It seems kinda crazy now, but AIRHEADS was a movie I was excited for ahead of time. Other than a couple of bit parts, it was the first time I saw Steve Buscemi after RESERVOIR DOGS made him an icon. Adam Sandler was still on Saturday Night Live, his biggest movie role having been in THE CONEHEADS, so it seemed novel for him to be a co-star. And I wasn’t really familiar with Brendan Fraser so I hadn’t had a problem with any of his performances yet. More importantly, director Michael Lehmann’s HEATHERS is an important movie to me, he’d since done MEET THE APPLEGATES and HUDSON HAWK, both weird and interesting if not great, so he was a director I followed. And the premise of a rock band taking a radio station hostage to try to get their song played seemed like it had potential for, like, satire or something. I don’t know.
Then I saw it and forgot everything about it. I don’t think I was impressed, but I was sure now it would at least be more interesting as a time capsule. Yeah, I guess, arguably. (read the rest of this shit…)
Some time around the mid-‘90s I took a weekly screenwriting class for a while, and the teacher loved Paul Schrader. He seemed to bring him up in every class. The guy who wrote TAXI DRIVER. The guy with the strict Calvinist upbringing. Eventually he had us watch a Paul Schrader movie, and he chose LIGHT OF DAY – the one where Michael J. Fox plays in a rock band with Joan Jett. I had seen it before and I didn’t dislike it but I thought it was a weird choice to represent Schrader. I think maybe the teacher hadn’t seen it yet.
But, you know, after THE CARD COUNTER last year and finally watching LIGHT SLEEPER this year I was kinda high on Schrader and thought it might be worth going back to this one to see if there was something I was missing. Well, no, not really, but that’s okay. It’s not in the vein of those ones I just mentioned and it’s not as powerful or as distinctly Paul Schrader, but I don’t think anybody else would’ve made exactly this rock ’n roll movie.
I used to think of it as corny because it’s a rock star acting and a sitcom star rocking, but what’s cool about it is that it’s thoroughly working class. It’s about a band, but it’s never about the record label guy is coming to the showcase and it’s their big chance and they write a hit and they get the cover of Rolling Stone but then it’s the pressures of fame or whatever. No, they’re just a small band that plays at a little tavern in Cleveland called the Euclid (“the Euc” for short) and they try to keep that gig or set up a small tour or play in a different band that will pay better. They do pull a pretty good crowd for the size of the place, but they’re not famous. Nobody knows who they are. And they gotta have jobs. (read the rest of this shit…)
As we’ve discussed earlier in this series, the summer of ’91 was pivotal for the emerging Black film movement of the era. BOYZ N THE HOOD was the seismic event, but we also had Bill Duke directing his first theatrical feature, a new one from Spike Lee, and a heavily hyped drama made by a 19-year-old director in a Brooklyn housing project with some credit cards. So it’s only fitting that one of the last movies of the summer was a studio film from the Black director of an acclaimed indie.
Charles Lane had written, directed, and starred in a 1989 film called SIDEWALK STORIES, about a homeless artist in Greenwich Village who takes care of a little girl (played by his daughter) after her father is murdered. Partly an homage to Charlie Chaplin’s THE KID, it’s silent except for the last scene. Roger Ebert loved it, it was nominated for Independent Spirit Awards for best director, first feature and male lead, and according to Wikipedia it won the audience prize at Cannes, though I haven’t been able to verify this. The point is, it was respected.
So here we are three years later and Lane is directing a major Touchstone Pictures comedy with the very mainstream premise “What if a Black guy had to pretend to be a white guy?” It stars the British comedian Lenny Henry (BERNARD AND THE GENIE) and is written by Andy Breckman, a (white) Late Night With David Letterman and SNL writer who had scripted MOVING, ARTHUR 2: ON THE ROCKS and HOT TO TROT. (read the rest of this shit…)
Like THE GOONIES, D.A.R.Y.L. is a family-friendly movie that opens with a high speed car chase (stunt coordinator: John Moio, who then did THE TEXAS CHAINSAW MASSACRE 2). But the Spielberg movie that scene reminds me of most is A.I.: ARTIFICIAL INTELLIGENCE. A scientist (stuntman Richard Hammatt, WILLOW, BATMAN, NIGHTBREED) is driving through winding roads, pursued by a helicopter, with unnaturally calm ten year old boy Daryl (Barret Oliver, KID #2, UNCOMMON VALOR) in the back seat. We know because we know what movie we’re watching that Daryl is a robot, and much like the mom in A.I., Dr. Mulligan sees no way to protect his robot boy except to drop him off in the woods and hope he can make it on his own. (But I think Mom survives – the doctor drives his car off a cliff. R.I.P.)
At various points in the movie Oliver’s performance will remind me of Haley Joel Osment’s in A.I., but it’s a very different approach to the story. Rather than a dark fairy tale journey through a fantastical future world, this is what happens to a character like that trying to pass for human in a normal ‘80s suburb.
a survey of summer movies that just didn’t catch on
July 23rd, 1993
Dan Aykroyd was the mastermind behind two of the most beloved comedies of the ’80s: THE BLUES BROTHERS (possibly my favorite comedy of all time) and GHOSTBUSTERS (male version), so what could be more of a no-brainer than to have him turn his most famous Saturday Night Live sketch into a movie?
Like GHOSTBUSTERS, CONEHEADS teams him with an ensemble of great comedic talents from SNL and elsewhere to build on a comedy premise about an intersection between the regular world and a fantastical one. Instead of a supernatural element it’s an extra-terrestrial one. The Coneheads are an alien couple who crash their Remulakian space cruiser outside New York and while waiting for extraction decide to live as earthlings, first in a motorhome, then in the New Jersey suburbs, raising a daughter, owning a house, golfing, etc. (read the rest of this shit…)
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…)
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Recent commentary and jibber-jabber
MaggieMayPie on Trigger Warning: “I watched this the weekend that REBEL RIDGE came out. I went into Netflix to watch that and I saw…” Nov 20, 20:46
Matthew B. on Trigger Warning: “Anyone get the feeling that large chunks of act three went missing here? The big confrontation with Anthony Michael Hall,…” Nov 20, 18:24
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Mr. Majestyk on Dragged Across Concrete: “That’s the sad part. All the ingredients are there for something great, but Zahler’s technique just pisses it all away…” Nov 20, 12:54
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August 5th, 1994
Some time around the mid-‘90s I took a weekly screenwriting class for a while, and the teacher loved Paul Schrader. He seemed to bring him up in every class. The guy who wrote TAXI DRIVER. The guy with the strict Calvinist upbringing. Eventually he had us watch a Paul Schrader movie, and he chose LIGHT OF DAY – the one where Michael J. Fox plays in a rock band with Joan Jett. I had seen it before and I didn’t dislike it but I thought it was a weird choice to represent Schrader. I think maybe the teacher hadn’t seen it yet.
August 23, 1991
Charles Lane had written, directed, and starred in a 1989 film called SIDEWALK STORIES, about a homeless artist in Greenwich Village who takes care of a little girl (played by his daughter) after her father is murdered. Partly an homage to Charlie Chaplin’s THE KID, it’s silent except for the last scene. Roger Ebert loved it, it was nominated for Independent Spirit Awards for best director, first feature and male lead, and according to Wikipedia it won the audience prize at Cannes, though I haven’t been able to verify this. The point is, it was respected.
June 14, 1985
At various points in the movie Oliver’s performance will remind me of Haley Joel Osment’s in A.I., but it’s a very different approach to the story. Rather than a dark fairy tale journey through a fantastical future world, this is what happens to a character like that trying to pass for human in a normal ‘80s suburb.
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, 
