For the past few weeks things have been kinda crazy around here. Thanks to a procedure our cat had, the kids couldn’t be in the same house as him for a while so we switched places with my folks (everyone’s aces now). That lead directly into a trip up to New Hampshire to see my wife’s parents and also attend her best friend’s wedding. In other words, I haven’t had much time to sit around and watch movies. Since I’ve got one day working from home this week with the kids gone, I figured I’d make good use of it and check out a double feature! Continue reading We Want Action: Fighting Mad & Moving Violations
A few weeks back I was looking around on Netflix Instant and saw the poster for a Shannen Doherty/Antonio Sabato Jr. movie called Jailbreakers from 1994 that looked very 90s Miramax. Even with all that going for it, it wasn’t the kind of movie I immediately wanted to watch until I looked at the director and saw that it was directed by William “The Exorcist” Friedkin! That was such a bonkers combination that I needed to check it out.
While reading the IMDb trivia page for this movie — something I can’t seem to go 10 minutes without doing after starting anything — I discovered that it was actually part of an anthology series on Showtime called Rebel Highway. The basic idea was to take the title of an old American International Pictures teen movie from the 50s and 60s, give it to a director and have them make a more gritty film with a cast of young up-and-comers. Each project had a $1.3 million budget and 12 days to shoot. Sounds like a pretty rad experiment to me!
So how are the results? Well, not so great in the case of Jailbreakers which suffered from two major problems for me. First off, there wasn’t a frame of this movie that looked like it was from the time period of the story. Actually, that’s not quite the case. More accurately, there isn’t a frame of this film that doesn’t scream, “I was made in the mid 90s!!!” It’s just got that dull look of TV movies from the 90s that, no matter how good your costumes or set dressing are, look like the time it was made in instead of the time it’s supposed to be. I can chalk that up to the low budget and pay cable quality of the day.
The second problem is more, well, problematic and it leads in to the part where I talk about the plot. Doherty plays a high school kid named Angel who was a good girl up until she met Antonio Sabato Jr.’s Tony, a bad boy biker. The two start getting into trouble which leads to them getting caught by the cops. Tony goes to jail while Angel moves with her parents to another town where they don’t know anything about her mistakes. Tony eventually gets out and reunites with Angel only to realize he might be more than just a little bad. Sound familiar? Yeah, it was pretty familiar to me too and hit a ton of notes that I’ve seen before. And, aside from a great performance by Adrien Brody, the tried and true elements don’t get much of a boost from this particular group of actors.
I had a much better time with another Rebel Highway offering, Runaway Daughters. This one features Paul Rudd and Julie Bowen, though they’re not really the stars 0f this film directed by the always awesome Joe Dante. In this case Mary (Holly Fields) winds up getting together with two of her girlfriends Angie (Bowen) and Laura (Jenny Lewis who was in The Wizard!) and driving to San Diego in order to grab Bob (Chris Young, PCU), Mary’s baby daddy before he can officially enlist in the army. Along the way they find themselves dealing with crooked cops, crazy preppers and a variety of other problems.
While Jailbreakers took an old story and just did it again with more cursing and violence, Runaway Daughters actually used the framework of this kind of story to get into some actual social commentary. Throughout the film, Laura talks about how ridiculous it is that society shuns young women for having sex when it’s a natural thing. We’re mostly told by TV and film that everyone in the 50s was a buttoned-up square, but that’s a myth. There were plenty of people looking at the norms and realizing some of them were silly.
Plus, while this movie looks the same as Jailbreakers, it does boast a more interesting story and a much better cast. Rudd doing his best James Dean or Marlon Brando impression is a lot of fun. Then you’ve got Bowen playing the instigator perfectly, Dick Miller as a grizzled but also somewhat socially conscious private detective and even appearances by Roger Corman and Joe Flaherty. And those are just the people I recognized. This might be the least Joe Dante movie I’ve ever seen, but it was still an enjoyable outing that adds a nice layer to his filmography.
