TiVoPlex

By John Seal

December 16-22, 2003

Can you believe we scammed this guy into liking this movie?

From the obscure to the obscurest to the merely overlooked or underappreciated; they all have a home in the TiVoPlex! All times PDT.

Tuesday 12/16/03

2:30am Turner Classic Movies
The Flirting Widow (1930 USA): The week kicks off with a pair of pre-Code treats for those who like double entendres and flimsy negligees. The Flirting Widow is a frothy from-com about a young woman (Dorothy Mackaill) who creates an imaginary relationship with a fictitious military man, who then turns out to be the very real Basil Rathbone! Based on a story by A.E.W. Mason (The Four Feathers) and directed by William Seiter, this early First National talkie shows its age but remains an enjoyable example of early ‘30s filmmaking. 1931’s Lonely Wives follows at 4am and hasn’t held up quite as well, though there’s actually more pre-Code wickedness in it than in The Flirting Widow. Laura La Plante (1927’s The Cat and the Canary) stars as the client of a philandering divorce lawyer (Edward Everett Horton) who’s anxious to betray his wife (Esther Ralston) and carry on an affair with La Plante while cashing her checks and helping her leave her own unhappy marriage. Hunchback of Notre Dame star Patsy Ruth Miller appears as Horton’s secretary, and Spencer Charters appears as an obnoxious butler.

3:30am The Movie Channel
Sisters (1973 USA): Brian De Palma’s genetic thriller benefits from a terrific set-up, a well-delivered first hour, a marvelous Bernard Herrmann score, and De Palma's able use of a split screen. Unfortunately it can't carry itself through to the end, and soon collapses into a confusing, formulaic, and ridiculous ending that obviously tries to cover up the fact that, well, De Palma simply didn't know HOW to end the film. Nonetheless, Sisters is essential viewing for fans of shock cinema, psychological horror, or Hitchcock tributes, and is airing wide-screen this morning, the only way to fully appreciate the director’s mastery of the split-screen format. Also airs at 6:30am.

5pm Cinemax
Spellbound (2002 USA): You’ll be on the edge of your seat - spellbound, in fact - rooting for the pubescent protagonists in this look at the uniquely American National Spelling Bee. Who you’ll choose to root for will be up to you, but be assured you’ll fall in love with at least one of these pedantic youngsters, as we chart their progression from local competitions to the big showdown in Washington, DC. This is a film that improves vastly in an auditorium full of moviegoers, whispering along with the spelling words and groaning with each misspelling, but if you missed its theatrical run earlier this year, it’s making its television debut this evening. If you didn’t already know how to spell logorrhea, you will now. Also airs at 8pm and 12/22 at 7:20am and 10:20am.

10:30pm HBO
Small Town Ecstasy (2002 USA): Another fascinating HBO original documentary, Small Town Ecstasy details the story of a father who (besides supplying his teenage son and his buddies with alcohol) hops on the rave bandwagon and turns into an MDMA-fueled dance monster. Contentious and controversial producer Arnold Shapiro clearly has an ox to gore - he’s no fan of recreational drug use - but the film paradoxically provides evidence to support the legalization argument, too. As much about the unusual Meyers family as it is about drug abuse, this film raises interesting questions about parental responsibility, parent-child relationships, and the Drug War in general. Also airs 12/17 at 1:30am.

Wednesday 12/17/03

12:30am Showtime
The House Where Evil Dwells (1982 USA-JAP): The closer we get to Christmas, the more calcified the schedule becomes, its arteries clogged by a parade of sugar-plum fairies, imitations of Christ, and inadequate Santa Clauses. So it’s with some reservations - and a certain amount of glee - that I point out the cable reappearance of this schlock classic from director Kevin Connor (The Land That Time Forgot, At the Earth’s Core). Starring the always-dull Edward Albert (not to be confused with dad, Eddie Albert) and scream-queen Susan George as a couple who relocate to a haunted house in Japan, the film isn’t about to give Kwaidan or Onibaba a run for their supernatural money, relying more on early ‘80s slash ‘n’ gore effects than atmosphere. If, however, you’re in need of distraction from the cheeriness of the holiday season, this nasty little item should provide some.

