In Clerks, Dante Hicks dismisses the third film in the Star Wars trilogy saying “All Jedi had was a bunch of muppets”. It’s a harsh assessment of the movie, but highlights a problem that some viewers have with the movie. The Ewoks.
This alien race, who look like teddy bears, are the kind of thing that little kids love, but for older audiences appear rather cutesy and twee. Personally, I quite like the Ewoks, because their guerrilla tactics against a superior foe are surprisingly brutal and they are kinda cute. Also, they don’t look so bad after some later additions to the universe.
While it’s not as good as Empire, I still love this movie, which continues the trilogy’s crowd pleasing, entertaining action. It brings the Darth Vader (the body of David Prowse voiced by James Earl Jones) story to an end, with him earning redemption thanks to the faith and goodness of his son Luke Skywalker (Mark Hamill). Their final showdown where the Emperor (Ian McDiarmid) attempts to get Luke to give in to the Dark Side is well done, with Luke finally realising what’s going on and stopping himself.
Vader, witnessing this mercy and then the Emperor’s attack on Luke finally rediscovers his good nature, lost years earlier. He sacrifices himself to kill the Emperor and Luke escapes before the Rebels manage to destroy the second Death Star, which they had been tricked into believing was yet to be operational.
The Death Star, half built and hanging in space is visually striking and the revelation that the Emperor has set a trap for the good guys raises the stakes greatly and sets up the largest space battle of the series.
Meanwhile, on the planet there’s a different battle going on as Princess Leia (Carrie Fisher) and Han Solo (Harrison Ford) lead a small rebel force, and the Ewoks against the Empire’s forces to try and disable the force field that protects the Death Star. The fight, which sees the primitive Ewoks triumph through ingenuity and surprising viciousness (their cuteness distracts from the fact they are straight up murdering Stormtroopers).
Han Solo’s rescue from Jabba’s clutches is a cracker, providing some old school heroics from Luke Skywalker, and shows Leia is a badass herself, having posed as a bounty hunter she thaws out the frozen smuggler only to be kidnapped, but she gets free and kills Jabba. It’s a shame all these heroic moments have been overshadowed in the public consciousness by her golden bikini.
Of course, the movie also includes the big reveal that Luke and Leia are twin siblings, which Luke discovers from the dying Yoda (Frank Oz). It changes the dynamic between the two, and works rather well. It also clears the way for Han and Leia’s relationship to blossom fully, and this is the heart for much of the movie, with the two’s bickering softening and Han confessing his feelings this time around.
What makes this movie work is the ending, where good triumphs and Luke makes peace with his father, and the galaxy celebrates. It’s an entirely satisfying ending to the series and while it’s since been added to, it still serves as a solid ending.
There’s heroism, resolution and some cracking intergalactic action, and just like the other two movies it continues to entertain years and many rewatches later.
Any thoughts? You know what to do. BETEO.
Star Wars was a game changer in many ways, in terms of blockbusters and memorabilia but it’s the second movie in the original trilogy that’s impact is still felt. Countless film series made since has attempted to follow the Empire model with the second movie having a darker, more downbeat ending that leaves the heroes in poor shape before they rally in the third part.
But although often imitated, The Empire Strikes Back has never been matched and is still the stand out movie in the four part Star Wars saga. I fell in love with the first movie, but it paled when I saw this one, and this is where I became a lifelong fan of the series.
Unlike a lot of movies which include a massive twist, this movie is more than just that big reveal. The moment where the villainous Darth Vader (body by David Prowse, voice by James Earl Jones) reveals that Obi Wan was telling porkies and that he is actually Luke Skywalker’s (Mark Hamill) father is one that has slightly lost it’s impact thanks to countless rip offs and gags, but for audiences in 1980 it must have been an absolute stunner.
If I have kids I’m going to show them the Star Wars trilogy at a young age and hopefully ensure that this twist is fresh for them, as it’ll probably make more of an impact.
The reveal sets up the finale brilliantly, but it also contributes to the downbeat ending which made Empire so special. The end of the movie finds our heroes in a bad way, Luke is reeling from the news his enemy is his papa and has lost a hand, Leia (Carrie Fisher) has finally admitted that she loves Han Solo (Harrison Ford), only to see him frozen and taken prisoner.
But the ending doesn’t depress you. Luke has a robot hand and Chewbacca (Peter Mayhew) sets off to find Han. It leaves the audience hooked- will they be able to rescue their old friend? How will Luke and Vader’s next meeting go? And will the war with the Empire ever be over?
The defeat they suffer works because it delivers on it’s title. If a villain is always vanquished they begin to lose their edge for audiences (see the Daleks), what they got right in this series was that while the Empire had lost the first movie they win this one, and the good guys barely escape. It makes the villains all the more evil, and more of a threat, it’s a smart move.
