Also known as: Cheech and Chong Join the Army (original script title) Release Date: June 26th, 1981 Directed by: Ivan Reitman Written by: Dan Goldberg, Harold Ramis, Len Blum Music by: Elmer Bernstein Cast: Bill Murray, Harold Ramis, Warren Oates, P. J. Soles, Sean Young, John Candy, John Larroquette, John Diehl, Judge Reinhold, Joe Flaherty, Dave Thomas, Bill Paxton
Columbia Pictures, 106 Minutes, 122 Minutes (extended cut)
“Who’s your friend? Who’s your buddy? I am, aren’t I? You’re crazy about me, aren’t you?” – John Winger
This is considered one of the all-time great Bill Murray comedies. While I do like it, it was never really at the top of my list. I’m not quite sure why, as it also features Harold Ramis, John Candy, John Larriquette, Judge Reinhold, Joe Flaherty and Dave Thomas: all comedy legends I love.
Stripes is funny and amusing but from a narrative standpoint, it always felt kind of sloppy and pointless. Sure, these new recruit losers (mainly Murray and Ramis) do rise to the occasion and become heroes for a day, however, things in this movie just sort of happen without much purpose.
I get it, though, this is sort of just a goofy, mindless comedy. However, I guess I hold these guys and director Ivan Reitman to a higher standard because they’ve made much better films.
Without Bill Murray and someone as great as Ramis to play off of in nearly every scene, this would be reduced down to just a run of the mill screwball comedy like Meatballs or Porky’s.
I also know that Reitman probably didn’t have much of a budget to work with but this picture looks more like a television movie than a cinematic one. However, the film’s success did pave the way for the Ghostbusters movies, which are, to this day, my favorite comedy films of all-time.
Stripes is a movie that I still watch about twice a decade, as I can put it on and not think. But ultimately, it’s just never been as beloved by me as it seems to be by many others.
Rating: 6.5/10 Pairs well with: other Bill Murray films of the ’80s, as well as comedy pictures directed by Ivan Reitman and John Landis.
Release Date: August 9th, 1985 Directed by: Carl Reiner Written by: Mark Reisman, Jeremy Stevens Music by: Alan Silvestri Cast: John Candy, Karen Austin, Kerri Green, Joey Lawrence, Rip Torn, Richard Crenna, John Larroquette, Richard Herd, Lois Hamilton
St. Petersburg Clearwater Film Commission, Paramount Pictures, 87 Minutes
“I love you Scully. That’s not the booze talkin’ either.” – Jack Chester
This was one of those movies I used to watch a lot as a kid. I hadn’t seen it in years though but after recently revisiting The Great Outdoors, I wanted to give this similar movie some love.
Sadly, it’s nowhere near as good as I remembered it being. But that’s not to say that it isn’t amusing and funny. It is, but that’s mainly due to how charming and lovable John Candy is regardless of the quality of the production he finds himself in.
The story follows a guy who is forced to take a vacation so he packs up the family and heads to Florida for the summer. Once there, a series of mishaps happen and the vacation is turned into a bit of a nightmare but ultimately, he has to come to look at the silver lining and reconnect with those he loves most while also challenging himself in a new way in an effort to succeed at something important to him.
This is a lighthearted positive film and it feels like a relic because there are few movies like this anymore, which is kind of sad. But even with all the shit that is thrown at John Candy’s Jack Chester, he tends to find a way to get over it and be optimistic.
Apart from Candy, I really liked Rip Torn as his buddy that teaches him how to sail and helps inspire him to win a sailing race against the town’s rich asshole.
That asshole is played by Richard Crenna, who I also liked a lot in this, as he isn’t playing his typical tough guy role but is instead playing a pompous old yuppie that gets to ham it up and have fun. In fact, he and Candy made such good rivals in this, I’m surprised Crenna didn’t get more similar roles following this film. But then again, this just did okay in theaters and was critically panned at the time.
Summer Rental isn’t the best John Candy movie, by any means, but it still showcases the guy’s magnetic charm and it makes you want to root for him and his family.
Rating: 5.75/10 Pairs well with: other vacation comedies of the ’80s, most notably The Great Outdoors, also with John Candy.