If there’s one documentary subject I don’t think I’ll ever get sick of it’s filmmakers talking about the good old days of cheaply made schlock shown at drive-ins and grindhouse theaters. And I’m glad that people are not only making these movies, but also that the people who were involved are not only still alive, but also willing to talk about their experiences. While the excellent Not Quite Hollywood focused on these kinds of movies shot in Australia and the not as great American Grindhouse focused on its own obvious subject matter, Machete Maidens Unleashed set its sites on American films that were shot down in the Philippines in the 70s and 80s. I actually just looked and the guy who directed this movie, Mark Hartley, also directed Not Quite and is the man behind the upcoming Canon Video doc which I am really looking forward to.
I actually didn’t even know this was a thing before reading the description on Netflix Instant (I, of course, was first drawn in by the poster image and then the title), but there was actually a full-fledged movie industry in the Philippines at the team that lots of producers and directors like Roger Corman and Joe Dante took advantage of because of the low, low cost. At one point, one of the filmmakers in the doc said something along the lines of “The film was cheap and human life was even cheaper,” referencing the lengths local actors and stuntmen would go to put their lives on the line to get just the right shot. Fight scenes were filmed so that people were actually beating the crap out of each other and a lot of the explosions going off and glass being broken were real. It’s the kind of thing that, today, would create a public outcry for human safety, but at that place and that time, those apparently weren’t big concerns.
There are two aspects of this film that make it so interesting aside from the subject matter itself. First off, it seems like everyone who’s still alive agreed to be interviewed for this flick. Heck, John Landis is there and I don’t even think he shot a movie in the Philippines! That dude just loves to talk about these kinds of movies (he’s also in American Grindhouse). I already mentioned Corman and Dante, but tons of people appear in this movie: Pam Grier, Sid Haig, R. Lee Ermey, Dick Miller, Brian Trenchard-Smith, seemingly every hopeful starlet who appeared topless in those movies and several local filmmakers. Everyone is very open, honest and entertaining when it comes to relating their experiences. The second aspect of this movie that really makes it great and seems to be a trademark of Hartley’s, is the quick and efficient editing of the picture. There isn’t a wasted moment in this flick and, at the same time it doesn’t feel rushed.
If you love bad movies of years gone by, exploitation cinema or are just interested in some of the less glamorous corners of the film business, I highly recommend giving Machete Maidens Unleashed a watch.
I love Gremlins 2. I probably shouldn’t but I do. It’s nowhere near as good as the original movie with it’s amazing mix of comedy, humor and horror, but it holds a special place in my heart. I can’t remember if I saw it in the theaters when I was 7 and it hit theaters. I have a feeling I did, but can’t say for sure. Anyway, the sequel is much more over the top and sillier, but it’s also filled with lots of slapsticky site gags and all kinds of mutated Gremlins running around causing all kinds of havoc which makes it perfect for kids. They even had trading cards, an NES game and I would assume toys, though not a full roll out like you might expect. But I can see where that kid focus would put older viewers off. Had I watched this movie for the first time as an adult without any of the nostalgia or love, like I did with, say, Lost Boys, I’m fairly certain I would have scoffed my way through the movie instead of smiling like a damn fool the whole time like I did when I watched it the other day.
Even having said that, I’d say that there are elements to the movie that might be fun for viewers of all kinds. Like the first flick, there’s humor here, but this time around it feels more in the same vein as Naked Gun than something more understated. I also appreciate that the movie has a sense of humor about itself. Not only do you have some control room guys making fun of the three rules from the first movie, but there’s even an appearance by Leonard Maltin as a critic where he slags the movie only to get attacked by Gremlins. You also can’t discount how good the special effects are. Gizmo and the Gremlins look so rad, especially the Bat and Spider ones. Man, they’re creepy.
One of the benefits of watching the movie on DVD–which I bought a while back, but can’t remember if I’ve actually watched all the way through–was seeing the original “film break” scene in the movie complete with woman complaining about the movie being too scary for kids and Hulk Hogan threatening the Gremlins to let the movie start back up. See, on the VHS version and, I believe, the one they showed on TV, there was a “tape break” instead. I couldn’t tell you what the differences all are, but I like that they went back to the original on the DVD version (I wonder if the VHS scene is on the DVD, I should check).
