George Miller’s THE WITCHES OF EASTWICK is from a John Updike novel, adapted by Michael Cristofer (THE BONFIRE OF THE VANITIES). It’s a comedy about women in small towns, not the #1 topic I want in a George Miller movie. And yet it’s very much a George Miller movie. The town of Eastwick could be the New England sister-city to the location-less town in BABE. Looks old fashioned and storybook-like, people act nice and family-oriented, but many of them are uptight and judgmental of non-conformists. The title trio don’t intend to get involved in witchcraft, and when they do that’s not even what turns them into pariahs. It’s actually just them being accused of being hoes.
Our heroines are women left single in three different ways: Alex (Cher) is a widow, Jane (Susan Sarandon) just finalized her divorce, and Sukie (Michelle Pfeiffer) was simply abandoned with her pack of daughters. They’re all kind of sad about their situations but they have each other, they hang out together and vent and have fun. When they’re real old I’m sure they’ll have cheesecake together and then open a hotel in Miami called The Golden Palace. (read the rest of this shit…)
It sounds like a pun to say THE INDIAN IN THE CUPBOARD feels small, because you see, it’s about a tiny little man who lives in a regular sized kid’s bedroom. But it also is a movie that feels small, in a good way. Based on the 1980 children’s novel by Lynne Reid Banks, it’s the story of a kid named Omri (Hal Scardino, SEARCHING FOR BOBBY FISCHER) who discovers that he has one of those magic cupboards that turns miniature toys into living beings. The first one he does is a model Indian, who becomes an Iroquois warrior named Little Bear (Litefoot, MORTAL KOMBAT: ANNIHILATION). So Omri keeps li’l Little Bear in his bedroom, protects him, gives him materials to build a longhouse with (after he rejects a plastic teepee, having no idea what a teepee is).
So it’s a movie full of what must’ve been really difficult special effects, with many scenes of Litefoot on giant sets composited with Scardino on regular sets, but it’s all about smallness, a world inside this kid’s bedroom (or, in one scene, insides his fannypack). There is no bombast at all. It’s just a sweet, simple movie. (read the rest of this shit…)
EXCLUSIVE:Vern’s review of Marvel’s first ever supernatural movie,DR. STRANGE
!!!!!!!!!!!!!!
(p.s. the 1978 tv movie)
DR. STRANGE is the story of a supernatural battle going on in New York. The world you live in is a sugar-coated topping, etc. Dr. Stephen Strange (Peter Hooten from ORCA and THE INGLORIOUS BASTARDS) is a mustachioed lady’s man doctor at a psychiatric hospital who goes about his normal hospital business for half of the movie before meeting an old sorcerer dude (John Mills, GANDHI) who tells him that he has known since Stephen was a kid that he had a talent for magical voodoo type business shooting beams and saying magic words and flying in space and all that type of shit that you would have to do if you chose that sort of alternative lifestyle which so far he has not because he’s a normal person, he doesn’t believe in that shit or ever heard of it. Also Stephen’s dad knew it and that’s why the tacky ring he wears that his dad gave him matches the “ancient symbol of light” on the old man’s attic window, apparently. (read the rest of this shit…)
FIRST KNIGHT is a movie I never would’ve watched without an excuse like this series, but it’s not bad. Directed by AIRPLANE!’s Jerry Zucker (his followup to NAKED GUN 2 1/2, but not his first serious movie, having already done GHOST), it’s basically a love triangle between King Arthur (Sean Connery), Sir Lancelot (Richard Gere) and Guinevere (Julia Ormond). Connery and Gere play two different types of handsome while Ormond makes the movie with a more human, layered portrayal.
The story begins with Lancelot, a dreamy, long-haired drifter going from town to town showing off in sword-fighting demos. His path happens to cross young Queen Guinevere’s when her caravan is ambushed on the way to Camelot to marry King Arthur. So he rescues her.
