Frank Calvillo's blog

Our Holiday Favorites 2014: 'Tis the Season for Stanwyck

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Christmas in Connecticut 

In August, the Austin Film Society series "Stanwyck in Her Prime" showcased some of the titles that made Barbara Stanwyck one of the greatest actresses of her generation. It featured such classic Stanwyck staples as Preston Sturges' The Lady Eve (1941) and Ball of Fire (1941), both essential highlights in Stanwyck's stellar career. As a result of the series popularity, and since it's the holidays, I thought I'd spotlight the few but worthwhile Christmas movies Stanwyck starred in.

Not many think of Stanwyck as an actress who would be caught dead in a Christmas movie. Her brand of playing women both tough and tragic made her one of the most formidable screen heroines of all time. And yet, if you are a fan of Stanwyck's, its not surprising to see her in these films since they provided the actress grade-A roles with directors and co-stars also at the top of their game.

Christmas in Connecticut (1945)

So much of Stanwyck's filmography featured the actress playing complicated women (some good, some bad) in situations fraught with intense conflict. However, Christmas in Connecticut is one of those rare exceptions where the great Stanwyck was able to leave her trademark intensity at home and indulge in one of her most playful roles ever. Stanwyck plays celebrated homemaker Elizabeth Lane, a 1940s Martha Stewart who delights millions of readers with sumptuous recipes and household hints through a wildly popular magazine column. When a rescued soldier (Dennis Morgan) expresses a desire to meet the domestic diva, the magazine's publishing magnate (Sydney Greenstreet) demands that she invite him to her Connecticut farm for a homemade Christmas without realizing that Elizabeth is actually a fraud who can't really cook.

Our Holiday Favorites 2014: Mixed Nuts

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Welcome to Holiday Favorites, a series in which Slackerwood contributors and our friends talk about the movies we watch during the holiday season, holiday-related or otherwise.

The sadly forgotten Christmas comedy Mixed Nuts (1994) has been a holiday viewing tradition for me since its release 20 years ago. Co-written and directed by Nora Ephron from the earlier French film Le père Noël est une ordure (1982), Mixed Nuts bears almost no resemblance to the director's more famous romantic comedies. The holiday farce deals with the staff of a Los Angeles suicide hotline (Steve Martin, Madeline Kahn, Rita Wilson) who must contend with a bickering pair of expectant parents (Anthony Lapaglia, Juliette Lewis), a melancholy cross-dresser (Liev Schrieber), a quirky ukulele player (Adam Sandler) and other assorted characters as they face eviction as well as a serial killer known as The Seaside Strangler on Christmas Eve.

So much of Mixed Nuts is the exact opposite of what comprises the standard holiday movie, such as the dark flavor of comedy and the sunny Los Angeles setting (Christmas actually happens there too). And while plenty of Christmas movies tend to draw inspiration from Norman Rockwell, Mixed Nuts goes against the grain by being a film populated with individuals who would never be found in a Rockwell painting. These are people who, for one reason or another, dread the holidays. In that sense, Mixed Nuts is perhaps one of the most relatable and sympathetic holiday films in existence; a love letter for the individual who feels something is lacking for them during this time of the year. As Martin's character puts it: "Christmas is a time when you look at your life through a magnifying glass, and everything you don't have suddenly seems overwhelming."

That's not to say that Mixed Nuts is a depressing movie. In fact, nothing is further from the truth. The selection of holiday songs are highly enjoyable (including Amy Grant's stunning "The Night Before Christmas" which closes the film), the large comedic cast is fun to watch, the comedy, while dark, is plentiful and the film's climax opts for the hopeful, rather than the sentimental. All in all, Mixed Nuts is prime holiday viewing, even it does come in unconventional wrapping.

Where to watch: Mixed Nuts is available on DVD, Amazon Instant Video and in Austin, at Vulcan Video North.

Our Holiday Favorites 2014: It Happened on 5th Avenue

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Welcome to Holiday Favorites, a series in which Slackerwood contributors and our friends talk about the movies we watch during the holiday season, holiday-related or otherwise.

Not many remember, or even know of, this touching holiday comedy's existence. I suppose that's fair enough since the release date for this Christmas-set film was actually Easter. It also didn't help that It Happened on 5th Avenue (1947) was released in between future classics It's a Wonderful Life (1946) and Miracle on 34th Street (1947). As if this weren't enough, the movie went out of circulation in 1990 without even a single TV airing until a low-key DVD release several years ago saved it from holiday movie obscurity.

It's a real shame, since It Happened on 5th Avenue is not only just as good an offering as those other two classics, but it is also one of those rare films with a blend of humor and pathos that washes over you without warning. Each winter when millionaire Michael O'Connor (Charles Ruggles) leaves his 5th Avenue mansion for his home in Virginia, a warm-hearted drifter named Aloysius T. McKeever (Victor Moore) moves in and makes the large estate his own for the duration of the season. This season however, Aloysius has taken in a young war veteran (Don DeFore) as well as two of his fellow soldiers and their families. When circumstances force Michael back to his New York mansion, he is appalled, but proceeds to conceal his identity as he finds himself spending the holidays with his unexpected guests.

