The Protege: A Solid, Old School Thriller

Maggie Q is The Protege

There's something about a well-acted, solidly directed thriller that's very appealing in today's overcrowded cinematic and home video marketplace, where action films are a dime a dozen, and sifting through them all to find the good ones is often a thankless task. The Protege, which was released last year to little fanfare and so-so reviews, is actually well worth checking out. The film, directed by Martin Campbell, who also helmed Goldeneye (1995) and Casino Royale (2006), is an entertaining tale about a top-notch assassin named Anna, who works as a contract killer. Anna was rescued as a child by Moody, a veteran hit man who raised her and trained her to be the best in the business. Anna and Moody take on difficult and high-paying assignments, but only accept contracts on those targets they feel deserve to die.

When Moody is killed, and an unsuccessful attempt is made on Anna's life, she tries to find out who wanted her and her mentor dead. The trail leads to someone from Moody's past, and as Anna investigates, she crosses paths with Michael Rembrandt, a skilled assassin who plays a cat and mouse game with her. He seems to be working for whoever is behind Moody's death, and the botched attack on her. While they're essentially enemies, there are some powerful romantic sparks flying between Anna and Michael. As she gets closer to the truth behind what's going on, Anna may have to choose between her feelings for Michael, and getting revenge for Moody's death. But there's more to the story than Anna bargained for, and the truth could change her life forever.

The Protege is an engaging thriller, and features a terrific cast including Maggie Q as Anna, Samuel L. Jackson as Moody, and Michael Keaton as Michael Rembrandt. Robert Patrick of Terminator 2: Judgement Day and The X-Files, is also featured in a supporting role as an old friend of Moody and Anna's. Maggie Q, best known for her roles in TV series like Nikita and Designated Survivor and films such as Mission: Impossible III and Live Free or Die Hard, is excellent as Anna, and she has great chemistry with both Jackson and Keaton. Samuel L. Jackson is his usual entertaining self, and Michael Keaton is fantastic in his role. His fight scenes with Maggie Q's Anna are well-choreographed and brutal. They may be on opposite sides, but their attraction is undeniable, and you can feel the romantic energy and sexual tension between these two characters.

The film may have some familiar plot elements, but it's an absorbing espionage tale, written by Richard Wenk, who also scripted the Denzel Washington version of The Equalizer, and the Jason Statham thriller The Mechanic. The Protege is smoothly directed by Martin Campbell, a veteran of the Bond films mentioned above, as well as other highly-regarded thrillers like The Mask of Zorro. The film is a fast-paced, colorful, and diverting popcorn thriller, with some excellent cinematography by David Tattersall. The movie is worth seeing, and will definitely satisfy fans of well-crafted, old school action films. The Protege is now available on DVD, Blu-ray and for online streaming. Here's a link to the trailer: https://www.youtube.com/watch?v=wujj1QTk5kY.

The Dark World of "Nightmare Alley"

Cate Blanchett and Bradley Cooper

William Lindsay Gresham’s novel Nightmare Alley is a story that has intrigued and enthralled readers ever since it was published in 1946. The atmospheric tale of carnival hustlers, phony mediums, grifters and devious femme fatales was inspired by Gresham’s conversations with a former carnival worker he met while both men served with the Loyalist forces during the Spanish Civil War. Gresham was fascinated by the dark, seedy world of carnivals and sideshows and the men and women who worked at them. One of the readers that was captivated by the book was actor Tyrone Power, who, at the time, was at the height of his popularity as a romantic leading man in Hollywood, thanks to films like The Mark of Zorro and Blood and Sand.

Power wanted to star in a movie adaptation of Nightmare Alley, but 20th Century Fox studio chief Daryl Zanuck tried to dissuade the actor from making the film. Zanuck felt it would hurt Power’s status as a swashbuckling hero, despite the fact that the actor had just appeared in a change of pace role in a well-received version of The Razor’s Edge, based on the novel by W. Somerset Maugham. Zanuck ultimately relented, and the film version of Nightmare Alley was released in 1947. Directed by Edmund Golding (who had also helmed The Razor’s Edge) the movie starred Power, Joan Blondell, Helen Walker and Ian Keith. While the film wasn’t a success upon its original release, this bleak and tragic tale, charting the rise and fall of carnival hustler Stanton Carlisle, is now regarded as a true classic of film noir, despite its studio imposed, somewhat “happy” ending.

