Release Date: May 1st, 1963 (Italy) Directed by: Freddie Francis Written by: Josephine Tey, Jimmy Sangster Music by: Elisabeth Lutyens Cast: Janette Scott, Oliver Reed, Sheila Burrell, Alexander Davion, Maurice Denham
Hammer Films, 80 Minutes
“Now I need to drink some more.” – Simon Ashby
Last week, I watched Nightmare, another rare black and white movie from Hammer and also directed by Freddie Francis and written by Jimmy Sangster. While I enjoyed it and felt like it slightly missed the mark, I feel like this picture, which came out a year earlier, is a better film.
Granted, a lot of that credit could go to Oliver Reed, as his performance here is intense and enchanting. And honestly, this is one of many movies I can now point too and say, “That guy is an underappreciated and underutilized actor and here’s why!”
Something else that helps this movie is that it is horror but it also has a film-noir type plot about family inheritance, a once dead sibling returning, a psychotic narcissist trying to turn his sister insane, an incestuous subplot and more twists and turns than that silly road in San Francisco.
Even though this doesn’t feel like a typical Hammer Films movie, it’s kind of cool and does a lot with very little.
The end sequence is really well executed and in both noir and horror fashion, the asshole gets some good comeuppance.
I wasn’t sure what to expect going into this, as it’s one of the few Hammer films I haven’t seen but I was pleasantly surprised. Especially, when I just thought it’d be a lot like Nightmare. It definitely exceeded that decent movie and also provided a memorable performance by Reed.
Rating: 7/10 Pairs well with: other Hammer horror films of the ’60s.
Published: February 25th, 2015 Written by: Andrew Dabb, R.A. Salvatore Art by: Tim Seeley Based on:Dungeons & Dragons by TSR, characters by R.A. Salvatore
IDW Publishing, 145 Pages
I’ve known about the character of Drizzt Do’Urden for a few decades. In fact, I own a few of the Forgotten Realms paperbacks with him on the cover but I never got around to reading them because I wanted the whole saga.
Well, many of those stories were adapted into comics by IDW, who have the publishing rights to the Dungeons & Dragons franchise. So, I figured that I’d read them and get a taste for the character and his pocket in the larger D&D universe.
This first volume serves as Drizzt’s origin story and while it’s interesting and pretty unique, it’s not super exciting. However, his story had to start somewhere and it’s important if you want to actually understand the character, his motivations and what kind of struggle he’s gone through before evolving into a legendary hero.
Reading this, I appreciated the level of world building that went into the story, as originally penned by the great R.A. Salvatore. This goes deep into the culture, beliefs, politics and history of Drizzt’s people, setting up a lot of potentially good stories to follow.
Still, this first volume didn’t captivate me in the way I was hoping but that’s fine. I still plan to read the six volumes that IDW put out because I already own them and because this character can now leave the nest and grow into the great character I’ve been told he is by many.
Rating: 6.25/10 Pairs well with: other Dungeons & Dragons comics, specifically those with the Forgotten Realms banner and more specifically, those featuring Drizzt Do’Urden.
Release Date: September 3rd, 1997 (New York City premiere) Directed by: David Fincher Written by: John Brancato, Michael Ferris Music by: Howard Shore Cast: Michael Douglas, Sean Penn, James Rebhorn, Deborah Kara Unger, Peter Donat, Carroll Baker, Armin Mueller-Stahl, Anna Katarina, Mark Boone Junior, Tommy Flanagan, Spike Jonze, Daniel Schorr (cameo)
“They just fuck you and they fuck you and they fuck you, and then just when you think it’s all over, that’s when the real fucking starts!” – Conrad
I don’t think that I’ve seen this since the theater but I remembered really liking the hell out of in the ’90s and I had always meant to revisit it because Fincher’s other two ’90s films (not named Alien 3) were pretty much masterpieces.
This one doesn’t live up to the quality and iconic status of Se7en and Fight Club but it is a good filling within the ’90s Fincher cinematic sandwich.
The big selling point for me, at least when this came out, was that it starred Michael Douglas and Sean Penn. The thought of seeing those two great actors together made this picture a “must see” for me. Plus, the trailer intrigued me.
For the most part, this is a thrilling ride where you don’t really see what’s coming and how deep this “game” will go. It gets bigger and more complex with each twist in the plot and it’s a lot of fun, seeing it play out.
