woman (Rachel Weiss), The Lobster  begins with a startling and absurd premise but manages to carry it successfully to its absurdly logical conclusion.

In this new twist on dystopian literature or films, the actors do a wonderful job behaving as if they have no emotions, sexual drives, or otherwise subversive feelings. The Lobster is available for rent for $4.99 (free if you’re a Prime Member) from Amazon and is free for DirecTV subscribers.

Fargo
(1996)

One of the Coen Brothers’ classic films, Fargo explores the world of crime when the criminals are inept, incompetent, and extremely dangerous. Car salesman Jerry Lundergaard (William H. Macy)

hires two bumblers (Steve Buscemi and Peter Stormare) to kidnap his wife.

Jerry is über-confident that his wealthy father-in-law will pay the enormous ransom, which Jerry needs for an unspecified reason. It’s a lot of money, but despite his father-in-law’s devotion to his daughter, he isn’t about to let Jerry handle that much money. In any event, the kidnapping immediately goes wrong,

which gets a hugely pregnant local police-chief Marge Gunderson (Frances McDormand) involved. She’s desperately seeking criminals in an attempt to save the kidnapping victim’s life.

Buscemi shines as the violent, impulsive kidnapper. The Oscar-winning screenplay garnered an Academy Award for McDormand as the quirky but diligent law officer, and an Oscar nomination for Macy as the dull-witted and desperate Jerry. Fargo is available for rent for $3.99 from Amazon, and is free if you subscribe to Showtime or DirecTV.

Fight Club
(1999)

When a dissatisfied, support-group-hopping, insomniac (Edward Norton), who’s the unnamed Narrator,

meets a charismatic, renegade soap-maker (Brad Pitt), the two form an unlikely bond. In their desperation to live a fully experienced life, they form an underground Fight Club, where the “first rule of Fight Club is that you do not talk about Fight Club.”

The fights bond the two men until Marla (Helena Bonham Carter) — another support-group Crasher — resurfaces in the Narrator’s life.

In fact, Marla creates at least as much havoc as the ever expanding club, which begins to spread its exponentially increasing violence outside the metaphorical ring.

Based on the novel by Chuck Palahniuk, this is one of the few films that surpasses its source material in quality, if only because the (book) Narrator’s lines are spread out around the film’s principals. Brilliant and dangerously quirky, Fight Club is worth watching multiple times to get all the important details. Fight Club is available for rent for $3.99 from Amazon or free if you subscribe to DirecTV.

American Beauty
(1999)

One of the darkest comedies ever made, Oscar-winning American Beauty explores the rot and ugliness beneath the seemingly perfect exteriors of an upper middle-class family and of everyone who comes into contact with its seriously flawed members. Head of household Lester (Kevin Spacey, in an Oscar-winning performance) is about to lose his job to down-sizing,

and is despised by his wife Carolyn (Annette Bening, in her best role ever).

Both of them repulse their daughter Jane (Thora Birch),

especially after Lester gets a blatant crush on Jane’s friend Angela (Mena Suvari, on bed).

When the new neighbor, boy-next-door drug-dealer Ricky (Wes Bentley), falls for Jane and makes her feel special for the first time in her life, her life becomes intolerable.

To make things worse, Lolita-like nymphet Angela begins to fall for Jane’s sexually frustrated father Lester, and is openly hostile to Jane’s quirky boyfriend Ricky, whom Angela considers a “psycho.” Yes, everything falls apart.

Stunning performances by all actors combined with an Oscar-winning screenplay by Alan Ball take this dark comedy from its amusing beginnings to a much deeper exploration of beauty, happiness, and the meaning of life itself. American Beauty is available for rent for $3.99 (free if you’re a Prime Member) from Amazon, for rent for $3.99 for DirecTV  subscribers, or free if you’re a subscriber to SundanceTV.

Though some of the films contain violence or explicit language, I don’t find graphic or sexual violence humorous, so none contains that. All of the films should be considered for mature audiences, however.

And, as always, if you have any films you’d like to suggest for future lists, I’d love to hear from you (and to see the films).

