Minty Comedic Arts looks at Willow and goes through ten things that most fans might not know.
Minty Comedic Arts looks at Willow and goes through ten things that most fans might not know.
From Filmento’s YouTube description: The bank robbery shootout sequence in Heat is arguably the greatest movie gunfight ever filmed. Today, we’ll be taking a closer look at the sequence in order to determine why that is. What is it that makes the bank heist shootout in Heat so great? Why does it top most Top 10 movie shootouts of all time?
If you haven’t seen Heat, you might’ve heard about it as one of the greatest crime movies ever made, inspiring later known crime thrillers like Ben Affleck’s The Town, Christopher Nolan’s The Dark Knight, Martin Scorcese’s The Departed, Rockstar’s Grand Theft Auto (GTA) and so on. What’s the secret? Should we take lessons from the screenplay of the film? Or is it just overall nerdwriter knowledge? To be honest, we can only see.
Release Date: August 7th, 1985
Directed by: Martha Coolidge
Written by: Neal Israel, Pat Proft, Peter Torokvei
Music by: Thomas Newman, The Textones
Cast: Val Kilmer, Gabe Jarret, Michelle Meyrink, William Atherton, Robert Prescott, Jon Gries, Ed Lauter, Patti D’Arbanville
Delphi III Productions, TriStar Pictures, 108 Minutes
“This? This is ice. This is what happens to water when it gets too cold. This? This is Kent. This is what happens to people when they get too sexually frustrated.” – Chris Knight
Real Genius is one of those comfort movies from my youth. I loved this film when I was a kid but I was always really into tech stuff and my love for G.I. Joe and sci-fi had me really interested in military weapons science. Although, the kids in this film didn’t know that they are building a superweapon until it was too late.
Val Kilmer, who was the “king of cool” for quite some time between the ’80s and ’90s, felt authentic in his role as Chris Knight, a super genius that was a bit burnt out and just wanted to party and enjoy life. Gabe Jarret was also really good as Mitch, the younger super genius that came to the college at fifteen and roomed with Chris. The rest of the kids also felt real and all of them played their roles to perfection.
William Atherton, quintessential ’80s adult super villain, was up to his old tricks as the authoritative and vindictive heel to the heroes. He was a celebrity scientist with a hit show who was using the university as a means to get super smart kids to create a killer laser for the U.S. military. Atherton’s Professor Hathaway was the Joker to Kilmer’s Batman. Wait… Kilmer would eventually be Batman. Whoa! Imagine an Atherton Joker. And hell, what if Mitch became the Riddler? Okay, I’m distracted… sorry. But now I can’t get the thought of Michelle Meyrink as Catwoman out of my head. Or the Asian kid being Mr. Freeze because he freezes stuff. And Lazlo could be Two-Face… mainly because he’s tall. And well, Kent could be Scarecrow because he’s a jerk and a total pussy. Damn it! Get back on topic!
Anyway, Real Genius is a film that’s a hell of a lot of fun and has a good solid message.
It’s about kids fighting authority and a system they really don’t want to be a part of. A system that exploits them for their talents. And it is a cool movie because the kids fight back and outwit the adults that think they’re smarter than the geniuses they tried to dupe. Ultimately, this is a coming of age movie that deals with the youth’s inability to trust a scary adult world that existed before them and corrupted their parents.
Real Genius is much more than a standard ’80s teen comedy. It is well written with lots of talented young actors that play their parts convincingly. Val Kilmer has done a lot in his long career but this is still my favorite role that he’s ever played.
Can we maybe get a sequel featuring an old, even more burnt out Chris Knight living in Mitch’s basement where Mitch has to deal with “cool uncle” Chris teaching his kids how to have fun because Mitch grew up to be even lamer and more uptight? And Kent could be the district manager over a dozen Radio Barns that are closing down because we live in an Amazon world. And Lazlo could be like a hybrid of Mark Cuban and Bill Gates. I should really just write pointless sequels for a living, I’ve got a lot of unrefined and ambitious ideas, y’all.
Pairs well with: WarGames, D.A.R.Y.L., Revenge of the Nerds and Weird Science.
Release Date: June 9th, 1995 (Mann Village Theater)
Directed by: Joel Schumacher
Written by: Lee Batchler, Janet Scott Batchler, Akiva Goldsman
Based on: Batman by Bob Kane, Bill Finger
Music by: Elliot Goldenthal
Cast: Val Kilmer, Tommy Lee Jones, Jim Carrey, Nicole Kidman, Chris O’Donnell, Michael Gough, Pat Hingle, Drew Barrymore, Debi Mazar, René Auberjonois, Don “The Dragon” Wilson, En Vogue, Ed Begley Jr.
Warner Bros., 122 Minutes
“Can I persuade you to take a sandwich with you, sir?” – Alfred Pennyworth, “I’ll get drive-thru.” – Batman
People like to trash Batman & Robin as one of the worst films ever made. It’s far from one of the worst ever. But most people haven’t really dug as deep into the shit barrel as I have. And truthfully, this movie is much worse.
