CHERRY 2000 is a quirky post-apocalyptic adventure, one with a cool sci-fi western premise and alot of underlying oddness and satirical observation about life in the ’80s. The action is slightly stilted, and I think director Steve De Jarnatt (who followed this up with the pre-apocalyptic MIRACLE MILE) is more comfortable doing funny twists on the genre than sincerely following its tropes, but I also think there is a good faith effort to deliver the goods. There are lots of machine guns and blowtorches, some explosions, some great stunts involving a car hanging from a crane. When the weinery yuppie protagonist decides to man up he does it by setting fire to a bunch of cars and rigging an explosion that knocks over Tim Thomerson and swarms him with bees. Not bad. (read the rest of this shit…)
Posts Tagged ‘Ben Johnson’
THE SUGARLAND EXPRESS is the feature debut of young TV director Steve Spielberg. It’s hard to think of it as his first real movie when DUEL was so damn good, but officially it’s the first one he made for theatrical release. Things have really changed, haven’t they? You don’t get hungry young up-and-comers starting out in TV and then making a splash in movies. There’s great TV now but it’s not a place for visionary directors.
To commemorate the 2 (two) new Spielberg movies that came out recently I decided to finally get aorund to watching all the Spielberg movies I’ve never actually seen. This is gonna include a couple that you guys will be surprised by because everybody else in the world saw them a long time ago. But mostly it will be the “lesser” Spielbergs. Not JAWS, CLOSE ENCOUNTERS or E.T. (read the rest of this shit…)
Now this is what I call a fuckin MOVIE. I forgot about it until seeing it on Bravo today but it is even better now that I’m older and now that I’ve done my own bid. First though, a word about Bravo. This is the “film and arts network” they CLAIM, but they don’t have the balls to live up to that slogan. You know how Sam Peckinpah movies always have the real slick opening credits with the freeze frames and the atmosphere and what not? They show these in widescreen and your thinking, “Look at that! Look at that rectangular screen! That atmosphere! THIS is a fuckin MOVIE.”
And then it says “directed by Sam Peckinpah” and BAM, no more widescreen. No, that’s just so the words will fit, we don’t need it anymore. The picture is square and cramped and the film is all faded and dark and you’re thinkin, “What is this crap, Hunter?” (read the rest of this shit…)