RADIOLAND MURDERS is a retro comedy, a madcap murder mystery taking place in 1939 as a Chicago radio station has a gala live broadcast performed in front of an audience and a room full of big shot affiliates waiting to be impressed. There’s a big band and actors doing adventure shows and commercials while the writers, directors and sound engineers scramble to have something on the air after the boss just tossed out all of their scripts. Meanwhile, writer Roger (Brian Benben, I COME IN PEACE) is pathetically trying to woo back his wife Penny (Mary Stuart Masterson, GARDENS OF STONE), who thinks he cheated on her. It was a misunderstanding, but he’s too much of a doofus to make her understand.
And then he becomes the #1 suspect when people in the station start turning up dead. So he has to avoid the police, solve the mystery, convince his wife and finish some scripts. Kind of a rough day for him.
The DVD cover brags about an “All star cast!,” which is stretching it, but the huge ensemble cast does include an impressive lineup of character actors, some of them better known now than they were then. You also got Ned Beatty, Brion James (BLADE RUNNER, 48 HOURS), Michael Lerner (MANIAC COP 2), Michael McKean, Jeffrey Tambor, Stephen Tobolowsky, Christopher Lloyd, Larry Miller (FOODFIGHT!), Corbin Bernsen, Bobcat Goldthwait, Dylan Baker, Robert Klein and Harvey Korman (The Star Wars Holiday Special). Candy Clark and Bo Hopkins of the AMERICAN GRAFFITI saga show up together. Since there’s sort of a variety show going on at the center of it there are appearances by Rosemary Clooney, George Burns, Joey Lawrence (as a dreamy crooner) and even Billy Barty (WILLOW). Also Gary Anthony Williams, the voice of Uncle Ruckus on The Boondocks, made his first movie appearance. (read the rest of this shit…)
The Young Indiana Jones Chronicles was an ABC TV show that ran from 1992-1993. I never saw an episode. I still haven’t, because the version that’s on video is called The Adventures of Young Indiana Jones and it’s re-edited. According to legend (as well as Wikipedia) the Chronicles were hour long episodes about Indiana Jones as a young man having adventures and/or chronicles in different exotic locations. The stories would jump around in time, so sometimes it would be Sean Patrick Flanery (BOONDOCK SAINTS) as teen/early-twenties Indy, sometimes it would be Corey Carrier (school band cymbal player in THE WITCHES OF EASTWICK) as 8-10 year old Indy. And the episodes would be bookended by George Hall (BIG DADDY) as 93-year-old Indy (with eye patch) remembering the stories.
Wait a minute – that would mean in the then-present day? I always think of him in the WWII era, but it turns out he stuck around a while. Think about that. Indiana Jones was around for Woodstock, for disco, for “We Are the World,” for “Baby Got Back.” If he had grand kids there might’ve been an Indiana Jones and the Elusive Cabbage Patch Doll adventure one Christmas. None of this is covered in the show though.
The first season (1992) was 6 episodes, the second season they made 22, but only aired 18 before cancelling it. Then from 1994-1996 they followed it up with four TV movies for the Family Channel. Finally, in 1999 they paired up the hour long episodes, plus a couple new ones, and re-edited them into movies, which came out on VHS and later DVD. One major change was to remove all the segments with 93 year-old Indy, so you never get to see Indiana Jones in contemporary situations, like the one where he tells the story of his teenage love of cars after seeing a monster truck at the gas station.
(Do you think they said if Indy went to movies when he was in his 90s? Do you think he saw UNDER SIEGE?) (read the rest of this shit…)
INDIANA JONES AND THE LAST CRUSADE is the third one, and it’s the one that deals with that Holy Grail of elusive treasures, the Holy Grail. We find Indy’s father Henry Sr. was after it his whole life and getting real close and has a notebook full of clues he’s found and now he’s kidnapped. So Indy has to find his pops and hide that book from the Nazis and also there’s some guys sworn to protect the Grail who try to stop him.
Sr. is of course played by Sean Connery, and maybe that’s an in-joke because Spielberg did RAIDERS when he wanted a Bond type movie to do, but Connery doesn’t play him like 007. He plays him as a dork. He kinda acts like a little boy and wears a bow tie and tweed vest and is often in comical positions like riding in the sidecar of Indy’s motorcycle. Whenever Indy has to fight somebody, his dad has a look of admiration. He had no idea his kid could t. c. of b. like that.
The lady this time, Elsa (Alison Doody, A VIEW TO A KILL), is much, much, much more tolerable than TEMPLE OF DOOM‘s Willie Scott, which turns out to be a bummer when (spoiler) we find out that she’s a Nazi. Not only that but she managed to bone both generations of Joneses (a plot point requested by Connery). Which is her right, but kinda gross, right? I personally don’t think she’s right for Indy.
