Also known as: The Return of the Blues Brothers (original script title)
Release Date: June 20th, 1980
Directed by: John Landis
Written by: Dan Aykroyd, John Landis
Music by: various
Cast: John Belushi, Dan Aykroyd, James Brown, Cab Calloway, Ray Charles, Carrie Fisher, Aretha Franklin, Henry Gibson, John Candy, Kathleen Freeman, Twiggy, Frank Oz, Charles Napier, Steven Spielberg, Steven Williams, Paul Reubens, Chaka Kahn, John Lee Hooker, Steve Lawrence, Jeff Morris, Joe Walsh, Armand Cerami
Universal Pictures, 133 Minutes, 148 Minutes (extended version)
“It’s 106 miles to Chicago, we got a full tank of gas, half a pack of cigarettes, it’s dark… and we’re wearing sunglasses.” – Elwood, “Hit it.” – Jake
This was a favorite comedy of mine, as a kid. It also probably helped develop my love of music, as it exposed me to styles that weren’t simply the standard pop tunes of the day. Given the film’s name, one could assume that this is full of blues music but it also features some soul, jazz, rock and a bit of country and western.
The Blues Brothers also solidified John Belushi and Dan Aykroyd as two of the coolest guys working in Hollywood. Sadly, Belushi died two years later but my exposure and love of this movie led me down the path of watching everything Dan Aykroyd did for well over a decade. It also made me appreciate and love the work of director, John Landis.
A movie like this reminds of what movies used to be. It came out in a stupendous era for film and provided audiences with legitimate escapism from the harsh realities of the real world. This didn’t try to preach to you or force fed you some lesson, it was just a hell of a lot of fun, featured incredible music, didn’t take itself too seriously and offered up a tremendous dose of comedy when you didn’t have to worry about offending a small percentage of people that don’t buy anything, anyway.
This reminded me of why I watch so many retro movies and why I don’t really give a shit about new stuff coming out. At least for the most part. I’m am really intrigued by the newest adaptation of Dune, even if it is only going to be relegated to the small screen. But I digress, as I’ve gotten side tracked here. I just thought that it was necessary to explain what sort of feeling and thoughts this movie generated, seeing it in 2021 for the first time in quite awhile.
The Blues Brothers features dozens of great cameos of legitimate musicians essentially playing fictional versions of themselves. Strangely, this works. I think that also has to do with the film jumping around a lot and by putting the bulk of the acting work on Belushi and Aykroyd, who proved that even at their young age, they could certainly carry a motion picture and entertain just about everyone through their brand of comedy and music.
That being said, it also made me miss the really old days of Saturday Night Live. I was born after that show started but I did have access to a lot of those classic episodes growing up thanks to my uncle’s massive VHS library.
Anyway, this is just an energetic, lighthearted movie with soul and personality. It’s the type of picture that brings people together and leaves them all with a smile. I fucking miss movies like this.
I should also get the soundtrack on vinyl because not owning it should be a crime and I’m disappointed in myself for not having it.
Pairs well with: other comedies by John Landis, also those by Ivan Reitman, as well as comedies starring Dan Aykroyd.
Also known as: Leprechaun 5: In the Hood (alternative title)
Release Date: March 28th, 2000
Directed by: Rob Spera
Written by: Doug Hall, Jon Huffman, William Wells, Alan Reynolds, Rob Spera
Based on: characters by Mark Jones
Music by: Nicholas Rivera
Cast: Warwick Davis, Ice-T, Coolio (cameo)
Trimark Pictures, 90 Minutes
“A friend with weed is a friend indeed, but a friend with gold is the best I’m told.” – Leprechaun
While the fourth film is where the series starts to really drop off in quality, this fifth film is where it turns into a total piece of shit.
This completely ignores the events of the fourth film, which was set in the future in outer space. Or maybe, chronologically that one is the final movie. But then again, I guess it doesn’t matter, as none of these movies really seemed tied to previous installments.
Anyway, the idea of having the Leprechaun go against Ice-T is kind of intriguing but when the script and the direction are quite deplorable, you get a stupid, mundane picture that might be a turd but can’t even stay afloat.
There is actually one amusing scene where the owner of a pawn shop makes fun of the film’s three protagonists but that’s about it. Even the Leprechaun’s one-liners seem tired by this point and even though the series needed to sort of reinvent itself, this was a massive misstep.
I can’t fault Warwick Davis, he seems to love playing this character and getting a paycheck in the process but five movies deep, even he can’t keep this franchise going.
The main characters in this story are rappers and they draw the ire of an evil rap producer/gangster. Just think Suge Knight, as played by Ice-T.
The music is absolute crap. This film came out in 2000 but these rappers sound like a group from a West Coast gangsta rap demo that got rejected in 1991.
In the end, the Leprechaun raps poorly too but he’s at least better than the actual rappers. This is only worth checking out for that scene and you can just watch it on YouTube, anyway.
Pairs well with: the other Leprechaun movies starring Warwick Davis.
