Culture

After attending the first weekend of the Archaeology Film Fest Series, having not considered archaeology much since metal detectors were all the rage in 1990s England, I second a statement that I found on the website of the Archaeological Legacy Institute: Archaeology is humanity's rearview mirror – enabling a much better understanding of our place and time in the world. The films chosen by the local Archaeological Society are mind-expanding and inspirational. They transport you not only to other lands but outside of yourself, providing endlessly nourishing visuals, information and insight.

The Wolfman looked like it might be OK, beginning with a lone figure prowling the moors at night, segueing into the first beastly attack. But resurrecting a horror icon should be done with some pizzazz, and the only thing this Wolfman has down is the lavish, Gothic sets.
The plot revives the classic werewolf tale. Lawrence Talbot (Benicio Del Toro) returns to his family estate to investigate his brother's death, deal with his estranged father (Anthony Hopkins) and contend with a horrifying family legacy. The full moon looms and evil transformation is imminent. But this one made me miss even the abysmal Wolf with Jack Nicholson, not to mention Lon Chaney Jr's sensitive portrayal in George Waggner's 1941 version.

Sometimes you see a movie, and two thirds of the way through you know that no matter how it ends, this is going to be one you'll be raving about for years to come. The Bad Lieutenant: Port Of Call New Orleans has Nicolas Cage playing the part of the injured, dirty, hopped-up cop Terence McDonagh like the Humphrey Bogart of In A Lonely Place and The Maltese Falcon. Inspired by Abel Ferrara's 1992 Bad Lieutenant, this film gives us a bad cop in Cage who's not half as bad as the world he works in. His every corrupt moment – from confiscating drugs from drunken couples for his own use, to threatening old ladies – is reflective of the police force, the government and the whole system.

Crazy Heart is this year's The Wrestler – a true character study built on pain, suffering, angst and real human emotion with a standout performance by the lead actor. Instead of over-the-hill wrestler Randy the Ram spilling his blood on the stage as he fades into obscurity we get the burned-out 57-year-old country star Bad Blake (Jeff Bridges) on a binge of self-destruction.
Blake travels in a battered Suburban performing at bowling alleys and dive bars in a string of low-paying, low-turnout gigs with pickup bands along the way. Playing a Gretsch guitar through an old Fender Tremolux amp and sleeping in sleazy motels, Blake smokes and drinks to no end. Reminiscent of such classic down-and-out country-stars-gone-bad movies such as Payday with Rip Torn and Tender Mercies with Robert Duvall, the story follows the road trip and ensuing relationships Blake handles or mishandles along the way. He constantly argues with his agent by phone and lives under the burden that former sideman and protégé Tommy Sweet (Colin Farrell) has eclipsed his fame. Jean (Maggie Gylenhall), a New Mexico journalist, shows up to interview Bad and finds genuine interest in this mess of a human being. Bad, still able to score groupies, discovers hope in the awkward interview with Jean and the tables begin to turn.