Headlined by Randolph Scott, Shoot-Out At Medicine Bend is an engaging, oftentimes funny Western that’s currently available as a Manufactured on Demand title (MOD) from the Warner Archive Collection. The feature also contains excellent supporting work from Angie Dickinson and James Garner, who stars as one of Scott’s fellow soldiers.
The story begins on a somber note, as Captain Buck Devlin (Randolph Scott) is too late to save his brother from an Indian attack. His sibling’s death was due to faulty bullets, and Devlin, along with two Army compatriots (James Garner, Myron Healy) head to Nebraska to catch the suppliers that were indirectly involved in the killing.
Although the officers get their clothes stolen while skinny dipping, a group of Quakers offer the men assistance. Dressed as Quakers, the trio head into Medicine Bend, only to find a town that’s rife with corruption. Angie Dickinson is Priscilla King, the brown-eyed beauty who helps run a competing supply store that’s being bullied by the local cutthroats, and Dani Crayne also stars as a salon girl who’s in cahoots with Medicine Bend’s baddies.
Shoot-Out At Medicine Bend (Warner Archive)
Randolph Scott, known as the stoic cowboy from such films as Ride the High Country and Seven Men From Now, brings his dry humor and flair for the absurd to the film, as he alternates between a Quaker and gunslinger outfit (he masquerades as a robber to turn the tables on the bad guys) while trying to bring the culprits to justice.
Though James Garner, Angie Dickinson, and Myron Healy all get their moments to shine in this engaging tale, it’s Dani Crayne who’s the absolute scene stealer. Nell Garrison (Crayne) knows how to lure local cowboys into the town saloon with her beauty and promise of libations, yet underneath her tough as nails exterior lies a good gal waiting to break out. It’s almost love at first sight when Nell meets Sergeant John Maitland (Garland), and her gradual transformation is one of Shoot-Out’s narrative high points.
It’s befuddling that Crayne (she bears a striking resemblance to Scarlett Johansson), didn’t have a bigger career in Hollywood. She plays Nell with a ton of moxie and charisma, and though she also played Helen of Troy in The Story of Mankind, her showbiz career ended in 1957.
One theory is Crayne, who was married four times (Donalde Crayne, singer Buddy Greco, actor David Janssen and stuntman Hal Needham) was too busy for Hollywood, and this following Los Angeles times profileon Crayne displayed a bit of her playfully sarcastic persona.
Shoot-Out At Medicine Bend – Warner Archive
Shoot-Out At Medicine Bend is a Western that hangs its hat on humor and a bit of action, and it’s a mixture that works well for the parties involved (Scott has a terrific fight scene during the final chapter). It’s also great to see Randolph Scott crack a smile or two, and Garner and Dickinson are always terrific. Discovering performances dished out by little known actors is also a great thing, and Dani Crayne is one of the biggest reasons to have a Shoot-Out At Medicine Bend.
One of the many takeaways behindI Am Ali, the inspiring documentary on iconic pugilist Muhammad Ali, is the sincere and deep love he has for his family. Hana Ali and Maryum Ali are two of the children that are interviewed in the film, which also features a plethora of archival footage from the boxer’s illustrious and history making past.
Select sound clips Audio journals collected by Muhammad Ali (and dutifully kept by Hana Ali) are also interspersed in I Am Ali, giving viewers a more intimate look at the boxer. “My best moments are the places of worship with him,” said Maryum Ali during today’s interviews for I Am Ali. “Because he would want to go to prayer service and open the Koran and read and talk to me about life and spirit. That stays with me every morning I wake up.”
Hana Ali also talked about the deep bond she shares with her dad. “I have so much appreciation and love for my father in my heart, that I feel like I am going to explode sometimes,” said Ali, who is currently working on a book on her father that’s tentatively titled At Home With Muhammad Ali: His Untold Legacy.Â
Hana Ali & Mayum Ali – “I Am Ali” (Focus Features)
Click on the media bar below to hear Hana Ali talk about her close-knit relationship with her father (Maryum Ali is also heard in the clip) and the biggest challenge of writing the book:
I Am Ali opens in theaters, On Demand, and Digital HD on October 10.
