City Heat.

Review #2567: City Heat.

Cast: 

Clint Eastwood (Lieutenant Speer), Burt Reynolds (Mike Murphy), Jane Alexander (Addy), Madeline Kahn (Caroline Howley), Rip Torn (Primo Pitt), Beau Starr (Pitt Lookout), Irene Cara (Ginny Lee), Richard Roundtree (Diehl Swift), Tony Lo Bianco (Leon Coll), William Sanderson (Lonnie Ash), Nicholas Worth (Troy Roker), Robert Davi (Nino), Art LaFleur ("Bruiser"), Arthur Malet (Doc Loomis), and Jack Nance (Aram Strossell) Directed by Richard Benjamin (#1024 - My Favorite Year)

Review: 

I have to admit, the key impetus to actually watching this movie was the fact that it was on a DVD pack, specifically a Clint Eastwood set (paired with Pink Cadillac, of all things). Sure, Eastwood is a curious presence, why not try a comedy? I didn't have enough time to see it back in 2024, but it sure seems time to actually watch what all the fuss is about. Blake Edwards penned the original story (once called "Kansas City Jazz") in the 1970s and it eventually found its way to Warner Bros. wanting to have Edwards direct Reynolds and Eastwood together (previously, Edwards directed Reynolds with The Man Who Loved Women [1983]) Somehow, Eastwood had disagreements over the script and his character and Edwards was soon replaced with Richard Benjamin; this was the second of two movies directed by Benjamin to come out in 1984 after Racing with the Moon. According to Reynolds, Eastwood was fine with Benjamin replacing Edwards while saying the dismissal "hurt [Eastwood] badly". Reynolds claimed that he knew the film was going down the tubes ten days into shooting because he saw his role as such: "playing Jack Lemmon in this strange film where people were getting blown away...The public wanted Boom Town or to see us in a contemporary film. They didn't want Dirty Harry vs. the Wimp." As a result of an accident (reported as either a metal chair to the face or falling from a chair and hitting his jaw), this was not a happy experience for Reynolds. As a result, Joseph C. Stinson was credited as a co-writer of the screenplay with "Samuel O. Brown" (get it? S...O...B.?). Expected to be a big hit with a budget of $25 million and released on the same week as Beverly Hills Cop and 2010 in December 1984, the movie made roughly $38 million as a considerable disappointment. Benjamin kept on as a director with films of extremely varied quality such as The Money Pit (1986), Mermaids (1990), and Marci X (2003).

This might be the most obvious case of seeing a movie and watching it die in real time. Sometimes it looks nice and sometimes it comes off as a comedy and sometimes it has some violence worth being in a buddy action movie...but it never comes off as a complete package. For such a "buddy movie", it just seems more like two short films that got cobbled together, with Reynolds seemingly having the more thankless job of trying to carry a film in doing silly lines and getting beat up a bit while Eastwood basically goes "nope" and "yep". Even being a sendup of the gangster movie isn't that fun because the movie just dawdles for 97 minutes with a blithering plot and little else to go which goes as such: two gangs want this briefcase of records but the guy who stole it ends up dead and a game of "where's the briefcase?" tangles up a cop and cop-turned-private eye into an alliance to not only avenge the dead man & his injured girl but also to rescue both of their would-be lovers (as you do) that ends up in both gangs getting plenty of bullets and fire in them. For such a star-studded cast, it's amazing to make a movie that just feels so small. Sometimes I chuckled, sometimes I rolled my eyes: it's the ultimate 6/10 movie, arguably.

The fact that the movie almost gets to a quality finish line is more of a testament to Reynolds than Eastwood, arguably. I've had a soft spot for Reynolds for a number of years because of the varying heights that came with such a fascinating movie star that I knew was going to make for a curious experience when watching a stinker such as, say, this movie or Stroker Ace (released in 1983 that has been cited as the starting point of his downturn as a star). He may have been approaching middle age with shaky ground in terms of public appearance of his charm (his next movie ended up being the misfire Stick [1985]), but I liked what I saw of him here in the same way that one admires the hokum of someone trying to retain the appearance of legitimacy and virility. This is basically important to at least giving the movie a shot (grinning in the face of mediocrity, an American tradition?), because Eastwood and his routine that comes off as dry with the bare minimum in trying to make a pair that might accidentally make you appreciate The Rookie (1990) in the future of mismatched duos. Eastwood looks like he wants to be anywhere else than here and being a "can take this corny crap in stride" is not a compliment. It also extends to Alexander and Kahn, who are each given thankless tasks to pair off the two male leads that goes nowhere in actual charm (Kahn basically vanishes for a good chunk of the film too, making it even harder, but at least she is paired with Reynolds in...trying to do something). Roundtree and Cara are needlessly given little to actually do (besides being hit by a car), and Alexander being on the bottom edge of the totem pole of "what do they actually do?" is less helpful when you wonder why Torn or Davi are just...there. Whether because of Benjamin or studio arrogance of going "Eastwood and Reynolds, what could go wrong for printing money?" or something else, they never come off as much of a team together. As a whole, City Heat came and went with audiences and hasn't exactly rocketed in reputation four decades later. Flawed as it may be, you could find something curious here. 

Overall, I give it 6 out of 10 stars.

Song of the day!

Next up: A mystery...

*Truthfully, Reynolds was already on my mind for this month with, say, Rent-a-Cop or Striptease. 

Airheads.

Review #2566: Airheads.

Cast: 

Brendan Fraser (Chester "Chazz Darby" Ogilvie), Steve Buscemi (Rex), Adam Sandler (Pip), Chris Farley (Officer Wilson), Michael McKean (Milo Jackson), Judd Nelson (Jimmie Wing), Ernie Hudson (Sergeant O'Malley), Amy Locane (Kayla), Michael Richards (Doug Beech), Joe Mantegna (Ian "The Shark"), Nina Siemaszko (Suzzi), Marshall Bell (Carl Mace), Reg E. Cathey (Marcus), David Arquette (Carter), Michelle Hurst (Yvonne), and Harold Ramis (Chris Moore) Directed by Michael Lehmann (#307 - Hudson Hawk, #1490 - Heathers)

Review:

"My feeling was that I had never done something like this. I was a young filmmaker. I had done a couple of independent movies that were really liked and out of the mainstream. And then I did Hudson Hawk, where definitely the sensibility was a little out of the mainstream and it didn’t play that well out of the mainstream. But I still hadn’t learned my lesson, thankfully, and I thought, I’m going to get people in this movie that you wouldn’t expect to see in a movie like this and that’s going to make it more like something I want to see."

