The Wasteland Reviewer

The Wasteland Into the Past: 1992

Welcome to The Wasteland into the Past! Join this journey backwards in time as I take a cinematic look at years past. Each article will focus on a singular year and my Top 5 films from that year. Turn back the clock with me…and let’s get started! 

1992

Unforgiven

What is the western that would end the long-lasting era of western as one of American cinema’s greatest genres? By the time the 1990’s rolled around, the western was becoming a fading fixture in American cinema. From the early 1900’s until the 1960’s, the western was one of the premiere genres with the likes of John Ford, John Wayne, the Careys, and Howard Hawks making some of the best films out there. But the 1960s brought about a revisionist period where filmmakers like Sergio Leone and actors like Clint Eastwood started taking the genre in a darker and more brutal direction. After Wayne, Eastwood is one of the biggest figures in the history of the genre, and he starred in some of the greatest films of the genre. But in 1992, he created the ultimate revisionist western that would tear down the mythos that surrounded this genre. A Best Picture winner, Unforgiven is a challenging and powerful western that explores the darkness of humanity and how morally gray the world is. The story begins when a poor sex worker is cut up by a cowboy and very little is done to remedy the situation. The mistress of these se workers decides to put a bounty on the cowboy and his partner. This choice brings the key players of the film to the small town of Big Whiskey. Some aging gunslingers find their way to this town now run by the ruthless and tough Sheriff Little Bill Daggett. From a filmmaking standpoint, this is one of the most striking parts of Eastwood’s career. The gorgeous landscapes of the frontier are so striking through the lens of Jack N. Green’s cinematography. There is a texture to the film and an impressive use of shadows and darkness. The music composed by Lennie Niehaus is poignant and beautiful. The film packs quite the punch with the impressive tension that Eastwood crafts. The slow burn and emotional weight of the film levies pressure on the audience as they experience the true strain that death puts on the human soul. The film explores the lies of the past and how tall tales covered but the awkward, brutal, and violent events that truly laid the foundation of the old west. Eastwood plays Bill Munny who is a reformed gunslinger who now struggles to raise his kids and work on his farm as a widower. But a rambunctious and overly confident young man (Jaimz Woolvett’s Schofield Kid) gets Bill to join his hunt to kill those cowboys. Munny is a reformed man who struggles to achieve what he did as a young man (especially now that he has a conscience and he has aged). Munny’s best friend (Morgan Freeman’s New Logan) fills out the trio. Bill, Ned, Schofield, Little Bill, and Richard Harris’ English Bob all go on compelling journeys that present certain characteristics but evolve over the course of the film. Violence is brutal, awkward, and random in the film. No fancy gun tricks or big, heroic gestures appear in this harrowing and powerful film. Eastwood delivers a transformative performance that goes from reluctant and ill-equipped older man to a terrifying monster of a human ripped from Munny’s drinking and criminal years. The final scene of the film feels like a terrifying dose of reality that the heroes of legend just might be cold, brutal killers with Eastwood going from a husk of himself to one of the most terrifying forces on the big screen. Hackman is a sly and intense presence (winning an Academy Awards) who gives the film a strong antagonist while Freeman, Harris, and others deliver some strong supporting performances as they fill out this rich tapestry of different western players. This powerful film redefined what a western could be and delivers an engrossing, complex, and rich cinematic experience.                                                                                                                                                                                

