REPO MAN — SHOCKTOBER!

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Alex Cox caught lightening in a bottle in 1984 with a snarly little L.A.-set independent movie that became a cult classic thanks to the success of its soundtrack (featuring Iggy Pop).

This kooky time-capsule political satire uses LA's hardcore punk scene for its churning dystopic social milieu that our 18-year-old Otto (Emilio Estevez) traverses while getting sucked into becoming a repo man. 

Reaganomics hangs in the smoggy air like a bad fart.

Harry Dean Stanton plays Bud, Otto's father-figure who schools Otto in the code of the repo man as they scout repos in the less glamorous neighborhoods of LA.

"A repo man spends his life getting into tense situations."
"Repo man is always intense."

Such dialogue seems written in stone, especially when the film's theme-carrier, Miller (Tracey Walter) busts out with philosophical gems like, "The more you drive, the less intelligent you are."

 What did he just say?

Now you've got me thinking.

Otto eats generic food at his parents house. His tweet tweet arf arf folks have given their life savings away to a televangelist. So much for college.

Otto's future looks bleak unless he can repo a certain 1964 Chevrolet Chevelle Malibu with a $20,000 reward, and a Neutron bomb-related MacGuffin in the trunk, a nice hat-tip to the plot-driver in the 1955 Cold War thriller "Kiss Me Deadly."

Endlessly watchable, "Repo Man" stands up as an inspired artistic expression amid dark social and political repression.

Here's a great excuse to kick it.

Rated R. 92 mins.

LAST HOUSE ON THE LEFT — SHOCKTOBER!

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Wes Craven's debut film is everything wrong with exploitation cinema. Mean spirited to its core, this film's overriding theme seems to be that society is broken up into three categories: killers, victims, and witnesses.

Amateur filmmaker Craven switches tone between horrific sexual abuse, lighthearted comedy, and hippie crushing thriller.

Schlock.

Just ugly.

Actor David Hess's folk guitar songs point in a dead-end direction. Hess takes a piss at Led Zeppelin's "Stairway To Heaven" with a too often repeated song that states, "And the road leads to nowhere."

I suppose it is fitting for such a piece of shit movie.

David Hess plays Krug, a cigar-chomping killer living out his perverted obsessions on two hippie girls that Krug and his "family" kidnap to torture. 

Wes Craven reworks Ingmar Bergman's significant "Virgin Spring" into something cruel and disgusting.

The specter of the Viet Nam War only hangs over the movie with the thinnest of threads.

The sexual abuse and murder scenes are treated without regard to any meaningful subtext. This is a movie without a soul.

There is no social commentary to be found. This is exploitation for exploitation sake.

Gene Siskel put it succinctly in his review of the movie.

"My objection to The Last House on the Left is not an objection to the graphic representations of violence per se, but to the fact that the movie celebrates violent acts, particularly adult male abuse of young women ... I felt a professional obligation to stick around to see if there was any socially redeeming value in the remainder of the movie and found none."

Rated R. 84 mins.

ZERO STARS

ANORA — CANNES 2024

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LOVE FOR SALE:

SEAN BAKER'S CINEMA

Sean Baker has stepped firmly into the role of America's most sophisticated, articulate, and socially meaningful filmmaker.

Martin Scorsese, Quentin Tarantino, Richard Linklater, Ken Loach, and Mike Leigh should be falling over themselves, praising Sean Baker for his filmmaking gifts.

Not the least of which is Mr. Baker's seamless ability to slip intimately between American regions (Florida, Texas, New York City) to create thoroughly researched, locality specific stories that ring like a bell with authenticity and humor.

Sex-work in America is the topic that Sean Baker continues to mine in all of his films.

Mikey Madison takes no prisoners in her fearless performance as Anora. Russian/American "Ani" works at a Brighton Beach strip club where she meets Vanya (Mark Eidelshtein), the over-privileged son to Russian oligarch, Nikolai Zakharov (Aleksey Serebryakov). 

Shit hits the fan when Vanya's filthy rich folks find out that their son and a stripper are a thing.

Darya Ekamasova is hilarious as Galina Zakharov, a woman with way too much money and power. 

The film's remarkable ensemble cast feeds on the material to achieve incredible set-piece action sequences that explode like indoor fireworks.

"Anora," is yet another film (behind "Starlet," "Tangerine," "The Florida Project," and "Red Rocket") that Mr. Baker wrote, cast, directed, and edited, is yet another quantum leap in modernday cinematic storytelling.

This is a movie that gets into your bones.

It is inspiring that Sean Baker is able to write screenplays with such precise novelistic detail about people interacting in overlooked aspects of day-to-day life in America.

Mr. Baker's dialogue is modernday Shakespearean.

Just stunning.

You want Neo-Modern-Realist Cinema, well here it is. Serious adult filmmaking doesn't get any better than this. All NYU film students should be studying Mr. Baker's films.

You can easily tell in its first 15 minutes why "Anora" won the coveted Palme d'Or at Cannes.

"Anora" is a winner, and an instant classic of American Independent Cinema.

Rated R. 140 mins.