R.I.P., M. Emmet Walsh

 

I was saddened to learn of the death of perennial "irascible old man" character actor M. Emmet Walsh, maybe best known for BLOOD SIMPLE, but also BLADE RUNNER, STRAIGHT TIME, WHITE SANDS, THE GLASS SHIELD, CANNERY ROW, CRITTERS, MISSING IN ACTION, one of the most memorable episodes of TALES FROM THE CRYPT, and a whole raft of others. R.I.P.

Only now does it occur to me... CANNERY ROW

Only now does it occur to me...  that if you've been wondering all this time what a Nick Nolte Indiana Jones would have looked like (Nolte notably passed on the roles of Han Solo in STAR WARS and Jones in RAIDERS OF THE LOST ARK), then you need look no further than this freeze frame from the John Steinbeck adaptation, CANNERY ROW:

As for the film itself, despite nice turns from Nolte, Debra Winger, and M. Emmett Walsh, it fails to capture the ever-amusing humanism of the novel (and its sequel SWEET THURSDAY) ...and is fairly unwatchable.

Film Review: THE GLASS SHIELD (1994, Charles Burnett)

Stars: 3.8 of 5.
Running Time: 109 minutes.
Notable Cast or Crew: Michael Boatman (CELEBRITY MOLE HAWAII, HAMBURGER HILL), Lori Petty (POINT BREAK, TANK GIRL), Ice Cube (GHOSTS OF MARS, THREE KINGS), Bernie Casey (IN THE MOUTH OF MADNESS, SHARKY'S MACHINE), Richard Anderson (THE SIX MILLION DOLLAR MAN, FORBIDDEN PLANET), Michael Ironside (TOTAL RECALL, EXTREME PREJUDICE), M. Emmett Walsh (BLOOD SIMPLE, STRAIGHT TIME), Erich Anderson (FRIDAY THE 13TH PART IV, MISSING IN ACTION), Wanda de Jesus (BLOOD WORK, THE INSIDER), Don Harvey (CREEPSHOW 2, DIE HARD 2), Tommy Redmond Hicks (SHE'S GOTTA HAVE IT, JOE'S BED-STUY BARBERSHOP). Cinematography by Elliot Davis (SHAKES THE CLOWN, OUT OF SIGHT).
Tag-line: "In a world filled with violence... his only weapon is the truth!"
Best one-liner: "Puttin' in a little overtime, Fields?" (malevolently uttered by Michael Ironside)

Charles Burnett is one of America's greatest, most underrated independent filmmakers. His film KILLER OF SHEEP has recently undergone a critical rediscovery, and his masterpiece, TO SLEEP WITH ANGER, is a work of great power and possibly the finest entry in the "houseguest from hell" subgenre. Seriously, I can't recommend TO SLEEP WITH ANGER enough– it weaves FAUST, Southern folklore, realistic family dynamics, and Danny Glover's finest, most devilish performance into a corn-whisky-stained tapestry of down-home tension (with frequent humor!). Not available on DVD, I was able to finally see TO SLEEP WITH ANGER at the Museum of Modern Art's (in NYC) retrospective of Burnett's work. So rent the VHS, because it's worth it.

Anyway, that leads me to my next point. After ANGER failed to achieve the financial success that it deserved, Burnett decided to try something a little more commercial. Enter THE GLASS SHIELD. A muck-raking, Southern Cali true-crime tract in the mode that would define such later films as L.A. CONFIDENTIAL, TRAINING DAY, and DARK BLUE, THE GLASS SHIELD tells the tale of a black rookie cop who discovers terrifying levels of corruption in the Sheriff's office where he's been assigned. Marketed as an Ice Cube vehicle (which it's really not), it's a crime drama packed with talented character actors... including Michael Ironside. And so, a fan of Burnett's, I swung by the Museum of Modern Art once more- to see a Michael Ironside movie at the MOMA. It was truly a momentous occasion, and I don't foresee it happening again, at least until MOMA does a HIGHLANDER retrospective (fingers crossed).

