The recent passing of Roger Corman has sparked a new wave of interest in the career of the independent film icon and trailblazer. Known by such monikers as the “King of B-movies” and the “Pope of Pop Cinema”, Corman helped kickstart the careers of numerous young directors including Martin Scorsese, Francis Ford Coppola, Ron Howard, Peter Bogdanovich, James Cameron, and Jonathan Demme. He also helped launch such stars as Jack Nicholson, Peter Fonda, Dennis Hopper, and Diane Ladd among many others.

Corman began his career in 1955 directing and producing over fifty movies. In the 1970s he moved to almost exclusively producing. In May 1970, he and his brother Gene co-founded their own independent production and distribution studio, New World Pictures. They were perhaps known best for their many exploitation films that put countless directors and actors on the map. But New World Pictures also distributed an array of foreign films from such celebrated filmmakers such as Fellini, Bergman, and Truffaut.

“Death Race 2000” fits snugly into Corman’s exploitation era of producing. Directed by Paul Bartel, this satirical action film was based on a 1956 Ib Melchior short story titled “The Racer”. The movie has all the markings of 1970s grindhouse cinema – a low budget, an anything-goes style, bursts of gratuitous violence, and at times shamelessly sleazy.

The movie is set in the year 2000 (posing as the near future) and takes place in a dystopian America. After what’s referred to as the “World Crash of ’79”, a totalitarian regime took power in the remains of the economically ravaged United States. To offer some solace to the suffering people, the government under ‘Mr. President’ (Sandy McCallum) instituted an annual Transcontinental Road Race – a grueling and violent trek from New York to Los Angeles.

Broadcasted live, the race is known for its flamboyance and brutality. It features five racers, each with their own over-the-top personas and souped-up custom-themed cars. In addition to finishing first, the drivers can also earn bonus points for hitting pedestrians they encounter along the way. Women are worth more points than men, children even more, and the elderly earns the most. It’s a sadistic twist that speaks to the movie’s glaringly obvious satirical edge.

There’s an undeniable wackiness to the entire premise that begins with the racers themselves. There’s the two-time champion and proverbial fan favorite Frankenstein (David Carradine hilariously decked out in a black leather bodysuit, cape, and mask). There’s also the blustering Chicago mobster, Joe “Machine Gun” Viterbo (Sylvester Stallone in one of his earliest credited roles), the tough-as-nails cowgirl, “Calamity Jane” Kelly (Mary Woronov), the proudly racist Neo-Nazi, Matilda “The Hun” (Roberta Collins), and a wannabe Roman gladiator, Ray “Nero the Hero” Lonagan (Martin Kove).

As the drivers and their ride-along navigators tear out across the continental United States, the race is covered by play-by-play announcer Junior Bruce (played with an unhinged enthusiasm by famed Los Angeles disc jockey Don Steele). But while most of the country is locked onto the race, Thomasina Paine (Harriet Medin), descendant of founding father Thomas Paine and the leader of the American resistance, has cooked up a plan to sabotage the event, taking special aim at the beloved Frankenstein.

Vehicular violence and mayhem ensues as the racers fight against each other and against Paine’s loyalists who set up an assortment of traps all along their routes. Weird groupies, priestly political figures, and self-promoting media types give shape to the world and offer screenwriters Robert Thorn and Charles B. Griffith plenty of opportunities for sociological satire. Director Paul Bartel squeezes all he can out of the film’s modest budget, putting together some thrilling race sequences and visualizing a dystopian future that admittedly looks cheap at times but also shows insightful imagination.

And then you have the Roger Corman influence. Corman wanted a violent futuristic sports film in the similar vein as “Rollerball”. He made sure his was particularly brutal, adding plenty of pasty fake blood and crushed bodies. Bartel would later talk about how Corman removed the bulk of the comedy which was a key part of the director’s vision. But there are still hilarious lines delivered with a deadpan seriousness that make them even funnier. It all coalesces into something delightfully campy and just as twisted – a wildly entertaining B-movie that fits snugly into Roger Corman’s eclectic filmography.

