Alejandro González Iñárritu’s debut film is amazing. I finally got around to watching it and did a show on it here for fellow fans.
Amores Perros (2000)
Amores perros (original title)
R | 2h 34min | Drama, Thriller | 13 April 2001 (USA)
Amores Perros Poster
A horrific car accident connects three stories, each involving characters dealing with loss, regret, and life’s harsh realities, all in the name of love.
Director: Alejandro G. Iñárritu (as Alejandro González Iñárritu)
Writer: Guillermo Arriaga (as Guillermo Arriaga Jordán)
Stars: Emilio Echevarría, Gael García Bernal, Goya Toledo
The House That Jack Built – Note: This is my full walkthrough & film summary of this graphic horror movie. Not for everyone.
My rough notes: The director and buildup 2 levels: the incidents of a serial killer / the walk to hell, escorted by the verge It’s weird because we are in jack’s head but not supposed to relate with him, and yet we may. Ocd etc are relatable things Mr. Verge (Demon) and Jack 1st incident – Uma Thurman’s character is a bit demanding/annoying. She insults him by saying he looks like a serial killer. She gives him tips in jest on how to transport and bury bodies. She’s demanding about having him drive her back. She pushes and pushes, apparently as a joke, about how he is a serial killer. He is being very cruel with her, sarcastic. She STILL gets in a car with him. Then she says she takes it all back, saying he’s way too much of a wimp to be a serial killer. He kills her. As an engineer, Jack sees the act of killing as an engineered art. We see the pencils straight as a sign of his OCD. The walk-in freezer. He bought a retired restaurant freezer. Pizzas included. Put her body in there with the others. 2nd Incident – Door to door killing. Trying to get in. The wolf. The Kirby salesman. She agrees to let him in after much consternation. Once in, he says ridiculous things, almost playing with the situation, proving his ability to kill. Gets her to put a pillow under her head. Pretends to cry apologizing, gives her tea w poison. She still doesn’t die. Gets knife out, counts up the ribs, pierces her heart. Takes a photo of her with a little antique camera. Drags the body out – so much work to this art. Cleans up with bleach it looks like. He is haunted by the idea he left blood at the scene so he goes back to clean again. The OCD coming out. Even with an alarm on full blast, he recalls one place there might be blood and goes back yet again! Sees a police car, pulls the dead body out of the van. Cops come up to his van. Gives the cop another smooth story. This guy is good. Starts demanding the room be inspected. He is so sure of himself. Ties the body to the van. The drive causes her face to be ground down. Grisly sight. “I went to great lengths to fake normal empathy in order to confound the masses. The scythes are beautiful, peaceful. Cutting off the duckling’s foot is grisly, sad, repulsive. The strangling scenes are awful but in truth, probably as bad as this film gets for gore. This film raises the question: what is hell to jack? Preferred the dark negative light “demonic.” Jack had no family. 3rd incident The family shooting. 4th incident “I had a romance” He says he had stronger feelings for Riley Keough’s character than a psychopath is supposed to have. Jack meets Jacqueline (Riley Keough), a woman that he calls “Simple,” as he believes her to be stupid. Jack confesses he has killed sixty people at this point and is the serial killer “Mr. Sophistication,” but Jacqueline does not believe him and thinks he’s lying. She tries to get away and tell a cop, but he dismisses her as a drunk. Eventually, Jacqueline fails to escape and Jack cuts off her breasts with a knife and murders her. He pins one of the breasts to the Cop’s car and fashions the other one into a wallet. 