PCU fits nicely into my theory of the summer of ’94 – that it was a time when boomers were looking back while gen-xers were moving in – by sort of melding those two things. The first sound you hear in it is Mike Bloomfield at the Monterey Pop Festival saying something about “this is our generation, man,” and then a song sampling Jimi Hendrix’s voice over modern dance music. It seems to be saying “Look, this is like the ‘60s, only it’s the ’90s!,” and in fact comes from an album called if ’60s were ‘90s.
This is the directorial debut of DIE HARD’s Harry Ellis himself, Hart Bochner, but it’s written by two fresh-out-of-college twentysomethings, Adam Leff & Zak Penn. It’s probly meant to speak to young people, but its attitude is that almost all young people are brain dead idiots… all but a few wild and crazy guys brave enough to scoff at everyone else’s beliefs because they don’t personally care about that kind of stuff so people who do must be faking it.
All fraternity comedies are pretty much based on ANIMAL HOUSE, right? A canonical boomer classic. PCU follows the standard campus comedy storyline: a rowdy fraternity hated by the authorities is going to get kicked out of their building if they don’t raise a bunch of money fast, so they throw a big party. And the modern spin on it is yeah, you have your old idea of fraternities, but it’s different now, it’s harder to get away with that stuff. But we do what we can, on account of we are outrageous party animals like you wouldn’t believe. ’90s style! I have a Hammerbox poster in my dorm room, to name only one example. (read the rest of this shit…)
HEAT (1995) is a remake, but not of the underrated 1986 Burt Reynolds movie HEAT (which was later remade as WILD CARD) – it’s Michael Mann’s second try at the story he turned into his 1989 TV pilot L.A. TAKEDOWN. Which was good! This is better. A controversial statement, but I stand by it.
It’s possibly Mann’s best movie, and certainly ranks high among crime movies of the ‘90s (which is saying something), in my view a masterpiece of the genre. It has that rare quality of feeling like a sprawling epic and a simple, intimate story at the same time. Like a Sergio Leone movie in that one specific sense.
It is pretty simple, in the same way that MANHUNTER is. You’ve got these two men who are on opposite sides of the law, which makes their lives pretty similar. They respect each other’s professionalism but, unlike John Woo characters, would sooner shoot each other than be on the same side. Pretty early in the movie, famously – legendarily, really – they suddenly parley, have coffee together and talk about it, kind of warn each other but both seem to enjoy talking to somebody else who gets what it’s like to live that life. At the time the hype was about Robert De Niro and Al Pacino doing a scene together – two titans had not come together like this since Mickey Mouse and Bugs Bunny in WHO FRAMED ROGER RABBIT – but now that novelty has long since faded and the scene still feels monumental. (read the rest of this shit…)
I’m interested in this idea of The Place White People Can’t Go. According to pop culture and middle class conventional wisdom there are large swaths of every major city that are like the wild west or a post-apocalyptic dystopia. The second a woman steps off the wrong subway or a man’s car breaks down on the wrong block, homeless men in ragged coats turn their heads from the flaming oil barrels where they warm their hands, and seedy criminals step out of the shadows of the garbage-strewn, rat-infested alleys to attempt a gang rape or mugging before this shaky-handed outsider gets a chance to unfold his or her map.
Admittedly many of these swarmers are white too, so maybe it’s really The Place Suburbanites Can’t Go. But it seems like a specifically white paranoia, perpetrated on white movie characters. It’s perpetuated in movies I like, such as the DEATH WISH series, as well as many an ’80s comedy. More recently it made an appearance in TRAINING DAY when walking through the barrio nearly got Ethan Hawke’s “shit pushed in.”
This is not entirely made up. Of course there are high crime areas (in Seattle it’s called “my bus stop”) and desperate, troubled people everywhere, and we’ve all heard stories, some of which are true. But I really think the whole thing is blown out of proportion in a way that appeals to our worst instincts and makes problems worse. In most cases I believe a white man can go anywhere and get a funny look at worst. If you mind your own business most people will leave you alone. Going into “a bad neighborhood” is not really like being a piece of meat in a tiger pit. You’ll probly be okay. (read the rest of this shit…)
chapter 11: “Victoria Secret, Spring catalog, page 22.”
released August 3rd, 2001
I know, I know. Every motherfucker on the internet is putting up their essays marking the 10th anniversary of Brett Ratner’s RUSH HOUR 2 today. As fascinating a topic as we all know it is, I believe there could be a small chance that one or two of you are probly getting toward the area where pretty soon there is almost really not gonna be that much more to say about RUSH HOUR 2. And I know that for many of us this is a day when we want to be among friends and loved ones, thinking about how much they mean to us, and how much RUSH HOUR 2 means to them. But please, friends – if you have the time, take a few minutes to read my take. It would mean alot to me, just like this movie means alot to each and every one of us as movie fans, as thinkers, as sons and daughters, as mothers and fathers, brothers and sisters, citizens, humans, spiritual beings.
Carnahan fans have been waiting a while now for his follow-up to NARC, and it seems crazy that it’s almost here.
If you’re a fan, you might want to hop over to CHUD, where Devin Faraci has been fielding questions that Carnahan’s been answering on his very own blog.
In the meantime, let’s see what our own Vern has to say about this film that I’m eagerly looking forward to:
You know what this movie is, it’s a remake of BOBBY. Almost the whole movie takes place in and around this hotel. And you got your huge all-star cast of characters with their various intersecting stories going on. But instead of them all living their lives and making corny speeches not knowing Bobby Kennedy is about to be assassinated, they are all trying to sneak into the hotel to kill Jeremy Piven. And instead of tons of stock footage of Kennedy speeches there is all kinds of fighting and guns. So it’s a reflection of our times. Or a very loose remake. A reimagining. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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VERN on You Can’t Win (2026): “Thank you! I’m glad to know those IMDB external links are still worth submitting. At the time I posted this…” May 15, 13:32
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Alex R on Mortal Kombat II: “This bit at the end of the review gets at why I really like the Mortal Kombat world, even though…” May 15, 12:55
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April 29, 1994
HEAT (1995) is a remake, but not of the underrated 1986 Burt Reynolds movie 
I’m interested in this idea of The Place White People Can’t Go. According to pop culture and middle class conventional wisdom there are large swaths of every major city that are like the wild west or a post-apocalyptic dystopia. The second a woman steps off the wrong subway or a man’s car breaks down on the wrong block, homeless men in ragged coats turn their heads from the flaming oil barrels where they warm their hands, and seedy criminals step out of the shadows of the garbage-strewn, rat-infested alleys to attempt a gang rape or mugging before this shaky-handed outsider gets a chance to unfold his or her map.
released August 3rd, 2001
SPOILER ALERT !!