The problem with the film, though, is knowing that it’s just a game. Granted, the movie does its damnedest to make you question that and it really pushes the bar in pushing Michael Douglas’ Nicholas over the edge. However, I thought that the big reveal was really obvious, even before I knew the ending. In fact, I thought it was obvious from the trailer but I still was captivated enough to see how far the story would push things.
Overall, the plot doesn’t disappoint but being that so many things are so over the top and elaborate, the picture leaves me with more questions than answers. It would’ve been cool to see how all of this was pulled off but you don’t really get that and just have to accept that this is just the work of powerful pranksters with unlimited funding.
From a visual standpoint, the movie looks good and I’d say it’s less stylized than Fincher’s other movies. I’m not sure if he felt like he needed to be more reserved in that regard or of it was the work of the producers. But out of all Fincher’s movies, this one is the least Fincher-esque, as far as the cinematography goes.
As should be expected, it’s a picture that is superbly acted and the leads are truly great, here.
In the end, this is still fun to watch, even after knowing what the ending would be. As I stated earlier, I knew it was just going to be a game beforehand but that doesn’t make it a bad thriller. The big thrills still work and this is an intense movie that still packs a punch.
Rating: 8/10 Pairs well with: other David Fincher films of the ’90s that aren’t Alien 3.
I have finally reached the end of the classic Marvel Comics G.I. Joe run, which was almost entirely written by Larry Hama.
Most of it was great but the last four or five volumes are pretty shitty, this one being no different, which is sort of sad, considering how great this franchise was in its prime, back when Larry Hama still cared about it and when Hasbro was making great toys and not corny ones that pushed fans away.
To be fair, most of the loyal G.I. Joe fans were also more into girls by the early ’90s.
Anyway, this final collection of issues is a wee bit better than the previous lot but the series still went out with a whimper.
This is also plagued by awful art that is well below Marvel’s quality standards in the ’90s.
Most of the half dozen or so artists here were trying really hard to be the next Rob Liefeld and I don’t say that complimentary. They sort of adopted the worst parts of Liefeld’s style and gave us stories littered with bad physics, weird anatomy and messed up looking faces.
All in all, I still love this series. But everything went to shit after about 100 issues and never recovered.
Rating: 4.75/10 Pairs well with: Any of the original Marvel G.I. Joe comics.
Also known as: Leprechaun 5: In the Hood (alternative title) Release Date: March 28th, 2000 Directed by: Rob Spera Written by: Doug Hall, Jon Huffman, William Wells, Alan Reynolds, Rob Spera Based on: characters by Mark Jones Music by: Nicholas Rivera Cast: Warwick Davis, Ice-T, Coolio (cameo)
Trimark Pictures, 90 Minutes
“A friend with weed is a friend indeed, but a friend with gold is the best I’m told.” – Leprechaun
While the fourth film is where the series starts to really drop off in quality, this fifth film is where it turns into a total piece of shit.
This completely ignores the events of the fourth film, which was set in the future in outer space. Or maybe, chronologically that one is the final movie. But then again, I guess it doesn’t matter, as none of these movies really seemed tied to previous installments.
Anyway, the idea of having the Leprechaun go against Ice-T is kind of intriguing but when the script and the direction are quite deplorable, you get a stupid, mundane picture that might be a turd but can’t even stay afloat.
There is actually one amusing scene where the owner of a pawn shop makes fun of the film’s three protagonists but that’s about it. Even the Leprechaun’s one-liners seem tired by this point and even though the series needed to sort of reinvent itself, this was a massive misstep.
I can’t fault Warwick Davis, he seems to love playing this character and getting a paycheck in the process but five movies deep, even he can’t keep this franchise going.
The main characters in this story are rappers and they draw the ire of an evil rap producer/gangster. Just think Suge Knight, as played by Ice-T.
The music is absolute crap. This film came out in 2000 but these rappers sound like a group from a West Coast gangsta rap demo that got rejected in 1991.
In the end, the Leprechaun raps poorly too but he’s at least better than the actual rappers. This is only worth checking out for that scene and you can just watch it on YouTube, anyway.
Rating: 2.25/10 Pairs well with: the other Leprechaun movies starring Warwick Davis.
I was pretty stoked to see this documentary when the trailer came out but honestly, it was really disappointing.
This seemed like such a wasted opportunity to tell a great story about the people and all the shenanigans around Biosphere2, including the people behind the project, its genesis and how everything panned out.