5th Incident Jack has detained six people and tied them to a makeshift post, lining their heads up in a row with the intention of killing them all with one bullet, but he realizes that the bullet he bought from Al (Jeremy Davies) is not a full metal jacket bullet. Al refuses to sell the bullets and instead Jack has to go to the trailer of a man known as S.P. (David Bailie). Knowing that the cops are looking for Jack, S.P. points a gun at Jack and thinks that he has caught him. Jack convinces him to drop his gun and kills him with a knife through his throat and then grabs the one bullet he needs. He then puts on S.P.’s red bathrobe and waits for the police to arrive as his van is now stuck in a ditch and he requires transportation. He kills the cop and steals his car, which he leaves outside his freezer space with the siren blazing. He tries to line up the shot but realizes it’s too blurry. He finally succeeds in prying open a door at the back of the freezer that’s always been stuck shut. He continues to try to line up the shot and sees Verge for the first time. Verge suggests that Jack has unfinished business and has never really built the house that he was intending to build. Using the bodies as material, Jack constructs a house out of them and when he enters the make-shift house, he sees a hole that leads down. At this point, the cops successfully torch through the door, and Jack decides to go through the hole, following Verge. Epilogue: Katabasis In a clear allusion to Dante’s Inferno, Verge is actually the poet Virgil and is guiding Jack through Hell. At the very bottom of Hell there is a bridge and a vast dark space below. The door on the other side of the bridge leads out of Hell and presumably to Heaven as Verge tells Jack. The bridge is completely broken, but Jack notices that one could climb around the cliff and over to the other side, although Verge tells him that he recommends against it and that this is not where he is to deliver him. Jack ignores him and decides to try to climb over anyway. Jack fails and falls off the cliff down into the abyss with the flowing fire below.
This is my monologue on Lucio A. Rojas’ controversial, extreme horror film “Trauma” (2017) Warning: not for everyone.
Notice: It is an extreme horror film with elements of vengeance and thriller. If descriptions of extreme horror including torture offend you, please do not listen to this episode. This is a complete walk-through of the film which includes spoilers.
I give a review of this film in today’s monologue. I also talk a bit about serial killers in movies in general. Recorded 12/18/2018. For more on movies I find interesting like this one, tune in here or feel free to subscribe by one of many methods https://thedrpodcast.com/subscribe/
A college dropout, attempting to win back his father’s high standards he gets a job as a broker for a suburban investment firm, which puts him on the fast track to success, but the job might not be as legitimate as it once appeared to be.
“You’ll shoot your eye out.” “The Old Man,” directs Ralphie to look at one last present that he had hidden. Ralphie opens it to reveal the Red Ryder gun he wanted. These are only two of so many scene I love in “A Chrstmas Story.” Let’s reminisce together shall we? A disclaimer: As usual, my podcast contains spoilers.
“You’ll shoot your eye out.”
The Old man directs Ralphie to one more present.
Ralphie takes the gun outside and fires it at a target perched on a metal sign in the backyard.
The Old Man wins a “major award”
the dogs ruin the family’s dinner by romping through their kitchen and eating their turkey. This results in the family having Christmas dinner at a Chinese restaurant
Ralphie and his friends Flick and Schwartz are tormented by the neighborhood bullies Scut Farkus and Grover Dill. Ralphie eventually snaps and beats up Farkus.
Flick accepts a dare from Schwartz to stick his tongue onto the school flagpole
After getting a Christmas tree, on the ride home one of The Old Man’s tires becomes flat, so he goes to fix it.
For homework, Ralphie and his class are assigned to write on what they want for Christmas.
“I like the Tin Man”
“The Santa Visit”
Ralphie, a fan of the Little Orphan Annie radio program, eagerly awaits the arrival of a decoder pin he has applied to receive. When it comes in the mail, he uses it to decode a secret message at the end of the day’s broadcast, but is disappointed to find it is only an advertisement for Ovaltine, the show’s sponsor.
