a survey of summer movies that just didn’t catch on
July 19, 2013
Most art is derivative of something or other, but jesus christ is it uncomfortable how flagrant R.I.P.D. is about trying to repackage MEN IN BLACK. Instead of a secret government agency investigating aliens who secretly live among us it’s a secret police department investigating dead people who secretly live among us. But you got the younger guy recruited and learning about this real world beneath our sugar-coated topping and partnering with an older, grumpy guy and they have goofy ray gun looking guns and go around questioning weird informants who turn into crazy cartoon special effects creatures (though Rick Baker is retired, so they’re mostly digital). I swear RIPD even has a headquarters that looks like they built it over the set from MiB.
The young guy is Nick Walker (Ryan Reynolds, BLADE TRINITY), in life a Boston PD detective betrayed by his partner Bobby Hayes (Kevin Bacon, ELEPHANT WHITE) over some kind of gold treasure they stole from a crime scene. Nick was having regrets and wanted out so Bobby shot him in the face during a raid. Instead of Heaven or Hell, Nick goes to RIPD to continue as a cop and help them round up “deados” who illegally stick around on Earth. Not really a noble calling, in my opinion. (read the rest of this shit…)
HELL OR HIGH WATER is one of these contemporary westerns, sort of a NO COUNTRY FOR OLD MEN fan film about two brothers robbing banks and two old Texas Rangers trying to catch them. It starts from the perspective of Toby (Chris Pine, SMOKIN’ ACES) and Tanner (Ben Foster, X-MEN 3) driving through barren stretches of country highway robbing banks in tiny, impoverished towns from Texas to Oklahoma, in between being brothers, annoying each other, talking around painful shit from their pasts, etc.
They did not cast against type. Tanner is the Mr. Blonde, yelling at and pistol whipping bank employees, causing scenes, screwing a hooker in the same hotel room while his poor brother lays wincing and facing the wall. I think this guy’s gonna be trouble. And Toby is the thief with a heart of gold, or at least the one who looks humanely through his ski mask with big blue sympathetic eyes and isn’t a jerk when a waitress (Katy Mixon from East Bound and Down) has a nice talk with him. (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…)
This might end up lost to history, but I feel that the internet’s lead-up to the release of the TRON sequel could be characterized as a “nerd frenzy.” Breathless reports described every onscreen visual and audience sound during the comics convention’s high profile promotional screenings of test films and trailers. Websights covered every angle of every advertising gimmick, poster or still. They wrote about promotional “Flynn’s Arcade” tokens like they were frozen Jesus tears.
Then the movie came out and you didn’t hear about the excitement anymore. I don’t know if it was a PHANTOM MENACE (they didn’t like it as much as they hoped) or a KICK-ASS (every single person who would like that type of movie was inside that convention). And it probly didn’t help that the original TRON didn’t exactly set the world on fire either. Until the sequel got announced I honestly didn’t realize there were people who were passionate about it. (read the rest of this shit…)
Jeff Bridges makes a great Rooster Cogburn – weird froggy voice, sloppy beard, aura of laziness, legitimately kind of disgusting as he’s introduced taking a shit and later casually pisses himself. If you don’t know the character from the novel by Charles Portis, or from John Wayne’s Academy Award winning portrayal in the 1969 version, or from the considerably less Academy Award winning sequel, or perhaps Warren Oates in the TV movie version, or obviously the episode of Scooby-Doo where Rooster has to figure out which Harlem Globetrotter has been replaced by an evil Moon-man, then let me fill you in: Reuben “Rooster” Cogburn is an eccentric, one-eyed civil war vet turned U.S. Marshall who “really knows how to pull a cork” and has a reputation for unnecessary but high quality shootings of suspects. So he’s the bounty hunter of choice for 14-year-old Mattie Ross, who wants to “finish [her] father’s affairs” by chasing down the drunken ranch hand who killed him and fled into Chocktaw territory with the Lucky Ned Pepper gang. (read the rest of this shit…)
Remember TRON? The 1982 live action Disney fantasy from director Steven Lisberger (ANIMALYMPICS, HOT PURSUIT) about a dude magically sucked into a video game to play frisbee and ride bikes? It’s memorable for its only-in-1982 approach to design, its one-of-a-kind black light type look, its pioneering computer effects (which still look surprisingly cool today) and a weird electronical score by Wendy Carlos (A CLOCKWORK ORANGE). The only major problem I have with it besides it being boring is the entire silly premise of a guy going inside a computer and the “programs” are alive and they battle each other.