THE LAND BEFORE TIME is a good example of a movie legacy destroyed by a “franchise.” Throughout the ’90s the name was synonymous with candy-colored sing-along babysitters in clamshells thanks to thirteen straight to video sequels (THE LAND BEFORE TIME XIV: JOURNEY OF THE BRAVE starring Damon Wayans Jr. and Reba McEntire drops February 2nd – not a joke), and 26 episodes of a TV series. So I was surprised to watch the original – executive produced by George Lucas and Steven Spielberg and directed by Don Bluth (THE SECRET OF NIMH, AN AMERICAN TAIL), none of whom had anything to do with the sequels – and find out it’s a pretty solid animated feature in the mold of early Disney.
Apparently Spielberg conceived it as BAMBI with dinosaurs, and that’s pretty much what they made. It’s an admiring depiction of the world of dinosaurs, with children being born into a scary world, making friends, experiencing danger and death. It is not a musical, the comic relief is minor, any cuteness is juxtaposed with an overall tone of melancholy. I mean, it’s about plant-eating dinosaurs in a world with almost no plants left. (read the rest of this shit…)
TUCKER, directed by Francis Ford Coppola (CAPTAIN EO), glorifies two of executive producer George Lucas’s favorite things: cars and artistic independence. It’s a starry-eyed, big-band-jazz-scored paean to Preston Tucker (Jeff Bridges), an innovator who failed to conquer the post-WWII car business, but at least made a cool car.
The titleistical dream is the idea of the Tucker, “the car of the future today,” a sleek, futuristic sedan with the engine in the back and three headlights that he says will move with the front wheels for safety. He’s just a dude with a scrappy company working out of a barn who invented some turrets for the army and a tank that they rejected because it moved too fast. He still owns one and uses it to drive the family into town to get ice cream. Nobody will invest in his dream until he gets it into a magazine and just acts like it’s something that’s happening. Next thing you know Martin Landau is able to get him meetings and investors. The Secret!
In one sense Tucker is full of shit. He thinks he can make this car, but he lets people believe he already has. He pushes his sons and trusted collaborators into overdrive to figure out how to build a good-enough prototype in time for the big unveiling. Like a movie trying to make a summer release date. The dream runs into the reality of unforeseen problems and limited time and resources, but he’s happy to just build a thing that looks like the concept art. (read the rest of this shit…)
George Lucas and his big homey Francis Ford Coppola (CAPTAIN EO) are executive producers of Godfrey Reggio’s POWAQQATSI (Life in transformation), the EMPIRE STRIKES BACK of the Qatsi trilogy that began with KOYAANISQATSI (Life out of balance) in 1982 and ended with NAQOYQATSI (Life as war) in 2002. If you’ve seen either of those, or the ones by Reggio’s cinematographer Ron Fricke (I reviewed his SAMSARA in 2011) then you got a pretty good idea what this is like. Which is good, because my words might not cut it.
We could classify these as “experimental documentaries,” but they don’t have much of what anybody thinks of when they think of documentaries. No interviews, no narration, no onscreen text, no people talking at all. No storyline or argument made. No easily encapsulated subject or premise. Just themes.
They’re like cinematic paintings, or photo essays, or poems. They rhyme by having similar shots and images over and over again, all set to very repetitive (in a good way) scores by Philip Glass.
“Elora, you don’t want me. Tell her. I’m short. Even for a Nelwyn.”
Like John McClane’ll tell ya, sometimes some shit happens and you just have to step up. For Willow Ufgood (Warwick Davis, RETURN OF THE JEDI, THE EWOK ADVENTURE) it’s when his kids find one of those abandoned river babies (we all know how that goes) and then it turns out to be the Chosen One prophesied to kill the evil Queen Bavmorda (Jean Marsh), so mean knights with packs of dog-like beasts are gonna keep attacking the village until they find her. Willow admits to the town that he has the baby they’re looking for, and he doesn’t argue when the wise wizard The High Aldwin (Billy Barty) appoints him to lead a party on a journey to give the baby back to the Daikini, the bigger people.
I say bigger because Willow’s village is all people under four feet tall. There are fighters among them, like Vohnkar (Phil Fondacaro, RETURN OF THE JEDI) or “Vohnkar Warrior” (Tony Cox, RETURN OF THE JEDI, CAPTAIN EO), but Willow isn’t one of them. A small man looked down upon even among the people of his size, he’s the underest of dogs. As a fledgling magician he screws up even his corny magic trick illusions, and now he finds himself going head to head with a real sorceress.
The first Daikini they find is Mad Martigan (Val Kilmer, BAD LIEUTENANT: PORT OF CALL NEW ORLEANS), a warrior imprisoned in a small cage who seems at first like a Jack Sparrowish rogue. When an army is headed their way and most of Willow’s party turns tail he has little choice but to free the man and convince him to help, like an action comedy set up. (read the rest of this shit…)
I mentioned in my LABYRINTH review that I thought Michael Jackson would’ve been a cool Goblin King. Sorry about that. I take it back. Mr. Bowie was uniquely suited for the character and I’m glad he got to hang out with all those puppets and implant himself in the creepy childhood memories of millions around the world.