You'll never believe this: an ensemble movie with a bit of music and plenty of attempts at comedy that didn't exactly gel with audiences. The script was done by Rich Wilkes, who had been inspired by a movie he loved with Dog Day Afternoon (1975), specifically in doing a comedic rendition that involved rock and roll. He had done music journalism and interviews prior to writing the spec script that eventually went from Island Pictures to 20th Century Fox. Apparently, Lehmann was the first choice in mind for the movie, with Airheads being his fourth movie as a director, after Heathers (1988), Meet the Applegates (1990), and Hudson Hawk (1991)*. While the studio and Lehmann traded disagreements that resulted in a PG-13 movie rather than, say, the R-rated one he hoped to do, at least the studio did not win the request before production where they wanted to have a comedian to "do a pass on the script" (according to Wilkes, Dennis Miller was that guy). As it happened, Wilkes was involved in two film productions in the year of 1994: The Stone Age, which he co-wrote with James Melkonian that was released in February, and this film, which came out in August. Released in the first week of August alongside such films as Clear and Present Danger and The Little Rascals (with The Mask being a few days beforehand), Airheads was not a financial hit, making barely a third of its reported $15 million budget. Lehmann carried along as a director, with his next movie being The Truth About Cats & Dogs (1996) and the reputation of the movie has probably increased in recent years if it inspired people to talk about it for, say, an anniversary retrospective (link here).

For whatever reason, there were actual critiques about the movie either not being an outright comedy or a "satire". Now, I'll level with you: do you really care about "satires"? Do you really care about being subtle in a comedy? Do you really care about anything other than the rockin' beat of a song? Does knowing the "scene" of music such as alternative rock truly matter? Some of those answers are "yes", some of those answers are "no", but I was fine with the overall trip as a whole (besides, it can alway be worse with insulting music, just as The Big Lebowski and that stupid Eagles joke). Sure, it works best when cribbing from The Blues Brothers (1980) rather than Dog Day Afternoon, but it is a neat little movie. It's kind of funny to look at a cast like this and say, yes, one of these folks ended up winning an Academy Award years later.  You've got a little cameo for Harold Ramis (and Lemmy, because hell yeah), Arquette mostly being in the background, three Saturday Night Live guys of the time (Sandler, McKean, and Farley*), a Mike Judge cameo (who among us?), Richards lurking around in his giant frame, but most importantly: a lovable trio of goofballs with Fraser, Buscemi, and Sandler. They have a type of charm that can only come from people wrapped in enough confidence to believe that they really could just waltz in and become rock stars because their stuff is totally the stuff "for the '90s" (not being to actually listen to their songs, for the most part, is kinda funny). They make for quite the trio together in timing, toeing the line in amusement where one likes to see where they go rather than say, laughing at their dream. Sure, I could take it or leave it with Locane* or Farley, but the supporting folks that go around the film such as McKean and his delightfully rat finky performance (less so from Nelson and his attempt to match) or Mantegna and his wannabee Howard Stern* act. I'm a sucker for the people and voices that pop in and out as a time capsule for its time (I imagine that over 30 years, Marky Mark does still suck, although the jury is probably still out on the "Rodney King" chant). For a 92-minute ride, it's a neat comfort movie for those who buy into what it is selling in goofy enthusiasm that likes its folks and likes the scene enough to make it a movie that definitely deserved better.

Overall, I give it 7 out of 10 stars.

Song of the day!

Next up: At last: Reynolds and Eastwood in City Heat.

*I'm going to go out on a limb here and predict that Applegates is probably the most mediocre of the first four Lehmann movies if only because it is highly unlikely that Heathers, a movie I didn't like that much, is lower than Hudson Hawk, Airheads, and also a movie about mutant shapeshifters from Brazil living in Ohio.

*Yes, Michael McKean was on Saturday Night Live as a 46-year-old. Also, that would be *future WCW Heavyweight Champion* David Arquette. Hey, I didn't really give that much of a shit about watching him in Scream, were you expecting me to actually cite that movie? By the way, if you read the retrospective link, you'll probably be shocked as I was in the following sentence: Kevin Spacey wanted to be in Airheads! Good lord, imagine that guy being in the movie, what a dodged bullet. 

*Can I state a small pet peeve? I love Ghostbusters (1984), but am I the only one who thinks Ernie Hudson doesn't get the credit he deserves for being a key part of that movie? It's a QUARTET team, not a trio. Hell, The Real Ghostbusters didn't even let him play Winston, what kind of dumbass show does that? I think at least one percent of folks forgetting about Winston in comparison to the others is at least 0.1% based in weirdo prejudice where they can't even admit to being prejudiced. 

*In 2010, Locane, who was found to be over the blood alcohol level, was involved in a car collision that resulted in the death of a woman. She served a few years for vehicular homicide and assault by auto. Incidentally, in 1984, Vince Neil was involved in a car accident that resulted in vehicular manslaughter and DUI charges when a passenger in his car died. He served only 15 days in jail and paid restitution to the victims of the crash - The moral of the story: don't drink and drive.

*Remember when Howard Stern tried to be funny and not whatever the hell he is now? Incidentally, John "Stuttering John" Melendez appears in the movie and even has a song featured. 

Honky Tonk Freeway.

Review #2565: Honky Tonk Freeway.

Cast: 

Beau Bridges (Duane Hansen), Beverly D'Angelo (Carmen Odessa Shelby), William Devane (Mayor Kirby T. Calo), Hume Cronyn (Sherm), Jessica Tandy (Carol), Teri Garr (Ericka Kramer), George Dzundza (Eugene), Joe Grifasi (Osvaldo), Geraldine Page (Sister Mary Clarise), Howard Hesseman (Snapper Kramer), Paul Jabara (T.J. Tupus), Jenn Thompson (Delia Kramer), Peter Billingsley (Billy Kramer), Daniel Stern (Hitchhiker), Celia Weston (Grace), Deborah Rush (Sister Mary Magdalene), Frances Lee McCain (Claire Calo), with Jerry Hardin (Governor), and John Ashton (Otto Kemper) Directed by John Schlesinger (#1431 - Midnight Cowboy)

Review: 

"I see HONKY TONK FREEWAY as a comedy about characters, so it needs extremely fine care and acting. This is what appealed to me, because I’m mainly intrigued with the people in my films rather than with the plot. This is a comedy about people living on the brink, and that’s the way most people actually live, I think. "

To be honest, I had this film on my radar for a couple of months because of its unusual allure. You've got an Academy Award winning director (12 years, but sure), a couple of name actors...and a movie that was a noted financial failure (with Thorn EMI Screen Entertainment in particular taking the hit in a time where they also took part in productions of The Jazz Singer and Can't Stop the Music). Apparently, the first step in the making of the film came with producer Don Boyd, who was travelling around locations when working near Boston that gave him an idea to then take to playwright and aspiring screenwriter Edward Clinton. As it happened, John Schlesinger wanted to make a big comedy movie after finishing work on Yanks (1979). When Schlesinger came into the production (who once stated that some of the charm that attracted him came from the "naivete" and "fresh [writing]" of Clinton), a handful of drafts were crafted with the collaboration of Clinton (which namely involved the characters in town and development). With a movie production he called at the time his "most complicated" (owning to a production that ballooned to over $23 million with filming in Florida [Mount Dora, Sarasota, mostly] to go along with orphans and various animals) before more money was spent on promotion before distribution by Universal Pictures that, to put it mildly, did not find any type of audience. At any rate, Schlesinger did keep directing, with such movies as The Falcon and the Snowman (1985) and Pacific Heights (1990) while Boyd* produced a few films every now and then, most notably with Aria (1987) while Clinton never wrote another film. 

