Paterson (2016) - Bus driver poetry drama a small gem

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+ Best New Jersey Movie of the Year

 

Lots of scribbles and a dramatic love-uttering tag-line lies around the sleeping couple on this poster for Jim Jarmusch's Paterson

 

Paterson is a bus driver and part-time poet in Paterson, New Jersey. His Iranian-American wife wants him to deliver his works in public, but he is more private about them.

 

Paterson is written and directed by Ohioan master filmmaker Jim Jarmusch (Permanent Vacation (1980)), with William Carlos Williams (The Term (2003, short)) and Ron Padgett contributing poems. It is Jarmusch's 13th feature.

Production-wise likely Jarmusch's smallest venture in years, Paterson is also his first good film since Broken Flowers (2005). In Paterson he seems to have created an alter ego following the line of thought; if I hadn't become X (a filmmaker), what else might I have ended up as? (A bus driver/poet apparently.) On the surface one might find it a bit grating that a bus driver in himself is not interesting enough, - that one of everyday life's heroes in this way only seems to 'exist' in Jarmusch's world, if they also produce art just as himself. But this is really more related to Jarmusch's own passion for everything creative than a statement of the real world and its inhabitants.

If you care for poetry, this will ramp up your enjoyment of Paterson, which may otherwise seem small and dull. Adam Driver (House of Gucci (2021)) is good but almost too handsome for the title role of the good and supportive husband, and Golshifteh Farahani (Extraction II (2023, VoD)) is sweet as his cupcake-baking love. Barry Shabaka Henley (A Star Is Born (2018)) is delightful in a supporting role as an honest bar owner. 

Paterson is undeniably smaller than the greatest of Jarmusch's heyday (Dead Man (1995) and others), but nevertheless a good one.

 

Related posts:

Jim Jarmusch: 2016 in films - according to Film Excess [UPDATED III]

2013 in films and TV-series - according to Film Excess [UPDATED VI]

Only Lovers Left Alive (2013) - Jarmusch's drowsy vampires, an overrated bore

2009 in films and TV-series - according to Film Excess [UPDATED III]
2009 in films and TV-series - according to Film Excess [UPDATED II]

The Limits of Control (2009) - Jarmusch hits career low with idea-bereft embarrassment 
Broken Flowers (2005) - Hip search for son and self with Jarmusch and Murray
Coffee and Cigarettes (2003) - Pleasant, precious vignette sit-down with some wonderful people    
Ghost Dog: The Way of the Samurai (1999) - Whitaker serves ancient samurai justice in Jarmusch's cool treat   

1995 in films and TV-series - according to Film Excess 
Dead Man (1995) - Jarmusch's bold, poetic, rich Americana masterpiece 
Top 10: The best B/W movies reviewed by Film Excess to date  
Down by Law (1986) - Jarmusch's jailbreak movie is an independent character gem 

 

 

Watch a trailer for the movie here

 

Cost: 5 mil. $

Box office: 10.7 mil. $

= Flop (returned 2.14 times its cost)

[Paterson premiered 16 May (Cannes Film Festival, main competition) and runs 118 minutes. Driver reportedly took a commercial bus driver's license for the part. Shooting took place in the Fall of 2015 for 30 days in New York and New Jersey. The film opened #36 to a 69k $ first weekend in 4 theaters in North America, where it peaked at #32 and in 70 theaters (different weeks), grossing 2.1 mil. $ (19.6 % of the total gross). North America was the film's 2nd biggest market. The biggest was France with 2.7 mil. $ (25.2 %) and 3rd biggest was Poland with 878k $ (8.2 %). The film lost the Palme d'Or to I, Daniel Blake. Jarmusch returned with Gimme Danger (2016, documentary) and theatrically with The Dead Don't Die (2019). Driver returned in Silence (2016); Farahani in Pirates of the Caribbean: Dead Men Tell No Tales (2017). Paterson is certified fresh at 96 % with an 8.50/10 critical average at Rotten Tomatoes.]

What do you think of Paterson?

The House on the Edge of the Park/La Casa Sperduta nel Parco (1980) - Hess horrifies in another rape-and-revenge sexploitation

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The Grim Reaper is transparent and brandishes a razor knife on this poster for Ruggero Deodato's The House on the Edge of the Park

Alex and Ricky are two degenerate auto-mechanics in New York, who go with a pair of women to a party in New Jersey, where they take the guests hostage, torture and rape them.