On the whole, THE GLASS SHIELD isn't quite as hard-hitting as it wants to be, but it's still quite an enjoyable film. We've got Michael Boatman as the bright-eyed, bushy-tailed recent academy graduate who's about to enter a racially-charged quagmire of dirty cops and dirtier D.A.'s where no one can emerge unsullied.


As the corrupt buddy-detectives, we have M. Emmet Walsh

and Michael Ironside.

Seeing these two giants of character acting playing evil buddies truly warmed my heart. Walsh is a terminally ill good-ole boy wanting to provide for his family. He plays it with that standard 'goobery Walsh élan' which the man is well-known for. Ironside fans will find a lot to like as well: we see him holdin' a baby, making a ship in a bottle, saying "about" in such a manner that betrays his Canadian origins, and headlining his own bowling team called the 'Rough Riders.'

MICHAEL IRONSIDE IS KEEPING AN EYE ON YOU

As a team, Walsh and Ironside make a pretty fantastic, villainous peanut gallery, and, as a mind-blowing coup de grâce of things one should never see, Michael Ironside and M. Emmett Walsh share a make-out session. Well, actually, that's something of a lie: Michael Ironside performs CPR on M. Emmett Walsh, but you have to admit it sounds a little more newsworthy when I phrase it the other way. Anyways...

Then we got that staple of the early 90's: Lori Petty playing Lori Petty... that is to say a misfit, no-nonsense, spunky l'il lady with a short haircut.

I have to mention that she and Michael Ironside also co-starred in 1993's FREE WILLY, and he chose her to star in the only movie he's ever directed, 1999's THE ARRANGEMENT. They had to have been buddies. I like to imagine Lori Petty in a redneck bar, perhaps uttering something smart-assed and offensive, drawing the ire of like a dozen lead-pipe-wrench-slinging guys in Confederate flag bandanas. They circle her and chuckle, nefariously. Then Ironside shows up and starts beating the hell out of them as Lori Petty gulps purloined Black Label, straight from the tap. If somebody wants to turn this into a buddy movie, I will gladly pay to see it.

Then there's Ice Cube as a fall guy. Mr. Cube brings some genuine pathos to the role- as films like THREE KINGS and even GHOSTS OF MARS have indicated, he's got some acting chops and an innate likability even when he's playing sort of unlikable characters.

On the right there is Don Harvey as a redunkulously racist, simple-minded cop. You may remember him as the Kevin Bacon-meets-Peter Weller villainous sidekick from "Ol' Chief Woodenhead" in CREEPSHOW 2.

Then there's some nice, featured-supporting turns for Elliott Gould (as a crime victim...or is he?), Bernie Casey (as a severe defense attorney), Sy Richardson (as Ice Cube's father-in-law), Tommy Redmond Hicks (as a crusading preacher), and Richard Anderson (as the corrupt police chief). The cinematography by Elliot Davis is moody, shadowy, and possessing a deep, rich color palette. Also of note is Stephen James Taylor's minimalist score, full of ominous tones and disquieting screeches.

There are some scenes that ring rather false, and there's use of that old standby corrupt cop movie cliché "Dont...trust...anybody," but on the whole, it's entertainment + muck-raking in a tight, well-constructed package. I have no problem giving it nearly four stars.

-Sean Gill

Film Review: WHITE SANDS (1992, Roger Donaldson)

Stars: 3 of 5.

Running Time: 101 minutes.

