Release Date: September 9th, 1990 (Venice Film Festival) Directed by: Martin Scorsese Written by: Nicholas Pileggi, Martin Scorsese Based on:Wiseguy by Nicholas Pileggi Music by: various Cast: Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Tony Darrow, Mike Starr, Frank Vincent, Chuck Low, Frank DiLeo, Henny Youngman, Gina Mastrogiacomo, Catherine Scorsese, Charles Scorsese, Suzanne Shepard, Debi Mazar, Kevin Corrigan, Michael Imperioli, Illeana Douglas, Tony Sirico, Samuel L. Jackson, Vincent Pastore, Tobin Bell, Vincent Gallo
Warner Bros., 146 Minutes
“[narrating] I know there are women, like my best friends, who would have gotten out of there the minute their boyfriend gave them a gun to hide. But I didn’t. I got to admit the truth. It turned me on.” – Karen
This is a perfect movie in every way.
Motion pictures like this are hard to review because it’s just going to sound like glowing praise and lack actual objectivity. But man, this is a perfect movie and arguably Martin Scorsese’s best.
Revisiting it now, I’d have to say that it is, indeed, my personal favorite. Considering how great of a director that Scorsese is, this is a film that is in good company but still sits on the mountaintop of the auteur’s stupendous and legendary work.
The film is perfectly cast, top-to-bottom, and features a slew of iconic characters with dozens of memorable lines, which have transcended pop culture and for good reason.
The pacing of this film is perfect, as is the story structure. While I haven’t read the book it was based on and can’t compare the two, this just flows tremendously well from the early backstory part all the way to the end, which sees the main character, Henry Hill, rat out his friend and mentor, Jimmy Conway.
I love that this movie is also full of guys that would go on to star in one of the greatest television series ever made, The Sopranos. You’ve also got really small roles for other actors who would carve out nice careers for themselves like Samuel Jackson, Kevin Corrigan, Debi Mazar, Vincent Gallo, Tobin Bell and Illeana Douglas.
Additionally, one thing that really does wonders for this film is that it doesn’t have a traditional score. Instead, Scorsese filled the movie with the pop tunes of the time in which the scenes take place. The music added a lot to the movie and really made it feel more authentic and genuine.
This is also perfectly edited, never wasting a moment while also allowing you to get to know and like some of the more minor mobster characters… and there are many.
In the end, this is a fascinating crime story about a rat. It’s incredible seeing him go from being so loyal, to hitting the drugs hard and then selling out those closest to him over the course of his entire life. It’s also a true story, which just adds to the weight of it.
Release Date: March 9th, 1990 Directed by: John Patrick Stanley Written by: John Patrick Stanley Music by: Georges Delerue Cast: Tom Hanks, Meg Ryan, Lloyd Bridges, Robert Stack, Abe Vigoda, Dan Hedaya, Barry McGovern, Ossie Davis, Amanda Plummer, Nathan Lane, Carol Kane (credited as Lisa LeBlanc)
Amblin Entertainment, Warner Bros., 102 Minutes
“My father says that almost the whole world is asleep. Everybody you know. Everybody you see. Everybody you talk to. He says that only a few people are awake and they live in a state of constant total amazement.” – Patricia
This is one of those weird movies that always spoke to me, even as a kid. It’s like I knew I’d grow up and eventually find myself at a monotonous, seemingly pointless, unrewarding job for bosses that just yell nonsense and are just as lost as everyone else. So now that I am an adult and find myself in that position, this movie has even more meaning. I guess I should’ve heeded its warning when I was eleven but alas.
I also think that I liked it for the Tiki aesthetic in the movie’s third act, which sees Joe arrive at a South Pacific island where he is supposed to throw himself into a volcano in order to save the island’s tribal inhabitants.
What the movie is really about though, is living your life. It’s about not being a prisoner of what the modern world expects of you and how it’s expected for you to achieve what’s considered to be the “American dream”. Work hard, little or no play and then wash, rinse, repeat until you’re dead because retirement isn’t something most can really afford.
I love the message and the overall point of Joe Versus the Volcano, even though Joe has to go on a crazy adventure and is lead to believe he is dying and has very little time left. Joe has to believe that he’s out of time in order to really start living his best life.
