Also known as: Smart Alec (working title), Trouble Border (Japan – English title) Release Date: August 22nd, 1997 Directed by: Roger Christian Written by: Floyd Byars, Alex Siskin, Chris Black Music by: Anthony Marinelli Cast: Patrick Stewart, Vincent Kartheiser, Brenda Fricker, Brad Whitford, Matt Craven, Annabelle Gurwitch
Pacific Motion Pictures, Dunlevy Pictures, Columbia Pictures, 106 Minutes
“Enjoy the show, Maloney.” – Ozzie
Man, oh, man… this movie started out really bad. However, I was really enjoying it by the third act and as goofy and stupid as it was, some of the performances were entertaining as hell, even if they were extremely over the top.
You really have to suspend disbelief with this movie, as thinking too hardly about plot details makes the whole thing fall apart.
Granted, it’s hard to dismiss some of the stuff that’s so blatantly stupid like a private school getting a multi-million dollar, high tech security package just to stop one troublemaking, prankster, hacker teen.
And don’t get me started on the actual hacking in the movie because like Hackers and Weird Science, the filmmakers, here, think that online security resembles some sort of adventure video game. But hey, I get it, we need exciting visuals and real hacking isn’t exciting to look at for the regular Joe.
The plot is basically “Die Hard in a private school” or more correctly, a ripoff of 1991’s Toy Soldiers but with only one teenage hero fighting terrorists. And I guess they’re not terrorists, as much as they are just Patrick Stewart and a gang of militarized thugs trying to extort the school’s president for money by holding the kids hostage.
As the plot rolls on, the kid fights back, using secret passageways and tricks to outwit the dimwitted militarized force. Eventually, he has his showdown with Patrick Stewart and we’re treated to an armored golf cart race through the catacombs under the school and nearby city.
Overall, the finale was pretty decent, even if the golf carts moved too slowly and the whole thing dragged on for too long.
Masterminds is a forgettable film, mainly because it recycled a formula that people had seen a few dozen times before it came out. But Stewart is enjoyable, as always, and it was weird seeing Pete Campbell from Mad Men play a skateboarding, douchey, hacker teen from the edgy boi ’90s.
Rating: 5.5/10 Pairs well with:Toy Soldiers and other Die Hard clones.
Also known as: Godzilla 2, Fathom (working titles) Release Date: May 29th, 2019 (Europe, South Korea, Indonesia) Directed by: Michael Dougherty Written by: Michael Dougherty, Zach Shields, Max Borenstein Based on:Gojira, Ghidorah, the Three-Headed Monster, Mothra and Rodan by Toho Co. Ltd. Music by: Bear McCreary Cast: Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds, O’Shea Jackson Jr., David Strathaim, Ken Watanabe, Zhang Ziyi, Joe Morton
Legendary Pictures, Warner Bros. Pictures, Toho, 132 Minutes
“We opened Pandora’s box. And there’s no closing it now.” – Jonah Alan
*There be spoilers here! No, seriously, I spoil the shit out of stuff in this one.
It’s been five years since the last American Godzilla film and I hate waiting. Sure, we got Kong: Skull Island two years ago, which is a part of this series, but Godzilla is the true king of kaiju and his return has been long overdue. Plus, we were promised a movie featuring King Ghidorah, Mothra and Rodan, so five years was too damn long to wait.
Now I enjoyed the first movie, even if I had some issues with it but I discussed those in that film’s review. As far as this one goes, I still have some issues but overall, this is a superior chapter in the pretty good American Godzilla series.
The film was certainly well cast with its human being characters but that was a part of my problem with the movie. There was just so much broken family drama and bullshit that it dragged the film down. Sure, you need a human story to ground the picture and make it relatable but I want to see giant monsters punching the shit out of each other, as opposed to an episode of This Is Us.
As far as the monsters go, I was afraid that the movie would have monster overkill, as the trailer mentioned 17 “titans”, which is white people for “kaiju”. Luckily, the only ones we really see fight are the main four we were promised: Godzilla, Ghidorah, Mothra and Rodan. There are several other monsters that appear, including a new M.U.T.O. and a creature similar to Kumonga, but we only really see glimpses of them and then one scene where they appear at the end, after the big action has already gone down. Kong and Skull Island are also mentioned but Kong does not appear, which does create a bit of a plot hole but whatever, everything has plot holes these days.
