The Crow (30th anniversary revisit)
On May 13, 1994, Johnny Carson was on Late Show with David Letterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
Now THE CROW is 30 years old, further in our past than Woodstock was at the time. Jesus christ, man. I wrote a review of it 15 years ago. Time flies when you’re getting old, I guess. In 1994 this movie seemed amazing and important – it not only felt so new in its style, but was part of a collective mourning and/or discovery of this exciting actor who had lost his life making a movie about losing his life. Maybe I was falling for the ads asking us to “EXPERIENCE THE MOVIE EVENT OF THE YEAR” and “Take the journey. Experience the phenomenon.” But I went solemnly into a dark theater, the movie washed over me, I could just feel it more than think about it. Watching it now it’s more a movie I find interesting than a movie I can love. But I don’t mind that it’s style over substance. That’s why it works. Evocative imagery and effusive, unexamined emotion – that’s what goth is about, as far as I can understand. That’s what being a teenager is about. I used to be one of those. (read the rest of this shit…)
The Last Stop in Yuma County
THE LAST STOP IN YUMA COUNTY is a new indie crime movie from rookie writer/director Francis Galluppi. I’d seen some good reviews, the trailer looked intriguing and I read that Sam Raimi saw it and hired Galluppi for an EVIL DEAD movie. The coveted Necronominod. So it seemed like a good thing to check out as soon as it hit VOD last week.
It’s a single location movie, and the location is a diner out in the middle of nowhere, Arizona on a sunny day in the unspecified past, probly early ‘80s. A traveling cutlery salesman (Jim Cummings, THE WOLF OF SNOW HOLLOW) pulls up at the gas station next door, the owner Vernon (Faizon Love, BEBE’S KIDS, who’s very good in this) explains that they’re all out of gas, but the fuel truck is supposed to arrive soon. Also there’s not another gas station for 100 miles, but you’re welcome to wait at the diner next door. (read the rest of this shit…)
Crooklyn
MALCOLM X (1992) was a big fucking deal for Spike Lee. A big budget period historical drama, an epic really, that he had to fight to get hired on, and to finance, and to get permission to shoot in Mecca. And got recently freed Nelson Mandela to make a cameo in! It worked, and it was a phenomenon. So how the hell do you follow that up? He chose to make his most autobiographical film, though actually it’s more about his younger sister Joie, who gets a story credit and wrote the screenplay with Spike and their brother Cinqué.
So on May 13th, 1994, three days after Mandela was inaugurated as the first president of free South Africa, CROOKLYN came out, did pretty good, came in third after THE CROW and WHEN A MAN LOVES A WOMAN. Probly felt a little anticlimactic for Spike. But it’s a great movie.
Lee still had editor Barry Alexander Brown, production designer Wynn Thomas, and costume designer Ruth E. Carter, so there’s a continuity with his earlier movies. But Ernest Dickerson, the director of photography for everything since his student film Joe’s Bed-Stuy Barbershop: We Cut Heads, had retired from cinematography to direct JUICE and SURVIVING THE GAME. Those were big shoes to fill. So Lee hooked up with Arthur Jafa, a Howard-educated video artist who had been married to Julie Dash and was d.p. for her DAUGHTERS OF THE DUST. (read the rest of this shit…)
The Fall Guy
I first heard of David Leitch as one of “the JOHN WICK GUYS” – the two MATRIX RELOADED stuntmen who directed JOHN WICK and changed action cinema. Chad Stahelski was the one credited, and has continued helming that visionary series, while Leitch launched a more normal directing career – half projects from their production company 87North (formerly 87Eleven), half for-hire type gigs. I love his neon-drenched spy movie ATOMIC BLONDE, and his other films (DEADPOOL 2, HOBBS & SHAW, BULLET TRAIN) all have good action, some style, and some other things I like about them, but their increasingly scattershot humor has kept me from fully embracing them. So I’m glad that with THE FALL GUY, a loose redo of the ‘80s TV show premise, he’s found his perfect subject.
The story is light and breezy, and everyone gets to be funny, but the humor leans mostly on one easygoing star persona – Ryan Gosling (director of LOST RIVER) as stuntman Colt Seavers – rather than having every character constantly compete for attention with wacky riffs. And best of all, obviously, it’s a love letter to the stunt profession, so there’s a very specific expertise and passion that makes Leitch more qualified than anyone else to tell this story. He even has a songwriting credit on an end credits “there should be an Oscar for stunts” song! (read the rest of this shit…)
Dream Lover
May 6, 1994
The erotic thriller DREAM LOVER is so far the only movie directed by Nicholas Kazan, a writer who’s an Oscar nominee for REVERSAL OF FORTUNE and on my shit list for MOBSTERS. James Spader (SEX, LIES AND VIDEOTAPE) stars as Ray Reardon, successful architect, charmer, admitted bad husband, but supposed to be well-meaning and sweet. At his divorce hearing he fires his lawyer and lets his now-ex Martha (Kathleen York, unaired DARKMAN tv pilot) have everything. Sitting in the courthouse afterwards they look like they’re on a first date that’s going really well. They talk about how much they still love each other but she can’t stay with him because he hit her. Which seems more than fair to me! He tries to downgrade it to a slap or accidental bump and justify it as a response to her cheating on him, and this does not offend her. She puts her head on his shoulder and tearfully promises that the woman he finds who’s right for him will be “the luckiest woman alive.”
