When you think of an iconic horror movie, The Exorcist (1973) immediately comes to mind. Written by William Peter Blatty and directed by William Friedkin, The Exorcist follows a tormented young girl and the skeptical priest who tries to help her. Several scenes were filmed in Georgetown, Washington, DC, where it’s set.
At the end of the film, Father Damien Karras allows the demon to possess him and he throws himself out the window down a flight of stairs. Those stairs are located in Georgetown leading from the intersection of 36th Street NW and Prospect Street NW down to Canal Road.
Looking from top down, it’s easy to see how long, narrow, claustrophobic, and steep they are. I wouldn’t want to even walk up or down them, let alone jog like a group of cross fitters were doing when I visited.
Written and directed by Daniel Myrick and Eduardo Sánchez, The Blair Witch Project (1999) was filmed entirely in Maryland and was the first “found footage” horror film. It made over $248 million worldwide on a $60,000 budget.
The Blair Witch Project was presented as a real documentary project that went wrong when its three filmmakers disappeared in the woods near Burkittsville, Maryland. Much of the movie’s first 13 minutes were filmed in and around Burkittsville, a real town in Frederick County.
Burkittsville’s sudden notoriety annoyed its inhabitants, and souvenir hunters repeatedly stole the town’s iconic sign. The wooden welcome sign shown in the film has been replaced by a more fashionable blue one.
“Did you ever see the movie The Sentinel, Mr Peterson? It’s about the old guy who owns the apartment which is kinda like the, uh, gateway to hell.”
Ricky Butler, The ‘Burbs (1989)
Written and directed by Michael Winner, based on a novel by Jeffrey Konvitz, The Sentinel (1977) is a horror film about a fashion model who moves into a house occupied by a blind priest who guards the gateway to Hell. It was filmed at 10 Montague Terrace in Brooklyn Heights, Brooklyn, New York City.
I never watched The Sentinel, but it’s mentioned in my favorite movie, The ‘Burbs. The creepy green ivy covering the old Brooklyn apartment building was gone when I visited a few summers ago.
A Southern belle waiting for her husband to come home falls for a wounded Union soldier in this silly Civil War drama.
Written and directed by Serge Rodnunsky, War Flowers (2012) is a vanity period film staring a surprising cast, including veteran actors Christina Ricci and Tom Berenger. A few charming performances save this otherwise meandering and strange take on American history from being too unbearable to watch, but history buffs will cringe.
Union general McIntire (Tom Berenger) lost two sons at the Battle of Antietam, so when his army invades an unnamed valley in North Carolina in 1863, he tries to send his third son, Louis (Jason Gedrick), back home before the war ends. Eager to get into the fight, Louis disobeys his father but gets wounded and seeks shelter in a farm house.
The house is owned by Sarabeth Ellis (Christina Ricci) and her daughter Melody (Gabrielle Popa), who are waiting for Sarabeth’s husband, John (Bren Foster), to return from the war. Sarabeth believes John has been killed, but Melody has faith. Short on food, they’re harassed by a local derelict, Rufus (Kurt Yaeger).
As the fortunes of war swirl around their farm, Sarabeth must decide whether to embrace her unwelcome Yankee visitor and perhaps move on with her life, or give up and succumb to the horrors of war. Things look bleak when Louis McIntire is captured by his own men, mistaken for a Confederate, and left in the stockade by his father. Will the two reunite and survive?
An intellectual debate between opposing philosophical approaches plays out in Steven Spielberg’s presidential biopic.
Director Steven Spielberg’s biopic of President Abraham Lincoln’s efforts to pass the Thirteenth Amendment during the closing months of the American Civil War was a critical success, with strong performances by Daniel Day Lewis and Tommy Lee Jones. Tommy Lee Jones’ portrayal of resolute and idealistic Thaddeus Stevens was the perfect foil to Lincoln’s more pragmatic and folksy personality.
Thaddeus Stevens (1792-1868) was a U.S. Representative from Pennsylvania, who served from 1849 to 1853, and again from 1859 to his death in 1868. Stevens was a staunch abolitionist and leader of the Radical faction of the Republican Party, who sought total legal and social equality for African Americans, including redistribution of Southern lands to freed slaves.
President Lincoln and Congressman Stevens had the same goal. Both wanted the Thirteenth Amendment passed, which would forever outlaw slavery in the United States. That required a two-thirds majority vote, and Lincoln wanted the amendment passed in the House of Representatives before the Confederacy surrendered, which was not a matter of if but when. In order to get the necessary votes, Lincoln needed bipartisan support from conservative Democrats as well as Republicans. Stevens, however, refused to compromise and moderate his tone.