The House on the Edge of the Park is written by Gianfranco Clerici (Miami Golem (1985)) and Vincenzo Mannino (The Antichrist (1974)) and directed by Italian master filmmaker Ruggero Deodato (Fenomenal and the Treasure Tutankamen (1968)). It is his 13th feature.

Deodato has a certain style, and the eerily contrapuntal music (by Riz Ortolani (Killer Crocodile (1989))) quickly puts the viewer in the filmmaker's shadow land (as his hostages?) The question is whether this place is horrific, arousing, and/or suspenseful?

Certain scenes of the film are truly sadistic, and yet The House on the Edge of the Park is miles away from the horrors of Deodato's preceding masterpiece, Cannibal Holocaust (1980). David Hess (The Last House on the Left (1972)) is frightening as an ultra-psychopath, and so is Giovanni Lombardo Radice (The Soul Keeper/Prendimi l'Anima (2002)) as his psycho chum. SPOILER The film's ending is grotesque: All the guests seemingly let themselves be tortured, just so they in the end can take their revenge...!

 

Related posts:

 

Ruggero Deodato: Hostel: Part II (2007) - Roth's return to Eastern Europe is a wicked horror blast (actor)

Cannibal Holocaust (1980) - The uncompromising, violent, sensationalistic cannibal debate masterpiece

 

Listen here to 26 minutes of Ortolani's original score for the film

 

Cost: Unknown

Box office: Unknown

= Uncertain

[The House on the Edge of the Park was released 6 November (Italy) and runs 91 minutes. Deodato has said in an interview that his initial thought about the script was that it was "too violent." The filmmakers reportedly wanted Hess so much for their central villain part that they offered him half the rights to the film. Shooting took place in September 1979 in New York and in Rome, Italy. Details as to the film's cost and box office gross are regrettably scarce online. It did enrage the harsh British censors, who rejected it and put it on their 'video nasties' list, when they discovered in 1981 that it had been released on video in the country nonetheless. It was allowed a heavily cut release there in 2001, losing 11 minutes, and finally in 2011 with only about 40 seconds missing. Since 2011 a sequel titled The House on the Edge of the Park: Part II with Deodato and Radice involved has been 'in development'. Deodato returned with Atlantis Interceptors/I Predatori di Atlantide (1983). Hess returned in Jacqueline Susann's Valley of the Dolls (1981, miniseries) and theatrically in Swamp Thing (1982). 5.1k+ IMDb users have given The House on the Edge of the Park a 5.8/10 average rating.]

 

What do you think of The House on the Edge of the Park?

The Station Agent (2003) - A little star is born

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+ Best Independent Movie of the Year + Best Dramedy of the Year + Best Shooting Star Actor of the Year: Peter Dinklage

Sundance awards and critical praise helps sell this poster's promise of decent, good, bright, grown-up company, for Tom McCarthy's The Station Agent

Fin's boss at the model train shop passes away and leaves a closed up train station in New Jersey to Fin, who decides to move there, where he encounters two new friends.

The Station Agent is written and directed by great New-Jerseyite filmmaker Tom McCarthy (The Cobbler (2014)), whose debut it is.
It is a small, 'good time' story with 4 delightful actors. Peter Dinklage (A Case of You (2013)) is excellent as Fin, and the film gives insight into the life as a little person. It also deals with train fascination and friendships. Bobby Cannavale's (Blue Bloods (2010-11)) character lacks some information; namely, how does he survive on selling hotdogs and coffee in virtual no-man's-land?
The Station Agent is built with warm humor and pleasant scenes with something at stake. It is a fine little picture.

Related posts:


Tom McCarthy: 2015 in films and TV-series - according to Film Excess [UPDATED III]
2015 in films and TV-series - according to Film Excess [UPDATED II]
2015 in films and TV-series - according to Film Excess [UPDATED I]  
The day after the day after ... the Oscars 2016
Spotlight (2015) - McCarthy puts an admirably bright and sober light on one of the major crimes of modern history

2003 in films and TV-series - according to Film Excess [UPDATED II] 

2003 in films and TV-series - according to Film Excess [UPDATED I]

 