Thursday 12/18/03

1:25am Encore True Stories
River’s Edge (1987 USA): Surprisingly, I don’t think I’ve previously recommended this gritty teen drama. Perhaps the presence of TiVoPlex whipping-boy Keanu Reeves served as a deterrent, and while young master Reeves is as bad as ever here, the rest of the cast - especially creepy Crispin Glover - gamely makes up for his shortcomings. Directed by TV specialist Tim Hunter (Carnivale), this is a disturbing look at loyalty and complicity within a group of teenage friends who find the body of a murdered girl. Nicely shot by Ang Lee cinematographer Frederick Elmes, the film also benefits from a less-hyper-than-usual performance by Dennis Hopper and an appearance by character actor Leo Rossi.

9pm Showtime 3
The Lair of the White Worm (1988 GB): I’m not the world’s biggest Ken Russell fan, for much the same reason I’m not the world’s biggest Russ Meyer fan, but like Meyer, Russell is always capable of surprising me and creating a genuinely entertaining film. Such is the case with this over-the-top creature feature - based loosely on a Bram Stoker novel - and played as much for laughs as for chills by its outstanding cast, including the underutilized Amanda Donohoe (Castaway) and the overexposed Hugh Grant. Noteworthy Scots actor Peter Capaldi co-stars as an archaeologist excavating a convent (this being a Russell film, nuns do make an appearance), unearthing an evil skull, and unleashing an ancient monster, the legendary D’Ampton Worm. This is definitely the Ken Russell film for people who don’t like Ken Russell films.

Friday 12/19/03

10am Flix
Black Girl (1972 USA): Originally a play by Texas-born writer J. E. Franklin, Black Girl was adapted for the screen by Franklin and directed by the great Ossie Davis. The result is a stagey but effective extended-family drama, with three sisters (Gloria Edwards, Loretta Greene, and Peggy Pettit) plotting against the successful adopted fourth daughter (Leslie Uggams). Brock Peters is top-billed as the father of the girls, but his performance is little more than a glorified cameo, and it's up to the women to carry the show. Most effective are Greene, as the pregnant middle daughter, Louise Stubbs as the mother, and Claudia McNeill as the grandmother and matriarch of the family, M’Dear. Less effective is Uggams, whose droopy-eyed look simply doesn't evince much sympathy, and Edwards, who is over-the-top at times as the eldest and meanest sibling. There's a brief non-speaking appearance by Mrs. Ossie Davis, Ruby Dee, and a sterling performance by an uncredited gentlemen who plays Mr. Herbert, a boarder who has shacked up with M’Dear. This film is all about the characters, and there are some meaty scenes, especially when Uggams returns home from college unannounced. Black Girl was clearly a labor of love, and all things considered, is a simple but solid effort, quite moving at times and generally effective.

11am Turner Classic Movies
Ransom (1956 USA): Remember when it was okay to sympathize with the rich? In between starring in the equally blunt titles Trial (1955 USA) and Jubal (1956 USA), Canadian Glenn Ford appeared in this all-but-forgotten MGM drama about a wealthy businessman (Ford) whose son is kidnapped. Rather than succumbing to blackmail, however, Ford determines to track down the bad guys, even if it puts his child's life in danger. Bear in mind, Ford is responsible to his shareholders, so he can't afford to cut his son any slack by sapping dollars from the bottom line. Directed by early-TV vet Alex Segal, Ransom also features the brilliant Juano Hernandez (who also appeared with Ford in Trial), Donna Reed, and a sober (as in serious) Leslie Nielsen.