Another person who loved the original novel and film was Ron Perlman. The actor introduced the book and the 1947 movie to his friend and frequent director/collaborator, Guillermo Del Toro. Del Toro felt an instant kinship and attraction to the story, and decided to put together a new adaptation of the novel, which would hew closer to the original book’s darker, downbeat ending. The project was in development for quite some time, but eventually the new version of Nightmare Alley, starring Bradley Cooper, Rooney Mara, Cate Blanchett, Willem Dafoe and of course, Ron Perlman, was released late last year. Directed by Del Toro and co-written with his wife Kim Morgan, it’s a beautifully filmed and acted, deeply mesmerizing story. This version of Nightmare Alley may be in color, but there’s no doubt that this is truly a film noir.

Cooper stars as Stanton Carlisle, a drifter with a mysterious past who ends up working at a seedy, somewhat low-rent carnival. Carlisle is crafty and manipulative. He’s not above using his good looks and charisma to get what he wants, part of which is the secret code used by the carnival’s mentalist act, Pete and Zeena. The duo were once top tier performers, but have since fallen on hard times. Carlisle also has eyes for Molly Cahill, one of the other members of the carnival troupe. He convinces Molly to run off with him, and using the code he’s “acquired” from Pete and Zeena, Stan reinvents himself as “The Great Stanton,” a spiritiualist/mentalist, who gives readings and performs at high profile nightclubs, assisted by Molly. This puts him in the orbit of Dr. Lilith Ritter, a psychologist who just might be more crafty and ambitious than Stan. When the two join forces to use his “psychic” powers to bilk Lilith’s clients, it’s an alliance that will have devastating consequences for Stan, especially since he’s still haunted by some of the less than righteous choices he’s made in the past.

Del Toro’s version of Nightmare Alley is an ambitious and well-crafted work, combining his talent for eye-catching visuals with the terrific performances of a top-tier cast, led by Cooper as Stan, whose sense of pride blinds him to the dangers around him. This will lead to an epic downfall, causing him to sink much further down than he ever thought possible. Or was it his destiny all along? As an actor, Cooper has never been afraid to explore the darker side of his characters, and he’s excellent in the role. He’s matched by a masterful ensemble featuring Toni Collette, David Straithairn, Richard Jenkins, Ron Perlman and Cate Blanchett as Lilith, who turns in an amazing performance that is the very embodiment of the classic femme fatale. The film’s visual splendor is provided by Del Toro and his production crew, who have done a spectacular job of world-building. It’s no surprise that Del Toro feels very much at home presenting the world of the carnival as a family unit, and a shelter for the misfits who perform there. The carnival’s seedy yet comforting milieu is contrasted by the foreboding design of the “real’ world, such as the hard-edged look and coolly cynical color scheme of Lilith Ritter’s office.

Nightmare Alley is a stunning achievement. I think it will take multiple viewings to truly breathe in all of the nuances in the excellent performances of the cast, the superlative direction by Del Toro, and the breathtaking design work on display in the film. The movie is certainly based on the original novel and (to some degree) the 1947 film version, but the richly textured story also features some original thematic touches that are inspired by the unique vision of Guillermo Del Toro. You can really see the connections between all three versions of this dark, very noir tale. Nightmare Alley is currently finishing up its run in theaters, and home video and streaming dates for the movie should be announced soon. This is one of the best films in Del Toro’s already impressive body of work, and is definitely worth checking out. Here’s a link to the trailer: https://www.youtube.com/watch?v=X5FGCv17i1E.=

Monogroove Shines on "Into The Sun"

Monogroove, the talented West Coast power pop trio who dazzled us with their 2020 album There’s Something Here, is back with another terrific disc, entitled Into The Sun. On their latest release, the band delivers another must-listen record, featuring an eclectic mix of pop, rock, psychedelia, punk, folk, and even girl group inspired songs, which are steeped in the musical history of the 1960s, 70s, 80s and 90s. Into The Sun kicks off with “What I See In You,” a fantastic tune that has echoes of the indie rock sound of the 1980s. “What I See In You” is followed by an outstanding cover of The Rolling Stones track “Stupid Girl” which steeps the song in a British Invasion/Beatles-esque vibe.

