This column has produced a number of little seen gems throughout its tenure.  One of the rules to the column is that we try to avoid films that have become cult classics.  In general, of course, this is a judgment call, because everyone has their own definition of what may or may not be a cult hit film.  Obvious examples would be movies like Clerks or Donnie Darko.  For me, David O. Russell’s intelligent I Heart Huckabees finds itself firmly entrenched in this gray area, so I am giving it the green light for a write up in this edition of Films-U-Missed.  “Huckabees” was largely passed over in it’s 2004 theatrical run, earning just north of $12 million which was roughly half of it’s reported budget.  By most accounts a box office failure, but it seemed to have found some stable footing on video shelves, as evidenced by the 33,000+ rating votes on its IMDB page.

“Huckabees” was directed by the notoriously tough-to-get-along-with, David O. Russell.  He is almost more famous for his riffs with actor George Clooney and of course, the infamous one with Lily Tomlin, than he is for helming quality works such as 1996’s Flirting with Disaster (with Ben Stiller), or 1999’s Three Kings, with Wahlberg, buddy Spike Jonze, rapper Ice Cube and of course, Clooney.  The turmoil he has caused some actors might make for fun headlines, but distracts from a filmmakers oeuvre who continually challenges himself and filmgoers, with I Heart Huckabees being a prime example.

An A-list ensemble cast was on board for “Huckabees,” a difficult film to describe about existential existence.  When the tagline states “an existential comedy,” one knows they are not in for the average movie going experience, which perhaps explains why it was widely overlooked initially.  Dustin Hoffman and Lily Tomlin play a husband and wife team of investigators who aim their work at helping people uncover their existential being; their “true self” which will help grant them meaning and purpose on Earth.  Among the cast whose intertwining storylines come into play in the film are Mark Wahlberg as a firefighter struggling with familial and career issues, Jude Law, as a corporate hack and boyfriend to Naomi Watts, a model who begins to reject her looks.  It is Jason Schwartzman’s “Albert” who kicks it all into gear as a guy attempting to figure out why he has seen a strange individual on multiple occasions.  The themes of interconnectedness, randomness and circumstance all play a significant role in the piece as the plot (often hilariously) unravels in a who-done-it sort of way.

"Blocking out all thoughts will help you feel more connected to the world."

Hoffman, Tomlin and Schwartzman play off of each other brilliantly, offering up ranges between manic and confused, which might confound some moviegoers but I think serves to heighten the viewing experience.  They record and observe their subjects in every aspects of their lives.  While they are showering, sleeping, sh*tting.  The mysterious set-up with sleuths on the case framing the story place the viewer in the proper mind frame necessary to try to tackle the difficult subject matter.  Wahlberg hasn’t been this funny outside of Boogie Nights and Watts may not have been sexier playing the misinformed blonde.  O. Russell keeps the pace flowing; the movie is continually off-kilter, never allowing the viewer to settle into the idea that they have a complete handle on what is taking place or what the films message is.

On that front, ultimately trying to explain the film is futile and against the wishes of the filmmakers, in my opinion.  The purpose, in large part, is for individual viewers to examine the movie for themselves and form their own takes.  The beauty of an outside-the-box film like this is that there is no clear right or wrong.  Its a thinking man’s movie that is open to interpretation.  Fans of heavy-handed direct messages or popcorn-flick fare need not apply.  Michael Bay (Transformers 2) might not care for this.  While we await David’s The Fighter (another Wahlberg starring movie) next, if you have yet to see this, it is worth a viewing, likely multiple, for those that enjoy the concept.  Rich layers of story, character and performance nuances are uncovered upon repeat viewings as we try to figure out our own concept of what our existential beings are. It comes recommended, but I think your existential being probably already knew that.

The Old American West has always been a land of enchantment, mystery, romance, prosperity and growth.  It was our culture’s “manifest destiny” to take it.  A lot of the inflated romanticism about the west was transcended into film.  Much of the early movies featured singing cowboys, clean-cut ranch hands and the heroic Calvary battling the evil Indians.  However, the actual west was not like that at all. It was treacherous, untamed and filled with criminals, bounty hunters, gamblers and horse thieves.  Finally, an Italian (not an American), epitomized much of the true “American West” for the screen.  Sergio Leone’s vision of the west was much more violent, the characters were mysterious and not easily likable and turned our beloved west into a barren wasteland.  Perhaps a place even more barren and untamed than the American West is the Australian Outback (even to this day).

Much like the mid-to-late 19th century America, Australia was also experiencing vast growth and prosperity. Clothing, the architectural style of the towns and social lifestyles were very similar. Instead of the class struggle between the Calvary and Indians, Anglo-Europeans and the native Aborigines replaced it.  The Proposition, though not devoted to showcasing the entire history of this era of Australia, shows a small personal and compelling glimpse of what life was like back then.  Borrowing from the morally ambiguous topics of Leone’s west, The Proposition is easily the best representation of the Australian “west.” Of course, how can it be considered a “western” when it takes place in Australia?  Well, both the Outback and the west of the era shows the same imagery and explores the same western themes.  The Proposition isn’t the first Australian western, but I haven’t come across too many. Ned Kelly, Quigley Down Under and last year’s Australia are a few that come to mind. Written by Australian musician Nick Cave (who also provides the score), The Proposition offers a look of how brutal and violent the Outback was.

The key word is "desolate."

