Release Date: May 31st, 1985 Directed by: Michael Ritchie Written by: Andrew Bergman Based on:Fletch by Gregory Mcdonald Music by: Harold Faltermeyer Cast: Chevy Chase, Joe Don Baker, Dana Wheeler-Nicholson, Richard Libertini, Kareem Abdul-Jabbar, Tim Matheson, M. Emmet Walsh, George Wendt, Kenneth Mars, Geena Davis, George Wyner, Chick Heam
Vincent Pictures, Universal Pictures, 98 Minutes
“Why don’t we go lay on the bed and I’ll fill you in?” – Fletch
Because I’m not a big Chevy Chase fan, I hadn’t seen Fletch since the ’80s and even then, I don’t think I ever watched it from start-to-finish until now.
Seeing this as an adult, though, I think my mind has shifted. I actually dug this movie quite a bit and it’s made me rethink Chase and his contributions to cinematic comedy.
If I’m being honest, he was perfect in this, it truly utilized his charm and his comedic style. In fact, I’d even say that his style was enhanced by this script and the situations throughout the movie.
He wasn’t a complete self-absorbed prick like he was in most of the Vacation movies. Sure, he was definitely self-impressed with his own antics but he was actually a heroic character, trying to uncover a mysterious plot and rid the beaches of drug pushers with ties to the local cops. He also had this coolness about him that was similar to the coolness he had in Caddyshack but this even eclipsed that, as he was this film’s focal point and he wasn’t competing for laughs with Rodney Dangerfield and Bill Murray.
The cast is also stacked with lots of great character actors like Joe Don Baker, M. Emmet Walsh, George Wendt, George Wyner and Kenneth Mars. It also featured Tim Matheson and a very young Geena Davis. However, I really liked Dana Wheeler-Nicholson in this, as the female lead. She had good chemistry with Chase and their budding relationship was believable and nice to watch.
I also thought that the Harold Faltermeyer score was solid. I think it’s my favorite score he’s done after his work on the first two Beverly Hills Cop movies.
Fletch might be the perfect Chevy Chase film. I’m going to have to review the sequel in the next few weeks. While I think it’s safe to assume that it’s not as good as this flick, I hope it utilizes Chase’s talent as well as this did.
Also known as: Video Madness (alternative title) Release Date: March 4th, 1983 Directed by: Greydon Clark Written by: Al Gomez, Mickey Epps, Curtis Burch Music by: various Cast: Joe Don Baker, Leif Green, Jim Greenleaf, Scott McGinnis, Jon Gries, Corinne Bohrer, John Diehl, John Voldstad, Logan Ramsey
“If you’re half the leader I think you are…” – Joseph Rutter, “I am half the leader you think I am!” – King Vidiot
Greydon Clark has made a lot of B-movies in multiple genres. Just before this one, he did Wacko, which I wasn’t a fan of other than the Andrew Dice Clay scenes. Where that one was a teen sex comedy with a horror theme, Joysticks is a teen sex comedy that primarily takes place in and around a video arcade. Also, it’s a more amusing movie than its slasher predecessor.
Like Wacko, this one stars Joe Don Baker, which, in my book, is always a plus. But he’s a much more engaging character and really gets to ham it up in great ways here. His best bits are when he plays opposite of the always fantastic Jonathan Gries, who plays a punk rock moron named King Vidiot.
The plot is about a video arcade that is deemed troublesome by the older busybody community. Basically, take Footloose and switch out dancing for video games… and then add a lot of crude humor and boobies. Baker’s Joseph Rutter is a rich guy that wants to shut the arcade down, so he employs his dimwitted nephews and King Vidiot to help him in his quest.
Now Baker and Gries steal every scene that they’re in but Corinne Bohrer is so entertaining in this as a ditzy, rich Valley girl that it’s hard not to love her over the top performance. Her voice was great in this and she had a lot of charm and charisma that would help her carve out a decent career in the ’80s between this film, Vice Versa, Police Academy 4: Citizens On Patrol, Zapped!, some solid sitcom work and her fairly memorable role opposite of Mark Hamill’s Trickster in the 1990 Flash TV show.
