"CATCH YOU FUCKERS AT A BAD TIME?"

Dangerous Minds

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RELEASE DATE: August 11th
RELEASE DATE: August 11th

The extreme teaching movie DANGEROUS MINDS is exactly as corny as I remembered it, but not entirely without merit. It’s directed by John M. Smith (THE BOYS OF ST. VINCENT) and written by Ronald Bass (RAIN MAN, THE JOY LUCK CLUB, HOW STELLA GOT HER GROOVE BACK), but it seems like maybe a more significant detail is that it’s produced by Don Simpson and Jerry Bruckheimer (their next-to-last credit together). As with most of their movies it looks real pretty, starting with an opening montage in grainy, high contrast black and white like a French New wave film. Look at these stills, they’re beautiful in my opinion:

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Too bad they didn’t shoot the whole movie that way, that would’ve made it pretty different from STAND AND DELIVER and LEAN ON ME and shit. I bet it would’ve made about 1/28th as much money and been way better reviewed.

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Battle of the N.W.A Parodies, part 1: CB4

tn_cb4CB4 is the comedic story of a fictional West Coast gangsta rap trio out of not-real Locash, CA. They exist in the same world as N.W.A (Ice Cube and Eazy E both appear as themselves in documentary style interview segments) but also they’re kind of supposed to be N.W.A. They dress like them, they have a similar “world’s most dangerous group” image, their videos are shot-for-shot imitations of N.W.A videos, and their hit song “Straight Outta Locash” is done over the music from “Straight Outta Compton,” but nobody accuses them of being a rip-off. Their song is not as good, in my opinion. They copy Cube’s line “Straight outta Compton, crazy motherfucker named Ice Cube” not just once, but before each verse. Watering it down.

One of the more brazen boasts is “I fucked your sister, I fucked your cat / I would’ve fucked your mom but the bitch is too fat,” which is absurd enough, sure, but it’s not as deviously clever as Eazy’s actual line, “Straight outta Compton / is a brother that’ll smother your mother / and make your sister think I love her.”

One difference from N.W.A: they don’t have an exploitative white manager from outside the world of hip hop. They have Trustus (Willard E. Pugh, THE COLOR PURPLE, ROBOCOP 2).

Another one: these guys aren’t exaggerated characters based on their real lifestyles. They’re straight up phonies dressing up like gangstas as a gimmick after their corny Native Tongues copycat act didn’t catch on. And they, uh, pretend they were in prison, which they weren’t , and that gets them into some awkward situations. Hmm. (read the rest of this shit…)

Babe

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RELEASE DATE: August 4th
RELEASE DATE: August 4th

Looking back at these movies from the summer of 1995 is really interesting to me, but it doesn’t seem like a very good summer for movies. I mean, DIE HARD WITH A VENGEANCE was really good. That was at the very beginning.

Now all the sudden it’s August and this G-rated Australian talking animal movie comes out. There were signs that it might be interesting for that sort of thing: It had a nice storybook look to it, and a new idea of digitally animating mouth movements and expressions on animals instead of just feeding them peanut butter.

But you guys, BABE is more than just better than expected, and ended up being a phenomenon. Even though it’s seen as a kid’s movie, it’s one of such precise, economical storytelling, such unique vision and such sweet sincerity that it ended up with 7 well deserved Oscar noms (short for nominations): Best Picture, Best Director, Best Adapted Screenplay, Best Supporting Actor (James Cromwell supporting a bunch of farm animals!), Best Art Direction, Best Editing and Best Visual Effects (which it won – take that, only other nominee APOLLO 13).

And that was not just Oscar silliness, or the world getting swept up in some crazy 1995 shit. I just watched it again and 20 years later BABE is still a perfect movie.

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The Witches of Eastwick

tn_witchesofeastwickGeorge 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…)

Virtuosity

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RELEASE DATE: August 4th
RELEASE DATE: August 4th

There are many things I don’t understand about the sci-fi world and story of VIRTUOSITY. It opens with Parker Barnes (Denzel Washington) in a Captain Panaka cosplay outfit chasing a killer through the business district, where everybody is in a suit carrying a briefcase, like they’re in The Matrix. It does turn out to be a virtual reality simulation and Parker turns out to be a prisoner, though he was formerly a cop until he accidentally killed an innocent(ish) journalist while killing the guy who killed his family.

But what is the reason for this simulation? I guess it’s supposed to be for training? But then why are they training prisoners? I guess because it’s still in Beta testing. With its current calibration, getting killed in the virtual world can cause the player to go into convulsions and die in real life. (You hear that, Wachowskis? See if you can take that idea and do something better with it.) (read the rest of this shit…)

Mission: Impossible – Rogue Nation

tn_mi5It’s been a joke for quite some time that Tom Cruise, like Prince or Keanu Reeves, never ages. Actually, now he’s starting to show some age, and I like it. He has a few more lines on his face, a little more character. Good work, Tom. Also his new MISSION: IMPOSSIBLE movie is good.

It has been a tradition in the series to have a respectable actor in a position of authority over Ethan Hunt (Cruise) and his Impossible Mission Force team. In part 1, Jon Voight played the boss and mentor. In part 2, Anthony Hopkins sent Hunt on his missions. In part 3 there was Laurence Fishburne to question his actions, and in part ghost Tom Wilkinson was “the Secretary.” Now in part 5, MISSION: IMPOSSIBLE – ROGUE NATION (M:I-RN), we have the most involved of all of these characters, Alec Baldwin as CIA director Alan Hunley. He gets the entire IMF agency disbanded and tries to capture or kill Hunt, who is still in the field trying to finish his last mission.

