In a bleak, warless future society that stylistically looks a lot like the 1970s, corporations have taken over for governments. But without war the people are still bloodthirsty so they get their kicks from a sport called rollerball, a male version of roller derby, but way more violent and even deadly. Besides guys zipping around a track on roller skates, punching each other out, there are motorcycles too. Worrying that a player can get too popular, corporate head honcho Bartholomew (John Houseman) informs Houston’s star player, the he-man Jonathan E. (played by he-man actor James Caan, a couple years after The Godfather made him a big star), that he needs to retire, but Jonathan E. plays by his own rules and will do what it takes to not be a lackey for the man.
Rollerball director Norman Jewison had a long and respected career moving easily between comedy (The Russians Are Coming, The Russians Are Coming), social drama (In the Heat of the Night) and even musicals (Jesus Christ Superstar), but his work usually had a liberal take to it (A Soldier's Story, ...And Justice for All) and though he was no stranger to straight entertainment (The Thomas Crown Affair) he must have looked a little miscast as a sci-fi action director. Luckily the action is well shot and the rollerball game sequences are still amazingly exciting, but there are only a couple of those games so, at over two hours long, there’s a lot of exposition in between. As a kid, all the talk was boring and...
Most films about the future seem optimistic about human intelligence levels rising, with Mike Judge’s depressing comedy Idiocracy being an exception. Woody Allen’s Sleeper splits the difference: the technology and science have evolved but people have gotten shallower. Since ’73 his vision looks to be almost prophetic. As a follow up to Every Thing You Always Wanted to Know about Sex * But Were Afraid to Ask, Sleeper was his most polished film at that point. It was the peak of Woody’s slapstick phase, just four years before his evolutionary jump into the more mature filmmaker he would become with Annie Hall and Manhattan (both films co-written with Marshall Brickman, who also worked on the Sleeper script). Kinda, sorta, slightly based on H.G. Wells’s 1899 novel When the Sleeper Wakes, it’s a film that, because of the science-fiction element and the high laugh count, has always been considered one of his more admired and easily digestible films from his non-fans.
In 1973, Miles Monroe (Allen), owner of the Happy Carrot Health-Food store, is put into a scientific sleep chamber, without his knowledge, and finally revived two-hundred years later in 2173. He wakes up in a futuristic American police state (similar to so many movie future societies from Logan’s Run to Conquest of the Planet of the Apes to The Hunger Games). The rebels need him because he’s the only citizen without an identification number. He ends up helping them by posing as a robot servant for a dingy socialite, Luna Schlosser (Diane Keaton, working ...
The great horror spoofs are far and few between. For every Abbott & Costello Meet Frankenstein or Shaun of the Dead (both excellent) there are at least a dozen Scary Movies, Saturday the 14ths or Vampire in Brooklyns, most tend to range from lousy to lame. Young Frankenstein falls in the excellent camp, working as both a laugh out loud comedy and a perfect dissection of the style used by Universal in their famous monster period, directly spoofing both Frankenstein and its sequel, The Bride of Frankenstein. For director Mel Brooks it would mark the apex of his career after The Producers and Blazing Saddles, all three films featuring Gene Wilder who cowrote the Young Frankenstein script with Brooks. Wilder went on to direct his own films and neither Brooks nor Wilder would ever make anything as inspired as the three films they made together. They would even both later direct lousy and lame horror spoofs: Haunted Honeymoon (Wilder... lame) and Dracula: Dead and Loving It (Brooks... lousy). But together, combining both men’s distinct comedy style, they created a film that is easily one of the two or three greatest horror comedies of all time.
American lecturer and doctor, Dr. Frederick Frankenstein (Wilder) can’t live down his famous mad doctor grandfather (Mary Shelley’s Dr. Frankenstein) and is truly embarrassed by his roots. When he inherits the family property in Eastern Europe he leaves behind his icy fiancée, Elizabeth, played by Madeline Kahn, on her own roll of big time performances in the period, including Blazing Saddles and Paper Moon. At the castle, he meets his new hunchbacked manservant, Igor (bug-eyed British comedian Marty Feldman), his sexy young laboratory assistant, Inga (Teri Garr) and the creepy maid, Frau Blucher (Cloris Leachman). After reading his grandfather’s journals, Frederick becomes convinced he can reanimate life and sets about recreating his experiments. Like the original Frankenstein story, he brings a patched together man back to life but the man (Peter Boyle, very crafty casting) is accidentally given an abnormal brain and is a relegated to being a monster.Continue Reading