Joysticks is a dumb movie but I mean that in the best way possible. As unwatchable as Clark’s Wacko was a year earlier, this really rights the ship and it worked for me. If you’re into films like Porky’s and Meatballs and also like retro video games, then I’m sure you’ll probably like this too.
Rating: 6.25/10 Pairs well with: other early ’80s teen sex comedies.
Also known as: The Last Horror Show (working title), Wacko Weekend (Sweden), Crazy Doctor in Love (Philippines) Release Date: May 28th, 1982 (Minneapolis premiere) Directed by: Greydon Clark Written by: Jim Kouf, Dana Olsen, Michael Spound Music by: Arthur Kempel Cast: Joe Don Baker, Stella Stevens, Elizabeth Daily, George Kennedy, Julia Duffy, Scott McGinnis, Andrew Dice Clay, Charles Napier
Jersey Farley Pictures, 90 Minutes
“Death to all teenagers who fuck.” – Lawnmower Killer
Like other Greydon Clark movies, this is fucking terrible. Well, unless you want to see a young Andrew Dice Clay dressed up as Superman. But even then, that’s over pretty quickly and this film is really hard to sit through.
It also doesn’t help that Julia Duffy has a scream that is like nails on the chalkboard. What makes it even worse is that she has to scream constantly and for long durations. I wanted to throw a fastball through my television set just to shut her up. It was like a banshee fucking a turkey that’s getting fucked by a horse. Sorry, I don’t know how else to describe it.
This film is also supposed to be a comedy but it’s not funny at all. It’s just a 90 minute festival of cringe and baffling bizarreness.
I guess this is supposed to be similar to the Police Academy style of humor but it doesn’t work and the screenwriters don’t have a funny bone in their bodies and none of the actors ever felt like they cared how they delivered their funny bits.
Joe Don Baker has done some terrible shit in his career but he’s still a pretty good actor on his best days. This is the worst thing he’s ever done though, at least out of the dozens of films I’m aware of.
George Kennedy is in this too and he plays a doctor that is always trying to peek at his underage daughters when they’re sleeping in their panties. Was this funny in 1982? Because I’m pretty sure it was just fucking creepy back then too.
I don’t know. There isn’t much to say about this other than it is horrible in every way and no one should ever watch it.
Rating: 1.25/10 Pairs well with: James Gunn tweets from 2008.
Release Date: January, 1994 (Sundance) Directed by: Ben Stiller Written by: Helen Childress Music by: Karl Wallinger Cast: Winona Ryder, Ethan Hawke, Ben Stiller, Janeane Garofalo, Steve Zahn, Swoosie Kurtz, Joe Don Baker, John Mahoney, Renee Zellweger, Andy Dick, Keith David, David Spade (uncredited), Anthony Robbins (uncredited), Jeanne Tripplehorn (uncredited)
Jersey Films, Universal Pictures, 99 Minutes
“You can’t navigate me. I may do mean things, and I may hurt you, and I may run away without your permission, and you may hate me forever, and I know that scares the living shit outta you ’cause you know I’m the only real thing you got.” – Troy Dyer
This was a coming of age movie that I loved when it came out back in 1994. Watching it nearly a quarter of a century later, I hate most of these characters and just see them as the typical “I’m such a cool counterculture ’90s slacker” type. But the reality is, I watched this film about struggling twentysomethings before I was even twenty. Now, being in my thirties and having survived my twenties, it has a very different effect on me now.
All the philosophical rantings are just nonsense. However, what I may have thought were good points when I was an angsty teenager (but I laugh at now) can’t simply be dismissed as shitty dialogue. If anything, this film is a product of ’90s Generation X culture. It certainly isn’t an inaccurate portrayal of it. These ideas, these philosophies and the living hypocrisy of those who espoused it was real. It’s what a big portion of that generation felt and how they saw the world, as they entered it as adults with a very different point-of-view than their Baby Boomer parents.
If anything, this film serves as a real time capsule to the ’90s. And really, are these young people different than those of other generations?