Release Date: April 2nd, 1982 Directed by: Paul Schrader Written by: DeWitt Bodeen, Alan Ormsby Music by: Giorgio Moroder, David Bowie Cast: Nastassja Kinski, Malcolm McDowell, John Heard, Annette O’Toole, Ruby Dee, Ed Begley Jr., Frankie Faison, John Larroquette
“Oliver doesn’t love you. He loved the panther. He wants you because he fears you. Let Alice have him. She thinks his fear is courage. And he thinks his fear is love. Well, they were made for each other.” – Paul Gallier
It’s probably strange that I had never seen this until now. I grew up in the ’80s on a steady diet of horror and fantasy and in the time since, I’ve adored the original Cat People series of films put out by RKO Radio Pictures and producer Val Lewton in the 1940s.
This stars Malcolm McDowell, one of my all-time favorite actors, especially in darker roles, as well as Nastassja Kinski, daughter of Klaus Kinski, who enchanted me in the Wim Wenders masterpiece, Paris, Texas.
The cast is rounded out by John Heard, Annette O’Toole and smaller roles for Frankie Faison, Ed Begley Jr. and John Larroquette.
Cat People‘s plot is very similar to the film it’s a remake of but it’s a much darker twist on that film and it also explores the mythos quite a bit more. It also adds in a steady helping of gore and eroticism. I wouldn’t quite call this exploitation but it’s probably as close as “high art” can get to that.
The cinematography is haunting and effective and director Paul Schrader did a great job of staging and capturing just about every scene and shot in the film. It certainly looks incredible and the atmosphere really becomes a character within the picture.
Overall, this is pretty good but I did find it a bit slow at times. But almost everything in it feels necessary and I can’t imagine how disjointed the 93 minute cut of the film must feel. Hopefully, those who have judged this harshly in the past didn’t watch the shortened version without realizing that there was a more developed version of the movie.
I really liked the characters in this and how each one felt like they were alone in their own way, exploring and discovering parts of themselves where the overlap of knowing one another created a dangerous situation for all parties involved.
Ultimately, though, the real highlight was getting to see the werepanther transformation. The effects worked extremely well.
All in all, this was a cool movie that was made even cooler by the use of different versions of David Bowie’s “Cat People” mixed with interesting and moody cinematography.
Rating: 7.5/10 Pairs well with: other were-creature movies from the time like An American Werewolf In London and The Howling, as well as the film it is a remake of and it’s sequel/spinoffs from the ’40s.
Release Date: June 24th, 1983 Directed by: John Landis, Steven Spielberg, Joe Dante, George Miller Written by: John Landis, George Clayton Johnson, Richard Matheson, Melissa Mathison, Jerome Bixby Based on:The Twilight Zone by Rod Sterling Music by: Jerry Goldsmith Cast: Dan Aykroyd, Albert Brooks, Scatman Crothers, John Lithgow, Vic Morrow, Kathleen Quinlan, Burgess Meredith (narrator), Dick Miller, Steven Williams, Al Leong, John Larroquette, Selma Diamond, Priscilla Pointer, Nancy Cartwright, Christina Nigra
Amblin Entertainment, Warner Bros., 101 Minutes
“Hey… you wanna see something really scary?” – Car Passenger
After recently watching the Creepshow television series, as well as revisiting the movies for the umpteenth time, I got the itch to rewatch Twilight Zone: The Movie, as it has a lot of similarities and I hadn’t seen it in at least a decade.
I like the highpoints of this movie almost as much as the Creepshow films. However, Twilight Zone is pretty inconsistent, as the first two segments are weak while the latter two are really good. And maybe it was put in this order in post-production because Steven Spielberg felt the same way, even though one of his segments was one of the crappier ones.
The prologue and the first segment were both directed by John Landis, coming off of An American Werewolf In London, a true horror classic. The prologue was a pretty good setup and I loved it when I was a kid. Landis’ segment, however, plays more like an episode of Amazing Stories.
Although, two of these segments play like Amazing Stories episodes and maybe this movie is what inspired Spielberg to create that show just two years later.