Of course, a solid ending isn’t enough and what makes this such a cracker is everything that builds up to it. We find the Rebels on a snowy planet and Han debating leaving as he needs to sort out the bounty hunters on his trail. His decision to leave causes an argument between him and Leia, and suggests that there is a growing attraction there.
Ford and Fisher, who we recently found out were getting it on behind the scenes, have phenomenal chemistry on screen and their bickering, flirty scenes together are among the best in film. The story splits up our group, leaving Leia, Han, Chewie and C-3PO (Anthony Daniels) on the run and trying to find a safe place to hole up, while Luke travels to continue his Jedi training.
This is another aspect that would work for first time viewers, the reveal of Yoda (Frank Oz). When Luke seeks out the Jedi Master who taught Obi Wan the audience expects a great warrior and intergalactic badass, the revelation that the little green man is actually the master is a nice subversion of expectations.
Yoda’s wisdom and training sees Luke develop his skills, and this is an interesting storyline as we see Luke get stronger and discover more about the Force.
This movie improves on the first by adding to the characters and by having a superior script, shown not only in Han and Leia’s flirtations, but throughout. And there are memorable moments throughout- the AT-ATs advancing through the snow, the trippy sequence where Luke faces his fears, the climactic fight.
I love this movie because it’s great fun, and shows us more of the universe. It also introduces Lando Calrissian, played by Billy Dee Williams, who is pretty damn suave.
It’s a perfect middle movie for a trilogy, which doesn’t just act as a bridge but serves to up the stakes, grow the story and ensure the audience is even more invested in the characters.
Any thoughts? You know what to do. BETEO.
Disclaimer: Before any fans get narked, I know that’s not the full title, but putting it all in would be awfully long and you all know which movie I mean.
I must have seen the Star Wars films as a little kid, but I can’t really remember much from those childhood viewings apart from the chase sequence in Jedi. What I do remember is the 20th anniversary special editions. I was almost twelve and they came out just as I was on the brink of geekdom, it was the perfect time for me to see them again.
I can remember the music starting, and the opening scrawl and then that amazing opening shot with Leia’s ship emerging on the screen followed by the imposing Star Destroyer, chasing it across the stars. Even years later the sheer scale of that shot works well and on a big screen it was phenomenal.
The whole opening is done supremely well, especially the entrance of Darth Vader (David Prowse, voice by James Earl Jones).
A million lunchboxes and three dodgy prequels later, Vader has lost his edge somewhat, but on that first watch he’s a menacing presence. Striding imperiously over the bodies of the enemy, his raspy breath and dark, cloaked figure is memorable and has become understandably iconic.
The plot is known to many and quite simple, but a simple story executed well is far better than a complicated one that is bungled. Farm boy Luke Skywalker (Mark Hamill) dreams of adventure and the wider galaxy when he gets a hold of Princess Leia’s (Carrie Fisher) message for help.
He meets old warrior Obi-Wan Kenobi (Alec Guinness) who explains that he was a friend of Luke’s father before Darth Vader killed him. He begins to train Luke in the use of the Force, a cosmic energy force that flows through all things.
They recruit roguish smuggler Han Solo (Harrison Ford) and his copilot Chewbacca (Peter Mayhew). They head for Alderaan, Leia’s home planet but arrive after it is destroyed by the Empire’s latest weapon the Death Star.
What follows is a story of adventure and heroism as our heroes rescue Leia and deliver the plans for the base. It has a single weak spot and Luke joins the pilots in the attack as the lethal space station closes in on the Rebel base.
It’s hard to look at Star Wars without the cultural baggage that it carries now, without nostalgia and as a movie on its own merits. But this isn’t a review, its a love letter.
I love the world of the movie, I love the bustling energy of the cantina, the scruffiness of Han Solo and his ship the Millennium Falcon. It has a lived in feel that the sterile ships of other sci-fi often lack. They want everything to look cool and shiny, forgetting that people are meant to live there.
I love the characters, from Hamill’s likeable goofiness as the space bumpkin Luke to the bickering droids. I love that Princess Leia takes charge of the guys who are trying, ineptly, to rescue her.
The late, great Carrie Fisher is superb. She makes Leia a strong, confident character who rolls with the bunches and who stands defiant against the forces of the Empire. She runs rings around the swaggering Solo and is an utter delight.
But let’s face it, Han Solo is still the coolest guy in the movie. Harrison Ford brings his easy charm to the role, with a laid back swagger and sarcastic, cynical outlook. But he’s winging it the whole time, surviving on a mix of luck, skill and his comrades.
He’s the old gunslinger who tries to play like he doesn’t care about anything other than money and his own life, but when the chips are down he roars back to make the save.