The origin of the monsters is different in this film too. Mothra is Chinese, Rodan is Mexican, Godzilla is from Atlantis and King Ghidorah is Antarcticese but is later discovered to be from space, so I guess his origin is the most accurate. Well, except for the fact that he has Wolverine healing powers and can grow back heads like a hydra.
Also, Rodan is a dick in this movie and he’s not an ally to Godzilla and Mothra, as he should be. He comes around in the end, after the final fight, but I wanted to see the classic match up of King Ghidorah vs. Godzilla, Mothra and Rodan in a 3-on-1 handicap match.
There’s one point in the film where a general says, “We’ve got a secret weapon…” And my mind immediately screamed, “MECHAGODZILLA!!!” But then the general continued with, “…an oxygen destroyer.” So that was a nice homage to the original Gojira and it was a tremendous use of CGI special effects to make it look much more powerful than the 1954 equivalent but the weapon was used so freely and carelessly that the film missed the whole moral debate over that powerful weapon. However, I guess that was sort of replaced by the humans arguing about this film’s other weapon/device/MacGuffin: the Orca.
But the big monster battles are the most important thing about any kaiju movie and this picture gives us pretty solid kaiju action. At least, it’s much better than the total lack of kaiju action we got with this film’s predecessor, the 2014 Godzilla.
New York Yankees fans will love the big final battle in this film as it takes place in Fenway Park. You see the iconic stadium and all of Boston get leveled. And I’m assuming the Red Sox allowed the film to shoot there, due to some of the specific shots that saw Millie Bobby Brown’s character arrive there for the climax. But I guess the famous saying should now read: “Boston Strong, Godzilla Stronger.”
Anyway, I was mostly happy with the film. The human drama bullshit was grating and Vera Farmiga’s character is an evil, selfish psychopath, no matter how hard this film wants to justify her apocalyptic actions. They kind of try to redeem her in the end with her final act but that bitch wanted to die a hero because of her own ego not because she’s got a heart or anything. Thirty minutes earlier she was releasing giant monsters despite millions of people needing to evacuate from giant monsters. She was an insufferable shithead and her husband, Kyle Chandler a.k.a. Mr. Friday Night Lights was pretty terrible too. But maybe I’m just pissed that he never got killed or arrested on Bloodline.
My favorite moment in the movie was when the deaf chick from that Oscar winning fish fuck movie got eaten by King Ghidorah like a piece of popcorn chicken. I bet she lost a shoe this time too.
This review is probably all over the place but I got shit hammered at the theater, hit the bar pretty hard after and am currently too wired to sleep, so I wrote this now, as it’s approaching 3 in the f’n morning. Thank fuck for spell and grammar check.
But hey, this was a step up from the last one. It had better kaiju action, a better than decent story and good acting apart from the two leads that should have been merked much earlier than Bryan Cranston was in the first flick. Hell, Kyle Chandler survives again and he’s still getting away with killing his own brother and sending his other one to Cuba with his dumb wife that forgot to ditch her phone.
And I’ve also got to ask, what’s with all this need for a plot and shit? Monsters smash monsters, the end! It’s not rocket science! We don’t need story getting in the way of a kaiju Royal Rumble. Other than the original, original Godzilla picture, these don’t need to be thinking movies. When “Stone Cold” Steve Austin was giving Stunners to the Undertaker, we didn’t need him to stop before the attack and recite Shakespeare, we just wanted to see him drop the Deadman with a kick to the gut and a yank of the head.
The moral of the story review is:
Monsters punching monsters: Good!
Human family drama and storytelling: Bad!
Rating: 7.5/10 Pairs well with: the American Godzilla film before this, as well as the original Japanese films Ghidorah, the Three Headed Monster, Invasion of Astro-Monster, Destroy All Monsters and Godzilla: Final Wars.
Release Date: May 1st, 1993 (Japan) Directed by: Fred Dekker Written by: Frank Miller, Fred Dekker Based on: characters by Edward Neumeier, Michael Miner Music by: Basil Poledouris Cast: Robert John Burke, Nancy Allen, Robert DoQui, Felton Perry, Rip Torn, Mako, John Castle, CCH Pounder, Stephen Root, Jeff Garlin, Shane Black, Bradley Whitford, Lee Arenberg, Daniel von Bargen
Orion Pictures, 104 Minutes
“Well, I gotta hand it to ya. What do they call ya? Murphy, is it?” – The CEO, “My friends call me Murphy. You call me… RoboCop.” – RoboCop
RoboCop 3 should not exist. Well, at least in the form that it does.