After the Hopkins family homestead is raped, murdered and pillaged by the Burns gang, a manhunt ensues to bring them to justice.  The gang then splits into two factions with one part going into the desolate Outback lead by sociopath Arthur Burns (Danny Huston) and the other going into hiding, lead by younger brother Charlie Burns (Guy Pearce).  Accompanying Charlie is the youngest Burns brother, Mikey (Richard Wilson). Charlie, who grew weary of Arthur’s truly evil, psychotic nature, splits from him because he wants no part of murdering innocent people, plus he doesn’t want to expose naïve Mikey to the gang’s violent behavior.  When authorities ambush Charlie’s gang, a violent gunfight ensues and most of his gang is killed, except for himself and Mikey.

Sitting at a table in a cramped-up shack, Charlie is approached by Captain Morris Stanley (Ray Winstone).  Stanley first looks out the shack’s window and says, “Australia, what fresh hell is this?”  He proclaims to Charlie that he will civilize the land from outlaws (like the Burns gang) and the native people.  Stanley, who has to punish them for the Hopkins murders, generously gives Charlie a proposition.  Stanley believes Charlie did not commit any rape or murder of the Hopkins family and younger Mikey was too mentally challenged to pull it off.  He does, however want to bring Arthur to justice, dead or alive.  He lets Charlie go in order to find Arthur in the unforgiving Outback and kill him.  If he does, he will grant Charlie and Mikey a full pardon.  If not, Mikey will hang from the gallows. Charlie has nine days to find Arthur.

Meanwhile, Stanley must deal with the constant “threat” of the native Aboriginals and shielding his innocent wife, Martha Stanley (Emma Watson), from the local town.  Stanley and his wife are originally from England and he is transferred to Australia to bring order to the land.  Stanley must also deal with alienation from the town for making a proposition to a murderous gang and excessive pressure from his superior, Eden Fletcher (David Wenham).  Fletcher greatly disapproves of Stanley’s proposition and is on the verge of relieving him of his duties.

Charlie must make the tough choice to find out what is right or wrong within himself, even if it means killing his brother.  He crosses paths with bounty hunter Jellon Lamb (John Hurt) who aims to kill Arthur for a reward.  Charlie knocks him out and continues toward Arthur’s camp.  He is soon attacked by Aborigines and is rescued by Arthur’s gang.  Arthur, nicknamed “Dog Man,” never sleeps at night and has a constant lust for blood.  When Charlie finally confronts him, he is forced into a moral dilemma.  He must make the tough choice of killing his cold-blooded murdering brother (but still family) or rejoining his regrettable lifestyle of being on the run, even at the risk of losing his younger brother.

Long lost screenshot from Guy Pearce's audition tape for 'The Passion of the Christ.'

Danny Huston as Arthur Burns is truly the scariest and sickest western villain I have ever seen.  You never know when he will lunge to kill or just lull you into a casual conversation about family. You hate him, but are also intrigued about how a human being could be so evil. Huston is magnificent in the role and truly gives the best performance of the film. You’re also not sure about Charlie himself.  Yes, he didn’t commit any rape or murder, but you’re not sure if he wants to go back to his old ways.  Guy Pearce plays Charlie as a mysterious individual and makes his moral intentions undefined.  You question his past, but feel for him because he loves his younger brother Mikey and will do anything to protect him.  Ray Winstone is also superb.  He is forceful in the nature of his job, but is also a gentleman to his wife and the Aboriginals. His and Emma Watson’s characters are truly the only good-hearted people in the film. You could say Mikey is somewhat innocent, but is still was associated with Arthur.

I haven’t seen so many mysterious characters in one western before, even above Leone’s.  This is how the true west was like and Nick Cave nails it with his fabulous script.  His score, which accompanies his writing, is triumphant, as it is asked to drive the movie and leaves a haunting impression.  He also gives respect to the native Australian population by giving them important roles and making them a major part of the story.  Aboriginal actors David Gulpili and Tommy Lewis were very good and you come out with a better appreciation of their culture.  Cave bridges the gap between those who where modernized and those who kept hold of old tradition. Lewis, who plays Two-Bob and is part of the Burns gang, dresses in then-modern clothes, uses a gun and speaks in an Aussie accent. Gulpili, who plays Jacko, and is scout for the authorities, is the exact opposite. He uses the native tongue, uses traditional weaponry like the spear and dresses in native clothing.  Cave brings in both cultures and wonderfully blends them together.

Much of the credit should also go to director John Hillcoat.  Hillcoat makes Cave’s blood-drenched script come alive with beautiful panoramic shots of the Outback and quick editing sequences during the more violent scenes.  His dark-lit shots of Danny Huston make his character seem truly evil.  Hillcoat’s direction, combined with Cave’s script, help create one of the bloodier western masterpieces.  The Proposition is truly an excellent western, a great film and one you need to seek out.

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By “The Film Nest” guest contributor Chase Kahn (see him in the comments section as well).

“A worried man with a worried mind”, croons an aged Bob Dylan over the opening credits, voice raspier than ever. Michael Douglas plays a struggling writer and literary professor in the midst of a serious life crisis. His wife has just left him, he can’t finish his second novel and he’s in love with the chancellor of the university; her husband also happens to be head of the English department.

In between making early 90’s thrillers (The Hand That Rocks the Cradle, The River Wild) and venturing into contemporary Nancy Meyers territory (In Her Shoes, Lucky Me), Curtis Hanson peaked in 1997 with his neo-noir police saga L.A. Confidential. He would follow it up three years later with his 2000 box-office flop Wonder Boys, an exceptional yet underrated and seldom seen film that grossed a mere $19 million domestically. Even with a solid backing by most critics at the time, for whatever reason, the movie never caught on significantly with audiences or awards-season voters, catching just a screenplay, editing and best song nomination at the Oscars.

