BILL & TED’S EXCELLENT ADVENTURE (1989) is one of those beloved comedies you take for granted. I hadn’t seen it in 20+ years, so I was kinda afraid it might not hold up. It’s kind of hard to put your finger on why it works so well, and it would be hard to explain why it’s funny if somebody asked. I’m not sure if you had to be there or not.
Don’t get me wrong – there’s a pretty straight forward comical premise: what if a couple of dumb guys got a hold of a time machine and recruited actual historical figures to help with their history test? But for the most part that’s not really what’s funny about it. It’s the particular personalities of the dumb guys, and the reasons they have access to time travel.
Bill S. Preston Esquire (Alex Winter, DEATH WISH 3) and Ted “Theodore” Logan (Keanu Reeves, THE NIGHT BEFORE) are a Californian version of what we used to call “rockers” and some regions called “heshers” – guys whose lives center around heavy metal and/or hard rock. In the wild you’d expect them to have longer hair and leather jackets, smoke lots of pot and drink lots of beer, but Bill and Ted mostly just idolize Van Halen, talk about “babes,” and laugh at the number 69. They have a band called Wyld Stallyns, which features only the two of them on guitar, an instrument neither of them knows how to play. Still, their worst fear os for the band to be broken up if Ted fails his history test, in which case his dad (Hal Landon Jr., ERASERHEAD), who is a police captain and wears an NRA jacket while off duty, will ship him off to Oats Military Academy in Alaska. (read the rest of this shit…)
I had heard of HIT MAN (1972) as a “Blaxploitation remake of GET CARTER,” and assumed that meant it was loose and uncredited. In fact it’s an official adaptation of the same 1970 book, Jack’s Return Home by Ted Lewis, and director George Armitage – a Roger Corman acolyte who had written GAS-S-S-S and NIGHT CALL NURSES and directed PRIVATE DUTY NURSES – didn’t even know about the other version until he’d rewritten the script and his agent recognized it. As I mentioned in my GET CARTER review, MGM didn’t do much promotion of the well-reviewed GET CARTER because they had more faith in this version to be a hit. So – although it sounds like he may have started with the same script as GET CARTER (on this point I’m unclear) – I’d still say it’s not a GET CARTER remake, but the first American version of Jack’s Return Home.
Bernie Casey (GUNS OF THE MAGNIFICENT SEVEN) plays the Jack Carter character, now called Tyrone Tackett. In this version he’s from Oakland visiting L.A., and I swear they say he’s a cop? But he acts the same as the gangster in the other version. Hmm. Strange. (read the rest of this shit…)
THE PACKAGE is… kind of an action movie from director Andrew Davis. After the better-than-average Chuck Norris vehicle CODE OF SILENCE (1985) and Steven Seagal’s debut ABOVE THE LAW (1988) the director put some similar elements into a thriller with Gene Hackman in the lead. Hackman had just done MISSISSIPPI BURNING (which he got Oscar and Golden Globe nominations for) but did not have any black belts in anything, so I’m not sure why he thought he should be in movies?
He plays U.S. Army Master Sergeant Johnny Gallagher, who I assume is respected for his skills, but he seems mostly just beloved for being a great guy. He’s introduced arriving for security detail at the site of U.S.-Soviet Union disarmament talks in West Berlin and walking around smiling and saying hi to everybody. (read the rest of this shit…)
I didn’t realize this until recently, but the Pam Grier movie FRIDAY FOSTER came from a comic strip. It ran from 1970-1974 and was the first syndicated comic with an African-American woman in the lead. It was created by a journeyman writer named Jim Lawrence who also wrote for radio shows such as Green Hornet and comic strips based on James Bond and Dallas (!). The artist was a Spaniard named Jorge Longarón until the last year, when it was taken over by Gray Morrow, co-creator of MAN THING. (read the rest of this shit…)
One thing about JOHN CARPENTER’S GHOSTS OF MARS: it’s definitely John Carpenter’s GHOSTS OF MARS.
It has plenty of elements that could be perfect for one of his movies. It’s kind of a siege movie like ASSAULT ON PRECINCT 13, although the simplicity of that type of setup is mired in flashbacks and narration. It’s got a western motif – even though it’s in the future and on Mars there’s a train, and colonists possessed by angry Martian spirits take the place of the Natives defending their land. It’s got a ready-made anti-hero – Ice Cube as the bad-but-not-guilty-of-the-specific-crime-he’s-accused-of prisoner-in-transfer Desolation Williams. It has a pretty good soundtrack where Carpenter melds his style with a bunch of rock n roll dudes with electric guitars and drums, playing Martian tribal rock. It has Ice Cube, Jason Statham, Joanna Cassidy and Pam Grier in the cast! This shit should be great. (read the rest of this shit…)
I liked VISITING HOURS so much I figured I should follow the ol’ auteur theory with its director, Jean-Claude Lord. I know it’s a French theory, not French-Canadian, but I think it still applies. It’s 1986, only four years after VISITING HOURS, and the poor guy is already doing THE VINDICATOR.