The Muppet Christmas Carol

What is your go-to film to watch during the holidays? One of the most iconic stories for the Christmas season comes from legendary author Charles Dickens…A Christmas Carol. There are so many different versions of Dickens’ novella on screen but there is one specific version that is endlessly charming and captures the wonderful spirit of Christmas. The Muppet Christmas Carol is such a wonderful adaptation because it is shockingly accurate in that it brings Dickens’ words to life and still offers up all the Muppets charm that you could ask for. The film is brought to life with a clever framing device that helps tell the story but also brings in the fun and clever humor of the Muppets along the way. Having Gonzo portray Dickens was a master stroke as his dry humor makes for such a compelling storyteller with Rizzo the Rat along the way for some grounded, salt-of-the-earth comic relief. The meta humor that they incorporate is great and gives the film a wonderful personality that is hard to argue with. Michael Caine was inspired casting as Ebenezer Scrooge as he embodies the grumpy and cold nature of the man but also sells every bit of nostalgia, vulnerability, regret, and joy that cracks through as Scrooge evolves over the course of his fateful evening. Each Muppet is perfectly cast with Kermit as the always honorable and kind Bob Cratchet, Piggy as his tough and supportive wife, Fozzy as a hapless businessman, and Statler & Waldorf as the Marley Brothers. There are so many wonderful scenes through the film that balance the joy of Christmas, moving moments of regret and forgiveness, and some truly eerie moments (this certainly delivers on the “ghost tale” elements of Dickens’ novella). But the element of the film that truly shines is the musical numbers. Funny, moving, and charming, The Muppet Christmas Carol delivers a whole slate of iconic and catchy songs that bring this story to life. “Scrooge” is a playful and fun send-up of Scrooge that paints a vivid picture of who this terrible man is. “One More Sleep ‘Til Christmas” is a moving and tender expression of the holiday. “Marley and Marley” is a biting commentary on greed with some impressive visuals (those chains are impressively well done). “When Love Is Gone” is a showstopping song full of immense emotion that you might be shocked someone wrote it for a family film. “It Feels Like Christmas” is a charming and joyous song performed by the best new Muppet in the film, The Ghost of Christmas Present (and large absent-minded spirit). “Thankful Heart” is the perfect crescendo of Scrooge’s story, and the montage of his new Christmas day is just full of joy. The Muppet Christmas Carol is the perfect Christmas film that captures the meaning and spirit of the holiday while telling a great story full of impressive songs and puppetry.  

Reservoir Dogs

What is the indie film that changed the game? Once Quentin Tarantino showed up on the scene, cinema changed forever. As one of the fixtures of the independent film movement, Tarantino delivered a crime thriller with a wonderfully complex nonlinear narrative and some of the sharpest dialogue you are ever going to find. These along with the pop culture framework are the elements that would go on to define Tarantino’s through today. With Reservoir Dogs, Tarantino changed how people perceive film and what it can offer. This film is one of the most influential films of the last 35 years and is the foundation that Tarantino was able to create a truly iconic film like Pulp Fiction. From a filmmaking standpoint, Tarantino does so much with so little. A small budget does not stop this young, brash filmmaker from delivering a sharply directed film with a visceral and engrossing visual perspective. The camera feels like another member of the crew at times as it witnesses all the in-fighting and paranoia that mounts in the aftermath of this botched heist. Other scenes like the diner scene see the camera spinning around, capturing the whole team in an authentic and raw type of way. The music in the film is just a taste of the needle drop excellence that Tarantino brings to his films. The use of “Little Green Bag” by George Baker Selection makes for one of the coolest slow-motion shots in the film with the crew walking together in their matching suits, oozing cool and confidence. But the song that will always be attached to this film is Stealers Wheel’s “Stuck in the Middle with You” thanks to the unhinged moment of Michael Madsen’s Mr. Blonde dancing and cutting the ear off a cop. The speaking into the dismembered ear was a mark of genius by Madsen which just sells this disconnected, inhumane nature of his natural born killer. But the filmmaking is just the iceberg with such an incredibly written film. Arguing about tips for waitresses to choose colors to the paranoia tension between crew members, Tarantino delivers some of the most effortlessly cool dialogue you will find in film. Most people don’t speak this way…but Tarantino made it cool, if they did. The nonlinear approach to the story opens the door to some impressive storytelling. The mystery around the heist keeps up as Tarantino only reveals needed details when the time is right and it would deliver the best dramatic impact. Elements of character backstories are injected in perfectly which only adds to the dimensions of these characters and their dynamics. The big twist of a mole in the crew makes for some shocking moments and, later, some deeply emotional moments. The audience finds a connection with some of these characters, and it makes the tragic final moments of the film so much more impactful. The cast is dynamite with some serious actors bringing great depth to Tarantino’s debut effort. Harvey Keitel is the anchoring force as a talented and well-established veteran of the big screen. Tim Roth turns out to be the closest we have to a true protagonist, and his iffy accent does not get in the way of this powerful and vulnerable performance. Madsen is dark, intense, mysterious, and darkly funny as the wildcard in the team and Steve Buscemi portrays the motormouthed and suspicious Mr. Pink so perfectly. This pitch perfect debut crime-thriller is a great film in its own right…but the greater context of changing the indie game and deliver Tarantino makes the film legendary.

