Film Review: Another 48 Hrs. (1990)

Release Date: June 8th, 1990
Directed by: Walter Hill
Written by: John Fasano, Jeb Stuart, Larry Gross, Fred Braughton
Based on: characters by Roger Spottiswoode, Walter Hill, Larry Gross, Steven E. de Souza
Music by: James Horner
Cast: Eddie Murphy, Nick Nolte, Brion James, Ed O’Ross, Andrew Divoff, Kevin Tighe, Bernie Casey, Tisha Campbell, Frank McRae

Lawrence Gordon Productions, Eddie Murphy Productions, Paramount Pictures, 93 Minutes

Review:

“Let me tell you something, Jack. If shit was worth something, poor people would be born with no asshole.” – Reggie Hammond

This was a film that was most likely wrecked by post-production issues. Mainly, it had about 40 minutes of its running time chopped off. In fact, actor Brion James once said that he was really the third major star of the movie but a lot of his bigger scenes got cut. Which kind of sucks, as he’s a solid character actor and an integral part of so many movies I love.

Considering that the film really lacked a coherent plot, the massive edits could’ve really fucked the whole thing up. Sure, there’s a chance that the whole film was an incoherent mess and the edits actually helped it but it does feel like there is a lot of context missing. Maybe I can compare the script with the final film one of these days, assuming the script is online somewhere.

Looking at this as a complete and final body of work, though, means that I have to be honest and say that the film is a real disappointment.

On the positive side, Eddie Murphy and Nick Nolte are great, once again, as are Brion James, Ed O’Ross, Kevin Tighe and Tisha Campbell, whose role was way too small and makes me think that she had a lot of material cut from the final edit.

I kind of liked the villains, as well, but they pale in comparison to how great James Remar and Sonny Landham were in the first movie.

And since I am speaking about things that pale in comparison, I also have to point out that the action in this chapter is weak and underwhelming. The first movie was mostly a non-stop ride of great action sequences, broken up with comedic scenes in-between. While this film has action, other than the prison bus sequence and the final showdown, it’s all pretty forgettable.

That being said, this movie just feels like director Walter Hill either had his hands tied or he was betrayed by his own studio, who potentially butchered his work in the editing room. The is the least Walter Hill feeling movie out of all his action heavy pictures.

At the end of the day, though, this is still watchable and amusing. If you like these characters and their bond in the first movie, you’ll probably like seeing them again. Unfortunately, everything around them kind of sucks.

Rating: 6.25/10
Pairs well with: its predecessor, as well as the Beverly Hills Cop and Lethal Weapon movies.

Film Review: 48 Hrs. (1982)

Also known as: Forty Eight Hours, 48 Hours (alternative spellings)
Release Date: December 8th, 1982
Directed by: Walter Hill
Written by: Roger Spottiswoode, Walter Hill, Larry Gross, Steven E. de Souza
Music by: James Horner
Cast: Nick Nolte, Eddie Murphy, Annette O’Toole, James Remar, Sonny Landham, David Patrick Kelly, Brion James, Frank McRae, Kerry Sherman, Jonathan Banks, Margot Rose, Denise Crosby, Peter Jason

Lawrence Gordon Productions, Paramount Pictures, 96 Minutes

Review:

“What are you smiling at, watermelon? Your big move just turned out to be shit.” – Jack

Being a fan of Walter Hill’s work, especially The Warriors and Streets of Fire, I figured that I should revisit 48 Hrs. as I like it a lot but haven’t watched it as regularly as those other two films.

This is the movie that made Eddie Murphy’s career and led to him getting his best gig, the lead in the Beverly Hills Cop film series. This is also one of Nick Nolte’s most memorable performances and the two men had some great chemistry in this and its sequel.

The film is a pretty balls out action flick with a good amount of comedy, courtesy of Murphy, but it also has the hard, gritty edge that Hill’s movies were known for.

On top of that, this also brings back a few of the actors from Hill’s The Warriors: James Remar, David Patrick Kelly, as well as Sonny Landham, who had a minor role in that previous film. This also features a brief scene featuring Marcelino Sánchez as a parking lot attendant. He previously played Rembrandt, a member of the Warriors gang.

