Can You Dig It?
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
Opening Chatter (no spoilers): I wasn’t able to be quite as concise as I wanted to be this week with my reviews, so I’ll keep this opening short for a change (hold your applause!) to get right to the real purpose of this blog. My spotlight exploration is of The Little Things which is a great murder mystery-thriller set in Los Angeles in 1990 with lawmen Denzel Washington and Rami Malek trying to catch whoever killed 6 young women in their jurisdictions (another one’s missing … and there’s the matter of 3 others from 5 years ago) with creepster Jared Leto a prime suspect (just looking at him would accomplish that) although no conclusive evidence is falling into place. With these 3 Oscar-winning-actors leading the cast through an intriguing, tension-packed story I find this film to be one of the best of 2020, available in whatever theaters are open along with a simultaneous streaming release on HBO Max. Following, in the Short Takes section, is my review of The Dig (not as successful for me, although the CCAL liked it considerably more than The Little Things, but, really, what do those folks know?), set in 1939 England with a somewhat fictionalized version of the historical excavation of a priceless Anglo-Saxon burial ship from the early 7th century A.D. where we find Carey Mulligan as a widowed landowner, Ralph Fiennes as an amateur archeologist whose discovery soon sets him at odds with officials from the British Museum; available for free on Netflix streaming for subscribers to that platform. I’ll also offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this poor, burned-out BlogSpot-drone—oh, tedious software!), along with my standard dose of some industry-related-trivia.
Here’s the trailer for The Little Things:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film or want to save some $. To help any of you who want to learn more details yet avoid those important plot-reveals I’ll identify any give-away sentences/sentence-clusters like this:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: In 1990 young Tina Salvatore (Sofia Vassilieva) is driving at night, singing along to the radio on a highway in the southern CA desert, when she’s harassed by a male driver so she pulls into a closed gas station/diner but finding no help she desperately runs to another road where she stops a trucker. Cut to a newspaper headline of a 4th female victim from the L.A.-Kern County area (the latter east of the City of [Dying] Angels)—leaving (at least to me) the impression Tina was #4—as we meet Bakersfield deputy sheriff Joe “Deke” Deacon (Denzel Washington), sent by his chief to L.A. to collect evidence for convicting a local (different) murder suspect. Once back in the big city it’s clear Joe worked in that sheriff’s dept. before (left 5 years ago after suffering a series of personal traumas, including a triple-bypass-heart-attack and a divorce, following a terrible case) where Captain Carl Farris (Terry Kinney) isn’t pleased to see him even as former partner Det. Sal Rizoli (Chris Bauer) easily welcomes him back. Joe initially has a run-in with Det. Jim Baxter (Rami Malek), in charge of the 4-murders-case, but then is invited to accompany him to the site of a 5th deceased woman, Julie Brock (Tiffany Gonzalez), with implications of the same killer as the other 4.
Through quick flashbacks we learn what disturbed Joe long ago was a similar atrocious case of 3 young women killed which he and Sal tried to solve but couldn’t; it’s haunted him ever since, especially with his suspicions that cruel killer might be the same one behind these recent ghastly murders. In a call to his home office next day Joe finds the Bakersfield case is suddenly closed so he takes some vacation days to stay in L.A., poking around further into Julie’s killing, then the body of a 6th victim shows up, even as Jim arrests sex-offender Stan Peters (Frederick Koehler) as a likely suspect while Joe begins tailing Albert Sparma (Jared Leto), also covered with clues he could be the one. Soon we’re down to Sparma, though, because Stan commits suicide (although that doesn’t totally absolve him of being the perpetrator because nothing’s resolved yet) as Joe has various sarcastic encounters with Albert, then when he’s brought in for questioning Sparma has an erection while looking at photos of Julie’s dead, damaged body, a response setting off an attack from Joe so Sparma’s released (while at the jail that day, though, he’s seen by Tina—so she’s not dead after all but is working with the law trying to get resolution on her ordeal—although she can’t make any firm I.D. of Albert as her attacker). Joe and Jim continue surveillance, with Joe sneaking into Sparma’s apartment where he finds bits of possibly-incriminating-evidence, yet not enough to prove anything.