Saturday 12/20/03

6am HBO 2
Runaway Train (1985 USA): This unevenly-acted suspenser benefits from a terrific screenplay by convicted felon and recidivist novelist Edward Bunker (No Beast So Fierce) and stunning photography by Alan Hume which, it must be noted, would really benefit from a wide-screen broadcast. Alas, we are in pan-and-scan country at HBO, but the film is still worthy of your attention. Eric Roberts and Jon Voight star as a pair of escaped convicts who hijack a train being driven by Rebecca De Mornay (ah, Hollywood casting!). I’ve always had a soft spot for Roberts, who still remains unfairly in the shadow of sis Julia, and he’s excellent here. Voight tends to overdo things a bit, and De Mornay as a locomotive engineer…well, let’s just say she does the best she can. All in all, this is the best film ever produced by the lowbrows at Golan-Globus. Also airs at 9am.

5pm HBO
Adaptation. (2002 USA): Spike Jonze’s brilliant post-modern fable makes its television debut this evening. Based in part on Susan Orlean’s book The Orchid Thief, Jonze’s film stars a back-on-his-game Nicolas Cage as twin brothers, Charlie and Donald Kaufman, both engaged in the screenplay business, though with vastly differing styles and attitudes. Meryl Streep co-stars as Orlean, the author of the book the Kaufmans are trying to adapt for the screen, and the always-wonderful Chris Cooper appears as John Laroche, the subject of Orlean’s book. There’s layer upon layer of reality and fantasy to dissect here, with the film’s third act turning off and amazing filmgoers in equal measure, but this is a quantum leap for Jonze, whose Being John Malkovich couldn’t quite put the pieces together. The best film of 2002, Adaptation is an instant American film classic. Also airs at 8pm and 12/21 at 1:10am and 4:10am.

Sunday 12/21/03

2:50am Encore Mystery
Betrayed (1944 USA): This William Castle-directed early noir marked Robert Mitchum’s breakthrough as a recognizable actor and features a terrific supporting cast, including Dean Jagger, Rhonda Fleming, Kim Hunter, and Neil Hamilton. Hunter stars as a waitress who rushes into a marriage with Jagger, only to start suspecting that her new hubby may have some ugly skeletons in his closet. Young Mitchum shows up to help cast light on the secrets and Hamilton plays the police officer investigating the murder of jolly lush Milton Kibbee. This being a Monogram production, the seams are constantly showing, but Castle gets the most out of his cast and was lucky enough to have Dmitri Tiomkin on board to provide a decent score.

9pm Turner Classic Movies
Christmas Past: This is a compilation of silent shorts assembled into a single package by TCM, who have aired this annually on the Sunday before Christmas over the last few years. None of the shorts are particularly noteworthy, but this is the perfect seasonal antidote to shopping malls and Pottery Barn catalogues: a quiet, simple, and soothing look at the way the holidays were celebrated at the turn of the 20th century. A mug of hot cocoa and a homemade quilt on your lap are appropriate supplements to this viewing experience.

Monday 12/22/03

9am Black Starz!
Jump Tomorrow (2001 USA-UK): The speculative pick of the week, Jump Tomorrow is a drama about a Nigerian man (Tunde Adebimpe) whose plans for an arranged marriage start to go awry after he meets another woman (Natalia Verbeke). Apparently a feature-length version of a short subject by director Joel Hopkins, this looks like an intriguing pick for fans of indie cinema. Also airs at 9:35pm.

9:25am Sundance
7th Street (2002 USA): Director Josh Pais grew up in the tough East Village neighborhood of Manhattan, a part of town that was once charitably considered colorful, but is now in the midst of gentrification. Pais’ film is a journey home for the filmmaker, and his discoveries aren’t particularly surprising: the East Village may be a lot safer than it once was, but like its uptown sibling Times Square, has lost a lot of the character that made it so special in the first place. If you miss the peep shows, punks, and junkies, too, this film may be salve for your wounded soul.

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