Play It Again, Sam
If Play It Again, Sam looks a little more like a generic 1970s romantic comedy than the usual Woody Allen flick of the period, that’s because Allen didn’t direct it. But it was based, seemingly line-for-line, on his own popular Broadway play with the three stars (Allen, Diane Keaton & Tony Roberts) reprising their roles. Allen was still early and raw in his directing career, so the much blander Herbert Ross (The Goodbye Girl), an ex-theater choreographer, took the helm. But it still has Allen’s incredibly funny script, showing many signs of the more mature style that would explode into Annie Hall, later in the decade.
Woody plays Allan, a San Francisco film fanatic and writer. Recently dumped by his wife, he’s even more of a mess than usual and in need of constant consolation from his friends, the married couple Dick and Linda (Roberts and Keaton), though Dick always seems to be preoccupied with work. Allan is hoping to score with a chick to help mend his broken heart, but he’s more comfortable watching movies than talking to a woman. Like a classic film geek, his life and his relationship to the world are based on a pose he has seen in films (usually the classics). He’s so lonely and extreme in his film obsession that he has developed an imaginary friend, Humphrey Bogart in his full Casablanca trench coat and hat get up. Bogart imparts two-bit noir advice, "I never saw a dame yet that didn't understand a good slap in the mouth or a slug from a .45." Allan usually ignores the advice and does the opposite or when he tries to obey, it usually goes hopelessly wrong.Continue Reading
Thirty-something years later, the little Canadian gem Meatballs is still the quintessential rowdy summer camp movie. It’s one of those flicks that if you saw it for the first time as a kid you still love, while later generations may have a hard time getting into its '70s groove. In his first real post Saturday Night Live break out role, Bill Murray carries Meatballs as the camp's head counselor. He and director Reitman would go on a comic rampage with their next couple of films, dominating early '80s comedy. This was an era in movies when nerds were nerds, everyone just wanted to get laid, and sexual harassment was considered comedy not bad behavior. For my generation this was the film that made you fantasize about going to summer camp, an unfulfilled fantasy I still carry.
Meatballs goes for an Altman-like ensemble, splitting between the counselors and the young campers at Camp North Star. But two characters eventually become the main focal point, the goofy but charismatic head counselor, Tripper (Murray), and a wimpy first time camper, Rudy (Chris Makepeace who plays almost the exact same character a few years later in the equally memorable My Bodyguard). Most of the counselors and their love life issues are interchangeable, except for the often cruelly pathetic escapades of ultra nerd Spaz (Jack Blum) and his overweight buddy Larry Finkelstein (Keith Knight who later played a tough punk in Class Of 1984). Spaz’s goal is "scoring" but in a sweet moment he does find some satisfaction in holding a girl's hand.Continue Reading
The Boys & Girls Guide to Getting Down
Are you one of those people who drives past a club and sees all the scantily clad ladies and roguish gents lined up outside a club and wonder, “Is that really their idea of a good time?” I've never understood the thrill of clubbing and, upon seldom experience, always walked away with anxiety over the smell of sweaty bodies and hard liquor. Clubs are often featured in films as this oasis of sexy young 20-somethings and pulsating music to which anyone with pizazz and the right clothing can go and have a great time. This movie not only takes you into the cliched world of nightlife in Los Angeles, but it also sheds a light on the absurdity and downright funny aspects of partying. By mocking those who thrive on heavy drinking, narcotics and noisy music, it presents the party-hardy lifestyle as something to experience, if only for the opportunity to marvel at mankind in one of its most praised, and yet semi-barbaric, rituals.
The movie supports an extremely large cast and focuses on no one in particular. It begins with several groups of friends and roommates choosing where to hang out in Hollywood. The goal for most of the men is to get laid, while the women, the narrator claims, act as if they are hanging out with their girlfriends but are really after the same thing. It then differentiates between clubs, house parties, and after parties when the dreaded last call has been shouted. Mixed into the action is a series of energetic doctors who are “researching” clubbers in their natural habitat. The club sequence is short, and of course we never see the inside of them.Continue Reading
Robert Altman’s MASH, 40-something years later still works as a funny, dark comedy and as a kinda-sorta anti-war statement, but most impressive is what Altman was able to do with his innovative sound design, still cutting edge today. Though it was a big hit film, for a number of years it was more famous as the inspiration for the then even more popular television show, M*A*S*H*, but as that show now feels musty and dated, MASH the movie is just as relevant today as it was in 1970.