Looking Back at the Film Class of 1999

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Virgin Suicides

Back in 1999, I was a teenage film geek sneaking into R-rated movies. Without question, one of the titles I saw that year which left a lasting impression was The Talented Mr. Ripley (1999), the superb adaptation of Patricia Highsmith's psychological thriller novel starring Matt Damon and Gwyneth Paltrow. The camera moves, performances, costumes, cinematography -- all of it took me on a cinematic journey I had not experienced until then. However, that movie was only a taste of the varied class of movies that made up 1999 at the cinema.

From edgy comedies like Election (1999), to haunting dramas like The Virgin Suicides (1999) (pictured at top), the lead up to the millenium brought forth a year full of one celluloid gem after another. In honor of the Alamo Drafthouse's 12-week tribute to 1999, which runs through mid-December, I thought I'd revisit the year in question and examine how such a vibrant burst of filmmaking touched many aspects of the moviemaking world.

The year saw many high-profile directors temporarily abandon their trademark genres in pursuit of projects which allowed them a chance to spread their directorial wings. Slasher maestro Wes Craven directed Meryl Streep to an Oscar nomination as an inner-city violin teacher in Music of the Heart (1999 -- one of the better "inspirational teacher" movies). David Lynch took a break from the dark and subversive for a softer, reflective tone in the beautifully moving drama The Straight Story (1999) while Joel Schumacher stepped away from the heroics of Batman and John Grisham to film 8mm (1999); a creepy inside look at the snuff film underworld. Clashes with Adrien Brody didn't stop Spike Lee from exploring one of the most bizarre serial killer cases in New York's history with Summer of Sam (1999). And though it may have featured Johnny Depp and vivid production qualities, the usual trademark whimsy and playful offbeat touches were absent from Tim Burton's Sleepy Hollow (1999); making it the director's sole true horror film.

Have a Very Texas Horror Movie Night This Halloween

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For decades, the vast and beautiful land of Texas has been used as the backdrop for dozens of feature films, spawning beloved classics from virtually every genre. Yet when it comes to horror, it seems that the one title most associated with the state remains Tobe Hooper's masterful The Texas Chain Saw Massacre (1974). A great film which, without question, will live on, Chainsaw was one of the first instances which successfully portrayed the wide-open spaces of Texas as potential landscape of sheer terror.

In the years following the film's impact, a variety of features -- most notably a number of Chain Saw sequels/remakes -- have continued to paint Texas as a rich setting for some truly inventive and fright-filled tales. In time for Halloween, and in celebration of the Texas-set 2014 remake of The Town That Dreaded Sundown (currently in limited release and on VOD), here are a few titles that have, in their own way, given a chilling new face to the Lone Star State. Put together your own Texas-themed horror night sometime soon with these movies.

The Town That Dreaded Sundown (1976)

Shot and released two years after Chain Saw, 1976's The Town That Dreaded Sundown is a retelling of a true story that had plagued a small Texas town in post-war America. In the small community of Texarkana, a hooded killer known as the Phantom stalks and kills various citizens in unpredictable ways while continuously eluding authorities. Shot in the almost documentary-like style common with independent films of the decade, The Town That Dreaded Sundown was one of the first horror films closely based on true events; a fact the film relishes with matter-of-fact narration. That, combined with the film's open ending, a random cast that includes Ben Johnson and Dawn Wells, and a killer whose mere still presence in front of the camera gives off instant chills, made the movie an instant event for horror fans.

Hitchcock Takes Over Paramount and State This Week

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Alfred Hitchcock

Few other filmmakers lived to see their name become synonymous with a specific brand of filmmaking quite like Alfred Hitchcock did. This month, as part of their Summer Classic Film Series, the Paramount and Stateside Theaters have lined up a weeklong tribute to Hitchcock featuring the likes of Psycho and The Birds, among other gems from the master of suspense; each of which, regardless of how many prior viewings, remains a thrilling pleasure to see on the big screen.

"We're playing the hits, and a few B-sides too," proclaims Paramount's official site in describing Hitchcock week. Hits is right with North by Northwest, Vertigo and Notorious also scheduled to screen, while "second-tier" Hitchcock classics Rebecca and Strangers on a Train (screening the following week) also make appearances. However, it's the four interestingly chosen aforementioned B-sides that prove interesting highlights and really speak to Hitchcock's versatility as a filmmaker. Each one differs greatly in style, tone and overall approach, yet still manage to retain that specific Hitchcock flavor in ways both subtle and upfront.

When 1948's Rope (screening 8/14-15) was released, it was seen as highly scandalous due to the relationship between the two main characters, which was full of homosexual undertones. Besides this, the plot, which deals with two young men (Farley Granger and John Dall) who decide to murder a fellow former classmate simply to experience the thrill and exhilaration of killing, was not everyone's cup of tea in late 1940s America. The pair go even further by throwing a dinner party moments after the killing, which include a number of their victim's friends and family as well as their former schoolteacher Rupert (Jimmy Stewart -- in what may have been the most unorthodox role of his career).