Evidently, certain folks thought the movie was "anti-American". What exactly is un-American about disciplined chaos? People love a good scalawag, particularly when they see themselves in the person getting, shall we say, screwed over. There's a wide variety of ridiculous people all covered with this movie (one with quite the time capsule: a person at one point is shown wearing an ERA yes button*) that happens to be funny (in shorter terms, it's the type of folks who don't care if you use the word "virago"* in a sentence). Is it a great "satire" or one with useful "irony"? Look, let me level with you on something that seems straight enough to ward off a conman: you are either going to have fun with a comedy because you laughed enough times to have it win you over or you did not have fun. I had fun with these oddballs, ones who don't have that much shame to go around. In their eyes, being subtle isn't worth a damn if it doesn't aid in chasing "the dream". Sure, the dream could be as simple as playing hardball to get an off-ramp (what's a little bribery in the name of community), believing that a carnivorous pony is the book ticket, or trying to make it to Florida of all places to settle down*. Some of the episodic elements are hit and miss, mainly because you can only go so far over the place with getting folks to a small Florida town. Devane is probably the best part of the movie because there is something so entertaining about his desperation as both mayor and preacher in a town that goes for whatever he wants in the simple art of the deal: even weird publicity is still publicity (beyond the attempt to make a safari park attraction, anyway*). Dzundza and Grifasi make for fair enough goofball robbers while you get some worthy religious (and inevitable) hypocrisy from the pair of Page and Rush. Others end up mostly fine in characterization but likable enough if you happen to appreciate the presence of say, Bridges (duh) or D'Angelo (sure) or Tandy (take it or leave it). My only quibble is the ending, because it doesn't really know how to end besides, I'm not kidding, a motor collision involving a character nobody cares about (Jabara, playing a wannabee singer in a movie that already loves its title song a bit too much) and a rhino. Sure, it can be construed as following along the lines of other madcap movies such as say, It's a Mad, Mad, Mad, Mad World (1963), but you would hope for something a little better for a movie that already could be thought of as (wrongfully) a poor man's Nashville (1975). As a whole, it comes and goes for 108 minutes of useful enough entertainment that has its ebbs and flows with humor coming in all sides of the oddballs of America that may be up your alley on the curiosity freeway.

Overall, I give it 7 out of 10 stars.

Song of the day!

Yes, you heard that right, Acknowledged in August Again. I had enough fun with it back in 2024, so let's do it all over again with some movies that didn't get proper recognition back in its day and see if they deserved better. 

Next up...Fraser. Buscemi. Sandler. AIRHEADS!

*Special credit goes to this article I stumbled onto when googling the movie that I think delivers a bit of insight into the movie on their own terms: Box office failure: "Honky Tonk Freeway" and the risks of embarrassing the United States by Julia Prewitt Brown

*Boyd is a busy guy, as evidenced by stuff such as this: The University of Exeter - Honorary Graduates - Saturday 17 January 2009 morning ceremony

*The thing about not being religious is if you don't believe, then Phyllis Schlafly may just be dead rather than in Hell, or, worse yet, Heaven.

*Okay, I read that word in a tweet once.

*I knew someone who lived in Florida. They're dead to me now, but I hope they enjoyed that state because I'll be damned if I spend time there.

*Incidentally, Devane landed his most noted regular role as a politician-turned-businessman in the soap opera Knots Landing two years after this movie. Nice.

Red Sun (1971).

Review #2564: Red Sun.

Cast: 

Charles Bronson (Link Stuart), Ursula Andress (Cristina), Toshirō Mifune (Kuroda Jubei), Alain Delon (Gauche), Capucine (Pepita), Barta Barri (Paco), Lee Burton (Mace), Anthony Dawson (Hyatt), Gianni Medici (Miguel), George W. Lycan (Sheriff Stone), Luc Merenda (Chato), and Tetsu Nakamura (the Japanese Ambassador) Directed by Terence Young (#150 - Dr. No, #278 - From Russia with Love, #335 - Thunderball, #1763 - Inchon)

Review: 

Yes, there are some movies that do slip by the radar despite having a few big names around the sun. Apparently, the film had been in development since 1968, complete with Toshiro Mifune being tapped early but the idea of having Clint Eastwood as a co-star eventually fizzled. Instead, in perhaps amusing irony, you've got Charles Bronson (one of the stars of The Magnificent Seven, the remake of Seven Samurai) co-starring with Mifune. Laird Koenig wrote the story for the film before a handful of screenwriters came in with Denne Bart Petitclerc (in his first screenplay after writing for TV and fresh off the one season run of creating Then Came Bronson [1969-70]), William Roberts (coincidentally a writer on the Seven film), and Lawrence Roman for what became a French-Italian-Spain production (i.e. filming in Spain and plenty of worldly companies producing the venture, which actually was supposed to be a Warner Bros.-Seven Arts movie). It was the second of three movies that Young made back-to-back with Bronson (a favorite of making movies in Europe that he once stated were thought to be foreign by Americans and American by the Japanese) with Cold Sweat (1970) and The Valachi Papers (1972) being the others (each with varying levels of involvement from French-Italian companies). Incidentally, Mifune learned his lines phonetically, as he did for roles in English (which, well, he didn't know the language, and this isn't even getting into movies where he is dubbed like with Midway [1976]). It didn't exactly become a widely well-known hit, although Mifune's presence apparently got it a couple of attendance records in the run in Japan. Apparently, Quentin Tarantino noted his appreciation of the film on at least one occasion.

 

The term "Spaghetti Western" referred to Westerns produced in Europe that were mostly made in either Italy or Spain. Here lies the setting in 1870, a couple of years after the first Japanese ambassadors arrived in America and yet there are perilous times ahead on a journey through the West through railroads and outlaws. You get an "East meets West" type of buddy movie that makes for an unwieldy but serviceable time to sit through at least once. By the first 25 minutes of its 112-minute runtime, you get the setup that appeals to the most ridiculous of time limits: if the duo fails to recover a gold-handled tachi in one week for the ambassador, the bodyguard and the ambassador will actually commit harakiri (ritualistic suicide*). Heck, by the time 40 minutes are gone, you already got a brief goofy fight to make light of Bronson trying to "fight" Mifune. In that sense, Bronson probably benefits from a clash of macho-ness with Mifune where he seems to not aim for the usual dry self in the "shoot-and-slash" pace of action. Sure, he still is outdone by Mifune in the type of presence that comes with basically commanding the screen without having to say much, but I think you get the appeal that each bring in learning what really matters in "honor". Honestly, the film needed a bit more from Andress and others, because it really is a road film with Bronson & Mifune and Delon basically sucks out the rest of the energy even with the limited time basically being a mustache-twirler type of adversary. The sequence near the climax where they have to confront Comanches does veer into a few cliches, but at least the movie finds a way to close itself out with a mostly deserving finish (predictable, sure, but familiar fun is still fun). The landscape may seem familiar, and the carnage may be inevitable (dynamite, train robberies, and double-crosses), but that's part of the fun if you buy what Young and company is selling for flim-flam charm. As a whole, it isn't a great movie by any means, but it has a few entertaining moments with a dynamite enough duo with Bronson and Mifune leading the way to make it a curious recommendation for those who like oddball type of Westerns.