Jim, however, convinced Albert’s their man, confronts him, demanding to know the location of missing person Rhonda Rathbun (Maya Kazan)—a nighttime jogger we saw briefly some time ago, who always wore a red barrette when running—possibly assumed at first (wrongly by me again, until a later scene helped me out) as the 6th victim we saw dead in a ravine, with Baxter traveling out to the countryside in Sparma’s car as he promises to reveal where she’s buried (although it’s not fully clear to Jim why he should believe anything this wacko tells him due to an incident long ago where crime-obsessed-Sparma confessed to a murder he didn't commit, being 10 miles away at that time).
⇒Nevertheless, Jim goes through the process of digging a few deep holes in the dirt as Sparma keeps altering his indication of the hidden grave, finally says he never killed anyone. Yet, Albert's constant taunts finally drive Jim over the edge so he slams Sparma with the shovel, striking him dead instantly; about that time Joe pulls up (followed them, overcame 1 wrong turn), has Baxter bury Sparma (although it takes him until the next morning to do it, spending the night digging other holes in hopes of finding Rhonda’s body, determined Sparma’s her killer) while Joe goes to the guy’s apartment, cleans it out of all his belongings, burns them later to destroy anything that might clear Sparma as the killer, then sends a red barrette to Jim (in distracted agony at home) to assure him he actually took out the right perp, but we see among the burned items a package of barrettes with the red one missing. In the process of all this, in other frequent flashbacks along the way, we learn when Joe and Sal found the bodies of 2 of those victims long ago Joe heard something nearby, shot at who he thought was the killer but it turned out to be the 3rd young woman, Mary Roberts (Anna McKitrick); Joe was saved by Sal and coroner Flo Dunigan (Michael Hyatt [yes, a woman; she's of Jamaican-English heritage]) who kept the bullet taken from the body, claimed Mary died of stab wounds, so we now know why this case has haunted Joe for so long, why he’s remained desperate to find the killer of the other 2 in the past, why he doesn’t want Jim to have to suffer such agony about the current case. Ultimately, though, we never learn who the true killer was of any of these young women nor what happened to Rhonda which makes this one of the most unique crime stories ever about murders in L.A., leaving us to ponder what we’ve seen or what might have happened.⇐
So What? Hancock wrote the script in 1992-’93, had interest from several directors over the years (explained in the second item with this title in Related Links below) but a film never come to fruition until interest in the concept finally sparked again. I find useful echoes here of previous great cinematic crime stories set in southern California (use of desert, mountain, ocean locations mixed with haunting night cinematography of brightly-lit-cities, empty rural locales makes for an intriguing place to grapple with atrocious murders) focusing on the work of detectives, either private eyes (Chinatown [Roman Polanski, 1974], Oscar for Best Original Screenplay [Robert Towne]) or law-enforcers (Seven [David Fincher, 1995]; L.A. Confidential [Curtis Hanson, 1997], Oscars for Best Supporting Actress [Kim Basinger], Best Adapted Screenplay [Hanson, Brian Helgeland]), making this current film all the more attractive although it’s been panned by the OCCU (more details in this review’s next section) for such evocations, as if this approach weren’t original enough. All I can say is if you don’t find the acting of Oscar winners Denzel Washington (Best Actor, Training Day [Antoine Fuqua, 2001] and Supporting Actor, Glory [Edward Zwick, 1989]), Rami Malek (Actor, Bohemian Rhapsody [Bryan Singer, 2018]), and Jared Leto (Supporting Actor, Dallas Buyers Club [Jean-Marc Vallée, 2013]) compelling enough to watch—all 3 excellent here—then you’re damn hard to impress.
Of course, I guess if you have the reputation of Leonard Maltin you can get away with opinions such as this: “The Little Things is pointless, preposterous, and seemingly endless. It is far from Washington’s best work, and unworthy of his talented costars. I couldn’t wait for it to be over.” To demonstrate how far apart Leonard and others trashing this film are from me, I gladly watched it twice last weekend, could easily find it within my Top 10 of 2020, and, while I’d have chosen to see it anyway given its stars and concept I was furthered encouraged by my local critic-guru, The San Francisco Chronicle’s Mick LaSalle, who’s quite supportive: “Though he crafts a story worthy of a thriller, Hancock’s main concerns here are twofold: the type of personality drawn to this kind of police work, and the effect this work has on them. [¶] Malek does interesting things here too […] you realize that what we’re seeing is just the facade of someone driven, someone appalled, someone psychologically invaded by the horrors he sees daily. He’s too cool to crack, but the images are piling up in his head [¶ … while Washington gives us] the dignity of the haunted man. How many times has Denzel Washington been called upon to play that? And why does it never once get old? [¶ … Even as Leto makes his character] more than a garden-variety wacko. Seriously, Leto could have creeped out Charles Manson.” While I think it would be interesting to watch Maltin and LaSalle have a talk/argument about The Little Things (which constantly forces you to pay attention, never provides easy answers), it’s even more interesting to watch this film—I strongly encourage you to do—although the images of Julie’s dead body are gruesome but don’t dominate the screen for very long.