Anyway, Landis’ segment is actually incomplete due to an accident involving a helicopter on the set of the film. The accident killed two kids and actor Victor Morrow. It was a pretty controversial event back when it happened (see here) and it forever ruined the working relationship between Steven Spielberg and John Landis.
Moving on to the second segment, it’s the one directed by Spielberg himself and it is also the other segment that feels like an Amazing Stories episode. It’s also really boring and slows the movie to a crawl. But thankfully, Joe Dante’s segment gets the movie back on track.
By the time the third segment rolls around, you might find yourself in a comatose state that even the gentle, kind and always fly Scatman Crothers couldn’t pull you out of during the previous story. But once you get to the midpoint of the film, everything picks up, gets better and the movie delivers.
The third and fourth segments feel almost as good as the best segments from the Creepshow franchise and they save this movie from being a total disaster.
Where the first story dealt with an unlikable, old, racist piece of shit and the second dealt with old people getting to feel young again, the third deals with a young boy with special powers and a nice lady that eventually wants to help him, played by Kathleen Quinlan. It has more energy, it’s a more interesting story and the monster effects that Dante had created for this are superb. I love the third segment and it’s actually a story I would revisit if ever there were a followup to it. Plus, it has Dick Miller in it.
Now the fourth segment is directed by George Miller, the man behind the Mad Max franchise, and it is a remake of the most famous Twilight Zone episode.
The story sees an airplane passenger freak out over a monster on the wing of the plane. It may sound like an odd setup but it is a great segment that builds suspense incredibly well and also benefits from the great talent of John Lithgow. I also really liked the young Christina Nigra in this, as she added some good comedic seasoning at just the right moments. She was also really good in Cloak & Dagger, alongside Henry Thomas, a year later.
The final segment features the best (and only real) monster of the movie. The special effects are outstanding and the payoff in the finale makes the rest of the movie worth sitting through.
In the end, Twilight Zone: The Movie is a good example of what I don’t like about anthologies: consistency. The first half is bogged down by dry, slow, boring stories that one has to suffer through in an effort to get to something better. Thankfully, the second half of the picture is good.
In retrospect, though, it feels like this is almost a movie length pilot to Spielberg’s anthology television series Amazing Stories. If you’ve ever seen that show, this feels like an extension of it more than it feels like it fits within the Twilight Zone franchise. However, this would also lead to the Twilight Zone getting resurrected on television. In fact, it relaunched just a few days before Amazing Stories debuted.
Going back to the Spielberg segment with the old people experiencing their youth again, there are a lot of parallels to it and Ron Howard’s Cocoon. I’m not sure if this was an inspiration for that movie and its sequel but it’s very possible.
In fact, Twilight Zone: The Movie seems to have had quite the impact between launching a new TZ television series, influencing Spielberg’s Amazing Stories and its similarities to Cocoon, all of which came out two years later in 1985.
Rating: 7.25/10 Pairs well with: other horror anthology films of the time: the Creepshow movies and Tales From the Darkside: The Movie, as well as the television shows Amazing Stories and Tales From the Crypt.
Release Date: February 16th, 1990 Directed by: Tom Ropelewski Written by: Tom Ropelewski Music by: David Newman Cast: John Larroquette, Kirstie Alley, Alison La Placa, John Diehl, Jessica Lundy, Bradley Gregg, Dennis Miller, Robert Ginty, Wayne Tippit
Boy of the Year, Orion Pictures, 90 Minutes
“Don’t worry about me having dinner, I’ll just lick the crumbs off my filthy sheets!” – Beatrice
This isn’t one of the best comedies of its time period but I enjoyed the hell out of it as a kid and even now, in 2019, I still found the movie to be pretty endearing and charming. But I also know that my opinion is unique, in that most people have forgot about Madhouse and those who haven’t don’t have fond memories of it.
For me, this film works on the strength of its leads: John Larroquette and Kirstie Alley. The two of them had incredible chemistry, felt absolutely believable as a couple and they committed to the absurdity of the film with tremendous gusto.
The comedy style here is pretty typical of the time. It throws two normal people into a very abnormal situation while littering the proceedings with mostly crude and simple humor. But it works because of the charisma of the main cast and most of the supporting players.
