"CATCH YOU FUCKERS AT A BAD TIME?"

Problem Child / Problem Child 2

On the 4th of July weekend in 1991, a whole lot of people went to see part 2s. #1 at the box office was the brand new game-changing action masterpiece TERMINATOR 2: JUDGMENT DAY. #2 was the previous week’s big new release, NAKED GUN 2 1/2: THE SMELL OF FEAR. And then down a couple slots at #5 was the only movie released against T2, Universal’s PG-13 rated kiddy comedy sequel PROBLEM CHILD 2.

P2 would go on to gross an okay $25 million and be #54 at the year’s box office, above such part 2s as FX2, HOUSE PARTY 2, THE NEVERENDING STORY II: THE NEXT CHAPTER, AN AMERICAN TAIL: FIEVEL GOES WEST, HIGHLANDER II: THE QUICKENING, MANNEQUIN: ON THE MOVE, KICKBOXER 2: THE ROAD BACK and BEASTMASTER 2: THROUGH THE PORTAL OF TIME. If there’s one movie on that list that’s worse than PROBLEM CHILD 2 it’s MANNEQUIN: ON THE MOVE, and I’m not so sure about that. (read the rest of this shit…)

July 20th, 2021 | 24 Comments »

Pig

PIG is an unusual new Nicolas Cage joint that I was happy to have as my second post-vaccination theatrical experience. But this one is about as different from an F9 type spectacle as can be achieved by science. When you see the trailer or hear the premise (somebody steals Nic Cage’s truffle pig and he goes to the city to get it back) you might think about TOM YUM GOONG/THE PROTECTOR (where somebody steals Tony Jaa’s baby elephant and he goes to the city to get it back) or maybe JOHN WICK (where somebody kills Keanu’s dog and he goes on a rampage to get back at them). The truth is that it only shares the emotional center of those ideas (people form bonds with and assign meaning to their animal companions) – it’s decidedly not an action movie or even a revenge thriller. It’s a slow burn character piece and parable that doesn’t even have much violence, and will probly be pretty boring to some people, especially if they came in with the wrong idea. But it was just what I wanted.

Cage’s character Rob is a loner who lives in a cabin in the woods somewhere outside of Portland, Oregon. He seems very enamored of his nameless pig, who comes when he whistles and helps him dig up truffles in the forest. When he makes himself a “rustic mushroom tart” for dinner he shares it with her. The rest of the truffles he puts in a cooler to sell to the young hot shot Amir (Alex Wolff, HEREDITARY), who drives in every Thursday in his bitchin’ yellow Camaro. It feels like a drug transaction. Amir tries to make conversation, but Rob doesn’t so much as grunt. (read the rest of this shit…)

July 19th, 2021 | 58 Comments »

Alligator II: The Mutation

July 5, 1991

ALLIGATOR II: THE MUTATION is a surprisingly decent sequel – especially considering it was made for TV! It didn’t register as that when I was watching it (and there does seem to have been some sort of limited theatrical release), but an article that I found in my Fangoria collection while researching T2 quotes director Jon Hess (THE LAWLESS LAND, WATCHERS) as saying “more or less, it was made for ABC-TV.” Fangoria’s David Szulkin speculates that may be because “despite its nonperformance at the boxoffice, ALLIGATOR placed in the top 20 for network airings of theatrical films the year it first aired, outdoing such broadcast premieres as CLOSE ENCOUNTERS OF THE THIRD KIND.” But Hess maintained that returning producer Brandon Chase (THE SWORD AND THE SORCERER) was “a really strong independent producer, so ABC wasn’t looking over our shoulder, examining all the dailes. We shot on a very tight schedule with a feature sensibility, but at the same time, we knew we were going to hand the film in to ABC.”

