Addams Family Values
Since they all seemed to spring from The Honeymooners and I Love Lucy, early sitcoms mostly followed the same basic comedy concept: the battle-of-the-sexes, men-vs-women formula. Breaking that rule is one of the many traits that made The Addams Family TV show and the two big screen movies so different and special. Here instead of bickering and plotting against each other, the married couple have a passionate and deeply sexual love, leaving most comedy hacks at a loss for creating conflict. And in the case of the films directed by Barry Sonnenfeld, the even bigger ace-in-the-hole is the brilliant casting of the couple, Raul Julia and Anjelica Huston as Gomez and Morticia Addams (taking over for John Astin and Carolyn Jones who were pretty fantastic themselves on the small screen). The first Addams Family flick was the directing debut of Sonnenfeld, who had made a name for himself as the cinematographer of the first three Coen Brothers films (Blood Simple, Raising Arizona and Miller’s Crossing, which had a then completely fresh look to them). Here he combines his zapped-up camera energy with a Tim Burton-like appreciation for the comically macabre (the first film was written by some of the writers of Edward Scissorhands and Beetlejuice). That first Addams Family movie was good but the second one, Addams Family Values, proves to be one of the rare sequels that is even better than the original.
Based on Charles Addams' now legendary cartoon for The New Yorker depicting the bizarre and wealthy family that skewered traditional family values, they horrified all the straight people who encountered them, and although not self-aware were totally confident in their own beings. The first film gave us the basic update of the show; Gomez and Morticia are the heads of an eclectic family clan of eccentrics that includes their daughter, gloomy Wednesday (Christina Ricci, born to play the role), their son Pugsley (not as funny as the chubby kid on the show) and the witchy Grandmama (played by Judith Malina in the first one and Carol Kane in the sequel). Also hanging around are their Frankenstein’s monster-looking valet/butler Lurch (the film version is not nearly as memorable as the TV version played by the giant actor Ted Cassidy) and their devoted assistant Thing, a disembodied hand, who really gets to shine in the movies with the help of technology. Both films really revolve around Gomez’s brother, Uncle Fester, played here by Christopher Lloyd much more grotesquely then Jackie Coogan’s TV version. Lloyd, with his gravely voice, comes off like a sheepish version of Murnau’s Nosferatu as opposed to Coogan, who is just a fat guy with a high pitched voice, but who is very funny. The first film revolved around crooks trying to swindle the Addams’ fortune by having a guy pose as Fester (similar to the plot of the second Brady Bunch movie, A Very Brady Sequel), and in the end it turned out the impostor was actually the real Fester.Continue Reading
Cradle Will Rock
Cradle Will Rock belongs to that class of movies that don’t particularly offend anyone or bomb big enough to become a notorious flop; nor was it greeted with a ton of enthusiasm. Considering the talent involved with the film—Tim Robbins, Bill Murray, John and Joan Cusack, and Susan Sarandon, to name but a few—the mild applause the film seemed to generate upon its release was kind of like damning with faint praise. I never understood this because I find Cradle Will Rock to be a whole lot of fun, while at the same time serving as a pointed critique of the political apathy prevalent in art today.
The film tells the story of one of the most mythologized theatrical events of the 20th century. No surprise that Orson Welles was directly involved then. We’re in New York in 1937 and the city seems to be the epicenter of a massive upheaval in society at large. There is labor unrest, growing unease about global fascism, and a gnawing sense that capitalism has failed the common interests of the average citizen. (Hey, maybe the film is due for a critical re-appreciation after all…)Continue Reading
Before the success of Fast Times At Ridgemont HIgh and John Hughes’ condescending acne epics, the teen movie genre barely existed. In the late 1970s, the early teen years were usually either scary (Over The Edge) or whimsical (A Little Romance). The terrific film, My Bodyguard, manages to combine both and then split the difference. Journeyman actor Tony Bill made a very effective directing debut with My Bodyguard, it’s now considered a minor classic of the teen genre. He would follow it up with the awful Dudley Moore/Mary Tyler Moore weeper, Six Weeks, but then redeem himself with the interesting cult flick, Five Corners. Since then he has become a reliable TV director.
Clifford Peache is a typical teen movie nerd - shy, sensitive, and unpretentious (played by Chris Makepeace who did an even wimpier version of this character a year earlier in Meatballs). Clifford’s father manages a fancy Chicago hotel where he lives with his kooky Grandma (played by Martin Mull and Ruth Gordon, their eccentricities are a little sitcomy and are the least memorable parts of the film). The good stuff happens at school where Clifford, the new kid, gets off to a rocky start with the resident bully, Moody (Matt Dillon), who continues to sadistically harass Clifford and the other school nerds. One kid at school has even the bullies spooked, Ricky Linderman (Adam Baldwin), a hulking outcast who was said to have killed his brother. After Clifford learns from a teacher that his brother died by accident, he begins to stalk Ricky, eventually employing him as his bodyguard against Moody. The two end up bonding and help each other become better people and all that.Continue Reading
Toy Story 3
All children take their play very seriously, and you might be one of the many adults who look back on playtime as one of the most engaging and memorable aspects of your youth. Children create a world and mimic what they see when they are playing, and this activity is, without a doubt, a fundamental building block for our species. When Toy Story came out in '95 it was a big success. The story of a group of toys who were loyal to their owner and overcame outlandish obstacles was brilliant. Seeing toys that actually felt emotions and had attachment issues helped me understand and define my relationship to my mother. It also urged me to take care of my toys and stop chopping off Barbie's hair. The family featured had a single-mother, which was an interesting dynamic and something that many children can relate to. It also gave me a silly curiosity growing up; I checked on my toys to see if they actually had a life of their own. The documentary The Pixar Story explains the company's success with its animation techniques and its first film, Toy Story. Toy Story 3, made over a decade later than the first, would become one of the highest grossing animated films, and one of three to be nominated for an Academy Award for Best Picture.
For those of you who haven't seen Toy Story 1 or 2, let me indulge myself with a brief synopsis. The first film is about the anxiety of being replaced. Woody and his preschool-appropriate buddies fear that Andy will get a new toy for his birthday and replace one of them. He gets a Buzz Lightyear action figure and goes through a brief phase of being obsessed with space and the new toy. The quarrels between the delusional Buzz (who thinks he's a real space ranger) and the former favorite, Woody, leads to a huge accident. The two end up outside and in the hands of a kid who likes to torture toys. They decide to work together in order to get home before their family moves to their new house, or the sinister kid across the street blows them up.Continue Reading