I really enjoyed John Diehl, whose murder on Miami Vice still upsets me, and his overbearing wife played by Jessica Lundy. Alison La Placa was also great and we get Dennis Miller in a very minor (and his first) role.
The story follows a yuppie couple who get surprise house guests that are a total pain in the ass. However, as the film progresses, they get more and more house guests and no one will leave. Eventually, their new home has turned into a community of almost a dozen weirdos that push the couple to their breaking point.
What I love about this film is how we see Larroquette and Alley slowly break down and slip into madness. I thought the pacing of the film, in this regard, was perfect.
Also, there is a cat subplot that is a parody of Pet Sematary, which came out a year earlier. It sees the cat die, again and again, but it always comes back to create more chaos. You even get to see the cat die from a cocaine overdose.
This is a simple, fun comedy. But that’s what I like about it.
Rating: 7.5/10 Pairs well with: other outrageous late ’80s/early ’90s comedies.
Release Date: December 25th, 1980 Directed by: Ken Russell Written by: Paddy Chayefsky (as Sidney Aaron) Based on:Altered States by Paddy Chayefsky Music by: John Corigliano Cast: William Hurt, Blair Brown, Bob Balaban, Charles Haid, Thaao Penghlis, Drew Barrymore, John Larroquette, George Gaynes
Warner Bros., 103 Minutes
“Fight it, Eddie. You made it real, you can make it unreal.” – Emily Jessup
I was pretty excited to see Altered States pop up on FilmStruck, a mighty fine streaming service. It’s a film I have wanted to see for a very long time but it wasn’t very accessible.
The film deals with an abnormal psychologist who gets a bit too addicted to his work and pays a hefty price for it. His work involves seeing what will happen if he mixes hallucinogenic drugs and an isolation chamber. What we get to experience is a man tripping his balls off, seeing some strange and really messed up shit. However, each trip gets more and more intense and the man starts to have physical changes. He starts regressing and at one point becomes a savage neanderthal. He even goes so far as to regress into primordial matter.
Calling this film unique and bizarre is a serious understatement. It is those things but it embraces the weird so genuinely and effectively that even if this tale is quite fantastical, you are sucked right into it.
I think the real reason why this picture works so well is the skill of its director, Ken Russell. By this point, he had already directed three Oscar winning films: Women In Love, The Devils and The Who’s Tommy. This film would also go on to win Oscars for Best Sound and Best Original Score. But it was Russell’s uncanny vision and his ability to manufacture such vivid and intense images throughout this film that prevented this from turning into some hokey, LSD-laced, run of the mill sci-fi thriller.
William Hurt was exceptional as the psychologist, Eddie Jessup. Every single scene felt believable and he sold everything that was happening to him on screen. Not bad, as this was actually his debut film. He also had help from a young Bob Balaban, as well as Charles Haid, who became my favorite guy in the movie.
Eddie’s family was comprised of Blair Brown, who played his wife, and Drew Barrymore, as his daughter. This was also Barrymore’s debut film. We also get to see a very young John Larroquette play an x-ray technician and there’s a small role for George Gaynes, as well.
The special effects are good for its time and the hallucination sequences are amazingly orchestrated.
There are a slew of films that deal with scientists going mad over their own experiments. There are also a slew of films that are serious mind fucks. Altered States is one of the best, though. And after finally watching it, I can see where other films were inspired by it. It is a great “body horror” film and it will make you uncomfortable at times. In some regards, I think it’s comparable to earlier David Cronenberg films, as well as 1990’s Jacob’s Ladder.
Rating: 8/10 Pairs well with: Other body horror flicks from the era: Videodrome, The Fly, Scanners, From Beyond, Eraserhead, The Thing, etc. Also, Jacob’s Ladder.