Overall, I give it 7 out of 10 stars.

Song of the day!

Come one, come all, be ready for another month-long celebration in August on Movie Night with...Acknowledged in August Again

*Seppuku, harakiri, you get the idea.

Shin Godzilla.

Review #2563: Shin Godzilla.

Cast: 

Hiroki Hasegawa (Rando Yaguchi), Yutaka Takenouchi (Hideki Akasaka), Satomi Ishihara (Kayoko Ann Patterson), Ren Ōsugi (Prime Minister Seiji Okochi), Akira Emoto (Ryuta Azuma), Kengo Kôra (Yusuke Shimura, Deputy Chief Cabinet Secretary), Mikako Ichikawa (Hiromi Ogashira, Deputy Director), Jun Kunimura (Masao Zaizen, Integrated Chief of Staff), Pierre Taki (Saigo, Combat Leader), Kyūsaku Shimada (Katayama, Minister of Foreign Affairs), Ken Mitsuishi (Kozuka, Governor of Tokyo), Shingo Tsurumi (Yajima, Joint Staff Deputy), Kimiko Yo (Reiko Hanamori, Defense Minister), Takumi Saitō (Ikeda, Tank Captain), Takashi Fujiki (Tokyo Lieutenant Governor), Yû Kamio (Ministry of Foreign Affairs), with Suzuki Matsuo (Journalist), Takahiro Miura (Journalist) and Mansai Nomura (Godzilla, motion capture) Directed by Hideaki Anno (#2344 - The End of Evangelion) and Shinji Higuchi.

Review: 

"In the world of fantastical scifi, Godzilla isn’t just an embodiment of hopes and dreams, but a caricature of reality–almost a kind of satirical reflection of the world. Painting present-day Japan in that light is something of a crazy experiment." - Hideaki Anno

"Shin Godzilla is a very different kind of Godzilla movie to its predecessors. So I was bracing for the movie-going audience to say, "Oh, this isn't Godzilla." But they were surprisingly very receptive to what we were trying to do.  They also fully picked up the the intent and nuance I tried to pour into the film." - Shinji Higuchi

Once upon a time, the Godzilla movies were on ice. Godzilla: Final Wars, released in 2004, was the sixth and final movie released by Toho in their third phase of making the films (which is basically split into eras of their emperor with "Shōwa", "Heisei" or, "Godzilla [1998] sucked, let's make movies again" or, uh, "Reiwa, otherwise known as "Godzilla [2014] rocked, let's make movies again"). So, with the success of the 2014 American rendition, Toho moved quickly to announce the resurgence of the series being in production (one with a title that basically can be construed as "new", "true", or "god", as opposed to, say, "Godzilla Resurgence"). The film was directed by Hideaki Anno and Shinji Higuchi, who had worked together on Nadia: The Secret of Blue Water, both renditions of Neon Genesis Evangelion, along with Love & Pop (1998)*; Higuchi served as VFX director while Anno served as co-editor and writer for the movie, which drew inspiration from the 2011 Tōhoku earthquake and tsunami. The effect for Godzilla was done with computer-generated imagery that saw motion capture utilized (after debating using a puppet). Released in Japan on July 29, 2016, the movie was a considerable success and a few months later it even got a release in America, the first one for the series since Godzilla 2000 [1999]. Due to the contract signed by Toho and Legendary Entertainment, the next live-action Godzilla movie could not be produced until at least 2020; it couldn't stop them from doing animated films, which is where the animated trilogy (Godzilla: Planet of the Monsters [2017], Godzilla: City on the Edge of Battle [2018], Godzilla: The Planet Eater [2018]) comes in before Godzilla Minus One came around in 2023.

I wonder how this would've felt in 2016, with a 19-year-old* me, one who had only seen the 1954 movie and the 2014 American film at the time, I really do. Maybe I would've got a big kick out seeing it in a theater in the same way that Godzilla Minus One rocked my imagination years later. But this is 2026, I'm nearly 30, and at the end of the day, this is just an okay Godzilla movie that is not nearly as interesting as it believes itself to be for the approach that they aimed for.  This isn't even a complaint about what I wanted the movie to be, this is merely just me believing that things really haven't changed that much from the sequences in 1960s Godzilla movies in conference table discussion. Sure, the camera angles are sometimes neat, and there are little moments to chuckle with amidst the endless displays of who is who. But at a certain point, you can imagine someone watching the film at home (not in theaters, heaven forbid yelling there) and going, "who cares?" I suppose there is a bit of imagination need to believe there was something in their lives besides the minutiae of conference rooms just like with the older ones; I'll give it the pass that the entertainment value mostly overrides the middling characters.² Would the movie be higher on the supposed "bleak scale" some people label it, if, say, the National Diet had been vaporized? (I had a feeling that one of the Godzilla films of the past few decades had a different type of ending, and what do you know, Godzilla 2000 ends with Godzilla going through Tokyo). Going through conference rooms may be exciting to you in hearing what someone might do in the event of a disaster (do you also love doing your taxes?), but being outside feels freer for a movie. The atomic breath sequence is fun not only because it dispenses with one piece of the "who cares?" puzzle but also because, wait for it, it involves Godzilla being cool as hell in destruction. Sure, some folks probably loved it for being, say, complimentary of the Self-Defense Forces, but the real attraction is what you see of its monster, the eventual method of containment (face it, you know no matter what, the movie will not end like Terminator 3) and then, maybe remembering the face of one of the people in the movie. It really is a movie of adaptability: Godzilla adapts into multiple forms (some of them are pretty neat, arguably), the politicians either have to adapt for their country's sake or die (with or without the American government looming) and you either adapt to the film's rhythm for two hours or fall by the wayside.

There are moments with Hasegawa that does invite curiosity in juggling ambition and, well, actually being clever enough to listen and also lead people around him. In theory, the best one to tag along in the discussion part of the film (i.e., stuck in a room with nerds rather than political nerds*) is Ichikawa, mainly because they sound incisive...sure is a shame they only pop up here and there. Apparently, Ishihara felt the pressure in having to deal with the amount of lines in English (as one does when playing an American senior official) that ends up as pretty jarring (reading subtitles is one thing, imagine if you suddenly hear English all of a sudden) when compared to everyone else in vague nature anyway. Arguably, Minus One and this movie share a handful of aspects: both involve a fresh take involving the nature of man when confronting a great threat (bureaucrats in one circle, folks coming off the end of a war in another), both set themselves apart as a fresh reboot that doesn't involve introducing a second monster (the only other non-monster mash Godzilla movie in the last few decades was The Return of Godzilla back in 1984, although that one acted as a "direct sequel" to the first film), and both involve an ending inviting the possibility of a follow-up emergence(^). I felt like I cared more about what I saw in Minus One than what happened with this movie (the milage may vary when it comes to that 2014 American one), but I feel like I should be fairer to the 2016 movie for basically accomplishing its goal of a distinct take on a creature and government going in tandem in adaptability. As a whole, Shin Godzilla is basically fine, surely inspiring curiosity for its place within modern renditions of monster movies from the people that like its pacing and ones who don't have as much fun with it. At a certain point, I had to realize, yeah, this movie did achieve the goals set out on the scale and ambition required in a Japanese movie. Regardless, it has enough entertainment value worth recommending at least once for a movie that is now ten years old.