Douglas plays said professor and novelist Grady Tripp, in love with the aforementioned school chancellor (Frances McDormand) and a mentor to students James Leer (Tobey Maguire) and Hannah Green (Katie Holmes). All the while, he’s hassled by his editor (Robert Downey Jr.) who needs Grady to finish his book as badly as Grady does – for reputations’ sake. To make matters worse, Grady’s most troubling student – the brilliant but reserved James Leer – has just shot his boss’s dog to death at a party, which now finds its resting place in the back of Grady’s 1966 Ford Galaxy.

Michael Douglas as Grady Tripp, a worried man, indeed.

Wonder Boys is essentially a darkly comic ensemble film about finding your purpose, taking action and pushing forward to achieve it – don’t sit idle wallowing in your daily routine. This notion is mirrored in Grady’s unfinished novel, which is pushing 3000 pages without an end in sight. Grady doesn’t have writer’s block, as he describes, he just, “can’t stop.”

It’s also very much fundamentally about the relationship between Grady (Douglas) and his most talented yet troubled student James (Maguire). Hated by his fellow students and quietly “spooky”, he makes his home out of a bus station, snacking on cheese sandwiches out of the vending machine for food. One day, while “rescuing” James from his grandparent’s basement, Grady and his editor, Terry (Robert Downey Jr.) run into a freshly typed paragraph still rolled around the typewriter. “His heart, once capable of inspiring others so completely could no longer inspire so much as itself. It beat now only out of habit,” it reads. Grady isn’t rescuing James, James is rescuing him.

No, Spider-Man is not a part of "The Avengers," sorry.

Douglas finds the twisted ironic center of this character and brings real emotion and humor to him. His filthy and tainted pink robe and leathery, wrinkled brows depict the years of stagnant progression, or lack there of, that have taken a toll on his life which is now clearly in its latter half. In fact, everybody in the cast is great. Before becoming Peter Parker, Tobey Maguire is fantastic here, his blank expression speaking louder than words ever could. Robert Downey Jr. shortly displays the eccentric humor and talent that he would later carry into works like Zodiac and Iron Man. Rip Torn, Frances McDormand and a “Dawson’s Creek” Katie Holmes all supply adequate weight to their respective roles, as well.

Wonder Boys is based on Michael Chabon’s novel of the same name, which was loosely based on his life and a professor he had in college named Chuck Kinder, who also had an inordinately long, unfinished novel. Chabon himself also took seven years in-between 1988’s “Mysteries of Pittsburgh” (his debut) and 1995’s “Wonder Boys”, the exact same amount of time that it’s been since Grady’s debut novel won the PEN award.

An amazing writer, Chabon is also very clearly a movie fan. In addition to references to Errol Flynn and Marilyn Monroe here, in his 2007 novel, “The Yiddish Policemen’s Union”, his alternate history sees Orson Welles finishing his elusive “Hearts of Darkness”, something only a die-hard film fan would ever dream of. I’m sure someone like Chabon would find a lot of like here in Wonder Boys, a real hidden gem.

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I wanted to take a slightly different approach to the “Films U Missed” column this time out, primarily because the film I wanted to feature made it necessary. Usually our business is to highlight great films that the majority of the U.S. public ignored upon its theatrical release and continued to do so on the home video market. However, the film I wanted to highlight for you hasn’t been released in the U.S. to date. Not theatrically or on DVD/Blu-ray, but you can still see it. And hey, Martin Scorsese chose The Horse Thief, a film released in 1986 as his favorite film from the 90s, so hear me out.

The story revolving around All the Boys Love Mandy Lane goes a little something like this. As high school girls are apt to do, Mandy Lane has developed into a stunner over the course of the summer between sophomore and junior year. When school begins, all eyes are trained on her. Guys lustily gaze at her as she struts through the halls. She now embodies beauty, but still carries the same subdued personality her prior two years had engrained in her. Her only friend is the emo kid, Emmett, she’s grown up with, but all of that’s about to change.

Mandy’s newfound hotness opens a lot of doors for her and the first one we’re treated to is an invite to a pool party with the requisite popular girls and guys. Of course the host doesn’t extend the invitation to Emmett, but Mandy makes it known that unless he comes, she doesn’t. They’re both in attendance. At the party, Emmett is quickly forgotten about and Mandy retains her closed-off appearance, not feeling at home with these types of people. Of course, she remains the ultimate prize and receives her fair share of attention from the host as he does his future-frat-boy best to entice Mandy into a compromising situation. She shrugs him off and the unlikely Emmett advises him that his approach is just like all the other poor schmucks trying to get at Mandy. Emmett tells him he needs to do something to distinguish himself from the pack. He does.

Even the cameraman is obsessed with Mandy.

Nine months later and the school year winds down. Mandy is now at ease with her body, but still does her best to keep herself at a certain distance from the popular kids at school. She continues to lead the pack while running track during P.E. class, but when Emmett tries to catch up to her, she makes it clear she’s moved on from their friendship, too. The call of popularity is a loud and persistent one, however, and Mandy eventually caves to voluntarily go on a weekend vacation with two girls and three other guys at a country ranch house. Just enough for a triad of pairs. The ranch house brings a sense of freedom to the group, but a wave of fear just the same when someone or something goes bump in the night.

High school is a time and place of burgeoning bodies and experiences. The phenomenon of summertime blossoming is a very real experience for young girls. My high school crush was very similar to Mandy in terms of development time-frame. She made the transition from “cute” to “hot” sometime between sophomore and junior year. Although I’d never make the mistake of saying being a guy is easy, always having the looming fear of rejection awaiting you when considering asking a girl on a date. However, things must be absurdly difficult for a girl like Mandy, when every guy on campus is pining for her attention and affection. How does she maintain the values she’s been instilled with, while facing constant badgering and opportunity to the contrary? This is the crux of the film, which proves exactly how difficult her situation must be. It’s the opposite of the nerdy fatboy role, but no less harrowing.