What I’m getting at is that Alec Baldwin’s famous narrator voice gets to deliver a very good Just How Badass Is He? speech for Ethan Hunt, which includes the appropriately hyperbolic phrase “he is the manifestation of destiny.” That’s one of the many advantages of having Christopher McQuarrie aboard as director and co-writer. The man made JACK REACHER. He loves a good Just How Badass Is He? speech. (read the rest of this shit…)

R.I.P. Rowdy Roddy Piper

tn_roddypiperI was shocked and saddened today to stumble across the news that wrestling legend “Rowdy” Roddy Piper had died. I didn’t see this one coming. I thought he was gonna be one of the ones that gets to grow old.

I know some of you are serious wrestling fans to this day. That’s not me. But I’m one of the millions who was obsessed with WWF wrestling in the 1980s. It was a time when pro wrestling stopped being seen as a lowbrow fringe activity and was allowed to intersect with all parts of culture. Andy Warhol went to a Wrestlemania. Cindy Lauper and Alice Cooper became wrestling managers. A more experienced manager, Captain Lou Albano, played Lauper’s father in a video. Wrestlers released terrible albums, which I bought on vinyl. On Saturday mornings there was a cartoon called Hulk Hogan’s Rock-n-Wrestling, and every fourth Saturday Night NBC showed wrestling in place of SNL. When one of these Saturday Night’s Main Events took place in Seattle I was there. I was thrilled to see Andre the Giant in person (although he didn’t wrestle) and Brian Bosworth in the crowd. I was [undisclosed] years old and witnessing these larger than life individuals – cartoons of good, evil and awesome sculpted out of muscle and fat and encased in colorful spandex – was like catching a glimpse of the Greek gods. (read the rest of this shit…)

Any AMERICAN SHAOLIN fans?

tn_americanshaolinAs you all know, I’m a fan of movies where the title is “AMERICAN” and then an Asian word. AMERICAN NINJA, AMERICAN SAMURAI, etc. So AMERICAN SHAOLIN is obviously on my radar. It’s another one written by Keith Strandberg, who did the NO RETREAT, NO SURRENDER series (this has sometimes been labelled as part 5, since they’re not really connected anyway). It’s also the first role for Daniel Dae Kim, who went on to be on Lost, 24, Hawaii 5-0, etc.

I haven’t actually found it yet, so I haven’t seen it, but I bring it up because this guy Anatolij contacted me about it. He’s such a fan of the movie that he’s trying to start a record company just to put out the soundtrack. These are the types of dreams I believe in, so I’m doing my part to spread the word. I think he’s just looking for people to put on a mailing list to prove there is interest in a soundtrack and, more importantly I imagine, a Blu-Ray.

Anatolij also writes, “Apart from the AMERICAN SHAOLIN soundtrack, I want to make a community of cool soundtrack fans, who are interested in supporting other underrated unreleased soundtracks. There are some fans who have soundtrack wishes, and I think it would be pretty cool to have a good support base. A CD costs not a lot, and if you can support a release with that, that’s a great thing.”

So check out Spirit Touch Records and spread the word if you know people who would be interested.

The Net

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RELEASE DATE: July 28
RELEASE DATE: July 28

In THE NET, Sandra Bullock (DEMOLITION MAN) plays Angela Bennett, a loner computer expert who becomes The Beta Tester Who Knew Too Much when a colleague stumbles across a backdoor being used to enter major databases and sends her a disk to take a look at.

Bullock spends alot of the movie saying out loud what she’s pretending to type. Angela mostly stays indoors, and most of her friends are either software company people in other parts of the country that she talks to over the phone, or people in “Cyberchat.” This being 1995, with dial up modems and floppy disks, that was still a pretty new idea, as was her ordering a pizza online (which I would still never do myself in this futuristic age). Of course it’s a movie that plays up the exoticism of computers and the internet, and heavily bullshits it up. The backdoor creates a rapid burst of screens of information that computers back then couldn’t have handled and that have no possible use except movie flashiness. A virus is instantly identifiable because it turns what’s on the screen into little shapes as it quickly destroys the system. Call it the Photoshop Mosaic Filter Virus. So it’s a goofy mix of dated technology and not-feasible-at-that-time. (read the rest of this shit…)

Kids

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RELEASE DATE: July 28
RELEASE DATE: July 28

So KIDS is 20 years old – which is older than most (all?) of the actors in the movie. What I’ve discovered watching it now as an aging individual is that the older you get the more disgusting it gets. I mean, they have always been younger than me, but now they look like babies. The first shot of the movie is an endless closeup of skinny, shirtless sixteen-years-young Telly (Leo Fitzpatrick, now better known as a junkie on The Wire) awkwardly french kissing a girl who looks even younger than him (I believe he says she’s 12). I don’t think there’s any nudity in this movie, and for all the sexual discussion and activity – enough that it had to be released NC-17 – it’s actually not very graphic. But there’s a whole lot of young teens sloppily kissing, which is almost more uncomfortable. Those scenes make me feel either like an old prude or a young kid who thinks kissing is gross.

This is the rookie movie of both director Larry Clark and writer Harmony Korine, and it definitely gives you an idea of the type of filmatists they would become. You got Clark’s eye for a gritty, documentary texture and his obsession with documenting sweaty, burgeoning teenage sexuality, and you have Korine’s weirdness and disdain for traditional cinematic storytelling. One long section of the movie is just cutting between two rooms, one full of boys, one full of girls, as they talk candidly/show-offily about sex. Of course they paint very different pictures. For example, in the boy’s room they’re pretty excited about how much they know girls love to “suck dick,” while at that same moment the girls are all commiserating about how much they hate that. (read the rest of this shit…)