Bloc

So I just saw this and I do say it was really good. Although I don't quite think someone who's just woken up minus a kidney can do all the fights that Charlie did it's really pretty good. It did stray a few times from the good path-it tried to make itself unpredictable and different, and I think it probably would have faired better if they didn't do that. I especially disliked the ending, up until the end I was quite enjoying the movie (if only for Miguel Ferrer being half naked for half the film.) I did think that for being married before the film Miguel and Leilani seemed to lack some passion, Miguel seemed very distracted during the love scenes (the only one that he has any excuse for was the one where he's supposed to be driving at the same time...). The very Dallas-esquire ending definitely messed with the movie and I think it would have most definitely faired better if it simply ended right then and there without continuing on past Charlie adding in the last lines of the script.

This is one of those films that have a lot of characters you are familiar with, but just can't remember where, or remember their names.

But, the focus is on three people, so the rest don't matter.

I don't recall Miguel Ferrer (Traffic, "Crossing Jordan") in many leads, so it is refreshing to see him here. He is starring with his ex, Leilani Sarelle (Basic Instinct). Not hard to get some passion up here.

Ferrer is in Mexico researching a murder for a screenplay when he runs into Sarelle, who is part of a body parts harvesting team.

At least he gets his story, and it has George Clooney as a trans.

Not really a bad hour and a half.

In this excellent unabashed B movie from 1993 you get to watch Miguel Ferrier and his wife turn one of the most enduring urban legends ever (guy wakes up in a bathtub of ice missing -insert body part- with instructions to call an ambulance) into a South of the Border escape covering topics from the Hollywood screen writing culture to Latin American police corruption to long term depression to child molestation to the underground gay community back to the Hollywood screen writing culture. What it lacks in production values (not much) it makes up for in heart.

This type of film was often showed on the off-brand pay movie channels in the early to mid 90s but usually centered more around the exposure of many, many nude body parts belonging to Shannon Tweed, Joan Severence or C. Thomas Howell (::shudder::). This film keeps its clothes on (and puts a dress on George Clooney, to boot) and delivers an enjoyable watching experience of pure escapist fantasy throughout which you will consistently thank God you aren't Miguel's character (when he is rolling around on the ground in pain) or curse God you aren't Miguel's character (when he is rolling around in the front seat of a Volkswagon with his insanely beautiful real life wife).

Good stuff.

'The Harvest' is one of those viewing experiences that gets by largely on mood & atmosphere. It features a bunch of ingredients - interesting theme, damaged characters - that when blended together go down smooth like a refreshing drink. It's the after taste that's off putting.

Charlie Pope (Miguel Ferrer) is a burnt out screenwriter who gets a paid trip to Mexico to try and turn in one final draft of his script he's been churning for two years that will appease the studio and his headache of an agent (Harvey Fierstein). Doing so he finds the original basis for his story is incorrect. More importantly he meets a bunch of characters - particularly Natalie (Leilani Sarelle) - and loses a kidney in the process.

I've watched a lot of movies so when a plot deals with a writer I know enough to see where things might be going. You have to question if what you see & hear is fact or fiction. Add in the usual tropes about foreign countries where you don't speak the language, corruption and holiday romance and you've just summed up 3/4's of this film.

Writer/director David Marconi's 'The Harvest' has two things going for it. Standout acting from Ferrer & a great musical score. Unfortunately as the tagline states "They stole one of his kidneys. Now they've come for the other one" the movie is playing loose & unfair with the rules. It's a fine trip up until that point though.

The Harvest is the very definition of a hidden gem that one stumbles upon while watching late night cable and sits through to the end just because it's such a wickedly nasty little thriller. Erotic and steamy, dangerous, very darkly funny are qualities that all reside within a terrific script that has one kicker of an ending that's quite the chuckle inducing payoff. No one wants to have their organs taken while on vacation in some sketchy South American country, let alone consider the thought of it. Hard luck screenwriter Charlie Pope (an intense Miguel Ferrer in one of his few lead roles) falls right into that unthinkable scenario. He's sent to Mexico by his bad tempered boss Bob Lakin (a sleazy Harvey Fierstein, who REALLY needs to be in more movies), and marinates in the sweatiness trying to get some work done. After a hot and heavy night with a gorgeous local babe (Leilani Sarelle) he wakes up with the mother of all hangovers and is horrified to find that one of his kidneys has been removed. From there it's a stomach churning mad dash to figure out where the smugglers have gone, and evade the, at the same time, because they're coming to try and get his other one and silence him forever as well. It's an uncomfortable little piece of white knuckle trash, but it's made with solid flair and like I said, the script is top shelf stuff. Ferrer is the running man here, trying to keep one step ahead of some very dangerous people, his bountiful acting talent putting us right there with him. Fierstein is always a gravel voiced gem, and gets two penultimate scenes that spin the plot on its cogs, both which will have you laughing uncomfortably. There's also an early career appearance from George Clooney, who is Ferrer's cousin. His credit here, and I'm not even making this up, is 'Lip syncing transvestite'. How's that for a leg up in the industry. Lowbrow, gut churning black comedy mixed with the exotic fish out of water thriller makes for a neat little piece of genre bending, grotesque shocker fun.