Check it out. I'm getting caught up ever so steadily. Watch out, because I don't have tests until Wednesday at the earliest. Wooeee! Review, Baby, Review.
Die, Mommie, Die
Review by Jon Waterman
**1/2
Angela Arden used to be a big time singer. She made a killing with her sister with her voice. Now, she’s making a killing again. She murders her demanding big shot producer husband in order to get back into the business and finally be free. Family issues won’t make her life easy after all. Her daughter is on to her and is looking for proof, or better yet, revenge.
Charles Busch (“Psycho Beach Party”) stars in this homage to the screen legends of the golden age of cinema. He plays Angela. I couldn’t decide whether he was the lead because he wrote the play (and the script) and it was always intended for him or if there was an extra little parody factor involved. Since Charles is a man playing a woman, was he doing so to say that some of those leading ladies were looking man-ish? Either way, it all paid off. He did a wonderful job. I’d be concerned if he didn’t since he knows the material so well.
Director Mark Rucker handled the parodies and the style very well. I won’t pretend to get most of the more subtle references that may be in the film, but I can at least recognize the more outstanding elements. It’s easy to enjoy the Vaseline on the lens for Angela’s close-ups or the extra shimmer of light placed on her face at all time. Everyone has a good laugh at the exceedingly fake backdrops and the exaggerated facial expressions. The vibrant Technicolor coordinated costumes and the overly purposefully awful acting add to the hokey old movie film feel they’re trying to capture.
The plot gets to be ridiculous. That’s okay, though…it’s supposed to. Just when you think the film is heading somewhere it switches directions, then it switches again, then heads back because it forgot something at point B. Throw in a bunch of unnecessary subplots and time spent with characters that never get fleshed out and you end up getting a “what the –“ ending that can only make you chuckle and appreciate the movie a little more.
If you watch a lot of classic movie channels or are a film buff from the baby boomer generation, then you will really get a kick out of this film. Film students of my generation may have fun and enjoy the concept behind it, but not fully understand it. If you’re a casual movie watcher who basically sees only contemporary films, then this one won’t be for you. The film won’t send people out to the video store and make them want to rent a bunch of classic movies – which is a shame. However, the movie does what it intends to do. Just make sure you’re the right audience for it.
Die, Mommie, Die
Review by Jon Waterman
**1/2
Angela Arden used to be a big time singer. She made a killing with her sister with her voice. Now, she’s making a killing again. She murders her demanding big shot producer husband in order to get back into the business and finally be free. Family issues won’t make her life easy after all. Her daughter is on to her and is looking for proof, or better yet, revenge.
Charles Busch (“Psycho Beach Party”) stars in this homage to the screen legends of the golden age of cinema. He plays Angela. I couldn’t decide whether he was the lead because he wrote the play (and the script) and it was always intended for him or if there was an extra little parody factor involved. Since Charles is a man playing a woman, was he doing so to say that some of those leading ladies were looking man-ish? Either way, it all paid off. He did a wonderful job. I’d be concerned if he didn’t since he knows the material so well.
Director Mark Rucker handled the parodies and the style very well. I won’t pretend to get most of the more subtle references that may be in the film, but I can at least recognize the more outstanding elements. It’s easy to enjoy the Vaseline on the lens for Angela’s close-ups or the extra shimmer of light placed on her face at all time. Everyone has a good laugh at the exceedingly fake backdrops and the exaggerated facial expressions. The vibrant Technicolor coordinated costumes and the overly purposefully awful acting add to the hokey old movie film feel they’re trying to capture.
The plot gets to be ridiculous. That’s okay, though…it’s supposed to. Just when you think the film is heading somewhere it switches directions, then it switches again, then heads back because it forgot something at point B. Throw in a bunch of unnecessary subplots and time spent with characters that never get fleshed out and you end up getting a “what the –“ ending that can only make you chuckle and appreciate the movie a little more.
If you watch a lot of classic movie channels or are a film buff from the baby boomer generation, then you will really get a kick out of this film. Film students of my generation may have fun and enjoy the concept behind it, but not fully understand it. If you’re a casual movie watcher who basically sees only contemporary films, then this one won’t be for you. The film won’t send people out to the video store and make them want to rent a bunch of classic movies – which is a shame. However, the movie does what it intends to do. Just make sure you’re the right audience for it.
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