The action is well done, and while the Vader vs Kenobi fight is hardly a masterpiece of fight choreography it is well performed. Guinness delivers his lines brilliantly, giving depth and power beyond the cliches. He goes into the fight seeming to know that this is the end, but goes to it with dignity, knowing that this isn’t really the end.
The effects have aged in places, but the special edition make over makes up for it, and some of the sequences still hold up. In fact the models and costumes hold up better than most CG will in years to come.
I love the rousing ending, the glorious John Williams score and the ingredients mix to make a film that still fills me with the geeky excitement and love that washed over my twelve year old self.
I love the fun vibe, the dialogue which at times is a little clunky, I love it all.
A pure, simple treat of a movie. It holds up because of the great characters, the simple story of good vs evil and the bags of charm it has. It’s a movie I return to when I want that blast of childish joy, to lose myself in a simpler world with familiar faces.
Any thoughts? You know what to do. BETEO.
Long time readers will know that I’ve been doing the Disney Classics films in order, but I’m going to jump ahead to include this on my list of favourite movies.
This movie was Disney returning to their roots with a fairy tale inspired story rendered in traditional animation and introducing the latest Disney Princess. And it ticks a lot of boxes, boasting a quality soundtrack, a funny script, a great villain and an involving central story. On it’s own merits it would rank high on my Disney list but what makes it a personal favourite is a sentimental attachment.
This is the first movie that MWF and I watched together, before we were a couple and just friends. We’d hung out for the day chatting and then put this on as MWF insisted I had to see it. It would be a while after this that we got together, but the movie and the day we spent together when we watched it were when I started to genuinely fancy her.
The movie riffs on the traditional Frog Prince story, but gives it a clever twist. The old tale is retold in New Orleans, at the start by Eudora (voiced by Oprah Winfrey), a black seamstress to the daughter of her white boss and her own daughter, and the boss’ daughter dreams of meeting her prince. The seamstress’ daughter wants to run a restaurant with her father, but he reminds her that it takes hard work as well as wishing to get things done.
We then jump forward to the 1920s, and the seamstress’ daughter Tiana (Anika Noni Rose) is now a young woman, still chasing her dream of the restaurant by working two jobs and saving every penny she can. Her social life suffers and her mother worries that she is failing to enjoy her life and is working too hard. An opportunity to get the money needed for the building she wants for the restaurant arises when her old friend Charlotte (Jennifer Cody) offers her a catering job as her wealthy father is hosting a big party.
Charlotte, still obsessed with landing her prince is excited as the party is hosting Prince Naveen, a handsome, suave young man.
Naveen (Bruno Campos) is a bit of a playboy and used to having money, although his parents have now cut him off. Arriving in New Orleans with his valet Lawrence (Peter Bartlett) he wants to live the high life but Lawrence reminds him he needs to settle down and get married if he wants to get back on the gravy train.
Naveen and Lawrence meet Doctor Facilier (Keith David), a voodoo witch doctor who reads their fortune and then tricks them into a bargain. His magic transforms Lawrence into Naveen, while Naveen becomes a frog who they lock away. Facilier plans for Lawrence to marry Charlotte, after which he will kill her father Big Daddy (John Goodman) and get his fortune and influence.
Naveen escapes and at the party meets Tiana, who has just been told her bid for the building has been rejected. Inspired by the story he tells Tiana she needs to kiss him, thinking she is a princess. She is reluctant to do until he promises to give her the money for her restaurant. When they kiss, however, it is Tiana who is transformed, becoming a frog as well.
Naveen realises that Tiana, despite her costume, is not a princess and that’s why it didn’t work. She in turn learns that he is broke. Both then get lost in the swamps and must try to find their way back in order to stop Facilier’s plan and return to their human form. Along the way they are assisted by Louis (Michael-Leon Wooley) a trumpet playing alligator who dreams of playing Jazz and Ray (Jim Cummings), a cajun firefly. They are led to meet voodoo queen Mama Odie (Jennifer Lewis) who they hope can help them.
The movie works because it’s got bucketloads of charm and a host of cool characters. And unlike a lot of Disney movies the leads are among the best characters on show here, with both Tiana and Naveen being very likeable. Their dynamic works brilliantly with the strait laced Tiana clashing with the laidback, pampered Naveen. Naveen oozes suave charm throughout and his carefree approach to life is fun, although he comes to learn that some things require work and that sometimes sacrifice is needed. In the same way he helps Tiana loosen up and realise that there are more important things than work and success.
Tiana is one of the better Princess heroines, as she’s shown to be smart, tough and hard working throughout. While she may need her priorities sorting out she is still a great heroine, being very proactive and swinging into action when needs be. She’s a very modern princess and works well, telling the audience that it isn’t enough to wait for good things to happen, you have to go out and make them happen.