My daughter Isabella is my guest on this show :) It is highly rare that a film touches so many lives over the course of so many generations. We’ve had plenty of movies about the great depression and the surrounding hard time periods. None of them portray such stirring and memorable images as “It’s a Wonderful Life.” (Please note my review contains spoilers)
Meta info: It’s a Wonderful Life (1946)PG | 2h 10min | Drama, Family, Fantasy | 7 January 1947 (USA)An angel is sent from Heaven to help a desperately frustrated businessman by showing him what life would have been like if he had never existed.Director: Frank CapraWriters: Frances Goodrich (screenplay), Albert Hackett (screenplay) | 3 more credits »Stars: James Stewart, Donna Reed, Lionel Barrymore
Director Frank Capra
The life & times of George Bailey / actor: James Stewart
The lady Mrs. Bailey / Donna Reed
Clarence aka Henry Travers
Purpose of suicidal Ideation / Message of the movie
Colorization / James Stewart’s opinion and reaction
Other movies like this: Scrooge/A Christmas Carol, A Ghost Story, Miracle on 34th Street, The Family Man
Closing Christmas blessing: May you not have to leave your body or station in life to find serenity and the value of your life.
It’s a very cool topic today with a special guest: Drew of Drew’s Movie Reviews to watch 3 horror films I thought he’d enjoy and he challenged me with three in like fashion. Did I become comic book crazed? Did Drew become a zombie? Listen and find out! My guest Drew can be found at these locations: Website/blog: Drew’s Movie Reviews Twitter: @DrewToTheFuture & Facebook Page: Drew’s Movie Reviews
Drew had You’re Next, Train to Busan, and Hush.
I had Dredd, Watchmen, and Spiderman 2.
I see many comparisons in this 1940 movie to our modern country’s split. What do you think. These are desperate times for many. We shouldn’t ignore that. Things change when the haves become the have nots. My wife and I watched “The Grapes of Wrath” recently and while it seemed old at first, it packed some relevant, powerful and therapeutic messages for me. The adaptation of John Steinbeck’s novel was about the Joads, a family from Oklahoma, traveling in the 40’s to find work. It is during the ferocious dust bowl period that made farmers’ land fallow.
Those who once owned the farms were now vagrant/migrant workers. The greed and selfishness of the banks and landowners is an eerie backdrop to this realistic fiction. With our country in such financial crisis it seems it could return to this. Maybe it’s not so bad to be afraid of that. Maybe we need that fear to bring about change as working people.
The whole aura of the movie always gets to me emotionally because this might as well be my family. My grandpa came to Bakersfield, CA from Arkansas when my dad was just a kid. Certainly my dad was younger than Tom Joad being born in 1945. Still, I see the Joads as “my people.” I see them as all America’s people, especially right now in 2018. It is quite a powerful movie when you really connect with the messages. Those messages are about life, death, family, faith, hard work, and government. This is about survival. An account of a depression-era family’s migration to the greener pastures of California based on the novel by John Steinbeck.
As we get started: Here’s the original trailer for this film from the 1940’s.
This is a review that contains spoilers. If you have not yet seen The Grapes of Wrath, go see it then come back and listen.
Section 1 (set up audio clip)
As it begins, Tom Joad is oujust out of prison and is hitchhiking back to his father’s farm in Oklahoma, Even now you see siginificant symbols showing what we might now call the “Haves and have Not” In a similar way we have an employed and an unemployed: the great separator of this time even now. Tom already has a black mark on him early in life and he’s not hiding it that’s for sure. What makes the working man more deserving than the unemployed hungry man? That question comes up here again and again in the great depression of the 1930’s. I’d say there needs to be a form of welfare so Americans don’t starve. Not a handout that never ends but a hand up, some relief. The stories of powerty get to me in this film. How about the fate of a convict? Henry Fonda messes with the cautious truck driver, tells him he’s guilty of “HOMICIDE.” Is it helpful to have an attitude out of prison? Would it do any good to have a better attitude? Most convicts can’t find work You get a real feel for the calllousness of Tom Joad as the hitchhiker challenging the skeptical truck driver. Check out this clip:
Below this lines are show notes and a script, it has not been proofread.
