According to IMDb, SUBURBAN COMMANDO had a limited release on June 21, 1991, before a wider one in October. Therefore, it is my misfortune to have decided to categorize it as a Summer of ’91 release.
Nah, I’ll be okay, but you will not be surprised to hear that this second Hulk Hogan vehicle from New Line Cinema is even dumber and shittier than NO HOLDS BARRED, and not as entertainingly so since it’s a family comedy instead of a brain damaged underground fighting movie. But I made it through and I know what it is now and at least I was able to see the big screen debut of one of today’s most acclaimed actresses in television and film.
The premise is that you got a bounty hunter guy from a poorly explained, generic bootleg Star Wars rip-off sci-fi universe who lands on earth and lives with a bad movie’s idea of a normal suburban family. ALF with muscles and worse jokes. In the opening you have some cheap looking Star Destroyer knockoff model shots as the great hero (or maybe anti-hero? it’s not really clear) Shep Ramsey (Hulk Hogan, GREMLINS 2: THE NEW BATCH) flies in to save the president (Nick Eldredge, “S.I.D. #1,” Hill Street Blues) from their dollar store Darth Vader, General Suitor (William Ball, one episode of The Streets of San Francisco) who’s just a regular unimpressive dude in a black outfit and cape, no mask. (read the rest of this shit…)
Frankenweenie is a 26-minute long black-and-white Disney live action short that was not quite, as far as I can tell, a Summer of 1985 release. It was made in 1984, planned to play with a re-release of THE JUNGLE BOOK that summer, then production was delayed, moving it to PINOCCHIO in December, but when it received a PG rating they couldn’t play it with a G-rated movie, so it got shelved until playing with only the U.K. release of BABY: THE SECRET OF THE LOST LEGEND. I couldn’t find proof of a date, but if it was the same as the U.S. then it was in March of ’85.
But I decided it was an important backstory to fill in, because it keeps coming up. It was one of the projects then-25-year-old Disney artist Tim Burton switched to after the company didn’t use any of his designs for 
I don’t know what I expected Robert Altman’s NASHVILLE was, but not this. It’s about 2 1/2 hours, and it’s about Nashville, and it’s about America, and I don’t know what it’s about. It might be stretching it to describe it as having a plot. It’s a huge cast, too many characters for me to keep good track of, and it purposely doesn’t bother with explaining who they are. But I rarely felt lost or bored.