Now that I think about it there’s not as much gore or especially sex as you would normally get in a ‘90s horror sequel, but like SOMETIMES THEY COME BACK earlier in the summer it has enough severed limbs to throw you off the TV movie scent. More importantly it has a real Larry Cohen sort of indie horror feel to the type of actors and characters that show up, giving it a personality that’s at least in the spirit of the original. (read the rest of this shit…)

July 16th, 2021 | 5 Comments »

Alligator

ALLIGATOR (1980) may not have knocked the world on its ass the way THE TERMINATOR did, but it’s another genre movie made by Roger Corman veterans in the ‘80s that holds up today. People often credit that to an allegedly satirical screenplay by John Sayles, who had already written the Corman classics PIRANHA and BATTLE BEYOND THE STARS and begun his indie auteur career with RETURN OF THE SEACAUCUS SEVEN. (He completely rewrote an earlier script by Frank Ray Perilli [THE DOBERMAN GANG, DRACULA’S DOG, LASERBLAST], who gets a story credit). But let’s not overlook the serious skills of director Lewis Teague. His NYU classmate Martin Scorsese had reportedly recommended him for the job at New World Pictures, where he’d edited COCKFIGHTER and done some second unit and editing on DEATH RACE 2000 and AVALANCHE. ALLIGATOR was his third time directing a feature, after DIRTY O’NEIL and THE LADY IN RED. He was also directing second unit for Sam Fuller’s THE BIG RED ONE around this same time, but I’m not sure if that was right before or right after the gator picture, so I can’t speculate how one gig might’ve informed the other.

ALLIGATOR opens with a teenage girl (Leslie Brown) on a family vacation to Florida watching a guy get mauled at a gator wrestling show. Despite this potentially traumatizing experience she buys a baby gator from the farm and names it Ramon. But when she’s back at home somewhere in Missouri her drunk dad flushes the poor thing down the toilet. Then we cut to 12 years later when Ramon is still alive in the sewer system, and has grown to unusual size and hunger from munching on the clandestinely dumped victims of illegal animal experiments, and is destined to bump heads with police detective David Madison (Robert Forster in his follow up to THE BLACK HOLE).

I would like to note that a news report on the radio places the toilet flushing during the ’68 Democratic National Convention, i.e. the time and place when in real life Forster was filming MEDIUM COOL. (read the rest of this shit…)

July 15th, 2021 | 15 Comments »

Those Who Wish Me Dead

THOSE WHO WISH ME DEAD is a movie I was highly anticipating ever since I first read it was in the works. When it finally came out as one of these pandemic same-day-on-HBO-Max releases and it turned out it wasn’t quite the A+ movie I was hoping for, it kind of entered and left my consciousness without much incident. But I did think it was a cool movie taken on its own terms, and worthy of documentation with a review. And then it started to seem better the more I wrote about it.

Reasons I had high hopes:

1. It’s directed and co-written by Taylor Sheridan, who previously directed WIND RIVER and wrote SICARIO, HELL OR HIGH WATER and WITHOUT REMORSE. I just really like his style of quasi-realistic, contemporary-western-ish crime/action with tough, broody characters and a heightened atmosphere of doom.

2. It stars Angelina Jolie, who we don’t see in too many movies these days, but who I believe has an advanced understanding of badass screen presence. I base this partly on WANTED, a ridiculous movie I don’t necessarily love, but that she really stood out in. I always remember reading that she took the script and crossed out a bunch of her dialogue that she didn’t feel she needed, and said that Clint Eastwood taught her to do that. That really seemed to work for her there.

3. Also because I read the cool-sounding premise: a national park fire fighter on lookout duty helps a kid escape from assassins during a forest fire. Is this gonna be pretentious FIRESTORM? Starring an Oscar-winning actress instead of an NFL player? I can dig that! (read the rest of this shit…)

July 14th, 2021 | 42 Comments »

Point Break (30th anniversary revisit)

July 12, 1991

Hot on the heels of James Cameron’s TERMINATOR 2: JUDGMENT DAY came the other most important action movie of summer ’91, Kathryn Bigelow’s POINT BREAK. Cameron was famously married to Bigelow at the time, and is credited as executive producer, and the film has parallels to his in its technical perfection and intensity of action. The pair had reworked an original script called JOHNNY UTAH by W. Peter Iliff (PRAYER OF THE ROLLERBOYS), co-story credit to Rick King (director of PRAYER OF THE ROLLERBOYS), with Cameron doing a last minute pass to improve the action scenes before immediately shifting to T2. “She basically is 100% responsible for the final film from that point on,” Cameron reportedly said at a convention in ’91. And clearly it’s Bigelow’s combination of impeccable craft and counterintuitive artistic choices that made POINT BREAK a hit, then a cult favorite, then an enduring classic.