One thing I forgot about this movie, as I hadn’t seen it in over a decade, was the strong racial undertones. I kind of remember some of it being there, like the scene with Murphy in the redneck bar, but I guess I had forgotten that Nolte’s Jack was a bigoted asshole in the first two acts of the film. The way it’s done in this film works and it certainly reflects the time but man, it would not fly today. But neither would shows like All In the Family, The Jeffersons or Good Times: all of which examined these issues within a comedic framework.

The thing that truly stands out in this film is the action. Those sequences are all really good and they’re pretty harsh in a way that makes the proceedings of this film feel more realistic and dangerous than Murphy’s Beverly Hills Cop pictures. These scenes are also made better by just how good James Remar is as a total piece of violent shit. Sonny Landham is enjoyable to watch here too, as he plays a character that is just as tough but at the other end of the moral spectrum from his most famous role as Billy in the original Predator.

All in all, it was a pleasure to revisit this movie. It’s a solid film from top to bottom with great leads, good pacing and a real charm that is brought to life by Murphy and Nolte.

Rating: 7.75/10
Pairs well with: its sequel, as well as the Beverly Hills Cop and Lethal Weapon movies.

Film Review: The Rocketeer (1991)

Also known as: The Adventures of the Rocketeer (Australia)
Release Date: June 19th, 1991 (Hollywood premiere)
Directed by: Joe Johnston
Written by: Danny Bilson, Paul De Meo, William Dear
Based on: The Rocketeer by Dave Stevens
Music by: James Horner
Cast: Bill Campbell, Alan Arkin, Jennifer Connelly, Timothy Dalton, Paul Sorvino, Terry O’Quinn, Ed Lauter, James Handy, Jon Polito, William Sanderson, Margo Martindale, Clint Howard, Melora Hardin, Tiny Ron Taylor

Walt Disney Pictures, Touchstone Pictures, Silver Screen Partners IV, 108 Minutes

Review:

“That son of a bitch will fly!” – Howard Hughes

It’s been close to three decades since I’ve seen The Rocketeer, as I saw it in the theater in 1991 and once on VHS just after that. I hadn’t seen it since but I have always had pretty fond memories of the film. Now that it’s on Disney+, I figured I’d revisit it.

The film is actually much better than I remembered and I’m surprised that it didn’t leave a big enough mark on me to inspire me to buy it over the last 29 or so years. But I feel like the things I appreciate about it now are mainly due to my age and the lack of imaginative filmmaking that closed out the 2010s.

It feels very much like a 1990ish live action Disney movie but it reminds me a lot of Dick Tracy because of the period it takes place in, as well as the Indiana Jones films due to the involvement of Nazis, as well as being full of adventure, action and very ’30s-’40s pulpy elements.

The film is actually based off of a comic book character and that character was created as an homage to the rocket-backpack heroes of the old serials like Commando Cody.

The Rocketeer greatly benefits from having a large, great cast. Many of these people I didn’t even realize were in this, as I saw this in a time where I probably wouldn’t have recognized many of them. The bulk of the acting duties, however, fall on Bill Campbell, Alan Arkin, Jennifer Connelly and Timothy Dalton. All four are pretty good in this and Connelly, who’s never not been beautiful, looks like an old school Hollywood starlet from the silver screen era.

I loved Dalton in this, as the villain who is one-part Nazi stooge and one-part Basil Rathbone. His role as the actor within the film was really neat and a cool idea for a bad guy. He’s slimy and vile but you also kind of feel for him, as he’s being forced into evil by the Nazis. But don’t get me wrong, he’s still a total bastard and a great one at that.

The special effects, for the most part, hold up well. The only shots that looked odd were kind of unavoidable, as this was made in a time where you could hide things on celluloid film. This wasn’t made for the digital HD era, so there are a few bits that look wonky in a way that they probably didn’t in 1991.

From memory, this film was kind of a dud, financially. It should have been the start of a franchise for Disney but it didn’t connect with a large enough audience and we only ever got this one film. When I was a kid, I was really looking forward to more of these, as well as more Dick Tracy. Part of me kind of hoped that they could’ve crossed over but none of my dreams for these films materialized.

If you’re going to cancel Disney+ because The Mandalorian is over, you might want to give this a watch first.

Rating: 8/10
Pairs well with: other early ’90s family action movies, most notably Dick Tracy.