VERDICT – 3.5 STARS

Whit Stillman’s “Damsels in Distress” was a nice surprise back in 2011 and it was just as delightful after a recent rewatch. Written and directed by Stillman, “Damsels” is a quirky little comedy that is almost impossible to put in a box. It has its own uniquely wacky sensibility and is driven by its slick dialogue, cleverly constructed narrative, and a delightfully peculiar sense of humor. It’s not a comedy that will have you constantly laughing out loud. But if you’re like me, you’ll be smiling all the way through it.

The story takes place at the East Coast College of Seven Oaks and focuses on a group of three eccentric girls with very unusual perspectives on college, boys, and life in general. Violet (a lights-out Greta Gerwig) is the somewhat awkward group leader. Rose (Megalyn Echikunwoke) is Violet’s cynical long-time friend. Then there’s the peppy and ever agreeable Heather (Carrie MacLemore).

When not talking about fashion or hygiene, the group makes it their goal to enlighten and influence the degenerated student body around them. At freshman orientation the trio locks onto an incoming new student, Lily (Analeigh Tipton). They immediately (and almost forcibly) take her under their wings, teaching her the keys of survival and achievement at the university.

The first thing you notice about the film is the razor-sharp writing which is most evident in the terrific dialogue. The girls converse about everything from frat houses to soap fragrances, and their conversations often wander off into hilariously absurd directions. Gerwig, Echikunwoke, and MacLemore deliver their lines with a deadpan sincerity that sell them completely.

Most of the group’s goals come from Violet and her need to be needed as well as her desperate pursuit of purpose. She heads the campus suicide prevention center. She prefers loser guys (or “doufi” as we come to know them) because they need stable and calming forces in their lives. And she wants to start a new dance craze because of the emotional value past crazes have had on society. There is a sad undercurrent to Violet and certain scenes portray her as pitiful and sympathetic. In fact, Stillman cleverly baits us into laughing at the her and then makes us feel bad for doing so.

But there’s more going on than just this small group of eccentrics talking back and forth. We meet moronic frat guys who make the girls seem like Rhodes Scholars; a clinically depressed group who find tap dancing therapeutic; a self-absorbed Frenchman with a…shall we say…backwards religion; and several other side characters who work well within the story.

“Damsels in Distress” certainly doesn’t fit within the traditional Hollywood comedy mold and that’s actually a strength. I can still see it being too quirky for some audiences. But for me, I couldn’t get enough of the bizarre back-and-forths, the straight-faced line deliveries, and its overall goofy perspective on college life. There’s also heart mixed in with the humor that adds an extra layer to a film that is just as refreshing today as it was 12 years ago.

VERDICT – 4.5 STARS

Netflix’s new girl-power dark fantasy, “Damsel” sees Juan Carlos Fresnadillo, perhaps best known for directing the 2007 apocalyptic horror thriller “28 Weeks Later”, helming his first feature film since 2011’s “Intruders”. Working from a script by Dan Mazeau (“Fast X”), Fresnadillo has loads of fun both embracing and subverting the fantasy genre. The results are a little underwhelming but entertaining, in large part thanks to the energy and charisma of the film’s star, Millie Bobby Brown.

Brown plays a dutiful young woman named Elodie. She’s a member of a benevolent family who rules a people suffering from starvation in a harsh and barren land. One day Elodie’s father, Lord Bayford (Ray Winstone) and her stepmother, Lady Bayford (Angela Bassett) are surprised when an emissary from the extremely wealthy faraway kingdom of Aurea arrives with an offer they can’t refuse. The king and queen of Aurea want to arrange a marriage between Elodie and their son. If Lord Bayford agrees, it would mean an abundance of riches that could save his land.

Shocked at first yet willing to sacrifice for her people, Elodie agrees to marry the prince she’s never met. She, her parents, and her younger sister Floria (Brooke Carter) travel to Aurea with its rolling green hills, lush vineyards, immaculate gardens, and of course the lavish royal castle. Oh, there is that one towering jagged mountain looming ominously in the distance. Otherwise everything looks plucked right out of a storybook.

And that gets to one of the film’s biggest strengths – “Damsel” looks great. The effects team creates some stunning digital environments to go with the beautiful on-location shots in Portugal. And did I mention the dragon? Yep, there’s a marvelously rendered and quite terrifying fire-breathing dragon voiced by the brilliant and distinguishable Shohreh Aghdashloo. More on it in a bit.