For one, Peter Weller left the series and Nancy Allen’s Lewis gets killed off pretty early on, leaving us with a movie mostly devoid of the actors and characters we’ve come to care about except for a few minor side ones like the the police sergeant and Johnson.
Not even Dan O’Herlihy came back to play the Old Man in charge of OCP. I guess his absence was explained by OCP being bought by a Japanese company. So instead of the great O’Herlihy, we got a bored looking Rip Torn as the new head of OCP. Johnson was still there though, even if he felt out of place hamming it up with new office buddies.
The story deals with a bunch of poor people getting violently thrown out of their homes so OCP can steal the land and build Delta City, which has been an overused plot point since the first movie. RoboCop catches feelings for the poor people, especially after meeting a four year-old girl that hacks ED-209s and watching Lewis get gunned down by a private military company hired by OCP. There’s also some terrible cyborg ninjas in this. Oh, and RoboCop gets a pointless gun arm and a lame as shit jetpack.
The special effects in this are laughably bad, even looked at within the context of the era this was made in. This is a much cheaper looking movie than RoboCop and RoboCop 2 by a wide margin. ED-209 looks about the same but I’m sure they just reused one of the robots from the first film. RoboCop himself is a new actor but he’s wearing Peter Weller’s suit, which was too short for the new actor and caused him a lot of pain.
RoboCop 3 is just one costly shitshow that has nothing redeeming hidden within it. I’ve only seen this one a few times but I’ve watched the first two at least a dozen times each. This is just really hard to sit through and pretty much a pointless film, overall.
Rating: 3.75/10 Pairs well with: the first two RoboCop movies but they’re far superior and I guess any bad RoboCop ripoffs with an extremely low budget, hokey effects and crappy acting.
Release Date: July 10th, 1987 Directed by: Joe Roth Written by: Dan Guntzelman, Steve Marshall Based on: characters by Tim Metcalfe, Miguel Tejada-Flores, Steve Zacharias, Jeff Buhai Music by: Mark Mothersbaugh, Gerald V. Casale Cast: Robert Carradine, Timothy Busfield, Andrew Cassese, Curtis Armstrong, Larry B. Scott, Donald Gibb, James Cromwell, Anthony Edwards, Courtney Thorne-Smith, Bradley Whitford, Ed Lauter, James Hong
Interscope Communications, 20th Century Fox, 89 Minutes
“There could be a nuclear war; there’d be nothing left but cockroaches and nerds.” – Roger
I wouldn’t say that this is a better movie than its predecessor but for some reason, I enjoy Nerds II more than I enjoy Nerds I. That could also be because of the fact that I was briefly on the set of this film when they were shooting the scenes at the front exterior of the hotel, which was the Embassy Suites in Fort Lauderdale, which wasn’t too far from my father’s house back then.
Another benefit of this movie is that it doesn’t feature any creepy behavior from the nerds. As I discussed in my review of the previous film, Louis raped a girl, filmed and broadcasted an entire girls’ dorm in their private moments and even hid in a girl’s shower to see her naked.
This film was also PG-13 and not R, so that probably had a lot to do with the lack of boobies and rape behavior. But being that this was PG-13 made it just a stoner comedy and not a teen sex comedy. However, by 1987, teen sex comedies had sort of run their course.
The plot for this film isn’t to dissimilar from its predecessor. The nerds have to rise to the challenges put in front of them by the jocks and the cool kids. The Alpha Betas return to be the villains but this is a new group where Ogre is the only returning member from the previous movie. The new group is lead by quintessential ’80s dickhead Bradley Whitford. I call him a “dickhead” but that was what he played a lot back then. He’s grown to become a pretty accomplished actor but I still remember him most fondly for his roles like the one here, Adventures In Babysitting and Billy Madison. He was superb in Get Out and I am really looking forward to seeing him in next year’s Godzilla sequel.
Most of the key nerds return for this film except for Brian Tochi. Also, Anthony Edwards wasn’t a fan of the script and even though he is in this, his role was significantly reduced to being a glorified cameo in a few scenes. Ted McGinley and John Goodman aren’t in this either, which kind of sucked but Whitford really carried the ball and ran with it.