Along the way, Joe meets three versions of Meg Ryan and falls in love with the best one. He also discovers that after his attempted suicidal sacrifice that he was never really dying. With this news and his new love, however, the world is Joe’s to enjoy, as he has a new, refreshed sense of being.
Beyond the story and it’s odd but somewhat clever way of delivering its message, I like just about everyone in this. Tom Hanks is pretty much his standard ’80s persona but Meg Ryan really turns things up while playing three very different characters. She excels in this movie quite magnificently and it’s kind of a shame that this was a box office dud and most people barely remember it at all. Most people I bring this film up to, haven’t seen it or even heard about it.
Joe Versus the Volcano is a weird enigma of a motion picture but I love it and always will. While I can’t consider it Tom Hanks’ best movie, it is still my personal favorite and one I like to watch when I need a kick in the ass.
Release Date: June 14th, 1991 Directed by: Kevin Reynolds Written by: Pen Densham, John Watson Music by: Michael Kamen Cast: Kevin Costner, Morgan Freeman, Christian Slater, Alan Rickman, Mary Elizabeth Mastrantonio, Geraldine McEwan, Michael McShane, Brain Blessed, Michael Wincott, Nick Brimble, Jack Wild, Sean Connery (cameo, uncredited)
Morgan Creek Entertainment, Warner Bros., 143 Minutes (theatrical), 155 Minutes (Extended Edition)
“Locksley! I’ll cut your heart out with a spoon!” – Sheriff of Nottingham, “Then it begins.” – Robin Hood
I remember seeing this in the theater and loving the hell out of it. But I think I’ve only seen it once or twice since then and those viewings were in the ’90s. So I kind of didn’t know what to expect from it, seeing it decades later. And sure, I remembered some of the more iconic moments and lines but that’s about all I remembered.
This film starts out interesting and gives Robin Hood a neat backstory that saw him held prisoner in a dungeon in Jerusalem, far from his home in England. He is able to escape and saves the life of a Moorish warrior in the process. This warrior swears a life debt to Robin and follows him back to England.
Azeem, the Moorish character, was created just for this film but I liked the character a lot and it was cool seeing Morgan Freeman bring him to life while also getting to partake in the action heavy parts of the movie. Also, he paired up well with Kevin Costner’s Robin Hood and I’d be lying if I said I wouldn’t have watched these two go on further adventures.
The story is your standard Robin Hood tale for the most part but it takes some liberties, as all interpretations of the legend do. This one also pushes the romance pretty hard between Robin and Marian but honestly, it doesn’t get in the way of the action or the larger story. This version also has a witch character, who gives advice and directions to the Sheriff of Nottingham.
Alan Rickman plays the Sheriff and frankly, it’s one of his best roles. He gets some great lines in this and he came off as very formidable against Robin in their final battle. Rickman turned the role down twice but finally took it when he was told that he’d have the freedom to play the character in the way that he wanted. I think that his influence and creative decisions made the character unique and memorable and it takes a great villain to shape a great hero.
I also like that the Sheriff of Nottingham had Michael Wincott as his main henchman. I’ve dug the hell out of Wincott for as long as I can remember and he was a good addition to this cast.
I also liked Christian Slater in this even though I felt like he was a bit underutilized.
The only truly odd thing in the film is that Kevin Costner, as the legendary British hero Robin Hood, uses his American accent, as opposed to doing a British one. I guess this was decided during production, as there are some scenes where Robin sounds a bit British-y. However, the director thought that it might be too distracting and break the film. I guess the critics of the time felt the opposite, though, as they got really hung up on the American sounding Robin Hood.
While the accent didn’t bother me too much, the running time did. I just thought this was 20-30 minutes too long and there was a lot that could’ve been whittled down. Once Robin gets back to England, early on, it felt like it took awhile for the film to really get going.
I thought that the action was pretty good and the big battles were exciting and hold up well. However, the final swordfight didn’t feel swashbuckling-y enough. I think that the director wanted a more realistic fight but part of Robin’s appeal, at least to me, was his athleticism, playfulness and mastery of the sword. Furthermore, the Sheriff of Nottingham truly gets the best of Robin and the hero only wins due to a distraction and a dagger he had hidden. It just felt kind of meh and cheap.
Still, I did like seeing this again and it was an entertaining experience. Costner was fine as Robin Hood but Rickman stole every scene that they shared.
