Tag Archives: Miguel Sandoval

Where’s Marlowe? (1998, Daniel Pyne)

Where’s Marlowe? is a pseudo-documentary about a pseudo-documentary about private investigators. Miguel Ferrer is the private investigator and he seems like a good fit for the role, only director Pyne and co-writer John Mankiewicz don’t actually need him for anything. The point of the film, as things move along, is getting the documentary makers (played by John Livingston and Mos Def) more involved with the private investigating.

When the film centers on Ferrer, who’s a good-natured rube who cares too much about his clients and their problems to be fiscally solvent, Marlowe at least has some charm. And as appealing as Mos Def gets in his performance, he and Livingston are still unlikable. Once Allison Dean–as Ferrer’s suffering secretary and Def’s love interest–gives up on Def (and the documentary), it’s hard to stay onboard.

The film has some good supporting performances, particularly from John Slattery as Ferrer’s partner, and also Clayton Rohner as a client. Miguel Sandoval has a nice cameo. Livingston is bad, so’s Barbara Howard in a smaller, but important role. Howard’s real bad, Livingston it might be the script’s fault.

Speaking of the script, the writers don’t pay much attention to keeping their characters consistent. It really hurts Ferrer, though nowhere near as much as his unexplainable absence during some of the second act hurts the film. It’s a messy script, which Slattery overcomes because he’s not the lead. Poor Ferrer stops getting character development after twenty minutes.

Marlowe’s a misfire.

1/4

CREDITS

Directed by Daniel Pyne; written by John Mankiewicz and Pyne; director of photography, Greg Gardiner; edited by Les Butler; music by Michael Convertino; production designer, Garreth Stover; produced by Clayton Townsend; released by Paramount Classics.

Starring Miguel Ferrer (Joe Boone), John Livingston (A.J. Edison), Yasiin Bey (Wilt Crawley), John Slattery (Kevin Murphy), Allison Dean (Angela), Clayton Rohner (Sonny ‘Beep’ Collins), Elizabeth Schofield (Monica Collins), Barbara Howard (Emma Huffington), Kirk Baltz (Rivers), Miguel Sandoval (Skip Pfeiffer) and Wendy Crewson (Dr. Ninki Bregman).


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Repo Man (1984, Alex Cox)

For such an “odd” movie, Repo Man is incredibly precise. Writer-director Cox has four or five subplots–depending on if Emilio Estevez becoming a repo man and his journey as one is considered the plot, as Cox downgrades it to subplot status about three-quarters through the picture. Sometimes these subplots become so intense they jumble–I had to pause it and turn to the wife to ask her why Harry Dean Stanton was in the hospital, for instance.

Cox is just as precise with his composition and the film’s technical side. From the first scene, it’s clear he and editor Dennis Dolan are going to excel at cutting the film. Robby Müller’s photography is good, but it’s nowhere near as essential as Dolan’s editing. Repo Man just flows; great integration with the soundtrack too.

Estevez, though second billed, is the lead. He just has to be a disaffected youth–even when he becomes self-aware, it’s nothing compared to the lunacy of his new life in car repossession; Cox handles that scene beautifully (even if I lost track of Stanton in it).

As for Stanton, he has the film’s biggest arc. He’s the traditional Western hero who learns his code isn’t going to get him through life. Cox doesn’t exactly mix genres, just borrows people from other ones and drops them in the film. Stanton’s utterly fantastic.

Great supporting work all around, particularly from Tracey Walter, Sy Richardson and Tom Finnegan.

Repo Man is strange, hostile and wonderful.

3/4★★★

CREDITS

Written and directed by Alex Cox; director of photography, Robby Müller; edited by Dennis Dolan; music by Steven Hufsteter and Tito Larriva; production designer, Lynda Burbank; produced by Peter McCarthy and Jonathan Wacks; released by Universal Pictures.

Starring Harry Dean Stanton (Bud), Emilio Estevez (Otto), Tracey Walter (Miller), Olivia Barash (Leila), Sy Richardson (Lite), Susan Barnes (Agent Rogersz), Fox Harris (J. Frank Parnell), Tom Finnegan (Oly), Del Zamora (Lagarto), Eddie Velez (Napo), Zander Schloss (Kevin), Jennifer Balgobin (Debbi), Dick Rude (Duke), Miguel Sandoval (Archie), Vonetta McGee (Marlene) and Richard Foronjy (Plettschner).


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