goodbye seventies movie review

The Queer Review

Exclusive Interview: New Queer Cinema digital pioneer Todd Verow on his latest feature Goodbye Seventies “all of my films have led up to this one”

Todd Verow’s 1995 feature debut Frisk elicited strong reactions, resulting in a near riot, when it world premiered on as the closing night of the 19th San Francisco International Lesbian & Gay Film Festival (now Frameline) at the iconic Castro Theatre, before going on to screen at Sundance, Berlin and Toronto. Based on Dennis Cooper’s infamous gay serial killer novel, Verow’s adaptation featured an outstanding indie cast including Craig Chester, Parker Posey, Alexis Arquette, and actor-turned-editor James Lyons, with a score by British experimental band Coil. The confrontational tale of murder and sadism, which used a mix of 16mm, Super8, PXL vision and video formats, secured him a spot alongside filmmakers such as Todd Haynes, Derek Jarman, Tom Kalin and Gregg Araki in the unapologetic, often subversive New Queer Cinema movement.

The following year the Maine-born Verow established his own production company with creative partner James Derek Dwyer, Bangor Films, going on to produce, write, direct, photograph and edit over forty narrative feature films, documentaries, shorts and experimental works, all made independently, with minimal budgets. Verow was named one of the first Digital Directors To Watch by Variety in 2000 and his early vow to make ten digital features in four years saw the story make the cover of Time magazine. Notable features include Little Shots of Happiness , Shucking the Curve , The Trouble with Perpetual Déjà-vu , A Sudden Loss of Gravity , Once and Future Queen , Take Away , Anonymous (in which Verow also stars), Vacationland , The Final Girl , Between Something & Nothing , The Boy with the Sun in His Eyes , Bad Boy Street , This Side of Heaven , Squirrels , and recent LGBTQ film festival hit Age of Consent (co-directed with veteran queer filmmaker Charles Lum); a documentary exploring the history of London’s Berlin-style leather sex club, The Hoist. As well as lensing all of his own films, Verow was the cinematographer on Jon Moritsugu’s early 1990s features Terminal USA and Mod Fuck Explosion , and he lit Gregg Araki’s Totally Fucked Up .

Todd Verow’s latest narrative feature Goodbye Seventies will world premiere at Out on Film Atlanta’s LGBTQ Film Festival on Monday September 28th, and have its European premiere next month as the closing night selection of the 15th Pornfilmfestival Berlin (PFFB). Set in the world of New York’s creative gay adult filmmaking scene of the 1970s, PFFB calls it “a nostalgic and melancholic homage to the Golden Age of Gay Porn”. Ahead of these screenings The Queer Review’s editor James Kleinmann spoke with the filmmaker about why he admires the gay adult filmmaking of the era, his guiding principles for making a period movie, why he chose not to make it a sexually explicit work and the impact William Friedkin’s Cruising made on him when he first saw it in the 80s. Update: Goodbye Seventies is available on DVD and on demand Tuesday February 16th 2021 via Ariztical Entertainment .

James Kleinmann, The Queer Review: What is it that interests you about that golden era of gay pornographic filmmaking in the 1970s?

Todd Verow: “Well, I’m interested in it because it’s the beginning of it as far as making real films is concerned. I mean there was certainly pornography before that of course, but this is the beginning of making real films that would play in cinemas for an audience, rather than loops that people would watch at private parties for instance. It was after Stonewall and gay liberation was happening so there was more visibility and more of a sense of community about it all.”

Are there any filmmakers who you think were doing particularly creative work back then that elevated it beyond what people might expect when they hear the word pornography?

“Yes, Peter de Rome and Wakefield Poole immediately come to mind. There were a lot of different filmmakers who were interested in making films that were interesting in themselves, regardless of whether they were pornography or not.”

Interesting movies that didn’t shy away from the fact that they were sexually explicit I guess?

“Yeah, exactly, and the filmmakers weren’t making the films for a profit, they were making them because they wanted to make them, and also they were themselves unafraid to be associated with their work. Whereas in the straight pornography world I think it’s kind of the opposite. Anyone making straight pornography was doing it to make a buck. Yes, they might be doing interesting films too, but at the end of the day they’re still interested in making money. Whereas I think a lot of the gay pornographers of the time when they actually made money they were kind of surprised and shocked in the early days! That’s what interests me about it, the fact that they were making these films because they were passionate about them.”

And those are some of the things that we see play out in Goodbye Seventies, but was there anything in particular that sparked your imagination when it came to writing the screenplay?

“Well, I mean in a lot of ways it’s a culmination of my work from the very beginning. My very first short film, V is for Violet , was in some ways similar because it was about pornography through the decades. I feel like I’ve actually been doing research for this film for about 30 years. So, in a lot of ways all of my films have led up to this one.”

Tell us about casting the film, what was your approach?

“As far as doing a period film I didn’t want to fall into the trap of having everyone look like they were from the 70s because not everyone in the 70s looked like they were from the 70s, you know what I mean?! So, I did a broad casting call and I saw a lot of different people and I just cast who thought would be good for each part. Then I adjusted some things and even rewrote some stuff based on who I cast. Chris Rehman who plays Bradford, the writer and director in the film, I had worked with before on my movie Squirrels , and so I thought of him because he’s a dancer, and he also does drag performances and other kinds of performance art. He’s from a small town in the Midwest and he just had a lot of the characteristics of the character. Then Ken Kaissar plays Bradford’s best friend Vinny. He just had this enthusiasm and this kind of slyness to him that I thought would be perfect for that character, but also a real heart to him, and Vinny’s really the heart and conscience of film.”

“Justin Ivan Brown plays Horse, one of the stars on the films Bradford’s making. Immediately, the second that I met Justin I thought, that’s Horse, he’s perfect for it! And he was perfect for it. Ashlie Burgun plays Beth, a budding makeup artist and part of their filmmaking family. That role was actually really hard to cast and I saw a lot of different people and nobody really had the right tone, but then Ashlie came in and instantly I could tell that she understood who Beth was. Fatima Lewis plays Melody, a permanent fixture at the Times Square theater where Bradford’s films play. That was another role that was hard to cast, but Fatima just got it and she also brought something extra to the character, there was an unexpected shyness and quietness that I wasn’t thinking about for Melody that really opened up my mind to something different. I’m really happy with what she brought to the film. Andrew Cawley plays Matt, one of the porn performers in Bradford’s films and he’s actually the character that goes through the biggest transformation. Andrew was fantastic, really great to work with and he was just ready and willing to do anything and just go with it.”

“New York actress Marie Smalley plays Esta, and not only is she Vinny’s mom but she’s also the surrogate mom of everyone. When Marie came in she really understood the time period, because she lived through the 1970s, and she understood the character really well too and brought this sort of earthy quality to it, but also a sense that she’d been around the block, a protective sort of hard edge that was needed and helped elevate the character. Julie Chapin plays Lexxy, the owner of the porn theater in the movie. She’s based on a real woman who owned a bunch of porn theaters in New York in the 70s. She’s a really interesting character and you could make a movie just about her. Julie came in to the casting room and immediately she got it. She understood the character completely and she was a lot of fun to work with and always really willing to go the extra mile. Everyone in the movie becomes a family so I needed there to be that dynamic between all the actors, so it was a bit of a puzzle and it was difficult to get everyone together, but I was really happy when I did because they really did feel like a family and I think that comes across.”

You’ve also got some legendary downtown figures in the film haven’t you.

“There are also a few people in the cast that I’ve known for a long time like Jack Waters who I met back when I first moved to New York in the late 80s. I’m a big fan of his work so I definitely wanted him to be in it. Hucklefaery, a prominent Radical Faerie and Sister of Perpetual Indulgence, I’ve also known for a while and I knew he’d be great. Also the legendary New York drag queen Flotilla Debarge is in it. I’ve been an admirer of Flotilla’s for a long time and the character that she plays is inspired by the underground cable access TV of the 80s.”

You mentioned that family dynamic that you wanted to create, was there anything that you think helped the cast to bond, aside from just being on set and making the film?

“Well, I definitely wanted to shoot all the scenes set in the porn theater first partly for that reason. We found this great movie theater in Providence, Rhode Island, the Avon cinema, which had actually been a porn theater for a while back in 70s. It’s impossible to find a theater like that in New York City, because they’ve all been renovated, but the Avon still looks like a theater from the 70s. So I had most of the cast come to Providence for about a week and that was a really good bonding experience because we all stayed in a hotel together, we’d rehearse and go for meals and go out dancing at night. That really helped create a sense of family on and off screen I think.”

Obviously most of the characters are involved in making gay porn films but the film itself isn’t sexually explicit, how intentional was that?

“It was always my intention that Goodbye Seventies would be about the making of the films and this family that develops, so I didn’t want it to be explicit at all. Ultimately the explicit sex that they’re filming isn’t the important thing, the important thing is that they made the films and that they were successful. I’m certainly not someone who shies away from explicit material, but for Goodbye Seventies I wanted it be about the filmmaking and the characters rather than the sex.”

Let’s talk about your guiding principles for creating that 70s look in terms of production design, costumes and the cinematography.

“Going back to the very first short film that I made just over 30 years ago, V is for Violet , that was a period piece and I’ve always been sort of a cultural anthropologist and really interested in different time periods; what people wore, how they thought and talked, what kind of films they watched and what the architecture was like. That’s always been something that’s really fascinated me and I love doing the research. It was a lot of fun working with the younger actors who hadn’t lived through the period, getting them to understand how to talk, hold themselves, how to wear their costumes and how to interact with other people. Essentially how a lot was different back then. I think the problem with a lot of period films is they tend to focus on the period in a way that can end up feeling like a costume party, but really in the 70s people were still wearing clothes from the 60s and the 50s and other time periods sort of have influences over them as well. So I didn’t want everyone to have long hair and moustaches and wear bellbottoms and have polyester shirts because that’s not what people looked like in the 70s.”

“When it came to the cinematography, I’ve always been a big fan of star filters, and that’s something that was popular in the 70s, so it was a good excuse to pull out a star filter. People don’t really use them anymore, but I still use them quite a bit anyway. I didn’t want to do a lot of zooming, because I think that’s become sort of a parody of the 70s. With the lighting I wanted it to reflect what the 70s felt like, not necessarily what movies from the 70s were like. Originally, I wanted to shoot the whole thing on Super 8 film and I was actually in contact with Kodak about a new Super 8 camera they were developing. I was going to be one of the people who got to test it, but the camera never ended up getting made. So in the end I decided to shoot all of the movie-within-a-movie stuff on Super 8 film and then everything else digitally, but with the same aspect ratio as Super 8 film. So that was my artistic decision, but I also wanted it to look and feel sort of like a documentary as well, as if a lot of it was found footage. The whole film is structured as two interviews one in 2000 and one in the early 80s about what happened back in the 70s, so that was my framework that I built off. When it came to the costumes and the props it was a lot of fun finding old phones and clothes, and props; things like a vintage Crisco can! And we found this great vintage fashion collector in Maine who really helped us out. And then it was fun finding things like unopened underwear, which was pretty great because even if you never see them on screen, for an actor there’s nothing like wearing 70s underwear and 70 socks! Small details like that help you get into character I think.”

And also there’s some archive footage from the 1970s?

“Yes, Jack Fritscher was kind enough to let me use some footage that he shot on super 8 in 1970, which was fantastic. I also used some footage from my own super 8 films as well. That really helped sort of set the tone for the period I think.”

And although you weren’t very old in the 70s, you’re recreating a time period that you actually lived through and have a personal connection to rather than just a remote idea of what it was like purely through research.

“Yes, exactly, I do think that helps a lot. I’m a child of the 70s so it’s a time period that’s very vivid to me. I can remember my aunts and uncles, and my parents at that time. And I think the period is fascinating because this sexual revolution is going on and gay liberation, but at the same time there’s a naiveté. It’s easy to say, ‘oh, they were so naive back then’, because then AIDS happened, the 80s happened and everything changed. But I think even at that time there was a sense of, you know, we’re living on borrowed time, this isn’t gonna last, so let’s just enjoy it while we can. That is really interesting to me, that there was this sort of naiveté, but also the self-awareness. There was freedom, but it’s a fleeting freedom, it’s also a kind of irresponsible freedom because there was a lot of negative things that happened then too. So the film is partly about that, and it’s also about how AIDS changed everything and drugs changed everything and how money changed everything. In the porn industry, and in the culture as a whole really.”

Finally, what’s your favourite LGBTQ+ either film, TV series, play, book, musical, piece of music or artwork? Or it could be a person. Someone or something that’s had an impact on you and resonated with you throughout the years.

“I would have to say William Friedkin’s Cruising . I remember when it came out in 1980. It shows so much of New York from the end of the 70s; the leather scene, and leather men, and just the city’s gay scene in general at that time. It really is a time capsule. I mean, you can hate it for the plot or because of its political incorrectness, but if you look at it as a time capsule of that period it’s fascinating. And, I’d have to add Wakefield Poole’s movies as well because Boys in the Sand and Bijou are both works of art and capture that time period and that sort of innocence that’s lost.”

By James Kleinmann

Update: Goodbye Seventies is available on DVD and on demand Tuesday February 16th 2021 via Ariztical Entertainment .

Todd Verow’s Goodbye Seventies will have its world premiere at Out on Film Atlanta’s LGBTQ Film Festival on Monday September 28th 2020 followed by a cast and filmmaker Q&A. For more information and to purchase tickets head to Out on Film’s official website . The European premiere will be the closing night of the 15th Pornfilmfestival Berlin on Sunday 25th October 2020, with tickets going on sale October 1st.

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Goodbye Seventies

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Ken Kaissar (Vinny) Chris Rehmann (Bradford) Justin Ivan Brown (Horse) Jack Waters (Eddie) Marie Smalley (Esta) Andrew Cawley (Matt) Julie Chapin (Lexxy) James Kleinmann (Richard) Fatima Lewis (Melody) Ashlie Burgun (Beth)

Represents the plight of gay men in the 70's and 80's. The AIDS epidemic is not washed over to make it palatable but I fear it sheds a negative light on the promiscuity of the era. There is nudity, sexual situations, smoking & drugs!

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• Director : Todd Verow ,
• Producer : Todd Verow ,
• Writer : Todd Verow ,
• Editor : Todd Verow ,
• Cinematographer : Todd Verow ,
• Cast : Justin Ivan Brown , Ken Kaissar , Andrew Cawley , James Kleinmann , Chris Rehmann ,
• Screenplay : Todd Verow ,

Technical specifications

• Country: United States
• Language: English
• Release: September 28, 2020
• Duration: 92 min
• Genres: Drama

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In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down

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Goodbye Seventies

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Goodbye Seventies

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In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds, the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down.

Product details

• Product Dimensions ‏ : ‎ 0.59 x 7.55 x 5.27 inches; 3.2 ounces
• Director ‏ : ‎ Todd Verow
• Media Format ‏ : ‎ NTSC
• Run time ‏ : ‎ 1 hour and 32 minutes
• Release date ‏ : ‎ February 16, 2021
• Actors ‏ : ‎ Chris Rehmann, Ken Kaissar, Andrew Cawley, James Kleinmann, Justin Ivan Brown
• Studio ‏ : ‎ Ariztical
• ASIN ‏ : ‎ B08NWQZQFP
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #481 in LGBT (Movies & TV)
• #22,197 in Drama DVDs

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Goodbye seventies.

2020 Directed by Todd Verow

In the 1970s, the golden age of gay pornography in New York City, a promising chorus boy is injured and told he will never dance again. Distraught and unimpressed with the "art" films playing seedy Times Square theaters, he gets his friends and lovers together and they start making their own hardcore movies. Against all odds the films are wildly successful until drugs, AIDS and cheap video technology bring it all crashing down

Ken Kaissar Chris Rehmann Justin Ivan Brown Jack Waters Marie Smalley Andrew Cawley Julie Chapin James Kleinmann Fatima Lewis Ashlie Burgun Graham Straus Mike Dreyden Todd Verow Hucklefeary Charles Lum Flotilla DeBarge Tom Galindo Jono Mainelli Alain Laforest Rico Noguchi Chris Shields Sarah Fensom Bair Garret Hole Wendy Delorme Judy Minx Véronique Lindenberg

Director Director

Producers producers.

Todd Verow Charles Lum James Kleinmann

Writer Writer

Editor editor, cinematography cinematography, production design production design, set decoration set decoration, composer composer.

Colin Owens

Costume Design Costume Design

Todd Verow James Kleinmann Marie Smalley Justin Ivan Brown Ashlie Burgun Seth Foss

Bangor Films

Alternative Title

Releases by date, theatrical limited, 28 sep 2020, releases by country.

• Theatrical limited NR

92 mins   More at IMDb TMDb Report this page

Popular reviews

Review by B E R T ★★★½ 2

Super dooper lo-fi, low-budget, softcore at times and hardcore at others skin flick about 2 gays who are fed up with the mediocre porn that shows at their local theatre so they decide to go into business of their own. It has some major problems, when I say lo-fi I really mean it, the cheapest porn from the 70s is probably more high budget than this, but the cheap aesthetic works in its favour. Plenty of hard dicks to be seen, a bevy of naked men throughout, it’s a cheap and sleazy good time. Kinda like ‘Knife + Heart’ but just way cheaper, very early Bruce Labruce-esque.

Review by Krautsalat ★★★★

The Porn of A Man Called Horse .

Review by Anthony ★★★

Low budget love letter to a key period in gay porn. The story arc is similar to Boogie Nights but this is unmistakably, unapologetically queer, pushing aesthetic boundaries (hard dicks, softcore sex), mixing wit and kaleidoscopic imagery. Film as metaphor: a document of social history that refuses to be erased.

Review by Sexy Ghoulies ★★½

Honey, I Shrunk The Watchlist! 2024 - Watch the movie that is the least popular.

I was about to turn this off and then there was a close up of a penis and it actually got a lot better.

Review by Christopher Velasco ★★★

This was a decent film and I like the effort put forth. The mix of documentary style and narrative helps with the cinematography and style/look of the era. 

I would say the acting was stiff and could of use some refinement. Overall better than most lgbtq cinema out there. 

Why do I want to take a ride on Justin Ivan Brown’s stache? 

Also, Andrew Cawley with a stache was hot and with short hair!

Review by hartleysane ★★

Based on other reviews, I went into this film with very low expectations and while Goodbye Seventies may have slightly exceeded my initial expectations, this film is a mess.

The acting in this film is equivalent to that of the terrible acting you'd skip past in a pornographic film, yet the film is far less explicit than expected. Sound editing for this movie is god awful, which may or may not have been intentional.

The occasional plot piece yields some strength to the film, but is quickly tanked off the rails. There is an indecisiveness between this being a drama or being something completely camp, creating an emotionless blend of confusion.

Goodbye Seventies seems lost in every direction. At most, it's an interesting project, but it feels like it's trying far too hard to achieve some inorganic cult status.

Review by ZacharyBinx ½

Review by Leandson ★★★

Filme bem underground sobre uma galera também fazendo cinema underground, mas pornô, gay, nos anos 70 quando não se tinha a mesma liberdade encontrada hoje pra se fazer livremente esse tipo de produção. As boas intenções dos personagens também refletem na realização do próprio filme, as limitações de produção que o diretor provavelmente encontrou não impediram dele fazer um filme bem bacana e honesto sobre uma memória antiga do cenário gay.

Review by JAWSH 🌃

Free love baby.

Review by Matt Thomas ★★★½

Although the production values are quite low this actual gives this heartfelt film more impact from the story and context. A different angle to look at the AIDS crisis within the community. By the end it had definitely got inside me.

Review by edslowly ★★½

Todd Verow is a legend. Brad Ford looks like Mark Zuckerberg. This movie has porn acting (read: bad) and I love it

Review by Don ★★★

As low-budget as they come -  Goodbye Seventies  suffers from its minimal financial backing and lack of convincing period details, but it is testament to the talents of all involved that it remains an engaging and enjoyable watch with a great, if formulaic, script and believable performance from Justin Ivan Brown as a moustachioed porn stud. Some really nice directorial flourishes but again, it all comes back to how cheap and poorly-made this is. I would LOVE to see a remake with better acting and proper money behind it because this is a poignant and refreshing look at a fascinating and little-discussed time in queer history.

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Goodbye Earth – Netflix Series Review

Posted by Karina "ScreamQueen" Adelgaard | Apr 26, 2024 | 4 minutes

GOODBYE EARTH on Netflix is an apocalyptic series from South Korea (org. title: Jongmalui Babo ). The story plays out during the countdown to doomsday due to an asteroid. Read our Goodbye Earth  series review here!

GOODBYE EARTH is a new Netflix series from South Korea (org. title: Jongmalui Babo ). It’s an apocalyptic story that explores life amidst the countdown to doomsday because of an asteroid. Impact will be the South Korean peninsula, where it gets bad and violent fast.

With 12 hour-long episodes, there’s plenty of time to explore this dark apocalyptic world. However, be warned that there are also many, many  characters to keep track of. And many different periods as we keep jumping back and forth to see where people are when doomsday is revealed versus later.

Continue reading our Goodbye Earth  series review below. Find it on Netflix from April 26, 2024.

Ground zero is in South Korea

Unlike Hollywood-produced apocalyptic movies, Ground Zero is not in the United States. Instead, the asteroid will hit directly on the South Korean peninsula as this is a production and story from South Korea.

Just like the Danish Netflix series The Rain  happened in Denmark. Write what you know, I suppose, and it makes sense.

In  Goodbye Earth , we’re in the once-peaceful city of Woongcheon, South Korea. The city has been sent into chaos by a chilling emergency siren followed by the news that an asteroid will strike Earth in just 300 days.

So while we have a few centuries to find a solution in the Netflix series 3 Body Problem , the apocalypse is a lot closer in  Goodbye Earth .

With the Korean peninsula as ground zero, immigration plans to countries far away come fast. So do protests and violence in South Korea. After all, there’s no real hope of any kind, so what can you do?

Hope in a hopeless world

Well, you can start recruiting – and have an easy time of it – if you’re running one of the various cults promising eternal life. It’s a good time for them to get new members. Even if it’s only for 300 days until impact. But hey, what’s 300 days compared to eternal life?

Also, prisons are taken over by the prisoners who escape and have a field trip with the outside world. No real consequences for anything as even the army is running out of ammunition fast.

Yeah, it’s all pretty brutal.

Unfortunately, so is keeping up with the  many  characters introduced in episode 1 alone. We’re jumping from one set of characters to another. Also, going back and forth in time we see these characters sometimes interact with each other across various timelines.

It’s a lot to keep track of!

Three key characters

While there are  many  characters and various storylines to keep track of, you will get there. I just found episode 1 alone to be a big mouthful. However, amid the chaos, we follow three key characters.

First, there’s Se-kyung ( Ahn Eun-jin ), who we follow the most during episode 1. She’s a middle school teacher, who is ready to do whatever it takes to protect children. Unfortunately, the impending doomsday means the kids have become targets of heinous crimes.

All while facing the very harsh reality that they will never become adults.

Then there’s Sung-jae (Jeon Seong-woo), who we also see in the first episode, but in a somewhat smaller role. He’s a priest, who offers comfort to his understandably shaken community, who need their faith more than ever.

Finally, In-a (Kim Yoon-hye) is a battalion commander. She works tirelessly to keep some form of peace. Always doing her part to safeguard people during these extreme and chaotic times leading up to doomsday.

Watch the  GoodBye Earth series on Netflix now!

Goodbye Earth is based on the novel of the same name written by respected Japanese author, Kotaro Isaka. He has long been known for his insightful social commentary, which this Netflix series has a lot of. In the nuanced ways, we’ve come to know from especially South Korean productions.

The episodes of the series are directed by Kim Jin-min ( Extracurricular , My Name ) and written by Jeong Seong-joo ( Secret Affair , Heard It Through the Grapevine ).

While you may not recognize the names, I can promise you many familiar faces if you’ve watched some of the amazing South Korean movies or series from recent years. Productions like Burning , #Alive , Kingdom (2019-), Hellbound (2021-), The Silent Sea , and Extracurricular .

GoodBye Earth (org. title: Jongmalui Babo ) premieres on Netflix on April 26, 2024.

Director: Kim Jin-min Writer: Jung Sung-joo Cast: Ahn Eun-jin, Yoo Ah-in, Kim Yoon-hye, Jeon Seong-woo, Yoo Ah-in

The world is in utter chaos with only 200 days left until an asteroid collides with Earth, but some remain determined to make the most of each remaining day and their humanity to the very end.

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Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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Altman began with a screenplay by Leigh Brackett , the legendary writer of “ The Big Sleep ” (1946), the greatest of the many films inspired by Marlowe. On that one her co-writer was William Faulkner . There is a famous story that they asked Chandler who killed one of the characters (or was it suicide?). Chandler’s reply: “I don’t know.” There is a nod to that in “The Long Goodbye” when a character who was murdered in the book commits suicide in the movie.

Certainly the plot of “The Long Goodbye” is a labyrinth not easily negotiated. Chandler’s 1953 novel leads Marlowe into a web of deception so complex you could call it arbitrary. The book is not about a story but about the code of a private eye in a corrupt world. It is all about mood, personal style, and language. In her adaptation, Brackett dumps sequences from Chandler, adds some of her own (she sends Marlowe to Mexico twice), reassigns killings, and makes it almost impossible to track a suitcase filled with a mobster’s money.

I went through the film a shot at a time two weeks ago at the Conference on World Affairs at the University of Colorado, sitting in the dark with several hundred others as we asked ourselves, What do we know, how do we know it, and is it true? Many of our questions center on the rich, sex-drenched Eileen ( Nina Van Pallandt ). Does she desire the death of her husband, Roger Wade, an alcoholic writer played by the gruff old bear Sterling Hayden ? Or does she only want free of him? What about that seductive dinner she serves Marlowe ( Elliott Gould ) on the night Wade walks into the ocean? Does she intend to sleep with Marlowe? She does in the novel, and he is later part of her alibi when she kills Wade and makes it look like suicide. But here she doesn’t kill Wade. What is the link connecting Terry Lennox (the baseball star Jim Bouton), Eileen and the gangster Marty Augustine ( Mark Rydell )? Does Augustine owe Wade money, as he claims to Marlowe, or does Wade owe Augustine money, as Wade implies in a Freudian slip? What is the exact connection between any money owed to anyone and the money in the suitcase? Only a final, blunt speech by Lennox, Marlowe’s unworthy friend, answers some of our questions.

Elliott Gould says on the DVD that Altman made many changes to Brackett’s screenplay, but that when she saw the movie not long before she died, she said she was “more than satisfied.” One change is to make Philip Marlowe, that laconic loner with a code of honor, into what Altman and Gould privately called “Rip Van Marlowe.” When he awakens at the beginning of the movie, he’s a 1953 character in a 1973 world. He wears a dark suit, white shirt and narrow tie in a world of flower power and nude yoga. He chain-smokes; no one else smokes. He is loyal to Terry Lennox and considers him his friend, but the movie establishes their friendship only by showing them playing liar’s poker, and Lennox is no friend. Marlowe carries a $5,000 bill for most of the movie, but never charges for any of his services. He is a knight errant, and like Don Quixote imperfectly understands the world he inhabits.

The earlier movie Marlowes ( Humphrey Bogart , James Caan , James Garner , Robert Mitchum , Robert Montgomery, Dick Powell) are terse and guarded. They talk, as Chandler wrote, “with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness.” And they talk a lot, because they narrate the novels. Gould’s Marlowe has these qualities, but they emerge in meandering dialogue that plays as a bemused commentary to himself. In the novel, Marlowe has no pets, but here he has a cat, and in the famous pre-credit opening sequence he attempts to convince the cat he is supplying its favorite cat food, but the cat is not fooled. In a movie that throws large chunks of plot overboard, there is no reason for this sequence, except that it establishes Marlowe as a man who is more loyal to his cat than anyone is to him.

The plot can be summarized in a few words, or endlessly. The rich playboy Lennox asks Marlowe to drive him to Tijuana. Marlowe does, and is questioned by the cops and jailed after Lennox’s wife is found beaten to death. Released by the cops after Lennox’s suicide in Mexico, Marlowe is visited by the gangster Marty Augustine and his goons. Augustine thinks Marlowe has money Lennox was carrying. In one of the most shocking moments in movie history, he commits an act of cruelty and says, “Now that’s someone I love. Think what could happen to you.”

Marlowe follows him to the Malibu beach house of the writer Roger Wade and his wife Eileen, and is later hired by Eileen to track down Roger after he runs away to a shady drying-out sanitarium. How are Lennox, the Wades and Augustine connected?

I don’t think the answer to that question concerns Altman nearly as much as the look and feel of the film. He wants to show a private eye from the noir era blundering through a plot he is perhaps too naive to understand. The movie’s visual strategy underlines his confusion. Altman and his cinematographer, Vilmos Zsigmond , “flashed” the color film with carefully calculated extra light, to give it a faded, pastel quality, as if Marlowe’s world refuses to reveal vivid colors and sharp definition. Most of the shots are filmed through foregrounds that obscure: Panes of glass, trees and shrubbery, architectural details, all clouding Marlowe’s view (and ours). The famous Altman overlapping dialogue gives the impression that Marlowe doesn’t pick up on everything around him. Far from resenting the murkiness in his world, Marlowe repeats the catch-phrase, “It’s all right with me.” The line was improvised by Gould, and he and Altman decided to use it throughout the story as an ironic refrain.

There is another refrain: The title theme, which is essentially the only music heard in the film. Altman uses it again and again, with many different performers (even a Mexican marching band, with the sheet music pinned to the shirt of the man in front of them). At Boulder, the musician Dave Grusin , who worked on the film, and told us Altman gathered a group of musicians on a sound stage and had them spend an evening playing around with different arrangements of the song. Why did Altman only use the one song? I’ve heard a lot of theories, of which the most convincing is, it amused him.

The visuals and sound undergo a shift after the suicide of Roger Wade. There is a scene on the beach where Marlowe pesters people with questions and accuses them of dishonesty; he sounds like a child, a drunk, or both. But then color begins to saturate the pale visuals, the foregrounds no longer obscure, characters start talking one at a time, and finally in the vivid sunlight of Mexico, Marlowe is able to see and hear clearly, and act decisively.

Casting is crucial in film noir, because the actors have to arrive already bearing their fates. Altman’s actors are as unexpected as they are inevitable. Sterling Hayden, a ravaged giant, roars and blusters on his way to his grave. As his wife, Altman cast Nina Van Pallandt, then famous as the mistress of Clifford Irving, author of the celebrated fake autobiography of Howard Hughes. She could act, but she did more than act, she embodied a Malibu beach temptress. Mark Rydell, the director, seems to be channeling Martin Scorsese ’s verbal style in a performance that uses elaborate politeness as a mask for savagery. And Elliott Gould is a Marlowe thrust into a story were everybody else knows their roles. He wanders clueless and complaining, and then suddenly understands exactly what he must do.

“The Long Goodbye” should not be anybody’s first film noir, nor their first Altman movie. Most of its effect comes from the way it pushes against the genre, and the way Altman undermines the premise of all private eye movies, which is that the hero can walk down mean streets, see clearly, and tell right from wrong. The man of honor from 1953 is lost in the hazy narcissism of 1973, and it’s not all right with him.

Also in the Great Movies series at rogerebert.com: Altman’s “ McCabe and Mrs. Miller ,” “ 3 Women ” and “ Nashville ” and Hawks’ “The Big Sleep.”

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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The Long Goodbye (1973)

112 minutes

Directed by

• Robert Altman
• Leigh Brackett

Based on the novel by

• Raymond Chandler

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Home » TV » TV Reviews

Goodbye Earth Review – A Deeply Human Exploration of Impending Calamity

Imagine an asteroid is hurtling towards Earth. You have 200 days to live, at best. What do you do? This is the question Netflix’s Korean drama Goodbye Earth is based on, and it doesn’t provide many upbeat answers.

And that’s about right. Humanity can barely be trusted to believe the Earth isn’t flat, let alone keep their heads together in the face of imminent existential calamity. So, no, it doesn’t exactly go well, and that’s for the better since it allows the show to mine drama and conflict out of the ensuing anxiety and panic.

This human focus is what makes Goodbye Earth , otherwise known as Jongmalui Babo , stand out. It has the global chaos and logistical turmoil of a disaster movie, but the character depth and human contours of… well, of a good K-Drama , now that I think about it. On most levels, it’s one of the best of the year.

But it’s too long. And I know what you’re thinking since I’m always banging out about length, but twelve hour-long episodes is a bit ridiculous for this kind of thing. I enjoyed the plight of the characters, and the performances are excellent, but by the end of it, I was hurrying the asteroid along.

Speaking of characters and performances, let’s talk about that. Notably, there was a bit of pre-release controversy surrounding Yoo Ah-in, who plays a laboratory researcher here. The actor, who starred in Burning and Hellbound , among others, got embroiled in some recreational drug use, which is terribly frowned upon in Korea, certainly among the deliberately sanitized, squeaky-clean entertainment industry, so big chunks of his character’s storyline were cut.

To account for this narrative focus was redirected to Jin Se-Kyung (Ahn Eun-jin) and her efforts to protect former students, and the story weaves in the personal arcs of security officer Kang In-ah (Kim Yoon-Hye), cop In-a (Kim Yoon-Hye), and priest Sung-Jae (Jeon Seong-woo).

Eun-jin is the star, without question, and capably shoulders a complex character who is asked to do an awful lot dramatically throughout the twelve episodes. The supporting cast complements her well, but throughout she remains the central audience POV character, and she’s easy to root for.

Director Kim Jin-min is smart to foreground characters in this way. Disaster stories typically revolve around the disaster itself, but Goodbye Earth uses the threat of disaster to explore diverse reactions to impending doom. Faced with their own mortality, people behave in a variety of ways, some predictable, some less so.

There’s an interesting thought experiment about what someone would do on their final day – if, say, they had a terminal illness or some such – versus what someone would do on Earth’s final day. The answers are seldom the same, since the deaths of everyone and the collapse of everything change the context entirely.

There’s clearly a lot of rich storytelling potential in this idea and Goodbye Earth does a good job of exploring it in a grounded way. The fundamentals are intended to seem real, and the visuals support that idea as best they can. Granted, there is some wonky VFX, but there are also some sequences that must have been nightmarish to execute, and I always enjoy that feeling of wondering how the filmmakers pulled something off.

Being overlong and occasionally distracting-looking are minor quibbles about what is otherwise an excellent and engaging drama. Goodbye Earth isn’t perfect, and the required investment will be off-putting to some, but it’s a compellingly human take on the disaster format.

• Goodbye Earth Ending Explained

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‘thank you, goodnight: the bon jovi story’ review: hulu rock doc is more leisurely victory lap than deep dive.

The four-parter chronicles the rock star's recent vocal cord surgery and subsequent recovery, while also looking back at his band's four-decade career.

By Angie Han

Television Critic

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Box office: zendaya's 'challengers' starts off with $1.9m in previews, aaron sorkin writing a potential 'social network' sequel: "i blame facebook for jan. 6", thank you, goodnight: the bon jovi story.

As suggested by the clause in that title, Thank You, Goodnight: The Story of Bon Jovi is technically about Bon Jovi, the band, and not solely Jon Bon Jovi, the individual. There’s no question, however, that in the series’ mind, Jon is Bon Jovi. The series includes lengthy interviews with other bandmates, including keyboardist David Bryan, drummer Tico Torres, bassist Hugh McDonald and, most intriguingly, former guitarist Richie Sambora, whose abrupt departure in 2013 still seems to have Jon in shock. (Bassist Alec John Such was not interviewed before his death in 2022.) But it is Jon’s perspective that takes priority, and it tends to be a flattering one. In many of his sit-downs, he wears a white shirt against a backdrop of bluish light. In combination with his easy charm and bright smile, it casts him in a nigh-angelic glow.

But far less energy is spent placing Bon Jovi within a larger cultural context. It’s a shame, since some of the show’s most evocative bits are the brief sketches we get of the working-class New Jersey scene that gave rise to Bruce Springsteen before Bon Jovi, or of the “black t-shirt crowd” who would convey their disapproval of the band’s not-quite-metal sound by pelting them with coins. Even Jon’s supposedly electric stage presence is more talked about than shown. Maybe you just had to be there.

Woven throughout this dutiful history are scenes of Jon in more recent years, as Chopra follows the singer through his 2022 tour, subsequent vocal surgery and grueling recovery process. Jon isn’t entirely averse to letting his vulnerabilities show. When Chopra asks at what point he realized Sambora wasn’t coming back, he ruefully replies that he still hasn’t. Backstage at the 2022 shows, he swings between the giddiness of getting to perform live, the disappointment that his voice isn’t what it used to be, the hurt at the negative reviews he’s getting as a result. Months after the surgery, he winces to hear himself sing in private — he still doesn’t sound like himself, and he knows it, and the Charlie Brown-esque slump of his shoulders suggests he’s utterly heartbroken about it. For a moment, it feels like we’re watching the guard come down completely.

A favorite trick of the series’ is to look at hard or messy things only from the rearview. Reflecting on the band’s induction in to the Rock & Roll Hall of Fame in 2018, Jon admits that he’d been “upset we weren’t in there earlier.” But that’s the first we’re hearing that Jon had been hoping for the honor at all; his favorite line up until that point has been to insist that they were never doing what they did for the critics or the prizes or the money. His humility at finally getting the prize certainly makes for a prettier picture than his frustration at not getting it would have, and Jon and his bandmates do not owe it to us to dish up old dirt or divulge their most private feelings. But such reticence sits at odds with his assertions that the documentary is about showing “the real me.”

If anything, the closest we get to the “real” Jon might be what exists in elisions like those. You can look for him in the negative space between the guy who humbly insists he’s “just the ringleader” of the Bon Jovi operation and the guy whose leadership philosophy is “just trust me, and I’ll take us where we need to go.” And in the gap between his insistence that he could make peace with the end of his career if he had to and the pressure he puts on himself to not just keep going but get back on top.

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Goodbye Earth

Cast & crew.

Ahn Eun-jin

Jin Se-kyung

Ha Yoon-sang

Jeon Sung-woo

Woo Sung-jae

Kim Yoon-hye

Kang Seok-woo

Kim Kang-hoon

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Series info.