Release Date: January 19th, 1996 Directed by: Robert Rodriguez Written by: Quentin Tarantino, Robert Kurtzman Music by: Graeme Revell Cast: George Clooney, Harvey Keitel, Quentin Tarantino, Juliette Lewis, Cheech Marin, Fred Williamson, Tom Savini, Salma Hayek, Ernest Liu, Danny Trejo, Michael Parks, John Saxon, Marc Lawrence, Kelly Preston, John Hawkes
Los Hooligans Productions, A Band Apart, Dimension Films, Miramax, 108 Minutes
“I know what’s going on. We got a bunch of fucking vampires out there, trying to get in here and suck our fucking blood. And that’s it. Plain and simple. I don’t want to hear anything about “I don’t believe in vampires,” because I don’t fucking believe in vampires, but I believe in my own two eyes, and what I saw, is fucking vampires. Now, do we all agree that what we are dealing with is vampires?” – Seth
I should preface this by saying that I love the hell out of this movie and it’s probably my favorite out of the films that Robert Rodriguez has done. I also hadn’t seen it in a really long time so a revisit was certainly long overdue.
This movie also features my favorite performance by George Clooney, an actor I have always loved and thought was cool, since first seeing him on The Facts of Life and Roseanne, as a kid in the ’80s. I’m glad this cool sitcom guy I liked actually carved out one of the greatest acting careers of his generation and really, any generation.
The reason why I like Clooney in this so much is that it is the greatest departure from the roles he usually plays, which are calm, chill, often times heroic people. While he’s always been cool, this is him at his coolest, going full throttle with no fucks given. It’s a real sight to behold, especially if you consider yourself a Clooney fan and have never seen this.
The rest of the cast is also great with Harvey Keitel, Juliette Lewis and Quentin Tarantino, who surprisingly did a solid job as his character, a guy that’s pretty much a psychopath.
Additionally, the cast is loaded with other memorable but smaller performances from Salma Hayek, Fred Williamson, Tom Savini, Danny Trejo, John Saxon, John Hawkes, Kelly Preston, Michael Parks and Cheech Marin, playing three different roles.
The thing I like most about this movie is that it’s like two films in one. The first half feels like a Tarantino crime picture and since he wrote it, it makes it that much more akin to say Reservoir Dogs, Pulp Fiction, Jackie Brown or True Romance. The second half of the film turns into an over-the-top, balls out vampire action movie that is reminiscent of exploitation horror. Being that this has Fred Williamson in it, it just adds to that motif.
My only real gripe about the movie is in its use of CGI special effects, which I thought looked shitty even way back in 1996. The film also uses some incredible practical effects done by maestro Tom Savini. Savini’s work is as superb as always and with Robert Rodriguez having that guy at his disposal, I don’t know why he didn’t let him work out the kinks and help design the more elaborate effects shots. The creature makeup just looks so incredible in this picture that when it resorts to using CGI for vampire transformations or deaths, it’s really fucking jarring and takes you out of this otherwise awesome flick.
Like Savini’s stupendous practical effects, I also thought that the set design and general costumes throughout the picture were incredible. This is such a finely crafted, cool film that unfortunately has the rug pulled out from under it due to the bad CGI moments. Honestly, the CGI really undermines the work that went into creating this unique and fun world.
In the end, though, From Dusk Till Dawn is still a solid fucking movie. The pros definitely outweigh the cons but it’s frustrating that those cons weren’t avoided in the first place.
Release Date: May 20th, 1993 (Cannes) Directed by: Renny Harlin Written by: Michael France, Sylvester Stallone, John Long (premise) Music by: Trevor Jones Cast: Sylvester Stallone, John Lithgow, Michael Rooker, Janine Turner, Leon, Paul Winfield, Ralph Waite, Bruce McGill
Pioneer, Canal+, Carolco Pictures, 113 Minutes
“Kill a few people, they call you a murderer. Kill a million and you’re a conqueror.” – Eric Qualen
This is one of my least favorite Sylvester Stallone films from his legendary run from the early ’80s through the mid-’90s. However, I still enjoy it because it’s Stallone and he has John Lithgow and Michael Rooker to work with in this.