People also love trashing the Schumacher Batman films as a whole but typically say that Batman Forever is okay. No, it absolutely is not okay. It is one of the worst comic book adaptations of all-time. It doesn’t understand the source material at all and it is a clusterfuck of biblical proportions capped off by horrible characters, horrible acting, ugly as hell sets and a hefty helping of several awful ’90s tropes.
Generally I like Val Kilmer. He’s horrible in this and either severely miscast or had such a bad script and direction that he just showed up, read his lines dryly and went back to his trailer to bang babes. I’m going to say that it is both of those things. It’s like no one that made this movie gave a shit about it at all and they just did a bunch of cocaine and then took a shit ton of downers before going on set.
Well, except for Tommy Lee Jones and Jim Carrey, they acted like they were on cocaine mixed with speed. And really, their versions of Two-Face and the Riddler made no sense within the context of who those characters are.
Tommy Lee’s Two-Face was like a crazier version of the Joker and turned up to 11. He was a coked up gorilla dressed like a circus performer. Carrey’s Riddler was another crazier version of the Joker mixed with his Fire Marshall Bill character from the sketch comedy show In Living Color. But I’m also someone that never got Jim Carrey’s appeal and always thought of him as an annoying asshole, excluding Dumb and Dumber and his dramatic work after the ’90s.
Nicole Kidman is completely wasted as the overly horny psychiatrist trying to get into Batman’s head and pants. Chris O’Donnell wasn’t necessarily a bad Robin but the character is a kid, not a thirty year-old. It’s like they took their casting cues from Beverly Hills 90210, a show synonymous for trying to pass off thirty year-olds as high school students.
Well, at least Pat Hingle and Michael Gough are back as Commissioner Gordon and Alfred but really, I just feel bad for them. Hopefully they got paid well.
The film also features nipples being added to the Bat-suit, I’m not shitting you. Plus, it has gratuitous Bat-butt and Bat-crotch action shots.
Lastly, the beautiful Danny Elfman score has been replaced by an awful brassy explosion that never lets up, courtesy of Elliot Goldenthal, who was apparently trying to destroy our eardrums. The Elfman theme and scores were a magnificent part of the Burton films but I guess if Warner Bros. wanted to distance themselves from quality and align themselves with a foot long double meat shit sandwich, than this was a necessary change.
This movie is a steaming pile of neon accented bear droppings. It most certainly needs to be run through the Cinespiria Shitometer. The results read, “Type 4 Stool: Like a sausage or snake, smooth and soft.”
Release Date: October 27th, 1989
Directed by: John Dahl
Written by: John Dahl, Rick Dahl
Music by: William Olvis
Cast: Val Kilmer, Joanne Whalley-Kilmer, Michael Madsen, Jonathan Gries
Incorporated Television Company (ITC), PolyGram Movies, Propaganda Films, Metro-Goldwyn-Mayer, 94 Minutes
John Dahl started his career out on a pretty good foot with his directorial debut, Kill Me Again. It is a part of his first three motion pictures that I consider a trilogy. While they aren’t a linked story, all three of those films share a common thread, they are modern noir pictures – two of which take place in the American southwest with the other taking place in New York. The other two films are Red Rock West and The Last Seduction.
Kill Me Again is the weakest of the three but it is still a pretty solid crime thriller with a good cast.
Most of the acting duties fall on the then married Val Kilmer and Joanne Whalley-Kilmer. Their chemistry is pretty uncanny, just as it was when it was first seen in the George Lucas and Ron Howard fantasy epic Willow.
Michael Madsen plays a psychotic criminal similar to his role a few years later as Mr. Blonde in Reservoir Dogs. In fact, after seeing this, I’m pretty sure that it was his work in this picture that got him that more iconic part. Also drawing comparisons to Mr. Blonde, Madsen violently tortures a man strapped to a chair in this film. That man is Jonathan Gries, by the way, an accomplished actor but still probably most famous as Uncle Rico in Napolean Dynamite.
The story of Kill Me Again isn’t anything a noir fan hasn’t seen before but it is a good homage to those great old classic tales that featured femme fatales, deception, conspiracy, greed and murder. In this picture, Faye (Whalley) and her abusive boyfriend Vince (Madsen) rob a mobster transporting a briefcase full of $850,000 in cash. Faye then turns on Vince, knocking him out in a gas station bathroom. She escapes with the money and seeks out a P.I. named Jack (Kilmer) to help her fake her death. Of course, Faye also double crosses Jack and we get a dysfunctional love triangle where the femme fatale is playing both sides against one another while trying to escape the mob, who are in pursuit of the stolen money.
The film isn’t long and it speeds along pretty quickly, as every scene is pretty pivotal to the plot and advances things forward at a swift pace while still developing the characters and exploring their relationships and inability to trust one another.
Although the ending wasn’t that satisfying and was sort of a quick and simple way to wrap things up, the film doesn’t suffer because of it. All the suspense and tension were really well managed. You never once think that anyone isn’t really out for themselves and they are all fairly deplorable characters but the actors played the roles quite well and kept you engaged in the story.
Dahl’s work would improve after this but for a debut film, he certainly created something better than most directors’ rookie pictures. Plus, he was able to assemble a good cast that made the material come alive.