THE VINDICATOR is the story of Carl Lehman (David McIlwraith, who played Andrew Card in the TV movie DC 9/11), genius scientist and soon-to-be-father who goes in to confront the famed rich guy Alex Whyte (Richard Cox, who played Alan Dershowitz in the TV movie AMERICAN TRAGEDY) who cut off his funding just when he knew he was on the verge of a huge fucking scientific breakthrough. What could go wrong? He’ll probly be very persuasive and the two will work out a compromise to continue the research, support each other and work together for the betterment of mankind. I’m sure everything’ll be fine. (read the rest of this shit…)
In case you’ve had your fill of straight-to-video action and shit, I’ll give you an alternative. Today we’re having a triple-feature of ’70s blaxploitation movies with scores by Johnny Pate. You know, I’m trying to find one of those real accessible topics everybody can relate to.
Johnny Pate is a Chicago-born bassist and arranger. He says his first and biggest love is jazz, but to me he’s a legend because of his comparatively brief detour into R&B in the late ’60s and early ’70s. He worked with many Chicago labels of that era but most notably alongside the one and only Curtis Mayfield – Pate was an arranger for the Impressions and for Mayfield’s label, Curtom.
I’m not as detail-oriented about music as I am about movies, so I probaly wouldn’t know about Johnny Pate except that I happened to pick up his 1970 funk instrumentals album “Outrageous” when it was reissued last year by Dusty Groove. Then I found out he scored SHAFT IN AFRICA so I finally got around to watching those sequels and loved them. At least half of my love for blaxploitation movies comes from the music, and of course SUPERFLY and SHAFT are the two most legendary blaxploitation soundtracks. Here’s a guy who kind of connects them together – he arranged Superfly for Mayfield, he scored the third SHAFT movie, and even played with the original Isaac Hayes SHAFT themes when he scored the short-lived (and not on DVD) SHAFT tv series. (read the rest of this shit…)
Yeah I know, this Iraq deal is getting even worse but let’s just take one fuckin column to talk about what I used to talk about, the movies.
This month has been hard on the wallet not just because of the economy but also because of numerous high quality dvd releases of important films of Badass Cinema. Today I will take some time to review a few of those dvds.
First of all we got my pick for the best movie of the year so far, BLADE II. I feel I have already written enough about the many fine qualities of this picture so I will focus this review only on the many fine dvd extras brought to you by one of our best directors, Mr. Guillermo del Toro. This is a part of the “New Line Platinum Series” which I have come to know and trust as a series of dvds with extra material above and beyond your “theatrical trailer” or your “chapter stops” or even your “weblinks.” (Does anybody really have a DVD-ROM drive? And if so, do they really need a dvd to figure out how to find the web site for BONES?) BLADE II is no exception, in fact it has even better extras than BLADE I. (read the rest of this shit…)
John Carpenter is one of the most controversial directors of our time. Not because he gets into touchy subjects, like he goes and does some movie about jesus doing somebody in the ass or whatever it is that offends people these days. But because of his actual work. Because no one can really seem to agree whether he sucks with a few brilliant exceptions, whether he used to be brilliant and now he sucks, or whether he is really one of the great masters of the horror and Badass Cinema and that some of these new ones are just an off day.
The correct answer is c.
This new one follows many of the great John Carpenter stylistic motifs and thematic type themes. For example, if you ever read an interview or listened to his dvd commentary tracks, you know that practically every movie he ever did he claims is “really a western.” So he always has some stranger walking into town, or has some prisoner being transferred from a jail or a new sherriff in town or what not. In Assault On Precinct 13 he has the gangsters doing blood rituals like evil movie indians in a John Wayne picture. In They Live Roddy Piper strolls into town, walking down the middle of the street even though it’s LA. In Escape From LA he does the old jumping from horse to horse routine, except with motorcycles. Vampires takes place in a sunny Mexican ghost town even though it’s about fuckin vampires. Even Big Trouble In Little China and if I remember right the Elvis TV movie started as western scripts but were re-written to modern settings. (read the rest of this shit…)
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BILL & TED’S EXCELLENT ADVENTURE (1989) is one of those beloved comedies you take for granted. I hadn’t seen it in 20+ years, so I was kinda afraid it might not hold up. It’s kind of hard to put your finger on why it works so well, and it would be hard to explain why it’s funny if somebody asked. I’m not sure if you had to be there or not.
I had heard of HIT MAN (1972) as a “Blaxploitation remake of 
THE PACKAGE is… kind of an action movie from director Andrew Davis. After the better-than-average Chuck Norris vehicle 
One thing about JOHN CARPENTER’S GHOSTS OF MARS: it’s definitely John Carpenter’s GHOSTS OF MARS.
I liked VISITING HOURS so much I figured I should follow the ol’ auteur theory with its director, Jean-Claude Lord. I know it’s a French theory, not French-Canadian, but I think it still applies. It’s 1986, only four years after VISITING HOURS, and the poor guy is already doing THE VINDICATOR.
In case you’ve had your fill of straight-to-video action and shit, I’ll give you an alternative. Today we’re having a triple-feature of ’70s blaxploitation movies with scores by Johnny Pate. You know, I’m trying to find one of those real accessible topics everybody can relate to.
Yeah I know, this Iraq deal is getting even worse but let’s just take one fuckin column to talk about what I used to talk about, the movies.
John Carpenter is one of the most controversial directors of our time. Not because he gets into touchy subjects, like he goes and does some movie about jesus doing somebody in the ass or whatever it is that offends people these days. But because of his actual work. Because no one can really seem to agree whether he sucks with a few brilliant exceptions, whether he used to be brilliant and now he sucks, or whether he is really one of the great masters of the horror and Badass Cinema and that some of these new ones are just an off day.
