Also known as: Fletch Saved (working title)
Release Date: March 17th, 1989
Directed by: Michael Ritchie
Written by: Leon Capetanos
Music by: Harold Faltermeyer
Cast: Chevy Chase, Hal Holbrook, Julianne Phillips, R. Lee Ermey, Richard Libertini, Cleavon Little, Randall “Tex” Cobb, George Wyner, Geoffrey Lewis, Richard Belzer, Phil Hartman
Cornelius Productions, Vincent Pictures, Universal Pictures, 95 Minutes
“It takes a big man to admit when he’s wrong. I am not a big man.” – Fletch
I was surprised that I liked this film as much as I did.
The reason being, I remember people trashing it pretty heavily when it came out. While I used to see pieces of it on television over the years, I don’t think I’ve ever seen it in its entirety in one viewing. But people did always say that this was a pretty shitty sequel and not on the level of the original.
Well, it’s not as good as Fletch but Fletch Lives is still a pretty funny movie that’s tailormade for Chevy Chase’s strengths. So while I have a much higher opinion of this movie than the majority, I feel like maybe I should defend it, as I feel like it probably deserves that.
I think that the new setting of the film actually helps it and makes it fresh. I liked seeing Fletch go to the bayou to expose some seedy shit. I also liked how they used it to emphasize the cultural clash between an L.A. investigative reporter and the Cajun folk, ranging from the good Southerners to the outright racist pieces of shit. I also loved the televangelical angle and R. Lee Ermey’s role as the megachurch pastor.
Beyond Ermey, I also enjoyed the great Hal Holbrook playing a crooked Cajun millionaire.
Additionally, I liked the chemistry between Chase and the film’s leading lady, Julianne Phillips.
Chase also had solid camaraderie with Cleavon Little. Seeing those two comedic icons come together is a real treat regardless of the perceived quality of the film.
This installment of the series relies more on Chase wearing funny costumes while “undercover”. I really like these sequences, though, and I like seeing Chase play odd characters.
Overall, Fletch Lives is pretty solid and I say that as a guy who was never a big Chase fan. However, I do really enjoy him as this character and I honestly think it’s his best.
Sadly, we never did get that third Fletch picture and I’m pretty sure the ship has sailed on that.
At last, I have reached the final book in The Witcher saga! Well, technically there is one more that takes place after the saga. So, this is the fifth of the five saga books and the seventh of eight, overall. Regardless, it’s been a hell of a ride up to this point and I’m kind of bummed that there’s just one book left.
This book is thicc.
It’s the thickest of the series, anyway, and with that, a whole lot of shit happens.
In fact, this probably could’ve been split into two volumes and that may have made it easier to digest all the details but regardless, it’s still the strongest and best book in the series.
This taps into the King Arthur myth, as it features the knight Galahad and Nimue, the Lady of the Lake. The story starts with Ciri recounting events in her life, which sets up the novel’s story.
In this, we see Geralt and his party face certain doom and very, very few survive. But we also see Geralt, Ciri and Yennefer come back together to close out the series.
Before that, however, we see what happens to Ciri when she’s trapped in the magical realm she entered at the end of the previous book. While there, she grows exhausted of what’s expected of her by the elves that hold the power in that mysterious place. Eventually, she discovers the unicorns, who have beef with the elves and thus, help Ciri escape back to her homeland.
There are a lot of different plot threads weaving in and out and despite the complexity of the novel as a whole, it’s well organized and the story is well told.
In the end, there is a satisfying conclusion and Ciri gets to walk her own path in spite of everyone telling her what her destiny should be over the course of her entire life, up to this point.
This was a solid conclusion to the saga and frankly, the book was hard to put down.
I’m pretty happy that I picked this series up. It actually exceeded my expectations and lived up to the hype, which things rarely do.
Also known as: Traumnovelle, Rhapsody (working titles), EWS (promotional abbreviation)
Release Date: July 13th, 1999 (Los Angeles premiere)
Directed by: Stanley Kubrick
Written by: Stanley Kubrick, Frederic Raphael
Based on: Traumnovelle by Arthur Schnitzler
Music by: Jocelyn Pook
Cast: Tom Cruise, Nicole Kidman, Sydney Pollack, Marie Richardson, Todd Field, Sky du Mont, Rade Šerbedžija, Thomas Gibson, Vinessa Shaw, Fay Masterson, Alan Cumming, Leelee Sobieski, Leon Vitali, Julienne Davis, Madison Eginton, Abigail Good, Cate Blanchett (voice, uncredited)
Hobby Films, Stanley Kubrick Productions, Warner Bros., 159 Minutes
“Bill, I don’t think you realize how much trouble you got yourself into last night just by going over there. Who do you think those people were? Those were not just some ordinary people. If I told you their names… no, I’m not going to tell you their names… but if I did, I don’t think you’d sleep so well at night.” – Victor Ziegler
Stanley Kubrick has multiple films that I consider masterpieces and this is one of them. In fact, while re-watching this, I tried to look for things to pick out as negatives and I didn’t find any.
While this motion picture has a long running time, it’s one of those special films that has a real mystique about it and it just lures you in and holds your attention from scene-to-scene.