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Crime, Passion, Ambition, Stupidity: Darkly Twisted Comedies

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Christian Slater & Patricia Arquette, True Romance ©

There are lots of different types of comedies in film these days, from slapstick, to teen-flicks, to culture-clash explorations. Most of those don’t appeal to me very much, and even if I see one of them, I rarely watch it more than once. I prefer the “comedies” that are dark and twisted. These dark comedies usually have very big name stars, terrific writing, and very unusual stories. They’re usually more sophisticated and intellectually complex. Sometimes they win big awards; sometimes they don’t.  But what they virtually always have in common are mistakes, loyalty, crime, passion, ambition, romance, and a healthy dose of stupidity on many of the characters’ parts. (Presented in no particular order: I love them all, and have seen each multiple times.)

Suicide Kings
(1997)

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Avery (Henry Thomas), Max (Sean Patrick Flanery) and two friends (Jay Mohr, Jeremy Sisto) — all spoiled, über-wealthy boys — concoct a desperate & convoluted plan to save Avery’s kidnapped sister. They kidnap former Mafia boss Carlo “Charlie” Bartolucci (Christopher Walken), planning to use the ransom they get for Charlie to pay the $2M ransom being demanded for Avery’s sister.

Christopher Walken, Suicide Kings ©

Though they think they’ve planned for every contingency, their plan bungles grotesquely, even before fellow pal Ira (Johnny Galecki) comes to his father’s vacation house for a “game of poker,” and discovers, instead, his childhood friends and the kidnapped mobster.

Suicide Kings ©

Toss in a healthy dose of Charlie’s “street-smart” psychological manipulation, and the boys soon begin to jump at their own shadows as they suspect that one or more of them was “an inside player” in the kidnapping of Avery’s sister.

Many of the scenes between Ira (Galecki) and Charlie (Walken) in Suicide Kings were ad-libbed, and the film has a surprise twist that will stun you. Available for rent ($3.99) from Amazon, YouTube, and GooglePlay.

Pulp Fiction
(1994)

Pulp_Fiction_cover

A montage of ultimately connected — though seemingly disparate — stories, Pulp Fiction was a critical and box-office success, due in part to the stunning performances of its mega-star cast. Vincent Vega (John Travolta) and Jules Winfield (Samuel L. Jackson) are hit-men whose philosophical discussions involve even their victims.

John Travolta & Samuel L Jackson, Pulp Fiction ©

Their boss, Marcellus Wallace (Ving Rhames) and his wife, Mia (Uma Thurman) get tangled up with the hit-men, as does a struggling boxer Butch (Bruce Willis), mob-crime “cleaner” Winston “The Wolfe” (Harvey Keitel), drug-dealer Lance (Eric Stoltz) and his wife Jody (Rosanna Arquette).

Uma Thurman, Pulp Fiction ©

Now throw in a pair of supremely romantic but amateur armed robbers, “Pumpkin” (Tim Roth) and “Honey Bunny” (Amanda Plummer), at the beginning and the end of the film, and you’re in for a treat.

Director Quentin Tarantino’ s Pulp Fiction is an ingenious and glorious romp on the dark side. Available for rent ($3.99) from Amazon, YouTube, and iTunes.

Lars and the Real Girl
(2007)

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In one of the most bizarre premises for a film ever, the extremely shy & painfully introverted Lars (Ryan Gosling) finds it impossible to make friends, socialize, or even get himself a girlfriend. When he tells his brother Gus (Paul Schneider) and hugely-pregnant sister-in-law Karin (Emily Mortimer) that he is bringing home a girl he met on the Internet, they are overjoyed.

Paul Schneider, Emily Mortimer, Ryan Gosling, and “Bianca”, Lars and the Real Girl ©

Until they meet Bianca — a life-size plastic sex-doll. On the advice of the town doctor Dagmar (Patricia Clarkson), however, his family and the rest of the community agree to go along with Lars’ delusion that Bianca is a real girl, rather than to oppose him, in an attempt to understand why Lars needs a plastic fiancée.

Patricia Clarkson and “Bianca”, Lars and the Real Girl ©

An exploration of an emotionally abandoned young man’s lonely life as well as of the love of his family and community that begins to envelop him, Lars and the Real Girl will bring tears to your eyes — and not just from laughter — especially in the ultimate scene between Lars and Bianca.

Available for rent ($3.99) from Amazon, YouTube, and iTunes.

