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Posts Tagged ‘Crispin Glover’

Friday the 13th: The Final Chapter

Thursday, October 7th, 2021

“This is the guy that’s been leavin’ the wet stuff?”


By 1984, when Paramount decided that the fourth FRIDAY THE 13TH would be called “THE FINAL CHAPTER,” Jason and his mom had had a good run terrorizing the Crystal Lake region and the world’s movie screens, for which the studio and filmmakers had received some scolding from critics. But according to Crystal Lake Memories, Paramount was not ashamed. It was part 2 and 3 producer Frank Mancuso Jr. who was beginning to resent the series, because it was all people seemed to associate him with. “I really wanted it to be done and walk away,” he told author Peter M. Bracke. “In some ways, I felt I had grown beyond it, but it was really more me coming to terms with the fact that these movies should be made by people who are pushing themselves and learning and growing. The fact of the matter was that I wasn’t in a place where I could get excited about doing one of these things again. It became a chore.” So, contrary to our assumptions, he was completely serious about killing off Jason in a “final chapter.”

Part II and III director Steve Miner had grown bored of the series too, not interested in “remaking the same film, over and over again,” and he was off trying to make that 3D GODZILLA movie I mentioned at the end of the last review. So they hired a new director with relevant experience. Joseph Zito had directed ABDUCTION and BLOOD RAGE in the ‘70s, but more notably THE PROWLER (1981) is one of the more respectable slashers to come on the heels of HALLOWEEN and FRIDAY THE 13TH, with pretty similar content (a masked killer stalks college students at a graduation party on the anniversary of a past tragedy). FRIDAY producer Phil Scuderi had seen an unfinished version of THE PROWLER and declined to invest in it, but told Zito he would call him when there was another FRIDAY THE 13TH sequel. And that wasn’t just bullshit – he really did! (read the rest of this shit…)

Lucky Day

Thursday, September 24th, 2020

LUCKY DAY is a 2019 crime movie with death and laughs and colorful characters, including but not limited to Crispin Glover. It’s not retro or a throwback, but definitely has shades of the ‘90s everybody-wants-to-be-Tarantino days and Guy Ritchie and stuff, which is not a pose because this is from writer/director Roger Avary (a.k.a. Oscar-winning co-writer of PULP FICTION), his first directing in more than 15 years.

It’s about a crazy day in the life of a guy named Red (Luke Bracey, GI JOE: RETALIATION, THE NOVEMBER MAN, POINT BREAK remake, HACKSAW RIDGE) when he’s released from a two year prison bid and returns to his French artist wife Chloe (Nina Dobrev, xXx: RETURN OF XANDER CAGE) and daughter Beatrice (Ella Ryan Quinn). I don’t think it’s ever specified what he did time for, but he does go to see his friend Leroy (Clé Bennett, JIGSAW) – who has changed his name to Le Roi – and the fact that they run a lock and key shop with a cool basement hidden inside a safe and inside that is a huge safe that he attempts to crack for fun seems like a hint. (read the rest of this shit…)

Back to the Future

Wednesday, July 1st, 2020

July 3, 1985

There was only one movie in 1985 that was bigger than RAMBO: FIRST BLOOD PART II, at least box office-wise, and it was considerably bigger. It would inspire two sequels, a cartoon and a movie ride at Universal Studios, though you could argue that its cultural impact was smaller than RAMBO’s merely because it couldn’t really be copied as much. How would you imitate something as high concept and specific as BACK TO THE FUTURE?

Its success surely comes from a combination of factors – the zippy direction of Robert Zemeckis, the unusual squeaky-voiced-nerd-who-carries-himself-as-a-rock-star appeal of Michael J. Fox (after MIDNIGHT MADNESS and CLASS OF 1984), the heart-pumping score by Alan Silvestri, the comic support of Christopher Lloyd, Crispin Glover, Thomas F. Wilson and Lea Thompson – but all of that hangs on the ingenious premise: kid gets sent back in time to his parents’ high school days and endangers his own existence when his mom gets eyes for him instead of his dad. (read the rest of this shit…)

Simon Says

Tuesday, October 22nd, 2019

My original goal with Slasher Search was to find the ‘70s and ‘80s slasher gems that I (and maybe everybody) had been missing. That’s still my hope, but as the pickings get slimmer and the years move on I might as well open it up to a movie like this – it’s from 2006, but I never heard of it, and it seemed promising from the box. The premise sounded potentially fun (Crispin Glover killing campers in the woods with elaborate contraptions) and it was even by a known director, Bill Dear, the co-writer of T2.

