Point Break (1991, dir. Kathryn Bigelow)

Point Break (1991, dir. Kathryn Bigelow)

What Is It?: A surprisingly effective actioner about a FBI agent infiltrating a surfer/bank thief gang.

What About It?: Yes, the movie that brought Keanu "“Canoe"” Reeves to the masses as an action star and the first action movie directed by a woman to be a financial success. Point Break really isn'’t a bad flick. Bigelow directs with a visual flair and an excellent feel for telegraphing character efficiently. The story itself is fairly standard undercover cop stuff, with buckets of new age-esque hullaballoo, but it somehow feels fresh in Bigelow's hands. In particular, Bigelow's use of an unusual voice over in the montage/extreme sports scenes was a gutsy decision. The Lost Classic can't imagine what it must have looked like on paper, but it worked pretty well. Somewhat ahead if its time, Point Break has spawned many hellish pretenders, but the original stands up.

Why Should I See It?: Because it's a fun movie, if a touch overlong. And there's fine character work handed in by Gary Busey, James LeGros in an early role, and the cranky John C. McGinley. The foot race between Reeves and Patrick Swayze is one of the best committed to celluloid, though the Lost Classic kept thinking of the poor stunt guy who had to run all that way and how stoked Swayze must've been that his character had a mask on.

What Else Is It Like?: The Fast and the Furious (more like a remake than 'similar'), Domino, xXx.

Reserve it at the Multnomah County Library

-- ddt/pdx

From Tugboats to Polar Bears (2004, dir. Matt McCormick)

From Tugboats to Polar Bears (2004, dir. Matt McCormick)

What Is It?: A collection of short experimental films by local filmmaker Matt McCormick.

What About It?: That they are short or that they are experimental should not dissuade you from these delightful films. They are moving, funny, beautiful and thought-provoking, and all without tasting like medicine. The Subconscious Art of Graffiti Removal is the big "hit" among these shorts -- and where the still above is taken from -- a fascinating study in the where's and the why's of Portland's extremely aggressive graffiti abatement program. That and the bold statement -- perhaps tongue-in-cheek, perhaps not -- that, subconsciously, the graffiti abaters are the logical extension of such abstract expressionists as Rothko and Hoffman. Narrated by the delightful Miranda July. Equally engaging is Towlines, a meditation on, and history of, the tugboat. That, and there are shots of pitching flying from the top of a silo and back again from Grounded that the Lost Classic is still daydreaming about.

Why Should I See It?: Because you never see short films and, really, you should. Not because they're good for you, but because they taste great. And, when you're done, go to Matt's website and check out the video to dearly departed Sleater Kinney's Jumpers.

What Else Is It Like?: The Vyrotonin Decision reminded the Lost Classic of a couple of Stan Brackhage's shorts, but otherwise we're not too sure. You tell us.

Reserve It at the Multnomah County Library

-- ddt/pdx

French Connection II (1975, dir. John Frankenheimer)

French Connection II (1975, dir. John Frankenheimer)

What Is It?: The sequel to the 5-time Oscar winner (also available ON DEMAND until 11/16) following NYC detective Jimmy "Popeye" Doyle as he goes to Marseilles to find Heroin Distributor Alain Charnier, last seen getting away in the first film.

What About It?: An unusual sequel, not so much about more action or more chases but more about burrowing into Popeye's character. Allegedly much of the dialogue was improvised and it does have that feel -- Gene Hackman really wears Doyle's skin, but it makes for a somewhat ugly film. Shot with what feels like entirely telephoto lenses, rendering everything flat and in focus. Marseilles is depicted as gritty and urban and the audience is thrust into this confusing, unpleasant world just as Doyle is. When he's kidnapped by Charnier's coolies and, while imprisoned in some flop house, forced to shoot heroin, the film comes alive as we become invested in Doyle and the case.

Why Should I See It?: Primarily for Hackman's striking performance, up there with his best for sure. Also for the big set-piece chase scene. The first had the amazing car chase through Bensonhurst and though Frankenheimer is known for chase scenes -- he made the greatest race car movie of all time, Grand Prix, and Ronin has some of the best chases ever put on film -- he went with a riveting foot race.

What Else Is It Like?: Sudden Impact, Frantic, Rush.

Reserve it at the Multnomah County Library.

-- ddt/pdx

The Harder They Come (1972, dir. Perry Henzell)

The Harder They Come (1972, dir. Perry Henzell)

What Is It?: A nifty outlaw/folk-hero story that introduced reggae to much of the Western world.

What About It?: Jimmy Cliff vaulted to the international music scene with this little low budget thriller, the first feature film to be made in Jamaica and one of the more popular "midnight movies" of the 70's. What's the big deal? Well, it's the music, mainly, as the outlaw tale is fairly well stripped from standard Western genre tropes -- not that there's anything wrong with that. Jimmy Cliff is charismatic as the anti-hero and the realism of the film -- the poverty and squalor of the shanty towns of Kingston -- is affecting. The many chase scenes are shot with a grittiness that leads to an urgency for the whole enterprise.

