THE MOUNTAIN BETWEEN US (2017) is to date the biggest Hollywoood production from Palestinian director Hany Abu-Assad (RANA’S WEDDING, OMAR). Some reported it as his English language debut, but of course we know that was actually the Jeffrey Dean Morgan DTV action movie THE COURIER. This one is a little more respectable and was given a decent release, opening against BLADE RUNNER 2049 and doing okay-ish, despite pretty negative reviews.
Based on a 2011 novel by Charles Martin, it’s a survival movie with most of its runtime spent with just two actors. Daredevil conflict zone photojournalist Alex Martin (Kate Winslet, TRIPLE 9) and Baltimore-by-way-of-London brain surgeon Dr. Ben Bass (Idris Elba, PROM NIGHT) don’t know each other until their flight is cancelled by a storm, stranding them both at an airport in Salt Lake City. Alex is intent on getting home in time for her wedding, and she overhears Ben saying he needs to get home for a surgery, so she convinces him to go in with her to charter a small plane to another airport to catch a different flight. (read the rest of this shit…)
THE GOLDEN SEAL is a PG-rated movie about a 10-year-old boy named Eric (Torquil Campbell) who befriends a seal matching the description of one from Aleutian myth and local poacher legend. It’s directed by Disney-animal-movie veteran Frank Zuniga and written by John Groves (TARANTULAS: THE DEADLY CARGO), based on the book A River Ran Out of Eden by James Vance Marshall (a.k.a. Donald G. Payne, whose novels were also turned into SANTA FE, WALKABOUT, and THE ISLAND AT THE TOP OF THE WORLD).
I expected this to fit somewhere in that cloying kid-and-animal subgenre we know today, and yeah, there’s a section in the middle with montages of seal frolicking. But it kinda leans more on being an old fashioned family adventure movie. There’s a remote island, a violent storm, a rope bridge, a cave, some rescuing, some father and son conflict. I kinda liked it. (read the rest of this shit…)
Well, I could’ve sworn it was a little more recent than this, but Paul World Series Anderson’s THREE MUSKETEERS came out in 2011 – two RESIDENT EVIL chapters ago, plus a POMPEII and a MONSTER HUNTER. I don’t remember if I just didn’t get to it or if I was immune to the charms of the Andersonography at that moment in time, but whatever the reason, I fuckin blew it. I can imagine the warm feeling I would’ve had watching an early afternoon show in a huge, mostly empty theater at Pacific Place. And I bet the 3D would’ve been amazing.
But at home on 2D blu-ray ten years later was good too. Maybe I should be thankful I saved it for a time when this specific type of escapism is more precious. Like that 2001 movie THE MUSKETEER that I reviewed recently, it’s loosely based on the Dumas novel and completely unembarrassed to pimp it out with modern cinematic trends and PWSA fixations, including but not limited to speed-ramping, acrobatic fight choreography and cool steam-punk weapons and vehicles. It takes the silliness much further than THE MUSKETEER, and has a much bigger budget – the climax involves two armed blimps engaged in a pirate ship battle in the sky – and I thought it was a whole lot of fun. (read the rest of this shit…)
I don’t think I’ve seen ROMANCING THE STONE since the ‘80s. I’ve been curious to rewatch it forever because it’s one of those things that was huge at the time that hasn’t survived as much in the cultural memory as other things. Like, maybe I didn’t study the crowd scenes enough, but I didn’t notice Kathleen Turner’s character Joan Wilder in READY PLAYER ONE. I suppose because this appealed a little more to the parents of the kids now in charge of the world’s nostalgia. But it’s directed by Robert Zemeckis, who I tend to like, so when I heard that my friends at the podcast The Suspense Is Killing Us were doing a Patreon bonus episode about the ROMANCING THE STONE/JEWEL OF THE NILE duology it prompted me to finally get to it.
Kathleen Turner (who’d only been in BODY HEAT and THE MAN WITH TWO BRAINS previously) stars as Joan Wilder, Waldenbooks Romance Author of the Year winning author of Love’s Wicked Kiss, who we meet just as she’s completing her latest novel, as depicted through a re-enactment with her first person voiceover. She imagines her heroine Angelina as March 1981 Playboy Playmate of the Month Kymberly Herrin (GHOSTBUSTERS blowjob ghost, BEVERLY HILLS COP II, ROAD HOUSE, ZZ Top “Legs” video), but our glimpses of the rugged hero who rescues her look suspiciously like Michael Douglas. (read the rest of this shit…)
I have long held a stance on THE GOONIES that was highly controversial: I found it annoying. I don’t think I’m alone on that anymore, but it used to get me into trouble because of how many people of a particular age group hold that movie as a sacred relic of childhood.
For most of my writing career I’ve had a policy of being ambiguous about my age, because I wanted to seem like a crusty old man, regardless of how little that seemed to fit with the particular things I was knowledgeable about. As I get closer to being authentically old and crusty I’m starting to be more lax about that, so at last the truth can be told: I am exactly the right age to have grown up loving this movie. In fact, I did grow up loving this movie. And I’ll even go you one further: I saw it twice in one day. My mom took me and my friends to see it on my birthday, and since there wasn’t room in the car for my siblings, she brought them to see it later in the day, and I went that time too.
