One thing we’ve learned from sci-fi and horror films is that monsters and weird things find ways to survive, to evolve, to adapt, to keep coming back. It was true in the case of the Judas Breed, a bug genetically engineered by Dr. Susan Tyler to be a sellout traitor that kills off the diseased roaches of the Manhattan sewers and then dies out, that instead managed to squirt out tens of thousands of generations in a couple years and evolve into a six foot termite-mantis that can mimic the shape of a human to survive on the streets. It was also the case with the MIMIC movie series itself. Guillermo Del Toro and the Miramax marketing department created an identifiable enough brand, the Weinsteins or somebody okayed a direct-to-video sequel, and with a third of the budget and no need to attract box office I suspect it was able to be hatched with less of their scrutiny and meddling. While MIMIC is an interesting movie that doesn’t entirely deliver as slick mainstream entertainment, its sequels are in a good position to exceed expectations. They’re better than you fear and different than you expect, thus fulfilling the potential of the DTV sequel format. (read the rest of this shit…)
Posts Tagged ‘Jon Polito’
HIGHLANDER is the 1986 cult classic about immortal warriors of different nationalities waging a battle across centuries, and its opening is a clash in its own right. It starts with Sean Connery narrating flowery fantasy movie text, cuts to credits rhythmically cut to a rockin Queen theme song, and before we know it the gorgeously grainy cinematography of Gerry Fisher (WISE BLOOD, THE NINTH CONFIGURATION, DEAD BANG) and the orchestra of Michael Kamen (DEAD ZONE, BRAZIL) are lavishing cinematic glory on a super-powered sword fight between trenchcoated acquaintances in the Madison Square Garden parking garage during a professional wrestling match. The stadium rock band influenced by opera butts up against the rock arranger turned classical score composer for a sword-and-sorcery meets urban-action cage match. And somehow this all feels perfectly natural.
The production itself is a battle royale of nationalities: British and American financiers, Australian director Russell Mulcahy, Frenchman Christopher Lambert playing Scottish, Scotsman Connery playing Egyptian-Spanish, carrying a katana. Classes, cultures and eras fit together in unexpected ways, forming a movie that feels a little closer to the neo-noir-and-loneliness cinematography-porn of BLADE RUNNER than to other action films of ’86 like THE DELTA FORCE, AVENGING FORCE, NO RETREAT NO SURRENDER, QUIET COOL, DANGEROUSLY CLOSE or NEVER TOO YOUNG TO DIE. And yet HIGHLANDER developed enough multi-generational populist appeal to be declared “best movie ever made” by Ricky Bobby in TALLADEGA NIGHTS. (read the rest of this shit…)
I’ve never had HBO or Showtime, including in the ’80s, so I only know C.H.U.D. as a reference. But we still have a video store here in Seattle and I was looking at the box one day and these glowing-eyed cannibalistic humanoid underground dwellers looked pretty cool so I figured it was time I learned what all this is about.
If you never saw it either I’ll tell you what I have learned. It’s about a rash of disappearances among “undergrounders,” the homeless who find shelter in the underground tunnels of New York City, like in that documentary DARK DAYS. (This would be cooler if it had a DJ Shadow score, but the one it has by David A. Hughes is pretty good.) The authorities don’t really care until it starts happening to people who live at surface level in a higher class. There’s a nicely shot title sequence with a cool keyboard theme playing as a monster arm reaches out of a steaming manhole to snatch a woman out walking her little dog. It’s a powerfully simple opening that really sets the scene for a fun, energetic movie that doesn’t quite materialize. (read the rest of this shit…)