Watch a trailer for the film here

Cost: 0.5 mil. $
Box office: 8.6 mil. $
= Mega-hit (returned 17.2 times its cost)
[The Station Agent premiered 26 January (Sundance Film Festival, Utah) and runs 90 minutes. Shooting took place in Pennsylvania and New Jersey in August 2002. The film opened 55 to a 57k $ first weekend in 3 theaters in North America, where it peaked at #20 and in 198 theaters (different weeks), grossing 5.7 mil. $ (66.3 % of the total gross). The 2nd and 3rd biggest markets were the UK with 0.9 mil. $ (10.5 %) and New Zealand with 0.5 mil. $ (5.8 %). The film won a BAFTA, 3/4 Independent Spirit award nominations, 2 National Board of Review awards and 3 prizes at Sundance. Roger Ebert gave it a 3.5/4 star review, translating to a notch better than this one. McCarthy returned with The Visitor (2007). Dinklage returned in Tiptoes (2003), Cannavale in 3 TV credits before Shortcut to Happiness (2003); Michelle Williams (Lassie (1994)) in Dawson's Creek (1998-03)) and theatrically in A Hole in One (2004); and Patricia Clarkson (The East (2013)) in Dogville (2003). The Station Agent is certified fresh at 94 % with a 7.97/10 critical average at Rotten Tomatoes.]

What do you think of The Station Agent?

Ghost Dog: The Way of the Samurai (1999) - Whitaker serves ancient samurai justice in Jarmusch's cool treat

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+ Best New Jersey Movie of the Year + Best Samurai Movie of the Year

The cool poster for Jim Jarmusch's Ghost Dog: The Way of the Samurai

Ghost Dog is the 7th feature from American master writer-director Jim Jarmusch (Dead Man (1995)). It is an urban samurai movie.

Ghost Dog is a lone samurai, who's a retainer for a mob guy. When a hit he carries out gets witnessed by the boss's daughter, the boss sets out to kill the strange man. But that is easier said than done.

The film opens slowly and starts by driving us into the meditative pace of its title character, as he cruises around New Jersey in a stolen car. The hang-low mood is nicely in line with the chilled beats that are produced by RZA (of The Wu Tang Clan, who also has a cameo towards the end), who makes a deft composer debut here. He has since composed scores for Kill Bill: Vol. 1 (2003) and other things.
Forest Whitaker (The Last King of Scotland (2006)) is Ghost Dog, and Jarmusch also makes good use of his younger brother Damon Whitaker (Bird (1988)) in two flash-back scenes. Ghost Dog has a wonderful row of faces in secondary parts: John Tormey (The Curse of the Jade Scorpion (2001)) as the hero's complexed employer Louie; Henry Silva (Thirst (1979)) as the reptile-like boss; Cliff Gorman (The Boys in the Band (1970)) as his son, and Victor Argo (Bad Lieutenant (1992)) as a strong-arm. - There are many more, and the gangster ensemble is pretty hilarious; most of them play them straight-faced, as heaving, idiotic fatsoes.
The film also features Isaach De Bankolé (The Limits of Control (2009)) as our hero's French-speaking best friend and Camille Winbush (Eraser (1996)) as the nice literate girl from the park.

The details:


Ghost Dog is infused with several quotations from a samurai book (Yamamoto Tsunetomo's Hagakure (1709-16)), many of which are thought-provoking, (a few nonsensical.) The film sends a warm reference to samurai movie master Akira Kurosawa (through the use of the book Rashômon, which is also the title of his great 1950 film.) It also references Jean-Pierre Melville's Le Samouraï (1967).
Depending on your analytical powers, at some point you will realize that Ghost Dog has a symbolic meaning beneath its cool, violent, wry surface: Ghost Dog symbolizes the profound, ancient traditions and values, while the gangsters symbolize the depravity and indifference and stupidity of today. Ghost Dog carries out his justified vengeance as a kind of blast from the past, especially poignant in the scenes with the racist poachers.
It isn't necessary to buy into the samurai philosophy or way of life to treasure Ghost Dog. For most who love samurai movies and Jarmusch pictures, Ghost Dog is simply a wonderful gift that came as perhaps the last great samurai movie before the arrival of the new millennium.


Related posts:

Jim Jarmusch: Broken Flowers (2005) - Hip search for son and self with Jarmusch and Murray
Coffee and Cigarettes (2003) - Pleasant, precious vignette sit-down with some wonderful people  

1999 in films and TV-series - according to Film Excess 

 

Watch the trailer here

Cost: 2 mil. $
Box office: 9.3 mil. $
= Big hit
[Ghost Dog made 3.3 mil. $ or 35 % of its gross in the States. It was popular in many countries, especially France, where it also was nominated for the Palm d'Or in Cannes, (but didn't win.)]