Patrick Fischler is a virtual scene stealer in everything he’s in, and whether it’s on television (Mad Men,Lost) or films (The Black Dahlia, Mulholland Drive), there’s a good chance his work has come across your doorstep.
With The Pact 2, Fischler is FBI Agent Ballard, a laser focused tough guy who’s bent on catching a serial killer, even if it means alienating his colleagues as well as June Abbott (Grey’s Anatomy star Camilla Luddington), a woman who has a tragic connection to the killer. Though the narrative’s main focus centers on June’s journey (Caity Lotz, who played Annie in the first film, also returns), Ballard is a key player in the equation.
During our phone interview, Mr. Fischler covered a variety of topics, including working with talented The Pact 2 directors (Dallas Richard Hallam, Patrick Horvath), his previous collaborations with Brian De Palma and David Lynch, and the creative opportunities that have opened up thanks to Video On Demand (VOD).
Sidenote: If you’re a huge Brian De Palma fan, Fischler offers up interesting insight about working on The Black Dahlia (since De Palma’s my favorite filmmaker, I’m very biased toward his work, and it’s great that Fischler has an even eyed look when discussing his De Palma experience).
The Pact 2 is currently available on VOD and opens in theaters October 10.
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Agent Ballard is a no-nonsense guy who doesn’t suffer any fools.
I think not suffering any fools is exactly a perfect way to describe it. I don’t think this guy can deal with anyone who’s not excellent at what they want to do. I didn’t want to play him as offbeat or weird – that wasn’t my intention. I think he is socially awkward and he is someone who is incredibly good at what he does and when something slips by he doesn’t tolerate it. If someone’s not doing their job at their utmost best, he’s not someone who hides it.
That can come off as sort of weird and different or intense and all that is accurate and fine, but none of that was in my mind. That’s how it came to me.
There’s a sequence in the middle of the film where Ballard has an intense sequence with June (Camilla Luddington).
You mean the scene when she’s coming out of the bathroom?
Yes.
All of that is accurate – that’s actually great. I think he sees a kinship in her. He sees her as incredibly smart, but she’s doing dumb things. I think that’s driving him crazy. He’s trying to get through to her – and the way he does it, like I said, comes across as intense, for lack of a better word.
In that moment, she’s broken into a crime scene, so for him that’s intolerable. Once he gets past that this was done, he really wants to find everything he can about her and this is their first like real moment fully alone. Every other time either her boyfriend or another cop’s been there. So this is his chance to get really underneath what is really going on with her.
The Pact 2 – IFC Films
The Pact 2 directors have a really unique visual and narrative aesthetic – is that how you felt about working on this project?
Yeah, I think Dallas and Patrick are incredibly talented. What really sold me was when I saw their first movie Entrance which they made for like $9,000. It just had a different quality about it and (the film) drove me to meet them.
When I met with them, I thought they were fantastic and I’d work with them anytime. I really do feel that way. We’ve become friends. They are not cookie cutter (filmmakers).
They love movies. I love movies. I think if you have a passion for film – that’s a drive right there. That just makes you want to do something interesting and not just do what everybody else does.
Who were some of your acting influences during your youth?
I think earlier for me it was Robert De Niro and Al Pacino. Those were the guys that drove me the most. As an adult – the movies they make now, I rarely see. But when I was young, their stuff pushed me to no end. Meryl Streep was always one of my biggest influences. I love how she disappears and what she does completely and wholeheartedly.
When I get a part, I just have to find the part of me that’s in that guy. Even if it’s a tiny little bit, and then just go from there. That’s how I start.
Scott Michael Foster and Patrick Fischler in ‘The Pact 2’ – (IFC Midnight – Credit: Carmen Cabana & Ron Batzdorf, Copyright: Unlocked Door Films, LLC)
My favorite director is Brian De Palma, and you had the chance to work with him on The Black Dahlia. What was it like working with such a visualist?