Overall, I give it 8 out of 10 stars.

Song of the day!

*Incidentally, Anno wrote Higuchi's Shin Ultraman (2022) and later wrote and directed Shin Kamen Rider (2023).

*December birthdays stay undefeated.

²People love giving the Legendary Pictures Godzilla movies shit for their middling characterization in the face of monster mashes, which to me is funny as hell because brother, what do you think I'm here for in a theater? At a certain point for some movies, the line between "I wanted to see X in the movie" and "I wanted to be interested in the movie" collapses for some movies.

*People who are nerdy about politics are the biggest dweebs imaginable, change my mind. At least the guys who are weird about the lore of movies keep it roughly on the level. 

[^] Higuchi did mention a few small parallels with The Return of Godzilla - SHIN GODZILLA Interview with Shinji Higuchi, Discussing THE RETURN OF GODZILLA and SHIN GODZILLA's Shocking Finale - Daily Dead

Oddly, both also have an available version where you can see the movie in black and white. Also, good god, imagine a Shin Godzilla sequel that has actually *not* focus on the bureaucracy for a moment and actually care about people in the city? The horror! It almost feels like the reverse of my slight bone to pick with Evangelion: at a certain point, I did roll my eyes at Shinji's inner life and wanted to aim my eyes anywhere else. Specifically, Misato. 

In fairness to 2014 Godzilla, I remember loving it a bit back then and slightly less the next time I saw it over five years later because, hey, why the hell would you kill off Bryan Cranston's character? 12 years later, you really can ask: Who cares about (or remembers) Aaron Taylor-Johnson's character? 

Obligatory link, i.e. the only review of the movie I ever watched of the film (also, we love old Cinemassacre)

For the purposes of having a reference of previous Godzilla movies, inquire here: 

The original 1954 classic and its decent 1955 sequel

King Kong vs. Godzilla (1962) - Godzilla fights King Kong to a relative draw.

Mothra vs. Godzilla (1964) - Mothra joins the mash!

Ghidorah, the Three-Headed Monster (1964) - A monster so important it made the title

Invasion of Astro-Monster (1965) - Nick Adams in: Spaceman's Adventure

Ebirah, Horror of the Deep (1966) - Terrorists, lobsters, and more.

Son of Godzilla (1967) - A real family drama

Destroy All Monsters (1968) - Mash like it's 1999 in Monsterland

All Monsters Attack (1969) - Children and Minilla have to fight their own battles instead of Godzilla

Godzilla vs. Hedorah (1971) - Trippy environmentally hip fun for the whole family

Godzilla vs. Gigan (1972) - Godzilla towers and a clip show all in one

Godzilla vs. Megalon (1973) - The one with Jet Jaguar the robot with a theme song.

I'll get to the ones from Godzilla vs. Mechagodzilla (1974) to Godzilla Final Wars (2004) eventually. Have fun!

Funeral in Berlin.

Review #2562: Funeral in Berlin.

Cast: 
Michael Caine (Harry Palmer), Paul Hubschmid (Johnny Vulkan/Paul Louis Broum), Oskar Homolka (Colonel Stok), Eva Renzi (Samantha Steel), Guy Doleman (Colonel Ross), Hugh Burden (Hallam), Heinz Schubert (Aaron Levine), Wolfgang Völz (Werner), Thomas Holtzmann (Reinhardt), Sarah Brackett (Babcock), Günter Meisner (Otto Kreutzman), and Herbert Fux (Artur) Directed by Guy Hamilton  (#280 - Diamonds Are Forever, #289 - The Man with the Golden Gun, #291 - Goldfinger, #293 - Live and Let Die, #612 - The Devil's Disciple, #2019 - The Ringer [1952])

Review: 

Yes, I suppose it makes sense that Guy Hamilton would be brought in to do work on a Harry Saltzman production with Funeral in Berlin (as based on the Len Deighton book of the same name), which was released the year after the success of The Ipcress File (1965), which Sidney J. Furie had managed to craft a pretty decent spy movie. And yet, Salesman apparently didn't like what Furie did to the point where he went with a familiar face to deliver another Palmer movie. In his 1993 autobiography, Caine described the movie as one where he doubted that the filmmakers managed to capture the "special atmosphere" of the city of Berlin, stating that Hamilton seemed more at home with the Bond movies (hey, I think Goldfinger was the best of the first few of the movies, at least until say, 1969) rather than the "gritty realism" attempted with the Palmer movies*. From 1964 to 1974, Hamilton worked with Saltzman on six films (The Party's Over, released in 1965, was the lone exception of that time period). Interestingly, Hamilton actually had served in a secret unit of the 15th Motor Gunboat Flotilla that brought over agents into France and send down pilots back to England in the second World War (for which he went through certain danger on one occasion) The screenplay was written by Evan Jones, who previously had adapted works into film with The Damned (1962) and Modesty Blaise (1966). The third and final feature film with Caine as Palmer came out with Billion Dollar Brain (as directed by Ken Russell) the following year.

There are aspects that are pretty interesting in dry charm, at least. Sure, it has pretty evident charms and flaws, but it is fairly likable with Caine at the helm with a locale in Berlin that at least seems like a useful capsule for its time. Undeniably, the movie is plagued by basically being a cipher in actually getting to the point of the "intrigue", because it muddles itself for 102 minutes with only a moderately interesting supporting cast and motivations that just aren't as sleek or as icily effective from before. So, what's it all about? Well, through a bit of loitering in the streets of Berlin, one sees an array of not-quite defections, Israeli agents* on a trail, and a motivation to keep some things buried from the light (the title here refers to the would-be smuggling scheme: getting out of East Berlin in a coffin). Caine coasts with the irreverent mannerism of coasting through the machinations of people who all look to get one over another (as if the spy game really is just a game of cons). This was the international debut for Renzi (cast over Anjanette Comer, apparently), who had one other film credit (Playgirl [1966]) to her name, but apparently she was dubbed. So it goes, I guess, because she basically drifts through the film anyway*. Homolka might actually be the most interesting presence in the exuberant, seasoned presence (sure, it's not his story, but, well...). Hubschmid is probably the bigger cipher of the film, trying to be elusive to hide the movie eventually getting to the point (Germans) that is only mildly interesting when paired with Caine. The movie sometimes is interesting with its locale and the bleak scenarios that creep around the corner for a feel that you just wish was a bit tighter with its globe-trot in Berlin. You just want a little more energy amidst the gloom, as one basically drifts through it all. However, if you prefer to see what a spy movie from Hamilton looked like that wasn't merely James Bond, this might be up your alley.