Release Date: April 23rd, 1993
Directed by: Ted Demme
Written by: Seth Greenland, Doctor Dré, Ed Lover
Music by: Michael Wolff, Nic. tenBroek, various
Cast: Doctor Dré, Ed Lover, Badja Djola, Cheryl “Salt” James, Colin Quinn, Denis Leary, Bernie Mac, Bill Bellamy, Terrence Howard, Richard Gant, Guru, Ice-T, Larry Cedar, Jim Moody, Joe Lisi, Karen Duffy, Roger Robinson, Richard Bright, Rozwill Young, Vincent Pastore, Caron Bernstein, Kim Chan, Ken Ober, B-Real, Ad-Rock, Apache, Bow-Legged Lou, Bushwick Bill, Busta Rhymes, Chi-Ali, CL Smooth, Pete Rock, Del the Funkee Homosapien, D-Nice, Dres, Eric B., Fab 5 Freddy, Flavor Flav, Freddie Foxxx, Heavy D, House of Pain, Humpty Hump, Kid Capri, Kris Kross, KRS-One, Leaders of the New School, Melle Mel, Monie Love, Naughty by Nature, Penny Hardaway, Phife Dawg, Queen Latifah, Run-DMC, Scottie Pippen, Sandra “Pepa” Denton, Stretch, Yo Yo, Da Youngsta’s
De Passe Entertainment, Thomas Entertainment, New Line Cinema, ,,, Minutes
“You fucked me! You fucked me! You might as well kiss me ’cause you’re fucking me!” – Sgt. Cooper
I’m one of the few people that saw this in the theater back in 1993 and honestly, I’m one of the few that saw it in my theater, as there were only three of us on opening night.
Still, I was stoked to see it, as I was a weekly viewer of Yo! MTV Raps at the time and the thought of Ed Lover and Doctor Dré in their own movie featuring dozens of rappers had my fourteen year-old self pretty damn excited.
The film also features Fab 5 Freddy and T-Money from Yo!, as well as some top up and coming comedians from the era like Bernie Mac, Denis Leary and Colin Quinn.
Now this isn’t specifically a well acted movie but it doesn’t need to be, as it is a buddy cop comedy made to appeal to teenagers that had a love of hip-hop. That being said, Lover and Dré were great, their chemistry shined through and their comedic timing was superb.
In a lot of ways, I saw the duo as their generation’s Abbott & Costello but unfortunately, they weren’t able to do anymore movies beyond this one. That’s kind of a shame, as they would’ve only gotten better but at the same time, Yo! MTV Raps was cancelled only two years later, ending a great era for hip-hop fans, which I feel had a lasting negative impact on hip-hop music going forward.
What makes this so fun to watch, especially now, is that it shows me how pure hip-hop still was in 1993 before it devolved into the overly corporate bullshit it became. This came out in a time where rappers still had real shit to say and a lot of the music was simply about having a good time or expressing positive messages. Sure, we all love the gangsta shit too but this film mainly features the East Coast side of the classic hip-hop era at its peak. There’s something magical about seeing all these guys in their prime, many of whom we have lost since then.
The bulk of the story revolves around Lover and Dré being failed barbers and having to join the police force to pay their rent. What they don’t know is that there is a sinister scheme afoot in their part of Harlem that leads to their beloved mentor and father figure being murdered for his real estate. This sets the pair off on trying to solve the mystery, even though they aren’t detectives and the police force doesn’t want them to be anything more than basic beat cops.
Along the way, they run into countless rappers, some of which have larger roles and most of which just have cameos. What’s weird about adding all these rappers in is that none of it seems forced or out of place. All the cameos are well handled and it’s kind of amazing that they actually got so many people in this movie.
The film is directed by the late Ted Demme, who was instrumental in bringing Yo! MTV Raps to the small screen. He would go on to direct a pretty good handful of films before his death, most notably Blow.
Additionally, this is written by Lover and Dré, which is probably why everything feels so natural, as they essentially play themselves in the film and they already head good relationships with all the other people in the movie, specifically the dozens of rappers.
This certainly isn’t a movie that’s going to resonate with those outside of my generation, who didn’t already have a love for East Coast hip-hop of the early ’90s, but it’s still pretty funny and these guys had incredible charisma and natural chemistry.
Pairs well with: other hip-hop comedies of the ’80s and ’90s.
Release Date: December 25th, 1968 (Canada)
Directed by: Phil Karlson
Written by: William McGivern
Based on: The Wrecking Crew by Donald Hamilton
Music by: Hugo Montenegro
Cast: Dean Martin, Elke Sommer, Sharon Tate, Nancy Kwan, Nigel Green, Tina Louise, Wilhelm von Homburg (uncredited), Chuck Norris (uncredited)
Meadway-Claude Productions, Columbia Pictures, 105 Minutes
“So this is the place I was gonna get shot in the back. Kind of a stylish pad to take off from.” – Matt Helm
I’ve arrived at the fourth and final Matt Helm film and while the Dean Martin spy comedies have been enjoyable, this one showed me that maybe they had already run out of steam.
That’s not to say that this one wasn’t enjoyable, it was, but it was the weakest in the series and just felt like everyone involved was simply running through the motions and the entire production had become a paint-by-numbers affair.
