After Sean Penn’s solid supporting performance in Taps (as the sensitive guy, opposite Tom Cruise’s hothead), his now legendary scene stealing turn as stoner Spicoli in Fast Times at Ridgemont High, and then his work as Chicago juvenile delinquent Mick O’Brien in Bad Boys, Rolling Stone Magazine put him on the cover at the age of 23 and called him, “the next James Dean.” Since Dean only starred in three features, it's his cultural impact and dying young status that still make him a household name today. Dean also showed himself to be a gifted actor and it’s fascinating to imagine what his career would have been like had he not died so young. Penn has lived past those three early films (to some people’s surprise). He has had a long and eclectic filmography, with moments of pure acting brilliance (Carlito’s Way, Dead Man Walking, Sweet and Lowdown), while some critics have accused him of sometimes being a hammy overactor (I Am Sam, All The King’s Men, Mystic River). Either way the guy is easily a first-ballet hall-of-famer.
In addition to being a good jumping off point for any study of the truth and beauty in Penn’s acting, director Rick Rosenthal's Bad Boys is, for my money, the best American juvenile detention center flick. (Internationally you would have to add the British film Scum and Brazil's Pixote.) By 1983 Hollywood had only a spotty record grappling with teen crime flicks (the best at this point was Over The Edge) and Bad Boys sometimes feels a little overwrought with its occasional After School Special moments. On the other-hand it’s shockingly bleak and the violence is pretty brutal. Both teen prisons and the mean streets of Chicago are places full of predators - kill or be killed. Though Bad Boys doesn’t hit the exploitation highs of Class of 1984, it’s certainty much harder hitting and believable than most of the other teen dramas of its era.Continue Reading
It’s pretty interesting to look back now in retrospect at Halloween II knowing what we do about other successful horror franchises and realizing that at the time of its release there had never really been any previous attempt in horror history to continue a story involving a modern day bogeyman. Back when John Carpenter unleashed the original Halloween into theaters in 1978 to an unsuspecting audience, it became not only the most successful independent feature of all time (and held that record up until The Blair Witch Project came out in 1999), but also became easily the single most influential film of the entire '80s “slasher” craze that would follow. (Even if Carpenter did lift quite a few bits from Bob Clark’s Black Christmas, the predecessor to Halloween). No one, including the filmmakers, the producers or investors could’ve ever predicted just how vast the success of Halloween would be, and so, they never, ever intended on doing a sequel.
But just as the '80s came, suddenly sequels didn’t seem like such a bad idea. Hell, Jaws had a sequel just a few years shy of the start of '80s and that did really well, so with the new crop of baddies showing up in such films as Friday The 13th, The Burning and My Bloody Valentine, why wouldn’t the studio want to bring back Michael Myers? And so, much to the reluctance of John Carpenter and Debra Hill who instead wanted to turn the Halloween franchise into a series of unrelated horror stories that took place around the famed holiday (and which they would attempt to do with Halloween III: Season Of The Witch), instead Halloween II became a direct sequel to their original, picking ...