 

Overall, I give it 7 out of 10 stars.

Song of the day!

*Caine also noted in one instance that they were filming near the Wall on a sunny day and border guards with nothing better to do shone mirrors in the lenses that led to the filmmakers moving somewhere else.

*Israeli agent, you say? Don't worry, I don't think I would say anything that would get someone to whine about anti-semitism. Free Palestine?

*Comer married Hubschmid the following year but didn't exactly take off as an actress, even rejecting a role in You Only Live Twice.

The Odyssey (2026).

Review #2561: The Odyssey (2026).

Cast: 
Matt Damon (Odysseus), Tom Holland (Telemachus), Anne Hathaway (Penelope), Robert Pattinson (Antinous), Lupita Nyong'o (Helen of Troy / Clytemnestra), Samantha Morton (Circe), John Leguizamo (Eumaeus), Zendaya (Athena), Charlize Theron (Calypso), Jon Bernthal (Menelaus), Himesh Patel (Eurylochus), Bill Irwin (Polyphemus), Elliot Page (Sinon), Benny Safdie (Agamemnon), with Corey Hawkins (Polybus), Niko Nicotera (Peisander), Elyes Gabel (Elatus), Iddo Goldberg (Amphimedon), Jamie Harris (Agelus), Mia Goth and Logan Marshall-Green (Melantho and Melanthius), Ryan Hurst (Mentor), and James Remar (Tiresias) 

Directed by Christopher Nolan (#054 - The Dark Knight, #055 - Inception, #062 - Batman Begins, #980 - Dunkirk , #1562 - The Dark Knight Rises, #1618 - Tenet, #2050 - Oppenheimer, #2322 - Interstellar)

Review: 

"Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them."

Once upon a time, there were old tales that people decided to freewheel their own interpretation to communicate to the masses (such as say, Samuel Butler, who stated a theory, whether 100 percent seriously or not, that the Odyssey was written by a Sicilian woman). As the seasons changed and the technology grew larger, you could see and hear other freewheeling interpretations of tales on a screen perhaps unfathomable to a person dated in antiquity. Some folks probably read the Odyssey in their youth or maybe read it online (the link I noted above is a centuries old public domain translation, which used the Latinized name of Ulysses), or maybe heard about it from other certain oral traditions (hey, Arthur was an institution for some kids), or with James Joyce's Ulysses, or, well, you get the idea. Various productions had been done of the work, with most being in Italy, such as the film Ulysses [1954] (a Dino De Laurentiis production with Kirk Douglas and others), the 1968 miniseries (known in its native country as L'Odissea), looser adaptations such as O Brother, Where Art Thou? (2000), and recent ones such as The Return (2024), which started with no mythic beings or Gods with Odysseus back in Ithaca. Christopher Nolan wanted to be the guy to direct a movie that had never really been done for a large-scale production with the Odyssey, and it should be noted that he had been once tapped to direct Troy (2004), which had been loosely based on the Iliad. He wanted to tell it "in a fresh and modern way", which to him read differently from his perspective of middle age that he felt he has been telling in his films for years, simultaneously calling it a "family story, a love story, a revenge story, a war story, a coming-of-age story... a very strong foundational text". There were various inspirations that Nolan listed prior to the release, ranging from the various translations of the Odyssey (such as the Emily Wilson 2017 translation), the visual style and atmospheric tone of Kurosawa's Ran (1985) and the mythology-inspired films worked on by Ray Harryhausen such as Jason and the Argonauts (1963). It was shot entirely with IMAX film cameras, the first of its kind in a movie that already sounds like a crowd favorite*.

In a time of "apparent magic", yes, you basically get a tale of original sin. It basically is a grounded take of the sword and sandal epic with an earthy feel that feels more psychological than mythological. In some ways, it might seem bloated at 173 minutes, but actually it often feels more like a breeze to sift through as it dwells through the divide of a lead that wavers between an everyman and a superhero. The veterans of his campaigns walk the shore in life and death because only one man will end up by divine will back home and yet he still thinks defiance is the way to go. Men from the sea attack and all around a kingdom, the law of Zeus (okay, xenia) is not being abided by while others go on about a face, a fleet, and tricks to break away and burn Troy screaming to the ground. Amidst the prophets, giants, and nymphs is a story of a man realizing what his actual place is among the crumbling of foundation and realizing that what you want most may very well be what you already had (okay that came from a bit about the Sirens, but in fairness, what is a man if not one with the hubris to listen to them knowing they will survive anyway). It jumps around in the narrative with a type of curious enthusiasm that has a few moments that really do spark me to go "cool", namely with the Laestrygonian sequence (the giants clad in armor), complete with camera tricks (hey, the cyclops [Polyphemus] is cool to see too, and the witch realization is also darkly amusing, but still). Of course, the underworld sequence might be the real showstopper in seeing the true price of years spent getting on and trying to leave one particular blood-stained beach (and one horse*).

For all of the stuff I say about the movie, it really is one to look upon familiar faces and find a few fun moments in Damon leading the way in the unraveling of civilization, at least if you go with someone having enough hubris to believe that they really are the, shall we say, Oppenheimer of their times. Basically, you have a complicated hero that you know is going to reach some type of home (his kingdom, wife with the stature of Hathaway, however you want to interpret it) but not necessarily will be a better man for it, and in that sense, Damon makes for a curious cipher that either grows with you or just withers away in elusiveness, and I found it was a case of the former most of the time, which I suppose is helpful when talking about the wavering road of hero or fool. Some could contend that Holland might be easy to gloss over amidst the seasoned presences around him. Well, that's a bit silly to me, mainly because that's the whole point: this is a foolish young prince that is between a rock and a hard place: old enough to maybe take on actual responsibilities but not in the position to actually rise from "son of Odysseus" (to a certain point, anyway). In that sense, Holland does pretty well with showing the vulnerability of being out of one's depth, of literally being a face in a long crowd, especially when contending with the likes of Leguizamo, who really does sink into his role with weary curiosity.  Pattinson and Morton each sell the moments that they take part in more so than the mostly okay times encountering Theron or Nyong', with Pattinson in particular seemingly having plenty of fun in towering overconfidence (as one does when citing a James Woods character* as inspiration). I just wish the film stuck the ending better, because amidst a flourish of inevitable "hey, the man of the house is among us" realization is a finish of trying to sell the closing of the loop of a man who can't really go "home" (as one does when fiddling with the ending of the original tale in, what, divine intervention?) that just...sits there as an ending more than anything. As a whole, making The Odyssey was a task that required a director willing to stamp their own interpretation on what is so special about a long trek back home in a time of myths and monsters, and I think Nolan made a pretty good rendition worth viewing on the best screen possible. It's not a great movie, but being a pretty good time is just as useful for me anyway.

