It seems kinda crazy now, but AIRHEADS was a movie I was excited for ahead of time. Other than a couple of bit parts, it was the first time I saw Steve Buscemi after RESERVOIR DOGS made him an icon. Adam Sandler was still on Saturday Night Live, his biggest movie role having been in THE CONEHEADS, so it seemed novel for him to be a co-star. And I wasn’t really familiar with Brendan Fraser so I hadn’t had a problem with any of his performances yet. More importantly, director Michael Lehmann’s HEATHERS is an important movie to me, he’d since done MEET THE APPLEGATES and HUDSON HAWK, both weird and interesting if not great, so he was a director I followed. And the premise of a rock band taking a radio station hostage to try to get their song played seemed like it had potential for, like, satire or something. I don’t know.
Then I saw it and forgot everything about it. I don’t think I was impressed, but I was sure now it would at least be more interesting as a time capsule. Yeah, I guess, arguably. (read the rest of this shit…)
I should’ve known better after BEVERLY HILLS COP III, but I was kind of excited to watch a ‘90s studio action comedy that I’m not really familiar with. I might have seen THE COWBOY WAY on video back in the day, but I don’t remember for sure, so it was basically new to me. Could’ve been an unheralded gem! But it wasn’t. Just some competently produced, very dumb bullshit. I always think of ’94 as a great year for film, but so far, I gotta tell you, the summer movies are not contributing to that impression.
The story is about two bickering New Mexico rodeo pals, Sonny (Kiefer Sutherland, TWIN PEAKS: FIREWALK WITH ME) and Pepper (Woody Harrelson, DOC HOLLYWOOD), who go to New York City to look for their missing friend Nacho Salazar (Joaquin Martinez, JOE KIDD). Nacho turns out to have been killed trying to save his daughter Teresa (Cara Buono) from traffickers, so they try to save her. Both the action premise and the comedy premise are that they only know how to live “the cowboy way” so they don’t really understand the city much but also can punch better than any mere city boy on account of cowboy ruggedness. (read the rest of this shit…)
On May 13, 1994, Johnny Carson was on Late Show with DavidLetterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
Now THE CROW is 30 years old, further in our past than Woodstock was at the time. Jesus christ, man. I wrote a review of it 15 years ago. Time flies when you’re getting old, I guess. In 1994 this movie seemed amazing and important – it not only felt so new in its style, but was part of a collective mourning and/or discovery of this exciting actor who had lost his life making a movie about losing his life. Maybe I was falling for the ads asking us to “EXPERIENCE THE MOVIE EVENT OF THE YEAR” and “Take the journey. Experience the phenomenon.” But I went solemnly into a dark theater, the movie washed over me, I could just feel it more than think about it. Watching it now it’s more a movie I find interesting than a movie I can love. But I don’t mind that it’s style over substance. That’s why it works. Evocative imagery and effusive, unexamined emotion – that’s what goth is about, as far as I can understand. That’s what being a teenager is about. I used to be one of those. (read the rest of this shit…)
SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE IN 3-D is a movie I’d never seen before now, but had been vaguely curious about for years because of its long title and mysterious status as an ’80s space adventure that never much caught on as far as I’ve seen. Now thanks to this review series I finally get to learn what it’s all about and how it differs from another long-titled 3D sci-fi movie we’ll be taking a look at in August.
That first part of the title refers to Wolff (Peter Strauss, THE JERICHO MILE), who’s kind of a Star Lord – a 22nd century mercenary who takes a gig rescuing three tourists from Earth whose escape pod crash landed on the hostile planet Terra 11 after the luxury space cruise ship they were vacationing on blew up. It’s a pretty great opening with charmingly goofy model spaceships (some of the miniature work is by legendary TERMINATOR animator/slide guitarist “Sneaky” Pete Kleinow) and a really cool design for the pod. It opens up and they have these weird gold encasings over their torsos, you’re not really sure who or what you’re look at until they lift off the metallic things and reveal that they’re three ladies who look like they could be Barbarella’s friends from college or one of Prince’s girl groups. (read the rest of this shit…)
PENITENTIARY II (1982) is that thing we love where a director has been burning it up on the fringes and then they get a little more resources behind them and they really go for it. Still low budget and outside of the mainstream, but more professional than the first PENITENTIARY (1979) or the two other features writer-director Jamaa Fanaka made while still a student at UCLA. So he’s still hungry and crazy, but able to accomplish more. It’s one of the beautiful parts of life.
