MANTRAP: STRAW DOGS DOCUMENTARY (2003)

Good, bare-bones documentary on both Straw Dogs the movie, famous and infamous for the double-rape sequence of the ingenue played by Susan George, an active part here, and especially of director Sam Peckinpah, who many... including Dustin Hoffman... wanted replaced... Thank God that didn't happen, because Straw Dogs is Sam Peckinpah's greatest movie, and imaging someone else doing it would be like imaging The Wild Bunch with another director...

And while there's a kind of quick feminist viewpoint of the double-rape sequence, in the movie's actual story, the girl character, Susan George's Amy, wife of Dustin Hoffman's David, had once loved the first man, and always despised and hardly knew the second man... And that second man was played by British bad boy actor Ken Hutchison, the scariest and meanest of this British wild bunch, and seeing him old in 2003, drinking and smoking, is neat because not only did he quit acting in 1999, but he was such a great actor, and doesn't even have a cult status at this point, and really should; while other interviewees included are Del Henney, the first man, who Amy once loved... and veteran actors then-and-now Peter Vaughan and TP McKenna... And plenty of memories of Dustin Hoffman himself, a very deep, thoughtful, artistic man, you can tell: The only downside is towards the end, when they start to psychoanalyze Peckinpah to a ridiculous fashion, insinuating that the violence of his movies (especially Straw Dogs) reflected his own deep-rooted hatred toward the women in his life: something they NEVER do to violent movie directors like Quentin Tarantino or a slew of others who Peckinpah influenced... Thankfully, at this navel-gazing point of the doc, it's all finished: they basically saved the worst for last. Grade: B

STRAIGHT TIME (NO BEAST SO FIERCE)

year: 1978
rating: ****1/2

Being that it's a film about an ex-convict just outta jail and back on the streets, it could be argued that a seemingly "tougher" actor play the main role...

Only STRAIGHT TIME centers on the determined-stubbornness of the career criminal as opposed to how strong he is. Dustin Hoffman, as scruffy hedgehoggish Max Dembo, portrays the con as someone who, though he may try at first, simply cannot change. At first it has to do with his bullying parole officer, played with subtle villainous perfection by M. Emmet Walsh (who's just as stubborn on the other side of the coin), who pushes Max over the edge...

But then its the fact he just can't hold a job unless it has to do with sticking up liquor stores, robbing pawn shops, banks and eventually a jewelry store...

Max realizes, even though he has a dream girl played byTheresa Russell, that the life of crime is the only thing he does well...

Hoffman has played many eclectic roles, disappearing into most; but here he's right up front as an urban loser who sees only what he's after. Hoffman's criminal isn't a muggy goon, but rather, a selfish jerk (with some "brat" thrown in) - things usually left out of con flicks and replaced with muscular tattoos.

Hoffman's Max is working class as opposed to badass: wielding with wormlike precision the skills of a trade that could possibly merit a big payoff, which isn't easy; as a bonus we experience the meticulous planning for each caper. Gary Busey and Harry Dean Stanton, as his ex-convict buddies, both, like Hoffman, are more badger than wolverine, fitting with the realistic aura of the piece...

But what makes this movie truly shine is how each scene dealing with Dembo's progression (or regression) keeps the viewer not only entertained but thoroughly engrossed in the outcome (Hoffman taking his time while robbing the bank and jewelry store will put you on the edge of your seat, and just as frustrated as partner Harry Dean Stanton... It was Hoffman's choice to drag both scenes, adding tension I've never experienced during any cinematic heist). And of course, much credit can be given to writer Edward Bunker (Mr. Blue from "Reservoir Dogs), the real life/lifelong convict-author who co-wrote the script based on his first novel NO BEAST SO FIERCE. It's a terrific read but I like the movie even better.

STRANGER THAN FICTION

year: 2006

cast: Will Ferrell, Tom Hulce

rating: ***

Will Ferrell has his very own THE TRUMAN SHOW, centering on a mild-mannered, rut-dwelling accountant who hears a narration in his head. Someone is narrating his own life, and predicts his up-coming death. Turns out the person is a writer whom invented a character exactly like Ferrell and he has to stop her before she finishes the book. But before that Ferrell deals with the voice by visiting shrink Dustin Hoffman, who isn't as shocked as he should be about this situation. Ferrell meets a proud liberal gal who bakes cookies and refuses to pay some of her taxes (the 13% that will go to the military) and as their relationship grows (she thaws and he gets more laidback) the voice seems to lessen, as does the intensity, and initial premise, of the film. But things get back on in line when he has to track down the author before it's too late. Ferrell has a couple funny moments doing his usual I'm-just-a-tad-behind-everyone-else-but-above-them-at-the-same-time signature character, but here, unlike some of his other outings, there's an interesting enough story to give him purpose. Plus the B-side involving the eccentric author, played by Emma Thompson, who can't find a suitable death for her character, adds some vitality. And it's always nice seeing Dustin Hofffman again. NOTE: For all you Generation X'ers - if the plot to this movie seems familiar, then you, like myself, may have grown up reading Sesame Street's THE MONSTER AT THE END OF THIS BOOK, which involves Grover trying to stop the story... HIS story... from ending. "Don't turn the page!!!"

LAST CHANCE HARVEY

title: LAST CHANCE HARVEY

year: 2008

cast: Dustin Hoffman, Emma Thompson

rating: ***1/2

In this nifty indie gem the great Hoffman's given new life, perhaps because of the neat, tight little script and unpretentious directing... sort of a modern fable... about a jingle writer who travels to England for his somewhat estranged daughter's wedding and meets the girl next door type, Emma Thompson. Together these two lonesome characters realize love isn't about lust and passion, but having someone there. "American Beauty" paved the way for these mid-life fables and they don't always work, but this does beautifully. I'm hoping "Last Chance Harvey" is a new path for Hoffman; perhaps his niche lies in indie films from now on... I'll keep my fingers crossed.