Or that’s what I was thinking, but that’s William Wisher. Bill Dear is the director of HARRY AND THE HENDERSONS, IF LOOKS COULD KILL and ANGELS IN THE OUTFIELD. And in many ways this does live up to what you expect in a gory horror movie from a guy known for cheesy family movies. It’s about a vanload of horny youths going on a camping trip, and they’re about as broad as they come. They’re all complete assholes who are trying to cheat on their girlfriends or steal their friend’s boyfriends. They like to stick their junk in each others’ faces and trespass and act obnoxious to the locals. It seems like there’s a rule that any scene where the viewer went more than a minute without wanting to punch one of the characters in the face had to be excised. (read the rest of this shit…)

Wild at Heart

Thursday, February 12th, 2015

tn_wildatheartSailor Ripley is the character who was born for Nicolas Cage to play. He’s the ultimate bad boy who you wouldn’t bring home to your parents, an old timey hoodlum ex-con, self-conscious about his rebellious image, and obsessed with Elvis, who he calls “E” for short. He talks like him, combs his hair kind of like him, sings his love songs only at important romantic milestones. He and his young girlfriend Lula (Laura Dern) love to dance together, and at one point they pull their Thunderbird convertible to the side of the highway, play heavy metal and dance, which to him mostly means jumping around doing karate kicks and punches. They don’t have to discuss that they’re going to do this, so you gotta assume it’s one of their regular activities.

Sailor wears a snakeskin jacket, which he proudly says on more than one occasion “represents a symbol of my individuality and my belief in personal freedom.” He’s a self-professed “robber and a manslaughterer” and hasn’t “had any parental guidance.” He started smoking when he was “about four,” and cigarette brand loyalty seem to be one tradition he and Lula inherit from their parents. He knows many unsavory characters from his time as an underworld driver, including Lula’s mother Marietta Fortune (Dern’s real life mother Diane Ladd), who is so serious about keeping Sailor away from her daughter that she takes a hit out on him. She’s also so wicked that she frequently goes on cackling jags and is several times depicted as the WIZARD OF OZ witch, flying on a broom or watching them in a crystal ball. (read the rest of this shit…)

Freaky Deaky

Monday, March 11th, 2013

tn_freakydeakyI guess different people are free to interpret Elmore Leonard different ways, but to me he writes serious stories that are funny. As far as this movie is concerned he writes comedies. I guess that’s the GET SHORTY approach as opposed to the OUT OF SIGHT/JACKIE BROWN/Justified one. Too bad this isn’t as good as GET SHORTY.

It’s been years since I read the book, but I think this is fairly faithful. In my memory Skip (Christian Slater) is one of the main characters, which is not really the case here (despite the terrible cover making him way bigger than everybody else). But the basic storyline I think is intact and the movie’s biggest strength is lots of funny dialogue, largely from the book I believe. (read the rest of this shit…)

Seven Psychopaths

Friday, February 8th, 2013

tn_sevenpsychopathsNow that I’ve seen SEVEN PSYCHOPATHS I understand why the ads made it look so dumb: it’s too hard to explain. They made it look like some corny post-Tarantino “isn’t it funny, they’re hardened criminals but they’re arguing over a Shih Tzu!” type bullshit. And that’s in there – writer/director Martin McDonagh (IN BRUGES) is about the only guy whose style can remind me of Tarantino in a good way – but overall it’s weirder and more distinct than that.

In IN BRUGES the protagonists were hit men, and there was a subplot about a movie being filmed near where they’re staying. In this one the movie business is more central. Colin Farrell plays a clearly idiotic screenwriter trying to write something called SEVEN PSYCHOPATHS, but he doesn’t have much more than a title. He doesn’t even have seven psychopaths, so he just spends his time trying to think of concepts for different psychopaths, sometimes based on stories he’s heard or seen in the news. So we see these stories in his head, or going on around him, and fictional reality begins to blend with fiction-within-fiction. (read the rest of this shit…)

Teachers

Wednesday, September 23rd, 2009

tn_teachersTEACHERS is kind of like the more realistic, less actiony version of THE PRINCIPAL. Kind of. If you buy that description then Nick Nolte would be Belushi, but before he’s transferred and promoted. He’s a beer drinking, too-hung-over-to-come-in-on-Mondays teacher at a high school where only a small amount of learning occurs. But instead of putting the blame on drug gangs and juvenile delinquents this one points its finger at a system that only focuses on the kids that are easy to teach and neglects the hard ones. The story takes place in the midst of a lawsuit against the school district for graduating a kid who didn’t know how to read. (read the rest of this shit…)