"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Grace Jones’

Little Nemo / Freddie as F.R.O.7 (and the weird animation of summer ’92, part 2)

Tuesday, September 27th, 2022

Although the weird blockbusters like ALIEN 3 and BATMAN RETURNS were a defining feature of summer ’92, it’s hard to overstate how much weird animation popped up in this little window between Disney reinvigorating the animated feature and anybody else figuring out how to get in on the action in a reasonable way. Earlier I reviewed the well-meaning environmental fantasy FERNGULLY: THE LAST RAINFOREST and mentioned Don Bluth’s bizarre Elvis-rooster movie ROCK-A-DOODLE. Now I need to bring up two July releases that I skipped over because I’d previously reviewed them: COOL WORLD (co-starring Brad Pitt of JOHNNY SUEDE fame) and BEBE’S KIDS (written and produced by BOOMERANG’s Reginald Hudlin). Both were rated PG-13, which was very unusual for the time… and I guess would be now too, huh? BEBE’S KIDS is groundbreaking as an animated feature from a Black director and about a Black family. It’s also kind of cool that it’s adapted from a standup routine. And Tone Loc got more to do (voicing a fucked up baby) than he did in FERNGULLY (where he was a lizard).

I really want to direct you to my review of COOL WORLD if you haven’t read it, though, because this is a real headscratcher of a movie from indie/adult animation pioneer Ralph Bakshi, working with Paramount and making all kinds of concessions that might’ve turned it even weirder. Back then I liked it (or wanted to like it) enough that I saw it twice in the theater, then when I watched it five years ago to write that review I decided to retire from watching COOL WORLD. But in any study of the weirdness of summer ’92 it must be acknowledged.

Now let’s move on to two more distinctly befuddling animated features released, unsurprisingly, in August, the month of misfit movies. LITTLE NEMO: ADVENTURES IN SLUMBERLAND (onscreen title: just LITTLE NEMO) is a long-in-the-works Japanese-American co-production. It was a 1989 release in Japan, but we got it on August 21st, 1992. (read the rest of this shit…)

Boomerang

Monday, July 25th, 2022

On Wednesday, July 1st, 1992 – one day after Prince and the New Power Generation released “Sexy MF,” the first single from their symbol album – Eddie Murphy played a Sexy MF in the romantic comedy BOOMERANG. It’s the sophomore movie for HOUSE PARTY director Reginald Hudlin, but it’s written by Murphy’s COMING TO AMERICA scribes Barry W. Blaustein & David Sheffield (POLICE ACADEMY 2: THEIR FIRST ASSIGNMENT), based on an idea by Murphy.

Murphy plays Marcus Graham, hot shit New York advertising executive, who is welcomed to his office like everyone’s best friend or personal hero. He’s also the type of guy who checks out every female ass he crosses paths with, smiles and flatters his way into dates, and then immediately moves on to the next woman. “Once I hit it I lose interest, but that ain’t my fault!” he swears.

He’s definitely an asshole, but Murphy plays him with enough charm to balance some of that out. For example there’s a scene where director Nelson (Geoffrey Holder, ANNIE) excitedly presents a commercial with ridiculously suggestive shots of a model fellating a banana. Marcus tells him some parts to cut out but laughs and jokes around and just shows an appreciation for Nelson’s eccentricity. It’s not the usual thing where the successful boss guy has to be mean. Everybody loves him. (Of course, negative reviews interpreted this as Murphy having an ego. Once you’re as successful as him you get called out for playing cool guys.) (read the rest of this shit…)

A View to a Kill

Wednesday, May 27th, 2020

May 24, 1985

On the subject of James Bond movies I’m ignorant. A very casual viewer. I come to A VIEW TO A KILL as an ordinary civilian perusing the films of Summer 1985 and hoping this could be a good action movie for its era. According to publicly available data, it is the seventh and final of Roger Moore’s outings as 007. All of his except THE MAN WITH THE GOLDEN GUN were summer releases like this, attempting to fulfill that popcorn blockbuster kind of slot, drawing in regular chumps like me along with the generations of die hards.

Last year I reviewed LICENCE TO KILL in my summer of ’89 series and it was cool how much that one combined the standard Bond material with the tropes of ’80s action movies, to the point that he turned in his badge to go get revenge on a South American druglord played by Robert Davi. During the opening credit sequence of A VIEW TO A KILL I could imagine it being a very 1985 Bond in a similar way, and for that brief moment it was beautiful. (read the rest of this shit…)