"I'll just get my gear."

Posts Tagged ‘Richard Moll’

American Pop

Monday, March 1st, 2021

“Music is about the full range of the human condition – good, great, bad, sad. That’s the thing about a classic song – it can keep you going, even if you’re bleeding from the heart.” —Ralph Bakshi

You know who Ralph Bakshi is, right? An animator who worked for Terrytoons as a teenager in the ’50s, did the Spider-man cartoon in the ‘60s, then became sort of the godfather of adult animation in the U.S. by directing the X-rated FRITZ THE CAT. After a few years of that he switched up to be the animated fantasy guy with WIZARDS (1977), THE LORD OF THE RINGS (1978) and FIRE AND ICE (1983). The only movie I’ve reviewed by him is his last animated feature (he’s retired from animation now), 1992’s COOL WORLD, which I did as part of my ‘Summer Flings’ series (“a survey of summer movies that just didn’t catch on”).

Now that I think about it I really should write about more of his movies some day, especially those urban ones from the ‘70s. But for now I had this whim that I want to look at the brief, strange trend of rock ’n roll inspired animated features in the ’80s. And that started in February, 1981 with the release of Bakshi’s unique, odd epic AMERICAN POP.

How’s this for a highfalutin premise: it’s about four generations of an immigrant family and how the history of American popular music weaves through their lives. It starts in Imperial Russia in the 1890s, with intertitles like a silent film, and ends with a stadium rock concert in the ‘80s, animated in a flashy style more inspired by music videos of the time. After young Zalmie Belinski’s rabbi father is killed by the Cossacks, he moves to New York City, where he hangs out backstage at a burlesque show, becomes the back half of a horse costume, then a clown, but wants to sing. The movie follows Zalmie and his descendants through World War I and II and Vietnam, through Vaudevillians, mobsters, beatniks, hippies, punks and, uh… Bob Seger. (read the rest of this shit…)

Highlander: The Series – “The Gathering”

Monday, May 27th, 2019

Right now, in 2019, people sure do love a good TV series. Some claim that the premium cable and streaming shows are actually better than movies. As TV shows become more cinematic and cinema becomes more serialized, the two mediums seem to be growing into each other like a very respectable rat king. Big name real deal movie stars can star in TV shows or limited series and collect acclaim and awards instead of scorn for slumming it.

At the same time the industry is obsessed with “intellectual property” and franchises, so naturally we’re getting TV shows that prequelize or sequelize a popular movie/movie series. In recent years they’ve done Terminator: The Sarah Connor Chronicles, Tremors, Taken, Transporter: The Series, Training Day, Limitless, Ash vs. Evil Dead, Cobra Kai, Wet Hot American Summer: First Day of Camp and Wolf Creek, and soon we’ll be getting new Star Wars and Marvel tie-ins and maybe Undisputed and all kinds of shit.

From the dawn of 1986 they came…moving stylishly down through the decades. Movies, TV shows, cartoons, struggling to reach the time of the reviewing, when Vern will write about the franchise

That wasn’t how it worked in the early ’90s, though. There had been a few genre shows connected to movies: Planet of the Apes (1974) (and the animated Return to the Planet of the Apes [1975]), Beyond Westworld (1980), Blue Thunder (1984), Starman (1986-1987) and Alien Nation (1989-1990). None of these ran for very long, few are well remembered. TV was lesser than movies, you could never carry over the cast or the production value, and extending a movie series onto the small screen was not really a good bet.

But shit, HIGHLANDER II: THE QUICKENING wasn’t a good bet either. And producers Davis and Panzer, stinging from that loss, weren’t ready to leave the blackjack table. Maybe a TV-sized saga of the Immortals could be more than the Starman of the ’90s. Maybe it could be the M.A.S.H. of the ’90s! (read the rest of this shit…)

The Flintstones

Wednesday, June 14th, 2017

a survey of summer movies that just didn’t catch on

May 27, 1994

The Flintstones are an example of a pop culture phenomenon that’s long past its relevance, but it’s so simple and recognizable that it lingers like a ghost in the public memory. Or like a fossil! As the first prime time cartoon, it originally aired between 1960 and 1966, but more than half a century later – whether because of the spin-offs and TV movies, the vitamins and cereals, or just cultural omnipresence – almost any American could identify the show on sight.

That doesn’t mean they’ve given it much thought, though, because there’s not much to chew on here. I know I watched it for some period of my life, but couldn’t point to a favorite episode, or even a specific one. There are different stories, technically, but the joke doesn’t really go beyond “what if there was a Honeymooners type family sitcom, but with cave men?,” and with the gimmick that modern lifestyles and technology (cars, drive-in theaters, kitchen appliances) exist, crudely constructed out of rocks, bones, wood, animal skins, and talking, subservient prehistoric animals. The plots reflect the same middle class concerns as a normal show would – trying to keep your job to pay for the house, trying to make your wife not mad that you spend too much time out with your buddies – but mostly it’s that one anachronistic joke of “the modern stone age family.” It’s humor with one wink and a whole lot of taken-for-granted cartoonist ingenuity. (read the rest of this shit…)

The Jericho Mile

Monday, March 9th, 2015

tn_jerichomilerookiesIf you count TV movies – and I do – JERICHO MILE is Michael Mann’s directivational debut. It’s not as cinematic as his later big, wide movies, but it’s from the days when TV movies were legit enough to play theatrically overseas. It also stood out from other TV at the time, winning Emmies for writing, lead actor (over Kurt Russell in ELVIS!) and film editing for a limited series or special, and a Director’s Guild Award for “Outstanding Directorial Achievement in Special/Movies for TV/Actuality.” (?)

It’s a prison movie, and you know Mann isn’t gonna want to soften that up. I mean, it’s TV so we don’t get any profanity, racial slurs or rape, but it’s still got a gritty feel because it was filmed in Folsom with the real inmates all around, and plenty of establishing montages that are clearly just documentary footage. You can definitely tell that some of the supporting players are real cons. I wasn’t surprised when I read that Mann had to negotiate for each of the race gangs (white, black and Latin) to have representatives on screen and vow to prevent any race wars or riots during filming so the production wouldn’t be kicked out. I mean obviously it’s an unwritten rule on pretty much all movie sets that the actors should not be involved in any race wars. But I still give them credit for not having one. Apparently there were a bunch of stabbings, one fatal, but those were allowed. (read the rest of this shit…)

Combat Academy

Thursday, July 5th, 2012

During my intense POLICE ACADEMY research I learned that 2 years after part 1, story writer Neal Israel directed a movie called COMBAT ACADEMY. I don’t know if you can tell by just glancing at that title, but according to my calculations POLICE ACADEMY and COMBAT ACADEMY share one word and have the same syllable count. The cover uses the same font from the POLICE ACADEMY posters (and internal documents within the movies – look for that) and also the same sort of Mad Magazine style realistic painting of characters cartoonishly crowded together doing wacky things. I’m not sure if it’s an actual Drew Struzan, but if not it’s obviously based on that style. And Robert Folk did the music.
(read the rest of this shit…)