We also get the addition of Courtney Thorne-Smith but she doesn’t have a lot to do other to to pine over Louis but nothing happens between them and Louis is still with Betty, the girl he raped into a relationship in the first movie. Louis and Betty are married by the time Nerds III rolled around.
So the main difference between this movie and Nerds I is that it is set in a “tropical paradise”: Fort Lauderdale. Also, the nerds are holed up in a really shitty hotel that has a boisterous Cuban lady and the legendary James Hong as a sort of zen master for Booger’s gross antics. Also, Ogre becomes a nerd by the end of the film. I actually kind of liked this bit, as Ogre doesn’t really fit in with the jocks, other than being used for his muscle power and intimidation.
Based off of the reviews and ratings I’ve seen for this film, it’s not as beloved as the original. But in all honesty, it’s not that bad if you are a fan of the first one.
Rating: 6.5/10 Pairs well with: The original Revenge of the Nerds but the sequels after this one get pretty terrible.
Also known as: A Night on the Town (Australia) Release Date: June 19th, 1987 (New York City premiere) Directed by: Chris Columbus Written by: David Simkins Music by: Michael Kamen Cast: Elisabeth Shue, Keith Coogan, Anthony Rapp, Maia Brewton, Penelope Ann Miller, Bradley Whitford, Calvin Levels, George Newbern, Vincent D’Onofrio, Albert Collins (cameo), Ron Canada
Rose Productions, Silver Screen Partners III, Touchstone Pictures, Buena Vista Pictures, 99 Minutes
“Don’t fuck with the Lords of Hell!” – Gang Leader, “[Chris picks up the knife and shoves it in the gang leader’s face] Don’t fuck with the babysitter!” – Chris
Adventures In Babysitting was one of those movies I watched a heck of a lot as a kid in the ’80s. It was just a cool movie and being that I was around the same age as the youngest kid in the film, who was also a massive Thor fan, it was easy to relate to the characters. Plus, my family are all originally from Chicago and I used to go up there all the time in my youth. I love that city and this really captures it in a very ’80s way, which was also how I first experienced Chicago.
I think the real glue of this picture is Elisabeth Shue. She was perfect as the lead and believable in the situations she found herself in. I guess the studio wanted Molly Ringwald or Valerie Bertinelli but Shue landed the role and I can’t quite see how this movie would work the same way with those other actresses. The character of Chris felt very much like Shue.
The kids in the film were also well cast. You had Keith Coogan and Anthony Rapp, both at the beginning of their careers, and Maia Brewton, who was solid and the most fun and energetic character in the movie. I also love all the bits Penelope Ann Miller did at the bus station, even though she was on her own and separated from the other kids throughout the vast majority of the picture. And even though he’s only in two scenes, Bradley Whitford played his ’80s douchebag role to perfection in this.
The premise sees these kids go into Chicago to pick up Chris’ friend, who has run away from home and is stranded at an inner city bus station. On their way into downtown Chicago, they blow out their tire. They get saved by a nice tow truck driver but then things go absolutely nuts and the kids get mixed up with an auto theft ring ran by some shady dudes. The rest of the film sees them running through Chicago, dodging the gangsters and constantly getting into wild situations. It almost plays like an urban Goonies without treasure. Additionally, the end has the kids racing home to beat the parents in a similar fashion to Ferris Beuller but without the cool musical montage of Ferris running through people’s yards and houses.
This was also the first film directed by Chris Columbus, who had written some very successful films before landing this gig.
Like all ’80s teen films, this is certainly dated. However, it hasn’t lost its charm or any of the excitement. It has held up really well and isn’t just good when seen through nostalgic eyes, it is just a film that works and is still a blast.
Plus, it had a friggin’ awesome movie poster in a time when there were still friggin’ awesome movie posters.
Rating: 7.5/10 Pairs well with: For an Elisabeth Shue pairing, watch The Karate Kid. For Keith Coogan and a babysitting theme, Don’t Tell Mom the Babysitter’s Dead. If you want to see more of Bradley Whitford being an ’80s prick, Revenge of the Nerds II: Nerds In Paradise.
