Bill Paxton in Kathryn Bigelow’s ‘Near Dark’ (1987).
Gobbledygeek episode 387, “Gobbledyween: Near Dark (feat. Joseph Lewis),” is available for listening or download right here and on iTunes here.
It finally happened. After three long years of behind-the-scenes turmoil, Near Dark has made its way to Gobbledyween. A/V writer-director Joseph Lewis joins Paul and Arlo to discuss Kathryn Bigelow’s 1987 vampiric Western, which reimagined the creatures of the night as filthy, lowdown rednecks. The gang discusses the influence Near Dark has had on vampire fiction, the late great Bill Paxton’s immortal performance as Severen, the film’s surprisingly conservative stance on biological family, and how surprisingly difficult it is to get ahold of the movie these days.
Next: Gobbledyween lives in a society. Greg Sahadachny joins us to talk Brian Yuzna’s 1989 satire Society.
Total Run Time: 01:33:05
- 00:00:45 – Intro
- 00:03:44 – Near Dark
- 01:24:22 – Outro / Next
- “Fever” by The Cramps, Songs the Lord Taught Us (1980)
- “The Cowboy Rides Away” by George Strait, Does Fort Worth Ever Cross Your Mind (1984)
Last week, we discussed our favorite TV series of the last year. This week, we turn to the big screen.
PAUL: 10. DJANGO UNCHAINED (dir. Quentin Tarantino)
With Django Unchained, director Quentin Tarantino takes us once more back to a terrible moment in our history, and once again asks us to indulge him his little anachronisms and revisionist revenge fantasies. This time, instead of Nazis and baseball-bat-wielding Jews, we get slavers and bounty-hunting dentists. Set in the pre-Civil War Deep South, Unchained is Tarantino’s homage to the Spaghetti Westerns of Leone and Corbucci, which he prefers to call his Spaghetti Southern. I’ll say that the absence of editor Sally Menke is sharply felt here, though. If I, of all people, notice the nearly three-hour runtime, then there could’ve been some tightening. The cast is great across the board, including a list of hidden cameos longer than my arm (among others, original Django Franco Nero makes an appearance). Jamie Foxx is great in the title role, though I imagine what Will Smith could’ve done with the part, as was the original intent. Leo DiCaprio, Samuel L. Jackson, and Walton Goggins all shine in their respective roles. Kerry Washington was reduced to little more than the damsel in distress, however, which is unusual for a Tarantino picture. But the standout here is Christoph Waltz. He is every bit as charmingly heroic and admirable this time as he was charmingly repulsive and hateful in Basterds.
AJ: 10. MOONRISE KINGDOM (dir. Wes Anderson)
Wes Anderson’s films often have a childlike quality about them, whether it be his colorful storybook compositions or the petulance of many of his characters. So it’s fitting that he’s finally made a film about children, one in which the kids are on the run from what’s expected of them and their adult guardians are forced to accept the roles they’ve played in their children’s abandonment of them. Newcomers Jared Gilman and Kara Hayward, both in their first screen acting roles, give perfectly awkward performances. Anderson regulars Bill Murray and Jason Schwartzman are in their element here, while Frances McDormand and Tilda Swinton join the auteur’s troupe with ease. Perhaps most encouragingly, Moonrise Kingdom is the first sign of life in years from Bruce Willis–who, with a movie soon to appear on our lists, proved later in the year that he’s most definitely still kicking–and Edward Norton, two actors who really needed a movie like this.