The supporting cast are great, particularly Ray and Louis their guides in the swamp. Louis’ stupidity is endearing and his bizarre dream works well, and Ray is just flat out brilliant. With his bayou accent and spirit he is more than just comic relief and serves to educate the leads as to what love is about.
And Tiana’s loud, brassy friend Charlotte is a great character, full of life and chattering constantly she could easily be a simply ridiculous character, but the script gives her a chance to show greater depths of friendship, decency and kindness. All of this without diluting her over the top character.
Of course, all the best Disney movies have a great villain and here the film scores a big win with the sneaky, smooth talking Doctor Facilier, wonderfully voiced by Keith David. During his songs and speeches he delivers funny asides and is shown to be a smart, scheming foe. Distinctly creepy at times, it also works because Facilier doesn’t have power in a real sense, having received his gifts as part of a deal with his “friends on the other side”. It means that he too is under the cosh and the dark forces are kept at the fringes although they do make menacing appearances, and his main skill is reading and exploiting people’s weaknesses.
The plot flows well and the development works, with the relationship feeling real and the turns making sense. There’s also a gut punch in the final act which continues a Disney trend of actually sneaking in some dark moments into what people dismiss as cheesy and cheery kids films. Even as a grown man it left me with a lump in the throat.
Of course, it all ends well, and the ending is satisfying. It’s a very rewatchable flick and the music, influenced by the New Orleans setting is filled with some crackers, especially the villain song and Ray’s ode to his distant love Evangeline.
Fun, charming and well done this is one of my favourite movies and high on the list of my favourite Disney movies too.
Disney Score: 8/10.
Any thoughts? You know what to do. BETEO.
In the early ’00s there was a horrible affliction that devastated the geek community. Like a vampire, the infected would be unable to stop themselves from passing it on and forcing others to endure their curse. And, to mix my monsters, like zombies it was often the ones you loved that you hurt. You’d resist, but finally the curse would out and you’d pass it on with one simple sentence:
“Have you seen this show, Firefly? It’s amazing!”
And you’d hand over your box set and see them fall as you had. But what’s worse than a fall?
A fall from a great height.
And so the show would raise them up, lifting them with the cool space western vibe. Higher as they embraced the charming, likeable characters and still higher through the witty, exciting writing.
Fourteen episodes and you crash back down. Mid season. Mid story. Plot lines left dangling unfinished, questions unanswered. The most persistent nagging at you: What happens next?
Online complaining, love one and petitions alerted Fox that there was a market. DVD sales climbed.
And so Joss Whedon got a second chance. Serenity would fly again.
But would a standalone movie really satisfy the fans. Would it work? Could it avoid being a disappointment?
You bet your ass it could.
Picking up sometime after the show we find roguish smuggler Mal Reynolds (Nathan Fillion) leading his small crew on the outer reaches of space aboard the eponymous ship.
The young, frazzled genius River (Summer Glau) still struggles with the effects of government experimentation and her brother Simon (Sean Maher) tries to find a way to help her and work out what they did to her.
After a close call with the savage, mindless Reavers, Simon decides it’s time for them to leave. Mal agrees despite the protestations of some of his crew, particularly Kaylee (Jewel Staite), the engineer smitten with Simon. However, their plan to drop her off is abandoned after something triggers River to become a ruthless, skilled fighter. The only clue is that she uttered the word “Miranda” before her rampage.
Meanwhile, a shadowy government Operative (Chiwetel Ejiofor) is hunting for River who carries important secrets in her damaged mind. He seeks out Inara (Morena Baccarin), the “companion” who previously travelled aboard Serenity. He uses her to send a message to Mal and set a trap. Mal, despite knowing it to be a trap goes in anyway and they narrowly escape after a fight with the Operative.
Using the few clues they have the group set off to work out what River knows. On the way they find out more about what was done to her and discover the dark origins of the Reavers.
I remember going into this movie with nervous excitement and being reassured very early on as it nails the tone of the show. As a fan of the show I don’t know how it would play to newcomers to the world, but I think it fills in the gaps quite quickly and deftly. And I think the writing, which is sharp and witty would win people over and engage them with an involving plot.
Of course, some of it works more for fans. When two characters but the farm it’s bound to hit harder to those who’ve known them longer. One in particular, the sudden, shocking demise of slacker pilot Wash (Alan Tudyk) was a gut blow for me and several friends who had loved the show, and the character.
The death comes out of nowhere and leaves you reeling, and the impact it has on the other characters is keenly felt. In a later scene where his devastated widow Zoe (Gina Torres) rushes into battle and is injured left me with a sinking feeling we were headed for Dirty Dozen/Magnificent Seven territory where the bodies would pile up and only a couple would make it.