Anyway, I’m not really sure what else to say about the flick. There were some pretty lame parts like the very roundabout way they took to get Gizmo wet (malfunctioning drinking fountain) and the fact that Phoebe Cates had something bad happen to her on Lincoln’s Birthday too. But with the humor, going in with affection and the ass kicking special effects, I think Gremlins 2 has a lot to offer the right kind of viewer.
While watching the excellent new version of Piranha from Shout Factory’s Roger Corman’s Cult Classics series, I was pretty excited. I had never seen the movie before, though it started feeling familiar at a certain point which is when I remembered seeing what I thought was the original on TV a few years back and it turned out to be a 90s TV version. Luckily I quit watching that one so my viewing of the original turned out to be a 97% original experience.
Here’s what the movie’s about. A couple 20 somethings go hiking and find what looks like a water treatment place and go swimming. They die. A reporter comes out to find out what happened to them and comes across a local recluse and the pair of them discover that the government had been experimenting on weaponizing piranhas to take out enemies in the Vietnam jungles years ago. They’re trying to warn everyone, especially as the mutant piranhas head to both the recluse’s daughter’s summer camp and a lake where tons of teenagers hang out and have drunken fun (it’s like two horror movies in one!).
Going in, I was worried that the flick would wind up just being a lame Jaws rip-off (to be fair, I think that of any movie about monsters in the water), but they reference Jaws so hilariously in the beginning with the use of a video game that I had already given the movie a pass it didn’t need because, as far as I’m concerned, the difference in plot and execution separated this film enough from the classic, which probably isn’t too surprising when you realize this was one of Joe Dante’s earliest films (Gremlins is awesome). Sure it’s got a vacation spot ruled by a guy in a goody suit (played by the awesome Dick Miller (Walter from Corman’s amazing Bucket of Blood and Murray Futterman from Gremlins) in danger of being put on hold thanks to rabid sea creatures, but there’s so much else going on before it gets to that part that it doesn’t matter (at least to me).
The effects, which let’s be honest is the reason a lot of people will check a movie like this out, are pretty great too. There’s a weird scene with a land-walking fish creature in the lab that doesn’t really play much of a roll in the film but looks pretty good (he’s composed using stop motion) and the kills look pretty good (though it’s hard to do the ol’ “water and blood bubbling up from the water” trick wrong). The crappy inserts of fish painted on a background zooming around only seem to add character to the movie even though they look pretty lame.
My favorite scene in the movie is when the dude is skiing behind the boat with a girl driving and another one spotting (watching the skier to see if he falls or wants to go faster, slower or stop). Now, I grew up on a lake and learned how to ski at a pretty young age and I’ve done my fair of both slaloming and spotting and I can tell you that the scariest part of the movie was how inattentive the spotter was and how ridiculously fast the driver was going. That guy was getting yanked around like crazy and then the spotter chick tells the driver to go faster when the skier makes wild hand gestures. For the record, as I learned it, the universal symbols while skiing are thumbs up for faster, thumbs down for slower and flat hand across the neck for cut it (like a pirate threatening to cut your head off). We also devised a signal where you tap the top of your head and then your back for “head back.” Had this guy gone over the signals before going out and not been randomly pointing in the air (or not gone with a pair of women who clearly have no value for his life) maybe they wouldn’t have cut the engine in the middle of lake only to offer a tantalizing treat to the piranhas. Thus ends the skier safety portion of the blog post.
I haven’t gone through all the extra features on the DVD yet, though thanks to my new found love of the flick, I’m sure I will, so the rewatch value here’s pretty good. Plus, if nothing else, this movie feels like a really good primer for Piranha 3D which I’m super duper excited about (I keep telling myself I will absolutely positively go see this 3D flick in the theater after missing My Bloody Valentine). So, do yourself a favor and check out this new presentation of the movie out, I think you’ll dig it.