I grew up a ginormous Brian De Palma fan. Carrie, Dressed to Kill, and Blow Out – I can’t even describe what . . . I probably shouldn’t have seen them the age I saw them. I was quite young when I saw all those movies.
So when I got to meet him when I went for The Black Dahlia – it was a win-win. His style unlike anybody’s. I think what’s held him back recently – he had such a great peak in the 1970s and 80s and I feel like he hasn’t (had) scripts that he’s connected with in the same way. Not that the films haven’t been good – The Black Dahlia had a lot of good stuff in it.
Working with him was great. We were in Bulgaria and we had a great time. The movie wasn’t exactly what I wanted it to be. His visual style was there, but it didn’t kind of connect like I said. Maybe that’s a problem he’s faced recently with his movies, but he is so immensely talented.
Talent doesn’t disappear. With actors, directors, and writers – it just doesn’t go away – we all have projects that doesn’t end up being exactly what we want them to be.
One of your acting highlights must have been working with David Lynch on Mulholland Drive and with Twin Peaks coming back on Showtime….
Oh it’s the best news day for me – I love Twin Peaks.
Two part question. How great was it to be a part of David Lynch’s universe and also – with more streaming and cable network options, is it a great time to be an actor as well as a viewer?
David Lynch is a master and like De Palma – The Elephant Man and Blue Velvet were groundbreaking for me when I was young. Both those movies meant a lot to me. Getting to work with him – and Twin Peaks was my favorite show. When it was on, I was obsessed with it.
Working with Lynch was – we have those moments in our life that we’re always going to sort of cherish. That will be one I’ll always have in my back pocket.
I just remembered as if it was yesterday. He’s a fantastic director with actors not only with what he does visually. What he said to me that day, I’ll never forget. It was great. Working with him was really, really special and I can only hope I get to do it again. So that was amazing.
As for VOD, I will never stop going to a movie theater. There are a lot of people who’ve stopped going to movie theaters because it’s just so easy to watch it at home and that’s fantastic. What VOD and streaming has given us is the ability to watch anything anywhere.
What VOD has done (for actors) is incredible. It’s opening doors to people who wouldn’t get to work if it was just the way it used to be. It’s opening doors for writers and directors. More movies are being made and are being thrown on VOD.
Most people now at home are asking ‘Honey what do you want to watch tonight, let’s see what’s streaming.’ And they just go and look as opposed to, ‘Honey what do you want to watch tonight in the theater, tonight?’ It’s really changed the business, and it’s going to continue to change.
Can you talk about your upcoming projects? Are you working on Shameless and an untitled Warren Beatty film?
With Shameless, I’m going to be in the new season. It was a complete blast. It’s a totally different part that I normally play. It’s very emotional, funny, weird and warped. So I loved doing that.
The Warren Beatty film – it was a phone call. Basically, for lack of a better word, it’s a cameo. If you blink you’ll miss it. But I got to work with him, so my answer was an immediate ‘yes’ when they called.
And the same producers of The Pact 2 did a movie called The Diabolical, which is starring Ali Larter that I’m in and it’s going to be a total rollercoaster ride. So all has been good, I have to say. Things are doing great.
What is your key of staying in the moment?
I don’t get lost in . . . I’m not a method actor. I talk to everybody. I hang out. I can snap pretty quickly into (the scene) unless it’s a very emotional thing. If it’s some kind of emotion, I really need to kind of stand on my own, listen to music, and just be peaceful. But if it’s any other type of job I’m doing, it’s very easy to be Patrick and then be the character. It’s the way I work.
Patrick – thank you for the talk and I hope to interview you for the next one.
Thank you so much, man. It’s a pleasure. Take care.
Caity Lotz & Camilla Luddington in THE PACT 2 (IFC Midnight, Copyright: Unlocked Door Films, LLC, Photography by: Carmen Cabana & Ron Batzdorf)
Co-starring Caity Lotz (Mad Men) and Amy Pietz (Caroline in the City), The Pact 2 is currently available on VOD and opens in theaters October 10.
