a survey of summer movies that just didn’t catch on
July 23rd, 1993
Dan Aykroyd was the mastermind behind two of the most beloved comedies of the ’80s: THE BLUES BROTHERS (possibly my favorite comedy of all time) and GHOSTBUSTERS (male version), so what could be more of a no-brainer than to have him turn his most famous Saturday Night Live sketch into a movie?
Like GHOSTBUSTERS, CONEHEADS teams him with an ensemble of great comedic talents from SNL and elsewhere to build on a comedy premise about an intersection between the regular world and a fantastical one. Instead of a supernatural element it’s an extra-terrestrial one. The Coneheads are an alien couple who crash their Remulakian space cruiser outside New York and while waiting for extraction decide to live as earthlings, first in a motorhome, then in the New Jersey suburbs, raising a daughter, owning a house, golfing, etc. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
GHOSTBUSTERS (1984) is the story of three male scientists – Dan Aykroyd, Harold Ramis and Bill Murray – who live and work in New York City and specialize in studying the supernatural. They lose their grant at the college just because the uptight higher ups notice that they are bringing great shame and humiliation upon the institution by wasting everyone’s time and money on an area of study that is not real. And that’s without even knowing that Murray (WILD THINGS) doesn’t totally believe in it and spends his days doing fake telepathy tests just to hit on women.
So they decide to lease a beat up old fire station and start a scrappy new business that treats exorcism like pest control and advertises on TV and what not. Lucky for them they are correct, it turns out ghosts are real and there are a couple actual hauntings going on in the city. A female client (Sigourney Weaver, ABDUCTION) comes to their male offices with a huge case: her refrigerator is a portal to a ghost dimension or some shit and she and her neighbor (Rick Moranis, STREETS OF FIRE) get possessed and an ancient Sumerian god named Gozer (Slavitz Jovan, KNIGHT OF CUPS) appears on top of the building and they have to shoot lasers at it, etc. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
For several years Spike Lee talked about doing a James Brown biopic starring Wesley Snipes. This was fairly recently, like while Wesley was locked up. Man, I couldn’t quite picture what that would be like, and I really wanted to find out. But I figured even if Wesley could pull off the role I wasn’t sure a movie about James Brown could ever work. Would a movie really be able to show his incredible genius without toning down what a horrible person he was?
When I heard somebody besides Lee was doing the James Brown biopic, and that it was the guy that did the fucking HELP, I was not happy. And who do they have playing The Godfather? Chadwick Boseman, same guy who already played Jackie Robinson in that other movie that that other white director did before Spike Lee could. I bet this Boseman guy has nightmares about getting stomped by Air Jordans.
And the trailers didn’t help. With quick clips of Boseman in a wig lip synching James Brown, you couldn’t really tell if he looked that much like him, same with the dialogue. And there was a version with interviews of rappers and Mick Jagger and stuff talking about how important James Brown is. What the fuck is this approach? Who is this demographic of fucking weirdos who have no idea who James Brown is but will see a movie about him if Mick Jagger recommends it? What, did they already see a video of Taylor Swift or Macklemore or somebody explaining how important Mick Jagger is? (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
This movie has a reputation as kind of a mess. Admittedly it is a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor. In my opinion a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor was not necessarily one of the top two or three things the world hoped for as Steven Spielberg’s followup to CLOSE ENCOUNTERS OF THE THIRD KIND. But fuck ’em. It’s what they got and they oughta fuckin appreciate it. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
WARNING: contains spoilers for PEARL HARBOR and World War II
After three financially successful action movies in a row (BAD BOYS, THE ROCK, ARMAGEDDON), Michael Bay got a once-in-his-career itch to make An Important Movie. He probly had SAVING PRIVATE RYAN on the brain, and definitely TITANIC.
Ever since James Cameron’s movie broke all box office records studios had been threatening to make asses of themselves by blatantly trying to catch more lightning in that same melodramatic-love-story-during-historic-disaster bottle. Jan de Bont almost did a love-story-on-the-Hindenburg movie, for example. PEARL HARBOR wasn’t as obvious of a copycat as that because 1) it was a love story set against a war movie as much as a disaster and 2) the love song on the end credits was by Faith Hill instead of Celine Dion. Totally different. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
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VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
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GHOSTBUSTERS (1984) is the story of three male scientists – Dan Aykroyd, Harold Ramis and Bill Murray – who live and work in New York City and specialize in studying the supernatural. They lose their grant at the college just because the uptight higher ups notice that they are bringing great shame and humiliation upon the institution by wasting everyone’s time and money on an area of study that is not real. And that’s without even knowing that Murray (WILD THINGS) doesn’t totally believe in it and spends his days doing fake telepathy tests just to hit on women.
For several years Spike Lee talked about doing a James Brown biopic starring Wesley Snipes. This was fairly recently, like while Wesley was locked up. Man, I couldn’t quite picture what that would be like, and I really wanted to find out. But I figured even if Wesley could pull off the role I wasn’t sure a movie about James Brown could ever work. Would a movie really be able to show his incredible genius without toning down what a horrible person he was?
This movie has a reputation as kind of a mess. Admittedly it is a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor. In my opinion a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor was not necessarily one of the top two or three things the world hoped for as Steven Spielberg’s followup to CLOSE ENCOUNTERS OF THE THIRD KIND. But fuck ’em. It’s what they got and they oughta fuckin appreciate it. 
released May 25th, 2001