The story is about a team of people that rescue mountain climbers. The two men on the team had a terrible falling out when one of them couldn’t save the other’s girlfriend and she fell to her death. However, they have to learn to work together again when a group of criminals crashes a plane and loses the money they stole in the mountain wilderness.
The two heroes are forced into being the criminals’ guides but once the money is located, the criminals try to take out Stallone. Stallone gets pissed and decides he needs to rescue the other guide, his former buddy, and to take out these criminals before they hurt more people.
The stunts in this are pretty impressive, especially considering the terrain and the environment. Sure, there are shots where it’s obviously not a real mountainside but they still had to get certain shots to make the film feel as real as possible.
There’s also a good amount of decent helicopter work in the film and the finale with the helicopter crashing and getting wrapped up by a cable ladder is pretty good.
Overall, this is exactly what you’d expect from a movie with Stallone on snowy mountain caps. It’s basically Die Hard on a mountain and that’s fine, as Die Hard created a formula that the action genre still tries to emulate.
Release Date: September 8th, 1993 (Los Angeles premiere) Directed by: Tony Scott Written by: Quentin Tarantino Music by: Hans Zimmer Cast: Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, Christopher Walken, James Gandolfini, Bronson Pinchot, Samuel L. Jackson, Michael Rapaport, Saul Rubinek, Conchata Ferrell, Chris Penn, Anna Thomson, Victor Argo, Tom Sizemore, Kevin Corrigan, Michael Beach, Ed Lauter (uncredited)
August Entertainment, Davis-Films, Morgan Creek Entertainment, 119 Minutes (theatrical), 121 minutes (unrated Director’s Cut)
“If there’s one thing this last week has taught me, it’s better to have a gun and not need it than to need a gun and not have it.” – Clarence Worley
Since I just revisited Natural Born Killers, a film written by but not directed by Quentin Tarantino, I figured that I’d also checkout the other one.
True Romance was directed by Tony Scott using a script that Tarantino sold in an effort to get enough money to make Reservoir Dogs. That being said, out of the two scripts he sold, this is the one that was translated to screen the best. Also, Tarantino doesn’t disown this film, as he does Oliver Stone’s Natural Born Killers.
I think that Scott’s directorial style mixed with Tarantino’s writing was a pretty good match. Granted, this also benefits from having an incredibly talented ensemble cast and one of Hans Zimmer’s most unique but incredibly effective musical scores.
Christian Slater and Patricia Arquette are f’n dynamite in this and despite the insanity of the circumstances they created, they were pretty believable, had superb chemistry and you really wanted these two kids, who had just found true love in each other, to make it though and have that “happily ever after” ending. They luckily succeed. Although, maybe they don’t but I’ll get into that towards the end of the review.
Beyond the two leads you’ve got so many notable people, many of which are in small roles or in the case of Val Kilmer, completely obscured to the point that you don’t even know that it’s him. The real standout scene in the film doesn’t even star the leads, though, it stars Dennis Hopper, who is only in a handful of scenes and Christopher Walken, who is only in this one iconic scene. And man, it’s one of the greatest scenes of Walken’s career. It happens midway through the film and it leaves you with a legitimate sense of dread, making you understand just how much trouble the young lovers are actually in.
The second most iconic scene in this is where Patricia Arquette enters her motel room alone to find James Gandolfini sitting in a chair clutching a shotgun. It’s an unnerving and extremely f’d up scene, as Gandolfini brutalizes Arquette. It’s a scene that Hollywood wouldn’t have the balls to do today due to how brutal it is. However, Arquette does get the upper hand in this ultraviolent fracas and makes Gandolfini pay in an even more brutal way.
That being said, this is an exceptionally violent film but those who have experienced Tarantino’s work, should know what they are getting into, even if the material is brought to life by another director.
So watching this film for the first time in a long time, I was left wondering about the ending. We see the young lovers leave behind the craziness that became their life for a bit. The closing moments show them on a beach with a child. All seems well and good.
However, I doubt that Christopher Walken’s very driven and cold mobster character isn’t just going to stop looking for them, especially after the crew he sent to catch and kill them were all taken out in a blaze of violence in the film’s finale. So there’s that bit of worry in the back of my head and it does leave the movie open for a sequel. However, I’d leave this alone and never attempt that. By this point, that ship has most definitely sailed, anyway.