The choice that seemed crazy at the time, and prophetic now, was her insistence on casting Keanu Reeves as the college football legend turned overachieving FBI rookie Johnny Utah. By all accounts Bigelow had to fight for Reeves, because producers wanted someone else. That’s understandable – he’d been in the dark indie thriller RIVER’S EDGE and the period piece DANGEROUS LIAISONS, but was best known to the world as Ted from BILL & TED’S EXCELLENT ADVENTURE, with whom he inescapably shared a lovable stoner airhead sounding voice. On the other hand, when the movie was almost made by Ridley Scott a few years earlier he’d had Matthew Broderick in the role. You’re telling me that made more sense!? (read the rest of this shit…)

July 12th, 2021 | 31 Comments »

Programming note

Hey friends,

I’m going out of town for a wedding, so I’ve  decided to take this week off from posting reviews. But I’ll be back next week in time for another one of the most important Summer of ’91 classics.

thanks pals

July 5th, 2021 | 62 Comments »

Terminator 2: Judgment Day (30th anniversary revisit)

July 3, 1991

There are a few interesting summer of ’91 movies – STONE COLD, THE ROCKETEER, HARLEY DAVIDSON & THE MARLBORO MAN – that I skipped in this series because I’d already reviewed them in a form I felt satisfied with. If I had more time I would’ve like to revisit them for completism, but you know how it is.

TERMINATOR 2: JUDGMENT DAY is one I wrote about in 2007 (with a pretty good comparison to E.T.) and more definitively in 2017 on the occasion of its 3D re-release. But when I decided to do a summer of ’91 series I knew it was the summer of T2 and it had to be included. So this is meant as a supplemental review about its place in 1991, but I think I’ve come up with some pretty meaty stuff to discuss (in addition to silly stuff about toys and video games and crap if you’re more interested in that).


(read the rest of this shit…)

July 1st, 2021 | 33 Comments »

Scanners II: The New Order

[Joy Division joke not provided]

Let it be known that I am a critic who can find a reason to review SCANNERS II: THE NEW ORDER twice. I didn’t know this about myself until I was doing this Summer of ’91 retrospective and realizing how important part 2s were to the season. This came out direct-to-video on June 28, 1991. So here we are.

(I first reviewed it in 2010, in a series where I also looked at SCANNERS, SCANNERS III: THE TAKEOVER, SCANNER COP and SCANNERS: THE SHOWDOWN. In those days the sequels were only on VHS.)

Of the sequels we’ve looked at so far I suppose the sequelization approach of SCANNERS II is closest to HOWLING VI: THE FREAKS – a story about a new set of characters set in the same world, where people are secretly telepathic rather than lycanthropic. But it’s different in that two of the characters are eventually revealed to be the children of part I’s protagonist. (Unlike MANNEQUIN: ON THE MOVE we have no returning actors.) (read the rest of this shit…)

June 30th, 2021 | 11 Comments »

F9: The Fast Saga

F9: THE FAST SAGA, a.k.a. FAST 9, actual onscreen title: FF: F9, is not the Platonic ideal of a FAST AND FURIOUS movie. That would be FURIOUS 6 or FAST FIVE. But if Plato is anything like me he would’ve appreciated this one for what it is. I don’t know how much of a grump he was.

(lots of spoilers here of course)

This is the first FAST movie since 2003’s 2 FAST 2 FURIOUS that’s not written by Chris Morgan, instead being credited to Daniel Casey (KIN) & director Justin Lin (HOLLYWOOD ADVENTURES) with a story by those two & Alfredo Botello (uncredited revisions on TOKYO DRIFT). They’ve come up with a patchwork that certainly shows the dangers of a movie series going on for twenty years with at least half that time spent trying to top itself in size and ridiculousness each time out. But for me it has a much better balance of preposterous action and sincere melodrama than, at the very least, HOBBS & SHAW and FATE OF THE FURIOUS. It has more and better spectacle than your average movie, but also requires that you like the characters and themes of the series to enjoy it. In fact, in between a car somehow Tarzan-swinging across cliffs on a rope and another one being (as you’ve surely heard) launched into space, you’re gonna spend a surprising amount of time in 1989 when Dominic Toretto’s dad (J.D. Pardo, THE TWILIGHT SAGA: BREAKING DAWN PART 2, SNITCH) was killed in a racing accident and Dom went to prison for beating another driver (Jim Parrack, FURY) with a wrench. (read the rest of this shit…)

June 29th, 2021 | 122 Comments »

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