Amber Heard is visually crucial as Mandy. She’s not an actress so obviously playing beneath her age. She still maintains some of the facial baby fat to where you can buy her as one just recently removed from her awkward teenage phase to become a young woman. Also, the premise of a girl drawing the lustful eyes of every high school horndog is impossible to pull off without an actress who genuinely fits the bill. Certainly Hollywood is not devoid of young female visual talent, but being appealing to high school males and people across the age and gender spectrum are two different sets of skills. For that, Heard’s casting is commended and hopefully she continues to receive roles as complex as Mandy Lane into the future, as to my knowledge, it hasn’t occurred yet.

Haybales are good things to hide behind if the killer isn't following you in a car.

All the Boys Love Mandy Lane was director Jonathan Levine’s first feature, and luckily for him he’s been able to bounce back from the convoluted (and still unresolved) release situation surrounding this film, to write and direct last year’s unseen gem, The Wackness. Both films focus on the high school relationship experience in very different ways and if he were to continue the trend he’d have the opportunity to solidify himself as a darker John Hughes.

The film, written by Jacob Forman, teeters on the edge of cliché at times which certainly isn’t the reason I’m recommending a viewing, but rather for the twists that make it unique from the typical slasher film. The high school horror is of course nothing new, ever since Michael Myers was hunting Laurie Strode and her brethren in Halloween. However, this film doesn’t resort to having a seemingly immortal masked monster causing terror. Instead, although the ranch house setting makes for cinematic fantasy, the horror and killings contain a reality reminiscent of the Columbine massacre. It without a doubt serves as a cautionary parable far beyond the usual horror adage of “don’t have sex before marriage.”

Although the film has yet to be screened in the Unites States (which has nothing to do with the film’s content), aside from a few film festivals, I wouldn’t recommend it if it were completely unattainable. All the Boys Love Mandy Lane has been released on both Blu-ray and DVD in the UK, either of which can be purchased from Amazon UK and shipped here for a decent price. This may not be a fully transcendent piece of art, but is far better than even the average horror release, which in and of itself seems to be harder to come by these days. All the Boys Love Mandy Lane is a not-because-you-ignored-it Film U Missed.

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The opening scene of 2001’s Sexy Beast pulsates with great music as Ray Winstone’s character Gal Dove, lays boiling in Spain’s heat while tanning at his villa.  Alone on a picturesque mountain range, Gal’s words echo loving the life that he has now, speaking to himself with empty beer bottles by his side.  What could possibly upset his serene mood?  A huge rolling boulder perhaps?  That’s precisely what kicks things in motion as Gal narrowly escapes being pummeled by the massive rock which tumbles down the mountain and drops in the center of his pool.  Gal’s wife DeeDee arrives home to the scene, and they simply shrug it off.  Not much of a care in the world for them, their lives are set.

Later, when best friends Aitch and Jackie arrive late to what is supposed to be a fun night out, their dire expressions penetrate DeeDee and Gal’s jovial mood.  This is where things all go wrong.  Gal’s past life as part of a criminal underworld won’t go away as a feared associate named Don Logan is planning a visit…the next day.  Don wants Gal for a job, but can Gal leave his past life behind as he wants to or will he be forced to face the possibility that he could re-enter it with another high-risk heist?  While Gal plans on rejecting Don’s offer to pull another job, everyone knows it won’t be easy.  The tension is gripping throughout.  How might Don react to Gal’s rejection of his proposal?  Over the course of the next few days, Don’s offer eventually turns into a demand as things get physical and wild.

Just two guys loungin', no tension at all.

Ben Kingsley’s portrayal of Don has become one of his most defining roles.  His role is the antithesis of his playing the peacemaker Gandhi or the whacked out psychologist with problems in The Wackness.  Kingsley’s Don, though slight in stature, is a powerful presence whom everybody fears and as a result, begrudgingly accepts…to a degree.  He’s a necessary nemesis and his presence stirs the pot for this entire film.  He was nominated for a Best Supporting Actor Oscar as a result, and rightfully so.  When an actor of his caliber plays against type, the Academy has been known to reward them, see Denzel Washington in Training Day.

This was video director Jonathan Glazer’s film helming debut, and you can see his background with the aforementioned use of music and some of his silent visual cues as well.  A shot of a door slamming on a car for instance with the camera mounted to the door as it swings shut, thus trapping Gal and his frustration inside the vehicle for a moment.  Clever stuff.

There are also some powerful moments when nobody is speaking.  A large demonic rabbit (very reminiscent of Donnie Darko’s actually) haunts Gal both in his dreams and while he is awake.  It’s a metaphor for an itch that needs to be scratched.  Something that won’t easily go away.  Tension.  The rabbit effectively heightens the anxiety for both Gal and the viewer and it’s a strange ploy that forces you to think more about what you are watching.

Pics for this were hard to come by, so Sir Ben gets repped twice.

Ian McShane, best known for playing roughhouse saloon owner Al Swearengen in HBO’s “Deadwood” is as menacing as ever, speaking little but saying all he needs to say.  His Teddy Bass, the mastermind of the heist that should net he and his players plenty, knows something is wrong with Don.  Why hasn’t he checked in?  Something doesn’t jive with Gal’s story that he was on a flight out of Spain and phoned Gal after touching down stateside.  These characters are fun because they are men that mean what they say and say what they mean.