Released in 1989, the horror thriller Leviathan (98 minutes, R), centers on a mining crew (led by Robocop’s Peter Weller) who discover an abandoned Russian vessel amidst the ocean’s dark waters. Their discovery leads to tragic consequences, as one by one the crew members (which includes Richard Crenna, Hector Elizondo, Ernie Hudson, Daniel Stern, Amanda Pays, and Lisa Eilbacher) fall prey to a slimy monster with an appetite for human flesh.
Directed by George P. Cosmatos (Rambo: First Blood Part II, Tombstone, and the underrated, Charlie Sheen B-flick The Shadow Conspiracy), Leviathan doesn’t completely succeed as a compelling narrative, even though the script was penned by David Peoples (Blade Runner, Unforgiven, Twelve Monkeys). The storyline has similar narrative beats to Ridley Scott’s classic Alien, and if you come to Leviathan with lowered expectations, the picture pays its share of creative dividends.
Peter Weller in ‘Leviathan’ (Shout! Factory)
For one, character actors Crenna (as a morally compromised doctor), Hudson (playing the crew’s resident bad-ass), and Elizondo (he gets the John Hurt moment from Alien) each lend a sense of believability to the proceedings, and co-star Michael Carmine (the 30-year-old died in 1989) showed a rare, natural presence that escapes many actors. As the too cool for school alpha male, Weller’s Steven Beck isn’t a memorable protagonist, as Cosmatos paid more attention to the idiosyncratic behavior of Beck’s motley crew (which also includes a revved up Daniel Stern as an irritant named ‘Sixpack’).
Ernie Hudson, Hector Elizondo, Amanda Pays, Michael Carmine in ‘Leviathan’ (Shout! Factory)
Although Leviathan exists as passable fare, film buffs should check out three excellent interviews on the making of the film:
Leviathan – Monster Melting Pot (40:26) – Special effects vets Tom Woodruff Jr., Alec Gillis and Shannon Shea give a frank look at working with Stan Winston and director George P. Cosmatos on Leviathan. During the segment, Winston’s lifelong perfectionism and desire to craft creatures within a short time window are discussed (Shea also delves into the huge difficulties they encountered making the space suits for Leviathan).
*** There’s a ton of anecdotal material on this special feature – and perhaps the most resonant came from Woodruff Jr.’s recollection of Winston’s generosity. When Woodruff Jr. left to form his own special effects company, Winston actually helped him land jobs for Tremors, Death Becomes Her, and Alien 3.
“(Stan Winston) wanted to see us to succeed as much as we wanted to succeed.” – Tom Woodruff Jr.
Dissecting Cobb With Hector Elizondo (12:36) – Hector Elizondo’s trademark dry humor is in full effect, as he talks about spending three months shooting Leviathan at Rome’s Cinecittà studios. During the interview, he discusses the challenges of wearing the space suit which led to Elizondo’s most dangerous moment on set. He also elaborates on the camaraderie that was on the set among the actors (he describes the late Crenna as a “zen master”).
Surviving Leviathan with Ernie Hudson (15:02) – Ernie Hudson delves into the sets that were created at the Cinecittà studios, and he also talks about shooting some of the water sequences in Malta (Hudson admits that’s not a natural swimmer). Even though he was hand-picked for the role, Hudson smiles during the interview as he remembers working with George P. Cosmatos (he died in 2005), a director he claims is the most “politically incorrect” filmmaker he’s ever worked with:
“(Cosmatos) would say things to people that was challenging, but I know it came from a good place and he meant well. He was a wonderful director who enjoyed what he was doing but it was sometimes very hard to interpret what he was saying and not take offense to it.”
Hudson adds that he has only “respect” and “love” for Cosmatos, a director who was known for his larger than life persona.
Leviathan – Shout! Factory
***Leviathan is now out on Blu-ray is available for purchase on Shout! Factory’s official site.
Jeff Beck’s musicianship and melodic skills place him at the top of the game, and fans of the guitar god can check out his recent journey to Japan . Live in Tokyo, which features the musician performing such tracks as “Stratus,” “Led Boots,” “Cause We Ended as Lovers,” “Big Block,” and “A Day in the Life,” comes out on Blu-ray, DVD and Digital formats on November 24.
