Academia de locos

"Crimewave" is a bizarre film, written by the Coen Brothers and directed by Sam Raimi. The plot is just strange... two criminals kill the owners of an alarm company and then begin killing the witnesses to the crime. Done in slapstick comedy style...

This film has Sam Raimi written all over it. His crazy zoom camera shots, the inclusion of Bruce Campbell as "the heel"... and the very over-the-top silliness. The only other time the Coens really tread this path was with "The Hudsucker Proxy" (which is, in all fairness, the better film)... and that, too, had Raimi's involvement.

I suggest this film is worth seeing. While not the Coens' best, not Raimi's best, it's an interesting little film, bizarre, and a good showcase of early work from those involved.

Okay, it's directed by Sam Raimi, co-written with the Coen brothers, and features both Bruce Campbell and the late Brion James, so what are you waiting for?! RENT IT NOW! Raimi may have disowned this because it was taken out of his hands, but this shouldn't put you off. That kinda thing happens way to much (see the films of Peckinpah,Orson Welles or Donald Cammell). We can't judge the Crimewave that COULD have been just the one we have, and guess what, it's a damn funny, clever, black comedy with enough "action" to please both the popcorn movie brigade and Roadrunner fans. The film is nearly ruined by the uncharismatic lead couple, but that is more than made up for the star turns by James and Paul Smith as a couple of psycho exterminators, and Campbell as a "charming" Lothario. Fans of 30s/40s comedies and musicals ( Emil Sitka doesn't have a cameo for nothing), the more slapstick parts of Evil Dead 2 and Army Of Darkness, the zanier Coen Bros ( think Raising Arizona or Hudsucker Proxy) or Stanley Tucci's The Imposters should enjoy this zany fun. Oh, and wait til you see the door slamming chase sequence! All this and Louise Lasser too.

Finally seeing Crimewave now means that I have seen (and enjoyed, mostly) all of Sam Raimi's feature films. I'd been searching for this flick for a while, and was therefore delighted when it happened to come on TV! I'm glad it did, too, because if it hadn't, I'd have bought it (probably quite expensively), and I wouldn't say that this film is one that I'd be happy with purchasing. I see Crimewave as an enjoyable experimental film for the talented Evil Dead director and star. Sam Raimi implements several of his clever camera angles into the proceedings, and this bodes well with the over the top comic style of the rest of the film. Similarly, Bruce Campbell does what he does best; in a role that is an interesting prelude to his way over the top turn in The Evil Dead's sequel. The plot is all over the place, and starts off with a man on death row, protesting his innocence. His story is then told through flashbacks, and we find out that he really is in the innocent party in a story that features a couple of maniac rat catchers, a beautiful woman, a suave 'heel' and seemingly no end of madcap events.

The screenplay was written by two of modern cult cinema's biggest icons; Ethan and Joel Coen. Hot off their success with Blood Simple (which, incidentally, I didn't like much); this was the second film to feature the brothers' as writers. Despite them having the writing credit, this really doesn't feel like a Coen Brothers film; and that is testament to Sam Raimi's direction. Raimi perhaps goes a little bit too over the top at times, and the film does almost feel like a series of slapstick sketches threaded together by a thin plot. We get treated to some of his early directorial skill, with several really well implemented scenes; my favourite being the one where we see one of the rat catchers kicking a door in from both the inside view and on a TV screen showing the security camera. The unknown cast is decent enough, but it's only really Bruce Campbell that stands out, and that's more because of his later performances than because of prowess here. Still, it's always fun to see Bruce in a movie, and that remains true here. On the whole, this is a good film; but I'd only really recommend it to Raimi/Campbell fans, and people that will appreciate that it's more of a prelude to greater things to come than a great cult flick.

An actress loaded on cocaine, demanding to do her own makeup, and doing a terrible job of it. An actor distracted by battling spectres of his ex-wife. An actor dubbed over. Soon to be Hall of Fame directors/writers battling the studio at every turn. B-list hero Mr. Chin forced into a background role. All of this combined to make a ridiculous movie, and yet, all that behind-the-scenes chaos added to the movie's Live Action Looney Tunes charm.

Bruce was supposed to have the lead role, but the movie would have had a very different feel and maybe less enjoyable. His scenes in a supporting role are a blast, but I would actually have liked to see him as the main baddie. That would have added some more oomph and brought in flavor from the more wacky parts of Evil Dead.

The plot is, who cares, they didn't. Watch for the silly violence, some enjoyable cinematography (the hallway of doors scene was like ASMR for the eyeballs), and some solid one-liners.

It did take me a bit to warm up to this film as I went into it not knowing anything about it, but once I accepted that it wasn't going for any one genre, and just being ridiculous wacky fun, I settled in and enjoyed the ride. It is also a pleasure to watch Chuck Norris's TV wife adding some gravitas when Bruce was absent.

I hadn't heard anything good about this film, and its obscurity didn't lend much credence to the theory that it was any good, but it seemed impossible to me that coming from Joel & Ethan Coen, Sam Raimi, Rob Tapert, and Bruce Campbell, that it could be totally lacking in quality.

And indeed it isn't. I'm surprised this film isn't more popular in the cult world. There's plenty of trademark Coen Bros. dialogue, Sam Raimi crazy camera moves (indeed, in this sense this film is more entertaining than his recent sedate mainstream work), and Bruce Campbell charming cheesiness. I wish someone would release this out-of-print film on DVD so more genre fans would have the opportunity to check it out.

I guess one problem people might have with the film is that they're trying to watch it as a straight comedy. From this perspective, I guess the film is at best uneven. But the film's purpose is as much to pay tribute to vanished 30s and 40s movie conventions as it is to make you laugh. This is fun, because while the Coen Bros. keep returning to that time period in their movies, this is the only time they really play with the *film* style of that period -- their other views on the past are filmed through a modern lens (figuratively and literally). Likewise for Raimi, who hasn't had much other opportunity for this beyond some "Three Stooges" schtick in the "Evil Dead" series. The only other film I've seen that pulls off this kind of tribute is Richard Elfman's brilliantly quirky "Forbidden Zone" (which admittedly does it better). Both films, for instance, feature the classic wipe consisting of a black circle that closes in on the shot, ceasing contraction for a moment to frame an actor's face as they do a final take, and then contracting the rest of the way to a black screen.

I guess one thing that might have lifted this movie to greater heights would have been if Bruce Campbell had been allowed to play leading man Vic as was originally intended (but disallowed by the studio, per Bruce's excellent autobiography "If Chins Could Kill: Confessions of a B Movie Actor"). While Reed Birney competently plays the fumbling pipsqueak (and actually brings a more poindexterish quality to the role than Bruce physically would have been able to), he just doesn't have the charisma to really pull you in. Oh well -- Renaldo "The Heel" is a classic Campbell character, so there's some consolation there.

A parting note is that Arlon Ober, a primary composer of the brilliant score to the "Robotech" series, provides a wonderful score here as well, one of only 11 he's done, per IMDb. Almost worth seeking this out just for his great, fun score (the ending credits song is especially smile-inducing).