It stars then-married Tom Cruise and Nicole Kidman and as good as both of them have proven to be at their best, this is possibly both of them at their absolute best.
The scenes between Cruise and Kidman are intense and magnetic. While they were divorced a few years after this movie’s release, their love transcends the screen, as does their pain and then their shared truths potentially strengthening their bond by the end of the film. If they were no longer in love in real life, their performances just solidified how great both of them are at their craft. I also think Kubrick saw this in them and that’s why he cast both of them as a married couple.
The bulk of the story deals with Cruise having discovered that his wife nearly had an affair and it makes him question their marriage and sets him off on a quest of sexual exploration. While he is confronted by a lot of things, he never really cheats on her either. However, along the journey, he uncovers a billionaire sex cult in a mansion outside of New York City. He is immediately discovered and then ousted from this secret meeting but it creates an obsession within him, where he needs to uncover the truth behind it. He then finds himself in a cat and mouse game as the reach of this group is much larger than he could’ve imagined. Eventually, a very rich, close friend has to give him his final warning to stop pursuing this mystery.
The end of the film, sees Cruise breaking down and confessing to his wife in a similar manner that she confessed her near affair to him.
The sex cult stuff is the highlight of the film, really. And no, not because it’s a sequence with a sex cult but because of how opulent the setting was and how mysterious and unsettling the whole thing was despite the affluent atmosphere. This sequence was one of Kubrick’s best in his long career and it’s neat that it came in his final film, as so many auteurs tend to lose “it” towards the end of their careers.
The sex cult sequence, like the rest of the film, is hypnotic and enchanting. This is not just due to the acting, the pacing of the film, the score and the mysterious, disturbing circumstances but also the tone and atmosphere, which came courtesy of Kubrick’s wonderful eye for shot-framing, as well as the stellar cinematography of Larry Smith. Shockingly, this was Smith’s first film and he also did double duty, serving as the lighting cameraman, as well. He’d eventually go on to work with Nicolas Winding Refn on Fear X, Bronson and Only God Forgives, three films that also look amazing.
Eyes Wide Shut is a picture that isn’t for everybody. It actually asks a lot of its audience, as there are a lot of deep things to ponder. While Cruise’s obsession with the cult might seem like a large distraction from the real point of the plot, it’s actually just what he latches onto to simultaneously ignore and process his feelings of sadness, anger, growing guilt over his own actions and the overbearing thoughts of marital betrayal.
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: Young Sherlock Holmes and the Pyramid of Fear (original script title)
Release Date: December 4th, 1985
Directed by: Barry Levinson
Written by: Chris Columbus
Based on: characters by Sir Arthur Conan Doyle
Music by: Bruce Broughton
Cast: Nicholas Rowe, Alan Cox, Anthony Higgins, Sophie Ward, Roger Ashton-Griffiths, Freddie Jones, Nigel Stock, Brian Oulton, Susan Fleetwood
Industrial Light & Magic, Amblin Entertainment, Paramount Pictures, 109 Minutes
“A great detective relies on perception, intelligence, and imagination.” – Sherlock Holmes
It may sound strange since I’m a kid of the ’80s and a massive Spielberg fan from that era but I’ve never seen Young Sherlock Holmes.
Now I have seen clips of it over the years, due to its very early use of emerging CGI technology, which made this a very groundbreaking film in digital effects, even if it wasn’t a massive hit like Steven Spielberg, Chris Columbus and Berry Levinson had hoped.
Honestly, it’s those effects that have cemented this motion picture as a relevant one for its time. Nothing else within it is all that memorable or significant. But that’s not to say it’s not good. It’s just be pretty forgettable without its great effects for the time in which it was produced.
I mostly liked this and I liked the kids in it and how they helped generate a sense of wonder, which is something Hollywood is completely unable to do in modern times. Still, this movie does drag in several spots and while I can buy the kids in these specific roles, they’re not that memorable except for Sophie Ward, who would go on to have an interesting career.
I liked the whole Egyptian cult that Sherlock and company were trying to expose and take down but if I’m being honest, a lot of that stuff felt like it was recycled from the Thugee cult stuff in Indiana Jones and the Temple of Doom and that film came out only a year earlier and also involved Spielberg, as he directed it.
This also has a magical element to it and because it stars some proper British kids, there’s a particular vibe that I can best describe as proto-Harry Potter.
Young Sherlock Holmes isn’t a movie that I felt like I missed out on. As a kid, I would’ve certainly liked the effects heavy scenes like the stain glass knight but I probably would’ve been bored for 75 percent of the movie.
Also known as: I corpi presentano tracce di violenza carnale (original Italian title), The Bodies Show Traces of Carnal Violence (literal English title)
Release Date: January 4th, 1973 (Italy)
Directed by: Sergio Martino
Written by: Sergio Martino, Ernesto Gastaldi
Music by: Guido & Maurizio De Angelis
Cast: Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson, Roberto Bisacco, Ernesto Colli, Luciano Bartoli, Luciano De Ambrosis
Compagnia Cinematografica Champion, 92 Minutes
“Death is the keeper of secrets.” – Franz
Torso is a pretty well-respected giallo picture not directed by Dario Argento or a Bava. I even knew about it as a kid when I had no idea what a giallo picture was. I remember the VHS box art sitting on the shelf in the horror section of just about every video store I visited on the regular.
