MILDRED: “What are you rebelling against, Johnny?”

JOHNNY: “What have you got?”

“Mature” adults were already griping about the younger generation in the days of Aristophanes, but intergenerational strife took on a whole new character from the 1920’s on. Beyond being unable to satisfy their elders’ expectations, the youth of the modern age are as likely as not to disdain even trying to in the first place. And as we all know, whenever new challenges to the status quo rise up in the world, money-grubbing scare-mongers (and the opponents of same) are never more than a few steps behind—not a few of them with movie cameras in hand…

1000 Misspent Hours and Counting American History X (1998) Hilariously, one of the flashbacks to Derek’s minority-terrorizing glory days concerns a blacks-vs.-whites basketball game played for control of the courts where it takes place. It’s handled exactly like the climax of a “hurray for the underdog!” sports movie, as if some twisted bastard had shot a white power remake of The Bad News Bears.
1000 Misspent Hours and Counting Class of 1984 (1982) I don’t know a single self-identified punk rocker who has seen Class of 1984 and doesn’t love it. That might seem strange to some of you, seeing as the portrayal of the punks in this movie could best be described as mendaciously caricatured demonization. After all, demonizing people mendaciously is not generally a very effective strategy for winning their affections. Let me tell you a little open secret, though: the truth is, we punks kind of like how we always end up being the bad guys on those rare occasions when popular culture at large deigns to take notice of us at all.
1000 Misspent Hours and Counting Smithereens (1982) You don’t have to read too many books about the New York City punk scene before you spot the pattern. Sooner or later, perhaps in one of the last two chapters somewhere, or maybe even in the concluding paragraph of the introduction, you can count on encountering a quote from some short-horizoned wanker asserting that punk rock (which New Yorkers, obviously, invented without any help from London or, heaven forbid, some benighted Rust Belt shithole like Detroit) had run its course within four or five years, and that it was all over by about 1979. Needless to say, this would come as news to people in Boston or San Francisco or Osaka or just about anywhere, really, were we not so accustomed to hearing it.
1000 Misspent Hours and Counting Stone (1974) If anybody else was going to make American-style biker movies in the 60’s and 70’s, it would have been the Australians. This is because if anybody else was going to have American-style bikers in the 60’s and 70’s, it would also have been the Australians.
1000 Misspent Hours and Counting Suburbia (1983) Jack is the de facto leader of a group of runaway punk kids who call themselves “TR”— the Rejected. There are at least a dozen of them, all squatting a house in an abandoned development that the county government bought up when both the builders and the bank underwriting them went bust as casualties of California’s early-80’s mania for real estate speculation. That non-neighborhood, incidentally, is also home to a whole pack of feral dogs like the one that killed the kid in the opening scene, which tends to keep anybody with a lick of sense from getting close enough to discover the squat.
1000 Misspent Hours and Counting The Trip (1967) The crucial point, rather, is that Paul Groves might as well be Corman himself, and because Corman was quite possibly the squarest man under 40 in all of Hollywood in the mid-1960’s, when he began coming under the influence of the nascent hippy counterculture, that identification between director and protagonist gives non-hippies an easy in-route to the film.
Braineater Urlatori alla sbarra (1960) In spite of its full-throated endorsement of “modern” blue jeans culture, Urlatori alla sbarra looks backwards, toward the old Judy Garland-Mickey Rooney-“Hey, kids, let’s put on a show!” tradition, rather than forward to the subversive rock and roll movies that came later in the decade. There’s an innocence about its tone that would disappear from movies about the nascent youth culture as the sixties wore on — once people began to realize that the growing rebellion was more than simply kids being kids.
And You Call Yourself A Scientist! The Wicker Man (1973) Analysing the closing stages of The Wicker Man is a job better suited to a theologian that a film critic, particularly in terms of the reward that Neil Howie’s steadfast faith and resistance of temptation win for him…
And You Call Yourself A Scientist! Let Sleeping Corpses Lie (1974) That George must originate from London, that moral cesspool, everyone simply takes for granted. McCormick certainly does; in fact, he takes one look at that leather jacket, and that collar-length hair, and he makes up his mind about George. And it stays made up.
Cold Fusion Video Reviews A Bucket of Blood (1959) I’m not saying that the artistic output of the Beats it without intrinsic worth. It just wasn’t nearly so special as its purveyors thought it was. The line between serious and hilarious is a fine one indeed, and Roger Corman manages to skewer the Beat Generation in A Bucket of Blood mostly just by showing it.
Teleport City Times Square (1980) The chances were slim to none that any of Hollywood’s early attempts to depict the punk/new wave scene would be anywhere near on the mark, but that didn’t stop me and my friends from dragging our black clad, funny haircut havin’ asses to every single one of them. I think that we were flattered by these films’ failure to pin us down, as if that was somehow a testament to both our own uniqueness and the singularity of our cultural moment. The truth, of course, was that such misfires were less the result of failed effort than they were of the filmmakers’ halfheartedness in their attempts to cash in on what I’m sure they considered to be a fleeting fad. In any case, few of these movies were more destined to get it wrong than Times Square.
The Unknown Movies Page The Hippie Revolt (1967) At the beginning of the documentary, we get a promise that we are going to see the real thing. The opening credits state that the movie was, “Written and told like it is by the hippies themselves.” (Far out!) Though just a few seconds before that, you’ll see a close-up shot of a hippie stating, “Karl Marx was f- [scratch on soundtrack] -ed up, too.” From this, I guess we can assume that whoever did the sound editing for the documentary wasn’t a hippie. (Bummer!)
Jabootu’s Bad Movie Dimension The Klansman (1967) Rev. Josh interposes himself, asking if [Richard Burton’s] Stancill is a “Brother of the Sheet.” Loretta points to a tree about ten feet away. She explains how Stancill’s great-grandfather, an abolitionist, was strung up from it by “rednecks.” Rev. Josh, however, wants to know what Stancill’s done about it. You’re either part of the solution or part of the problem, dig? Loretta replies that he mostly just keeps to himself, drinking. (Boy, that must have been a real stretch for Burton.)
Teleport City Hare Rama Hare Krishna (1971)
If Hare Rama Hare Krishna is considered a classic of Bollywood cinema, it’s primarily because of the Burman’s music and Zeenat’s performance. The young actress steps into a controversial and unconventional role with the sure hand and confidence of a seasoned veteran. Watching her outshine everyone around her was a portent of things to come. As a formerly cool actor’s star faded, Zeenat ascended; Dev Anand was left standing there with a dumb haircut and goofy poncho he thought made him look cool.