Upon arriving at the castle Elodie and her family are greeted by Queen Isabelle (Robin Wright), the meager King Roderick (Milo Twomey) who basically stands in the background and says nothing (and I mean that literally. I’m not sure Twomey gets a single line of dialogue in the entire movie), and of course the quiet but charming Prince Henry (Nick Robinson). As the parents begin making wedding plans, Elodie and Henry start spending time together in hopes of getting to know each other before their big day.

But Mazeau’s story isn’t some ‘happily ever after’ fairy tale. Elodie’s dream wedding takes a dark turn after the just-married bride is cast into the depths of the aforementioned ominous mountain by her new “family” – a sacrifice to the ancient fire-breathing dragon living within. From there “Damsel” turns into a survival tale as the courageous and resourceful Elodie tries to escape from the treacherous belly of the mountain with it’s many dangers, chief among them one angry and embittered dragon.

As she usually does, Brown gives a fully committed performance which helps keep the film on course. She has to maneuver through a handful of cheesy moments, yet delivers a movie heroine who is easy to root for. Not only does Brown effortless fit in with the period fantasy setting, her fierce physicality meets the demand of her role. It also helps to be surrounded by names like Robin Wright, Ray Winstone, and Angela Bassett. While the writing doesn’t always help their characters, the performances are spot-on.

As you watch “Damsel” you’ll probably notice that it wears its girl-power motif on its sleeve. It’s admirable yet at times comes close to crossing the line into heavy-handedness. Certain choices are glaringly obvious and will probably earn the movie some scrutiny it didn’t need. But even with that and other shortcomings with the script, “Damsel” still makes for a mostly fun fantasy adventure. It proudly embraces several classic fantasy tropes yet the film has an edge. And it offers another highlight for Millie Bobby Brown, who at only 20-years-old continues to build a fascinating career. “Damsel” premieres Friday, March 8th on Netflix.

VERDICT – 3 STARS

Upon hearing that Denis Villeneuve was making “Dune”, I remember thinking there was no better director to take on Frank Herbert’s science-fiction classic. That sentiment was proven right with the release of Villeneuve’s 2021 feature – the jaw-dropping first chapter of his masterful big screen epic. After a brief delay following last year’s Hollywood labor disputes, “Dune: Part Two” is finally here and sees Villeneuve reuniting with the first film’s incredible cast and talent behind the camera.

Villeneuve’s first venture was an immersive and breathtaking introduction to Herbert’s universe, captured through the passionate lens of a visionary filmmaker. Part Two picks up the story right where its predecessor left off and then expands on it through intensive world-building and character work. A few brilliantly cast new faces are added, seamlessly fitting into the rich and complex world. Then there are the many returning faces – a star-studded ensemble who once again bring their fascinating array of characters to life.

Much like the previous film, “Dune: Part Two” offers up a visual feast. The spectacular locations, the thrilling set pieces, and the outstanding costume design are just some of what makes the movie such a stunner. But perhaps more impressive is Villeneuve’s amazing ability to artfully translate Herbert’s dense and complex story to the big screen. Politics, religion, and mythology play significant roles in “Dune” and add intriguing layers to the storytelling. And Villeneuve and his co-writing partner Jon Spaihts don’t shortchange any of those elements.

As a refresher, the “Dune” films are set in the distant future within an empire known as the Imperium. Leading the Imperium is the Padishah Emperor Shaddam IV (played in Part Two by Christopher Walken) who oversees several Great and Minor Houses. Among them is the noble House Atreides and their mortal enemies, House Harkonnen. At the center of the main conflict is Arrakis, a harsh desert planet that is the lone source of the most valuable commodity in the universe, Spice Melange. Through devious plotting and subterfuge, Shaddam uses House Harkonnen to annihilate House Atreides after feeling threatened by the popularity of its beloved leader, Duke Leto. What he didn’t count on was Leto’s son Paul surviving and forming an alliance with the Fremen, the native inhabitants of Arrakis.

Part Two picks up with the lone survivors of House Atreides, Paul (Timothée Chalamet) and his pregnant mother, Lady Jessica (Rebecca Ferguson), working to earn the trust of the Fremen people. Many among the Fremen suspect them of being spies. But tribe leader Stilgar (Javier Bardem) defends them, believing Paul to be their prophesied messiah. Meanwhile Paul continues to grow closer to Chani (Zendaya), a Fremen warrior who thinks the prophecy is nonsense but who stands by Paul as he assimilates into her culture.