True Romance is a great film, top-to-bottom. It’s built up a legitimate cult following over the years and being that Arquette’s Alabama is directly tied to Harvey Keitel’s Mr. White from Reservoir Dogs sets it in the same universe as that film and Pulp Fiction and just adds to the picture’s mystique and coolness.
Release Date: August 26th, 1994 Directed by: Oliver Stone Written by: Quentin Tarantino, Richard Rutowski, Oliver Stone, David Veloz Music by: various Cast: Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tommy Lee Jones, Tom Sizemore, Rodney Dangerfield, Edie McClurg, Russell Means, Evan Handler, Balthazar Getty, Steven Wright, Marshall Bell, O-Lan Jones, Mark Harmon (uncredited), Adrien Brody (uncredited), Arliss Howard (uncredited), Ashley Judd (Director’s Cut), Rachel Ticotin (Director’s Cut), Denis Leary (Director’s Cut), Bret Hart (Director’s Cut)
Alcor Films, New Regency Productions, Warner Bros., 118 Minutes (theatrical), 122 minutes (Director’s Cut)
“Once upon a time, a woman was picking up firewood. She came upon a poisonous snake frozen in the snow. She took the snake home and nursed it back to health. One day the snake bit her on the cheek. As she lay dying, she asked the snake, “Why have you done this to me?” And the snake answered, “Look, bitch, you knew I was a snake.”” – Old Indian
Quentin Tarantino wrote the script for this film and sold it just like he sold the script for True Romance. At the time, he wasn’t an established filmmaker and he was initially trying to get money to make Reservoir Dogs. That money eventually came from a producer and he was able to obtain more for that film than just what he had selling some scripts for the bare minimum.
However, once this movie came out, Tarantino disowned it for various reasons and it’s been a pretty sore subject for him, ever since.
I’m not a big fan of it either, even though the vast majority of my friends in 1994 (and many today) seem to love this motion picture. Since I hadn’t watched it in at least fifteen years, I wanted to revisit it and try to look at it as objectively as possible, since I only remembered a few key scenes.
Overall, this isn’t a bad movie but it’s certainly not as good as many people have made it out to be. It’s kind of a mess, narratively. It has a broken, Tourette’s-like pace and it relies so much on wacky visuals that it looks more like a mish-mash of unrelated ’90s music videos trying to tell a coherent story.
I guess you could look at the film as being from the point-of-view of the two insane characters it features. So things may look wacky to them but that doesn’t mean that it can just be dismissed if it has more of a negative impact on the total package than a positive one.
I take Tarantino’s side in regards to him hating the sequence with Rodney Dangerfield. In that sequence, the movie turns into a sitcom with a laugh track. But it deals with the fact that Dangerfield’s character rapes his own daughter. It’s not edgy or cool, it’s actually quite distasteful and I say that as a guy that has loved exploitation movies since he was a kid. I know that it’s supposed to be unsettling but it makes the movie jump the shark and it never really comes back. Sadly, for the picture, this happens really early on.
The only sequence in the movie that I really liked was the one with the Native American. I also think it’s the most important scene in the film and ultimately, it leads to their arrest, after betraying the only figure in the story that potentially could’ve helped save them from themselves.
The film is really split into two very different hours. The first sees the characters meet, get married, go on a spree of murderous violence and come to the Native American that could’ve possibly given them a different path to walk in life. The second, sees these two in prison, now beloved by the violence-hungry media and with millions of fans that see them as some sort of fucked up folk heroes. With that, the television journalist that interviews them for his program, has a severely unhealthy obsession with them and ultimately joins their cause when a prison riot starts.
The movie was trying to paint a picture about the state of America and the media at the time. It was trying to show the media and the public’s obsession with violence and love of terrible people. While this is possibly true to some degree, the picture is so over the top with it that it’s not remotely believable. I grew up in this time, I was the most impressionable then too. I was a ’90s edge lord trying to say and do edgy, stupid shit because it’s what we did back then. And while many were fascinated by serial killers and violent crime, I still can’t believe that these characters would’ve been worshipped by millions. Sure, I could see some shitheads embracing them like the shitheads that embraced the Columbine shooters a few years later. However, these type of people are a very, very small minority in society and don’t necessarily reflect a widespread problem.