He’s got this buddy at work named Norman, played by Larry Miller (SUBURBAN COMMANDO) in the classic Dennis Miller/Denis Leary/Kevin Pollack type role of the comedian playing a horny best friend who’s sexist in a supposedly lovable way. Norman invites Ray to a gallery show to try to set him up with a woman (Blair Tefkin, V, FRIGHT NIGHT PART II), and while trying to escape her he spills wine on Lena Mathers (Mädchen Amick, TWIN PEAKS: FIRE WALK WITH ME, SLEEPWALKERS) and she chews him out. (read the rest of this shit…)
3 Ninjas Kick Back
It’s tempting to say that 3 NINJAS KICK BACK is the bottom of the barrel for a kids movie, mainly because of the amount of farting that happens in a particular scene. But I checked my review of the first 3 NINJAS and I called it “some real bottom of the barrel dreck, almost as bad as any off brand DTV throwaway kiddy garbage you’ll ever encounter,” so that one might’ve been worse. The best thing I can say about this first released 3 NINJAS sequel is that in the tradition of THE TOXIC AVENGER PART II and THE KARATE KID PART II they go to Japan for part of it. That takes some effort.
I say “first released” because they actually made 3 NINJAS KNUCKLE UP in the same year as the first movie but they had some kind of distribution problem and didn’t release it until 1995. Can you imagine? A whole two years where 3 NINJAS KNUCKLE UP was a lost film. That’s why part 2 recasts two of the kids but part 3 returns to the original line up at their original age. (read the rest of this shit…)
PCU
April 29, 1994
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…)
Lost River
You know, ever since at least THE NICE GUYS, the world has gotten to fall in love with funny Ryan Gosling. He’s a favorite SNL host, he was unmatchable in BARBIE, it looks like he’ll be fun in THE FALL GUY. Even though he’s done serious broody guy movies in between (BLADE RUNNER 2049, FIRST MAN) I think of him as that funny guy now. And sometimes I forget that’s maybe the third or fourth incarnation of Gosling.
I never knew of him in chapter 1, Canadian Child Star Ryan Gosling, but yeah, in the ‘90s he was on The All-New Mickey Mouse Club, he was on episodes of Kung Fu: The Legend Continues and Goosebumps, and did you know he played the title role in a spinoff of Hercules: The Legendary Journeys called Young Hercules? Lasted one season. Otherwise the career went better than Old Hercules.
After the turn of the millennium he was reborn as Adult Actor Ryan Gosling. I never saw THE BELIEVER, but it gave him a grown up career. He did various respectable indies, but he blew up so big in THE NOTEBOOK that there’s arguably a separate chapter of Heartthrob Ryan Gosling.
Admittedly I was a late adopter, I didn’t really start paying attention until Quiet Tough Guy Ryan Gosling was unleashed in DRIVE and continued in THE PLACE BEYOND THE PINES and ONLY GOD FORGIVES. It was during that period, in 2014, that he made his writing/directing debut, LOST RIVER, which is in kind of a similar dreamy dark art movie vein. (read the rest of this shit…)
Boy Kills World
BOY KILLS WORLD is a new action/dystopia/comedy goof that I could’ve guessed would annoy the shit out of many people even if I hadn’t already seen the evidence. You know, it’s got that splattery paint, sarcastic smiley face type of aesthetic. From the trailers I wondered if I might be one of those people, but I actually really liked this thing until almost the end. I found its brazenly show-offy oddballery pretty charming. It looks at you like yeah, I know this is alot of unnecessary gimmicks and trinkets, but I like that shit, what’re you gonna do about it?
Uh… nothing. Please – continue! I think Glaive Robber called it accurately in the REBEL MOON PART TWO: THE SCARGIVER comments when he wrote, “Old Vern would have PASSIONATELY hated it. But maybe not Contemporary Vern.”
It’s a frenetic, hyper-active, smart-alecky and casually violent movie, so every review besides this one compares it to a Ryan Reynolds comic book movie that’s not BLADE TRINITY or GREEN LANTERN. If you must compare it to modern super hero movies I’d say it’s more SUICIDE SQUAD, THE SUICIDE SQUAD and BIRDS OF PREY, but that didn’t even occur to me until now. I was thinking more along the lines of POLAR, SMOKIN’ ACES, ACCIDENT MAN, a little SHOOT ‘EM UP, a little KINGSMAN. Hell, maybe a little CRANK and CRANK: HIGH VOLTAGE. I hated those but some people swear by ’em. Actually the comic book movies it made me think of are those ones we used to get in the ‘90s where you never heard of the comic before or again but they created a whole stylized alternate universe for it on a medium-sized budget. I always appreciated them for that, and this is better than many of them.
(read the rest of this shit…)
The Inkwell
April 22, 1994
When we first met director Matty Rich (in my summer of ’91 retrospective) he was the 19 year old who made STRAIGHT OUT OF BROOKLYN on $450K of credit card debt and donations, and won the Independent Spirit Award for Best First Feature over fellow nominees Wendell B. Harris Jr., Todd Haynes, Michael Tolkin and Richard Linklater. By 1992 he was name-dropped in Ice Cube’s “Who Got the Camera”,” in which Cube has a run-in with cops and says “I’m looking for John, Matty or Spike Lee.”
And in 1994, when he was still only 22, he made his big sophomore followup THE INKWELL, an $8 million movie distributed by Buena Vista Pictures. That’s a bigger budget than SHE’S GOTTA HAVE IT, SCHOOL DAZE or BOYZ N THE HOOD, but smaller than POETIC JUSTICE. John and Matty (considered gen-xers since they were born in 1968 and 1971) were the new younger guys coming in after the success of Spike Lee (who, like Robert Townsend and Mario Van Peebles, was born in 1957). (read the rest of this shit…)
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