Paul and the Fremen intensify their guerrilla raids on the Harkonnen spice harvesters which inevitably gets the attention of the ruthless House leader Baron Vladimir Harkonnen (a devilishly sinister Stellan Skarsgård). Out of patience with his nephew Rabban (Dave Bautista) – the overseer of spice production on Arrakis, the Baron replaces him with his younger nephew, the psychotic Feyd-Rautha (Austin Butler). Elsewhere the word of Paul’s survival and rise to power among the Fremen reaches the Emperor who has desperately worked to conceal his involvement in the House Atreides slaughter.

Those are just some of the tensions that grow throughout the absorbing story with its many moving pieces. Part Two has its rousing moments, some romance, and even prickly family drama. But it’s the thematic depth that makes it so intriguing. Take the wicked undercurrent of manipulation and deception that’s felt throughout the film, almost always in the service of power and control. We see it in the hegemonization of cultures through the planting of false religions and in the wielding of political might to maintain power. We even see it the efforts to build an army in the name of the greater good.

To no surprise “Dune: Part Two” is a technical achievement, complete with thrilling action, dazzling visual effects, and unmatched artistic vision. DP Greig Fraser captivates with his camera whether shooting the vast sun-scorched dunes of Arrakis or intimate close-ups that peer deep behind the eyes of the characters; whether capturing hypnotic and sometimes unsettling dream sequences or fierce sprawling combat sequences and sandworm surfing. There is never a moment when his images aren’t appealing in one way or another. And it’s all accented by Hans Zimmer’s penetrating score.

“Dune: Part Two” clicks perfectly into place with the first film and builds upon it in a number of scintillating ways. The performances shine from top to bottom (none brighter than Austin Butler’s). And the sheer craft on display, along with the extraordinary storytelling, results in an awe-inspiring and mature science-fiction blockbuster that immediately left me hoping for a Part Three. Will we get one? Rumor has it a script is nearly finished. But as always it will depend on how this one does at the box office. Hopefully it gets the audience it deserves. “Dune: Part Two” opens in theaters today.

VERDICT – 5 STARS

I think it’s safe to say that we never know what we’re going to get from Nicolas Cage. And that’s one of the things that makes him such a favorite among moviegoers. Cage is liable to pop up in anything, from gritty crime thrillers to cerebral dramas to bonkers off-the-wall comedies. If you need further proof just look at his latest film, “Dream Scenario” from A24.

Written and directed by Norwegian filmmaker Kristoffer Borgli, “Dream Scenario” is a fascinating exploration of modern media culture, dressed up as a gonzo dark comedy with sinister undertones. Borgli’s story locks onto the fickle nature of fame in our current social media age – a time where a person can be elevated to celebrity status despite no real accomplishments and then tore apart and ruined despite no real offense. It examines how quickly someone can become a viral sensation only to be destroyed just as fast once their 15 minutes of fame is up.

Cage is no stranger to taking a character and walking the precariously thin line between playful and unhinged. But here he does it with impressive subtlety. He plays mild-mannered Paul Matthews, a tenured evolutionary biology professor at Osler University. The balding bearded Paul is about as ordinary and unassuming as a man can get, shamefully called “a remarkable nobody” at one point.

Paul lives a relatively quiet life. He’s been happily married to his wife Janet (Julianne Nicholson) for 15 years and together they have two daughters (played by Lily Bird and Jessica Clement). Outside of teaching and his family, Paul likes to think of himself as a writer. He’s hoping to publish his book which he has yet to start writing. And that is Paul in a nutshell. He’s the kind of everyday guy who you would walk by on the street and never notice.

But that anonymity changes after he inexplicably starts showing up in people’s dreams – family members, students, former girlfriends, complete strangers. People begin recognizing him on the street and in restaurants. And much to his chagrin, they all say the same thing. Regardless of what kind of crazy thing is going on in their dream, Paul just pops up, never doing anything, just strolling by and observing. Word gets to scientists who are baffled by the phenomenon and inevitably the media gets wind of it, turning Paul into an instant celebrity.

