Let me give you a behind the scenes on the making of this review series: I had been meaning to revisit HEAVY METAL for a million years, and one day when I had kind of an itch for that weird vibe of early ‘80s animated fantasy I finally did it. Then I thought hey, I should also watch AMERICAN POP again, that would make a good review pairing. And then I thought hey, I’ve always wondered what was up with that ROCK & RULE movie, it could be a series. And then late in the game I thought “Oh shit, that would be funny to end on ROCK-A-DOODLE! I finally have a reason to watch ROCK-A-DOODLE!”
Obviously this one is really different than the others. It turns out it’s not much about rock ’n roll, and I already knew it wasn’t trying to be adult or edgy like the other ones. That’s not why I skipped it in 1991 – I wasn’t opposed to watching G-rated animation. It was the year of ROVER DANGERFIELD, after all! Just kidding, I didn’t watch ROVER DANGERFIELD. Until later. But BEAUTY AND THE BEAST was that year and it was nominated for best picture, so this was pretty much the exact moment in the U.S. when the “adults don’t watch animation” attitude was starting to get pushed back.
It’s directed by Don Bluth, mentioned previously in this series as one of the Disney-influenced alternatives to Disney in the ‘80s. In fact, he was an offshoot: starting as an assistant animator and moving up to directing animator, he worked on SLEEPING BEAUTY, THE JUNGLE BOOK, ROBIN HOOD, THE MANY ADVENTURES OF WINNIE THE POOH, THE RESCUERS, PETE’S DRAGON and THE FOX AND THE HOUND. But later in that run he felt so strongly that the Disney movies weren’t living up to the classical animation legacy of Walt and the generation of artists he’d learned from that he and some of the other animators gathered at his house in their off hours to make an independent short, Banjo the Woodpile Cat, from an idea that the studio had rejected. (read the rest of this shit…)
I was a Rian Johnson skeptic for years. I can’t deny it. I recognized BRICK as original and well directed, but couldn’t swallow its stylized world of teen noir (“in my day a dude walking around with a duck cane was in for a serious ass beating, he would not be running a drug empire,” I wrote), skipped the second one because I thought it was gonna be bootleg Wes Anderson, liked LOOPER but recoiled at people talking like it was the Second Coming (“I feel a little out of step here. I mean I like it, but I don’t want to fuck it”), and this may be out of line but I have always thought his credits should read “Written and directed by Rian [sic] Johnson.”
Then STAR WARS: THE LAST JEDI came along – a movie I didn’t think he was qualified to direct, but it turned out to be so much better than I expected, and so reinvigorating to a trilogy I thought was going in an emptier, more obvious direction. All the sudden I wanted to hear everything the guy had to say, listened to interviews, started spelling “Ryan Coogler” as “Rian Coogler,” and even considered maybe seeing THE BROTHERS BLOOM some day.
So I was much more open-minded for his new laughdunit mysteryblast KNIVES OUT, which sure enough is a fun time for all without anything that felt too corny, forced or self conscious for me. Only in the last shot did I think “oh, this is kind of Wes Andersony.” And by then it wasn’t gonna bother me much. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
June 17, 1994
Okay, this one is not a Summer Fling with a McDonalds tie-in. It’s more like a prestige horror film for grownups that didn’t make much of an impact despite its pedigree. It’s Mike Nichols (WHO’S AFRAID OF VIRGINIA WOOLF?) doing a serious and/or metaphorical monster movie, reuniting THE WITCHES OF EASTWICK‘s Jack Nicholson and Michelle Pfeiffer, both at new career heights thanks to Tim Burton BATMAN movies. The score is by Ennio Morricone – more of a minimalistic one than he usually does, and very important to the tone of the movie. The cinematographer is Giuseppe Rotunno (FELLINI SATYRICON, AMARCORD, THE ADVENTURES OF BARON MUNCHAUSEN).
Like one other serious grown up horror movie that I know of, WOLF opens with Jack Nicholson driving down snowy roads. But it’s night and he’s by himself and he has to stop because he hits a wolf. He experiences that common horror movie experience of “Do I have to put it out of its misery?” before a very effective “oh shit Jack don’t do that!” as he grabs the thing by the paws and tries to drag it out of the street. So anyway, yeah, he gets bit. (read the rest of this shit…)
I haven’t read the Stieg Larsson DRAGON TATTOO books, but I liked the Swedish movies. Or at least the first two. Lisbeth Salander is a cool pulpy heroine, a unique type of badass with an interesting, complex relationship with this reporter dude she’s fucking/investigating with. I enjoyed (if you can call it that) her adventures and hoped things would turn out well for her and her dragon. (read the rest of this shit…)
Have you guys noticed that Paul Bettany looks like Peter Weller? I noticed that while watching this. Bettany plays an unnamed priest. This is a new one based on some Japanese comic book, it’s not that Miramax movie about the child molester. I don’t know if that’s a big problem in the world this takes place in, ’cause these priests probly don’t work with kids that much. See, an animated prologue (a much better one than in JONAH HEX) explains that humans have always been at war with vampires, not the Dracula kind but naked CGI monsters with no eyes that jump around on all fours. So the church created an order of “priests,” vampire hunters recognizable by the cross tattoos on their faces. (read the rest of this shit…)
THE SILENT PARTNER is a Christmas-time bank robbery thriller directed by one Daryl Duke and written by Curtis Hanson (director of L.A. CONFIDENTIAL and 8 MILE, writer of WHITE DOG). Elliott Gould – who I wouldn’t think would be that into Christmas, go figure – plays Miles, a Toronto teller at a bank inside one of those indoor shopping malls. (This was 1978.)