This last stand against the Reavers is wonderfully tense and well done, with Whedon injecting little character moments into the build up (Zoe’s devastation and loss of hope, Simon and Kaylee expressing their feelings for each other) and there’s a laugh when Zoe talks to the brutish Jayne (Adam Baldwin) about strategy.
Jayne: Can’t be thinking on revenge if we’re gonna get through this.
Zoe: Do you really think any of us are going to get through this?
Jayne: (slightly nervous)…I might.
The returning cast slip into their old roles with ease and for fans it’s a comforting and satisfying end to the story (although if they want to do more I wouldn’t complain).
It’s massively entertaining and I loved it.
And of course it gave Nathan Fillion a chance to pull on his old Browncoat again. No actor seems to have loved a project more than Fillion who complained about the cancellation and still seems sore about it.
It’s easy to see why, Mal is a great role and a perfect fit for Fillion’s easy charisma. He gets to play the big damn hero who has a softer, less confident side underneath the swagger. Mal’s like Han Solo’s geekier little brother, someone who’s not quite as cool as they’d like to be and often caught off balance, but managing to make it through due to luck, skill and determination.
Smarter than he makes out, kinder than he wishes and quietly noble Mal is the heart of the film and a great hero. He can handle himself in a fight, but knows when to run, and keeps going against the odds to do what’s right. Fillion’s charisma, humour and enthusiasm shines through making him a supremely likeable protagonist.
Hands down one of the most entertaining sci-fi movies of the 21st century.
Gorram it, I’m gonna watch the series again.
Any thoughts? You know what to do. BETEO.
My Dad introduced me to the films of John Carpenter, and this is one of my favourites, a tense, gripping sci-fi horror.
Set almost entirely on a remote Ameeican research base in the Arctic it deals with a group of scientists and their support team who must confront a shapeshifting alien beast that assumes the appearance and mannerisms of anything it devours.
The unease starts right at the top when a sled dog races across the icy wilderness, pursued by a helicopter. The pilot is killed in an accidental explosion and the passenger begins firing at the dog only to be shot by Garry (Donald Moffat) the commander. The dog is put in the kennels and after they ID the man as being from a Norwegian base they investigate.
Right away you have questions about what the hell is going on and why they wanted to kill that dog so badly, and then the plot thickens as they find the Norwegian base in disarray, with a burnt grotesque humanoid form outside in the ice.
It turns out the Norwegians found something in the ice and when it woke up it made short work of them and they tried stopping it. The alien being could change shape, hence the weird body, and escaped. Disguised as a dog.
At this point animal lovers might want to look away as the dog-Thing snacks on the dogs. It’s all pretty grizzly and they only stop it when one of the team blasts it with a flamethrower.
This member of the team, MacReady is played by Kurt Russell and that’s an indicator that this is going to be a good movie as the Russell and Carpenter team was dynamite (Escape from New York, Big Trouble I’m Little China). Russell is on great form here as the tough, quiet MacReady who is way out of his depth and not entirely sure how it all works, but who endures through grit and common sense.
It’s his simple reasoning that leads to the blood test that sets up one of the film’s best sequences. Working out that every tiny part of the creature can live separately he comes up with a test. Using blood samples and a hot piece of metal he will work out who’s human and who isn’t.
The whole scene is grippingly tense with the characters eyeballing each other and the unease growing. The final jump scare still gets me out of my seat after repeated viewings and it’s this, not the gleefully gory physical effects that I remember.
That’s not to say the effects aren’t great. I’m a big fan of old school effects that look like you can reach out and touch, and the grizzly creations here are very well done, especially a scene where the chest of one opens up to sever the arms of the man trying to revive him. My Dad is not a fan of this scene, possibly because he’s a doctor himself.
The alien is gory and with no distinct shape it appears as mutant, horrifying blends of the forms it has devoured.
While the creature has an ick factor that holds up the film’s real success is the atmosphere of claustrophobia and paranoia that Carpenter creates. Just as the characters aren’t sure of who they can trust, the audience is never sure of who’s still human. Even MacReady’s movements can’t be accounted for.
It means you never know who is going to turn on who and it keeps you on edge for long periods.
This all builds to what I think is one of the greatest endings of all time. With the base in ruins after a massive explosion MacReady sits alone in the snow. And then Childs (Keith David) appears. Childs went missing a short while earlier and the two sit opposite each other, neither trusting the other, when asked what are they going to do MacReady delivers the last line of the movie; “Why don’t we just wait here a while? See what happens.”
It’s a remarkably bleak ending, but works extremely well and leaves lots of questions. Is the beast really dead? Is Childs human? What will happen if/when a rescue team arrives?
