Film Review: Serial Mom (1994)

Release Date: April 13th, 1994
Directed by: John Waters
Written by: John Waters
Music by: Basil Poledouris
Cast: Kathleen Turner, Sam Waterson, Ricki Lake, Matthew Lillard, Mink Stole, Mary Jo Catlett, Justin Whalin, Traci Lords, Suzanne Somers, Joan Rivers (cameo), L7, John Waters (voice)

Polar Entertainment Corporation, Savoy Pictures, 93 Minutes

Review:

“If ever there was a time to go on record against the death penalty, wasn’t it that night? Capital punishment is already the law in the state of Maryland. So what are we waiting for, fellow Christians? Let’s just do it.” – Father Boyce

It’s been years since I’ve seen this but man, it was really refreshing seeing it again for probably the first time since it came out on video back in the mid-’90s.

I forgot how fantastic this movie was. But then it’s a John Waters film and his style of humor mostly works for me. And his ’80s and ’90s movies were a bit more palatable for mainstream audiences.

While Kathleen Turner is a damn fine actress, I don’t think she ever had a better time than she did making this movie. I mean, she looks like she is having a blast in every single scene. She commits to the bit wholeheartedly and gave us a stupendous and iconic performance in this film.

Granted, this wasn’t a big hit and is sort of a cult movie but that also kind of makes this cooler, as not a lot of people know about it and the few I brought it up to don’t even remember its existence. Although, I’m not sure how this went down the memory hole, as it’s an entertaining romp full of cold blooded murder and a solid critique on the celebrity status of serial killers in American culture.

It also peers beyond the facade of mainstream Americana. While this was a pretty common trope in the movies of the time, when it works, it works and Waters has a certain panache that others can’t match or attempt to replicate.

I love that this takes place in the ’90s but has a strong ’50s sitcom feel to it. But Waters was a master of channeling nostalgia from that era.

While Turner is the absolute centerpiece of this film and owns every scene, the rest of the cast is outstanding as well. Especially her family, played by Sam Waterson, Ricki Lake and Matthew Lillard.

My only complaint about the film is that sometimes characters’ motivations are confusing. Like how Turner’s family supports her and wants her to get off from the six murders she’s being tried for but then are immediately fearful when she gets away with it and is coming home.

Also, the ending was just sort of okay and predictable.

Additionally, the first two-thirds of the movie are perfection. But things slow to a crawl and become less interesting once the trial starts.

Still, this was a motion picture that I was really happy to revisit. And ultimately, it made me realize that I need to go back and work my way through John Waters filmography again.

Rating: 8.25/10
Pairs well with: pretty much anything by John Waters.

Film Review: Blade (1998)

Also known as: Blade, the Vampire Slayer (working title), Blade: The Daywalker (Norway, Denmark, Finland), Blade: Cazador de vampiros (Mexico, Argentina, Brazil)
Release Date: August 19th, 1998 (premiere)
Directed by: Stephen Norrington
Written by: David S. Goyer
Based on: Blade by Marv Wolfman, Gene Colan
Music by: Mark Isham
Cast: Wesley Snipes, Kris Kristofferson, Stephen Dorff, N’Bushe Wright, Donal Logue, Udo Kier, Sanaa Lathan, Arly Jover, Traci Lords

Amen Ra Films, Imaginary Forces, Marvel Enterprises, New Line Cinema, 120 Minutes, 110 Minutes (cut)

Review:

“Some motherfuckers are always trying to ice skate uphill.” – Blade

Revisiting Blade has been long overdue but I’m glad that I finally did.

While I loved this movie, back in the day, I think I like it even more now. Maybe that’s because it is the least formulaic Marvel movie ever made and because it is just so balls to the wall badass that every time I watch it, I sprout another testicle.

Wesley Snipes is a man’s man and he’s got no time for some prissy ass bullshit. He just fucks shit up, does a cool pose, fucks up more shit, smiles and then fucks up whatever shit he hasn’t yet fucked up.