Also known as: Tales From the Crypt Presents: Demon Knight (complete title) Release Date: January 13th, 1995 Directed by: Ernest R. Dickerson Written by: Mark Bishop, Ethan Reiff, Cyrus Voris Music by: Edward Shearmur Cast: Billy Zane, William Sadler, Jada Pinkett, Brenda Bakke, C. C. H. Pounder, Thomas Haden Church, Dick Miller, John Schuck, Gary Farmer, Charles Fleischer, Chasey Lain, Traci Bingham, John Larroquette (cameo), John Kassir
EC Comics, Universal Pictures, 92 Minutes
“Fuck this cowboy shit! You fucking ho-dunk, po-dunk, well then there motherfuckers! All you had to do was give me the goddamn key! Then we could get on with our lives. [cuts his hand to make new creatures] Alright… this house is hereby… condemned…” – The Collector
As a horror loving kid in the ’80s, I used to watch the shit out of HBO’s Tales From the Crypt. So when the show ended but they turned to producing movies, I was saddened but also kind of stoked.
I saw Demon Knight when it first came out in my local theater and I even got a copy of it on VHS when it was released later that year. It has been a really long time since I’ve seen it, however. Actually, the last time I saw it was when I still had a working VCR. Seeing it now, I forgot how absolutely insane and fun this movie was.
The film is directed by Ernest Dickerson, who started his career doing the cinematography in Spike Lee’s earliest films. Before directing this, he was in the director’s chair for Juice and Surviving the Game, two films I really liked as a teen and still enjoy today. Dickerson was a young, up and coming filmmaker when he got this gig. I feel like his work on Demon Knight enriched his oeuvre.
It didn’t hurt that Dickerson had an all-star cast in this thing. The two top roles went to William Sadler and Billy Zane. To be frank, this is still my favorite role that Zane has ever played. The film is rounded out by Jada Pinkett, Thomas Haden Church, C. C. H. Pounder, Dick Miller, Brenda Bakke and Roger Rabbit himself, Charles Fleischer. As a huge Dick Miller fanboy, I love him in this and he got his just desserts, at this point in his long career, as he gets to star opposite of a horde of big breasted naked ladies in his final scene.
This is a film that pulls no punches and just goes for it and that’s why it works so well, has held up nicely and is infinitely more fun and entertaining than 99 percent of modern horror. The demons are cool, Zane is cool, Sadler is cool, Dick Miller is Dick f’n Miller and this is just a bonkers movie in the greatest regard. In a lot of ways, Dickerson out Joe Dante’d Joe Dante.
I’m glad that I revisited this, which also has got me enthused about revisiting that other Tales From the Crypt movie, Bordello of Blood.
Rating: 8/10 Pairs well with: Anything related to Tales From the Crypt.
Release Date: June 1st, 1984 Directed by: Leonard Nimoy Written by: Harve Bennett Based on:Star Trek by Gene Roddenberry Music by: James Horner Cast: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Merritt Butrick, Robin Curtis, Christopher Lloyd, John Larroquette, Miguel Ferrer, Grace Lee Whitney, Scott McGinnis
Paramount Pictures, 105 Minutes
[Witnessing the destruction of the Enterprise] “My God, ‘Bones’… what have I done?” – Capt. James T. Kirk, “What you had to do, what you always do. Turn death into a fighting chance to live.” – Dr. Leonard “Bones” McCoy
This is the second part of a trilogy of Star Trek films that I refer to as The Genesis Trilogy. It isn’t officially a trilogy but all three films are linked together and happen successively. These films are Star Trek II: The Wrath of Khan (1982), this film from 1984 and Star Trek IV: The Voyage Home (1986). All three films have to deal with the Genesis Project and the consequences of those events.
In this chapter in the film series, we see the beloved crew of the USS Enterprise returning home from their battle with Khan, as well as having just endured the loss of their friend and crewmate Spock. We soon learn that Dr. McCoy has Spock’s mind trapped in his head and that it is Spock’s wish to have his body and mind returned to Vulcan. The crew, lead by Kirk and McCoy, have to stage a mutiny and steal the soon-to-be decommissioned Enterprise from Spacedock. They must return to the Genesis Planet, recover Spock’s body and return him and McCoy to Vulcan. What we also soon discover, is that the Genesis Planet has resurrected Spock but without his mind he is just a living shell. All the while, the crew has to deal with a rogue Klingon commander who wants the power of the Genesis Planet for himself.
This is a film that gets a bad wrap but that is probably because it is wedged between two superior films. Still, The Search for Spock is a damn good Star Trek movie. However, it might not have the impact on a casual fan, as it does for someone who has watched the original television show and been emotionally invested in these characters for a couple decades.