Everything I’m saying isn’t really criticism, it’s just my understanding of these things now. Sure, every young person thought Ethan Hawke was cool in this movie and Winona Ryder was sort of this elven looking ’90s girl next door that everyone was crushing on hard. However, seen outside of twentysomething eyes, they’re not likable characters. They’re selfish, narcissistic, egotistical and complete hypocrites. I couldn’t find myself cheering for them to make it as a couple. In my thirties, I found that I was more interested in Janeane Garofalo and Steve Zahn’s characters, as they actually had more interesting stories, seemed more grounded and were infinitely more likable. I knew that they would turn out okay.
Going back and seeing the things I wrote or put on social media when I was in my twenties is always a cringe worthy experience. So I can’t imagine what these characters would think now, looking back at the documentary Ryder’s Lelaina was creating out of their lives. I hope they all evolved well beyond where they were at this point in their lives.
Primarily, the point of this film is to show what it is like for Gen Xers to be leaving college and trying to make it in the real world. Yeah, it’s tough out there, we all get that if we’ve lived through it without uber rich parents. But that is where I can relate to the film. And also because these were people that weren’t too dissimilar from my friends at the same age. Those who I am still friends with evolved and grew into better people. Those I am no longer friends with stayed the same and still rant on about the same crap that neither makes them cool anymore and just makes them come off as poorly aged turds.
But I still like this movie. I like it because it actually is accurate… scarily accurate. Ben Stiller did a good job behind the camera, especially since he had to split his time with acting duties in this as well. But it is kind of sad to relive life through the experiences of these fictitious characters, now realizing that we were all full of shit.
We had high hopes, all this optimism, we thought we’d change the world and fix the wrongs of our parents generation. However, our parents thought the same thing and so did their parents. “Down with consumerism!” “Hey, let’s order Domino’s!” “Don’t be a fucking sellout, man!” “Hey, some major network wants to buy my show!” And in the end, the world is the same. Maybe a bit worse, actually.
This is definitely more of an analysis of this film’s philosophies and characters and less of an actual review but whatever. I can write what I want because I’m not selling my soul to some corporate sponsored publisher that murders whales and dumps crude oil on the heads of Third World infants, maaan!
Someone pointed out to me that the script was written by a 19 year-old girl. Of course it was. Granted, props to her 19 year-old self (who would be in her forties now) for accomplishing such a feat. Seriously. It’s a film that felt truly authentic. It sadly just shows you that young people mostly suck because life hasn’t made them better yet.
I kind of think Troy just stayed a total starving artist douchebag though. And despite the “happy” ending, he probably still sneaked out the next morning.
Rating: 6.5/10 Pairs well with:Singles, SubUrbia, Empire Records, S.F.W. and Clerks.
Release Date: December 12th, 1996 (Hollywood premiere) Directed by: Tim Burton Written by: Jonathan Gems Based on:Mars Attacks by Topps Music by: Danny Elfman Cast: Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan, Danny DeVito, Martin Short, Sarah Jessica Parker, Michael J. Fox, Rod Steiger, Tom Jones, Lukas Haas, Natalie Portman, Jim Brown, Lisa Marie, Sylvia Sidney, Jack Black, Christina Applegate, Pam Grier, Paul Winfield, Joe Don Baker, O-Lan Jones, Ray J, Joseph Maher, Frank Welker (voice)
Tim Burton Productions, Warner Bros., 107 Minutes
“They blew up Congress! Ha ha ha ha!” – Grandma Florence Norris
While this isn’t one of Tim Burton’s most popular films, it is one of my favorites and I feel like it missed its mark because it’s not the type of film that would resonate with most people.
Mars Attacks! came out in late 1996, not too long after Independence Day ruled American culture that same summer. Maybe people were confused that this was a ripoff of it or that one big alien invasion movie was enough to digest but either way, I don’t think people realized that this was vastly different and sort of a parody of the genre while also being an incredible live action adaptation of the Mars Attacks trading cards that Topps put out in the 1960s. It’s like those who were kids in the ’60s no longer cared and the teens of the ’90s didn’t know the reference.
Still, this is a hilarious romp starring dozens of top notch celebrities where not a single one of them is actually safe. I mean, these Martians murder Congress, the President and even try to crush a troop of Cub Scouts with the Washington Monument. They are sick, sadistic and really, just friggin’ awesome. They are also voiced by Frank Welker, the guy who gave life to Megatron from the original and still greatest Transformers cartoon.