It’s a great movie, with solid performances from all involved this is an unsettling thriller that sticks with you and rises above the gore to be a genuinely clever thriller. And it can be rewatched over and over without losing it’s appeal.
This is the first John Carpenter movie I’ve included on my favourites list, but it won’t be the last.
Any thoughts? You know what to do. BETEO.
As it’s October I thought I’d write about a couple of horror movies I love, and I’m kicking off with this more comedic entry. Directed by John Landis at the height of his powers, and it’s successful as both a horror and a comedy.
The movie starts off with backpacking American students David and Jack (David Naughton and Griffin Dunne, respectively) wandering the moors. They stop off at The Slaughtered Lamb, a rural pub but after Jack makes a joke about a pentagram on the wall the mood sours and they leave, with the locals warning them to keep to the road, stay off the moors and “beware the moon”.
Distracted by chatting they lose the road and are attacked by a vicious beast, which mauls both of them. The beast is shot and David sees a bullet riddled naked man before he blacks out.
Awaking three weeks later in hospital David discovers that Jack was killed and the attack is said to have been done by an escaped lunatic. His recollections of a beast are put down as shock. Shortly after Jack appears, still bearing his injuries and fills David in- they were attacked by a werewolf, and David is now infected. Jack is cursed to remain a zombie until the bloodline of the werewolf is stopped, and urges David to kill himself, not only to release him but to avoid harming others.
This is quite dark, and Jack’s increasing decay over the course of the film is done extremely well by the effects team, but it’s to the credit of all involved that the laughs keep coming, even if the humour is pretty black in places. A large part of this is Dunne and Naughton’s chemistry and the writing, which feels easy and natural, the two joking and chatting like real friends.
Convinced he is going nuts, David pushes it from his mind and is discharged, awaiting a flight home. He’s offered a place to stay by his nurse, Alex (Jenny Agutter), who he begins a relationship with. Every cloud…
Jack warns him again, but David tries to block him. But when darkness falls he changes. This is the film’s most famous scene, where Rick Baker’s practical effects make the transformation a bone crunching, intense watch all soundtracked by Creedence Clearwater Revival’s “Bad Moon Rising”. Watching it now it’s dated but the make up effects are still damn impressive and it seems far more “real” than. Lot of CGI which can often look utterly separate from it’s surrounding.
Here there’s a weight to it all and it has a physicality that still holds up.
What follows is a werewolf rampage, and then a flip to almost goofy comedy as a naked David wakes up in the zoo. He flees and realises that he is a danger, phoning home to say goodbye his family and contemplating killing himself. He then spots an even more decayed Jack and follows him into a porn theatre where he meets his other victims.
This is one of the blackest moments of the film as, to the background of a deliberately naff adult film, the recently dead argue over the best way to kill himself. Unfortunately they take too long and David turns as night arrive, running amok through Piccadilly Circus. This part is gleefully chaotic, even if prolonged shots of the beast highlight it’s flaws. The panic is captured well and then David is cornered, Alex tries to calm the beast but he is shot by the police, and reverts to his human form.
This for me is one of the best moments as Landis flips the downbeat ending by launching into the end credits backed by the inappropriately upbeat “Blue Moon” by The Marcels (he soundtrack features many songs about the moon). It’s such a jarring shift in tone that the first time I saw it I burst out laughing.
It’s a scruffy film in some ways, and the shifts in tone are quite big, but Landis handles them grace and it all clicks together, although David’s nightmare halfway through is genuinely disturbing, featuring monstrous Nazis and a cameo from the Muppets, and could throw the whole thing, but it pulls back.
What makes it work is that Landis puts in the time between the horror to develop the characters a little, and the leads are all likeable. Far too many horror movies don’t do this, but by making us care about David it makes this film be more effective.
The film has developed a cult following, and there’s a lot to love here. I watched it as a teen, but every time I see it I still enjoy it immensely, and of all the genres horror is the one that doesn’t usually hold up to repeat viewings.
Any thoughts? You know what to do. BETEO.
One of the (many) perks of being in a relationship with MWF is her Disney collection. As a total Disney addict she owns all of the “Classics” series, which is cool as my Disney viewing has holes in. Of course, I’ve seen most of the big ones, and most of the ’90s ones but before we started dating there was a massive gap between Mulan (1998) and Wreck-It Ralph (2012), however, this has been sorted and I’ve now actually seen almost every single film, especially from the gap. Among these is one that has quickly become one of my favourite all time Disney movies, Tangled.