Tom meets Muley Graves (John Qualen) who is hiding out. Muley explains through a flashback about how so many were forced from their farms. This is one of the horrors of this film, and it is historical, real. They hear Californi is the land of milk and honey and set out in a dilapidated truck with the whole Joad family. They are filled with hope
The trip along Highway 66 is painful arduous, and it soon takes a toll on the Joad family. The aging and sick Grandpa (Charley Grapewin) dies along the way. Tom writes the circumstances surrounding the death on a page from the family Bible and places it on the body before they bury it so that if his remains were found, he would not be investigated as a homicide. They park in a camp and meet a man, a migrant returning from California, who laughs at Pa’s optimism about conditions in California. He speaks bitterly about his experiences in the West. Grandma (Zeffie Tilbury) dies when the reach California, the son Noah (Frank Sully) and son-in-law Connie (Eddie Quillan) also leave the family group.
The family arrives at the first transient migrant campground for workers and finds the camp is crowded with other starving, jobless and desperate travelers. Their truck slowly makes its way through the dirt road between the shanty houses and around the camp’s hungry-faced inhabitants. Tom says, “Sure don’t look none too prosperous.”
After some trouble with a so-called “agitator”, the Joads leave the camp in a hurry.
The Joads make their way to another migrant camp, the Keene Ranch. After doing some work in the fields, they discover the high food prices in the company store for meat and other products. The store is the only one in the area, by a long shot. Favorite scene: When the Joads ask to buy a loaf of bread for a dime in a diner. They are told the bread is 15 cents a loaf and not for sale anyway. This being all they had, the storekeeper lets them have it for 10 and lies about how much the candy costs so the Joad kids can have some swirl sticks. The movie is great from beginning to end, but that scene is forever etched into my mind.
Bread begging clip
Later they find a group of migrant workers are striking, and Tom wants to find out all about it. He goes to a secret meeting in the dark woods. When the meeting is discovered, Casy is killed by one of the camp guards. As Tom tries to defend Casy from the attack, he inadvertently kills the guard.
Tom suffers a serious wound on his cheek, and the camp guards realize it will not be difficult to identify him. That evening the family hides Tom under the mattresses of the truck just as guards arrive to question them; they are searching for the man who killed the guard. Tom avoids being spotted and the family leaves the Keene Ranch without further incident. After driving for a while, they have to stop at the top of a hill when the engine overheats due to a broken fan belt; they have little gas, but decide to try coasting down the hill to some lights. The lights are from a third type of camp: Farmworkers’ Wheat Patch Camp (Weedpatch in the book), a clean camp run by the Department of Agriculture, complete with indoor toilets and showers, which the Joad children had never seen before. Tom is moved to work for change by what he has witnessed in the various camps. He tells his family that he plans to carry on Casy’s mission in the world by fighting for social reform. He leaves to seek a new world and to join the movement committed to social justice.
Tom Joad says:
I’ll be all around in the dark. I’ll be everywhere. Wherever you can look, wherever there’s a fight, so hungry people can eat, I’ll be there. Wherever there’s a cop beatin’ up a guy, I’ll be there. I’ll be in the way guys yell when they’re mad. I’ll be in the way kids laugh when they’re hungry and they know supper’s ready, and when the people are eatin’ the stuff they raise and livin’ in the houses they build, I’ll be there, too.
As the family moves on again, they discuss the fear and difficulties they have had. Ma Joad concludes the film, saying:
I ain’t never gonna be scared no more. I was, though. For a while it looked as though we was beat. Good and beat. Looked like we didn’t have nobody in the whole wide world but enemies. Like nobody was friendly no more. Made me feel kinda bad and scared too, like we was lost and
nobody cared…. Rich fellas come up and they die, and their kids ain’t no good and they die out, but we keep a-coming. We’re the people that live. They can’t wipe us out, they can’t lick us. We’ll go on forever, Pa, cos we’re the people.