By the star power that this movie has, it’s clear that Hollywood got the joke and appreciated it even if audiences didn’t flock to see this. Still, it wasn’t a massive failure, by any means. It did fairly well but not as well as what Warner Bros. was probably hoping for with Tim Burton being a mega earner for the studio. While it took some time, the film did earn back the $100 million that was put into it. It was considered a box office bomb in the United States but it fared much better internationally.
This is one of the most hysterical films of the ’90s put out by a major studio. The humor is perfect, the tone is great and it pokes fun at so many different facets of Americana that it almost feels like it was written by Trey Parker and Matt Stone.
The special effects look dated but they looked sort of cheesy in the mid ’90s. The film was supposed to have a hokey, old school vibe to it though. Really, the effects are great and they work for what this picture is. It’s not Independence Day and didn’t need to take itself as seriously in the visual effects department.
From a stylistic standpoint, the film really has a timeless feel to it. It merges modern style with ’50s and ’60s style in a seamless way that gives this film a magical quality.
Additionally, this picture boasts one of my favorite Danny Elfman scores of all-time. The theme is powerful and perfect and really fits that old school Elfman sound. Frankly, watching this film makes me appreciate and miss the quality of Burton and Elfman’s old school collaborations.
What really resonates with me is how this film balances comedy with how dark it actually is. It’s an absurd picture in the best way possible and shows that Tim Burton really has a dark sense of humor. Well, Beetlejuice was really effective in showing that aspect of Burton as well.
Mars Attacks! was underappreciated when it came out in 1996. It is still underappreciated today, as people that like to list out their favorite Tim Burton films always have this near the bottom of the list. Like I said, it isn’t for everyone but Burton fans, who understand Burton’s influences, should really love this picture.
Rating: 8.25/10 Pairs well with: Tim Burton’s Ed Wood, Joe Dante’s Matinee and alien invasion B-movies of the ’50s.
Release Date: November 13th, 1995 (Los Angeles premiere) Directed by: Martin Campbell Written by: Jeffrey Caine, Bruce Feirstein, Michael France (uncredited), Kevin Wade (uncredited) Based on: the James Bond novels by Ian Fleming Music by: Eric Serra, John Altman (uncredited) Cast: Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen, Joe Don Baker, Robbie Coltrane, Alan Cumming, Judi Dench, Desmond Llewelyn, Samantha Bond, Minnie Driver
Eon Productions, Metro-Goldwyn-Mayer, 130 Minutes
“You don’t like me, Bond. You don’t like my methods. You think I’m an accountant, a bean counter more interested in my numbers than your instincts.” – M, “The thought had occurred to me.” – James Bond, “Good, because I think you’re a sexist, misogynist dinosaur. A relic of the Cold War, whose boyish charms, though wasted on me, obviously appealed to that young woman I sent out to evaluate you.” – M, “Point taken.” – James Bond
I had always considered GoldenEye to be the best James Bond movie that starred Pierce Brosnan. It still is but revisiting it now, I realize that it isn’t the best by a wide margin. It’s a film that feels incredibly dated, boasts an atrocious score and is so goofy and over the top that the old Nintendo 64 game felt more realistic.
I like Pierce Brosnan as James Bond… A. LOT. It’s just that the vehicles they gave him weren’t up to the standard that his performances were. And to be honest, I think that the high opinion that people have about this chapter in the massive Bond franchise is really just caused by nostalgia for its video game adaptation.
Granted, that game, as fun as it was in 1997, is also extremely dated and sort of a relic from a bygone era of primitive polygonal first-person shooters. Some people still love that game but I picked it up recently and thought it was unplayable. And like that game, this movie is a product of its era and really only speaks to that era. It could have been the coolest thing at the time but we moved past that era pretty damn quickly and never looked back except through rose colored nostalgia glasses.
The score is the biggest problem for me. It pulls me right out of the film and is in conflict with the classical James Bond scores the franchise has become synonymous with. That early scene where Bond is racing his car through the mountains against Famke Janssen’s Xenia Onatopp is a prime example of how the score ruins everything on the screen. It takes what should have been a cool and classic Bond moment and turns it into a corny cat and mouse game accented by a generic synth heavy tune that sounds like it should be in an early Tekken game or a Bulgarian porno movie.
