"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Colleen Camp’

Smokey and the Bandit Part 3

Wednesday, August 9th, 2023

August 12, 1983

I believe we’ve discussed once or twice in this series, and possibly in other contexts, that in 1977 there was this movie called “STAR WARS” that absolutely knocked pop culture on its ass, and the thing still hasn’t recovered. One of the biggest and longest lasting pop culture creations so far. More than a phenomenon. Practically a religion.

Would you care to guess what was #2 at the U.S. box office that year, and therefore also a big deal? It was SMOKEY AND THE BANDIT, the directorial debut of stuntman Hal Needham. Though I’m not aware of a disco version of its theme song, it made more money than CLOSE ENCOUNTERS OF THE THIRD KIND or SATURDAY NIGHT FEVER. It was huge.

SMOKEY AND THE BANDIT II came out the August after EMPIRE STRIKES BACK, and did pretty well, if not as well. Now we have SMOKEY AND THE BANDIT PART 3 released in the August after RETURN OF THE JEDI. This time it acknowledges its sister trilogy by opening with text that says, “Once upon a time, there was a famous Sheriff. It was not so long ago in our very own galaxy……..” (read the rest of this shit…)

Deadly Games

Tuesday, March 22nd, 2022

DEADLY GAMES (1982) – not to be confused with the much better DEADLY GAMES (1989) a.k.a. DIAL CODE SANTA CLAUS – is a slasher movie that I guess was very rare on video until now. I never came across it during my Slasher Searches, but now Arrow put it out on a nice blu-ray.

This is hardly one of the greats, but you know me, I’m a scholar, and I like seeing all the different variations and permutations of the formula. This one is interesting in that it takes place in a little bit more of a world of adults than most of them. And it’s not one of those crude regional movies – for the most part the production values and acting are slick and professional. And Steve Railsback is in it! If Steve Railsback is in it it’s a real movie.

The deadly games begin when Linda Lawrence (Alexandra Morgan, THE HAPPY HOOKER GOES HOLLYWOOD) is alone in her fancy hillside house and gets creepy phone calls from a strange man (calling from a phone booth improbably located in sight of her isolated home). She’s scared, then convinces herself she’s fine. She talks to a boyfriend on the phone and tells him, “No, I don’t look like Janet Leigh” before getting in the shower. Always the PSYCHO shower scene references in these things. Anyway, a guy in a ski mask attacks her and she falls out the window. (read the rest of this shit…)

D.A.R.Y.L.

Wednesday, June 17th, 2020

June 14, 1985

Like THE GOONIES, D.A.R.Y.L. is a family-friendly movie that opens with a high speed car chase (stunt coordinator: John Moio, who then did THE TEXAS CHAINSAW MASSACRE 2). But the Spielberg movie that scene reminds me of most is A.I.: ARTIFICIAL INTELLIGENCE. A scientist (stuntman Richard Hammatt, WILLOW, BATMAN, NIGHTBREED) is driving through winding roads, pursued by a helicopter, with unnaturally calm ten year old boy Daryl (Barret Oliver, KID #2, UNCOMMON VALOR) in the back seat. We know because we know what movie we’re watching that Daryl is a robot, and much like the mom in A.I., Dr. Mulligan sees no way to protect his robot boy except to drop him off in the woods and hope he can make it on his own. (But I think Mom survives – the doctor drives his car off a cliff. R.I.P.)

At various points in the movie Oliver’s performance will remind me of Haley Joel Osment’s in A.I., but it’s a very different approach to the story. Rather than a dark fairy tale journey through a fantastical future world, this is what happens to a character like that trying to pass for human in a normal ‘80s suburb.

(read the rest of this shit…)

Knock Knock

Monday, February 15th, 2016

tn_knockknockKnock knock. Who’s there? Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in. Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in who? Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in and at first it seems innocent but then they keep flirting with him and he keeps trying to be good but then they get naked and throw themselves at him and he puts up a good fight but eventually the boner seizes power. And then things get bad.

Reeves is playing a guy named Evan, and in the pre-knock-knock part of this latest Eli Roth movie we see what a good life he has. A beautiful wife (Ignacia Allamand, THE GREEN INFERNO) who’s a successful sculptor, a big fancy house in the Hollywood hills, two loving kids who make him breakfast for Father’s Day, and who he likes to play with and do funny voices for. He’s an architect, but a cool one who used to DJ and still has his vinyl collection to listen to while he works.

So when the rest of the family is away on a beach vacation while he finishes up some work, and these young girls (Lorenza Izzo as Genesis and Ana de Armas as Bell) show up at his door in soaked-through party outfits, he has every reason to not succumb to their charms. And the most fun part of the movie is the long, drawn-out attempt to just be cool and adult and take them at their word and just help them out. As they start to get more personal and then talk frankly about sex, and sit close to him and find excuses to touch him, he keeps trying to steer the conversation back to appropriateness, and repeatedly gets up and moves to other furniture, a somewhat comedic game of musical chair harassment avoidance. When suddenly they’re naked and straight up offering sex he’s angry and trying to get them to leave. (read the rest of this shit…)

Die Hard With a Vengeance

Monday, June 1st, 2015

tn_dhwav

RELEASE DATE: May 19
RELEASE DATE: May 19

“But I thought this was a currency exchange!”

In kicking off my summer of 1995 retrospective I made the grave error of skipping a May 19th release that very likely is the movie of that summer, one that is widely loved (especially around here) but sometimes forgotten in the lists of great films of the ’90s. Of course I don’t have to remind you guys about DIE HARD WITH A VENGEANCE, you know about it. But I neglected to remember that my reviews of the original DIE HARD trilogy were written 15 years ago when I was taking the first steps on my journey to cinematic enlightenment. In other words I was kind of a dummy. So I owe it to myself and to society to try again.

The main thing that makes WITH A VENGEANCE stand out from the other DIE HARD sequels is the strong filmatism of director John McTiernan at his peak. The opening two minutes is a perfect sample, like when the one guy in the coke deal lets the other guy dip his finger in and taste the product. We see the Brooklyn Bridge on a summer day. Then the words “DIE HARD” whoosh onto the screen. This is DIE HARD but it’s a new location, new time of year, new time of day. Then the words fly away and are replaced by a much larger” WITH A VENGEANCE,” slamming across the screen, then shooting right at us. This is a sequel that’s aware of the power of it’s title, so it’s unashamed to smash it into our eyes with a sound effect, to cockily fill the whole screen with it.

Then we get a beautiful montage of New York City set to “Summer in the City” by the Lovin’ Spoonful. The sun glimmering on reflective buildings. Sidewalks filled with people walking to work. Cars and buses and delivery trucks. These look like real commuters. Documentary footage. An accurate representation of regular people starting their day. A nice day, too. But abruptly, mid-lyric, a department store explodes, sending clouds of dust and wreckage into the street, flipping over cars and trucks parked in front. (read the rest of this shit…)