I’m not fully acquainted with the filmography of John Sayles, but I’m pretty sure THE BROTHER FROM ANOTHER PLANET is an outlier. It was 1984, so Sayles had already had his Roger Corman/exploitation beginnings (writing PIRANHA, BATTLE BEYOND THE STARS, ALLIGATOR, THE HOWLING and THE CHALLENGE) and moved into directing his indie dramas (RETURN OF THE SECAUCUS 7, LIANNA, BABY IT’S YOU). Here he makes his only ever sci-fi movie as a director, but it’s not all that commercial. Supposedly the story came to him in a dream.
The most sci-fi part is the opening cockpit lights and bleeping sounds as the mysterious extra-terrestrial played by Joe Morton (CURSE OF THE PINK PANTHER) crash lands on earth. He loses a leg in the process and hops around in an abandoned church until he somehow grows it back. Since he’s missing one shoe we see that his feet have three big clawed toes, like a dragon, but otherwise he looks human. In the city he finds a replacement shoe in a garbage can and I wondered if he understood that was garbage or if he just assumed Earth has public shoe dispensers. (read the rest of this shit…)
The thrilling conclusion to the teen science comedy trilogy of August 2-9, 1985 is the one I knew even less about than REAL GENIUS. I can say that because all I knew was the picture of aliens I saw in the one page article in my trusty July, 1985 Cinefantastique, but I forgot it said that scene was cut. So I had negative knowledge of what the movie was about.
Like REAL GENIUS, it has a cold open in a military facility to establish what the kids will be dealing with. But this scene is in 1957 when President Eisenhower (Robert Beer, who also played him THE RIGHT STUFF) is dragged out of bed to be shown the UFO the boys captured. He tells them to get rid of it. Cut to 1985.
From that point on it’s closer to WEIRD SCIENCE than REAL GENIUS, because it’s another one about high school kids accidentally unleashing sci-fi craziness in their small town (in Arizona, I think). A major difference from the other two is that the main character, Michael Harlan (John Stockwell, CHRISTINE) is by no means nerdy. I don’t think he’s a popular kid either, he’s just a broody, gruff, kind of dim but basically nice dude who’s not really interested in anything but working on cars. His favorite singer is Bruce Springsteen, he drives a 1968 Pontiac GTO with a huge blower, and when science fiction causes it to break down outside of town he refuses to walk home because he thinks someone will see him and question his mechanic skills. (read the rest of this shit…)
Ever since the unlikely series of events that turned UNDISPUTED into one of today’s greatest action franchises, I’ve tried to better appreciate Walter Hill’s 2002 prison boxing drama that started it all. In my review from fifteen years ago I called it “asinine” and generally had a bad attitude toward it without really giving a strong argument for why. Over the years I’ve rewatched it a few times and though I always think it’s decent, it never quite clicks for me. I can’t say that’s entirely changed on this viewing, but I definitely liked it more than on previous viewings.
So I did it! I better appreciated it!
The story is about a humble toothpick-model-builder and convicted murderer named Monroe Hutchen (Wesley Snipes, MONEY TRAIN) who’s just minding his own business being the undefeated champion of a secret prison boxing league when suddenly the actual heavyweight champion of professional boxing, George “The Iceman” Chambers (Ving Rhames, THE TOURNAMENT) gets locked up there. And it’s like having both a Jason and a Freddy out there in the universe – eventually, one way or another, these two are gonna have to end up pitting their skills against each other so we can see who wins. After all, the legendary mobster Mendy Ripstein (Peter Falk, PRONTO) is in there too and he’s a passionate connoisseur of the sweet science, he’s not gonna let it not happen. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
“Are you tellin us that you’re gonna arrest a guy for bein a plumber? Get outta here!”
May 28, 1993
Okay, look. I’m not claiming to know a better way to make a live action movie based on a video game about an Italian plumber eating mushrooms, punching bricks and murdering hundreds and hundreds of turtles but also collecting coins while trying to rescue a princess. And seeing how directors Rocky Morton and Annabel Jankel reimagine the world of the famous Nintendo game as a dystopic Manhattan in an alternate dimension where people evolved out of dinosaurs is the closest thing to fun this movie has to offer.
THE BURNING is a slasher movie I like, and I can acknowledge that it’s not great but it just fits into my wheelhouse (you know, the house where I store all my wheels as well as some of the movies I like). Something about those FRIDAY THE 13THs and SLEEPAWAY CAMPs just engrained the summer camp of the ’80s into my mind as a perfect place for a slasher. By day it’s canoes and pushing people off of docks and wearing those gym socks with the stripes at the top. Then at night you realize you’re out in the middle of the fuckin woods! What the fuck are you gonna do if (let’s be honest – when) something happens? Where are you gonna go? Deeper into the dark, quiet woods?
But actually Jason and these guys are scarier when they strike in the sunlight. The sanctity of the summer paradise invaded by machetes and improperly used spear guns. Lens flares and dripping blood. (read the rest of this shit…)
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I’m not fully acquainted with the filmography of John Sayles, but I’m pretty sure THE BROTHER FROM ANOTHER PLANET is an outlier. It was 1984, so Sayles had already had his Roger Corman/exploitation beginnings (writing PIRANHA, BATTLE BEYOND THE STARS, ALLIGATOR, THE HOWLING and THE CHALLENGE) and moved into directing his indie dramas (RETURN OF THE SECAUCUS 7, LIANNA, BABY IT’S YOU). Here he makes his only ever sci-fi movie as a director, but it’s not all that commercial. Supposedly the story came to him in a dream.
From that point on it’s closer to 
Ever since the unlikely series of events that turned UNDISPUTED into one of today’s greatest action franchises, I’ve tried to better appreciate Walter Hill’s 2002 prison boxing drama that started it all. In 
THE BURNING is a slasher movie I like, and I can acknowledge that it’s not great but it just fits into my wheelhouse (you know, the house where I store all my wheels as well as some of the movies I like). Something about those 