Young Guns was kind of a big deal when it came out in 1988. It had hip young stars and it was a western in a decade where they weren’t too popular. It was like a gritty, Brat Packy action flick that saw our heroes face off against one of the greatest western villains of all-time, Jack Palance.
And then there was a sequel, which brought in some other young stars on the rise.
Since it has been awhile since I’ve seen these two movies, I felt like it was time to revisit them.
Young Guns (1988):
Release Date: August 12th, 1988 Directed by: Christopher Cain Written by: John Fusco Music by: Anthony Marinelli, Brian Banks Cast: Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Dermot Mulroney, Casey Siemaszko, Terry O’Quinn, Jack Palance, Terence Stamp
Morgan Creek Productions, 20th Century Fox, 103 Minutes
“Hey, Peppin. I see you got Charley Crawford down there with you.” – Billy the Kid, “Yeah, that’s right, Bonney. We got a whole…” – Peppin, [Bonney goes to the window and shoots Charley Crawford] “Hey, Peppin. Charley Crawford’s not with you anymore.” – Billy the Kid
While I still enjoyed this movie, so many years after I had seen it last, it isn’t a film that has aged well. Still, it has a lot of high adrenaline moments and a great young cast of up and coming talented actors. It just feels very ’80s and kind of hokey, at points.
Emilio Estevez is the star of the picture but he is surrounded by Kiefer Sutherland and Lou Diamond Phillips, who would also join him in the sequel, as well as his brother Charlie Sheen, Dermot Mulroney and Casey Siemaszko. There is also Jack Palance as the villain, Terence Stamp as the mentor and John Locke himself, Terry O’Quinn, as an ally of sorts.
It is cool seeing these guys come together for a real balls to the wall adventure but the writing was pretty weak. This chapter in Billy the Kid’s life was interesting to see on screen but the movie does take some liberties, albeit not as many as its sequel.
Estevez is really enjoyable as William H. Bonney and he made the historical figure cool, even if he was a killer and not a very good person. He embraced the role, ran with it and gave it a lot of energy that someone else probably wouldn’t have been able to muster. At least not quite the same way Estevez did. Plus, I always like seeing him act with his brother. Sadly, Sheen doesn’t last too long and obviously didn’t return for the sequel after meeting his demise in this one.
Problems aside, Young Guns is still entertaining and a really fun movie. This one is considered the superior of the two but I actually like Young Guns II a hair bit more.
Rating: 7/10 Pairs well with:Young Guns II.
Young Guns II (1990):
Release Date: August 1st, 1990 Directed by: Geoff Murphy Written by: John Fusco Music by: Alan Silvestri, Jon Bon Jovie Cast: Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Christian Slater, William Petersen, Alan Ruck, Balthazar Getty, James Coburn, Jenny Wright, Robert Knepper, Viggo Mortensen, Tracey Walter, Bradley Whitford,
Morgan Creek Productions, 20th Century Fox, 104 Minutes
“Yoohoo. I’ll make you famous!” – Billy the Kid
Young Guns II was a good sequel to the first. It’s far from a perfect film and has its share of issues but it feels consistent with its predecessor and I liked the additions to the cast in this one. And then there is the sexy bare ass scene with Jenny Wright that really got me excited when I was an 11 year-old in the movie theater seeing her majestic bum on a thirty foot screen. It was one of those special moments in life where you truly believe that God is real and he’s your best friend.
The soundtrack by Jon Bon Jovi makes the film feel dated but the instrumental versions of his pop rock song are still enjoyable and give the film an extra level of hipness that the previous picture didn’t have.
I really like the addition of Christian Slater here and he is my favorite character in this film series. I also liked seeing Alan Ruck and Balthazar Getty join the gang. Another plus for me was seeing Bradley Whitford get a small but important role, as I always liked him, even if I only knew him as being a dirtbag in several ’80s teen comedies. Whitford would go on to have a pretty nice career where he could show off his acting prowess much more effectively than his earlier roles.
While the big finale in the first film was bigger than anything that happens in this one, this film has a grittier feel to it, which I liked. I also liked that it told the Billy the Kid and Pat Garrett story, even if it took some big liberties.
The film also entertains the Brushy Bill Roberts story, where an old man back in the ’40s claimed that he was Billy the Kid and that he actually wasn’t killed by Garrett in 1881. Emilio Estevez also plays the older Bill, where Whitford plays the guy interviewing him.