The concert was filmed at Japan’s Tokyo Dome City Hall on April 9, 2014, and the event features Beck playing with his new backing band, which includes drummer Jonathan Joseph, guitarist Nicolas Meier, and bassist Rhonda Smith. Always bringing a unique spin on covers, I’m personally excited to see his version of Charles Mingus’ signature tune ‘Goodbye Pork Pie Hat.’
Live in Tokyo is being released by Eagle Rock Entertainment, which also put out the previous Beck titles Performing This Week . . . Live at Ronnie Scott’s and Rock ‘N’ Roll Party.
Opening Friday, The Judge centers on a high powered lawyer (Robert Downey Jr.) who returns to his childhood home after his mother passes away. Reuniting with his family has its share of bitterness, as his strained relationship with his father (Robert Duvall), the town’s resident judge, is seemingly at the point of no return.
Vera Farmiga (Bates Motel) is Samantha, Hank’s (Downey Jr.) ex-girlfriend, an old friend who provides the lawyer with a temporary respite from his familial struggles (Vincent D’Onofrio and Jeremy Strong co-star as Hank’s brothers).
During The Judge press conference, Farmiga elaborated on how Sam provides Hank with a slight semblance of balance:
“I found Sam’s spiritual frequency really alluring in this sweaty Turkish bath of this really unsettled and frenetic (group) of males. She has a serenity to her spirit. Her heart is elastic – she’s like a rubber band until this guy comes and snaps it too hard.”
Click on the media bar below to hear Vera Farmiga discuss the “romantic investigation” behind The Judge:
As expected, Gone Girl debuted at the #1 spot at this weekend’s box-office, scoring another hit for filmmaker David Fincher (The Curious Case of Benjamin Button, The Girl with the Dragon Tattoo). The horror film Annabelle also had a great opening, narrowly missing the top spot with $37.2 million, with the Denzel Washington flick The Equalizer having a solid outing with $19 million. here’s the top 10:
1. Gone Girl – Another hit for director David Fincher, with Oscar nomination buzz surrounding Rosamund Pike’s performance. $38 million
2. Annabelle – $37.2 million
3. The Equalizer – $19 million in its second weekend, and it’s already grossed $104 million worldwide.
4. The Boxtrolls – $12.43 million
5. The Maze Runner – $12 million
6. Left Behind – The faith based feature, starring Nicolas Cage, debuts with $6.85 million.
7. This is Where I Leave You – Family comedy, budgeted at $19.8 million, has made $29 million domestically. Over the weekend, it turned in $4 million.
8. Dolphin Tale 2 – $3.53 million
9. Guardians of the Galaxy – $3.03 million. Domestic total: $323.36 million.
10. No Good Deed – $2.5 million this weekend, but this Idris Elba/Taraji P. Henson flick has surpassed expectations with a $50.16 million domestic haul.
Gunsmoke In Tucson doesn’t carry such A-list Western stars as John Wayne or James Stewart and it wasn’t directed by the likes of John Ford, Anthony Mann, or revered B-movie filmmaker Butt Boetticher.
Movie buffs may recall Mark Stevens from The Snake Pit or the 1946 noir The Dark Corner, but Gunsmoke in Tucson’s most familiar face is Forrest Tucker, best known for his work on the TV series F Troop. Thomas Carr, who spent a majority of his career directing TV shows (Wanted: Dead or Alive, Rawhide), is Tucson’s filmmaker. But who needs big stars when the film’s blessed with a first rate story?
The flick’s opening moments starts with a shot of a hangman’s noose, as a thief is ready to die for attempting to steal a horse. While the man’s son Chip vows revenge, Chip’s levelheaded brother John knows their dad must pay the ultimate price for his crimes.
Years later, we run into Chip Coburn (Mark Stevens), a hardened horse rustler and leader of the Blue Chip gang (Chip’s right hand man, played by John Ward is appropriately named Slick). Just out of jail, Chip’s bent on grabbing his own piece of land and settling down with a redheaded saloon girl named Lou (Gale Robbins), even if he continues to work on the wrong side of the tracks.