But when I saw it again as an adult I learned something disappointing: those fucking goonies never fucking shut up! This despite one character putting their hand over another character’s mouth to shut them up being a major motif. It’s a movie starring a group of pre-teen boys, and though they’re not quite as naturalistic as the kids in E.T. (which I think they were deliberately modeled after) they do have an accurate 12-year-old-boy energy, which means they’re constantly joking and giggling and bickering and yelling over each other and telling each other to be quiet. I was less patient with them than my mom must’ve been with my carload of friends, so for years after that viewing I would say that GOONIES feels like being tricked into chaperoning somebody else’s kids at Chuck E. Cheese. I didn’t remember that Martha Plimpton’s slightly older character actually sums up the movie well when she says something similar: “I feel like I’m babysitting except I’m not getting paid.”
Fast forward to today. The futuristic year of 2020. That figurative trip to Chuck E. Cheese was considerably longer ago than the double-screening birthday party had been at that time. Since then I’ve learned things. I’ve been through things. My tastes have changed. The world has turned more goonie. I was kind of excited to see it again and find out if I still hated it. I had no idea if I would. (read the rest of this shit…)
I think this new TOMB RAIDER is kinda good. You probly shouldn’t listen to me because I also kinda liked the new THE MUMMY, and this doesn’t have the benefit of cool monsters.
It’s very much the opposite of what I liked about the previous movies based on this same video game series. I watched LARA CROFT: TOMB RAIDER and LARA CROFT: TOMB RAIDER: THE CRADLE OF LIFE each ten years after they came out, and very much enjoyed Angeline Jolie’s shamelessly larger-than-life super heroine who parachutes into people’s Jeeps while talking to them on the phone, punches and hitches rides on sharks to escape flooded ruins, rides motorcycles on the Great Wall of China, etc. She has the talents and wits and acrobatic wire-fu skills to easily come out on top in any impossible situation, and that’s why it’s fun.
So I was skeptical when I saw that the new one was going for a “realistic” approach (partly based on a newer version of the video game). Doesn’t sound as fun to me. And Alicia Vikander, as much as I liked her in EX_MACHINA and THE MAN FROM U.N.C.L.E., looked silly to me in the trailers, leaping off crumbling cliffs, getting tossed around and scraped up and still John McClaning her way out of the rubble. She seemed too small and skinny and delicate for that to be believable. So when word on the movie was dire I gave up most of the hope that had been instilled in me by my admiration for director Roar Uthaug’s slasher movie COLD PREY and especially his viking-ish chase movie ESCAPE. (Once again, I highly recommend that movie.) (read the rest of this shit…)
Before there was THE LEGEND OF TARZAN there were over 200 other Tarzan movies, and before those there were 26 books by Edgar Rice Burroughs, and books by other people, and radio plays and cartoons and records and cereals and pajamas. But for the purposes of Summer 2016: Origins I wanted to watch the previous live action Tarzan, the Tarzan movie of the ’90s, TARZAN AND THE LOST CITY (1998) starring Casper Van Dien (followup to his debut STARSHIP TROOPERS).
It turns out some of the things I liked about LEGEND’s approach had already been done in this one. LOST CITY begins with Tarzan already a lord and having to return to the jungle and his old ways to help somebody. It also has a respect for the native African characters, showing them as his close friends who he comes to help. And it has bad guys who are arrogant European assholes plundering Africa (although they’re just stealing diamonds, not abusing workers/enslaving people like in LEGEND). They start by stealing from graves, which does not go over well with the locals. (read the rest of this shit…)
I’ve said it before and I’ll say it again: THANK YOU studios for continuing to make these expensive old-timey adventure character movies even though they are always financially disastrous. I for one appreciate the gesture!
Of this type of movie, Gore Verbinski’s THE LONE RANGER is far and away the most entertaining and masterful. THE LEGEND OF TARZAN is closer to the level of the last major Edgar Rice Burroughs adaptation, Andrew Stanton’s JOHN CARTER. It’s a little slicker than that one, but also a little more normal since it takes place on Earth with Earth type animals. Yet it’s not what I expected at all. It knows that you already know the basics about Tarzan, so it tries to walk that delicate line of giving you a different spin without sacrificing the classic Tarzan shit you expect. It also tries to capture some of the feel of stories written a hundred years ago while looking at matters of race, gender and culture with today’s eyes. And it does these things fairly successfully.
The Young Indiana Jones Chronicles was an ABC TV show that ran from 1992-1993. I never saw an episode. I still haven’t, because the version that’s on video is called The Adventures of Young Indiana Jones and it’s re-edited. According to legend (as well as Wikipedia) the Chronicles were hour long episodes about Indiana Jones as a young man having adventures and/or chronicles in different exotic locations. The stories would jump around in time, so sometimes it would be Sean Patrick Flanery (BOONDOCK SAINTS) as teen/early-twenties Indy, sometimes it would be Corey Carrier (school band cymbal player in THE WITCHES OF EASTWICK) as 8-10 year old Indy. And the episodes would be bookended by George Hall (BIG DADDY) as 93-year-old Indy (with eye patch) remembering the stories.