What do you think of Jarmusch's samurai movie?
What's your favorite samurai movie?

Don Jon (2013) or, Over-sexed 2013

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+ Best Debut Movie of the Year

Hype on top of Joseph Gordon-Levitt's smug smile on this poster for his own directorial debut, Don Jon

Jon is a New Jersey player, who one night in the club eyes the most beautiful woman he has ever seen. They become a couple, but Jon also has a very close relationship to his porn that now becomes problematic.
 
Writer-director-star Joseph Gordon-Levitt (Mysterious Skin (2004)) and Scarlett Johansson (Lost in Translation (2003)) are both super charming here, although she plays a pretty bitchy young lady here, - she fits well with his self-involved, shallow nice guy Jon.
Gordon-Levitt's directorial feature debut burns its way outward and onward on a lot of youthful energy, busy editing and the likely stars at the center. Julianne Moore (The Kids Are All Right (2010)) is well cast as the woman SPOILER who teaches Jon about two-sided lovemaking.
The porn addiction is not examined in depth, and it isn't allowed to get too destructive for Jon, inhibiting the film from really going places. The story is wrapped up with a smile on its (your?) face like a neat little package, but it can't completely escape the shallowness of its characters and portrayals.

Related posts:

Joseph Gordon-Levitt: 2013 in films and TV-series - according to Film Excess [UPDATED VI]

2013 in films - according to Film Excess [UPDATED V]
2013 in films - according to Film Excess [UPDATED IV]
2013 in films - according to Film Excess [UPDATED III]
Looper (2012) - Time travelling assassinations have never been hipper or more exciting! (actor)
50/50 (2011) or, Dude's Got the Big C (actor)
(500) Days of Summer (2009) or, Cute and Cuter (actor)

Sexy Scarlett Johansson meet sexy Joseph Gordon-Levitt in his Don Jon

Watch the excellent trailer for the film, which surfs high on Good Vibrations

Cost: 6 mil. $
Box office: 30.4 mil. $
= Big hit
[The remarkably low budget probably hides the fact that star-salaries were invested into the film or held until release, and/or that the friends in the cast were only paid scale salaries. In any case, Don Jon got a warm reception at Sundance and earned almost all of its dough in the States, (only 5.9 mil. $ internationally).]

What do you think of Don Jon?
What would you like to see Joseph Gordon-Levitt tackle for his second movie as director?

Cop Land (1997) - Stallone faces corruption and turns in some good acting in fine crime drama

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+ Best Crime Drama of the Year

Big leading men on the poster for James Mangold's Cop Land

QUICK REVIEW:

A taciturn cop in Garrison, New Jersey (Sylvester Stallone (First Blood (1982)) will have to be stumped on his feet many times, before he decides to clean up his town.
Cop Land is a very well-played cop crime thriller with a dream cast who all worked for scale to make it happen: Harvey Keitel (The Piano (1993)), Robert Patrick (The Sopranos (2000)), Robert De Niro (Casino (1995)) and Ray Liotta (Goodfellas (1990)) are some of the dirty cops, but Stallone trumps them all in his best acting performance to date. 
The film is well-written and directed by James Mangold (Walk the Line (2005)), who is unfortunately now fixed on throwing years of his career away into yet another superfluous Wolverine film. Before Cop Land, Mangold had only made one other feature, the romantic drama Heavy (1995).
Cop Land may not be unforgettable, but SPOILER the shoot-out at the end with the tinnitus is hard to forget and has real power, and it is a fine movie.
Paradoxically, considering its relatively small budget, this was a star-studded Miramax production with some very high pressure on its shoulders, and although it received good reviews and made money, it still wasn't considered enough. Stallone went out in 2008 to say that Cop Land "hurt" his career and started "the beginning of the end, for about 8 years". He's back in business now, and it's curious to think that he thought himself down for those 8 years considering the credits he still have from the period, but now, apparently, Stallone wants to risk career-slump again, because he is venturing out of the action genre for some 'real' acting again now in John Herzfeld's upcoming Reach Me (2014).

 

Related post:

 

1997 in films and TV-series - according to Film Excess

Sylvester Stallone gained 40 lbs. to play Sheriff Freddy Heflin in James Mangold's Cop Land

Watch the trailer here

Cost: 15 mil. $
Box office: 44.8 mil. $ (US and Canada only)
= Big hit

What do you think of Cop Land?