And you know this shit is gonna be good when there’s an opening scene and then a full credit sequence set to grimy DOLEMITE-esque blaxploitation funk and then a long STAR WARS style scroll explaining in more detail than necessary what’s going on.
The score is by Jack Wheaton, additional music by Marvin Gaye’s guitarist and musical director Gordon Banks. I tend to think that outside of the electro stuff like Zapp and “Atomic Dog,” funk no longer existed in the ’80s. Tell that to these opening credits, though: (read the rest of this shit…)
GHOSTBUSTERS (1984) is the story of three male scientists – Dan Aykroyd, Harold Ramis and Bill Murray – who live and work in New York City and specialize in studying the supernatural. They lose their grant at the college just because the uptight higher ups notice that they are bringing great shame and humiliation upon the institution by wasting everyone’s time and money on an area of study that is not real. And that’s without even knowing that Murray (WILD THINGS) doesn’t totally believe in it and spends his days doing fake telepathy tests just to hit on women.
So they decide to lease a beat up old fire station and start a scrappy new business that treats exorcism like pest control and advertises on TV and what not. Lucky for them they are correct, it turns out ghosts are real and there are a couple actual hauntings going on in the city. A female client (Sigourney Weaver, ABDUCTION) comes to their male offices with a huge case: her refrigerator is a portal to a ghost dimension or some shit and she and her neighbor (Rick Moranis, STREETS OF FIRE) get possessed and an ancient Sumerian god named Gozer (Slavitz Jovan, KNIGHT OF CUPS) appears on top of the building and they have to shoot lasers at it, etc. (read the rest of this shit…)
Here’s a funny thing that was different back in 1995: Bruce Campbell was so worshipped as a cult star that the idea of him being in a blockbuster movie was thrilling to people. He had done the EVIL DEAD trilogy and the MANIAC COP pictures and did a couple seasons of The Adventures of Brisco County Jr. but that didn’t really catch on in the mainstream. And he seemed like their secret but somehow they wanted everybody to know. He made it to the semi-big-ish time with little cameos in DARKMAN and THE HUDSUCKER PROXY, but people still wanted him to star in some big movie and be the next, I don’t know, Kurt Russell or somebody.
And then he was in the trailer for this new Michael Crichton movie CONGO. Had the misguided dreams of horror nerds come true at last? Would they be able to finally share their hero not just with the Johnny-come-latelies who saw ARMY OF DARKNESS before the other ones, but with the whole world?
Well, the fact that the camera zoomed in on his screaming face during the trailer seemed to indicate that he wasn’t gonna make it to the end. Still, word of disappointment spread fast when people saw the movie and discovered that he bites it in the opening scene. The whole movie is about a rescue mission to come find him, even though we got a pretty idea they’re gonna be rescuing a dead body. (They do manage to find John Hawkes still alive, but catatonic, and then he freaks out and dies.) Anyway, I mention this movie to people 20 years later, that’s still the first thing that comes up. The wound has not healed. (read the rest of this shit…)
Well, here we are with another new layer forming on top of The Mystery of Wesley Snipes. As of this writing Mr. Snipes recently started his 3 year bid for misdemeanor failure-to-file charges. This is the first but not last of his in-the-can DTV productions.
Unfortunately it’s not worth getting excited about. But when it was first announced it seemed promising, because it was gonna be directed by Abel BAD LIEUTENANT: ORIGINAL PORT OF CALL Ferrara, who last worked with Snipes on KING OF NEW YORK. That’s a guy with a strong voice and raw gritty feel, who at the very least you wouldn’t expect to make it generic. And he’d have a soundtrack by Schooly D. Unfortunately Ferrara left, the schedule was shortened and the script reworked on the fly for Italian TV director Giorgio Serafini.
