Review: 8 Heads in a Duffel Bag

Comedy - 1997
Starring: Joe Pesci, Andy Comeau, Kristy Swanson, David Spade & Todd Louiso
Director: Tom Schulman
Writer: Tom Schulman

The film begins auspiciously enough; Tommy (Joe Pesci) a middleman for two assassins is hired to transport eight severed heads to their mob boss to prove their owners are dead. This would be his last job before his retirement so to play it safe, he takes a plane instead of driving because, you know, airport security was less stringent in 1997. While on board the plane, Tommy meets Charlie (Andy Comeau) a college student set to meet his girlfriend (Kristy Swanson) and her parents (George Hamilton & Dyan Cannon) in Mexico. Naturally their duffel bags get switched and madness ensues.

If you're interest hasn't peaked by that small synopsis you may want to stay away from this one, but for the rest of us, you're in for a mixed bag. The story unfolds somewhat predictably though definitely not without energy. Joe Pesci who has been able to hone-in on his inner Guido since Goodfellas, barks, snaps and growls to the point where every scene he's in is utter magic. Even with a situation as cliche as being on the phone while an impatient extra circles behind you is done with panache. His costars however play their parts with less success. Andy Comeau has the appearance of your typical rube but he doesn't have the the attention to detail more experienced actors have. Playing it safe he seems frazzled when he should be panicked. David Spade and Todd Louiso who play Charlie's college friends and are shoehorned into these series of unfortunate events fare better but get a little annoying towards the end. Aside from Pesci, the only person who really hits a home run is Ernestine Mercer who plays Swanson's no-nonsense grandmother.

"8 Heads" however, is a fun time waster and manages to keep things light despite its dark subject matter. Writer/Director Tom Schulman who also wrote "What About Bob?" and "Honey, I Shrunk the Kids" manages to keep the pace of your average farce without reinventing the wheel. And yes, there are head puns in this picture but the groaner aren't the only thing this film has going for it.

I recommend: Renting It

In Defense of Inception and Social Network

With the lion's share of the awards thus far going home with end-of-the-year favorites like The King's Speech this season, it seems that a few movies are being unfairly disappointed at every turn. To sooth my own mind, I have taken the time to make the case for two movies nominated by the Academy Awards for Best Picture yet not in the best position to win.

Inception: Some have blamed Christopher Nolan's latest trek down the rabbit hole as being too convoluted. This I think is a cop out to those who either didn't understand the film or did so too quickly to give it any credit, therefore labeling it overly esoteric. "we get it, you mean I have to sit here for another hour-and-a-half," I hear them mutter. While it's hard to defend against those unwilling to give the film credit, the fact is Nolan's confident direction does keep the attention for over two hours; no easy feat in today's 90-120 minute screen-time mark. This is done without cheap gimmicks but with unbridled suspense that mirrors Hitchcock's best (another director who never received Best Directing credit). The setpieces are astonishing and the acting, while not up to award worthy level, is still real enough to evoke sympathy.
Predictably, many have found Nolan's recent blockbuster resume to be working against him. After all why would the Academy Awards give an Oscar to a film that grossed $292 million domestically when surely films still in theaters are struggling to get traction. This logic was no doubt in use when 2008's The Dark Knight was completely frozen out of the Awards, and while Inception has been nominated this year for Best Picture, Nolan once again has no directorial bragging rights. His career in some ways echos that of the great Steven Spielberg, who had been snubbed quite a few times by the Academy. But while Spielberg eventually won his statuette for a timely and awe inspiring drama a la Schindler's List, some have argued Nolan has yet to transcend and make truly bold film choices. I would argue that by trying to elevate the rock'em-sock'em summer blockbuster he has already made the proverbial bold choice. Inception is beautiful and intense and manages to showcase an original, emotionally engaging story that is not only popular and culturally significant but mindbogglingly complex as well.

The Social Network: A timely piece of out-of-the-headlines dramatization that manages to do the impossible, make today's .com world emotionally investing. Again despite critical acclaim, Social Network does have its detractors. The main character Mark Zuckerberg (played with panache by Jesse Eisenberg) is instantly unlikeable and Aaron Sorkin's rapid fire script may be trying for some. I argue that a script that beguiles its audience to keep up isn't exactly a negative. Additionally, Zuckerberg's facebook.com has 600 million users across the globe and while the movie was made predominantly by social network outsiders, the term "don't bite the hand that feeds you" instantly comes to mind. Still while many things have been revved up for our viewing pleasure in the film it doesn't take away from the fact that it's a good story. After all, Titanic's central love story was completely fictional yet it still managed to win record acclaim.
While we may be reluctant to admit it, Zuckerberg's situation is somewhat relatable. Who hasn't lost a friend to selfishness or managed to embarrass a loved one only realizing afterward what you have done. Like Taxi Driver's Travis Bickle, Zuckerberg is a frightening character because he represents the dark side of human nature. This point is further driven home by Justin Timberlake's Sean Parker who acts as a devil on Zuckerberg's shoulders to Eduardo Saverin's angel (played by Andrew Garfield).

In the end both of these films will likely win for Best Original and Adapted Screenplays but like A Clockwork Orange, The Graduate, Who's Afraid of Virginia Woolf? and Dr. Strangelove, the aforementioned films will likely be passed over by superb yet predictable fare. Yet while Oscar bait like True Grit and The King's Speech take their laps, a new generation of filmmakers will eventually have their time in the sun and the conventions of yesteryear will fall by the wayside in favor of the complex and the controversial.