I ended up watching it in my teens but it’s been that long since I’ve seen it, so I figured I’d revisit it. Plus, I have a much richer understanding of what giallo is now.
Overall, this one is kind of mediocre. Although, I do like the look of the killer a lot and I can see where this specific picture was probably instrumental in inspiring a lot of the American and Canadian slasher films that would follow a decade later.
If you’ve seen a lot of giallo already, this one isn’t going to shock or surprise you. However, it’s filled with enough gorgeous women to make the movie more than palatable. And that’s a quality I loved about Italian horror, especially the ’70s stuff.
The killer stalks these beautiful girls, as they mainly hang around this mansion atop the cliff that overlooks the town below. This sets up a really cool finale where the final girl, ankle broken, is trapped in the house trying to signal to the citizens far below. It’s an effective scene in the movie and it help builds up the tension and intensity of the story’s final moments.
All in all, Torso wasn’t a classic in the same vein as Argento and the elder Bava’s work. Although, some fans of this style of film do hold it in much higher regard than I do. That doesn’t mean their wrong, I just feel like this is pretty standard giallo fare.
Release Date: September 26th, 2006 (New York City premiere)
Directed by: Martin Scorsese
Written by: William Monahan
Based on: Infernal Affairs by Alan Mak, Felix Chong
Music by: Howard Shore
Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Alec Baldwin, Anthony Anderson, Kevin Corrigan, Mark Rolston, Robert Wahlberg
Media Asia Films, Vertigo Entertainment, Initial Entertainment Group, Plan B Entertainment, Warner Bros., 151 Minutes
“My theory on Feds is that they’re like mushrooms, feed ’em shit and keep ’em in the dark” – Dignam
I probably would’ve enjoyed this movie a lot more had I not seen the Hong Kong film Infernal Affairs first. Reason being, this is an American remake of that film and frankly, it’s nowhere near as good but I’ll explain why.
To start, the acting is superb as fuck and really, that should go without saying if you look over the cast list. And really, I think that’s the one part of this film that possibly exceeds the original. DiCaprio is solid. Damon is solid. Nicholson is solid. Frankly, so is everyone else and there isn’t really a weak link in this chain of talent.
I think that for the lesser known actors and those with smaller parts, working with these other legends really helped them rise to the occasion. But some credit for that obviously has to go to Martin Scorsese’s direction. Scorsese, time and time again, always pulls the very best out of his actors from top-to-bottom in every production.
But this doesn’t discredit the acting in the Hong Kong film, which was also top notch and pretty damn close to this one even with the language barrier and having to experience it through subtitles.
One thing I’m not super keen on about this version is that it feels like the least Martin Scorsese film that the man has ever made… or, at least, that I’ve seen. It’s like Scorsese really wanted to replicate the tone and style of the original and while he did a fine job in replicating it, it sort of loses his patented touch. I would’ve rather seen him really take this story and make it his own.
Speaking of the story, I found this harder to follow than its source material. The Hong Kong film developed the characters better, especially the backstories. This movie lacked a lot of the extra context we got in the original between the Jack Nicholson and Matt Damon characters. I think that context was pretty important and maybe those scenes were filmed but ended up on the cutting room floor.
What’s strange is that this movie is a whopping fifty minutes longer… fifty! Yet it feels like it has less story and the story that is present is a bit complicated. I feel like they tried to add extra layers into this where they didn’t need to be. While I don’t remember every detail of Infernal Affairs, as it’s been four years since I’ve seen it, but it did feel more streamlined and focused in spite of all the characters it had to balance.
It may seem like I’m shitting on The Departed but I don’t mean to. It’s just that I found a lot more value in the original.
This is still a damn engaging movie with characters you like, even the bad ones. It mostly moves at a brisk pace and as I’ve already stated, it’s a movie that’s greatly enhanced by its performances.
It was kind of cool seeing guys like DiCaprio, Nicholson and Damon come together in the same picture. It truly feels like a once-in-a-lifetime team-up and these guys worked together wonderfully.
Man, this series doesn’t seem to be dropping off or getting stale.
This is the fourth book in the regular saga of five novels but it’s the sixth if you read the two prequels of short stories first, which is recommended.
This picks up where the previous book left off.
Ciri has to deal with the murder of her group of friends while also seeking answers to who she is, what her destiny is and what needs to be done to conquer the evil that keeps finding its way into her life.
Additionally, Geralt is with the same group he was with at the end of the previous story. They’re travelling with the queen and her army, who they fought alongside with. However, Geralt wants to locate a group of druids he believes can help lead him to Ciri.
Like the previous books, this one is really driven by the drama and the relationships of the characters and how they handle the hardships they face. It also has a good amount of action and high stakes.
This is the beefiest novel to date but it still reads like a breeze.
I found it hard to put down but luckily I read the bulk of it on flights to and from Vegas from Florida. It made that time pass pretty quickly in those tiny, uncomfortable ass seats.