M.A.S.H. stands for mobile army surgical hospital. Made during the heart of the cantankerous Vietnam War, MASH is actually about the medics near the front lines of the “forgotten” Korean War of the 1950s. These are talented doctors and surgeons, but drafted away from their private practices they fight the stifling rules of the military. They deal in blood and guts (at the time the surgery scenes were rather graphic for audiences), but when casualties aren’t mounting they drink, party, and cause mayhem just as hard as they work.Continue Reading
Todd Solondz is, without a doubt, one of the best living American directors. His two works from the '90s, Welcome to the Dollhouse and Happiness, served as groundbreaking material in terms of dark comedy and a ruthless exploitation of sorts. Some regard them as his best work with the knowledge that the films that follow only get harder to swallow. But it isn't just the steadfast exposure to topics such as backyard abortion and pedophilia that unsettles his audiences, but rather his approach. Through bright colors and jovial songs, Solondz mocks suburbia and the tortured souls of those suffering with mediocrity and mental illness to the point that it is hilarious. And while you feel bad, or perhaps uncomfortable with the development of each film, there is something about them that keeps you focused and satisfied. Storytelling is wedged in between Solondz's nastiest and most complex work, Palindromes, and those aforementioned ones that made him big. Being in the middle means that it is not as easy-going and lighthearted as the first two (if you could even call them that), nor is it as nuanced and off-the-walls as Palindromes. However, this is the movie in which no one is spared as he attacks the hidden comedy within racial taboos, servants, rich Jewish families, and our education system. To add to this lineup of targets was a fresh approach; the movie is split into two unrelated character developments, one called Fiction, and the other Non-fiction. The separation of these two storytelling methods was not only interesting in a way that pars with anthology Horror films, but gave meaning to such methods for anyone who fancies themselves a storyteller.
FICTION: In this segment we find Vi (Selma Blair), a pink-haired college student looking for substance in all the wrong places. She and her handicapped boyfriend Marcus (Leo Fitzpatrick) have a writing course with a professor of great prestige. Vi is just short of obsessed with him, though not because he's won the Pulitzer Prize for his literature, nor because he's a brutally honest teacher. Now's the time to mention that her professor is black. Solondz exposes her loyalty as a sort of Mandingo fetish, which causes an outrage in Marcus when he discovers that she and other white girls on campus seem to be under the same spell. Meanwhile, we see their classroom atmosphere develop as Professor Scott ruins his classroom's general hope of becoming writers. From there, we follow Vi as she pursues her professor and receives the lesson of a lifetime that is nothing short of brutal.Continue Reading
The Brady Bunch Movie
When I lived in Chicago there was this Johnny Rockets in the city’s “Gold Coast” area that had a painted mural near the entrance depicting an assortment of yuppie types seated at the diner’s counter enjoying milkshakes and hamburgers. I always thought it was kind of fascinating because the mural had clearly been painted sometime in the 1980s. One of the women depicted in the mural had kind of a big perm hairdo and her young son had on a sweater with an Esprit logo on it. I assume the mural was painted to showcase how a cross-section of then-modern society would have tons of fun hanging out in a fake '50s diner. Once the cultural attributes endemic to the 1980s started to look dated it gave that Johnny Rockets a doubly anachronistic atmosphere.
The Brady Bunch Movie has a similarly surreal kind of effect because the whole conceit behind the film is that standard comedy trope of the fish-out-of-water scenario wherein the Bradys and their perversely naive and dorky ways are transplanted from the 1970s sitcom world – where they belong – to the cynical world of mid-1990s Southern California. The film manages to serve as both a time capsule of '70s cheese and '90s-ness. In an ironic twist, the way the film depicts the “gritty” '90s as chock full of grungy attitude actually seems almost as quaint as the Bradys.Continue Reading
On paper Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan could be considered nothing more than a bold stunt, but in actuality it’s one of the more subversive and gutsy “mainstream” films of recent years and one of the funniest. Borat was one of the three alter egos that actor Sacha Baron Cohen played on his television program, Da Ali G Show (first in England and then for HBO). Cohen would slip into these extremely absurd characters and interact with real people, unaware that they were being put on. Like the old show Candid Camera, half the comedy comes from people’s reactions to the often crude character's comments, but the best laughs come from the intense commitment that Baron Cohen gives these characters. Borat may say inane things, but the intelligence creating what he says is at the highest level.
Like the show, the movie Borat uses a lot of real people and improvised situations. But to fill it out, some actors and a cast have been added, and it works. Part of the fun is trying to figure out what’s real and what was staged. Borat is a clueless, almost sweetly innocent yet completely misogynistic, homophobic, and anti-Semitic Kazakhstan reporter. The film begins as a mockumentary as he leaves his third-world village for some reporting in New York with his rotund producer Azamat (American actor, Ken Davitian). In New York he interviews some saps on American customs, and engages in some classic “fish outta water” comedy (he thinks the hotel’s elevator is his actual room). Eventually, after seeing an episode of Baywatch, he becomes obsessed with Pamela Anderson and the two set out for California so Borat can bag her as his new wife.Continue Reading
This is the perfect example of a movie that was made, almost exclusively, for a teenage male audience in the '80s. So as a woman there was really very little to help me empathize with the characters, even during the forced moments that are supposed to be either romantic or tender. However, something about its shameless voyeurism and the sensational amounts of uncalled for nudity make this movie special when compared to other '80s comedies like Animal House and Fast Times at Ridgemont High, which are more popular and deserve to be. Two Fast Times stars are in the film, including the ever-radiant Phoebe Cates and Ray Walston, who played Mr. Hand and stars, for too brief of time, as a limo driver in this movie. It is also Kathleen Wilhoite's film debut, and a favorite of mine in terms of the characters she's played thus far. The point I'm trying to make is that this movie's success as a comedy is not in delivery, or being able to laugh at something that has happened to you. On the contrary, the funniest part about the movie is its raunchy depiction of private school girls, teenage boys, and all the supposedly sex-deprived adults who surround them. Point being, you shouldn’t watch this movie to have some '80s flashback or be able to say, "…Yeah, something like that happened to me in high school." You should watch it because of its unrealistic chain of events and lack of substance.