Bottom Line Final Comments: As for those OCCU numbers, I’m appalled to find that folks at Rotten Tomatoes could muster up only 48% positive reviews for this film while their picky-comrades at Metacritic are surprisingly higher this time but not by much with a 54% average score; if you wish, you can explore in more detail what various ones of them had to say about their reasons for being so negative in the Related Links section way down below but do take heart that some I consistently respect (even when we disagree, all of whom can state their cases more efficiently than I usually can) will also be found there such as ABC News’ Peter Travers (“a terrific, twisty, killer-on-the-loose thriller whose final destination is the dark night of the soul”), Tribune New Service’s Katie Walsh (“a sharp, suspenseful, yet uneasy slice of neo-noir”), or the Los Angeles Times’ Justin Chang (“what happens when a professional duty becomes an all-consuming personal obsession, when the quest for justice reaches an epistemological dead end”). Of course, you may find yourself in league with the larger cluster of their colleagues who are quite willing to consider this film as D.O.A. as the female victims within, but if you’re in close range of one of those 2,171 domestic (U,S.-Canada) theaters where this film’s playing (taking in $4.7 million in its debut last weekend, making it #1 in these continuing pandemic times [plus another $2.8 million internationally]) or are a subscriber to HBO Max (with its own fee or available for free with your HBO cable purchase) you have easy enough access to The Little Things because this is another of Warner Bros. 2021 experiment of releasing all their features simultaneously in moviehouses and streaming (while we don’t have data on Max viewership, WB says it was their most-watched recently so this film’s certainly getting seen, even if a good many critics paid to watch it [not me] seem to have better things to do, like gush over The Dig, reviewed below, where I also can’t understand their highly-positive-responses for that one).
Well, enough jabber from me, so I’ll close with my unwavering support of The Little Things (the seemingly-small-aspects of our lives Joe tells Jim pile up to carry us through or do us in), finishing off with my usual tactic of a Musical Metaphor which in this case, for many reasons, is The Doors’ “Riders on the Storm” (from their 1971 L.A. Woman album [how relevant can you get?]) at https:// www.youtube.com/watch?v=7G2-FPlvY58 where, too, you'll find “There’s a killer on the road His brain is squirmin’ like a toad […] Into this house we’re born Into this world we’re thrown Like a dog without a bone, an actor out on loan Riders on the storm.” Maybe a dose of Mr. Morrison will lead you to see ... Things; if so, I’ll leave you with an intriguing, spoiler-filled-video (9:51) exploring the ending as well as offering 17 clues (and some counter-arguments) about just who the killer could be.
SHORT TAKES (spoilers also appear here)
The Dig (Simon Stone) rated PG-13 112 min.
Based on a novel grounded in (but extended from) history, in 1939 England just before WW II begins we find a widow with a large estate hiring (after some haggling over wages) an amateur archeologist to explore some large mounds on her property, but, when he comes upon a rare Anglo-Saxon ship burial, a class-clash occurs with obnoxious officials from the British Museum.
Here’s the trailer:
Before reading further, please refer to the plot spoilers warning detailed far above.