The movie is a retelling of the Rapunzel myth but with added bits. It begins with the story of a drop of sunlight falling to Earth which creates a magic flower which an aged witch Gothel (Donna Murphy) uses for eternal youth, however, when the pregnant queen falls ill the plant is discovered and used to save her. Gothel, incensed goes to slay the newborn princess, but discovers the magic has been passed onto the girl’s hair. She then steals the princess away and imprisons her in a high tower, keeping her secret and posing as her mother. To keep her there she teaches the young girl, Rapunzel (Mandy Moore) that the world is scary and people are after her hair.
However, as she grows up Rapunzel chafes against the confines of the tower and longs to explore the world. She also wants to see the “floating lights”, lanterns which are lit annually for her by the royal couple.
Hope arrives in the form of roguish thief Flynn Rider (Zachary Quinto), who stumbles on her tower while on the run. Rapunzel takes the crown he has stolen and uses it to blackmail him into taking her to see the lights. Flynn is initially unwilling and attempts to put her off by deliberately scaring her by taking her to a rough bar, which backfires thanks to the rough patrons revealing that they also have dreams. This is by far the best music number in the movie a hilarious sequence where the thugs reveal their hobbies and passions before forcing Flynn, at sword point, to join in.
As they travel, Flynn discovers her hair’s secret and takes her to the city, however, Gothel is in pursuit and allied with Flynn’s former associates the Stabbington Brothers (both voiced by Ron Perlman). Her plan is to trick Rapunzel into thinking that Flynn has no feelings for her, thus making the heartbroken girl easier to control and contain.
Flynn honours his promise to show her the lights and this scene, accompanied by a decent ballad is utterly beautiful, the CG creating a beautiful sequence where the lanterns take flight making it for me one of the all time highlights of any animated film.
Double crossed Flynn ends up in the custody of the guards, but escapes, racing to rescue Rapunzel.
Here’s the thing, I love this movie and a large part of that is down to Zachary Levi’s funny performance as the swaggering Flynn. Flynn is a world away from the usual Disney hero, being cocky, self-absorbed and sarcastic, in fact he’s more akin to a Han Solo or Malcolm Reynolds type. Of course, underneath this he is still a goodie and has some form of code. Flynn’s frustration at Wanted posters not capturing his face is a running gag and his vanity is one of his flaws.
The relationship between the cynical Flynn and naive, cheery Rapunzel works in an opposites attract way, and the movie should get props for the fact that Rapunzel is in charge of her own destiny and quite heroic herself. Her naivety feels realistic given her sheltered upbringing and she’s not a complete idiot. She’s wary of what happens and knows when to step up, not relying on Flynn or others.
Their relationship develops wonderfully and is paced correctly, not feeling rushed or forced. The finale where Flynn reveals that being with Rapunzel has replaced wealth as his dream is sweet, and his decision to sacrifice himself to free her is a truly emotional moment. That this is reversed with some old school fairytale endings doesn’t diminish it and the ending is strong and satisfying.
Also the supporting cast are great, the animal sidekicks are cute and funny, and in Gothel there’s a truly despicable villain. I can’t think of another kid’s film where the villain is so manipulative or a film where guilt tripping is shown so clearly. Gothel is the kind of villain you just hate and it’s because a lot of her evil isn’t magic or fantastical, it’s worryingly normal and her key weapon against Rapunzel is emotional blackmail and manipulation.
Tangled manages to combine the fairytale magic of the old Princess movies (Sleeping Beauty, Snow White) with a knowing sense of humour and more independent heroine, making it the perfect choice to be the 50th Classic. It both nods to the past and represents a change in tone for Disney, and benefits from a funny, sparkling script which plays well to all ages.
An utter gem of a movie and one I can rewatch over and over.
Any thoughts? You know what to do. BETEO.
News of a Gremlins remake/reboot is not good, well, at least not to me. While I appreciate that improved special effects might do a better job of bringing Gizmo and Co to life, I kinda think that misses the point and that the slightly shonky effects are actually part of the original’s charm.
Also the movie belongs to a different time, the 80s when people kinda accepted that kids liked a bit of ugliness and being creeped out. The movie ends with voiceover that tells us that next time something glitches in the house it might be the horrible little beasties we’ve just seen kill and devour innocent civilians. That’s messed up.
Directed by B-movie expert Joe Dante (who at this stage had already made The Howling and Piranha) it’s definitely in his wheelhouse for dark comedy and the Christmas-set movie plays with it’s small town America setting to great effect. It’s like if Bedford Falls was besieged by monsters.
Eccentric inventor Randall Peltzer (Hoyt Axton) visits Chinatown and discovers a cute little critter called a mogwai, which he names Gizmo and buys as a gift for his son Billy (Zach Galligan).
The mogwai comes with rules-
- No bright lights, mogwai hate bright lights and sunlight is lethal.
- Don’t get them wet
- Don’t feed them after midnight.