“Beast” earned less than $7mm in theaters domestically and only $10mm worldwide.  Surprising, given the critical praises for the piece and Kingsley’s Oscar nod.  While it is not an action film, the tension in almost every scene is palpable.  There is a great twist or two in the film, and a realism to its happenings that let you know it was made outside of the Hollywood system. Strong directing, acting and story ultimately make for a coolly concocted thriller and a very worthwhile 90 minutes of your time.  This is a sexy beast indeed.

Buy this Film U Missed here.

Like Fargo before it, The Lookout focuses on crime in the Midwest and how much of a lonely place it can be, especially in the winter.  Joseph Gordon-Levitt, the star of the film, has really impressed me with his work and I feel he’s coming extremely close to becoming a “big time” actor. Gordon-Levitt originally rose to fame as Tommy Solomon from “3^rd Rock from the Sun” and was initially in some mainstream movies like 10 Things I Hate About You (one of the few good teen comedies) and Halloween H20. After his TV show concluded, he was careful on what roles he picked and often stuck with the independent route. Such films as Mysterious Skin (2004) and Brick (2005) earned him critical praise, which had led to more mainstream roles again, such as Stop-Loss, Miracle at St. Anna and G.I. Joe: Rise of Cobra.  Thankfully, he hasn’t forgotten his independent roots and recently came out with (500) Days of Summer. However, his best might be The Lookout from 2007.  Written and directed by Scott Frank (writer of Get Shorty, Out of Sight), The Lookout provides Gordon-Levitt with one of his best performances and offers a below-the-radar crime classic.  The film offers so much more than just your average crime movie, it focuses on true friendship, loneliness and psychological well-being.  If Michael Mann is still sticking with crime movies after the mediocre Public Enemies, perhaps he should do a low-key movie in the same vein.

Chris Pratt (Gordon-Levitt) has everything going for him. He is a standout hockey player destined for the NHL, has a beautiful girlfriend and has numerous ambitions once he leaves high school. While out driving with his friends, his life comes crashing down after he suffers a horrible car crash in the middle of the countryside.  His two friends are killed and he and his girlfriend sustain life-altering injuries.  Four years after the accident, Chris’ life is almost at rock bottom.  His hockey career is over, he suffers from severe short-term memory loss and has few friends, his only ones being his blind roommate, Lewis (Jeff Daniels), and local deputy, Ted (Sergio Di Zio), who visits Chris while he works a night job as a janitor in a small town bank.

What's the equivalent of the white cane for someone with Chris' disability? A bedazzled look?

Jeff Daniels as Lewis is superb. He should have been up for an Academy Award for Best Supporting Actor as he plays such a convincing blind man.  Frank cleverly wrote the Lewis character as a good friend to Chris who looks out for his well-being, but also forces Chris into being an independent person and not relying on anybody else, especially another man with a physical handicap.

Chris, who is still somewhat of a local phenomenon since he played hockey, goes to school for the disabled in Kansas City and commutes to a small neighboring town to work. He gets frustrated because he sometimes lacks the basic motor skills and thoughts of the average person. He feels inferior due to his successful well-to-do family and is embarrassed when he tells them he wants to open a restaurant with Lewis.  Alienated by the people who are supposed to be his biggest supporters, his life becomes lonelier. While taking a break at the local bar near the bank, he is approached by Gary Spargo (Matthew Goode), a guy who says he knew his sister Alison (Janaya Stephens) in high school.

Gary and Chris get more acquainted and he is introduced to Luvlee Lemons (Isla Fisher), an ex-stripper.  They manage to hook up and Chris begins to hang out more with Gary’s friends.  While at a farm party, Chris finds out he is being seduced by Gary to rob the bank he works out.  Chris, who is suspicious of the bank job, agrees to help Gary because he lacks any friends and has little going on with his life.  Gary tells him he will be the “lookout” while the bank is robbed. His selling point to Chris is, “Whoever has the money, has the power.” Chris takes the words to heart as he lost his power four years ago in the car accident. He must decide where his true friendships lie and make a tough decision as to what direction his life may lead him.

Usually, you'd be hard-pressed to meet a shady character at a bar.

Being British, Matthew Goode sure as has hell fooled me as an American.  Once again, his character benefits from a well-written script by Frank, and Goode gives an outstanding performance. His mannerisms with his dialogue give his character such a deceiving persona, but also comes off as a cool guy that you would want to have a beer with.  He’s actually one of the few antagonists that look like a normal guy and not a flamboyant character who has big plans with stolen money.  Goode portrays Gary as a criminal who is calm and collected, something you want if you plan on robbing a bank.

Isla Fisher, the wife of Bruno (Sacha Baron Cohen), is also very good. Despite being entangled with the manipulation of Chris, Frank makes us aware that her character truly likes Chris and doesn’t support what Gary is doing to him. She is not oblivious at all to the robbery, but is ruled with an iron fist by Gary to think otherwise.

Scott Frank provides a unique look at the crime/drama genre, but adds much more to it, like loyalty and friendship.  Chris suffers through mental lapses and is easily manipulated because of his loneliness and the Midwest backdrop only heightens his feelings. The things he does remember are the people he cares about and he stands his ground when they’re in danger. Frank certainly made a splash with his directorial debut because his shots and editing completely echo his script.  The movie doesn’t stray at all and is very fast-paced, even with all the psychological undercurrents Chris struggles with. Yes, the crime aspect is a big part of the movie, but Frank makes us care about the characters more. This is certainly one of the better written crime movies I’ve seen because it offers so much more than face value and it works so well within a tightly-knit movie.

