July 26, 1985
NATIONAL LAMPOON’S EUROPEAN VACATION is one of the Summer of 1985 movies I actually did see in the theater. I was young and I’m sure I thought it was funny enough at the time, but I doubt I ever rewatched it before now, and I did not feel any nostalgia for it.
While the first VACATION was directed by Harold Ramis, this one was Amy Heckerling, following FAST TIMES AT RIDGEMONT HIGH and JOHNNY DANGEROUSLY. She occasionally brings what probly were considered “MTV style” flourishes to montages and stuff, but is fairly anonymous. John Hughes returned as writer/producer, but for the first one he’d been able to adapt a short story he’d already written for National Lampoon. This one had no such basis, so he had to bring in a serious, heavy hitter, not fuckin around super
star pinch hitter of a co-writer to carry his dead weight and turn this into something truly special. But that person must’ve been busy so he got Robert Klane, writer/director of the disco movie THANK GOD IT’S FRIDAY (1978). Klane had previously been a novelist, but in 1970 adapted his book WHERE’S POPPA? into a movie, which led to writing some episodes of M*A*S*H, an unproduced GREASE sequel called GREASIER, the Summer of 1985 movie that I skipped THE MAN WITH ONE RED SHOE, etc. (read the rest of this shit…)
When it comes to Summer of 1985 fantasy movies that might be a little too dark and scary for their family audiences, 
THREE THE HARD WAY (1974) is directed by Gordon Parks Jr. (this is #3 of his four movies, after 
SLEIGHT is a 2016 film from director J.D. Dillard, who later did that fun woman-trapped-on-an-island-with-a-monster movie 
When Stuart Gordon died at the end of March I decided it was finally time to watch SPACE TRUCKERS, a movie I had been meaning to see for literally 23 years. You know how it is. You get busy sometimes.
THE OLD GUARD is a pretty good Pandemic Summer blockbuster, because I’m sure it would’ve felt underwhelming if it had been advertised for months and played on the big screen, but as a movie I read mentioned once or twice and never saw promoted until shortly before it dropped on Netflix, it was enjoyable.
Late last year there was this new entertainment websight or lifestyle brand or whatever that was kind enough to recruit me for a bi-weekly column about the films of badass cinema. After twelve installments I decided to quit, and a couple weeks later they closed up shop, because what would be the point of doing it without my column, and/or there was an unrelated scandal involving the company that owned them. But they were nice enough to give the writers permission to put up our pieces on our own blogs and what not.
