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The Getaway (1972, dir. Sam Peckinpah)

Steve McQueen is the coolest guy in the world. That’s not opinion; it’s science. Red States, Blue States; Christians, Atheists; Israelites, Palestinians – they all unite on this one known truth. If you want cool, you want McQueen. Of course, being a chump, I’d never seen a Steve McQueen movie before. Sure, I’ve rented Bullitt from the library once or twice, but I’ve never found myself “in the mood.” So it wasn’t until The Getaway that I’ve been able to see McQueen in action, and it’s only really under the guise of watching some Sam Peckinpah, one of the great cinematic misanthropes of our time. Oh well. Killing two birds with one stone, I guess.

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Bound For Glory (1976, dir. Hal Ashby)

In an interview before he died, David Carradine, who plays radical folk singer Woody Guthrie in Bound For Glory, referred to Bound For Glory as the second best movie Hal Ashby ever made, only behind Ashby’s 1979 collaboration with Peter Sellers, Being There. For my money, Being There and Bound For Glory rank three and four, respectively, behind Harold And Maude, which despite the modern hipster re-appraisal (thanks, Wes Anderson) is as great as you think it is, and The Last Detail, which is the source of one of the great Jack Nicholson performances (note: I haven’t seen Ashby’s two other most celebrated films in Shampoo and Coming Home. Shampoo looks like it could be a lot of fun, but Coming Home reminds me of this).

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Defending Your Life (1991, dir. Albert Brooks)

Albert Brooks is one of the great comedians of our time. He might be one of the 10 funniest people in the world, but I haven’t done the official count yet, so it might still be close. He plays like a more aggressive and aggressively neurotic Woody Allen which helps give some of his satires (namely Modern Romance and Lost In America – Real Life is still on my Bucket List) an incredible amount of raw, unflinching bite. He also has one of the great comic voices of our time. Come on, the dude is Hank Scorpio.

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So here’s the start. I’ll probably be reviewing older movies in the future, but in the meantime I figured I’d kick off V&B’s film club with a couple of fresher offerings in the The Tree of Life and Midnight In Paris, two films that contrast nicely because their creators couldn’t be farther apart on the spectrum of proficiency – Tree is Terrence Malick’s fifth films since 1973, Midnight is Allen’s 38th. I hope you like the discussion.

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So I’ve been itching to talk movies for some time now and I think I’m ready to bring those kinds of discussions to the fray at Vikings & Beekeepers (hey, the name has nothing to do with music, so why shouldn’t I throw another medium into the mix?). I may start doing some formatted essays (I’m thinking about doing a focus on Woody Allen’s post-1990 films), but for the meantime I’ll just start posting mini-reviews of old and new movies that I’ve recently enjoyed. Perhaps I’ll also do some longer form reviews of films I’ve been able to watch at least a couple of times. All I know is that I’m interested in getting my “film critic” on and there’s no better way to start than to simply start. Who knows – the sky’s the limit.

Also, please check out some new additions to the blogroll, which now includes some great outlets for film criticism like Filmspotting, The End Of Cinema, Kino Obscura and, of course, Roger Ebert. 

Stay tuned…