This Sunday was kind of an unusual night now that I think about it. As a complete coincidence I ended up watching three movies that night dealing with time travel in in form or another: Terminator (1984), Primer (2004) and Next (2007). And oddly enough, I watched them in chronological order. Weird.
I actually didn’t watch Terminator alone as I usually do with rad movies from the 80s. Thanks to the sick looking trailers for the upcoming Terminator Salvation, Em wanted to check out the Terminator flicks. I had recently added the movie to our Netflix Instant Queue, so we finally checked it out.
The first Terminator movie I ever saw was T2 on TV with my parents. I remember them letting me stay up late and watching the end of the movie in their bedroom. Later, when I got my Family Video membership, I checked out the original and wasn’t too impressed. Stupid kid. Even though some of the Arnold masks don’t look that great, first off he’s a robot and second off it was ’84. And damn those exoskeletons and robots look real, even if the stop motion gets a little shaky. Plus, I like to think that Linda Hamilton’s crazy hair is a special effect all its own.
[Potential LOST SPOILER coming up if you haven’t been watching this season.] It’s actually kind of funny that the time travel mechanics are very similar between Terminator and Lost. You’ve got people heading back in time and affecting the future. Reese heads back and fathers John Connor. He always did that, he just didn’t know his role yet. It’s the “Whatever happened, happened” idea (which I have to toot my own horn and say I voiced a few weeks before the saying popped up on the show).
From there I went on to finish Primer, a low budget (supposedly made for $7,000) time travel movie that I heard about on both Horror Movie A Day and The Totally Rad Show. I won’t pretend like I understood the movie (I had to look it up on Wikipedia to get a better idea of the plot and mechanics), but it made me feel like I did when I was 16 working at Barry’s and Drew (whose last name I don’t know and haven’t seen in almost 10 years now) told me about Reservoir Dogs and The Usual Suspects and then later when I saw Lost Highway and Clerks and some other flicks. Aside from feeling incredibly original and new, Primer showed me you can make an amazing movie that doesn’t talk down to its audience. Now, the above-mentioned movies don’t seem to have much in common on the surface, but the all showed me different ways of looking at movies, from a story standpoint and general presentation to how much you need to let your audience know.
Primer’s beautifully confusing (there’s so much jargon and science in there, it’d make my freshman year roommates jump for joy, what’s up Bryan and Hatem, you guys especially should check this one out). One piece of advice I’d give anyone trying to watch Primer (and understand it), is, don’t drink too many beers and try not to fall asleep halfway through. I fell asleep and then tried watching it a week or so later and had an even hard time remembering the whole story. I can’t wait to check it out again.
I will not, however, be watching Nic Cage’s Next again. As I’ve mentioned again and again I have a strange relationship with Nic Cage movies. Sure The Rock and Con Air are awesome, but somewhere along the lines, Cage seemingly went crazy and has been playing a kind of caricature of himself since then. Or has he? Maybe I’m the one that expects him to be crazy (there’s good crazy like in the National Treasure movies which I love and bad crazy like the amazing Whicker Man YouTube video).
Well, the last two Cage movies I’ve watched from the past few years (Next and Bangkok Dangerous) have just been boring. Even Cage’s craziness can’t save a fairly boring movie with some really bad CGI effects that breaks my cardinal sin of storytelling: don’t make everything I’ve just seen pointless, even if it is a tale of what could happen.
You might be wondering how this fits in with the time travel theme and it kind of doesn’t. But it kid of does, because, as Cage explains early in the movie, he can see a few minutes into his own future and just by seeing the future you’re changing it. Sure, it’s a tenuous connection at best, but it’s there.
Now I’ve just got to get Em to watch T2 which I have on DVD. But the last time I tried watching it, I wanted to rip Edward Furlong’s squeaky vocal chords out of his throat and feed them to the T-1000. Ah well, I’m sure I’m a lot more mature now (eh, not really, this was only a few months ago). Also, I might mine these flicks for a Live Blog post or two as I took copious notes.