Sure, Martin is still charming and suave and the women are beautiful. But this really felt like they were dialing it in, trying to get one last glass of milk out of the cow.
However, if they did make a fifth film, I’d still watch it. It’s hard not to like Dean Martin in this role, as it’s tailor made for him and who the hell doesn’t like Dean Martin?
One of the strong points in this film was the villain, who was played by Nigel Green, who is most known for his roles in classic horror films.
This is also sort of bittersweet in that it was Sharon Tate’s last movie before she was murdered by the Manson Family in 1969. I enjoyed her in this but I think that she hadn’t reached her full potential and it’s hard to say whether or not she would’ve grown into a real film star that could’ve carried a production on her own.
The film also featured a bunch of boxers, wrestlers and martial artists, all of whom were uncredited for their small roles. However, it’s worth mentioning that Bruce Lee worked on the film, behind the scenes, and this was also Chuck Norris’ first film, even though he’s so far under the radar that I didn’t even notice him.
Another interesting thing about this movie is that it was directed by the same guy who did the first Matt Helm picture, Phil Karlson. He’s a director mostly known for his fine noir movies and while I enjoy his work in the Matt Helm series, it doesn’t quite live up to the movies he did before them.
The Wrecking Crew was an okay finale to the Matt Helm film series. It could’ve tried a little bit harder and gave fans something better but in the end, it did get this far and that’s something.
Pairs well with: The Silencers, Murderers’ Row and The Ambushers: the other Matt Helm films.
RETRO RELAPSE is a series of older articles from various places where I used to write before Talking Pulp.
*Written in 2014.
Technically, I guess this could be considered a review of two things and not just that but how these two things come together. Really though, it is a reflection on an experience more than anything else.
My football team has a bye week and I really don’t care about any other team enough to turn on the television. So I am left with not much to do. Then I came across the bottle of Miles Davis’ Bitches Brew from Dogfish Head sitting in my fridge – waiting for the right moment to crack open. Without any plans other than having planned to sit down and write today, I figured I’d open the bottle and enjoy it while listening to Miles Davis’ “Bitches Brew” album, the great work that inspired what I have been told is a pretty great beer. Then I figured, I’d kill two birds with one stone and that I would write about the experience while indulging in the experience.
First, the beer is an American stout. Being a fan of stouts, this dark and mesmerizing brew is right up my alley. It has a roasted coffee essence but it is pretty minimal. The beer is rich and robust and has some nice maltiness to it. I pick up other flavors, such as caramel, molasses and some light fruitiness. Physically, the beer itself is very dark, kind of like black coffee. It has a dark caramel-colored head that almost bubbles similar to a good root beer but not as quickly. It isn’t a highly carbonated beer and it is almost, in body and in flavor, pretty close to being a perfect stout.
As far as the album, “Bitches Brew” is one of the most complex and original jazz albums of all time. It is a departure from what the general public expected from Miles Davis and is deemed more experimental and primal compared to what many perceive as his more refined and traditional works. Well, I really wouldn’t consider this unrefined and the fact that isn’t considered “traditional” by many in that time, just goes to show the versatility Miles Davis had as an artist. He was one of the greatest musicians that Planet Earth has ever had and “Bitches Brew” not only solidifies that fact, it shatters the mold Miles himself made and goes on to transcend the incalculable level of greatness he had achieved before this unique album’s release. Sorry if I am selling this hard but I am a huge Miles Davis fan and this album is a vital piece of work not just in Miles’ catalog but in American music history.
When Rolling Stone’s Langdon Winner reviewed Miles Davis’ “Bitches Brew” album in 1970, upon its release, he stated something so profound that it sums up the album and the experience of listening to it perfectly. He said, “Whatever your temperament, “Bitches Brew” will reward in direct proportion to the depth of your own involvement.”
So what is it like to merge these two things: the album and the stout?
Well, the attitude and complexity of the album is only rivaled by the attitude and complexity of this meaty and potent jazz juice. Upon my first sip, this beer has risen up into the upper echelon of the brews that Dogfish Head offers. I’ve drank a lot of their stuff and there isn’t anything I haven’t liked. They are a brewery that does their own thing and strives to surprise the public, even though they have grown to a position where they could just sit comfortably and collect their profits. Dogfish Head goes way beyond that and continually creates some of the best brews in the world. With Miles Davis’ Bitches Brew, they have created one of the finest stouts that I have ever had.
Going beyond that, they have created a stout that from a flavor and body perspective, captures the essence of the “Bitches Brew” album. Throughout history, there have been many products that have tied into other products. This is one of the very few tie-ins that makes a lot of sense and is truly complimentary. The people at Dogfish Head just get it and luckily for us, they also have the palates and knowledge in how to create a perfect compliment to something that in and of itself is already a near flawless piece of work.
Well, the album is nearly over and my beer is nearly gone. I’ll have to do this again some time. I’m sure it won’t be as majestic as this initial experience but it is an experience that I would welcome at anytime. Dogfish Head’s Bitches Brew is a beer that Miles Davis would have been proud of. For the rest of us, it is a beer that we can relish in and enjoy with Miles’ most uncommon yet most interesting album.