I guess I can look at the movie as more of a warning against these things because nothing in this film is presented in a way that should be taken literally. However, I think that Oliver Stone’s impression of the human race was extremely flawed and he was pretty fucking paranoid. In fact, by making this film, he contributed to that very problem, as it was something that the Columbine shooters looked at for inspiration. I’m not blaming Stone, though, as there’s no way he could’ve known this and he’s not responsible for the acts of other people.
Also, I’m not sure how much of this paranoia was due to Tarantino’s original story or how Stone interpreted it and pushed the envelope. But based off of how Tarantino felt about the finished film and specifically about the incestuous rape stuff, I’d have to lean towards Stone on this one.
Getting back to the television journalist, played by Robert Downey Jr., the moment that he so quickly flipped his switch to bonkers and joined the murderous duo in their prison escape, I mentally checked out, completely.
From that point on, it was hard to reel my brain back in and it jumped the shark a second time and even higher than the first. There should be a term for that. Maybe I’ll invent a new one in honor of Downey Jr.’s character and say they “pulled a Wayne Gale.”
Yeah, that probably won’t stick but whatever.
Anyway, I do think that the movie really is superbly acted from top-to-bottom. One person that I haven’t mentioned yet that really turned it up to eleven was Tommy Lee Jones. Fuck, he was intense in this movie and I believed his character, every step of the way. What a performance, man.
And with that, I have to tip my hat to Woody Harrelson, Juliette Lewis, Robert Downey Jr., Russell Means, Tom Sizemore and even Rodney Dangerfield, who was exceptional in a sequence that was severely off-putting and cringe.
In the end, it’s the acting that really salvages the picture.
Original Run: 1996 – 1997 Created by: Ted Newsom, Dante J. Pugliese Directed by: Ted Newsom Written by: Ted Newson, Jeff Forrester (uncredited) Cast: Christopher Lee (presenter), Roger Corman, Hugh Hefner, Fred Olen Ray, Richard Denning, Bela Lugosi Jr., Hazel Court, Robert Wise, Beverly Garland, Gloria Talbott, Sara Karloff, Dick Miller, Caroline Munro, John Agar, Ralph Bellamy, John Carpenter, Richard Matheson, Linnea Quigley, various
Multicom Entertainment Group, 26 Episodes, 22 Minutes (per episode)
I’m glad that this documentary television series was made when it was, in the mid-’90s, as it allowed for the children of multiple horror icons to be involved and to tell stories about their fathers, their careers and their personal lives outside of the public eye.
Additionally, I love that this was able to include a lot of the filmmakers, writers and actors that were involved in a lot of classic horror films. Had this been made today, a lot of these people wouldn’t have been able to tell their stories in their own words, as they’re no longer with us.
Also, I love that Christopher Lee was the presenter of this series, as there wasn’t a more perfect choice available.
This series features 26 episodes, roughly 22 minutes apiece. Each episode tackles a different subject, be it a type of monster or a legendary horror actor. Plus, each episode covers a lot of ground for its running time, jumping through history and trying to show the audience everything it possibly can on the subject.
There really isn’t a dull episode, as there are so many different things that can be covered. There could’ve been more episodes and there still would’ve more topics to explore.
I like that this just dives right in and delivers so much. In fact, every episode showed me something I wasn’t aware of and helped me expand my list of old school horror movies that I still have left to watch and review.
All in all, this was pretty great and classic horror fans will probably find themselves lost in each episode, traveling through time and seeing things they still haven’t seen before.
Also known as: The All New George A. Romero’s Night of the Living Dead (poster title) Release Date: October 19th, 1990 Directed by: Tom Savini Written by: George A. Romero Based on:Night of the Living Dead by George A. Romero, John A. Russo Music by: Paul McCullough Cast: Tony Todd, Patricia Tallman, Tom Towles, Bill Moseley
21st Century Film Corporation, Columbia Pictures, 92 Minutes
“This is something no one’s ever heard about, and no one’s ever seen before. This is hell on earth.” – Ben
Other than the solid special effects, I’m not a fan of this movie. And that does kind of suck because I am a fan of Tom Savini, the special effects master turned director.
I think what I don’t like about this movie is that everyone in it makes the worst decisions possible. Also, they’re all pretty unlikable because all they do is make dumb choices and scream the entire time with all the lights on in the house and zombies outside listening for food. I also should mention that everyone is hammering fucking boards over the windows for almost the entire length of the picture!