In 1939 as war with Germany looms, we visit the British Sutton Hoo property of widow Edith Pretty (Carey Mulligan) who allows local amateur archeologist (left school at 12 to help support his family; Dad refused his attempt at college) Basil Brown (Ralph Fiennes) to dig into the ancient mounds on her acreage to see what’s there. Surprisingly, he comes across artifacts which are not of the usual-supposed-Viking-heritage but even-older-remains of an Anglo-Saxon ship used as a tomb for an important person (possibly King Redwald of East Anglia) from about 625 A.D. At this point huffy Charles Phillips (Ken Scott) of the British Museum and his team arrive on the scene, assume command, push Brown out of the process until Ms. Petty, whose young son, Robert (Archie Barnes), is enamored of Brown’s knowledge of astronomy, insists he rejoin the team, also helped by her cousin, photographer Rory Lomax (Johnny Flynn), and the husband-wife team of Stuart (Ben Chaplin) and Peggy Piggott (Lily James), a woman long neglected by her spouse in favor of his work (his hidden homosexuality doesn’t help much, either). The most dramatic moment of this story occurs early on when dirt suddenly gives way over Brown burying him so he had to be frantically dug out (by hand) by all those on the manor, barely surviving (a powerful scene, not clear if it’s fictional).
⇒What is certain, though, is aspects of the history these events are based on has been somewhat fictionalized for theatrical purposes* in this movie (leaning on the original novel's excursions [John Preston, 2007], where much was rearranged for a more compelling yarn, even as most foundational facts remain) this story still chronicles one of the (if not the absolute) most important finds in English soil, although this plot’s largely about honoring intuitive-Brown’s-insights and Peggy’s contributions at a time when women’s worth in this field was not easily-acknowledged (in fact, though, she was already individually respected for her abilities, did not have a romantic flirtation with fictional Rory, but, sadly, Brown’s contributions were actually largely ignored until recently). Ending graphics note the artifacts were hidden in the London Underground during WW II, Edith died of a stroke in 1942.⇐
*Here’s a useful video (17:33) about this famous excavation and its valuable findings. If you’d like more of a summary than I've given of the film’s events and their meanings (at least where the history is mostly accurate) here’s another one (8:43; but, take note of ad interruptions at about 1:00, 5:26).
The CCAL’s quite high on The Dig, as RT's offering 87% positive reviews, MC has a respectable (for these usual tightwads) 73% average score, but, despite these high marks along with a glowing encouragement from Mick LaSalle (yeah, him again; however, this time I’m not in sync with his praise), for me, having been exposed to the Sutton Hoo finds in art history classes decades ago (and not really caring much about who found what or how)—along with no archeological nor pride-in-British-heritage (despite my genealogy) background—it was just barely enough to hold my interest. It was supposedly released in a few theaters (all I can verify is New Zealand where it’s made $693) but is mainly available free to Netflix streaming subscribers; my Musical Metaphor, which I struggled to come up with, is Crosby, Stills, Nash & Young’s “Déjà Vu” (from their 1970 album of the same name) at https://www.youtube.com/watch?v=YCs6Tpd5sFQ with its direct reference to “What’s going on under the ground” plus the “We have all been here before” chorus, not about reincarnation in this film but how cultures over time keep repeating wars, political struggles, the siring of new generations, some of whom try to learn from the actions of their ancestors yet many others never do.
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are U.S. Pacific Daylight so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Friday February 5, 2021
3:15 PM Badlands (Terrence Malick, 1973) Martin Sheen and Sissy Spacek as young killers-on-the-run in a compelling, marvelously photographed story that’s part Bonnie and Clyde (Arthur Penn, 1967) and part John Mellencamp’s song, "Jack and Diane," a marvelous, truly significant—distinctly disturbing—debut film from an eccentric, extremely talented director-screenwriter, somewhat based on actual events from likewise killers-on-the-run Charles Starkweather and Caril Ann Fugate in 1958.
Saturday February 6, 2021
3:30 PM Rope (Alfred Hitchcock, 1948) Based on a 1929 play of the same name, itself inspired by the actual 1924 murder of a teenager by college students Nathan Leopold and Richard Loeb (as a misguided manifestation of their “intellectual superiority), where Brandon Shaw (John Dall) and Philip Morgan (Farley Granger) murder their friend, hide his body in a large chest in their apartment, then host a dinner party there attended by their former philosophy professor, Rupert Cadell (James Steward), their crime inspired by his Nietzschean lectures, but he becomes suspicious of their odd actions. While there are a few cuts in this 80 min. film they’re mostly hidden so it seems to be a real-time flow of the action. Features undertones of homosexuality, fascism, and rejection of the latter.
5:00 PM The Producers (Mel Brooks, 1967) First version, later adapted to a successful Broadway musical (spawning another movie). Flimflam artist/stage producer Zero Mostel, nervous accountant Gene Wilder seek riches by getting too many investors for a show doomed to fail, Springtime for Hitler by ex-Nazi Kenneth Mars, starring wacky hippie Dick Shawn. But, it’s seen as satire, becomes a hit. Excellent balance keeps this as hilarious, not repulsive; Oscar for Best Original Screenplay.
