Also known as: Michael Jackson: Moonwalker (promotional title)
Release Date: October 29th, 1988 (Japan)
Directed by: Jerry Kramer, Colin Chilvers (“Smooth Criminal” segment)
Written by: David Newman, Michael Jackson
Music by: Michael Jackson, Bruce Broughton, Ladysmith Black Mambazo
Cast: Michael Jackson, Joe Pesci, Sean Lennon, Kellie Parker, Brandon Quintin Adams
MJJ Productions, Ultimate Productions, Will Vinton Studios, 93 Minutes
“You wanna know why I’m doing this, do you? I just wanna get everybody high, Man. You know, some good drugs. That’s all.” – Mr. Big
I think I’ve only seen this once and it was way back when it came out. Although, I did play the Sega Genesis game on and off for years.
Anyway, I wanted to revisit this, as it’s been so long and I didn’t remember much about it other than some specific music videos it features, as well as the story portion of the anthology film, which co-stars Joe Pesci, as some sort of strange drug lord that has no problem murdering the shit out of some meddling kids.
Overall, this is pretty bad as a motion picture. However, as a sort of collected tapestry of random Michael Jackson multimedia work, it’s interesting and kind of cool. It also feels like a time capsule back to the point in history where Jackson was the biggest star in the world and he hadn’t yet been wrecked by child molestation allegations. Plus, the film feels dated as hell now, which just adds to it being a cinematic time capsule.
I like most of the stuff in this anthology but it’s mostly just music videos and performances, other than a biographical retrospective and the short dramatic film that starts around the mid-point.
The retrospective was pretty neat and was a lot more creative and artistic in how it was edited and presented than what would’ve been typical at the time.
The short film, which is all built around the famous “Smooth Criminal” music video, is the high point of the movie. It’s written by Jackson and with that, feels like it was written by a five year-old trying to wedge in all of his favorite toys while jumping all over the place narratively without any real focus other than there’s a bad guy and Michael Jackson is cool.
I thought the short film segment was fabulous when I was a kid but seeing it as an adult, it’s a mess. That doesn’t mean that it’s not entertaining, though. I kind of like the bizarre fantasy mixed with sci-fi world that Jackson created. It’s one-part gangster movie, one-part fantastical randomness, three-parts musical and nine-parts Michael Jackson.
Seeing this all these years later, I can’t say that this is a good film or even a very competent one. However, if you do like Michael Jackson, the artist, it’s still a entertaining look into his creative mind and it’s an incredibly unique experience.
Pairs well with: Michael Jackson’s Captain EO, as well as other musical anthologies.
Release Date: November 21st, 1986 (limited)
Directed by: Hal Needham
Written by: Shel Lytton, Steve Burkow
Music by: John D’Andrea, Michael Lloyd
Cast: Dirk Benedict, Tanya Roberts, Roddy Piper, Lou Albano, Barry Gordon, Charles Nelson Reilly, Billy Barty, John Astin, Sam Fatu, Sydney Lassick, Afa Anoai, Sika Anoai, Kellie Martin, Sione Vailahi, Tijoe Khan, Freddie Blassie, Ric Flair, Bruno Sammartino
Musifilm Productions, Hemdale Film Corporation, 89 Minutes
It amazes me that I never saw this movie as a kid and I didn’t even know of its existence until I heard someone talking about the wrestler cameos on a wrestling podcast I regularly listen to.
I guess I have to assume that this wasn’t on the shelves in the dozens of mom and pop video stores I spent time in during my childhood. I mean, there’s no way I would’ve overlooked it back then.
The film stars Dirk Benedict, a guy I loved from one of my favorite shows at the time, The A-Team. It also stars one of my favorite wrestlers, “Rowdy” Roddy Piper, as well as a slew of other WWF wrestlers from the time. Plus, it also has a few cameos from a bunch of wrestling legends.
Beyond that, you’ve got Tanya Roberts, who I have been crushing on ever since The Beastmaster, as well as Charles Nelson Reilly, John Astin, Billy Barty, Kellie Martin and an underappreciated character actor I’ve always enjoyed, Sydney Lassick.
So the cast is pretty good or at least, interesting. However, the story has a weaker foundation than a house of sticks in a flood zone. For the most part, everything in this movie just feels kind of random and not much makes sense.
That being said, I still enjoy some sequences in the film but most of those usually just deal with the wrestlers I grew up loving, playing versions of themselves doing wonky ass shit.
After getting to the end of the movie, I wasn’t really sure what the point of it was. It seems like it was a tailor made picture just to include the very charismatic Piper and his wrestling buds and really, there’s nothing else here.
That’s not to say I didn’t like Dirk Benedict. He was fine with what he had to work with but I do feel like he was wasted in this and it could’ve possibly torpedoed any real attempt at a movie career after The A-Team.
Pairs well with: other goofy B-movies from the ’80s. Also, anything starring ’80s wrestlers.