Other highlights on Into The Sun include the 1970s flavored “Walk In The Park,” the edgy power-punk romp “Suzie Tuna,” the groovy, girl group-esque “Hold Onto Me” and the psychedelic-tinged “Times Out,” which sounds like a lost track from the much loved 1960s rock compilation Nuggets. The atmospheric “Times Out,” is a prime candidate for “Coolest Song In The World” status on the Sirius XM show Little Steven’s Underground Garage. In fact, just about any of the songs on this excellent record are deserving of multiple spins on that channel/show. Are you listening, Stevie?

Into The Sun also features some fine ballads which showcase the ethereal vocals of guitarist Rin Lennon. “I’ll Remember You” and “Darlin” are heartfelt songs that benefit from Lennon’s rich, emotional delivery, which is also showcased on the lovely “I Only Know” and the guitar-infused “Here I Stand.” Throughout the album, Lennon’s excellent work on guitar is matched by the fluid bass of Woody Cross and the masterful drumming of Kenny Cratty. The band’s sheer joy at playing together shines through on every track on the record. Just listen to their tight interplay on the rocked out “Me In You” and the 1970s pop styled “Even Try.”

Into The Sun is a phenomenal record, which should enthrall dyed in the wool music fans who dig 1960s, 70s and 80s pop/rock, and love bands like The Beatles, The Who, Big Star and The Raspberries. Monogroove not only celebrates the sound of the groups that inspired them, they brilliantly put their own spin on these beloved rock and roll genres. The album is a must listen for those who like their rock and roll played with heart, passion, and soul. For more on Monogroove's music, and to check out the tracks from Into The Sun, and their previous releases, head over to the group’s bandcamp page at: https://monogroove.bandcamp.com, and watch the video for "What I See In You," by following this link: https://www.youtube.com/watch?v=adzzIp-uGCo.

A JEM Records Christmas with The Weeklings and Lisa Mychols & Super 8

Have you finished that last minute shopping yet? Are the decorations up? Then it's time to sit back and queue up some classic Christmas music: maybe you'll kick things off with A Christmas Gift For You From Phil Spector? Or perhaps one of the Very Special Christmas compilations, or maybe even Bruce Springsteen's version of "Santa Claus Is Comin' To Town?" If you need some new rock and roll Christmas music to listen to, look no further than a pair of delightful new holiday singles from a pair of artists on JEM Records. The Weeklings, the Beatles-inspired, power pop infused quartet, who recently released a superb album, The Weeklings Live! have issued a new holiday song entitled "Christmas Day." Written by Glen Burtnik and Bob Burger, aka Lefty and Zeek Weekling, the song follows in the tradition of their previous Christmas releases, such as "Gonna Be Christmas," which was featured in an episode of the CW series, Supergirl. The Bob Dylan inspired "Christmas Day" combines the witty stylings and ironic tone of "Subterranean Homesick Blues" with the festive spirit of the holidays. It's a unique and inspired tune, a rockin' holiday song, and it sounds fantastic. Check out the video for "Christmas Day" here: https://www.youtube.com/watch?v=l2vAhRYN42A. Lisa Mychols and Super 8, who like The Weeklings, recently contributed a song to the excellent tribute album JEM Records Celebrates Brian Wilson, offer up a wonderful new holiday tune entitled "A Very Merry Christmas." The single features an absolutely gorgeous vocal performance from Mychols, and sterling work from Super 8, aka British musician and songwriter Paul "Trip" Ryan. It's a marvelous song that absolutely radiates joy and positive vibes. Mychols & Super 8 are both longtime veterans of the indie pop/rock music scene, and the talented duo is working on a new album that will be released on JEM Records in 2022. I'm really looking forward to hearing that record. "A Very Merry Christmas" is an ebullient gem of a song, produced by JEM Records head honcho Marty Scott, and it's very much in the style of the classic Phil Spector Wall of Sound. If there's any justice in the world, it'll become a rock and roll holiday standard! "A Very Merry Christmas" was just named a Coolest Song In The World on Little Steven's Underground Garage radio show on Sirius XM. Here's a link to the video: https://www.youtube.com/watch?v=8SPF-ryzuUM. Both "Christmas Day" by The Weeklings and "A Very Merry Christmas" by Lisa Mychols & Super 8 are available now from JEM Records.

