THE BEAVER KID: 5/5
THE BEAVER KID 2: 3/5
THE ORKLY KID: 5/5 (Crispin Glover GOAT)
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The Beaver Trilogy 2000
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Terminal Station 1953
I love Montgomery Clift and Jennifer Jones, but I’d never seen this. Melodrama in a train station—right up my alley. Jones and Clift both have indelible qualities that make even their slightest movements significant. There’s a slowness here, a strangeness, a feeling of great contradiction—it’s both deeply romantic and anti-romantic. There’s real heat between Jones and Clift when they’re in the empty train car—so much builds to that. The whole thing is claustrophobic and thick with some kind of haunted feeling. I love that we don’t see any before or after—it’s only these confused hours at the station.
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Catchfire 1990
What the fucking everloving fuck? Can’t believe I’d never seen this. Jodie Foster is an artist (I think she programs words on signs) who doesn’t look at the road when she’s driving, crashes, and then witnesses a mob hit. The mobsters come after her. She has a poster that says ISLE OF FEAR up on her wall. Weird half-naked people live behind her. Her boyfriend, played by Charlie Sheen, eats a frozen pizza out of the box, I think, and…
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Angie 1994
On the surface, Martha Coolidge’s ANGIE seems like a strange film to choose to talk about from a watershed year that also gave us PULP FICTION, THE HUDSUCKER PROXY, THE LAST SEDUCTION, AMATEUR, CROOKLYN, and many of my other all-time favorites. In 1994, I was fifteen going on sixteen. I loved movies. I’d gotten very serious about them, writing a couple of terrible scripts, and watching as many movies a week as I could, usually around ten, most of them…