What I love about this picture is that the crew truly comes together as a family like they never have before. They put themselves and their careers in jeopardy all to help a fallen friend fulfill his final wish. I almost get a little teary eyed writing about it.
This film also introduced us to the coolest ship in all of Star Trek lore, the Klingon Bird of Prey. It really is the Millennium Falcon of Star Trek. We also, get our first real look at the Klingons of the ’80s and ’90s, that would have a major impact on the two long running television series Star Trek: The Next Generation, Star Trek: Deep Space Nine and other Star Trek films before the modern J.J. Abrams era.
Christopher Lloyd is absolutely stellar as the Klingon commander Kruge. Without his incredible performance, the Klingons might not have had as prominent of a role going forward. This was my favorite era of Star Trek in films and on television and I feel that Lloyd was instrumental in the shape of it all because he helped make Klingons something different in the best way possible.
At its core, this is a film that comes with its own sense of tragedy but also carries a sweetness with it. The cost of fulfilling the mission is a huge price for the crew to pay, especially Kirk. In the end, the crew gets to see their comrade again but the future is very dark and uncertain. There is a lot of emotional weight here and maybe that’s why the fourth film would be more of a lighthearted comedy after the doom and gloom of Treks II and III.
Leonard Nimoy did a fine job directing this and man, that James Horner score is incredible.
Rating: 8/10 Pairs well with:Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home, both nice bookends to this film and all three sort of form a trilogy.
Release Date: October 1st, 1974 Directed by: Tobe Hooper Written by: Kim Henkel, Tobe Hooper Music by: Wayne Bell, Tobe Hooper Cast: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim Siedow, Gunnar Hansen, Teri McMinn
Vortex, Bryanston Pictures, 84 Minutes
Originally, I wanted to review the first four Texas Chainsaw films as a series, as they are considered to be the original run of films before the remakes, prequels and other alternate sequels started. However, every single film bearing the Texas Chainsaw name, follows its own continuity. Part 2 is one of many versions of a sequel. Part 3 ignores Part 2. Then you have Part 4, which ignores Parts 2 and 3 and establishes a “next generation” of characters. After that, the series was rebooted. Then the reboot got a prequel. Years later, another alternate sequel to the original was made. Now there is another prequel coming out within the next year or so; I’m not sure which of the films it is attached to. Needless to say, the continuity is confusing as hell, so I would rather review each film separately.
Artistically speaking, TheTexas Chain Saw Massacre is the best film in the series, although I can’t call it great. Sorry, it just isn’t. It also isn’t my favorite in the series, that honor would go to the second part, which I will explain when I review that chapter in the franchise.
This film is insane and scary. The atmosphere and the characters create a sense of dread that has never been replicated in the series. The dinner scene is one of the most legitimately frightening moments in 1970s horror. The sets, the cinematography, the characters, the music, the sound, everything just melds together in a good way. The film does the job it set out to do.
The only thing about the movie that I hated, and many will probably agree, is the invalid brother Franklin. He was beyond obnoxious, stupid and annoying. I don’t see how anyone could feel bad about his death in the picture. I only wish it had come sooner and been a lot more violent.
One of the common misconceptions about this movie, is that people remember it as being extremely violent and bloody. It isn’t. Most of the actual gore happens out of the shot or is implied somehow. There is very little blood, overall. The film is just so intense, at the right moments, that it doesn’t need to slap you in the face with blood and guts.
I know I am in the minority, but I have never held this in the same regard as classics like A Nightmare On Elm Street, Halloween or Friday the 13th. It certainly isn’t as good as Black Christmas, another well-noted horror film from 1974. I have always liked it but it just doesn’t hold a special place for me like the other movies. And out of all the big time horror franchises, this one has spawned the most awful sequels.
Regardless of my criticism, Tobe Hooper made a solid horror picture for 1974. This is considered to be one of the greatest scary movies ever made. I can’t imagine how terrifying it must have been in 1974 when the world hadn’t really seen something this brutal. The Texas Chain Saw Massacre opened the flood gates for what was to come in the horror genre and that, more than anything else, is why this film is important.