Retro TV Fright Film: Fear No Evil

Louis Jourdan & Lynda Day

There have been a lot of eerie, supernatural themed small screen series and movies throughout television history, including Buffy The Vampire Slayer, Supernatural, Charmed, and The Chilling Adventures of Sabrina. However, the stalwart heroes and heroines of those shows weren't the first occult investigators to grace the small screen. Back in the early to mid 1970s, Kolchak: The Night Stalker battled monsters, vampires and werewolves in a pair of TV movies and a short-lived (but much beloved) series, and Gary Collins starred as Dr. David Rhodes, a parapsychologist, in The Sixth Sense, which ran for two seasons on ABC. Those shows were pre-dated by one of television's first occult investigators, Dr. David Sorrell, portrayed by Louis Jourdan in a pair of telefilms which aired on NBC, 1969's Fear No Evil and 1970's Ritual of Evil.

Fear No Evil tells the story of Paul Varney, who buys an antique mirror that has a strange effect on him. After attending a party at the home of psychologist Dr. David Sorrell, Paul and his fiancé Barbara are involved in a car accident in which he is killed. Barbara survives, but winds up in the hospital. She moves in with Paul's mother, but that creepy mirror has quite the hold on her, as Barbara sees an apparition of her dead fiancé in the mirror. The evil doppelgänger wants Barbara to join him on the other side. What's the secret of the mirror? Is Paul's friend and co-worker, Miles Donovan, involved in his death in some way? As Barbara begins to lose her grip on reality, it's up to Dr. Sorrell, who has some experience investigating supernatural events, to solve the mystery and help her.

The movie is atmospheric, chilling and fairly intense for its time. If you're a fan of well-mounted tales of the supernatural, you will really enjoy Fear No Evil. The teleplay for the film was written by Richard Alan Simmons, based on a story by prolific author Guy Endore. The wonderful cast features Bradford Dillman as Paul, Lynda Day (George) as Barbara, and Wilfrid Hyde-White as Dr. Sorell's mentor, Harry Snowden. Louis Jourdan is terrific as Sorrell, and there's a fantastic performance from Carroll O'Connor as Miles Donovan. If you only know O'Connor from his role as Archie Bunker on All in the Family, you may be quite surprised at his work in the film. He's terrific in the movie. There are also some familiar faces featured in supporting roles, including Katharine Woodville (who played Natira in the classic Star Trek episode "For The World Is Hollow And I Have Touched The Sky") and Marsha Hunt, who's icily effective in the role of Paul's mother.

Fear No Evil has an offbeat visual style, courtesy of cinematographer Andrew J. McIntyre, a top-notch score by veteran composer Billy Goldenberg, and solid direction by television veteran Paul Wendkos, who also helmed the big-screen thriller The Mephisto Waltz. The film was intended as a pilot for a weekly series titled Bedeviled that would have followed Jourdan's character as he investigated supernatural events plaguing his patients. Sadly, the series never materialized, but a sequel, Ritual of Evil, followed in 1970, which featured Dr. Sorell, once again played by Jourdan, looking into the terrifying events centered around a young heiress, which seem to be work of a powerful witch. It's another excellent thriller, and well worth watching. Both films are available on a double-feature Blu-ray from Kino Lorber, and there are audio commentaries for both movies by writer Gary Gerani, author of Fantastic Television, one of the first (and best) reference works centered on classic genre shows. Here's the trailer for Fear No Evil: https://www.youtube.com/watch?v=TfhvzFcWSVY.