Film Review: Willow (1988)

Release Date: May, 1988 (Cannes)
Directed by: Ron Howard
Written by: Bob Dolman, George Lucas
Music by: James Horner
Cast: Val Kilmer, Joanne Whalley, Warwick Davis, Billy Barty, Jean Marsh, Patricia Hayes, Pat Roach, Gavan O’Herlihy, Phil Fondacaro, Tony Cox, Kenny Baker (uncredited)

Imagine Entertainment, Lucasfilm Ltd., Metro-Goldwyn-Mayer, 126 Minutes

Review:

“Magic is the bloodstream of the universe. Forget all you know, or think you know. All that you require is your intuition.” – High Aldwin

I wish that Willow was more beloved than it is. It definitely has its fans but for whatever reason, it never quite reached the levels of popularity that Lucasfilms’ other big properties reached: Star Wars and Indiana Jones.

To be fair, I’d say that this isn’t as good as those other two properties but it is still in the ballpark and not far off.

Willow is an imaginative and fun adventure that was one in a string of special effects milestones in the early days of Lucasfilms’ digital effects mastery. This film had a major breakthrough in its use of visual morphing technology.

But apart from the special effects wizardry in the film, it also came to life with its spectacular sets, wardrobe and art direction.

What makes this click on a level much higher than just being a standard blockbuster is the ensemble cast. Everyone in this film is good and fun to watch, as they all felt like they were giving the movie their all, they had good chemistry and they were believable in their roles. I especially like the chemistry between Warwick Davis and Val Kilmer, as well as Val Kilmer and Joanne Whalley, who became my third or fourth childhood crush because of this film. Apparently, she became Kilmer’s crush too, as they met on this film’s set and married shortly thereafter. And they stayed together for almost a decade, which is in eternity in Hollywood time.

The casting of Jean Marsh as the film’s main villain, an evil sorceress named Bavmorda, was a stroke of genius. One, because she is a damn good actress but can really be terrifying. Two, because her appearance in a similar role from Return to Oz was still fresh in my childhood mind when this came out. And I’m sure it was fresh in a lot of kid’s minds, who were scarred for life by the witch with the interchangeable heads.

I’ve really got to tip my hat to Warwick Davis, though. I don’t think that most people realize that he was just seventeen when this movie was filmed. He carries himself like a true veteran and even though he’s not the top billed star, he is the main character of the film, which is also why the movie’s name is his character’s name. Willow is his journey.

I wish that this had led to more leading roles for Davis but I think that was also the intent had this film done as well as the other Lucasfilm tentpole movies. It underperformed, even though it did make a profit, and that’s probably why this didn’t get the trilogy treatment. Granted, there are still talks of bringing the world of Willow back to the screen and there was also a sequel novel trilogy written by Chris Claremont with the plot outlines done by George Lucas.

Willow is one of the best fantasy epics of its time. I think that revisiting it is long overdue and I assume that it’s going to happen, especially with Disney now owning Lucasfilms and needing content for their Disney+ streaming service. And with that being said, I think a sequel television series would actually work better for this property than a theatrical movie.

Rating: 9.25/10
Pairs well with: other Lucasfilm movies from the ’70s and ’80s, as well as The Lord of the Rings trilogy.

Vids I Dig 112: Defunctland: The History of ‘Captain EO’

From Defunctland’s YouTube description: Defunctland takes on the troubled 4D, sci-fi, Disney, Francis Ford Coppola, George Lucas, Michael Jackson, and Michael Eisner film, Captian EO.

Film Review: Humanoids From the Deep (1980)

Also known as: Monster (alternative title – racier version)
Release Date: May 16th, 1980
Directed by: Barbara Peeters, Jimmy T. Murakami (uncredited)
Written by: Frederick James, Frank Arnold, Martin B. Cohen
Music by: James Horner
Cast: Doug McClure, Ann Turkel, Vic Morrow, Lynn Schiller

New World Pictures, 80 Minutes

Review:

“Hold it! We think we know where these things come from, but we have no idea how many there are.” – Dr. Susan Drake

I remember seeing this film multiple times as a kid. Back then, I saw it on premium cable and usually late at night. However, the version I saw back then was tame in comparison to the one I just watched. So apparently there are different cuts of the movie and the one I just experienced for the first time was the “racier version” called Monster.