We get one good moment with the score when the tank chase happens. However, John Altman stepped in to score that scene, where Eric Serra was the one who composed all that other bizarre stuff that wrecked the film’s vibe.
This film does have some strong positives and its those positives that keep this chapter above the other Brosnan Bond outings.
The biggest positive is that most of the cast was really good.
I loved Sean Bean and Famke Janssen as the villains and they made a great pair. I also liked Joe Don Baker returning to the franchise as an ally and not a villain. Also, Robbie Coltrane’s character is one of my favorites from the Brosnan era. The real highlight though, was the addition of Judi Dench as M. Her scenes with Brosnan were spectacular and she immediately walked in, stepped into the role and had a bigger impact than all the previous Ms.
On the flip side, Alan Cumming’s Boris was one of the most annoying characters I have ever seen on film. I guess he was supposed to be but over twenty year later, I still want to punch him in the face: ten times for each scene he’s in, multiplied by the amount of times I’ve seen this film. At least he was a good Nightcrawler in X-Men 2.
GoldenEye is decent but it is not great and certainly not as amazing as some people seem to remember it being. Sure, maybe it worked for 1995 but isn’t that the same year that the “Macarena” blew up?
Rating: 7/10 Pairs well with: Any other Pierce Brosnan Bond movie. But ignore Die Another Day at all costs.
Release Date: December 9th, 1997 (London premiere) Directed by: Roger Spottiswoode Written by: Bruce Feirstein Based on: the James Bond novels by Ian Fleming Music by: David Arnold Cast: Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher, Joe Don Baker, Judi Dench, Desmond Llewelyn, Samantha Bond, Götz Otto, Ricky Jay, Vincent Schiavelli, Pip Torrens
Eon Productions, United Artists, Metro-Goldwyn-Mayer, 119 Minutes
“The distance between insanity and genius is measured only by success.” – Elliot Carver
I’ve been working my way through the Pierce Brosnan James Bond films, as they are my least favorite stretch in the franchise and I haven’t revisited them in quite some time. Brosnan was a great Bond but other than GoldenEye, his films were weak and not worthy of his talents. Rewatching these now, I have found them to be a bit better than I remembered but they still aren’t great Bond outings.
While this chapter in the saga isn’t anywhere near as bad as Die Another Day, the worst Bond film of all-time, this one certainly isn’t as good as GoldenEye and I’d also have to rank it lower than The World Is Not Enough. Still, I enjoyed it more now than I did in 1997.
I remember that when this came out, I was really excited to see that Michelle Yeoh was in it. She is one of the greatest actresses to ever come out of Hong Kong and she spent the majority of her career kicking ass with style. This film also adds in Teri Hatcher to the long list of Bond Girls but unfortunately, she’s snuffed out before this film even gets to the halfway point. It felt like a waste for Hatcher and honestly, I was kind of hoping she’d be a femme fatale and throw a wrench into Bond’s plans. Hatcher was the perfect choice for that type of Bond Girl but the filmmakers really missed the mark for her.
Michelle Yeoh did at least kick some ass in this but I still felt that her skills were underutilized. Maybe they couldn’t have her upstaging Bond but frankly, that would have added a good element to the film and I’d rather see her as the top female badass of the franchise with the potential for a spin off, rather than how they tried to do that with Halle Berry, two films later in the disastrous Die Another Day.
Typically, I like Jonathan Pryce. I mean, he killed it in Brazil and I loved him popping up in those earlier Pirates of the Caribbean movies but I’m not a fan of his character here. He plays Elliot Carver, a media mogul that looks like an evil Steve Jobs, assuming Jobs wasn’t evil – I think he was evil. Carver has a world domination plot that seemed like something from an old throwaway episode of G.I. Joe. He might as well have just been Cobra Commander and bumbled his way through a dumb scheme only to have Roadblock shoot his way into the evil command center and dump gumbo on his head. Funny, since Pryce was also in those live action G.I. Joe movies.