I think Miles sees himself as pretty cool, not a loser, even though he’s not having the success he’d like in wooing his co-worker Julie (Susannah York), and is later revealed to own a Superman lunchbox. Maybe having a cool name like Miles balances that out, I’m not sure. He also has a passion for rare fish, which he keeps in his aquarium, that’s what he spends his extra money on. (read the rest of this shit…)
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Recent commentary and jibber-jabber
A.L.F. on R.I.P. DMX: “Oh yeah, obviously this is different than me but one of the things that I love about both DMX and…” Apr 12, 15:01
Ghost on Modern Vampires: “I forgot I owned this film, as I can’t actually remember anything you describe until I saw the UK Revenant…” Apr 12, 14:36
A.L.F. on R.I.P. DMX: “Oh, and for the record the other best tribute I’ve seen to DMX was Chris Rock’s, which earned Chris Rock…” Apr 12, 14:28
A.L.F. on R.I.P. DMX: “Broddie, wow, you really are completely knocking it out of the park with amazing works of personal, critical and factual…” Apr 12, 14:24
Broddie on Modern Vampires: “I always wrote this one off but this review is making me finally want to see it for Rod Steiger’s…” Apr 12, 12:14
CJ Holden on Modern Vampires: “Yeah, as I said before, R. Elfman is creative, but not talented enough to pull it off and this movie…” Apr 12, 12:01
Broddie on R.I.P. DMX: “A.L.F. – Thanks for the kind words. Much appreciated. Mr. Majestyk – Oh don’t get me wrong I could still…” Apr 12, 11:53
VERN on R.I.P. DMX: “I think my tastes in production overlap with Majestyk’s. There are obviously exceptions to everything, but I prefer raw and…” Apr 12, 11:20
Skani on R.I.P. DMX: “Not a huge fan of DMX’s music, but what resonates is his humanity in a genre who’s biggest stars are…” Apr 12, 08:11
A.L.F. on R.I.P. DMX: “Also not much of a U2 fan myself besides a guilty enjoyment of that shitty song from boring-ass Batman 3…” Apr 12, 07:54
A.L.F. on R.I.P. DMX: “Also, don’t forget who Swizz Beats is married to, not in terms of like, enjoying it personally but in terms…” Apr 12, 07:48
Mr. Majestyk on R.I.P. DMX: “Shrug. About the same. None of those guys were anything special.” Apr 12, 07:41
A.L.F. on R.I.P. DMX: “Broddie, I just wanted to chime in and say that was my favorite thing I’ve read about DMX anywhere, and…” Apr 12, 07:35
Mr. Majestyk on R.I.P. DMX: “I am fully aware, but that doesn’t really matter to me. If I don’t like the sound, I don’t care…” Apr 12, 07:09
CJ Holden on R.I.P. DMX: “Nah, that’s not really true. The sampling laws were changed in the 80s and people are still sampling today, only…” Apr 12, 07:06
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
Let me give you a behind the scenes on the making of this review series: I had been meaning to revisit HEAVY METAL for a million years, and one day when I had kind of an itch for that weird vibe of early ‘80s animated fantasy I finally did it. Then I thought hey, I should also watch AMERICAN POP again, that would make a good review pairing. And then I thought hey, I’ve always wondered what was up with that ROCK & RULE movie, it could be a series. And then late in the game I thought “Oh shit, that would be funny to end on ROCK-A-DOODLE! I finally have a reason to watch ROCK-A-DOODLE!”
I was a Rian Johnson skeptic for years. I can’t deny it. I recognized 
I haven’t read the Stieg Larsson DRAGON TATTOO books, but I liked the Swedish movies. Or at least the first two. Lisbeth Salander is a cool pulpy heroine, a unique type of badass with an interesting, complex relationship with this reporter dude she’s fucking/investigating with. I enjoyed (if you can call it that) her adventures and hoped things would turn out well for her and her dragon. 
Have you guys noticed that Paul Bettany looks like Peter Weller? I noticed that while watching this. Bettany plays an unnamed priest. This is a new one based on some Japanese comic book, it’s not that Miramax movie about the child molester. I don’t know if that’s a big problem in the world this takes place in, ’cause these priests probly don’t work with kids that much. See, an animated prologue (a much better one than in 
THE SILENT PARTNER is a Christmas-time bank robbery thriller directed by one Daryl Duke and written by Curtis Hanson (director of L.A. CONFIDENTIAL and 8 MILE, writer of 