Pretty simple, right? In short order Billy breaks rules one and two. Getting Gizmo wet makes him reproduce while feeding them after midnight turns them into decidedly less cute and more vicious gremlins. The leader of the gremlins, Stripe sets out to build up an army and they set about attacking the residents of the small town.
It’s now up to Billy and his love interest Kate (Phoebe Cates) to stop Stripe and the others and save the day, with Gizmo in tow.
This movie rocks because it has a magnificent dark streak, with Dante reveling in the anarchic, vicious gremlins and their trail of destruction. There are some wonderfully over-the-top deaths, most notably one involving a stair-lift, and the movie swings between creepiness and giggles as Dante weaves in daft sight gags, one liners and surrealism.
One of the best moments for me comes when Kate tells the story about why she hates Christmas, a morbidly funny sequence which pokes fun at the “tragic backstory” trope and which had my Mum and me in hysterics, although MWG wasn’t quite so amused and reckons I have a sick sense of humour, which is just as well for this movie.
The whole movie is a bit of a mess in some ways but it gets by on sheer character and energy, hurtling forwards with fantastic verve. It seems to know that if it hesitates it’s lost so it keeps going until the end.
Dante knows his B-movies and plays on the traditional genre themes (disbelieving cops, nasty characters getting their just desserts etc), crafting a movie which works both as a comedy and a horror, being genuinely jumpy and unsettling in places. The effects have aged terribly in places but the puppetry ensures that the gremlins always feel realistic and have a weight that CG often lacks, that being said Gizmo remains extremely cute.
The cast do their jobs well, but it’s all about the critters, really, although you do wonder how Phoebe Cates proceeded to vanish from the screen after such a promising start to her career. It also features 80s icon Corey Feldman in a small supporting role.
It’s a nasty, funny gem of a movie and an unlikely shout for one of the best Christmas movies ever made.
Any thoughts? You know what to do. BETEO.
I don’t know who you are, I don’t know what you want. If you’re looking for ransom, I can tell you I don’t have money…but what I do have are a very particular set of skills. Skills I have acquired over a long career. Skills that make me a nightmare for people like you. If you let my daughter go now, that will be the end of it- I will not look for you, I will not pursue you….but if you don’t, I will look for you, I will find you…and I will kill you.
That speech, delivered by Liam Neeson’s ex-government agent Brian Mills over the phone to his daughter’s kidnapper is the high point of this film and one of the most badass movie speeches of all time, like the 21st century equivalent of Dirty Harry’s “Do you feel lucky?” speech.
The snatching scene is an immensely powerful film, with Brian hearing his daughter scream for help and get taken. It would be effective in any film, but with Neeson rather than a traditional action hero it’s even better. As he listens his face clearly shows the fear and shock as he lives every parent’s nightmare, and then incredibly subtly his face shifts and a steely resolve is clear. Then he delivers the above speech.
The movie, written and produced by Luc Besson, the French action movie legend, follows Mills as he travels to Paris on the trail of his daughter, Kim (Maggie Grace), who’s been snatched by human traffickers. Arriving in Paris he punches, shoots and tortures his way through the Eastern European heavies to track Kim and her friend down.
Along the way he realizes that the Albanian mob has ties everywhere and even old friends can’t be trusted and he wages his one man war on the mob.
The movie exists in a post Bourne and 24 world so there’s some extremely gritty, bone crunching action along the way and Neeson’s character isn’t adverse to torturing people for information. This causes problems for some viewers, but luckily despite the gritty realism of some scenes it stays true to it’s roots by having a string of unremarkable goons for Neeson to wade through.
Pierre Morel the director and student of Luc Besson (he’d previously worked as cinematographer on Jason Statham vehicle The Transporter and directed the pretty ace District 13) is capable behind the camera and shoots the whole thing in a tight, fast paced way with plenty of in your face camera work and a real knack for capturing the seedy underbelly of Paris.
But above all else it’s Neeson’s film. Since this he’s had a string of action hero style roles, but this was the first one and it was a bit of a surprise to see an actor like him switch to doing a rather nasty exploitation movie.
The nastiness works in it’s favour, allowing Neeson to sink his teeth into a morally ambiguous, relentless character who seems willing to go to any lengths to get his daughter back. The rather vicious, grim tone is a large reason for the film’s success which makes the fact they cut the sequel down to a 12 all the more mindboggling and disappointing, because this movie is a well executed, solid B-movie that sticks true to it’s nasty roots but is elevated by a strong central performance from Neeson.
Mills is an engaging character. His skills are impressive, but his strongest trait is resisting telling his ex wife “I told you so” after his fears for his daughter’s safety are realized.
Any thoughts? You know what to do. BETEO.