Release Date: February 23rd, 1990
Directed by: Luca Bercovici
Written by: Luca Bercovici, Jefery Levy, Chris Ver Wiel
Music by: Hilary Bercovici, Osunlade, various
Cast: Dean Cameron, Toni Basil, Thomas Dolby, Tawny Fere, Susan Tyrrell, Bo Diddley, Tony Cox
Cannon Films, 87 Minutes
“Well, you can say that the night is full of danger, but you know, to the night, you’re not a stranger. You know what I mean?” – Phoebe
Man, this was a really weird but also kind of wonderful movie.
And sure, it’s cheesy as all hell but it’s got some real heart and is somewhat endearing. It’s also really cool seeing some seriously legit musicians in this, hamming it up to the max and looking like they were enjoying every minute of making this strange and lively movie.
I don’t even know if I can really consider this a cult classic. It’s not something that anybody talks about, even in circles of film fans that would love something as bonkers as this.
Basically, this is a horror comedy but it’s also a musical full of people like Toni Basil, Thomas Dolby and Bo Diddley. It’s also very much a product of its time and while for new viewers it will certainly feel extremely dated, it’s sort of a time capsule into the weirdest shit that entertainment had to offer as the ’80s shifted into the ’90s.
The movie’s main star is Dean Cameron, who I have enjoyed since first seeing him in Summer School when I was a kid. He always sort of played stoner type characters in C-level comedy films but I always thought of him as a solid, charismatic, comedic actor that probably deserved more rolls at a more mainstream level. I think the biggest thing he was in was Men At Work but he was also somewhat overshadowed by a stacked cast in that one.
Here, Cameron gets to shine and he even gets to perform some musical numbers with the band he throws together to impress the love of his centuries long vampire life.
While the story isn’t anything great, it’s hard not to get lost in this, as all the core characters are pretty entertaining. I especially liked Thomas Dolby in this, as he essentially plays the film’s villain, a new wave British dandy that doesn’t like this vampire kid trying to lure away the girl he sees as his own.
To enjoy this film, though, one probably has to really love the entertainment of its era, as well as pure goofiness. Since I fit that profile, this is a pretty good movie for me to throw on to mindlessly escape from the real world for an hour and a half.
Pairs well with: other really odd comedies of the ’80s and early ’90s, especially those with horror themes.
Also known as: Universo en fantasía (original Spanish language title)
Release Date: July 29th, 1981 (premiere)
Directed by: Gerald Potterton
Written by: Daniel Goldberg
Based on: original art and stories by Richard Corben, Angus McKie, Dan O’Bannon, Thomas Warkentin, Bernie Wrightson
Music by: Elmer Bernstein, various
Cast: Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, Zal Yanovsky
Canadian Film Development Corporation, Guardian Trust Company, Columbia Pictures, 86 Minutes, 90 Minutes (premiere cut)
“A shadow shall fall over the universe, and evil will grow in its path, and death will come from the skies.” – Narrator
Fuck, this movie is so damn cool!
However, it does lack in the “heavy metal” department, as far as the music goes. That’s not to say the music is bad, this is just a lot less heavy than the title implies. Still, this developed a really strong cult following and for very good reason.
I love the rock and pop tunes in this, though. I mean, where else can you see a sword and sorcery story with sci-fi elements playout to a Devo song? Nowhere!
This entire movie is an animated anthology. The various segments were inspired by some of the stories and art that appeared in the pages of the Heavy Metal comic magazine. This is also a very adult cartoon, as it features nudity, sex and violence. There really isn’t anything here for kids but I saw it as a kid and it blew my mind. The ’80s were a different era, though. Kids today can’t watch Gremlins without needing the light on till they turn thirty.
Anyway, this was produced by Ivan Reitman and it featured a lot of his regular actors in voice roles. It’s kind of neat watching this for the first time in years and hearing John Candy, Harold Ramis, Eugene Levy and Joe Flaherty. It almost needed Bill Murray in there to round it out but it was still pretty dope hearing these comedic legends voices pop up in something like this.
That being said, this is just a really unique experience and it still conjures up a sort of magical feeling when watching it.
Despite the action and violence, the film has a calming, chill vibe to it and I think that has a lot to do with its visual style, tone and the superb use of music to season the already flavorful meal.
Heavy Metal is a weirdly comforting movie that reminds me of a time when filmmakers were still daring and experimental and with that, often times gave us movies that were really interesting, wonderfully eccentric, bizarre and special.
Pairs well with: its sequel, as well as other late ’70s and ’80s adult animated films.
Original Run: May 10th, 2019 – May 31st, 2019
Created by: Sacha Jenkins
Directed by: Sacha Jenkins
Written by: Paul Greenhouse, Sacha Jenkins, Peter J. Scalettar
Music by: J. Ralph, Wu-Tang Clan
Cast: Wu-Tang Clan, various
Showtime, 4 Episodes, 58-59 Minutes (per episode)
I don’t know why I didn’t know about this documentary series until a few weeks ago. I’m a lifelong fan of Wu-Tang Clan and if I’m being honest, they’re one of the few music groups that actually had an effect on my life. They forever changed hip-hop music and culture and since that was something I was a part of in my younger years, it changed the way I was doing things and my creative approach to making my own music.