And besides, Michael got his chance to get a little muppety, because the next Lucasfilm release was this 17 minute 3D film starring Jackson as “the infamous Captain EO,” leader of “a rag-tag band” of aliens and robots and crap sent on a dangerous space mission to deliver a gift to the Supreme Leader (Angelica Huston). EO gives his crew a speech about how everybody thinks they’re a bunch of fucking losers and if they don’t pull this mission off they’re gonna be “drummed out of the corps.” Which really makes you wonder how they got into the corps in the first place. What kind of boot camp can these weirdos make it through?
They seem to be kind of the Bad News Bears of space troopers. They’re bickering, cartoon-voiced goofballs who screw everything up and get yelled at by the Captain (except when they throw an egg at the hologram of Commander Bog [Dick Shawn, The Year Without a Santa Claus]), which makes him laugh).
The crew consists of a robot named Major Domo (voice of Gary DePew, producer of ANGEL 4: UNDERCOVER), another one named Minor Domo that attaches into the Major’s back, a furry two-headed monster named Idey (Debbie Lee Carrington, RETURN OF THE JEDI, HOWARD THE DUCK) and Odey (Cindy Sorenson, THE DARK BACKWARD), a green elephant-man named Hooter (Tony Cox, RETURN OF THE JEDI, SPACEBALLS, BAD SANTA) and a small furry guy with butterfly wings named Fuzzball (effects by Rick Baker, makeup man for the cantina scene in STAR WARS as well as Jackson’s Thriller video). All are small in stature, most are inept and cowardly. But EO leads them through a space battle, a crash-landing and a dark tunnel to the Supreme Leader, who turns out to be a grey and black Giger-esque biomechanical witch hanging from a web of cables and corrugated tubes. She is not happy to see them. (read the rest of this shit…)
Jennifer Connelly’s first movie was Sergio Leone’s ONCE UPON A TIME IN AMERICA (as the young version of Elizabeth McGovern’s character). Her first starring role was Dario Argento’s PHENOMENA, aka CREEPERS. Then she did some normal teen movie, but the one after that was LABYRINTH, directed by Jim Henson, where she’s co-starring with David Bowie and about a hundred different puppets. That’s a crazy career already, years before she got an Oscar.
This one is pretty different from the Argento one. Yes, she still communicates with bugs, because there’s a worm in one scene who gives her a helpful tip and invites her in to meet his wife. But there’s no monkey going nuts with a straight razor, and no Goblin. Just goblins.
She plays Sarah, a teenage girl who one day during a bratty fit about having to babysit says some fantasy nonsense that actually summons goblins to take away her toddler brother Toby. Whoops. To get him back she has to make it through a labyrinth to the Goblin King (Bowie)’s castle in 13 hours. Except for the king, the goblins and the inhabitants of the maze are all puppets and special effects creations. Designed by artist Brian Froud (like Henson’s previous movie, THE DARK CRYSTAL), they still have cartoonish looks and personalities, but with more realistic texture and detail than Muppets. They seem like closer relatives to Yoda than to Cookie Monster. (read the rest of this shit…)
In the early ’80s, a brutal guerrilla war was going on in Nicaragua, with an army of terrorist counter-revolutionaries, or contras, fighting against the leftist Sandinista party that was in power. The contras were funded and trained by the U.S. and called “freedom fighters” by President Reagan. Most Americans didn’t really pay attention, so the cinematographer, documentarian and sometimes narrative film director Haskell Wexler – who died yesterday at the age of 93 – decided to make this fictionalized movie about it.
Eddie Guerrero (Robert Beltran, LONE WOLF MCQUADE) is an American special forces soldier following up his Vietnam tours with a secret mission in Honduras. He works with Ruben (Tony Plana, HALF PAST DEAD 1-2) to train some soldiers who go over the border into Nicaragua to fight the communist Sandanistas.
Then we meet some of these communists living on a farming cooperative. They are peasant women and teenage boys with AKs trying to defend themselves from the contras who keep coming in, burning their crops and taking their sons, forcing them to join up.
We see how that works: they come into town, spray some bullets around, throw the young men on the ground and tie them up. While they’re there Eddie doesn’t really know what’s up yet, but he wanders into an old lady’s kitchen and gets an earful about his side and how she hopes he dies. He takes one of the tortillas she’s making and eats it, so maybe he’s more of an asshole than we realized. (read the rest of this shit…)
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RADIOLAND MURDERS is a retro comedy, a madcap murder mystery taking place in 1939 as a Chicago radio station has a gala live broadcast performed in front of an audience and a room full of big shot affiliates waiting to be impressed. There’s a big band and actors doing adventure shows and commercials while the writers, directors and sound engineers scramble to have something on the air after the boss just tossed out all of their scripts. Meanwhile, writer Roger (Brian Benben, I COME IN PEACE) is pathetically trying to woo back his wife Penny (Mary Stuart Masterson, GARDENS OF STONE), who thinks he cheated on her. It was a misunderstanding, but he’s too much of a doofus to make her understand.