The big difference is a pretty shocking one, as the humanoid sea monsters in this version not only murder every piece of flesh they come in contact with but they also rape all the hot women in the movie that can’t get away. I had to do a double take each time this happened because I certainly would’ve remembered that detail had I seen it back in the ’80s.

I feel like this version of the film also had a lot more gore. The old cut I saw did have a good amount of blood and violence but this edit seemed to push it to another level. And maybe this was due to the censors circa 1980 thinking that sea-beast rape and clawed off faces were a bit too much.

In retrospect, the “racier version” comes off as a true drive-in classic that would draw the admiration and respect of the legendary Joe Bob Briggs. And frankly, I’d love to see him feature this cut of the film on The Last Drive-In.

Humanoids From the Deep was produced by Roger Corman and his studio, New World Pictures. It seems pretty fitting as this movie is very similar to a lot of Corman’s late ’50s and early ’60s creature features. Granted, this upped the ante in regards to tits and gore; it was a Corman feature for a new generation.

But like Corman’s earlier work, this features dudes in rubber suits and pretty hokey but awesome cheap, practical effects.

Overall, the plot is pretty simple. Sea-men rise from the ocean to rape and kill people in a small coastal town. Everything comes to a big crescendo at the town’s big fair, which happens to be set up right next to the water.

The acting and direction are about what one would expect from a flick put out by New World.

While this isn’t a fantastic film, it’s still a pretty good time for fans of ’80s horror with a good amount of onscreen violence.

Rating: 6.25/10
Pairs well with: other Roger Corman produced creature features, C.H.U.D.The Beast Within and Piranha.

Film Review: Honey, I Shrunk the Kids (1989)

Also known as: Grounded, Teenie Weenies, The Big Backyard (working titles)
Release Date: June 23rd, 1989
Directed by: Joe Johnston
Written by: Ed Naha, Tom Schulman, Stuart Gordon, Brian Yuzna
Music by: James Horner
Cast: Rick Moranis, Matt Frewer, Marcia Strassman, Kristine Sutherland, Thomas Wilson Brown, Jared Rushton, Amy O’Neill, Robert Oliveri, Mark L. Taylor, Kimmy Robertson, Frank Welker (voice)

Walt Disney Pictures, Silver Screen Partners III, Buena Vista Pictures, 94 Minutes

Review:

“Nick, I’ve got six hours to get home, get big and get to the mall. Now get moving.” – Amy Szalinski

It’s hard for me to wrap my head around the fact that one of the writers of Honey, I Shrunk the Kids is Brian Yuzna, the guy behind Re-Animator and its sequels, as well as From Beyond and Society. In fact, this film came out in the same year as the over the top and insane Society. Talk about two extremes.

Anyway, this family classic was one of many reasons as to why the summer of ’89 is probably the best summer for movies of all-time. I loved this as a kid and it has held up pretty well.

Some of the effects look a bit dated, as this came out just before the CGI boom that came with Jurassic Park in 1993, but the use of green screen and stop motion effects pretty much comes off without a hitch and these special effects are top of the line for 1989. Disney crafted an incredible world for this movie and all the physical sets still look fabulous by 2019 standards.

The movie is also kind of timeless and the humor still works. This isn’t a film that’s chock full of ’80s cliches. Okay, maybe the clothes the kids wear are very ’80s but this is written in a way that the jokes and humor aren’t as dated as other films from the time.

Additionally, all the kid actors are pretty solid, as are the parents. The parents of course get top billing in this movie but the bulk of the film is focused on the children and their adventure, trying to get home from the other side of their backyard. Of course there are several challenges that stand in the kids way, which just makes this adventure a lot of fun and actually provides a good amount of real tension.

Rick Moranis is as good as he always is but the real scene stealer was Matt Frewer, who owned the character of Russ Sr. Frewer can do drama and comedy well but here he was so committed to the bit that he was the biggest bright spot in the film.

I’m glad that I revisited this and I’ve just realized that it’s approaching its thirtieth anniversary. Man, I can’t believe it’s been that long since the epic summer of ’89.

Rating: 7.25/10
Pairs well with: the sequels but each one gets worse and worse, as well as other late ’80s family sci-fi movies like *batteries not included and Cocoon.