Before he disappears he plants a kiss on her, and she’s got that BRIDGES OF MADISON COUNTY look of suppressed lust on her face, but she tells him to cool it, she’s engaged. And when she gets to Camelot we see that she’s not just being chaste, she really does love Arthur. Yeah, it’s an arranged marriage, and he’s old enough to be her ancestor, but in his defense he does give her a sincere opportunity to back out, pledging to defend her kingdom of Lyonnesse regardless of marital arrangements. You want him to be a sleazy old bastard so you can root for her to kick him to the medieval equivalent of a curb, but he keeps being a gentleman, god damn it. She tells him she’s not gonna back out, she really wants to marry him, and she seems to know what she’s doing. (read the rest of this shit…)
SPOILER WARNING. I mean, I can’t stop you from reading this, but I’m not being careful about spoilers because for crying out loud see this movie IMMEDIATELY. Quit your job if necessary.
Usually if you’re still watching a movie for the first time, it’s kinda premature to start thinking “this is a masterpiece.” Not so with MAD MAX: FURY ROAD. It’s part 4 in an old series, but it truly feels like an entirely new type of movie. It is thrilling, explosive, inventive action at its most pure and relentless, yet it manages to weave a moving and powerful story around and within and through the hundreds of spectacular stunts. As he has in each successive MAD MAX movie, director George Miller re-invents his post-poxyclipstic world with even more ornate detail and flair than before, unfolding a fantasy world as teeming with weird characters and happenings as the whole HOBBIT trilogy without ever dumping a bunch of exposition on us. He explains what we need to know economically, mostly visually, and leaves the rest for us to daydream about.
This is a movie that will transform people’s brains. It just might be the most elaborate action movie ever made, both in the complexity of the stunt sequences and in the meticulous design of the people and things in it. Now the cars aren’t just cool and beat up, they’re built from unlikely combinations of multiple vehicles piled on top of each other, covered in spikes, flame throwers, animal skulls and creepy doll heads, with weapons hidden inside and out and half naked goons climbing all over them firing guns and throwing spears and bombs. Steering wheels are removable, heavily decorated and carry some sort of religious significance. One character pulls his off and holds it aloft during a chase to show that he’s ready to die. (read the rest of this shit…)
“Listen Boo Boo, you’re lucky you made it back the first time. If you want to join the pantheon of dead skate rock guitar heroes that’s your choice.”
SHREDDER ORPHEUS is a weird D.I.Y. type of movie made in the late ’80s in Seattle by people involved in the underground rock and art scenes of the time. It’s post-apocalyptic or futuristic or something, but more Max Headroom than MAD MAX. The story is based on the myth of Orpheus, played by director Robert McGinley as a skateboarder and lead singer/guitarist of a band called The Shredders. Instead of an Underworld there’s a sinister quasi-religious TV Channel called EBN (Euthanasia Broadcast Network) that hypnotizes the people. Just the normal people, maybe: the one person we see watching TV is the one civilian we see, the one non-punk or music scene type of guy that doesn’t work for the network. And the people who do work for the network look like they might as well be in bands because they’re all wearing white makeup and shit like ghouls. Most of their programming seems to be weirdos chanting slogans like “The Ministry of Sombulance – praise the ray!”
The EBN creeps kidnap Orpheus’s girlfriend Eurydice (Megan Murphy, DEADBEAT AT DAWN) after seeing her dancing (mostly just spinning and waving her arms a little, to be honest) at the Shredders show at the Thrash Bin Club. They decide she’s the key to co-opting the music counterculture for their purposes. “If we’re going to get beyond the corporate crust and expand our viewing addicts,” explains one of the executives, “we’ve got to reach out and put our finger on the main vein of the youth market. We need the heartbeat of America.” But if they kidnap this one dancer and base a show around her he says they can “play in Peoria.” (read the rest of this shit…)
I saw BATTLE OF THE FIVE ARMIES about 5 weeks after it came out and finished this review a couple weeks later, so you can see I had higher movie-going-and-discussing priorities than the thrilling conclusion to the prequel to the LORD OF THE RINGS trilogy. But honestly I did go to it of my own accord. After somewhat enjoying part 2 as a dumb spectacle with some good sequences I was kind of in the mood for that again and wanted to be sure to catch it before it left 3D.