Of course, the true star is Gordon-Levitt.  He gives the best and most important performance by making us feel for his situation.  There are quite a few scenes where he’s left by himself and he easily carries his own.  He makes us care about Chris and finding forgiveness in his life after his stupid decision which led to the accident.  This could be Gordon-Levitt’s best performance and it’s nothing over-the-top or not believable. The Lookout gives a fresh look at the crime genre and you almost forget you’re watching one because you’re so engaged with characters. A very overlooked movie that deserves your attention. Look out for it.

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Of all great film pioneers like the Lumiere Brothers, Thomas Edison and D.W. Griffith, I’m willing to bet the one name you probably haven’t heard of is Colin McKenzie. However, he’s as important to the history of cinema as the other names listed and it’s high time you find out more about him. In 1995, New Zealand filmmakers Peter Jackson and Costa Botes set out to uncover more information about this unsung hero of motion pictures and their result was Forgotten Silver.

Jackson had lived down the street from an elderly woman, Mrs. McKenzie, while growing up in New Zealand. She had been given the unofficial title of “aunt” and he would often visit. Jackson soon moved away from home and established himself as a filmmaker. After some years had passed, he spoke with his mother who asked him to visit Mrs. McKenzie as she was in possession of some material he might be interested in. Mrs. McKenzie told him there were some home movies being stored in a wooden shack on the property. In that shack, Jackson found a chest full of film canisters containing 35mm film. He brought the film to an archivist where history was discovered.

It turns out these were no ordinary home movies. Colin McKenzie had filmed them at the turn of the century, a short five years after motion pictures were invented. Inspired by a traveling picture show that had come to New Zealand as an adolescent, McKenzie set about creating his own camera, as they certainly weren’t available to be purchased at the local market. He had always been a mechanical tinkerer and thus when tasked by himself with creating a camera, he decided he must improve upon the hand-cranked antiquities currently in existence. He decided to mount his camera on the front of his bicycle so the gears of the wheel would automatically turn the crank for him. With this innovation in 1901, McKenzie established the first tracking shot.

Colin in conversation with his cash-cow "comedian."

McKenzie developed a sound-on-film technique two decades before Al Jolson sang “Mammy” in The Jazz Singer, used an exotic berry to process color film and even documented the first flight of fellow New Zealander, Richard Pearce, that through digital enhancement can be proven as having happened eight months before the Wright Brothers’ historical flight. McKenzie’s ambitions continued to grow as he prepped a four-hour feature based on the Bible’s story of Salome and John the Baptist.

Jackson, Botes and a few other crew members go in search of the hidden gargantuan set legend had it McKenzie had built for his religious epic in the heart of New Zealand’s jungle vegetation. Taking machetes to clear the brush and uncovering concrete steps, they manage to reveal the monumental-scale set and discover archived prints of Salome and aim to recreate McKenzie’s intentions and release the spectacle to the world.

Jackson admits even he hadn’t grasped McKenzie’s importance to cinema until his discovery and embarking on the journey. He gathers film historian Leonard Maltin, New Zealand actor Sam Neill and Harvey Weinstein to give the sense of gratitude to the work undertaken. Maltin compares Jackson’s discovery of McKenzie’s contributions to film history to unearthing Citizen Kane after half a century. These interviews Jackson and Botes inject into their documentary further establish the value of their findings.

A still from McKenzie's 'Salome.'

Much like the films of Michael Moore, Peter Jackson is on prominent display as onscreen talent in the film. There is a lot of historical footage shown as he wants to share the feeling of discovery with the audience as he had when making his findings. Of course, the documentation of his trip to the jungle is one of the most satisfying, as he brings us along for the ride, perhaps uncovering history alongside him. As a film fan himself, he carries an innate knowledge of what satiates the audience.

Given the subject matter and look of the film, at first glance it can be passed off as a PBS-style snooze-fest, but most certainly isn’t. The film was first aired on New Zealand television in 1995 and endured a miniscule release in the States in 1997. On DVD, the film is a brisk 70 minutes in length, but packs a wealth full of knowledge into that short time frame. I’m not a fan of most fantasy films and have little interest in the Lord of the Rings trilogy, so Jackson has never been high on my list of filmmakers, but with Forgotten Silver, he’s earned my utmost respect.

For anybody remotely interested in film history, it doesn’t get much better than this. A new chapter has been opened up by Jackson for all to see and it’s incredible to witness history in the making. Forgotten Silver deserves to be cherished as much as the discoveries of its subject. An epochal Film U Missed.

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Written by special “The Film Nest” guest contributor, Rob R. (Raging Rob in the Comments section).

Director Joel Schumacher is best remembered as the director that killed the Batman franchise in the 90’s. After Tim Burton’s two gritty Batman films, Burton left the franchise, and Joel Schumacher took the reins. What audiences got was an even campier version of the sixties television series. The Schumacher films were a neon filled, nipples on the bat-suit, train wreck. As bad as those films were, I was surprised that the same director could be responsible for Tigerland, a small-scale film about the Vietnam war.

The film Tigerland, takes place at Fort Polk, Louisiana in 1971, near the end of the Vietnam War. The name Tigerland, refers to the Army’s own creation of a highly realistic training center, that is as close to Vietnam as any soldier can get before they’re actually shipped to the war. The story surrounds the young men who are sent to Fort Polk to get just enough training to not get themselves killed overseas. The film introduces us to Roland Bozz, (Colin Farrell) as he has just been released from the stockades and rejoins his platoon. Bozz is the guy that everyone in his platoon wants to stay away from because of his penchant for trouble making and his disregard for any of the Army’s rules or regulations.

"Whoever blinks first loses - got it?"