True Romance
(1993)

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Another entry from Quentin Tarantino, True Romance has big-name stars, a quirky story, and bang-up dialogue. When comic-book nerd and Elvis fanatic Clarence (Christian Slater) meets the “love of his life” — a call-girl of three days — Alabama (Patricia Arquette), and attempts to save her from her pimp Drexl (Gary Oldman), a mistakenly grabbed suitcase leads to a wild plan for a “happily ever after life” for the two lovers.

Christian Slater & Patricia Arquette, True Romance ©

Unfortunately, the suitcase belongs to the mob, and they send very bad men to recover their property. From the brilliantly and hysterically savage (improv) “Sicilian” scene between Clarence’s dad (Dennis Hopper) and mafioso attorney Don Vincenzo Coccotti (Christopher Walken), to the violently “affectionate” encounter between Alabama and one of the hit-men (James Gandolfini), to the final Mexican stand-off (one of Tarantino’s signature set-pieces) in the luxury hotel suite, True Romance rocks everyone’s world as each tries to maintain loyalty in the face of treachery and violence.

Available for viewing via Yidio.

Scotland PA
(2001)

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An extremely dark and comedic retelling of Shakespeare’s tragedy Macbeth, this story is set in the early ’70s in rural Scotland, PA. Here, fast food “King” Duncan (James Rebhorn) — formerly of Doughnut restaurant fame — employs the McBeths, “Mac” (James LeGros) and Pat (Maura Tierney), who feel under-appreciated and resentful in their dead-end jobs at Duncan’s not-so-successful burger joint.

Maura Tierney, James LeGros, Scotland PA ©

When Duncan reveals his plan for an innovation that will revolutionize the restaurant world — a plan which three stoned “hippie” witches (Andy Dick, Amy Smart, and Timothy Levitch) have previously foretold in cryptic fashion to Mac — and when Duncan reveals as well his intention to leave the restaurant to his son Malcolm (Tom Guiry), the murder plot is hatched.

Christopher Walken, Scotland PA ©

Lieutenant McDuff (Christopher Walken) is on the case as early as Duncan’s funeral, and the McBeths must elude discovery while attaining success with their newly acquired restaurant.

A rare comedic take on one of the most famous tragedies every written, the dark violence and brilliant characterizations in Scotland PA are a tribute to and an innovation on the original source material. Available for viewing via Netflix and Yidio.

In Bruges
(2008)

51l1m++CXvLAfter neophyte hit-man Ray (Colin Farrell) makes a dreadful mistake on his first job, he and partner Ken (Brendan Gleeson) are forced by their boss Harry (Ralph Fiennes), to head to the medieval city of Bruges, Belgium to hide out until the situation gets straightened out.

Brendan Gleeson and Colin Farrell, In Bruges ©

Ray hates the city and is a whiny “tourist,” but Ken finds it enchanting and fascinating. At least, until Ken discovers why he and Ray have been sent to Bruges in the first place, and what Harry now wants to happen. Both Gleeson and Farrell were nominated for awards for their brilliant performances — simultaneously comic and tragic — but Fiennes also shows his rare ability to be similarly comedic and threatening.

Ralph Fiennes, In Bruges ©

In his play No Exit, Sartre wrote that “Hell is other people,” but to bumbling hit-man Ray, Hell is being In Bruges.

Available for rent ($3.99) from Amazon (free with Starz 7-day trial), YouTube, and iTunes.

Very Bad Things
(1998)

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Before Kyle  (Jon Favreau) marries his beautiful but extremely emotionally needy fiancée (Cameron Diaz), leaving his single life behind forever, Kyle and four of his friends (Jeremy Piven, Christian Slater, Daniel Stern, and Leland Orser) head to Las Vegas for a supreme bachelor party.

Cameron Diaz and Jon Favreau, Very Bad Things ©

There, after drugs, alcohol, and philosophical discussions among long-time friends, things go terribly wrong. Innocent fun quickly deteriorates into accidental violence, and then into intentional, escalating crime to cover the initial accident. This film’s characters become ultimately so very “bad” that you find yourself feeling rather guilty for laughing out loud at their circumstances, which are certainly no laughing matter. Then, just when you think you’ve reached the end of your ability to laugh, Very Bad Things hits you with its very stunning and morally appropriate ending.

Available for rent ($3.99) from Amazon, YouTube, and iTunes.

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