Both films have some scatterbrained writing but that doesn’t make them hard to follow and not enjoyable. This chapter is more disjointed than the first but its positives give it an edge, in my opinion. The returning cast seemed more in tune with their roles and Slater was fun to watch. Rating: 7/10 Pairs well with: Young Guns.
Release Date: February 10th, 1995 Directed by: Tamra Davis Written by: Adam Sandler, Tim Herlihy Music by: Randy Edelman Cast: Adam Sandler, Bridgette Wilson, Bradley Whitford, Josh Mostel, Norm Macdonald, Darren McGavin, Chris Farley, Steve Buscemi, Robert Smigel, Allen Covert
Universal Pictures, 89 Minutes
“Whoa whoa whoa, Miss Lippy. The part of the story I don’t like is that the little boy gave up looking for Happy after an hour. He didn’t put posters up or anything, he just sat on the porch like a goon and waited. That little boy’s gotta think ‘You got a pet. You got a responsibility.’ If your dog gets lost you don’t look for an hour then call it quits. You get your ass out there and you find that fucking dog.” – Billy Madison
I have never been much of an Adam Sandler fan. I don’t dislike him though and I have enjoyed his more serious stuff, which I think he has a gift for. Yet, time and time again, he gives us really dumb and bad movies. Billy Madison is a film that people love but even when I was a teenager and this was a current film, I just didn’t care for it.
There just isn’t very much in this movie that I find funny. It’s not because I don’t like goofy humor but the movie doesn’t have much of a point to make and it follows a completely unlikable character that we are supposed to be rooting for.
Billy Madison, the character, is just a childlike selfish asshole. No, he doesn’t deserve anything his rich father could leave him, even if he proves that he can go back to elementary school and pass. He has to get through high school too but the majority of the movie sees him in third grade, trying to win the heart of his teacher, who can’t stand him and then suddenly, has the hots for this billionaire buffoon. I’m just going to say that she swallowed her pride and wanted the money.
This is one of those comedy movies that is nothing more than a series of gags that only really work once and even then, they mostly don’t. For some reason, twenty-plus years later, I still hear assholes in bars yell out, “O’Doyle rules!” But this film isn’t too dissimilar from what was the norm in the 1990s and hell, the norm now. Adam Sandler was at the forefront of movie comedies becoming bad and bad comedy being accepted en masse.
Billy Madison is a film that exists and for some reason, had some success that gave us a comic that has the intelligence and wit to give us special movies but ultimately chooses to make stupid ones. And in modern times, Sandler has been relegated to making Netflix movies that get incredibly bad reviews but truthfully, Billy Madison isn’t any better than the schlock he’s hated for now.
Release Date: March 9th, 2012 (SXSW) Directed by: Drew Goddard Written by: Joss Whedon, Drew Goddard Music by: David Julyan Cast: Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams, Richard Jenkins, Bradley Whitford, Sigourney Weaver
Mutant Enemy Productions, Metro-Goldwyn-Mayer, United Artists, Lionsgate, 95 Minutes
“Look, you guys just stay in the Rambler. I’ll get help. If I wipe out, I’ll fucking limp for help. But I’m coming back here. I’m coming back with cops and choppers and large fucking guns, and those things are going to pay… For Jules.” – Curt
I went into this picture blindly, which is definitely the best way to experience it. This is a movie that throws a hell of a lot of curveballs in the most awesome way possible. The less you know about it, the better. And to be completely honest, I am not a Joss Whedon fan but this was damn good and probably the best thing he’s ever done. Suck it, Firefly.
So what can I say about this film? I’d rather not spoil it for people, as I’m not that guy. Just know that it is never quite what you expect it to be and that it hits you with surprises, again and again.
The most notable actors in it are Chris Hemsworth a.k.a. Thor, Sigourney Weaver for a bit and Bradley Whitford, a favorite of mine since the 80s, alongside Richard Jenkins. I shouldn’t even get into what their roles are.
The film is not just Joss Whedon’s creation, it was co-written and directed by Drew Goddard. He’s been a busy guy with Marvel’s Daredevil series, as of late. He was also the director of the original Cloverfield and a major contributor to the TV series Lost, Alias, Buffy the Vampire Slayer and Angel. He even had a hand in The Martian and World War Z.
The Cabin In the Woods is a horror film that literally has everything in it. And I don’t say that using the words “literally” and “everything” lightly.
