FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Rob Reiner |||
Rob Reiner

Son of comic genius Carl Reiner, Rob Reiner has picked up the family torch and directed some of the most memorable, quotable, and endearing comedies of the last two decades, and he’s no schmuck when it comes to dramas either.

This is a hilarious spoof filled with biting satire about a filmmaker making a documentary (or “rockumentary” if you will) about a once famous raucous British heavy metal band on a disastrous U.S concert tour, featuring the magnificent talents of co-stars/co-scripters Christopher Guest, Michael McKean and Harry Shearer. This granddaddy of the mocumentary speaks to the hard rockin’, air guitar playing 14-year-old boy in us all.

In this low-key sleeper hit based on a Stephen King story four young boys in 1959 Oregon set out on a camping trip in order to see a dead body one of them accidentally found. This is a loving memoir to a simpler time with an exceptionally talented young cast tentatively taking the steps on a road that leads to maturity.

Reiner turns a wry, even caustic, eye on men and women in friendship and in love, and that gray area in between. This is an engaging and smartly performed comedy about a pair of longtime platonic friends who turn a feud into a lasting friendship, determined not to let sex mess up a great relationship, until love threatens to ruin everything.

Recommended by CarrieSpecht

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A History of Violence (BrianOrndorf)

By BrianOrndorf

September 29th, 2005

Director David Cronenberg returns to the screen with this powerful, disturbing tale about the evil that men do. Calculated, terrifically acted, and sharply realized, "Violence" packs quite a punch.


Tom Stall (Viggo Mortensen, quietly effective) is a mild diner owner, living in a peaceful midwestern town, and blessed with a loving family (including Maria Bello). When two crooks decide to harass Tom one late night, the meek storeowner turns the tables quickly, killing both men, and is soon hailed as a hero by the local news. Tom, wary of attention, blows off the incident, but when mysterious men (led by a bullying Ed Harris) visit the area and start harassing him, Tom has to upset his gentle world again to confront his past and protect his future.

Adapted from the graphic novel by John Wagner and Vince Locke, “History of Violence” is a strange little film that doesn’t come at the audience in any conventional way. This is an weird, grotesque, funny, and disturbing picture that drips of David Cronenberg’s touch all the way through.

Opening with an idyllic Indiana small town, where every stranger is a neighbor and life is silent and peaceful, Cronenberg sets a tone for “Violence” that is immediately unsettling. Taking his cue from the cheery Americana tone of the obscure source material, “Violence” is pitched at a slightly askew, very theatrical level; earnestly heightened when it deals with Tom’s home life, and bone chilling when brutality comes knocking. The cold juxtaposition of the two moods creates a magnificent aura of suspense, and an uncomfortable feeling of menace that Cronenberg has perfected over the course of his long and memorable career. Tom’s world is going to crash down, but to what extent and how much is Tom going to be complicit with all of this is the question of the movie.

Take “Violence” at face value, and it could appear to be a flat-out mess. Cronenberg brazenly opens the film with a climax-worthy moment, forcing the rest of the film to preserve the unique aura of revelation for the rest Tom’s journey, and it can’t always maintain the level of interest. Cronenberg also deals out his sex and violence with an honesty that is stimulating, but also can be extremely mannered and frustrating. The sex scenes punch hard (and maybe a bit too graphic for some), and eventually come to symbolize the constipation of Tom’s martial communication, while the violence is delivered bluntly, bloodily, and without apology. Cronenberg wants his audience to have several reactions to the three main acts of violence presented in the film, and his steady direction successfully achieves exactly that feat.

As “Violence” moves along, secrets are revealed, characters are forced to confront truths about themselves, and Cronenberg keeps the surprises (I wouldn’t call them twists) coming. By the climax, the film has grown into a deeper and richer filmgoing experience than immediately perceived. Cronenberg has always worked best by getting in under the skin and manipulating from within, and while “Violence” isn’t his most accomplished piece of work, it does return the filmmaker to a traditional style he hasn’t explored since 1986’s “The Fly,” and it’s a welcome, satisfying homecoming.

My rating: B+