Responding to criticism that a review of his had unfairly given information about the ending of a thriller, the late film critic Gene Siskel is said to have replied:  "Here is the ending of every thriller ever made -- the bad guy dies."  So when, in this week's Take Five, we talk about revenge thrillers, we're not talking about movies where some power-tool-wielding misogynist more or less accidentally gets it in the neck after two hours of tormenting co-eds and/or mapless vacationers.  We're talking about movies like Xavier Gens' Frontiers, opening in limited and highly disgusting release this Friday; movies where evildoers show up at the doorstep of innocents only to have the tables turned upon them fairly early on; movies where, for at least a third of their running time, the bad guys aren't in control, and the thrills come from wondering how far those who have been wronged will go to get even.  While the revenge flick has a pretty shoddy history, and while Frontiers doesn't look like it's going to bring much more than grosser-than-usual levels of violence and some hamhanded political commentary to the mix, not every movie in the tables-get-turned genre is an exploitative dud.  The concept may have reached its nadir with flicks like I Spit On Your Grave, but that doesn't mean you can't savor a pretty tasty dish served cold from time to time.

KEY LARGO (1948)

One of Hollywood's first, and finest, attempts at subverting the conventions of the innocent-people-beseiged-by-evil chestnut was this powerful, terrifically acted quasi-noir.  When exiled gangster Johnny Rocco holes up in a Florida resort to wait out a storm, after which he looks to make a triumphant comeback, he doesn't count on two things:  the presence of embittered but hard-as-iron vet Frank McCloud (played with icily ironic contempt by Humphrey Bogart) and his own terror at a coming hurricane.  As the movie progresses, Edward G. Robinson turns from utterly unflappable master manipulator (as in his famously cruel scene with alcoholic gun moll Claire Trevor) to cowering paranoiac, and the desperate sense of terror is ratcheted up to unbearable levels by director John Huston, at the peak of his powers.

Read More...

In a brief interview with Lynn Hirschberg in The New York Times Magazine, Max Von Sydow Max von Sydow talks about his long association with Ingmar Bergman, who died last year. “'He had been ill for almost a year, but we had been in close contact over the phone. . . . ' Von Sydow’s wife interrupted him. 'Tell about the last time he spoke about you,' she said. Von Sydow paused again. 'He said, "Max you have been the first and the best Stradivarius that I have ever had in my hands,” ' von Sydow recalled. 'We loved each other, and I know when he stopped working, when he became ill, he missed it. He missed his actors.' Von Sydow says that "working with Bergman was always worthwhile

Read More...