Notable Cast or Crew: Directed by Roger Donaldson (COCKTAIL, SPECIES, THIRTEEN DAYS). Starring Willem Dafoe, Mickey Rourke, Samuel L. Jackson, Mary Elizabeth Mastrantonio (SCARFACE, THE ABYSS), M. Emmet Walsh (BLOOD SIMPLE, STRAIGHT TIME), John P. Ryan (CLASS OF 1999, FATAL BEAUTY, THE COTTON CLUB), Miguel Sandoval (JURASSIC PARK, REPO MAN), Maura Tierney (ER, SCOTLAND PA), Royce D. Applegate (Rev. Brocklehurst on TWIN PEAKS, UNDER SIEGE 2), and cameos by Mimi Rogers (WEDLOCK, THE RAPTURE) and (failed presidential candidate) Fred Dalton Thompson.

Tag-line: "The most dangerous way to solve a murder... become the victim."

Best one-liner: "I've never met anyone like you...you're honest...even when you're lying."

WHITE SANDS is a mediocre conspiracy thriller in the mold of countless others, but it remains watchable because it's packed to the gills with talented and eclectic performers. Frequently, it's a complete rip-off of the underrated, underseen FLASHPOINT (1984): from the Tangerine Dream-y score to the desert discovery of a mysterious body with a shitload of cash to Kurtwood Smith's monologue about how sedition, chaos, and crime are the lifeblood of the government (here delivered by Mickey Rourke)- it's really quite shameless. Regardless, Willem Dafoe plays a cop whose suburban New Mexican existence is so insipid that he decides to impersonate the dead man on a whim, kind of just to see what happens.

Dafoe, as directed by Roger Donaldson (COCKTAIL, SPECIES) is pretty restrained, but there are a few fantastic moments which creep through- mainly Dafoe's childlike excitement at going undercover. There's a whirlwind of excitable eyebrow action, and his cheerful naïveté ("I can be a Bob!") is truly something to behold.

This is the most exciting moment of his life. But the tables soon turn- he becomes a victim of clothes-slashing lesbians:

Willem Dafoe: brutalized by lesbians.

makes the acquaintance of slippery (uncredited) arms dealer John P. Ryan:

John P. Ryan: once again, underappreciated. See also: my review of FATAL BEAUTY.

begins a war of wills with intense FBI man Sam Jackson:

Hold on to your butts

and begins a whirling dance of death (on eggshells) with enigmatic malfeasant Rourke (who is always compelling, even when phoning it in- as is proved here):

Mickey Rourke: smug, because he thinks he just swindled the producers for a paycheck by 'phoning it in,' when in reality, he couldn't help but deliver an intricate, multi-faceted performance.

We've got some 90's neo-noir action with Mary Elizabeth Mastrantonio ("You're not the kind of woman I'd expect to see in a rodeo." –"I'm not the kind of woman you'd expect." GROAAAAN); a healthy dollop of skeezy n' sleazy

M. Emmet Walsh in a bolo tie (is there any other kind?); and bit parts for everyone from Maura Tierney to Miguel Sandoval:

'Why does everyone forget that I was in JURASSIC PARK?'

to that guy (Royce P. Applegate) from the DIFF'RENT STROKES kidnapping episode ("I will kill your parents, Sam"). They even manage to work in a Dafoe shower scene which lends credence to my theory that Dafoe might actually be naked more often than Keitel.

Three (ensemble-cast) stars.

-Sean Gill

Film Review: STRAIGHT TIME (1978, Ulu Grosbard)

Stars: 4 of 5.
Running Time: 114 minutes.
Notable Cast or Crew: Writers Eddie Bunker, Jeffrey Boam (THE LOST BOYS, INDIANA JONES AND THE LAST CRUSADE), and an uncredited Michael Mann. Starring Dustin Hoffmann, Harry Dean Stanton, Gary Busey, Kathy Bates, Jake Busey, M. Emmet Walsh, Theresa Russell. Damn, what a cast!
Tag-line: "Please God, don't let him get caught."

STRAIGHT TIME is yet another one of those excellent, underrated crime dramas that seemed to flow so effortlessly out of the 1970's. Based on Eddie Bunker's novel NO BEAST SO FIERCE, it's a rumination on a life lived in and out of institutions: compelled to submit to Draconian rules and forced to undergo humiliation after humiliation until the core is so deadened that nothing even matters any more.