Bozz also has the unique reputation of being able to get anyone out of having to serve in the war.  The other members of the platoon are Paxton (Matthew Davis), a guy who wants to go to war to write a book about the romantic idea of the whole experience. There is also Miter (Clifton Collins Jr.), a small town butcher looking to prove his worth to his father back home. As Bozz keeps causing trouble for the platoon and coming up with schemes to get more trainees out of the war, he becomes a target for his commanding officers, and even some of the other trainees. Chief among the frustrated is Private Wilson (Shea Whigham), a psychotic soldier whose hate for Bozz continues to grow until the films finale, when the whole platoon is shipped to Tigerland.

The cast is made up of mostly then-unknown young actors. The fact that they aren’t easily recognizable faces makes them all the more believable in their respective parts. The entire cast is great, with the standout performance given by Colin Farrell. Farrell was an unknown back in 2000 when this film was released and has since become a huge star. Here, Farrell excels as Bozz, a natural born leader who refuses to be shoe horned into that role in the Army.  As much as he puts forth a rebellious attitude to the others, we sense that he is just as scared as the rest of them; mainly of dying in a war he doesn’t believe in.

We're too sexy for our shirts. So sexy, it huuuurts.

Joel Schumacher is known for his flashier big budget movies but, here he chose to shoot Tigerland with 16mm hand held cameras and the results are amazing. The grainy look delivered by the hand-helds add a documentary feel to the whole picture, as does the use of natural lighting.  I think if the film was shot any other way it wouldn’t be as effective at putting us right there in the mix with these characters. While Tigerland isn’t a ground-breaking film, it is a different take on the familiar war movie theme, by having the story take place during the training and not the actual war. This movie was only released in five theaters in the U.S. for three months, where it grossed only $140,000, which was a shame as it really deserved a much wider audience.  If you missed it, Tigerland is one of the best war movies released this decade and well worth a look. With a litany of strong scenes that feature great acting by all involved, it is an excellent movie that is worth seeing.

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F-U-M entry by special “The Film Nest” guest contributor, Rob R. (Raging Rob in the Comments section)

Of all the films involving criminals and the drug trade most show us characters at the pinnacle of their game. Movies like Scarface, Blow and Layer Cake all show us characters who have worked their way to the top. As we all know, in real life not everyone makes it there. Pusher II: With Blood On My Hands is a story about just such a guy. Tonny is someone who nobody, in his circle of criminal and lowlife friends, respects. The fact that he bears a tattoo with these very words is the epitome of irony. Most of the people around Tonny detest his presence because despite his intentions, things just never go his way. It doesn’t help that Tonny is a drug-addicted screw-up content to just go along for the ride.

Pusher II is the second and most compelling film in the Danish crime trilogy by writer/director Nicolas Winding Refn, who’s latest film Bronson coincidentally, premieres here in LA in a few weeks. After the success of the first Pusher film in 1996, the sequel follows up with the story of Tonny, the partner of antagonist Frank from the original. This film picks up with Tonny having just been released after yet another stint in prison. Owing his ex-cellmate some money, he decides to seek employment from his father, The Duke.

Is Tonny a baby daddy? The resemblance is striking.

The Duke runs an illegal car theft business and is also one of Copenhagen’s top underworld bosses. Tonny’s father, as we find out, has another son that is obviously his favorite and he only reluctantly gives Tonny another chance. It takes no time for Tonny to get back to his criminal ways, as he boosts a Ferrari as a gift to his father, only to be told how stupid it was to take such a “hot” car with nary an order for one. Tonny also finds himself mixed up in a coke deal gone bad between a local brothel owner and Milo, the Serbian drug dealer from the first Pusher.

As if all this wasn’t enough, Tonny finds out he might have fathered a child with Charlotte, the town whore. At first he wants nothing to do with the child, but soon he finds himself drawn to the infant. Pusher II is a study of a man desperately seeking the approval of his father. Will Tonny ever find the approval he is looking for, and can he give his own possible son the love he has never had? As Tonny is pushed to his breaking point, the film will leave you stunned at how far he is willing to go to save himself.

"You lookin' at me? 'Cause I don't see nobody else."

The lead performance by Danish actor Mads Mikkelsen is truly outstanding. Mikkelsen is best known to U.S. audiences as the villian in the 2006 James Bond reboot Casino Royale. Here Mikkelsen’s Tonny is someone everyone calls a loser and an idiot. He seems to even believe they might be right about him. As an audience we start to sympathize with this character, and it’s a testament to Mikkelsen’s acting abilities that we begin to feel for such an unsympathetic loser.

The film is filled with gritty locations and shot with hand-held cameras in some very seedy parts of Copenhagen. The camera work by Morten Soborg has an almost documentary feel that puts you right in the middle of this very intense world. The film also features a rock/techno score that really enhances the films dark atmosphere. Brimming with realistic performances, Pusher II: With Blood On My Hands is a crime story about fathers and their sons, and redemption that is, if you might have missed it, well worth diving into.

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Growing up, the subject of women baffled me. How does someone in sixth grade have a girlfriend? What do they do on their dates? Due to this logistical problem I had in my head, it’s needless to say I never found myself with a girlfriend in grade school and honestly, I STILL don’t know how anybody did it back then and I probably never will. What’s worse is the situation continued to confound me in high school. I imagined one needed a vehicle to transport said date to and fro. Without a car until I turned 18, I couldn’t wrap my mind around the inner workings of how this was done, either. However, it was all moot because the key ingredient I lacked was how to talk to the opposite sex in the first place. I looked to Hollywood, my favorite form of learning, to teach me, but was provided with very little answers. One of the most frustrating things about one of my favorite films, Swingers, is the scene where down-on-his-luck Mikey talks to a girl at a bar and gets her phone number. He succeeds, but there’s no audible dialogue and a young man was still left without a clue. Enter Roger Dodger.