Peter Jackson Helps The Beatles Get Back

I'm a lifelong fan of The Beatles. While I was too young to experience that first rush of Beatlemania (I was just seven years old when they broke up), I loved their music as soon as I heard it. Their albums were the first records I bought with my own money, and like many ardent fans, I enjoyed following their solo careers while reading the many books about the band, and snapping up any archival releases of their music. One of the most elusive titles in the Beatles pantheon is the 1970 film, Let It Be. The project grew out of Paul's desire to get the band back to their roots, and ease some of the tensions that had surfaced during recent projects, most notably during the sessions for The White Album. The original plan was for the band to give a live performance, featuring new songs, which ultimately could be broadcast as a TV special. Cameras would also follow the group as they worked on and recorded the songs for their new album.

Let It Be, directed by Michael Lindsay-Hogg (who had helmed several video clips for the band, including "Rain" and "Revolution") turned out to be a record of a band that was breaking apart. The film had some positive moments, including the now legendary rooftop concert that climaxed the movie, but Let It Be has historically been viewed by many as a documentary of the end of The Beatles, despite the fact that they rallied soon after working on the project to record their final album, the classic Abbey Road. Long unavailable on home video, except for bootlegs, the footage used for the film has been resurrected in a new form by director Peter (Lord of the Rings) Jackson, entitled Get Back. Jackson (an avid Beatles fan) was given unprecedented access to 60 hours of video and 150 hours of audio from the original sessions. He and his team spent close to four years working on the project, restoring the video and audio, and editing never before seen footage into a new documentary comprehensively covering the Let It Be sessions.

Get Back was originally planned to be a theatrical film, but the project ultimately became a three-part, eight-hour miniseries, which is now available for streaming on Disney+. The film is nothing short of astonishing. If you only know Let It Be from the muddy clips seen in other Beatles documentaries or  bootleg versions of the film, you'll be blown way by the incredible quality of the video and audio here. The other invaluable take-away you'll get from watching Get Back is that while there were tensions among the band members during this time, there are also moments in the film which illustrate the deep love the band still had for one another, and the remarkable creative chemistry the group shared. Just look at the scenes where Paul and John are work on the lyrics to "Get Back," bouncing off one another, and feeding off each other's energy. It's a startling contrast to moments like the often referenced tiff between Paul and George regarding the latter's guitar playing. Even that infamous scene (and George's temporary exit from the group) gains additional relevance and meaning in Get Back, which shows that The Beatles were still a band of brothers, despite their squabbling. 

The film also shows The Beatles clowning around and jamming on oldies like Chuck Berry's "Rock and Roll Music," songs they'd played in their earliest days as a band at marathon shows in Hamburg, and at the Cavern Club in Liverpool. It's evident from the discussions seen in Get Back that the group (who had stopped touring in 1966) realized that while they had become wizards in the studio and pioneered new recording techniques on albums like Sgt. Pepper's Lonely Hearts Club Band, they weren't sure if they could cut it as a live band anymore. It's clearly evident that in some form, they longed for a return to those simpler days, when it was just the four of them rocking out, and they weren't the world-renowned and instantly recognized band they had become. Several times during discussions about how they can pull of a live show, people in the band's circle, including Lindsay-Hogg and engineer Glyn Johns, remark that The Beatles "belong to the world now," something I think the group was a little uncomfortable with, since they really wanted to just jam and play together, like the old days. Just watch the sheer delight that shines on their faces a couple of songs into the rooftop concert sequence, as everything clicks into place.

Watching Get Back is a revelatory experience.With an almost eight-hour running time, it may be a bit much for the casual viewer, but true Beatles fans will really enjoy the film. The previously unseen performances (the group is shown working on early versions of songs like "Carry That Weight" and "Maxwell's Silver Hammer," (both of which would end up on Abbey Road) and the snippets of songs that would end up on solo albums by the band, including Paul's "Back Seat of My Car" and George's All Things Must Pass" are a lot of fun to watch, and even the tense moments between the group (while sometimes difficult to view) are given more context in the longer running time afforded in the documentary. What's undeniable from viewing the film is that these four men truly loved each other, and they were an absolutely terrific band, who made music that changed not just rock and roll, but the world. Get Back reminds us why we love The Beatles, and gives us a well-rounded portrait of the band not only as uber-talented musicians, but also as human beings. That is an invaluable accomplishment, and thanks to Peter Jackson and his crew, we have a new appreciation for, and a fresh perspective on, The Beatles and their enduring legacy. Here's a link to the trailer for the film: https://www.youtube.com/watch?v=Auta2lagtw4.