'Prison' and 'freedom' become just two sides of the same fucked-up coin to him. Bunker's work is completely earnest and always has the ring of truth to it- there are no one-dimensional characters here, and it's exceptionally well-acted.

Bunker in a brief role as, basically, himself.

Dustin Hoffman (who, from accounts, co-directed, and originally bought the film rights to Bunker's novel) is our recently-released career thief who genuinely sets out with the intention of going straight. M. Emmet Walsh is the slimy parole officer with an occasional glimmer of 'straight talk' humanity, but who ultimately enjoys being a cog in a wheel of a rotten system.

Gary Busey is a shaggy old buddy who appears to lead a squeaky-clean life (with long-suffering wife Kathy Bates and real-life son, Jake), but who's ready to cook up some H in a spoon as soon as the missus turns her back.

Theresa Russell is a spunky temp agency clerk who strikes up rapport and romance with our hero.

Even at the tender age of 20, Russell possesses the presence and depth of an actress far beyond her years: I'm reminded of Lauren Bacall storming the industry at 19 with complete poise and assurance- Russell's truly one of the greats. And she does her thing in a role that now, in 2009, would be a complete throwaway 'girlfriend' part. Harry Dean Stanton plays a sidekick who's as at home singing "Hand Me Down My Walking Cane" with an acoustic guitar as he is terrorizing a bank with a sawed-off shotgun.

"How was I, was I good?" -"You scared the shit outta me!"

Every character seems like a real person- there's no 'too cool' antiheroes or satanic bad guys, and that's, in short, why it works.

For more of Bunker's potent artistry, see RUNAWAY TRAIN and ANIMAL FACTORY.

-Sean Gill

Film Review: BLADE RUNNER (1982, Ridley Scott)

Stars: 5 of 5.
Running Time: 117 minutes.
Notable Cast or Crew: Harrison Ford, Sean Young, Rutger Hauer, Daryl Hannah, M. Emmet Walsh (MISSING IN ACTION, BLOOD SIMPLE), Edward James Olmos, Joe Turkel (the Bartender in THE SHINING), James Hong (BIG TROUBLE IN LITTLE CHINA), Brion James (HOUSE III), William Sanderson (DEADWOOD), Joanna Cassidy (THE OUTFIT) . Cinematography by Jordan Cronenweth, music by Vangelis. Based on the novel DO ANDROIDS DREAM OF ELECTRIC SHEEP? by Philip K. Dick.
Tag-lines: "Man Has Made His Match... Now It's HIS Problem!" Wow.
Best one-liner: "Wake up, time to die!" (often and enthusiastically quoted by Abel Ferrara on his commentary track for THE DRILLER KILLER)
Schlitz Sign Sightings: 2

On a TV, BLADE RUNNER's an essential film; on the big screen, it's a revelation. From the ominous opening tones and expository scroll to the first shots of fireballs bursting forth from futuristic smokestacks, the viewer is immediately aware that they're about to embark on something enrapturing, exceedingly rare, and immaculately crafted.

Director Ridley Scott, cinematographer Jordan Cronenweth (ROLLING THUNDER, ALTERED STATES CUTTER'S WAY), special effects artist Douglas Trumbull (2001, CLOSE ENCOUNTERS OF THE THIRD KIND), and production designer Lawrence G. Paull (BACK TO THE FUTURE) merge their talents to create a moody, jaw-dropping, futuristic atmosphere, the likes of which hadn't been seen since METROPOLIS and will likely be never seen again, so long as Hollywood clings to its CGI like a cured fool to his needless crutch.