(technical notes: I avoided high frame rate so it wouldn’t look like somebody’s home wedding video. I ended up with digital 3D “Imax,” which is on the giant screen but noticeably lower resolution than standard digital projection. So it’s got pluses and minuses)
If you’re like me you have almost no memory of what happened in the other two installments or what the names of any of the characters are, but you do remember the setup for part 3: Smowg, the greedy capitalistic dragon of Desolation Mountain, was awoken from his treasure-slumber and raging toward the man-village, puking deadly flame breath every which way, getting ready to roast some fuckin humans and Godzilla some buildings. Just step on some guys and bite off their heads and all that kind of dragon shit. This is the big screen dragon attack we’ve been waiting for ever since Guillermo Del Toro signed onto THE HOBBIT six years ago, and especially since the cliffhanger ending of part 2 one year ago.
I mean I am shitting myself you guys because THIS IS GONNA BE FUCKIN CRAZY! The Baggin’ and Toe-taggin’ of the Dragon. The Shakedown in Laketown. The motherfuckin climax of the greatest most epicest trilogy of all time, “THE END OF AN ERA” according to the ads and posters.
That’s the pre-credits sequence. The archery guy from FURIOUS 6 and his kid kill the dragon pretty easily at the very beginning of the movie. The end. (read the rest of this shit…)
THE BOXER’S OMEN is one of these movies I’ve had recommended to me for years but for some reason never listened. I guess everybody just talked about how FUCKIN CRAZY it was, and I like FUCKIN CRAZY but sometimes a man needs more. For example (HERESY ALERT this paragraph) I couldn’t get into that beloved Japanese freakout available from Criterion, HOUSE or HAUSU. It is indeed unique and goofy and graphically fun, but feature length? I think that’s the ultimate example of a movie that if I stumbled across it on TV at 2 am and had never heard of it it would seem like the greatest achievement in the history of cinema, but when I intentionally sit down to watch it as a real movie I have a hard time getting through it.
Maybe that’s what I was worried BOXER’S OMEN would be. Then I was looking at the box and it said Bolo Yeung was in it so of course I rented it. Why didn’t you say so? (read the rest of this shit…)
Here’s one of those beloved I.P.s that the studios are always looking to repackage and the fans get real excited for. It’s a high concept that’s practically a movie trailer already, it’s like LORD OF THE RINGS meets TITANIC meets DR. DOLITTLE. And just like with Batman or Superman there’s alot of great interpretations from different eras for the filmatists to draw from. You got the Bible version, you got the Quran version, you got the FANTASIA 2000 version. Alot of people grew up on the Noah property. But like THE LONE RANGER last year maybe the whole premise is a little bit too campy for today’s audiences. It might be a little too late for this to become a franchise.
Russell Crowe (NO WAY BACK, THE MAN WITH THE IRON FISTS) plays Noah, a survivalist living off the grid in the wastelands traveling with his wife (Jennifer Connelly from PHENOMENA) and kids, trying to avoid men and cities. I’m not sure if it’s the future or the past, but they dress kinda like the people of Zion in THE MATRIX. There’s a weird scaly dog like Riddick would be friends with. We see when he’s attacked by barbarians that Noah does know how to kick ass, but he and his family live by a monk-like code, or maybe a hippie one. They don’t carry weapons, they don’t eat meat, they respect nature, the women are allowed to wear pants. (read the rest of this shit…)
Do you guys remember how LAST ACTION HERO was the big ticket for ’93?
Okay, probly not. That was the tagline on some of the posters though. See, they knew this was destined to be a huge event movie, the movie of the summer. Fuck JURASSIC PARK. But also the plot involved a magical ticket that transports people between the worlds of reality and fiction. It’s a double meaning. They put alot of thought into this thing, just not the right kind maybe.