Believe me, I’m a man who knows how to suspend the ol’ disbelief. I suspend that shit all the time. I’m about this close to banning it for life. But Jeff Bridges getting shrunk and playing games with tiny neon people who live in a city inside a computer chip is just not compatible with my brain, in my opinion.
And besides, if video games are gonna come to life then why don’t you put Pac-Man in there? I’d like to hear what Pac-Man has to say for himself.
This is not the romantic one where Christian Slater has a baboon heart, this is the dramatic one where Jeff Bridges may soon need a baboon liver, on account of his country singer lifestyle. I heard alot about CRAZY HEART being good only for Bridges’s about-to-win-an-Academy-Award performance. (Did you know he was also nominated for THUNDERBOLT AND LIGHTFOOT?) But I thought the movie itself was pretty damn good too, let’s give it some credit please. (read the rest of this shit…)
Well this is an incredible, classic documentary and a pretty good narrative type companion piece, and both were filmed in Seattle and now that I saw them I wonder why in fuck’s name I took so long getting to them. The real winner of the two is STREETWISE, academy award nominated documentary about runaway kids on the streets of Seattle in 1984. The story behind this is that the photographer Mary Ellen Mark (web site) was doing a photo essay for LIFE magazine. At the time Seattle was considered one of the country’s “most livable cities” (imagine that) so she thought it would be the perfect place to photograph homeless kids. If it can happen in seattle then shit, it can happen anywhere. Well the photo essay turned out good so she decided to get her husband Martin Bell to direct a documentary about the same kids she took pictures of. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
HELL OR HIGH WATER is one of these contemporary westerns, sort of a 
TUCKER, directed by Francis Ford Coppola (
This might end up lost to history, but I feel that the internet’s lead-up to the release of the TRON sequel could be characterized as a “nerd frenzy.” Breathless reports described every onscreen visual and audience sound during the comics convention’s high profile promotional screenings of test films and trailers. Websights covered every angle of every advertising gimmick, poster or still. They wrote about promotional “Flynn’s Arcade” tokens like they were frozen Jesus tears.
Jeff Bridges makes a great Rooster Cogburn – weird froggy voice, sloppy beard, aura of laziness, legitimately kind of disgusting as he’s introduced taking a shit and later casually pisses himself. If you don’t know the character from the novel by Charles Portis, or from John Wayne’s Academy Award winning portrayal in the 1969 version, or from the considerably less Academy Award winning sequel, or perhaps Warren Oates in the TV movie version, or obviously the episode of Scooby-Doo where Rooster has to figure out which Harlem Globetrotter has been replaced by an evil Moon-man, then let me fill you in: Reuben “Rooster” Cogburn is an eccentric, one-eyed civil war vet turned U.S. Marshall who “really knows how to pull a cork” and has a reputation for unnecessary but high quality shootings of suspects. So he’s the bounty hunter of choice for 14-year-old Mattie Ross, who wants to “finish [her] father’s affairs” by chasing down the drunken ranch hand who killed him and fled into Chocktaw territory with the Lucky Ned Pepper gang.
Remember TRON? The 1982 live action Disney fantasy from director Steven Lisberger (ANIMALYMPICS, HOT PURSUIT) about a dude magically sucked into a video game to play frisbee and ride bikes? It’s memorable for its only-in-1982 approach to design, its one-of-a-kind black light type look, its pioneering computer effects (which still look surprisingly cool today) and a weird electronical score by Wendy Carlos (A CLOCKWORK ORANGE). The only major problem I have with it besides it being boring is the entire silly premise of a guy going inside a computer and the “programs” are alive and they battle each other.
(pretty big spoilers in this one, sorry)
both directed by Martin Bell
