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: Mel Brooks’ The Producers (complete title), Springtime for Hitler (alternate title) Release Date: November 22nd, 1967 (Pittsburgh premiere) Directed by: Mel Brooks Written by: Mel Brooks Music by: John Morris Cast: Zero Mostel, Gene Wilder, Kenneth Mars, Dick Shawn, Lee Meredith, William Hickey, Christopher Hewett, Mel Brooks (voice)
Embassy Pictures, 88 Minutes
“How could this happen? I was so careful. I picked the wrong play, the wrong director, the wrong cast. Where did I go right?” – Max Bialystock
I have seen just about every Mel Brooks film, as well as the remake of The Producers, the stage show and the season of Curb Your Enthusiasm where Larry was starring in the play. But I have never seen the original.
Being a fan of early Mel Brooks movies and Gene Wilder, I’m surprised it took me this long to get to the film but I spend a lot of time watching complete dreck because I review a lot of obscure movies, some of which I discover should remain obscure and mostly unknown.
Anyway, I was glad to see this pop up on FilmStruck because I’ve always wanted to watch it and because I needed something funny and entertaining to get me out of the funk I was in after a half dozen horrible pictures.
Quite frankly, this is one of the funniest movies I have ever seen. It is in the upper echelon of all comedy for me and right up at the top of the list of Mel Brooks’ best. This and Young Frankenstein take the cake for me but it’s hard to decide between the two.
What makes this film unique in comparison to Brooks’ most famous work, is that it isn’t parody. This is an original story and it showed that Brooks can make comedy gold outside of just making fun of genre tropes.
Plus, the superb talent of Gene Wilder and Zero Mostel is on full display here, as both men play off of each other so well, they almost have a presence similar to other great duos like Laurel and Hardy, Abbott and Costello and well… Gene Wilder and Richard Pryor.
The cast is also rounded out by other hilarious performances. Kenneth Mars is hysterical, as is Dick Shawn. In fact, Shawn really steals the show in the few scenes he has.
This is a rather short film, at just shy of 90 minutes, but it packs a lot of laughs and energy into that time.
The Producers is absolutely one of the greatest things that Mel Brooks has ever done. It has held up exceptionally well and deserves its status as a true comedy classic.
Rating: 9.5/10 Pairs well with: Other early Mel Brooks films: Young Frankenstein and Blazing Saddles.
These three films differ from the first four in the series in that they are missing the character of Sgt. Carey Mahoney. Steve Guttenberg left the series and thus, took the main character with him. For the first two films post-Mahoney, we got a new lead actor played by Matt McCoy. Now McCoy is a decent enough actor but he is a straight laced kind of guy and not a great funnyman like Guttenberg.
Some people think the series should have ended with Guttenberg’s exit but then some people thought it should have ended after the first movie. If that were the case, it would have been forgotten and not have become a beloved comedy franchise. Personally, I think it should have ended with the sixth film but I will get into how horrible the seventh and final film is after I discuss the two before it.
Police Academy 5: Assignment Miami Beach (1988):
Release Date: March 18th, 1988 Directed by: Alan Myerson Written by: Stephen Curwick Music by: Robert Folk Cast: Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Matt McCoy, Janet Jones, Tab Thacker, René Auberjonois
Warner Bros. Pictures, 90 Minutes
“Proctor! Where is Proctor?” – Capt. Thaddeus Harris
This is the first Police Academy film to take our characters out of their familiar setting. Since it is the fifth film, the producers were probably out of ideas and wanted to turn the fifth film’s production into more of a vacation.
Audiences weren’t happy going into a film without Mahoney, as the focal point, but what made all of these films work was the ensemble cast. Now without Mahoney, the spotlight was a little bit brighter on his cast mates. Hightower, Tackleberry, Jones, Hooks, Callahan, Harris, Proctor, Commandant Lassard and House all had more to do in this movie. I like this film because it expands on them and lets them continue on with these great characters.
Sure, the film is a step below the previous ones but it isn’t as bad as critics and IMDb would make you believe. If you are a fan of the series up until this point, you should still like this installment.
The Capt. Harris and Proctor bits in this film are some of the best of the series. The action sequences are also well done, as they take to the Everglades on airboats in an effort to chase down the villain. And the villain, who is played by René Auberjonois, is my favorite bad guy in the film series. It may also be my favorite Auberjonois role after his parts on Star Trek: Deep Space Nine and Benson.
Police Academy 6: City Under Siege (1989):
Release Date: March 10th, 1989 Directed by: Peter Bonerz Written by: Stephen Curwick Music by: Robert Folk Cast: Bubba Smith, David Graf, Michael Winslow, Marion Ramsey, Leslie Easterbrook, Bruce Mahler, George Gaynes, G.W. Bailey, Lance Kinsey, George R. Robertson, Matt McCoy, Kenneth Mars, Gerrit Graham
Warner Bros. Pictures, 84 Minutes
“Oh, crapola!” – Mayor
The sixth film isn’t very good. It has some redeeming things about it, as the cast of familiar characters are there once again, providing the audience with laughs. Watching this though, you could tell that the creative staff were out of material and out of jokes.