Pryce’s main henchman was also one of the worst in Bond history. He wasn’t gimmicky or cool, he was just some buff, blonde European. Is this a Bond movie or Die Hard 9? Plus, no buff, blonde European is going to top Red Grant of From Russia With Love. Sorry, but the Soviet uniform and his menacing presence makes it hard for most evil henchmen to top him and he was featured in this series over thirty years before Pryce’s right hand stooge.
Tomorrow Never Dies is mostly unworthy of boasting the James Bond name. While it had a few good and amusing moments, it’s definitely a film that is way down towards the bottom of the list, if one were ranking these movies.
Release Date: August 5th, 2005 Directed by: Jay Chandrasekhar Written by: John O’Brien, Jonathan L. Davis Based on: characters created by Gy Waldron Music by: Nathan Barr Cast: Johnny Knoxville, Seann William Scott, Jessica Simpson, Burt Reynolds, Willie Nelson, David Koechner, M. C. Gainey, Lynda Carter, James Roday, Joe Don Baker
Village Roadshow Pictures, Warner Bros., 104 Minutes
“Derp, derp, derp, (expletive) derp!” – Everyone in the film
Man, what a pile of absolute shit this was.
Okay, let me say that I wasn’t expecting much, which is probably why I waited twelve years to watch a film based off of a television show I used to love. This also features some actors I like, so I was expecting, at the very least, something a bit better than total shit. But no, this is total shit.
The story is just a jumbled mess of scenes that are fairly nonsensical and for the most part, don’t advance the plot. This is just a film about gags and every now and then, we are reminded of some sort of narrative framework that is supposed to pull all this together. However, Knoxville’s Jackass movies have more of a unified narrative than this movie.
The film brings together Johnny Knoxville and Seann William Scott, two guys who have amused me in the past and who should have been pretty good together. However, with such a bad script and nearly non-existent direction, The Dukes of Hazzard makes Joe Dirt 2 look like 2001: A Space Odyssey.
I mean, this film’s script is so bad, that I wouldn’t even give it to Kim Jung Un to use as toilet paper. It’s the worst script I’ve seen that has actually gone before the camera in a really long time. Burt Reynolds and Willie Nelson should have been smarter than to have been in this fully loaded shit sandwich with a side of shitato salad and a 20 oz. cup Diet Dr. Shitter. Strangely, Nelson came back for a direct-to-video sequel.
This movie was one of the most painful experiences of my life. I tried to just focus on the beauty of Jessica Simpson but then she kept talking and I was reminded that this is a girl that doesn’t know the difference between tuna and chicken.
Of course this has to go through the Cinespiria Shitometer. The results read, “Type 3 Stool: Like a sausage but with cracks on its surface.”
Release Date: June 29th, 1987 (London premiere) Directed by: John Glen Written by: Richard Maibaum, Michael G. Wilson Based on: characters by Ian Fleming Music by: John Barry Cast: Timothy Dalton, Maryam d’Abo, Joe Don Baker, Art Malik, Jeroen Krabbé, John Rhys-Davies, Robert Brown, Desmond Llewelyn, Caroline Bliss
Eon Productions, United International Pictures, Metro-Goldwyn-Mayer, 131 Minutes
“Believe me, my interest in her is purely professional.” – James Bond
I tend to go against the grain. I usually say things about movies or other pop culture stuff that leaves people baffled. For instance, Timothy Dalton is my favorite James Bond. Yes, he is. And yes, I loved every other actor that played the character and especially have a soft spot for the Connery and Moore chapters in the franchise but Dalton was and always will be my James Bond.
Maybe my love for Dalton is because he was the current Bond when I really got into James Bond movies. The Living Daylights was the first Bond film that I saw in the theater and as a kid, a year later, I was on the set of Licence to Kill in the Florida Keys. I didn’t get to meet Dalton but I got to see him standing around, as James Bond in the flesh.
Unfortunately, due to lawsuits in the early 1990s, Timothy Dalton only got to play James Bond twice: in 1987’s The Living Daylights and in 1989’s superb Licence to Kill. This film is my least favorite of the two but I still thoroughly enjoy it.
The thing that brings this chapter in the Bond franchise down a notch or two, is that it still carries over some of the cheesiness from the Roger Moore era. While that stuff worked for Moore, it really wasn’t a beneficial approach to Dalton’s style as the character. And frankly, it feels as if the movie was written with Roger Moore in mind, before Dalton was cast as the British super spy.