Why Should I See It?: Because you have a thing for movies with such heavily-accented English that you need subtitles? No, you're seeing this for the great musical numbers by Cliff, Desmond Dekker and Toots & the Maytals, terrific all.

What Else Is It Like?: Third World Cop, White Heat, Countryman.

Reserve it at the Multnomah County Library.

--ddt/pdx

+++++++++++++++++++++++++++++++++++++

Bonus MP3:
Many Rivers To Cross - Jimmy Cliff (from The Harder They Come Soundtrack)

The Last Waltz (1978, dir. Martin Scorsese)

The Last Waltz (1978, dir. Martin Scorsese)

What Is It?: Maybe the most acclaimed concert documentary of all time, filmed at the Thanksgiving Day, 1976 farewell concert of The Band.

What About It?: It's Music Week here at the Lost Classic and what better way to start it off than with this classic concert Rock Doc. Wildly overrated and far from perfect, there is still much amusement to be gleaned from many of the performances. Dr. John is ageless and terrific and Muddy Waters -- clearly enjoying himself -- hands in a great reading of "Mannish Boy". Hell, even Neil Diamond's inclusion, though somewhat baffling, makes some historical sense and the Lost Classic actually digs the tune (from Beautiful Noise, produced by Robbie Robertson a couple of years previous). Robertson, a close friend of Scorsese', is the embarrassingly obvious focus of the film: he's the only one having the time of his life, lucid in his anecdote-telling and visually ecstatic in his playing and singing (unheard -- allegedly his mic was turned off). This is his show and the handful of awkward scenes, misbegotten studio set pieces, and treacly and pretentious overtures it slows down, otherwise ...

Why Should I See It?: ... it's terrific. It was quite a party backstage and everyone is up, up, UP. Neil Young sings a vibrant "Helpless" with a rock of cocaine lodged in his nose (rotoscoped out for release), a disapproving Joni Mitchell sings "Coyote" and Bob Dylan comes off aloof and angry in an awesome hat. That, and The Band play all of their greatest songs, with a phenomenal performance of "The Night They Drove Old Dixie Down" being the highlight.

What Else Is It Like?: Chuck Berry Hail! Hail! Rock N' Roll, The Grateful Dead Movie, Festival Express.

Reserve it at the Multnomah County Library.

--ddt/pdx

+++++++++++++++++++++++++++++++++++

Bonus MP3:
The Weight - w/ Bob Dylan, Neil Young & The Band (03-23-75 San Francisco, CA) (from Move Around Brown)

Dark Days (2000, dir. Marc Singer)

Dark Days (2000, dir. Marc Singer)

What Is It?: A documentary about the "mole people" who lived in the closed tunnels beneath New York City. No alligators make the scene.

What About It?: A fascinating document about homeless people who carve out a place for themselves underneath the city and the continued efforts to find them a place to live by various social agencies. Shot in grainy Black and White largely because the director was told that he would make fewer mistakes as a rank amateur (which is true), visually, the film becomes a metaphor of sorts of how we view those who fall through the cracks of our families and our society. Singer not only got lucky with some amazing sequences -- see the train arriving when his guide is first taking him underground -- he clearly has a knack for framing his subjects. In addition, those selfsame subjects helped him make the film -- the crew was largely homeless people that Singer hired on to assist him.

Why Should I See It?: Because you like your Vérité straight up and you like creepy, dark documentaries. And you like the great DJ Shadow, who composed an incredibly effective score for the film.

What Else Is It Like?: Brother's Keeper, Streetwise, Down and Out in America.

Reserve it at the Multnomah County Library.

--ddt/pdx

Against the Wall [aka Quality of Life] (2004, dir. Benjamin Morgan)

Against the Wall [aka Quality of Life] (2004, dir. Benjamin Morgan)

What Is It?: A well-crafted and heartfelt indie film about two graf writers living in the Mission District in San Francisco.

What About It?: Following Basquiat and Bomb the System, this film, though without the pedigree of the first and without the cash and caché that comes from its NYC location, Against the Wall is honestly a better film than both. Honest being the key word in that this is one of the more genuine films we've seen lately. The story is fairly simple -- and kinda besides the point -- but the director tells it exceedingly well, making the life that these two artists lead more lived in than a spectacle to watch. It doesn't feel like we're watching the characters in a zoo. It's neither preachy nor hectoring about the question of the ethics of street art, and makes the act of "bombing" seem as exciting as to make the characters as junked out as they are about it.

Why Should I See It?: It's a really good film, well-acted and -shot and -directed. And graffiti can be very cool.

What Else Is It Like?: The Graffiti Artist, Groove, Los Angeles Street Art.

Sadly, it's not available at the library as of this writing, but it is available at your local video store and here. Or harass the Multnomah County Library into ordering it.

--ddt/pdx