Summer Indies to Catch: August 2014

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The final month of the summer has swiftly arrived and as tradtition dictates, this means it's time for major studios to unleash those titles that didn't either didn't quite make the grade for the earlier months, or the ones they hope will be sleeper hits that will bring in loads of cash because there's little else for audiences to watch. Apart from the heavily anticipated Sin City sequel, not only is there very little I can think of that I want to see, there's very little I can actually recall being released. It's almost a fitting end to a lackluster summer for blockbusters. On the flip side, while the studios are winding down, the indies show no signs of letting up with many standout features making their way to audiences this month.

Magic in the Moonlight (opens Aug. 8 in Austin)

Capitalizing on his love of period pieces, Woody Allen's newest offering Magic in the Moonlight will no doubt leave some moviegoers split, as early screenings and reviews have indicated. Set against the gorgeous backdrop of the Riviera, famed illusionist Stanley (Colin Firth) is brought in to debunk a young woman named Sophie (Emma Stone) whose claims of psychic visions have enchanted an upper-class family in 1920s France.

Summer Indies to Catch: July 2014

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Though it may sound a tad far-fetched, there will be a number of theaters not showing the latest installment in Michael Bay's juggernaut Transformers film series. Likewise, there are no doubt a good many cinephiles wishing a break from the continuing saga of those deceptacons. Luckily, the indie film world has come to the rescue with one of the most diverse July arthouse lineups ever Liam Neeson in a rare non-action role, an anticipated LaCarre adaptation, a celebration of one of the movie world's most prolific figures and the unveiling of Richard Linklater's coming-of-age opus.

Third Person (currently in theaters)

Boasting one of the most impressive and eclectic casts of the year, Paul Haggis' Third Person looks to inject some much-needed human drama into a summer dominated by special effects. A writer in Paris (Neeson) is torn between his mistress (Olivia Wilde) and his estranged wife (Kim Basinger) -- while in New York, a lawyer (Maria Bello) helps a single mother (Mila Kunis) fight for rights to the child she had with an artist (James Franco) as a traveling businessman (Adrien Brody) in Rome is pulled into a con game by a beautiful, desperate woman (Moran Atias). The cast has been praised for the weight they bring to their challenging, and tricky roles (in particular Basinger, who manages so much in just a couple of scenes) and the production values are quite stunning. Haggis is certainly no stranger to the ensemble film, but rather than survey the social and political as he has in the past, in Third Person, the director focuses on the personal and complex nature of human behavior.

Summer Indies to Catch: June 2014

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PING PONG SUMMER

This month, the multiplex looks to deliver audiences Clint Eastwood's take on a hit Broadway musical, yet another Tom Cruise sci-fi/action vehicle and four, count 'em four sequels. Yet for anyone wishing to look a little deeper, beyond the icons and the franchises they'll find a collection of thrills, laughs, drama, conflict and tension from both renowned and up-and-coming filmmakers. 

Words and Pictures (now in Austin theaters)

Australian director Fred Schepisi's filmography is a peculiar one, consisting of a collection of solid films (A Cry in the Dark, Six Degrees of Separation), which seem to resonate with cinephiles, but fail to become classics. His latest offering, the romantic dramedy Words and Pictures, may indeed follow suit, but its definitely one of his warmest and sincerest efforts to date. At a private school, a snarky English teacher (Clive Owen), is taken by a caustic art instructor (Juliette Binoche) new to the faculty. A love story at heart, Words and Pictures takes two actors, unknown for their romantic comedy chops, and throws them into said genre with two fun, meaty characters to play. Though the romance will be the draw for most audiences, its the film's debate of writing versus art, and the overall question as to which is the greater form of human expression, that actually make Words and Pictures intriguing.

Summer Indies to Catch: May 2014

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Jesse Eisenberg in The Double.

This month, most audiences will be lapping up that guy in tights and yet another reincarnation of Japan's most famous lizard. Thus begins another summer season full of empty sequels and remakes no one asked for. While there are always a collection of smaller films designed to combat the less-than-inspiring season, this year's crop of independents -- which include a 70s movie icon in a Western thriller and a Dostoyevsky adaptation -- is perhaps one of the most bountiful and eclectic in recent years.

Here are few highlights:

Fading Gigolo (now playing at Regal Arbor, available on VOD)

Woody Allen makes a rare appearance in a non-Woody film for this most unconventional tale of comedy and sex in a romanticized New York. When down-on-his-luck Murray (Allen) needs a way out, he convinces his friend Fioravante (John Turturro), a Brooklyn florist, to have a paid threesome with curious dermatologist Dr. Parker (Sharon Stone) and her fiery friend Selima (Sofia Vergara). Soon after, word begins to spread about Fioravante's talent as a middle-age Casanova as Murray takes on the role of unlikely pimp.

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