A League of Their Own

Did you hear…is there really no crying in baseball?! An iconic line that transcends its film will immediately make you think of a riled-up Tom Hanks tearing down one of the ladies on his baseball team. A League of Their Own just might be one of the greatest baseball movies of all time and baseball is one of the top two ultimate sports to make great sports movies with. The drama that comes along with this sport is ripe for the cinematic experience and director Penny Marshall knew that quite clearly. This film tells one of the most unique and interesting stories in the storied history of “America’s Pastime”. During WWII, many of the best players in baseball went off to war to fight for their country and that left quite the void in American culture. What filled that void was a league for women baseball players. A fictionalized version of these events comes to life in Marshall’s film as Geena Davis’ Dottie and Lori Petty’s Kit find themselves playing for the Rockford Peaches. These two sisters have plenty of tension and drama between them with Dottie being the reluctant star and Kit living in her big sister’s shadow. Their conflict is at the core of the film and drives plenty of the tension and emotion that Marshall musters throughout the film. This leads all the way up to the final play of the film with a shocking and powerful collision at home plate. But there are plenty of other great characters along the way who fill out this charming and moving film about stepping up and living your dream. Madonna’s Mae is a talented and promiscuous member of the squad along with her best friend, Rosie O’Donnell’s Doris (the powerhouse of the team). Megan Cavanagh is one of the film’s core members as the talented Marla Hooch who is not taken seriously due to her looks. Hanks is one of the film’s best elements with his drunken manager Jimmy Dugan making quite a mess of himself throughout the film. Hilarious in one scene (through brashness and vulgarity) and quite tender and inspirational in the next, Hanks almost steals the film out from under these talented women. The underdog narrative of these women capturing the attention of American society is inspiring and beautiful. The classic period setting gives the film plenty of personality. Plenty of humor from Hanks, Jon Lovitz, and others gives you plenty to engage with. But Marshall’s tender and sincere approach makes for such an iconic and powerful cinematic experience.

My Cousin Vinny

What is that movie that all Italian Americans can get behind? My Cousin Vinny. This is that classic tale of a New York Italian American taking a trip down to the deep south to represent his cousin when he is charged for murder (a tale as old as time). My Cousin Vinny has something for everyone! There is the crime element of the story and the mystery around who really killed the man at the convenience store. You have the romantic elements of the story with Vinny and his girlfriend, Mona Lisa, as they navigate their relationship in an unfamiliar setting and with the stress of a big case on his shoulders. You get plenty of laughs too as this just might be one of the funniest films about a murder you are going to find. Director Jonathan Lynn balances the tones well as this delivers quite a charming atmosphere that has some serious stakes, but it never takes itself too seriously. Is this really the type of film where the main character fails and his cousin gets the electric chair? No…of course not. When you have a film like My Cousin Vinny, you know you are in for plenty of fun. The “fish out of water” nature of Vinny’s journey opens the door for plenty of humor and laughs. The discourse over grits, trains, and suits made of cloth is just delightful. Joe Pesci gets to focus on making the audience laugh and empathize (unlike his Scorsese work where he means to unnerve and terrify the audience). His comedic timing is hilarious, and his aggressive New Yorker sensibilities just feel so authentic. The two “Youts” will never get old. Vincent Gambini is a man who is not refined but he is clever and a master storyteller. The way that Vinny navigates the courtroom dynamics is so much fun ass he punches holes in the prosecution’s case at every turn. But it is the Academy Award winning performance of Marisa Tomei who steals the show. Mona Lisa is a fiery woman who is tough, smart, and supportive…but she will tell you off if she needs to. Her monologue about hunting is one of the funniest things in the film as well as her biological clock ticking. There are plenty of fun supporting turns as well with Herman Munster himself Fred Gwynne delivering a wonderfully fun and committed turn as the Honorable Judge Chamberlain Haller. You have Ralph Macchio, Lan Smith, Austin Pendelton, Bruce McGill, Maury Chaykin, and James Rebhorn sprinkled in as well. A wonderful cast of character actors deepens the experience for sure. The writing is so sharp too with a clever bit of lawyering from Vinny and plenty of hilarious running gags. One of the most charming films you will ever find, My Cousin Vinny is a wonderful representation of Italian Americans and one of the best comedies of the 1990s.