7:00 PM Blazing Saddles (Mel Brooks, 1974) Hilarious combination of parody of the western genre and biting satire on racism in both the Old West and modern-day society as a Black sheriff (Cleavon Little) is sent to a town a corrupt politician (Harvey Korman) wants emptied so he can give the land to the railroad, but the newcomer wins over the citizens with help from a gunslinger (Gene Wilder)—Madeline Kahn’s there too as a version of Marlene Dietrich; intention use of racial slurs stretches the limits of satire, though. Includes the famous beans-for-dinner-flatulence-scene (gross as it “sounds”).
Sunday February 7, 2021
11:45 PM Wings of Desire (Wim Wenders, 1987) A great cinematic accomplishment, set during the final days of divided Berlin where the city’s often despondent humans are watched over by angels who hear their thoughts but don’t regularly intervene in their lives, although Damiel (Bruno Ganz) becomes so infatuated with a trapeze artist (Solveig Dommartin) he leaves his friend Cassiel (Otto Sander) to become human, begin a relationship with Marion; Peter Falk (as himself) shows up, reveals he’s also a former-angel. Nice use of B&W when we’re seeing events from the angels’ perspectives, color for focus on the humans. Winner of a good number of awards (but no Oscars).
If you’d like your own PDF of ratings/summaries of this week's reviews, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: In quick fashion, here are some extra items you might be interested in: (1) Films trending for most Oscar nominations; (2) Predictions on Golden Globe nominations (3) Actual Golden Globes noms (feel free to compare these last 2; you'll find a lot of overlap there) . As usual I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and my reminder that you can always search for streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
We encourage you to visit the Summary of Two Guys Reviews for our past posts.* Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage. If you’d like to Like us on Facebook please visit our Facebook page. We appreciate your support whenever and however you can offer it!
*Please ignore previous warnings about a “dead link” to our Summary page because the problems’ been manually fixed so that all postings since July 11, 2013 now have the proper functioning link.
AND … at least until the Oscars for 2020’s releases have been awarded on Sunday, April 25, 2021 we’re also going to include reminders in each posting of very informative links where you can get updated tallies of which films have been nominated for and/or received various awards and which ones made various individual critic’s Top 10 lists. You may find the diversity among the various awards competitions and the various critics hard to reconcile at times—not to mention the often-significant-gap between critics’ choices and competitive-award-winners (which pales when they’re compared to the even-more-noticeable-gap between specific award winners and big box-office-grosses you might want to monitor here as well as here due to many 2020 releases being tracked on the 2021 list, although the income situation for 2020’s skewed due to so many award-contenders getting limited or no theatrical releases)—but as that less-than-enthusiastic-patron-of-the-arts, Plato, noted in The Symposium (385-380 BC)—roughly translated, depending on how accurate you wish the actual quote to be—“Beauty lies in the eyes of the beholder,” so your choices for success are as valid as any of these others, especially if you offer some rationale for your decisions (unlike many of the awards voters who simply fill out ballots, sometimes—damn it!—for films they’ve never seen).
Here’s more information about The Little Things:
https://www.thelittlethingsmovie.com (click the 3-bar icon in the upper left for more information)
https://www.youtube.com/watch?v=teo6OmEuL6U (19:01 interview with director-screenwriter John Lee Hancock [outline of what he discusses when you scroll a bit below the YouTube screen])
https://www.rottentomatoes.com/m/the_little_things_2021
https://www.metacritic.com/movie/the-little-things
Here’s more information about The Dig:
https://www.netflix.com/title/81167887
https://www.youtube.com/watch?v=aVPppCcVe-0 (12:38 interviews with actors Ralph Fiennes, Lily James, Carey Mulligan, Johnny Flynn, Ben Chaplin, costume designer Alice Babridge, director Simon Stone, and production designer Maria Djurkovic [ads interrupt at 1:00, 4:00, 7:00, 12:00])
https://www.rottentomatoes.com/m/the_dig_2021
https://www.metacritic.com/movie/the-dig
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game" offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest, a never-changing-reality even as the moon waxes and wanes over the months/years to come.
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