BEST OF THE BEST 4: WITHOUT WARNING finds our hero Tommy Lee (still Phillip Rhee, also directing again) wandering into yet another action movie subgenre – this time he’s the reluctant badass who gets stuck trying to stop a plot by heavily armed, highly organized commandos. So it’s DIE HARD in a BEST OF THE BEST. In the three years since part 3 Tommy’s had a daughter and had a wife pass away. All he wants to do is bake his daughter a cake for her birthday, but coincidentally his friend at the mini-mart who he asks for baking advice has a computer expert daughter who’s fleeing from Russian counterfeiters with a disc they just stole. And of course Tommy ends up stuck with the disc and everybody trying to kill him. (read the rest of this shit…)
SMOKIN’ ACES 2: ASSASSIN’S BALL is the rare DTV sequel that leaves 2 (two) obvious openings for porn parody titles, not to mention having the word “ass” in it twice. In that sense it is absolutely groundbreaking. The idea of a DTV sequel to a movie that not one single person in the world is passionate about is not as unusual (see: THE MARINE 2, BEHIND ENEMY LINES 2-3, THE ART OF WAR trilogy, etc.), but I guess technically this one is a prequel (it refers to a dead character as if alive). So this might actually be a historic milestone, I’m not sure.
I remember seeing a preview screening of SMOKIN’ ACES, and even those I-will-stand-in-line-for-several-hours-to-see-literally-any-piece-of-garbage-movie-as-long-as-it-is-free passholes seemed to hate it. But I have to admit I mostly enjoyed it because it had so many funny and audacious moments peeking out from beneath the big mess of a so-called story. The movie really doesn’t work, but I wanted it to because there were some real good parts. That’s what I think. And in the ensuing years I honestly haven’t met one single person who would give it that much. (read the rest of this shit…)
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August 5th, 1994
On May 13, 1994, Johnny Carson was on Late Show with David Letterman, his final televised appearance. Times were rolling on, guards were changing. That same day Miramax, an indie studio recently purchased by Disney, had their biggest opening ever with a bitter R-rated comic book adaptation. While boomers were preparing to commemorate the 25th anniversary of Woodstock, here was a movie with a soundtrack full of Lollapalooza bands, their names underlined on the poster, above a 1-900 number you could call “for music CD preview.” That particular demographic hadn’t really been cinematically catered to so directly, and they showed up, as did others. It was even well reviewed by critics, who were unlikely to be comic book nerds or Nine Inch Nails fans in those days.
May 20, 1983-
That first part of the title refers to Wolff (Peter Strauss, THE 
PENITENTIARY II (1982) is that thing we love where a director has been burning it up on the fringes and then they get a little more resources behind them and they really go for it. Still low budget and outside of the mainstream, but more professional than the first 
GHOSTBUSTERS (1984) is the story of three male scientists – Dan Aykroyd, Harold Ramis and Bill Murray – who live and work in New York City and specialize in studying the supernatural. They lose their grant at the college just because the uptight higher ups notice that they are bringing great shame and humiliation upon the institution by wasting everyone’s time and money on an area of study that is not real. And that’s without even knowing that Murray (WILD THINGS) doesn’t totally believe in it and spends his days doing fake telepathy tests just to hit on women.
Well, here we are with another new layer forming on top of The Mystery of Wesley Snipes. As of this writing Mr. Snipes recently started his 3 year bid for misdemeanor failure-to-file charges. This is the first but not last of his in-the-can DTV productions.
BEST OF THE BEST 4: WITHOUT WARNING finds our hero Tommy Lee (still Phillip Rhee, also directing again) wandering into yet another action movie subgenre – this time he’s the reluctant badass who gets stuck trying to stop a plot by heavily armed, highly organized commandos. So it’s DIE HARD in a BEST OF THE BEST. In the three years since part 3 Tommy’s had a daughter and had a wife pass away. All he wants to do is bake his daughter a cake for her birthday, but coincidentally his friend at the mini-mart who he asks for baking advice has a computer expert daughter who’s fleeing from Russian counterfeiters with a disc they just stole. And of course Tommy ends up stuck with the disc and everybody trying to kill him. 
SMOKIN’ ACES 2: ASSASSIN’S BALL is the rare DTV sequel that leaves 2 (two) obvious openings for porn parody titles, not to mention having the word “ass” in it twice. In that sense it is absolutely groundbreaking. The idea of a DTV sequel to a movie that not one single person in the world is passionate about is not as unusual (see: THE MARINE 2, BEHIND ENEMY LINES 2-3, THE ART OF WAR trilogy, etc.), but I guess technically this one is a prequel (it refers to a dead character as if alive). So this might actually be a historic milestone, I’m not sure.