The Grip Weeds Unearth 1960s Rock Gems

Garage rock and psychedelic rock are genres which continue to have strong appeal for a legion of fans. Thanks to the advent of digital music platforms like Little Steven’s Underground Garage on Sirius XM, and a host of CD and vinyl re-issues of music from the 1960s, songs from the era are being re-discovered by longtime devotees, and heard for the first time by appreciative younger listeners. The Grip Weeds, a New Jersey based psychedelic pop/rock band, recently released DiG, an album featuring the band’s unique interpretations of music from the era. The band has been a long-time staple of the indie rock, psyche-pop and power pop scene since their formation in the late 1980s. DiG is the group’s way of celebrating the music that inspired them, and showcasing their compelling interpretations of songs like “Porpoise Song” by The Monkees and “Shape of Things to Come” by The Yardbirds.

DiG is a superb record, featuring a wide-ranging selection of tunes, including FM radio staples like “Journey to the Center of the Mind,” originally by The Amboy Dukes, to lesser known nuggets like “I Wonder” by The Gants. In fact, “nuggets” is a key word here, since that was the title of a now legendary 1972 collection of garage rock and psychedelic music curated by Lenny Kaye. In a nice bit of symmetry, Kaye provides the liner notes for DiG. The album is truly a celebration of the garage rock and psychedelic eras. DiG is filled with nuggets, gems, and unearthed treasures, from “I Love You” by The Zombies to Thunderclap Newman’s anthem “Something in the Air.” Familiar and much beloved tracks like "Lies" by The Knickerbockers sit comfortably next to lesser known (but incredible) songs such as “Lie, Beg, Borrow and Steal” by Mouse and The Traps. Check out the band's outstanding version of that song here: https://www.youtube.com/watch?v=Q2_4Fb8dvAQ&list=OLAK5uy_k1REZLxeU9ELFvJ1SbsLLjlA_ZlVqKyeA&index=5.

The album is magnificently produced by guitarist and singer Kurt Reil, whose fine work gives these songs immersive depth and real atmosphere. The band is in outstanding form, and the unbridled enthusiasm of Reil and his bandmates Kristen Pinell Reil on guitars, percussion and vocals, Rick Reil on vocals, guitar and keyboards, and Dave DeSantis on bass is evident on every track. It’s hard not to smile, dance around the room and play air guitar when you hear the band’s charged up versions of “Louie, Go Home” by Paul Revere and the Raiders, ”Outside Chance” by The Turtles, or "I Had Too Much To Dream Last Night” by The Electric Prunes. DiG’s sound runs the gamut from the band's joyful interpretation of “Little Black Egg” (a track included on the deluxe edition of the album) to standout versions of The Velvet Underground’s “All Tomorrow’s Parties,” and The Rolling Stones track “Child of the Moon.” DiG is an album filled with high water marks, and essential cuts.

If you’re looking for even more to “DiG” the album is available in a two-disc deluxe version, which includes eleven additional songs. There’s also a very special edition of the album featuring a third disc entitled A Deeper DiG, which is available exclusively via the band’s website. A Deeper DiG includes a collection of wonderful rarities, including early live performances, demos and a radio appearance by the band. DiG is clearly a passion project for The Grip Weeds, and I look forward to hearing their next disc of original music, as I'm sure working on this album has energized the band. You can check out DiG, which is now available on JEM records at https://www.gripweeds.com. For more on the creation of DiG, check out my interview with Kurt Reil over at CultureSonar by following this link: https://www.culturesonar.com/the-grip-weeds-dig-some-cool-covers/, and here's a link to a trailer for the album: https://www.youtube.com/watch?v=l3Vtf-SgibQ.