Now I know that this was a remake of the original 1968 film and that the script was pretty damn close to the source material. However, by 1990, zombie movies had been around for a long time and with that, there are much smarter films on the subject that George Romero, himself, had written.
While this was his attempt to start over with his original concept, it doesn’t mean that it has to be populated with really stupid, self-sabotaging assholes. A person in 1990, whether they know what zombies are or not, should still have the common sense to shut the fuck up and act like you don’t exist when there is literally death surrounding your house. No, not these dopes, they might as well have been banging pots and pans outside screaming, “Come and get it!”
By 1990, you can’t suspend this much disbelief. Well, I guess some people can because many consider this to be better than the original. Well, if I’m being honest, I was never a huge fan of the original either. In fact, I much prefer the sequels that started a decade later.
Whatever, no disrespect to Tom Savini but fuck this movie. His special effects were great, though.
Release Date: December 6th, 1990 (Los Angeles premiere) Directed by: Tim Burton Written by: Tim Burton, Caroline Thompson Music by: Danny Elfman Cast: Johnny Depp, Winona Ryder, Dianne Wiest, Anthony Michael Hall, Robert Oliveri, Kathy Baker, Vincent Price, Alan Arkin, Conchata Ferrell, Caroline Aaron, Dick Anthony Williams, O-Lan Jones, Nick Carter (uncredited)
Twentieth Century Fox, 105 Minutes
“Hold me.” – Kim, “I can’t.” – Edward
This movie came out around my 12th birthday. But I didn’t get to see it in the theater because I was a kid that didn’t control his own life and it was also the holidays and back then, that meant lots of travel to see cheek-pinchers and older rotund family members that wanted to force feed me into a sugar coma. That’s not a snarky complaint, I actually miss those simpler times and those people, who have mostly passed on.
Anyway, I really wanted to see Edward Scissorhands but I didn’t get to check it out until it was available to rent at the video store. Once I did see it, I was blown away by it and even as a pre-teen, I remember thinking that Tim Burton had truly created something special and evolved really quickly as a filmmaker with this being just his fourth feature film after the previous year’s Batman, as well as Beetlejuice and Pee-Wee’s Big Adventure.
As much as I had loved Burton’s previous work, especially Batman, it was this movie that really cemented him as my favorite director of this era behind Steven Spielberg.
This also cemented Johnny Depp and Winona Ryder as two of my favorite actors of the era, as both of them really transcend the screen and put in such beautiful and believable performances that it’s impossible to watch this film and not be emotionally effected.
Furthermore, this also features my favorite performance by Dianne Wiest, an actress I have loved for as long as I can remember. But in this, she really turns up the matriarch persona she is so well at playing. She’s so lovely, kind, has a tremendous heart and you find your own heart breaking, as she comes to realize that as much love as Edward deserves, maybe she made a grave mistake in trying to bring him into her world so quickly. And this realization is where the movie takes a turn and gets much deeper, much darker and much more meaningful.
At its core, this is a Grimms’-style fairytale set in the modern world. However, the modern world is presented in a way that’s sort of timeless. While it features things that were modern for 1990, the look of suburbia is done in a colorful 1950s style. This is one of the things I love most about the movie, as it takes the things that influenced Burton’s development and sort of blends them together. It gives the film a dreamlike, fantastical quality that couldn’t have been achieved had Burton just set this in a place that was blatantly contemporary for the year it was filmed in.
The film is also populated with so much talent and great performances from everyone involved like Alan Arkin, Robert Oliveri, Anthony Michael Hall, Kathy Baker, Conchata Ferrell, etc.
For me, though, seeing Vincent Price in this was truly special. He was a huge inspiration to Burton and myself, as well. This picture provided him with the perfect role to go out with honor and grace. And while he did a television movie after this, Edward Scissorhands was the legend’s true exit from film and his few moments in this were just beautiful and brilliant.
Edward Scissorhands is a close to perfect film. Sure, as I’m now older and hadn’t seen this in a long time, I do see some minor flaws, here and there. However, they’re not worth nitpicking over, as the film has held up tremendously well and the things it does perfectly far exceed the small things that might have been lacking.