Although the film wasn’t created quite yet before I had the task at hand figured out to the degree I felt confident with, Roger Dodger is a textbook, but thoroughly entertaining example to all men about the art of picking up women. Why is that? Simply because that’s what the movie is all about.

"One thing you definitely don't want to do is upstage me."

The film revolves around Roger Swanson, an advertising whiz, located in a city surrounded and populated by women, New York. He plays booty call boy toy to his boss, Joyce, purely because he has a way with words. Obviously his wordplay is essential for his job, knowing how to carefully toe the line of making being feel so bad about themselves they need to go out and buy “a stupid pair of cargo pants.” This skill transitions to his other career, that of womanizing. Even with his acquired prowess, Joyce tries to end their bedroom-only relationship and he doesn’t take too kindly to the proposition, although she asks him to be adult about it. This seems whiny and wimp-like at first, but it’s truly his bruised male ego that makes him fight to maintain the fling. Although he’s assuredly done the same thing to countless women in the past, it’s no fun when the shoe is on the other foot.

In the midst of Roger essentially begging Joyce to continue their conquests with each other, Roger’s 16-year-old nephew Nick materializes at the office. This isn’t one of those films where the mother drops off the son to live with a family member. Nick decided to drop by his uncle’s place of employment after a tour of Columbia’s campus, seeking one thing: advice. Nick doesn’t have and hasn’t had a girlfriend to this point in his life and he wants to learn from the master about how to get one.

Naturally, Roger is reluctant to dole out his tutelage, not that he is afraid of imparting wisdom or having an understudy, but he’s not sure Nick is as committed as necessary to learning the ins-and-outs of female seduction. When convinced it’ll be worth his time, Roger imbues the worldview of scoping out the opposition to his young pupil. He starts with the absorption of the environment, asserting women are everywhere. He covers different vantage points and how to use mirrored objects to his advantage. What does this have to do with talking to and picking up women? Don’t ask, because when Nick does Roger gets angry. You don’t get advice when the dispenser is angry.

The next stage in Nick’s development is at a downtown bar. Sure he’s only 16, but when you know how to play by the rules, you can get by with a lot. After surveying the playing field and making a young woman named Andrea aware of their presence, it’s on. Roger gives Nick a quick pep talk about pacing themselves and staying fresh for “winning time.” Roger then meets Andrea at the bar and sends her back to the table with the promise that Nick has something to tell her that will absolutely blow her mind. What is it? You’ll have to watch it to find out. You’ll want to.

"Now, what color eyes did she have?"

Roger Dodger was written and directed by first-timer, Dylan Kidd, and it’s a superb debut that unfortunately hasn’t generated much action for him since, outside of 2004’s P.S. His direction doesn’t contain anything flashy, thus allowing the viewer to focus purely on his script and the actors reciting his lines. He was nominated for Best Screenplay and Best First Feature at the Independent Spirit Awards the year of its release.

Through the several years that passed after I had originally seen it, the opening scene is one that continued to stick with me. It reminds me a bit of the opening of Reservoir Dogs in that it takes place at a restaurant and revolves around a few people having kind of a philosophical conversation. In Reservoir Dogs, they debated about the deeper meaning of Madonna’s “Like a Virgin,” in Roger Dodger, they (mainly Roger) breakdown the usefulness of the male form as evolution continues. It’s the first time we get to see Roger pontificate on what he knows best and he’s completely captivating. This scene is every bit as quotable as Tarantino’s.

One of the thoughts Roger spouts during his and Nick’s conversation with Andrea and her friend is an intriguing one, which I think is perfect example of film’s thought process. Roger mentions that when a girl is asked to describe her perfect guy, her primary response is inevitably a “sense of humor.” However, if the funniest guy in the world is matched up with a beefcake, it will ultimately be the latter that wins the girl. It’s an interesting dichotomy that the film doesn’t have much time to surmise about, but it gives you an idea about the film’s content and the ideas raised therein.

Although Kidd’s script is great material, the actors are the ones who help elevate it into a compelling film. Campbell Scott embodies Roger as if he were born to play him. I’d never seen Scott before and only once since, in The Exorcism of Emily Rose. There’s something nice about essentially discovering an actor, having no preconceived notions about what to expect. It’s unfortunate he hasn’t been in anything higher profile since, as Roger is a great creation. He’s a womanizer, but not one that’s sleazy. He just knows how to play the game. He can get frustrated with Nick, but it’s not truly Nick’s fault, as Roger has his own issues going on. Scott is perfect in the role of an excellent character.

Equally as important as Scott’s Roger is Jesse Eisenberg’s Nick. This was Eisenberg’s first feature film and I’m convinced has led to all of his work to-date. Nick is a pretty normal kid, just looking for advice. Eisenberg plays up his naïveté in necessary situations, but you can tell there’s an intellectualism behind him. He is touring Columbia, after all. He plays a similar role here to the one he played in this year’s Adventureland, but I like the act and I think he portrays the good-guy persona of someone worth cheering for.

After suffering through my teenage years without the Hollywood how-to book, my prayers were answered with Roger Dodger. It contains great performances by Scott and Eisenberg and tackles a subject that half of the human population may find off-putting, but I assure you it’s not like In the Company of Men in that way. Although it may not have produced the stars it seemed like all parties were destined for, it will remain a tremendous piece of work. It’s a conversational film you missed.

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