This is at least the third time I’ve watched and attempted to truly like this movie. That’s a strike out, so it’s time to sit on the bench and accept it as a kinda interesting, kinda terrible movie. Not as good as HUDSON HAWK but a bit of that same clever/awkward cocktail. Unique enough to keep coming back to, not good enough to be 100% sure it was worth it. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Franchise Fred on 28 Years Later: “28 FORTNIGHTS LATER. These are British after all.” Jul 8, 19:15
Skani on Sinners: “I think I liked it a little better than you, but I’m tracking you directionally as far as which parts…” Jul 8, 18:50
Stu on 28 Years Later: “28 HOURS LATER, showing the early days of the virus where nobody knew wtf was going on and had to…” Jul 8, 14:27
CJ Holden on 28 Years Later: “I call it now. The last of the trilogy will be 28 MONTHS LATER and show how the rest of…” Jul 8, 00:36
Franchise Fred on 28 Years Later: “It’s kind of a bummer they’re doing a whole trilogy and ditching the time progression, but I guess 28 Decades…” Jul 7, 23:08
Mr. Majestyk on Sinners: “This one had me for the first 40 minutes or so…until the first big musical sequence with the funk guitarist.…” Jul 7, 21:05
Glaive Robber on 28 Years Later: “Y’know, when I saw this I felt like there was so much to talk about regarding this movie… and then…” Jul 7, 19:40
Glaive Robber on M3gan 2.0: “It’s funny that the trailers played M3gan up as some sort of queer icon, but in the second movie proper,…” Jul 7, 19:21
jojo on 28 Years Later: “So it was funny to read that this recording of a Rudyard Kipling poem is so known to be irritating…” Jul 7, 18:02
Skani on 28 Years Later: “Haven’t seen this one yet, as that trailer with that repetitive vocal interpolation seriously pissed me off and turned me…” Jul 7, 16:28
Jerome on The X-Files: “Yeah, I just saw that. Bummer. But for whatever reason I needed Wiki to tell me he was the X-Files…” Jul 7, 16:03
Anne Billson on 28 Years Later: “Enjoyed reading that, Vern, thanks. Re: zombie films since 28 Days Later. I very much liked Jeremy Gardner’s no-budget The…” Jul 7, 13:59
deepfriednoir on 28 Years Later: “I agree that this is the perfect film for where the UK is at right now, but respectfully disagree that…” Jul 7, 12:48
CJ Holden on Cobra Kai (Season 1): “I finally finished that show and have to say that it can join the ranks of one of the greatest,…” Jul 7, 11:53
Mr. Majestyk on 28 Years Later: “This is a bold, strong, interesting movie that’s easy to respect and a little harder to love. The emotional climax…” Jul 7, 11:40
George Miller’s THE WITCHES OF EASTWICK is from a John Updike novel, adapted by Michael Cristofer (THE BONFIRE OF THE VANITIES). It’s a comedy about women in small towns, not the #1 topic I want in a George Miller movie. And yet it’s very much a George Miller movie. The town of Eastwick could be the New England sister-city to the location-less town in BABE. Looks old fashioned and storybook-like, people act nice and family-oriented, but many of them are uptight and judgmental of non-conformists. The title trio don’t intend to get involved in witchcraft, and when they do that’s not even what turns them into pariahs. It’s actually just them being accused of being hoes.
SPOILER WARNING. I mean, I can’t stop you from reading this, but I’m not being careful about spoilers because for crying out loud see this movie IMMEDIATELY. Quit your job if necessary.
“Listen Boo Boo, you’re lucky you made it back the first time. If you want to join the pantheon of dead skate rock guitar heroes that’s your choice.”
I saw BATTLE OF THE FIVE ARMIES about 5 weeks after it came out and finished this review a couple weeks later, so you can see I had higher movie-going-and-discussing priorities than the thrilling conclusion to the prequel to the LORD OF THE RINGS trilogy. But honestly I did go to it of my own accord. After somewhat enjoying part 2 as a dumb spectacle with some good sequences I was kind of in the mood for that again and wanted to be sure to catch it before it left 3D.
THE BOXER’S OMEN is one of these movies I’ve had recommended to me for years but for some reason never listened. I guess everybody just talked about how FUCKIN CRAZY it was, and I like FUCKIN CRAZY but sometimes a man needs more. For example (HERESY ALERT this paragraph) I couldn’t get into that beloved Japanese freakout available from Criterion, HOUSE or HAUSU. It is indeed unique and goofy and graphically fun, but feature length? I think that’s the ultimate example of a movie that if I stumbled across it on TV at 2 am and had never heard of it it would seem like the greatest achievement in the history of cinema, but when I intentionally sit down to watch it as a real movie I have a hard time getting through it.
Here’s one of those beloved I.P.s that the studios are always looking to repackage and the fans get real excited for. It’s a high concept that’s practically a movie trailer already, it’s like LORD OF THE RINGS meets 
Do you guys remember how LAST ACTION HERO was the big ticket for ’93?