Suddenly the once ignored middle-aged professor is recognized by everyone and even has a marketing firm (ran by Michael Cera) wanting to represent him. He’s now loved by his enamored students and his daughters see him as a “cool dad”. Paul finds himself excited by the sudden wave of attention. But he quickly learns that fame can have strange and unpredictable consequences, even if you’ve done nothing to deserve them.

Borgli takes his story in a pretty dark direction yet maintains a slyly comic tone which surprisingly never clashes. Instead it gels into a movie that can be strangely funny and brutally heartbreaking at the very same time. Borgli isn’t particularly subtle with his messaging but his points are shrewdly woven into his story. Rabid fandom, groupthink, cancel culture, the dark side of celebrity, the perils of instant fame – they’re all topics that resonate within Borgli’s well-executed and highly imaginative metaphysical framework.

We never get an explanation for why Paul is suddenly appearing in the dreams. We’re never told why his noninvasive appearances take a nastier turn. Borgli doesn’t seem interested in the ‘whys’ and ‘hows’ which is both admirable and a bit of a cop-out. And while it goes slightly off the rails in its final act, there are so many intriguing elements to “Dream Scenario” including yet another beguiling Nicolas Cage performance. He embraces every complicated facet of his character, making us laugh with his sheepish comic delivery and breaking our heart with his agonizing insecurity.

VERDICT – 3.5 STARS

Director Christian Carion’s delightful French drama “Driving Madeleine” first screened in 2022 at the Angoulême Francophone Film Festival and a few months later at the Toronto International Film Festival. But it is just now getting an official big screen release here in the States and you won’t have to wait long to see it. And trust me, it’s a movie you will want to make time for.

“Driving Madeleine” is a genuinely sweet and mature gem of a movie. Written by Carion and Cyril Gély, the story is heartwarming and a bonafide tearjerker. I realize that’s a description that can come with some pretty negative connotations. But don’t toss this movie aside. Carion has made a smart and thoughtful film that examines longing, regret, and the intrinsic value of human connection. It explores memories and the preciousness of a life while fully realizing the beauty and tragedy associated with both.

Charles Hoffman (Dany Boon) is a down on his luck taxi driver in Paris. Soured and disillusioned, the 46-years-old Charles works twelve hours a day and six days a week to support his wife and daughter who he loves but rarely gets to spend time with. To make matters worse, he’s only one traffic violation away from losing his license which means losing his car which means losing his job.

Charles is dispatched to the other side of Paris for a fare. Once there he picks up 92-year-old Madeleine Keller (a sensational Line Renaud) who is in no hurry to get where she’s going. Her destination sends Charles back across the city but on the way Madeleine asks him to take a couple of detours to important places from her long an eventful life. It annoys him at first, but the more the chatty Madeleine shares the more Charles opens about his own life.

The film is peppered with flashbacks to Madeleine’s past where her younger self is played by a solemn and soulful Alice Isaaz. Through them we learn about the love of her life, an American soldier named Matt (Elie Kaempfen) who went back to the States after World War II. We see her son Mathieu (Hadriel Roure) who she had unexpectedly. We witness her marriage to her violently abusive husband Ray (Jérémie Laheurte) and the consequences that spun from it.

There is much more to Madeleine’s story that I’ll leave for you to discover. It all gives shape to what has been a fascinating life. It also affects the troubled Charles, leading him to share snippets of his own life, from his financial woes to his deep sacrificial love for his wife Karine (Julie Delarme) and their daughter Betty (Léonie Carion). As their unorthodox bond slowly forms and grows, it’s pretty easy to get a sense where the story is going. But that does nothing to lessen our connection to the characters or ruin the emotional payoff.

Anchored by two fantastic performances and a sincere story with a warm human center, “Driving Madeleine” turns out to be a surprisingly subtle and (mostly) unsentimental pleasure. You could call it an irresistibly charming heart-warmer and you wouldn’t be wrong. But there’s a darker subtext found mostly in the flashbacks that aren’t afraid to expose and challenge. The film is beautifully shot and Francophiles will love the evocative Paris scenery. But it’s the two central characters and their journey over the course of one day that’ll leave the biggest impression. “Driving Madeleine” opens January 12th in select theaters.

VERDICT – 4 STARS