O.C. and Stiggs aren’t your average unhappy teenagers. They not only despise their suburban surroundings, they plot against it. They seek revenge against the middle class Schwab family, who embody all they detest: middle class. |
Since 1883 The Chelsea Hotel has been a home to artists great and small, from icons such as Bob Dylan, Patti Smith, Tennessee Williams, Charles Bukowski, Andy Warhol, and Mark Twain, to assorted aspirants, junkies, prostitutes, and hermits. But new management has begun evicting boho tenants in favor of a more upscale crowd, prompting long-time resident – and consummate New Yorker – Ferrara to capture the ragged splendor of the place before its unique spirit is lost forever. Trolling the low-lit halls, visiting the hotel’s cast of memorable characters and raconteurs, and hanging out in the gallery-like lobby strewn with tenants’ paintings, “Chelsea on the Rocks” is shot through with an infectious brio, gallows humor and a hard-knock warmth to match its uniquely beloved subject. As yet another of New York’s cultural landmarks threatens to effectively vanish for the sake of a bland corporate status quo, Ferrara passionately shows how it’s often the misfit structures – and dwellers – that possess a city’s soul.
At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, “does not exist, nor will it ever exist.” His goal is to locate – and eliminate – a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.
Human Highway is a 1982 comedy film starring and co-directed by Neil Young under his pseudonym Bernard Shakey. Dean Stockwell co-directed the film and acted along with Russ Tamblyn, Dennis Hopper, and the band Devo. Included is a collaborative performance of “Hey Hey, My My (Into the Black)” by Devo and Young with Booji Boy singing lead vocals and Young playing lead guitar.
During the seven years chronicled in the film, artist and musician Llyn Foulkes uses hammers and saws to create, destroy, and recreate a pair of large-scale, three-dimensional paintings, one that costs him his marriage, while trying to keep afloat in the fickle art market. With interviews from veterans of the 1960s Los Angeles art scene such as Dennis Hopper and George Herms, the film reconstructs Foulkes’s uncompromising, up-and-down career as he was kicked out of the legendary Ferus Gallery and walked away from a successful career as an L.A. pop artist. Structured like one of Foulkes’s constantly reworked paintings, the film tracks his artistic struggles, ending as he is at last rediscovered by the international art world at age 77. With music written and performed by Foulkes on a massive, fanciful, self-invented musical instrument he calls ‘The Machine,’ Llyn Foulkes One Man Band is an intimate portrait of an artist battling his own demons as well as the perceived demons of the art world.
Sprawling epic covering the life of a Texas cattle rancher and his family and associates.