This was a story that was a big part of my life around middle school age, as I had a science teacher that was obsessed with it and gave us constant updates while also having her curriculum kind of tie to the Biosphere2 experiment.
I actually had no idea how interesting the story actually was until seeing this and learning about the group and how they came together, a quarter of a century before being locked up together in the world’s first biodome.
Sadly, the documentary doesn’t seem to dig deep enough in its nearly two-hour running time. It just scratches the surface and gives you some insight. It even has the real people in the film giving their accounts of events. However, this really needed more meat and because of that, should have probably been expanded into a multipart series.
I left this feeling like I knew the story but the real details were glossed over and I didn’t get to feel like I really knew these people, as much as I should.
Still, this was interesting enough to justify its existence and it was a decent way to spend two hours but I know that there is a lot more to the story that we didn’t get and that left me unfulfilled and underwhelmed.
Also known as: The Quest (working title) Release Date: June 26th, 1988 (Beverly Hills premiere) Directed by: John Landis Written by: David Sheffield, Barry W. Blaustein, Eddie Murphy Music by: Nile Rodgers Cast: Eddie Murphy, Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, Shari Headley, Paul Bates, Eriq La Salle, Frankie Faison, Vanessa Bell, Louie Anderson, Allison Dean, Sheila Jackson, Jake Steinfeld, Calvin Lockhart, Samuel L. Jackson, Vondie Curtis-Hall, Cuba Gooding Jr., Don Ameche (cameo), Ralph Bellamy (cameo)
Eddie Murphy Productions, Paramount Pictures, 116 Minutes
“Do not alert him to my presence. I shall deal with him myself.” – King Jaffe Joffer
I’ve reviewed a lot of films lately that I know inside and out but hadn’t seen in their entirety in well over a decade. This is one of those films and after rewatching it, I realized how much I missed the good feelings that this generates, as well as how infectious Prince Akeem’s optimism is. This is really something that I hope is not lost in the sequel, which comes out in a few months.
At it’s core, this is a modern fairytale romance. While it doesn’t feature magic and mythic creatures, it does feature a great quest that sees its protagonist travel to a strange, foreign land in an effort to find treasure.
This treasure is his true love and in seeking her out, he defies his father, the King of Zamunda, as well as centuries of tradition. But in the end, love conquers all and this film conveys that message so splendidly that I feel like it’s impossible not to adore this motion picture.
Eddie Murphy is at his absolute best in this classic but his performance is maximized by Arsenio Hall, his real life best friend and a guy that plays off of him so perfectly well that it feels like they’ve been a comedy team for years when this is actually, their first movie together.
Beyond the two leads, this film is perfectly cast from top-to-bottom. It’s frankly an all-star cast that features a lot of the top black talent of the time, as well as Louie Anderson in what’s still his most memorable role.
I love the scenes with Murphy and John Amos, as well as the ones with his storyline father, James Earl Jones. Murphy holds his own alongside these legends and this is the one film where he really proves that he is the prime time talent that most assumed he was.
Also, this is the first picture where Murphy, as well as Hall, play multiple characters. This worked so well that it would go on to be a trope in several Eddie Murphy movies in the ’90s and beyond. I can only assume that many of these extra characters will also make their returns in the upcoming sequel. I hope we see the old guys from the barber shop again, even though it’d be shocking if they were still alive 33 years later.
The most important thing that needed to work in this film was the relationship that develops between Akeem and Lisa. It’s a great, simple love story and the two had dynamite chemistry and the emotion of their best scenes shined through, making this a much better picture than it really needed to be.
One thing that really jumps out, that I didn’t notice or appreciate until now, is the music. Nile Rodgers orchestrated an incredible score full of memorable pieces that make certain scenes and sequences, magical. In fact, his King Jaffe Joffer theme is so damn good it’s iconic in my book.
All in all, this is a film where everything went right and I feel as if it exceeded the expectations that even its producers had. John Landis was truly a master of ’80s comedy and this is one great example of how good of a comedic director he was.
As much as I have always loved this movie, I don’t think that I ever had the appreciation that I have for it now. It’s a pretty close to perfect romantic comedy, which is a genre I’m not a massive fan of. But when you make one so great, the genre doesn’t matter and the end result is something that far exceeds the label of “chick flick”.
Rating: 9/10 Pairs well with: other John Landis comedies, as well as Eddie Murphy’s ’80s and early ’90s films.