In one scene of dialog from Lincoln, Lincoln and Stevens meet in a smoke-filled kitchen to hash out their differences. Lincoln needs to get Stevens on his side, but Stevens seems uninterested in compromise. This conversation is a perfect contrast between ideology and pragmatism. Pragmatists are willing to meet their opponents halfway, while ideologues will only accept a total and complete triumph of their ideas.
Spanish-born actor Antonio Banderas was hot in the mid-1990s, starring in Hollywood films like Philadelphia (1993), Interview with the Vampire (1994), Desperado (1995), Evita, (1996), and The Mask of Zorro (1998). Before his career in the United States took off, however, he starred in a little known Italian miniseries later released as a film about a young, handsome and idealistic Italian socialist who became an influential Italian leader. That Italian leader was Benito Mussolini.
Written by Vincenzo Cerami, et al, and directed by Gianluigi Calderone, Benito (1993) was a 307-minute Italian made-for-TV movie starring then 32-year-old Antonio Banderas in the titular role. It was later released as a film in the U.S. by Lions Gate Entertainment. The movie charts Mussolini’s rise from young laborer to socialist revolutionary leader, ending prior to his creation of the National Fascist Party. The topic of pre-World War I Italian socialism is a little too esoteric for American audiences, so Lions Gate probably released this in the U.S. to capitalize on Antonio Banderas’ popularity.
It seems strange to think of 20th Century Italian Fascist dictator Benito Mussolini as a left-wing political figure, but if it wasn’t for World War I, that may have been his claim to fame. Mussolini’s father, Alessandro Mussolini, was a socialist who named his son Benito Amilcare Andrea after Mexican president Benito Juárez and Italian socialists Andrea Costa and Amilcare Cipriani. As a young man, Mussolini avoided military service by hiding in Switzerland, where he studied Marxist philosophy, became active in labor unions, and wrote for the socialist newspaper L’Avvenire del Lavoratore. Back in Italy, he joined the Socialist Party and became editor of its newspaper, Avanti.
This film about one of the most egregious modern cases of racism and injustice mostly sticks to the facts.
One thing I didn’t like about Spike Lee’s BlacKkKlansman(2018) was that it invented events to make its antagonists more menacing than they really were. It’s a habit in Hollywood to insert or amplify racism in historical films, which is weird because there are plenty of actual historical examples of racism to make movies about.
Case in point: Just Mercy (2019), written by Destin Daniel Cretton and Andrew Lanham and directed by Cretton, based on the book Just Mercy: A Story of Justice and Redemption by Bryan Stevenson. Just Mercy follows the case of Walter McMillian (Jamie Foxx), who was wrongly convicted of the 1986 murder of a white woman in Monroeville, Alabama and sent to death row. Years later, attorney Bryan Stevenson (Michael B. Jordan) successfully appealed McMillian’s conviction and won his freedom.
McMillian, who was having a very public affair with a white woman named Karen Kelly, was hosting a fish fry at his home with his wife, Minnie (Karan Kendrick), surrounded by about a dozen witnesses, when the murder occurred. Despite this, Sheriff Tom Tate (Michael Harding) arrested him for the crime. And despite not yet being convicted, he was sent to death row while awaiting trial.
Judge Robert E. Lee Key, Jr. (yes, that was actually his name) moved the trial to a different county where it would have a majority white jury. The judge overrode the jury’s decision of life imprisonment and imposed the death penalty. McMillian sat on Alabama’s death row from 1988 to 1993, when the Court of Criminal Appeals ruled he had been wrongfully convicted.
Adam Carolla and Dennis Prager deliver a powerful rebuke to radical campus activism, but fail to explore its root causes.
I watched Adam Carolla and Dennis Prager’s new documentary No Safe Spaces (2019) in a nearly-sold out theater in Alexandria last night. While it was a decent summery of the latest threats to freedom of speech and expression, and the audience loved it, there were some glaring omissions that left the film feeling incomplete.
If you’ve been paying attention over the past several years, you’ve noticed the rise in political activism on both the right and left has led to some alarming developments, including riots, street clashes, and an effort to “de-platform” opposing views on the Internet. No public space has been at the forefront of this conflict more than college campuses.
No Safe Spaces highlights two of the most dramatic episodes of campus activism and political correctness run amok: Bret Weinstein and the 2017 Evergreen State College riots, and the 2016 riots at California State University that targeted conservative political commentator Ben Shapiro.