Overall, I give it 8 out of 10 stars.

Song of the day!

*Any thoughts about the casting of say, Nyong'o or Page? Yeah, conservative grifters whining about it can either watch the movie for themselves or piss off. The movie is full of Greek characters, do we care if most of them are played by Americans or Brits? No? 

*Or the dog reunion, because, hey.

*Not to be confused with the current James Woods

*It's a hard 8/10 in that I would rather go 8/10 for a movie that teeters at 8.5 rather than having subsequent regret in giving a 9/10.

You're a Big Boy Now.

Review #2560: You're a Big Boy Now.

Cast: 

Elizabeth Hartman (Barbara Darling), Peter Kastner (Bernard Chanticleer), Geraldine Page (Margery Chanticleer), Rip Torn (I.H. Chanticleer), Tony Bill (Raef del Grado), Julie Harris (Miss Nora Thing), Karen Black (Amy Partlett), Dolph Sweet (Patrolman Francis Graf), Michael Dunn (Richard Mudd), and Michael O'Sullivan (Kurt Doughty) Directed by Francis Ford Coppola (#592 - Dementia 13, #1139 - Supernova, #1460 - Apocalypse Now, #1469 - The Outsiders, #1502 - Bram Stoker's Dracula)

Review:

"You're a Big Boy Now is a flashy movie to some extent. I have since been more subtle than that. But flashy films do attract attention, and that was what I wanted to do when I was making my first film for a studio."

Maybe I haven't been fair to Francis Ford Coppola. The story goes that Coppola wrote a screenplay when working for Seven Arts that was a different take on the "coming of age" movie that was based on the David Benedictus novel You're a Big Boy Now. Coppola had the novel brought to his attention by Tony Bill (incidentally, he wanted to play the lead but also suggested Peter Kastner, because of what he saw in Nobody Waved Good-bye [1964]). He optioned the novel and changed the setting from London to New York City (going from shoe clerk to library assistant) while at the same time working with Gore Vidal on the screenplay for Is Paris Burning? [1966]. Seven Arts, asserting that Coppola's writing of the script on their time meant that they owned it, eventually came to a deal with him that would pay Coppola $8,000 to direct with a 29-day shooting schedule; he used the resulting movie as his thesis at UCLA for his Master of Fine Arts degree. Made on a budget that eventually rose to around $1 million around various locations in New York, the film was not a major success at the time, although it apparently broke even when it was sold to television.* Coppola worked with Warner Bros.-Seven Arts for his next two films with Finian's Rainbow (1968) and The Rain People (1969).

I could not help but think about The Gr-no, wait, not really. Actually, I couldn't get Dementia 13 out of my head when I thought about Coppola and the youthful energy of trying to make a go at filmmaking on a tight schedule and why it felt so much more interesting in that film than with this brash, messy, and altogether curious studio movie. And I then guess someone would compare it to The Graduate, which also was a coming-of-age movie with a young man and the alienation of his parents' generation that was released the following year*. And then I think about the lead character and wonder to myself: why do I hate this little bastard at times? Yes, there are a few hang-ups that actually do prove amusing, but there were almost as many times where I felt the strange desire to wish that Mr. Chanticleer took a nice smack upside on the head, funny as he might be. But you can at least say it is curious enough to free-form its way through an odyssey of someone learning to get a clue in the swinging era of what 1966 surely looked like (complete with peep shows, oddly placed signs*, and, well, pretzels). Amidst the consternation that one might have for some of these ridiculously repressed people, filled with frustrations at times, is an array of interesting performances. Sentimentally, Torn is the one I spring to first (much like oldie songs, I don't have many new favorites), and he actually is pretty funny here as a befuddled parent who thinks they know best in running their son basically like they were a business, complete with their varied responses to the women around them (staid wives, or messing around in a vault with odd books, you get the idea). The journey to get to the inevitable is fairly tolerable in seeing some of the hang-ups play out on screen, whether that involves a man-hating Hartman (to a point*) or the obvious cool loyalty in Black (making her screen debut) or Page in a role that probably could be defined as an amusing "shrew". At least it ends with a chase scene to help crash things down to some sort of reality (namely realizing what really matters between odd duck family and friends). You get a few interesting camera tricks, a few interesting moments looking at a New York movie with a worthy enough soundtrack involving the Lovin' Spoonful. As a whole, it is a strange little time capsule of an older time filled with a few interesting visuals, here-and-there jokes and a general vibe fit for hang-ups and hanger-ons that might be up your alley.

Overall, I give it 7 out of 10 stars.

Song of the day!

*I'll be honest, I haven't thought about The Graduate much since I saw it exactly one time...12 years ago. Strange that I didn't feel like strangling Dustin Hoffman's character nearly as much as the one presented here. 

*I couldn't find a direct source, but Coppola stated that his film was definitely influenced by Richard Lester's A Hard Day's Night (1964), as opposed to The Knack... and How to Get It (1965), which was released a few months before Big Boy. Of course, I wish for a direct quote because Coppola also apparently said he hated the movie.

*One sign has the N-word in it that naturally the lead character reads out loud, and no the word is not naive.

*Also, this may come as a surprise, but the Hartman character is depicted as a man-hating narcissist that was shaped by their molestation as a youth that saw them get revenge in a way that totally makes sense: stealing his wooden leg!

Redux: Aliens.

Redux Review #574: Aliens.

Cast: 

Sigourney Weaver (Ellen Ripley), Michael Biehn (Dwayne Hicks), Paul Reiser (Carter J. Burke), Lance Henriksen (Bishop), Carrie Henn (Rebecca "Newt" Jorden), Bill Paxton (Private Hudson), William Hope (Lieutenant Gorman), Jenette Goldstein (Private Vasquez), Al Matthews (Sergeant Apone), Mark Rolston (Private Drake), Ricco Ross (Private Frost), Colette Hiller (Corporal Ferro), Daniel Kash (Private Spunkmeyer), Cynthia Dale Scott (Corporal Dietrich), Tip Tipping (Private Crowe), Trevor Steedman (Private Wierzbowski), and Paul Maxwell (Van Leuwen) Directed by James Cameron (#001 - Terminator 2: Judgement Day, #063 - The Terminator, #388 - Avatar)

Review: 

“What I remember about that night is not my reaction to the movie [Alien] but my reaction to the audience. I thought to myself, ‘If I can do that, if I can even come close to doing that,,," - James Cameron (1986)