This was the first film in the series to play like a whodunit mystery but that felt out of place in a series where the movies were a series of random comedy gags with just a bit of plot sprinkled in to string it all together.
The villains were the cheesiest of the series, the big mystery reveal at the end was awful and the actors didn’t even look like they were having fun anymore and instead realized that if they wanted to keep making a paycheck, they were stuck churning out Police Academy films annually.
When this movie ended, so did the schedule of having a new Police Academy film each spring. In fact, for a long time, I thought this was the end of the series. It should have been. But then five years later, someone thought it’d be a good idea to do a seventh film.
Police Academy 7: Mission to Moscow (1994):
Release Date: August 26th, 1994 Directed by: Alan Metter Written by: Randolph Davis, Michele S. Chodos Music by: Robert Folk Cast: David Graf, Michael Winslow, Leslie Easterbrook, George Gaynes, G.W. Bailey, Charlie Schlatter, Christopher Lee, Ron Perlman, Claire Forlani
Warner Bros. Pictures, 83 Minutes
“Everything about me… is real.” – Callahan
This film is easily one of the worst movies that I have ever seen. It pains me, considering that it still has some of those characters I love. But at this point, they have become absurd cartoon characters.
The director of this film is an idiot. For whatever reason, he must be really into acrobatics because there was a lot of characters jumping around doing bizarre flips throughout the film. It made no sense and it was, for lack of a better set of words, fucking stupid.
There were also sound effects that didn’t fit and were bizarre as hell.
Additionally, the camera was often times zoomed in way too close to the actors’ faces. It was disorienting and visually annoying.
This film features the talents of the legendary Christopher Lee and the bad ass Ron Perlman. I feel sorry for them for having even been anywhere near this picture. Also, Claire Forlani is in this for some reason.
You would do yourself a huge favor by steering clear of this film at all costs.
Release Date: December 15th, 1974 Directed by: Mel Brooks Written by: Mel Brooks, Gene Wilder Based on:Frankenstein by Mary Shelley Music by: John Morris Cast: Gene Wilder, Peter Boyle, Marty Feldman, Cloris Leachman, Teri Garr, Kenneth Mars, Madeline Kahn, Gene Hackman
20th Century Fox, 105 Minutes
I was fortunate enough to see Young Frankenstein on the big screen this past weekend thanks to one of my local theaters being awesome and featuring films offered by Flashback Cinema. Being that I am a pretty big Mel Brooks fan, it was certainly a treat. Also, the only Brooks film I had ever seen in the theater before this was Dracula: Dead and Loving It. That was a tragedy that needed to be rectified.
I am also a bigger fan of the Universal Monsters franchise. While this isn’t a film put out by Universal, parodying itself, it still is a wonderful comedic homage to those films and it’s pretty cool that 20th Century Fox put up the cash to make it.
Written by Gene Wilder and Mel Brooks, from a humor standpoint, it seems to have a bit more Wilder in the script. The great thing about the man, is he knew how to write comedy for himself. Brooks, on the other hand, was very good at making things work well for an ensemble of hilarious characters. He also makes completely absurd situations work. Together, these two men had a perfect marriage with the script for Young Frankenstein.
The film is as close to perfect as a parody movie can get. To be honest, I’m not a big fan of parody films, except for those put out by Mel Brooks because he just has the ability to capture the spirit and magic of the films he pokes fun at. Brooks’ parodies are more like an old school classic Dean Martin Roast of movies he loves, where the modern parodies done be filmmakers (with less than a tenth of Brooks’ talent) are just an atrocious string of racist, dick, fart and fat jokes that could be better executed by first graders on a playground. Needless to say, Brooks has mastered an art and no one else has even come close to his level. Young Frankenstein is one of the Brooks films where this is completely apparent.
Young Frankenstein is magic. It recaptures the look and feel of the James Whale Frankenstein pictures of the 1930s almost flawlessly. It is impressive how authentic the sets and props feel. The cinematography is a near match of those films, especially the lighting and the tone. The use of contrast creates a great sense of depth that makes it feel like those old classic horror pictures. It is also worth mentioning that the great score really adds a lot of character to the film’s presentation and helps to enhance the visual side of things.
This is one of the absolute best roles that Gene Wilder has ever played. The same can be said for Teri Garr and Marty Feldman. Peter Boyle has had a weird mix of fantastic and different roles over the years but he’s perfect in this as the Creature. Madeline Kahn is also stupendous and utterly hilarious. The one character I have always loved though, is the Inspector played by Kenneth Mars.
Young Frankenstein is a great movie and certainly a classic that deserves its fanfare. I think its biggest strength is its story. While it parodies the many Frankenstein pictures put out by Universal in their horror heyday, it is its own unique tale backed by complete hilarity and a talented cast and director.