Though not following his work to the letter, the film wonderfully replicates the Philip K. Dick 'aura'- a world of confusion, filth, wonderment, paranoia, disquiet, and mystery. A smoky Middle-Eastern nightclub with shades of PEPE LE MOKO; an icy laboratory where eyeballs are fashioned from bubbling, frigid vats; a dark, rain-soaked alley, intermittently lit by neon and the flashing headlamps of police spinners;

a sooty, decaying space, full of mannequins, robots, and incessantly chortling mechanical toys; a musty, shadowy, Frank Lloyd Wright-inspired apartment

where Harrison Ford's Deckard pours bottle after bottle of stinging hooch down his throat– the sheer creativity and perfect realization of these places leaves them etched upon your mind, long after the film has finished. Combined with an ethereal Vangelis score, one sits, transfixed and with mouth agape, as one might while experiencing one of the great cathedrals.

Violence is handled with firm-handed Dickian weight: visceral and distressing, full of shrieks and spasms and existential dread. The acting is superb: Sean Young's art deco naivete, Brion James' detached brutality, Rutger Hauer's unsettling perfection, James Hong's yammering hermit, Joe Turkel's thick-lensed mogul, Edward James Olmos' craggy visage, William Sanderson’s sweet gullibility,

Daryl Hannah's raccoon-eyed urchin, and M. Emmet Walsh’s oily countenance all function to develop a colorful landscape of characters, remaining true to Dick's wider vision. Ultimately, Scott possesses a complete confidence in his material, and never second-guesses, never concedes a point, never gives in to showcasing some 'flavor of the month,’ and consequently has created a languid, timeless work of art.

-Sean Gill

Film Review: MISSING IN ACTION (1984, Joseph Zito)

Stars: 4 of 5.
Running Time: 101 minutes.
Notable Cast or Crew: Director Joseph Zito (THE PROWLER, INVASION U.S.A.). Starring Chuck Norris, M. Emmet Walsh (CRITTERS, BLOOD SIMPLE), James Hong (BIG TROUBLE IN LITTLE CHINA). William Sanderson (BLADE RUNNER, DEADWOOD) was supposed to play the M. Emmet Walsh part, but turned it down. Features an original song by Ice-T.
Tag-lines: "The war's not over until the last man comes home."
Best one-liner: "Damn right!"

First off, this is not a RAMBO: FIRST BLOOD PART II (1985) rip-off. RAMBO (which had, literally, 20 times the budget) is a MISSING IN ACTION (1984) rip-off. (Well, unless you subscribe to the account that Cannon read Cameron's treatment for RAMBO and rushed MIA into production in order to preemptively rip it off. But who would believe that? Cannon is like the classiest company ever.) People loved MISSING IN ACTION, and it became Cannon's highest grossing endeavor.

Chuck ended up collaborating with his buddies at Cannon nine times over the course of the next ten years.

The magically jaw-dropping plot is this: Norris tags along on a diplomatic trip to Vietnam, just so he can sneak away and free some POWs that these godless commie bastards have been smugly keeping for no reason whatsoever, other than that they're just a vindictive, duplicitous race of people that don't deserve to shake your hand, not ever.

Chuck's Braddock is so audacious that he makes Rambo look like Casper Milquetoast. Rambo is tortured by his memories. Rambo cries. Braddock walks a straight line through this movie from start to freeze-frame finish. Never changes, never questions, never wavers.



But it's the little (Golan/Globus) touches that really make this work: Viet Cong bringing megaphones into battle so they can taunt American G.I.s, Norris karate kicking a TV, a man shot as he gives the thumbs-up, James Hong (Lo Pan in BIG TROUBLE IN LITTLE CHINA) as a slimy villain who lowballs Braddock by saying HE's the war criminal, Ice T's techno (!) beats that play incessantly throughout all Bangkok scenes, a bulletproof dinghy, and crabby acting legend M. Emmet Walsh as Braddock's greasy old war buddy!