Wait a minute – that would mean in the then-present day? I always think of him in the WWII era, but it turns out he stuck around a while. Think about that. Indiana Jones was around for Woodstock, for disco, for “We Are the World,” for “Baby Got Back.” If he had grand kids there might’ve been an Indiana Jones and the Elusive Cabbage Patch Doll adventure one Christmas. None of this is covered in the show though.
The first season (1992) was 6 episodes, the second season they made 22, but only aired 18 before cancelling it. Then from 1994-1996 they followed it up with four TV movies for the Family Channel. Finally, in 1999 they paired up the hour long episodes, plus a couple new ones, and re-edited them into movies, which came out on VHS and later DVD. One major change was to remove all the segments with 93 year-old Indy, so you never get to see Indiana Jones in contemporary situations, like the one where he tells the story of his teenage love of cars after seeing a monster truck at the gas station.
(Do you think they said if Indy went to movies when he was in his 90s? Do you think he saw UNDER SIEGE?) (read the rest of this shit…)
INDIANA JONES AND THE LAST CRUSADE is the third one, and it’s the one that deals with that Holy Grail of elusive treasures, the Holy Grail. We find Indy’s father Henry Sr. was after it his whole life and getting real close and has a notebook full of clues he’s found and now he’s kidnapped. So Indy has to find his pops and hide that book from the Nazis and also there’s some guys sworn to protect the Grail who try to stop him.
Sr. is of course played by Sean Connery, and maybe that’s an in-joke because Spielberg did RAIDERS when he wanted a Bond type movie to do, but Connery doesn’t play him like 007. He plays him as a dork. He kinda acts like a little boy and wears a bow tie and tweed vest and is often in comical positions like riding in the sidecar of Indy’s motorcycle. Whenever Indy has to fight somebody, his dad has a look of admiration. He had no idea his kid could t. c. of b. like that.
The lady this time, Elsa (Alison Doody, A VIEW TO A KILL), is much, much, much more tolerable than TEMPLE OF DOOM‘s Willie Scott, which turns out to be a bummer when (spoiler) we find out that she’s a Nazi. Not only that but she managed to bone both generations of Joneses (a plot point requested by Connery). Which is her right, but kinda gross, right? I personally don’t think she’s right for Indy.
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THE MOUNTAIN BETWEEN US (2017) is to date the biggest Hollywoood production from Palestinian director Hany Abu-Assad (RANA’S WEDDING, OMAR). Some reported it as his English language debut, but of course we know that was actually the Jeffrey Dean Morgan DTV action movie THE COURIER. This one is a little more respectable and was given a decent release, opening against BLADE RUNNER 2049 and doing okay-ish, despite pretty negative reviews.
August 19, 1983
I expected this to fit somewhere in that cloying kid-and-animal subgenre we know today, and yeah, there’s a section in the middle with montages of seal frolicking. But it kinda leans more on being an old fashioned family adventure movie. There’s a remote island, a violent storm, a rope bridge, a cave, some rescuing, some father and son conflict. I kinda liked it. 
Well, I could’ve sworn it was a little more recent than this, but Paul World Series Anderson’s THREE MUSKETEERS came out in 2011 – two 
I don’t think I’ve seen ROMANCING THE STONE since the ‘80s. I’ve been curious to rewatch it forever because it’s one of those things that was huge at the time that hasn’t survived as much in the cultural memory as other things. Like, maybe I didn’t study the crowd scenes enough, but I didn’t notice Kathleen Turner’s character Joan Wilder in 
June 7, 1985
For most of my writing career I’ve had a policy of being ambiguous about my age, because I wanted to seem like a crusty old man, regardless of how little that seemed to fit with the particular things I was knowledgeable about. As I get closer to being authentically old and crusty I’m starting to be more lax about that, so at last the truth can be told: I am exactly the right age to have grown up loving this movie. In fact, I did grow up loving this movie. And I’ll even go you one further: I saw it twice in one day. My mom took me and my friends to see it on my birthday, and since there wasn’t room in the car for my siblings, she brought them to see it later in the day, and I went that time too.
I think this new TOMB RAIDER is kinda good. You probly shouldn’t listen to me because I also kinda liked the new 
Before there was 
I’ve said it before and I’ll say it again: THANK YOU studios for continuing to make these expensive old-timey adventure character movies even though they are always financially disastrous. I for one appreciate the gesture!
The Young Indiana Jones Chronicles was an ABC TV show that ran from 1992-1993. I never saw an episode. I still haven’t, because the version that’s on video is called The Adventures of Young Indiana Jones and it’s re-edited. According to legend (as well as Wikipedia) the Chronicles were hour long episodes about Indiana Jones as a young man having adventures and/or chronicles in different exotic locations. The stories would jump around in time, so sometimes it would be Sean Patrick Flanery (