You might remember that Alien (1979) was originally devised by Dan O'Bannon into subsequent collaboration with Ronald Shusett (pitched as "Jaws in space") that had further influence from David Giler and Walter Hill (it was they who came up with the android character of Ash) and, well, all the folks leading right down to Ridley Scott (and, well, maybe a little bit of positive executive influence, because they groused at Scott's original ending idea). Between the inspiration of films such as The Thing from Another World [1951] in O'Bannon and Shusett's screenplay, the creature design by H. R. Giger* to Scott's drive to make "The Texas Chain Saw Massacre of science fiction" resulted in a movie where terror inflicted the average Joes in space and, well, was pretty damn cool. After years of 20th Century Fox refusing to go along with actually making a sequel (which namely involved trying to screw over the producers in declaring the movie a financial loss), it eventually started development around 1983, and a search for writers led to curiosity over James Cameron's The Terminator script. Cameron (who once described the original as "almost the perfect movie") was hired to do a treatment that had advice from David Giler and Walter Hill that basically honed down to "Ripley and soldiers", which he submitted after three days of writing in the fall of 1983, although it didn't generate true interest (the studio thought it was just filled with horror) until after the release of The Terminator (in turn, Cameron, who didn't expect the movie to be a hit, had worked on an Alien script in his free time*²). Cameron, Giler, and Hill were each credited for the story.  The movie was released at 137 minutes due to an array of cuts that actually could've been a bit more substantial if Fox had gotten their way to make it barely over two hours. Nowadays, you can see the Director's Cut, which is 157 minutes long (with differences being noted here alongside cut scenes that aren't in either version). On July 18, 1986, the movie was released in theaters to tremendous success (plus, Scott seemed to have liked it). The movie was such a hit that 20th Century Fox was really interested in doing a third movie with no hesitation, although delays (namely in not being able to actually settle on a finished script*) resulted in it being released in 1992 that was thought to be considerably inferior to the previous two films and hated by its own director.

If the first film was akin to a fright house, the second film really does merit the comparison (made by Cameron) of aiming to be a roller-coaster ride, and yes, I did this re-review mainly to assert how damn great it is, mainly because the first time I reviewed it, I barely gave any type of insight the first time around in 2014, which basically saw wonderful interactions, a mood shift from "bravado to outright fear" and really good effects. But honestly, the obvious shining point of what basically became the be-all and end-all of the series is with Weaver. Cameron and company wanted Weaver from the jump, with no studio reluctance getting in the way (yes, the studio that was sued by producers into financing the development of the film thought saving money on a cheaper star was a good idea). The first film saw her slowly but surely take charge in the presence of all-encompassing terror that we all could see in ourselves. After confronting the terror of people breaking down in front of them (figuratively or literally) and being trapped in nothingness only to find a world colder than when she left it, Weaver proves up to the challenge of making this character a true wonder in take-charge charm with vulnerability that we still hold up as an icon that Weaver described as an "everyperson". She is trapped in the hell of what she experienced and the idea that of being right in the present of the worst possible thing: being on another crew considered expendable. With the director's cut reminding you of just what she lost the first time around (because again, you only see that photo in that version), it makes the journey back from isolation with Henn all the more rewarding. And then of course there is the wonderful interactions with such a confident supporting cast that view themselves as on the road to conquest with such gallantry only to find themselves in a mirroring of the Vietnam War. Sure, Biehn is tremendously entertaining (cast after James Remar backed out), but it really is the credit of Paxton and Goldstein* to really sell the journey through hell and back (to a point, anyway) with kickass enthusiasm. Rounding out as the odd-man is with Reiser, who actually does prove exquisite in showing that comedians really can play a scummy toad and make it look so easy. Doubly so for Henn and her brave performance filled with soulful qualities (incidentally, she became a teacher) and Henriksen as an android that really is just one of the guys (which he once said basically meant playing him as an innocent). Yes, the movie looks great with what is seen and what isn't seen from the miniatures/wires, and yes, the James Horner music is worthwhile to hear*, but it really does all come down to how much we end up loving to see these characters go through the ride with us (this can be as something as small as seeing Hope's pencil-neck character try to tell the squad to not use a particular weapon - that's an easy one to say "been there, done that") in chaos. If Alien strikes at the terror of being trapped in a place with little escape, Aliens strikes at the terror of actually having something to lose besides the soul. 

 

It's interesting to compare this film to say, the "crowd-pleaser" aim from the most modern film of the series with Alien: Romulus (2024), which aimed to go for "wonder and terror" feel in being set between the two great movies that mostly reminded me of how hard it is to really make a worthwhile ride that isn't merely derivative (to say nothing of one particular reference from Aliens that comes out in Romulus). Jokingly or not, I said that Aliens was better than Alien by a "Xenomorph egg". I have to believe in my heart of hearts that this statement holds water today, but I do admit that I have made it a habit to watch Alien each night of May 25. It's interesting that both movies basically end in the same manner: expelling the final creature into space before Ripley enters stasis for a return to Earth. At any rate, Alien, Aliens, you can't go wrong with the entertainment presented in the terrors of beasts that comes from dark corridors, beasts of acid, and the showing of what it really means to be alive. It was timeless before being a 40-year-old movie, that much is for sure. It is self-contained show of excellence from Cameron and company that stands on its own. 

Overall, I give it 10 out of 10 stars.

Theme of the day

*I should give full credit to the list of people who won the Academy Award for Best Visual Effects for Alien: H. R. Giger, Carlo Rambaldi, Brian Johnson, Nick Allder, and Dennis Ayling. There are further inspirations listed that would clog up the opening paragraph: Planet of the Vampires (1965) - specifically the giant skeleton, It! The Terror from Beyond Space (1958), Clifford D. Simak's short story "Junkyard", Star Wars (1977) specifically in Scott's aim to be its "antithesis", the aesthetic of illustrator Moebius and possibly even H. P. Lovecraft (Giger found the initial storyline to be in the vein of the famed writer and listed him as one of his greatest sources of inspiration.). By the way, did you know that Scott...wanted Ridley to die at the end of Alien? No, really.

*² It should be noted that Cameron had done a spec script in 1980 (as seen with the link here: The Risk Always Lives: Words to Live by On the Set of James Cameron’s ‘Aliens’ • Cinephilia & Beyond) that dealt with trying to keep a young creature alive that dealt with a mother queen type creature and a climax with a power-loader. Incidentally, Cameron wrote a draft for Rambo: First Blood Part II around the same time as the Alien II script.

*See, I should see Alien 3 again, mainly to bring up that Fox and company went through a litany of ideas such as: a two-part story where Biehn would be the protagonist for the third film before an epic battle for a fourth movie (no chance of getting Ridley Scott, he was busy), a William Gibson script that he once jokingly described as "Space commies hijack alien eggs—big problem in Mallworld" (this was later adapted into an audio drama), a "wooden planet" with all-male monks...before settling on a cobbled together script that wasn't even finished when filming started. Don't get me started on what happens in the introductory scene of Alien 3. What the fuck? Game over, man! Game over! Yes, even in a notes section, I managed to get that reference in.

  

*Is it really good acting if you don't recognize that Goldstein isn't actually Mexican? (enjoy an interview detailing experiences making the film - Interview with Jenette Goldstein, 1987 | Strange Shapes). Incidentally, she actually owns a bra chain store company.

*Sure, the James Horner soundtrack has a few parts that sound like, say, his stuff from Star Trek II. But who cares? Incidentally, an un-used part of the soundtrack was later used in the climax of Die Hard.