This was actually quite great and I enjoyed this immensely. It really goes through the history of Wu-Tang before they were even formed up until now.
With this, you get to have an intimate view into their lives, past and present, you meet their families and you get to hear their personal stories about their struggles and triumphs.
You also learn a lot about the group behind the scenes and how even with their differences over the years, they always find a way back home to each other.
For fans of the group, there are some sad, disheartening moments in this. However, by the time you get to the end, you really understand their bond and it’s actually really inspirational to see how they still come together and unify as a family. This sort of unity is unheard of in the music industry, especially when this group has now existed for three decades.
Pairs well with: the Hulu drama series about Wu-Tang Clan’s lives, as well as other music documentaries.
Release Date: February 6th, 1998
Directed by: John Landis
Written by: Dan Aykroyd, John Landis
Music by: Paul Shaffer, various
Cast: Dan Aykroyd, John Goodman, Joe Morton, J. Evan Bonifant, Aretha Franklin, James Brown, B.B. King, The Blues Brothers Band, Erykah Badu, Blues Traveler, Eric Clapton, Clarence Clemons, Bo Diddley, Issac Hayes, Dr. John, Lou Rawls, Paul Shaffer, Travis Tritt, Jimmie Vaughan, Steve Winwood, Kathleen Freeman, Frank Oz, Steve Lawrence, Jeff Morris, Nia Peeples, Darrell Hammond, Max Landis
Universal Pictures, 123 Minutes
“Listen, Willie, you gotta understand. Those goons are orphan remnants of the post-perestroika Soviet secret police apparatus, which, until 1991, carried out its twisted interpretation of the original well-intentioned Marxist-Leninist doctrine vis-a-vis state security, which was massively corrupted by Lavrentiy Beria in the ’30s. Of course, once a mass populace is coerced into such behavior as a permanent condition, a radical didactic, dialectic shift, such as glasnost, produces guys like these:…” – Elwood Blues
I never wanted to see this movie.
For one, the first one was perfect and should have been left alone. Especially, after the death of John Belushi. Had he not passed away at a young age and then wanted to do a sequel, I probably would’ve been fine with that. Something just seemed grossly inappropriate about this film even being made but Hollywood has no morals, shame or respect for anything so I can’t say that this movie’s existence didn’t surprise me.
I figured that I’d give it a fair shot, though. Mainly, I wanted to review it and because maybe I was initially too harsh on this and it’s possible that it might be a nice tribute to Belushi.
Well, I wouldn’t call it nice or even good, really. Now it’s not as terrible as other people have led me to believe, over the years, but it’s kind of a pointless movie.
The reason why it’s pointless is that it takes all of the famous beats of the original film and just reuses them… poorly. It’s like Dan Aykroyd and John Landis dusted off the script to the original, changed some character and location names, moved some scenes out of sequence and then tried to do some clever modifications. Unfortunately, these tricks were really transparent and what we’re left with is a lame, terribly derivative picture that doesn’t have a reason to exist. Well, except for maybe one reason.
That reason is the music itself. I know that Aykroyd and Landis love the blues and they, at the very least, were able to create some solid musical sequences that I enjoyed. Now none of them are as iconic as the ones from the original movie but these sequences are where you can see that the creatives involved in the movie were really trying their damnedest to make this something special.
So, I can’t knock the musical parts but if the threads holding these sequences together is made of shit material, well, the semi-attractive tapestry is just going to fall apart. And sadly, that’s what happens with this movie.
In the end, I don’t hate this but I doubt I’ll ever watch it again.
Pairs well with: its far superior predecessor and other John Landis comedies.
Release Date: March 24th, 2017 (Texas Pinball Festival)
Directed by: Joel Reeves
Reeves Media Group, 65 Minutes
This was a good, positive documentary that I’m glad I watched, as the world slips further and further into a seemingly darker and uncertain future.
Also, this is centered around pinball, which is something I’ve loved since the days where I first learned how to drop my parents’ quarters into a slot.
Things That Go Bump In the Night tells the story of a devoted family man that gave up his twenty year career to pursue his dream of becoming a pinball manufacturer.
With that, we meet the man, his family and see how his family became a part of his business and continues to encourage his work and his dream. Along the way we see all the wonderful creations he came up with, as well as the trials and tribulations associated with creating a small, niche business that is already in an industry that is shrinking but also really competitive.
This was lighthearted and inspiring and honestly, I hope the guy is still going strong after the events of the past year and how the pandemic has negatively effected the arcade game and pinball industry.
Pairs well with: other documentaries on the video game/pinball industry.