But John (Forrest Tucker), now a straight-laced U.S. marshal, is keeping steady watch over his little brother, and isn’t afraid to throw his kin back in jail (or worse, shoot him dead in his tracks) at a moment’s notice.
Also standing in Chip’s way is Ben Bodeen (Vaughn Taylor), a corrupt land baron who doesn’t mind killing and robbing his way to success. Bodeen has also taken Lou as his wife, upping an inevitable showdown with Chip.
Although Gunsmoke in Tucson is framed as a story of two brothers, the narrative mainly focuses on Chip’s major dilemma. How can a horse rustler exist in a world where he’s not part of the town’s criminal underpinnings? Does Chip join forces with the land baron and exact their evil on Tucson, or will he turn reluctant Good Samaritan and help his brother bring Bodeen to justice?
Gunsmoke in Tucson – Warner Archive
Though the film does belong to Stevens (who could pass for Dana Andrews’ long lost brother), Tucker has the flick’s most elaborate action sequence. Armed with a Winchester, U.S. Marshal John Brazos (Tucker) takes on Bodeen’s men on a dusty homestead. Shot in CinemaScope, it’s a scene that would have been great to watch on the silver screen.
Armed with a first rate narrative and solid performances, Gunsmoke in Tucson (80 minutes, Warner Archive) may not possess the proverbial, A-list cast and crew, but it still packs a solid punch.
Paul Thomas Anderson, who last collaborated with Philip Seymour Hoffman and Joaquin Phoenix on The Master, traverses more comedic territory this time around, as he tackles an adaptation of Thomas Pynchon’s novel Inherent Vice.
A shaggy dog mystery featuring Joaquin Phoenix as a way in over his head private eye, Inherent Vice was screened for select press members at the New York Film Festival (as reported in this Indiewire piece).
I interviewed Josh Brolin, who plays police officer “Bigfoot” Bjornsen in the film, and during the chat he talked about working with Paul Thomas Anderson on Inherent Vice (the discussion occurred while Brolin was promoting the overlooked Spike Lee directed feature Oldboy, and he mentions his Oldboy character Joe Doucett in the clip):
Inherent Vice has a limited run December 12 (for Awards consideration) and opens nationwide January 9.
Édgar RamÃrez, seen earlier this year as a priest fighting demons in Deliver Us From Evil, reaches epic heights as Simón BolÃvar in The Liberator. Chronicling the evolution of the South American icon was certainly a daunting task for filmmaker Alberto Arvelo, and though the director mounts various BolÃvar campaigns to visually arresting affect, much of The Liberator’s success rests with RamÃrez’s inspired performance.
We are introduced to BolÃvar as a Venezuelan who’s born into privilege, and his youthful confidence is tempered by his insightful beliefs on equality and social justice, lessons imparted by his tutor Simon Rodriguez (Francisco Denis). After his marriage (a luminous Maria Valverde plays his wife) ends in tragedy, BolÃvar is initially disillusioned and directionless, until he leads a campaign to liberate northern South America.
Édgar Ramirez in The Liberator (Cohen Media Group)
Simon BolÃvar is a near mythic figure, and having been known as fighting over 100 battles against the Spanish Empire and riding over 70,000 miles on horseback, it’s easy to see why Arvelo infuses The Liberator with grand scale storytelling (Gustavo Dudamel’s sweeping and resonant score adds to the mix).
But amidst the battles and BolÃvar’s speeches, the film’s biggest takeaway is RamÃrez, who effectively portrays the inner struggles that reside within this iconic figure. RamÃrez knows that before one portrays a legend, he must play the actual man (BolÃvar died of tuberculosis at 47).
Filmed in Spain and Venezuela, The Liberator is also pleasing to the eye, as Arvelo and crew get the most out of the project’s reported $50 million budget. Now playing in limited release, The Liberator (119 minutes, R) is a narrative that should be seen on the big screen, especially if you love historical epics.
**In the audio clip below, RamÃrez explains how Simón BolÃvar’s personal loss inspired his lifelong quest for freedom and liberty:
