I almost don't want to place films like Uncommon Valor as "not great" either, although it's relative weakness is more about that era of Vietnam revisionism than its qualities as a film.  And as much as I truly love Hackman's performance in Under Suspicion, the manic direction of Stephen Hopkins - which was so fashionable at the time, and which has badly dated its style - definitely dims its greatness.  But I wouldn't call any of those "not great" films on that list "bad" either.  Loose Cannons (I only saw it once at the time on VHS) was pretty lame though.

There's of course a number of films which I couldn't call "not great" but fall under the radar of classic status as well. 

Lilith - Hackman's first standout role, although a minor one in the film.

The Split and Riot - good late '60s hard boiled films.

Downhill Racer, Prime Cut, Scarecrow, and after seeing Cisco Pike recently, I'd add it to this string of exceptional work, all terrific.

I Never Sang For My Father - I know this got Hackman his second Oscar nom, and it's obviously great acting, between him and Melvin Douglas, but I also thought it was very stagey, and it's inescapable to compare it with the same year's similar, and superior, patriarchal drama Five Easy Pieces.

Gypsy Moths and Marooned are mediocre entertainment, and Hackman isn't less than professional.

I've honestly never really cared for Poseidon Adventure.  It's whatever.

Hunting Party and Bite The Bullet, his two westerns with Candice Bergen, I think are terrific and unsung, but they also have haters out there.

I'll never understand why some people think the French Connection sequel is better, but it's not bad.

His Lex Luther is immortal.

All Night Long is not a bad movie, per se, and Hackman is charming (he really should have done more comedies), so I'll add it to the "not great" category.

Under Fire, Target, No Way Out are legit good films, and I'm tempted to add Uncommon Valor, Power,  and Bat 21 to that list.

Eureka - I was pleased to see Rolling Stone call this "the great lost Gene Hackman performance", and it's the only film he made with one of my favorite filmmakers, Nicolas Roeg, 

I don't hate Mississippi Burning the way it's become fashionable to, because of the typical flaws of the era - it's pedantic and frontloads the white man savior.  Hackman is incredible here.

Postcards From the Edge - another small role, but when he tells Streep not to fuck with his movie, it's pure unadulterated Gene.

The Firm - the '90s were a weird time for Hackman.  I'm sure most people would not consider Crimson Tide as "not great" (but I definitely do).  This role sets out his post-Unforgiven template, and maybe he didn't chew his scenery as ravishly as someone like Pacino during this time, but he fell into a similar stereotype.  The Firm is probably the best of these, but I also appreciate it when he's clearly having fun - Quick and the Dead, Absolute Power, Crimson Tide.

Get Shorty and The Birdcage, back into his comedic gifts, late career highlights.

Extreme Measures, The Chamber, Twilight, Enemy of the State, The Replacements, The Mexican, Runaway Jury - Paychecks one and all.  I've seen all of these and nothing really stands out after 20 years.

 

Update on Gene Hackman and his wife: she died from hantavirus (apparently spread by rodents) and was dead for a number of days before Hackman had a cardiac arrest.  Hackman also suffered from Alzheimers, so maybe he kept forgetting about her body?  Still no word on why the dog was in a closet.

It's sad to have to be in the shadow of someone like Roy Ayers, but a couple of other deaths:  Angie Stone, from a terrible highway accident.  I haven't really been paying much attention to her for a while, but her initial records, Black Diamond and Mahogany Soul, are neo-soul classics.

I also haven't paid much attention to Tony Toni Tone since...ever, but D'Wayne Wiggens also died fairly young, from bladder cancer.  I noticed this description at the A/V Club that credits Tony Toni Tone for "importing a blend of funk and soul influences into the world of R&B".  Which only tells me that the A/V Club doesn't have the first fucking clue what contemporary R&B is.
 

David Zucker remembers Val:

On occasion, Val’s girlfriend, Cher, would visit the set. I remember being really annoyed that she kept telling him, ‘This is a monumentally stupid movie; it’s going to flop …’ Never mind she was right; I thought it was still annoying.

Watched Kill Me Again last night. Pretty good!

Act like you don't think "Heart of Glass" and "Rapture" are monster grooves.

RIP Clem
 

Max Romeo, rude boy reggae singer, fought the war ina Babylon and Babylon won.

Nicky Katt, master of lovable scumbags and favorite character actor of Soderbergh and Linklater, succumbed to suicidal ideation.
 

Pope Francis

David Thomas, master mumbler of Pere Ubu, never the healthiest specimen, collapsed at 71.

Pere Ubu is possibly the most important original wave punk band who is most often unmentioned.












 

At Close Range is a weird movie for me, because I often find myself wanting to watch it, even though I never like it much.