It's senior year for all the girls at Cherryvale Academy, a posh all-girls boarding school in some forgettable city. Chris (Phoebe Cates) and her best friend Betsy (Kathleen Wilhoite) are both trying to lose their virginity to their boyfriends, who are also pals and attend the neighboring all-boys academy. Chris's boyfriend, Jim (Matthew Modine), is extremely handsome and sweet, while Betsy's boyfriend, Bubba (Michael Zorek), fits his name perfectly as the profusely sweaty fat kid who's the biggest pervert in his class. A reccurring source of comedy has to do with Bubba trying to avoid the deed and convincing Betsy that they've already done it, she just doesn’t remember on account of being drunk. Meanwhile, Chris and Jim have made plans to book a hotel for a weekend in order to show some class and spark romance for their first time. The only problem is that Chris's rival, Jordan (Betsy Russell), also has the hots for Jim and will do anything to get his attention. As the openly catty Jordan starts to pursue Jim, Chris and Betsy retaliate by trying to be one step ahead of her. The boys from the other school try desperately to infiltrate the girls' academy in order to either get a peak at all the naked chicks walking around the dormitory or see their girlfriends. This includes dressing in drag and scaling the wall on each other's shoulders, with Bubba on the top of their pathetic pyramid. Their trespassing complicates matters for Chris and Jim because it brings Jim one step closer to the devious Jordan.Continue Reading
The Ruling Class
Lady Claire Gurney: "How do you know you're God? Jack: "Simple. When I pray to Him, I find I am talking to myself." -- The Ruling Class It's hard to imagine Peter O'Toole still acting in today's cinema, mainly because he seems too great to be cast as an extra or even take up a voice role, as he did in the Disney/Pixar movie, Ratatouille. It would have been nice to see him still receiving leading rolls like his '60/'70s acting peers, such as Michael Caine, but the truth is, his essence is perhaps a bit grandiose. It worked wonders in movies like Becket, Laurence of Arabia, and Lord Jim, and it was given the most space and nourishment in The Ruling Class. In fact, I will firmly state that there could have been no one else, in the history of acting, who could pull off a role of such hysterics, and yet keep it level with the audiences' many emotions. Who else could pull off a character who is convinced they are Christ and Jack the Ripper, spew off-beat stutters in random order, and chirp like a bird in a single scene? This review might be giving away too much of the plot, but nothing could possibly prepare or give anyone a picture of how awesome this movie is. The movie takes place at the Gurney Estate in England, with the 13th Earl, Ralph, leading the action. He appears to be a leader of some importance in his society, but after a mass banquet you learn that he's not so right in the head. While dressed in a ballerina tutu and a colonial uniform, we see his nighttime ritual unfold. The trusted family butler (Arthur Lowe) enters his posh bedroom and displays a series of nooses, one of which he chooses every night to partake in a very bizarre game of mock suicide, done for the benefit of erotic asphyxiation. While attempting to hang himself for fun and safely return to a ladder, he accidentally knocks it down...Continue Reading
After his ultra low-budget, indie caper comedy Bottle Rocket, director Wes Anderson (along with co-writer Owen Wilson) peaked with Rushmore, developing a formula and a brand that he has continued to hammer into the ground, with less and less success. But with Rushmore, the story of an eccentric high school underachiever and his relationship to the people around him, Anderson found the right level of quirk without going over the annoyance line and in the process made one of the best comedies of the '90s, a truly unique and special film.
In the teenage mind of Max Fischer (Jason Schwartzman), he’s a scholastic genius, admired by his classmates at his beloved upscale private school, The Rushmore Academy. But in truth he’s a below average student and not very liked by his peers. Max is a different kind of outcast than we usually find in teenage nerds. Instead of rebelling against the school, his goal is to fit in, but his grandiose ideas and belief in himself makes him stand out. His lower income also keeps him at a distance from his peers. Max’s gentle father (Seymour Cassel) is a low-key barber, but Max claims his old man is a brain surgeon. Also at odds with Max is the school’s headmaster (Brian Cox). Max’s enthusiasm seems to be a constant source of stress for him, including Max’s effort to keep Latin in the school’s curriculum, his ambitious school theater production of Serpico, and his efforts to build an on-campus aquarium in a bid to impress a lovely widowed teacher, Rosemary Cross (Olivia Williams).Continue Reading