Friedkin returns to the streets with ‘To Live and Die in L.A.’

TO LIVE AND DIE IN L.A. (1985)

By TERRY R. CASSREINO

By winning the Oscar for “The French Connection” in 1971 and following it two years later with “The Exorcist,” William Friedkin made a name for himself as one of the best, most successful young film directors of his time.

Then came a string of misses. A long string of misses. In fact, Friedkin’s spotty career has produced a host of disasters that include the killer tree film “The Guardian” and a so-so cable television remake of “12 Angry Men.”

Friedkin recently finished his first film in five years, “Killer Joe,” set for release later this year; the film is about a man in debt who decides to kill his mother for the insurance. With a cast that includes Matthew McConaughey and Emile Hirsh, Friedkin hopefully will regain his voice.

Until then, you have go back almost 26 years to find the last great film Friedkin directed. “To Live and Die in L.A.” hit movie screens in November 1985 – the first Friedkin crime drama since “The French Connection.” While the action this time is on the West Coast, “To Live and Die in L.A.” is just as riveting and exciting.

Robert Duvall does justice to Pat Conroy’s ‘The Great Santini’

By TERRY R. CASSREINO

THE GREAT SANTINI (1979)

Robert Duvall has had an impressive film career playing a key role in many classic American motion pictures, including a memorable three from Francis Ford Coppola: “The Godfather,” “The Godfather, Part II” and “Apocalypse Now.”

But one of Duvall’s best performances, and a wonderful film in its own right, almost never was released to theaters. Duvall played the title role in the 1979 film “The Great Santini” – but the movie sat on the shelf for months.

Based on the best-selling autobiographical novel by Pat Conroy, Duvall played the main role of Bull Meechum, “The Great Santini,” a gruff, bull-headed, hard-nosed Marine colonel who had a complex relationship with his family – especially his son.

The film, adapted by director Lewis John Carlino, remains faithful to Conroy’s book. As the Meechum family settles into their new home in Beaufort, S.C., son Ben struggles to build a relationship with his overbearing father.

Sondheim’s ‘Sweeney Todd’ bloodies its way to big screen

By TERRY R. CASSREINO

SWEENEY TODD: THE DEMON
 BARBER OF FLEET STREET (2007)

From the minute Johnny Depp appears on screen, gazes toward the distant skyline and sings in a deep voice “No, there’s no place like London,” the movie had me hopelessly hooked.

For two hours, “Sweeney Todd: The Demon Barber of Fleet Street” didn’t let go. The acting, the direction from Tim Burton, the music and lyrics by Stephen Sondheim – all were perfect.

I sat in the Grandview Theater in Madison, Miss., with my wife one night in January 2009 glued to the seat and screen watching what she and I knew instantly was one of the greatest and strangest filmed musicals ever made.

Last week, I wrote about my love of movie musicals [click here], about how they often touch deep emotional chords as the story’s characters suddenly burst into song to express feelings they might not be able to otherwise.

Redford, Dunaway headline thrilling ‘3 Days of the Condor’

THREE DAYS OF THE CONDOR (1975)

By TERRY R. CASSREINO

Robert Redford was at his best in the 1970s when he used his box-office drawing power to make a series of well-crafted, well-acted films that showcased his talent and on-screen charisma.

Besides “The Sting,” “The Way We Were” and “All the President’s Men,” one of my all-time favorite Redford films from that period is “Three Days of the Condor” – a tightly-wound, paranoia-laced thriller from 1975.

Redford teamed with actress Faye Dunaway a year after her critically-acclaimed performance in “Chinatown.” Under Sydney Pollack’s precise direction, the three turned a so-so novel into a crackling suspense film.

The movie’s timing was perfect. By building a thriller around an man caught in a CIA web of deceit, “Three Days of the Condor” appealed to the cynical beliefs of a nation still recovering from Watergate and Vietnam.

Bad movies I love: Cheap, hilarious rip-offs of ‘The Exorcist’

ABBY (1974)

By TERRY R. CASSREINO

Shortly after the box-office success of “The Exorcist” in 1973, studios flooded screens with cheap, American and European knock-offs that played second-run theaters and the drive-in circuit.

From Italian films like “The Return of the Exorcist” and “House of Exorcism”  to Spain’s “Exorcismo” and Turkey’s hysterically funny “Seytan,” film makers cashed in on the hottest craze in cinema: Satanic possession.

Even backers of the original “Exorcist” produced a terrible sequel, “Exorcist 2: The Heretic.” That film was followed years later by the equally bad “The Exorcist 3” and two separate, completely different versions of what was, essentially, “The Exorcist 4.” Let’s hear it for another shining example of Hollywood originality. How could anyone dare to think he or she could duplicate the success of the greatest horror film of all time?

Now, here’s where the fun begins. Buried in this huge, overflowing pile of rotting, stinking garbage of “Exorcist” sequels and cheesy rip-offs are two small gems – movies that are wildly entertaining simply because they are so pathetically awful.

Sneak Prevue Mailbag: Confessions of a movie junkie

By TERRY R.CASSREINO

It’s Wednesday, Middle of the week. And it’s time to introduce a new mid-week feature here at our fast-growing blog: The Sneak Prevue Mail Bag.

Every Wednesday starting today, I will dig deep into the overflowing Sneak Prevue mailbag (yes, in the two weeks we have been publishing we have received a slew of e-mails with questions from readers). And I will try to answer some of the more interesting queries.

So, here goes. And remember, if you have a question for me on anything related to film, both classic and contemporary, feel free to drop us a line at editor@sneakprevue.info. We’ll answer them as soon as possible.

Mr. Cassreino: You mentioned in your Sneak Prevue Web site biography that you worked at the Plaza Cinema 4 in New Orleans East while you were in high school. Did you really? I went there once a long, long time ago with my girlfriend, I think it was back in 1979. We tried one busy Saturday night to enter a sold-out showing of “The Main Event” with Barbra Streisand. And when the usher refused to let me in the sold-out auditorium, I purposely threw a full glass of Coke and popcorn all over him. Was that you? If so, I’m sorry. – J.P. from New Orleans

‘Hard-Boiled,’ ‘The Killer’: The best of Hong Kong action films

HARD BOILED (1992)

By TERRY R. CASSREINO

Early in the violent and entertaining Hong Kong crime thriller “Hard-Boiled,” police Inspector “Tequila” Yuen joins his partner Benny at a local tea house where they plan to arrest a ring of gun smugglers.

After an ambush from another gang member, an explosive gun fight breaks out. Firey-hot tea pots slam into gangsters’ faces. Guns blaze. People, a lot of people, die. The action is over-the-top, heightened by slow-motion effects.

Then we see one of director John Woo’s signature shots: Chow Yun-Fat, who stars as Tequila, slides down the railing of a flight of stairs, a loaded gun in each hand furiously firing away.

Welcome to violent world of the Hong Kong cop and gangster films of the late 1980s and early 1990s, a genre that produced a series of rich, viscerally exciting movies unlike anything seen on screen in the West.

Cars crash, guns fire and the body count steadily rises. These are highly stylized, extremely violent action films. And they are incredibly fun to watch.