The film has a fairly odd sense of humor (or lack thereof), as well– situations normally played for laughs are presented in an odd, matter-of-fact manner. For example, Chuck's Thai cabbie (actually a Vietnamese assassin) tries to kill him, so Chuck strangles him and escapes the cab. Immediately thereafter, a Thai couple enters the cab and gives him an address. The camera lingers for a moment, and then we cut back to Chuck without any resolution, not even their discovery that their cabbie is dead. Typically, it would be a couple of over the top American tourists getting in the cab, saying some ludicrous one-liner, and then being surprised by his corpse, but here the sense is one of vague concern, as if 'Oh, well, I guess those people aren't going to get to their destination.'

Chuck tools around Saigon killing people, dressed in black- this may as well be a Cannon ninja movie.

His idea of negotiating is to aim a gun at you with a blank expression on his face. At a cocktail party he orders a beer, no glass, then insults some dignitaries. When he blows up the camp, we see the greatest explosions in Golan/Globus history (though, to be fair, I think it's one awesome explosion filmed from several different angles and shown repeatedly). Perhaps the coup de grace is Cannon working in a Thai hooker singing, basically a cappella (with minimal accordion accompaniment), Rod Stewart's "Do Ya Think I'm Sexy?" Yeah, this is pretty terrific. Four stars.

[Side note: in his hotel, Norris watches a SPIDERMAN cartoon marathon, foreshadowing the ill-fated Cannon Spidey movie, designed to be helmed by MISSING IN ACTION director Joseph Zito.]

-Sean Gill

Film Review: CRITTERS (1986, Stephen Herek)

Stars: 4 of 5.
Running Time: 82 minutes.
Notable Cast or Crew: Stephen Herek (director of BILL & TED'S EXCELLENT ADVENTURE, DON'T TELL MOM THE BABYSITTER'S DEAD, THE MIGHTY DUCKS, MR. HOLLAND'S OPUS, and the upcoming DEAD LIKE ME movie), Dee Wallace Stone, M. Emmet Walsh, Billy Zane, Scott Grimes, Don Keith Opper, Terrence Mann (the latter three appear in CRITTERS sequels), the Chiodo Brothers (genius creators of the Critter creatures themselves, and auteurs of KILLER KLOWNS FROM OUTER SPACE!).
Tag-lines: "When you've got Critters... you need all the help you can get," "THEY BITE," and "They eat so fast, you don't have time to scream."
Best one-liner(s): "Dad's all torn up, and mom's got, like, a harpoon thing in her neck, and they're getting bigger!"

What was it about the climate of the 1980's that made tiny, smarmy, hungry, killer creatures resonate so deeply with audiences? I mean, there's the GREMLINS series, which arguably allowed the CRITTERS series to happen, which paved the way for the GHOULIES series, which basically opened the floodgates of lowered quality and we saw everything from MUNCHIES to HOBGOBLINS to FEEDERS. Is it backlash against family-friendly alien fare like E.T.? I could buy that theory. In a casting coup, they've employed Elliot's Mom in E.T., Dee Wallace Stone, as the mother here. There's even a scene where a critter confronts an E.T. plush toy and taunts it.

Or, perhaps, is it a continuation of punk aesthetics and attitude entering the creature feature?

In most of these films, the creatures have what constitutes spiked hair, act in an anarchistically crass manner, and derive quite a bit of fun from the wanton destruction. Sometimes they even rock out to some sweet 80's tunes as they do it.

Well, regardless of the theoretical angles, CRITTERS is a pretty solid illustration of the 80's creature feature. We got young Billy Zane and character actor par-excellence M. Emmet Walsh, we got interstellar bounty hunters for added flavor, characters in general that you care about slightly more than in the usual horror fare, creativity in creature design (the critters move in an uncanny, tumbleweed-esque manner), a small dose of hair metal just to even things out, and then some big explosions at the end just for the hell of it. Four stars of deadly yammering furball fun.

-Sean Gill

COMING SOON: Reviews of CRITTERS 2: THE MAIN COURSE and CRITTERS 3: YOU ARE WHAT THEY EAT.