However, some of the hokey bits are still amusing, like the cello case sled scene, for instance.
Another weak point with this film though, is the villains. While I like Joe Don Baker and always have, he just doesn’t feel like a Bond villain. He plays more like a one-off baddie from a show like Magnum P.I. and doesn’t truly feel like someone worthy of Bond’s attention like members of SPECTRE, Francisco Scaramanga, Franz Sanchez, Raoul Silva, Alec Trevelyan, Hugo Draz or hell, even Max Zorin. At least Baker would get a second go in the series when he appeared in two of the Pierce Brosnan films a decade later: Goldeneye and Tomorrow Never Dies.
I did enjoy Maryam d’Abo as the Bond girl in this film. She was a departure from the overly glamorous women of previous movies. Not to say that she wasn’t beautiful and classy but she played a musician, a real artist type. She was cute and sexy but not a supermodel out trying to marry a rock star. She was also sweet and innocent, even though the first time you encounter her, she’s wielding a sniper rifle.
We also get the great John Rhys-Davies in this and I kind of wish that his character would have returned to the series later on. I feel as if he would have been an ally to Bond again, had Timothy Dalton’s run as the character lasted longer than two films. But the man got to team up with James Bond and Indiana Jones in his career, not to mention being a pivotal member of the Fellowship in the The Lord of the Rings movies.
The Living Daylights is a better than average James Bond outing, enhanced by the charm and gravitas that is Timothy Dalton. Plus, the followup to this film would be one of the best in the entire series. The Living Daylights was a good introduction to a really good Bond that we unfortunately didn’t get to see much more of.
Also known as: Kill Mr. Mitchell (Hong Kong – English premiere title) Release Date: September 10th, 1975 Directed by: Andrew V. McLaglen Written by: Ian Kennedy Martin Music by: Larry Brown, Jerry Styner Cast: Joe Don Baker, Linda Evans, Martin Balsam, John Saxon
Allied Artists Pictures Corporation, 97 Minutes
“Piss off, kid!” – Mitchell
The only reason people even remember this movie now is because it was featured on one of the most important episodes of Mystery Science Theater 3000, the episode that was the big farewell to original host Joel Hodgson.
Apart from that great episode, the movie itself is absolutely atrocious. It is a massive pile of steaming shit. It’s fucking horrible, if I can be so bold.
Sure, Joe Don Baker is the man. This also has John Saxon in it. But even these two can’t save a picture that is so poorly written and horrendously directed. It is one of those movies where watching too much of it will cause your eyeballs to bleed out of your sockets. It may even induce vomiting and diarrhea.
Yet, I still love Baker and Saxon and for some reason I’ll never understand, I love to torture myself with the worst movies that Earth has to offer. Maybe I should see a therapist but my Uncle Grapes once told me that “therapist” is spelled the same as “the rapist”. He spent a lot of time in a sanitarium though because he tried gluing cats to his naked body to “blend in with the bears”.
So what’s really wrong with this shit pancake of a movie? Well, a lot… frankly.
To start, lets talk about the action. There is a car chase that is so slow and boring that Crow T. Robot of Mystery Science Theater 3000 commented that it made “…Driving Miss Daisy look like Bullitt.” Also, watching Mitchell (Baker) do anything athletic, like running away from gunmen and such, was laughably bad. Although, we get that scene where he waves down a helicopter and it drops a shotgun down to him. I mean, who doesn’t want a shotgun dispensing chopper overhead when bad guys got you surrounded? Maybe that part of the action was kind of cool.
You also have to sit through one of the most awkward and strange sex scenes in movie history. Plus, it is accented by the horrible Mitchell theme song that just won’t go away from the time the picture starts till the very end of the credits when this turkey stuffed with crap finally ends.
Honestly, these could have all been different songs throughout the movie but they all sounded the same and I had to be on suicide watch for 37 days because that’s how long it took to get them out of my head.
Mitchell really is friggin’ dreadful. That being said, it has to be run through the Cinespiria Shitometer. And the results read, “Type 6 Stool: Fluffy pieces with ragged edges, a mushy stool.” Ew… gross, Mitchell!