Also, this stars another man’s man in the legendary Kris Kristofferson. Add in Udo Kier, Donal Logue and Stephen Dorff being the best he’s ever been and you’ve got one hell of a cast. I also love the small role for Traci Lords, the coolness of Arly Jover and the loveliness of N’Bushe Wright.

Almost everything in this film feels right. The only real hiccup is some of the really dated CGI effects that didn’t look great even in 1998. But I can look past that, as this flick is one of the coolest comic book movies ever put to celluloid.

The script is great, the characters have real depth and the movie has perfect pacing.

There aren’t any dull moments and the action is aplenty, even with the story itself being pretty rich and layered.

Although, I don’t entirely understand Duncan Frost’s evil plan to turn the entire population of Earth into vampires because that would leave them without food. But hey, maybe the high tech vampires have a lab where they can clone and mass produce human blood. So my brain can just file that away as a plot point from a deleted scene I’ll never see.

One thing that really works well in this movie is the music. It hits the right notes, provides the right tone and propels the action sequences to another level. The soundtrack is mostly made up of hip-hop and techno or a hybrid of the two. In fact, I feel like this may have had an effect on the production of The Matrix, which came out a year later.

All in all, Blade is a fantastic comic book adaptation and in a lot of ways, I think it exceeds the source material, as the Blade character wasn’t all that popular before the movie and his interpretation in the film would go on to alter him in the comics themselves.

Rating: 9/10
Pairs well with: the Blade sequels, as well as other ’90s action films with Snipes.

Film Review: Cry-Baby (1990)

Release Date: April 6th, 1990
Directed by: John Waters
Written by: John Waters
Music by: Patrick Williams
Cast: Johnny Depp, Amy Locane, Susan Tyrrell, Iggy Pop, Ricki Lake, Traci Lords, Polly Bergen, Kim McGuire, Darren E. Burrows, Mink Stole, Willem Dafoe

Imagine Entertainment, Universal Pictures, 85 Minutes

Review:

“I’m so tired of being good.” – Allison

I’ve been a big fan of John Waters since I was pretty young. Granted, I didn’t see his more vulgar offerings until I was in my late teens but I had a real appreciation for Cry-BabyHairspray (the original) and Serial Mom. I just loved the style of the films and the humor was my cup of tea.

I then realized that it has been a long time since I’ve sat down and watched a Waters picture. So I wanted to go back to where it all started for me: 1990’s Cry-Baby.

This was also one of three films that made me a fan of Johnny Depp’s work. The other two films being Edward Scissorhands and Ed Wood. Granted, I also love that he’s in the original A Nightmare On Elm Street.

Cry-Baby is a light musical. While I generally don’t like musicals, this one is pretty great in that it uses a 1950s rockabilly style and there isn’t an overabundance of musical numbers.

The story is about Cry-Baby (Depp) and a girl he meets, Allison (played by Amy Locane). They are from opposite sides of the tracks, Cry-Baby essentially being a Greaser and Allison being a Square, which are like the Socs in The Outsiders. The movie is a sort of Romeo and Juliet story with a cool rockabilly soundtrack and a 1950s style. The climax, which sees Cry-Baby and Allison’s Square ex-boyfriend play chicken while on top of the cars, is pretty well done and a really enjoyable finale.

The film also stars a bunch of interesting people. For one, you have Iggy Pop, who I love in everything and wish he had a bit more meat to chew on in this. You also have former underage porn star Traci Lords and Waters regular and future talk show host Ricki Lake. Willem Dafoe even cameos as a pretty hilarious but no nonsense prison guard. The cast also includes a lot of people who worked in several of Waters’ other films.

Cry-Baby is a short and fun movie. It doesn’t need to be more than it is. Ultimately, it is entertaining and not only drums up 80s and 90s nostalgia but it channels the 1950s, so its like a time capsule with triple the goodness.

While this isn’t Waters’ best film, it truly embodies what a Waters film is while being accessible to those that might not want to see a large drag queen eat dog poop.