The only downside to this film is rewatching it. Now it is still good but you can only be caught off guard once and you already know what tricks are up Whedon’s and Goddard’s sleeves after the first viewing. Still, it is entertaining and a really cool and fresh take on a really tired formula.
In a lot of ways, The Cabin In the Woods kind of rewrote the book on “cabin in the woods” movies the same way Scream rewrote the book on slasher pictures.
This isn’t a great film by any means but it is a hell of a lot of fun and if you go into it knowing as little as possible, you’ll probably leave the experience very satisfied.
The trailer is below, as I always post a trailer. However, watching it may spoil too much. You have been warned.
Release Date: January 24th, 2017 (Sundance) Directed by: Jordan Peele Written by: Jordan Peele Music by: Michael Abels Cast: Daniel Kaluuya, Allison Williams, Lil Rel Howery, Bradley Whitford, Caleb Landry Jones, Stephen Root, Catherine Keener, Erika Alexander
“Man, I told you not to go in that house.” – Rod Williams
I wanted to see this in the theater but a lot was going on back in February-March. I went to a wedding out of state when this came out and then March was full of a ton of big new movies each week. So, unfortunately, Get Out was lost in the shuffle. But I did successfully avoid any and all spoilers because I wanted to experience this not knowing more than what was in the first trailer. I’m so glad I didn’t have it spoiled.
That being said, it is impossible to discuss this film without spoiling some of the details. Consider this a warning, if you haven’t yet seen Get Out. You definitely should go into this movie knowing as little as possible.
This picture is an incredibly unique experience. While it focuses on racism, it doesn’t showcase it in the way that you’d assume. This is really the first movie that I have seen that displays a more modern and realistic approach to how racism has evolved in America.
Get Out takes a serious look at how the guilt-ridden white middle class has this ideology that they have to atone for what their ancestors have done to blacks in the United States. They’re the type of people that have to add their voice to the voice of black America, often times yelling over them in an effort to show that they aren’t their parents or grandparents. They’re down, they get it and damn it, they’ll do everything to try and improve blacks’ lives whether blacks want them to or not. They force their helping hand into everything even though blacks didn’t ask for it. They overcompensate to the extreme because the weight of our nation’s history is too heavy for them to bear. But the result of this, is white people, despite their good intentions, taking it upon themselves to control black lives. It undermines the plight of black people and their fight. Is it any better to say, “We treated you like shit but get on our backs now, we’re going to keep you above the water.”
The point is, Get Out raises a lot of questions and exposes a lot of issues regarding race relations in today’s America. It brings things to the forefront that have never been showcased in this way. It looks at how America has changed since having its first black president and how the social issues in this country are a lot more complex than trying to force a Band-Aid on a massive boo-boo.
The film conveys all this through the motivations of the sinister characters in the film. And frankly, it is all summed up in one line of dialogue around the middle of the film when Stephen Root’s Jim Hudson says to Daniel Kaluuya’s Chris Washington, and I’m paraphrasing here, that “These people mean well but they’ve never really lived lives.”
The way that the film is able to convey these ideas is absolutely brilliant and even though I liked Jordan Peele before he wrote and directed this picture, I’m a much bigger fan now. A lot of the credit also has to go to the cast. Everyone was pretty much perfect.
The real weight of the picture rests on the shoulders of Daniel Kaluuya, though. He gave one of the best performances I have seen in years. Between the way he was able to connect with the audience compounded by how truly screwed up his situation was, I was completely overwhelmed by the emotion and the tension. Get Out is one of the most suspenseful and nerve-racking motion pictures I have ever seen. That’s a testament to the skill of Peele behind the camera, behind the pen and Kaluuya on the screen.
The performances by Allison Williams, Bradley Whitford, Catherine Keener, Caleb Landry Jones, Stephen Root and all the other townspeople were stellar. Lil Rel Howery was perfection as the much needed comic device in the film. Without him, the film may have been way too heavy. His character of Rod always showed up at the right time just to ease up on some of the tension. His scene with Erika Alexander is especially great.
Jordan Peele should feel a real sense of accomplishment for this film. He’s created a modern masterpiece and done more in just this one film than what most filmmakers do over the course of their whole careers. I really regret not seeing this in the theater, as it is now the best new film that I’ve seen in 2017.