Redux: Hudson Hawk.

Redux Review #307: Hudson Hawk.

Cast: 

Bruce Willis (Eddie "Hudson Hawk" Hawkins), Danny Aiello (Tommy "Five-Tone" Messina), Andie MacDowell (Anna Baragli), Richard E. Grant (Darwin Mayflower), Sandra Bernhard (Minerva Mayflower), Donald Burton (Alfred), Don Harvey ("Snickers"), David Caruso ("Kit Kat"), Andrew Bryniarski ("Butterfinger"), Lorraine Toussaint ("Almond Joy"), Frank Stallone (Cesar Mario), Carmine Zozzora (Antony Mario), James Coburn (George Kaplan), Doug Martin (Igg), and Steven M. Martin (Ook) Directed by Michael Lehmann.

Review: 

“It has very intellectual hip humor in it; it has very sophomoric broad slapstick comedy; it has elements of a road picture; it has more romance than any film that I have ever done; it has action; it has big stunts; it has a very dark sensibility… It’s a film that needs to be experienced more than explained…”  - Bruce Willis

A partial reading from my review on December 15, 2012: 

I almost forgot to mention the acting performances, which range from deliberately silly to deliberately over the top (possibly another word for silly), yet again resembling a Batman episode. You might think that it is a bit dumb to criticize this film for its surreal humor (I sure hope so, as for all I know it was meant to be serious, but they did this on purpose) with cartoonish slapstick. However, my reasoning is that it fails in some of those respects. It's mind-numbingly silly, it isn't entirely useful, and it (somewhat) does the crime of not being that funny.  But hey, what do I know.

Really, I could be saying the first few years of watching movies to "talk" about took a while to match my expectations of actually having fun with writing, which, well, eventually went beyond just watching whatever's on the shelf. But there must've been something curious that made my dad get this film on his shelf, because it lurked there for years and years. Most curiously, this was a movie that wasn't a hit with audiences of the time (particularly in America) despite being right in the apex of the career of Willis as a bonafide star. For all the time I remember watching Willis movies, I still have to remember that big steppingstone was winning an audition to star in Moonlighting (1985-1989) opposite Cybill Shepherd that even had him do music numbers on occasion. 

The genesis of the film came from the friendship of Willis and composer Robert Kraft, who were so interested in "The Hudson Hawk" that they even had come up with a song. Willis described it prior to release as "about greed and money in the `90s, with elements of a Bob Hope-Bing Crosby road picture. It`s a comedy with broad slapstick and moronic wit, and it has huge action beats.” Of course, for the screenplay credit, one sees the names of Steven E. de Souza and Daniel Waters (the former had co-written the first two Die Hard films while the latter had written Heathers, which had been directed by Lehmann), although there were plenty of re-writes to go around If one wants an actual detail of the production and its foibles, Richard E. Grant dedicated an entire chapter of his autobiography to it. It is pretty amusing to note to cover Oscar and Hudson Hawk in the same month, because both movies involved action stars trying to do comedy that were not well received and both movies were released a month apart from each other in 1991. And hey, what do you know, count me as a defender of Hudson Hawk, the younger version of myself was an idiot. Of course, one could take the word of one of its stars in Grant when it comes to assessing it as a "stinking pile of steaming hot donkey droppings". But the blend of cartoon sound effects and other various ideas in playing around as a "surreal comedy" is one that takes a while to really appreciate, and I'm surprised that it took me this long to really come around on it. I suppose audiences could accept a little bit of humor when it came to previous Willis works such as Die Hard as quips but they could just not go with a goofy movie that has candy bar names for secret agents to go with heists conducted by songs. Willis and Aiello clearly seem to be having some sort of fun with their back-and-forths, particularly when in song. Apparently both actors tried to get involved in the production (Willis as a producer and Aiello in trying to change the climax), which is amusing. MacDowell (cast at the last minute when Maruschka Detmers got hurt) doesn't have the easiest task and she probably does get swept away in the long run when it comes to middling chemistry with Willis and maybe one amusing scene in which she play acts as a dolphin. Besides, Bernhard acts circles around her in terms of delusional manic energy that proves that Lehmann really had an idea in mind to pair her with Grant in chaotic lunacy (regardless of how the film went, apparently Bernhard and Grant became good friends due to this film) that believes that things like history are trophies to hold in the den. It's funny that a film envisioned as an "anti-James Bond" features Coburn, star of the 60s Bond parody Our Man Flint (1966). He pops in and out for a few scenes of sell out villainy that he sells pretty well to go with a litany of goons in Harvey-Toussiant-Bryniarski (Caruso is also there, giving out note cards) that are goofy enough. In 

The 100-minute runtime is a bit fast-and-loose with its plot construction, with the climax being the flakiest (although it has one amusing idea when it comes to a fake-out that basically is "yeah, sure"). This is a film where its climax involves the last perceived enemy of our hero is blasted out of a window with a tennis ball launcher. It is funny that the movie basically flopped on the same level of Ishtar (1987) in terms of turbulent productions that precluded a litany of rough reviews. But Hudson Hawk has a far more likable duo and an actual aim in madcap stupidity, particularly since it is far more interesting than Lehmann's previous collaboration with Waters in Heathers. Of course, it was marketed as an action film rather than a show of, well, overacting. In the line of Willis movies that came and went in his career, Hudson Hawk was a curious one that maybe was a bit ripe to pick on in over-management but really is something that should be checked out for its idle curiosities in a real "thrown-on-the-wall" caper that might be worth your pleasure. 

Overall, I give it 8 out of 10 stars.

Next up: ?

Michael (1996).

Review #1312: Michael.

Cast: 
John Travolta (Michael), Andie MacDowell (Dorothy Winters), William Hurt (Frank Quinlan), Bob Hoskins (Vartan Malt), Robert Pastorelli (Huey Driscoll), Jean Stapleton (Pansy Milbank), Teri Garr (Judge Esther Newberg), Wallace Langham (Bruce Craddock), and Joey Lauren Adams (Anita) Directed by Nora Ephron (#554 - Sleepless in Seattle and #1020 - You've Got Mail)

Review: 

It may have already been said before, but it bears repeating: some movies are just easier to write about than others. Some are involving pieces that can deliver on laughs while others can do that and a bit of romance. This is not quite one of those films, as it seems I have stumbled onto yet another mediocre Nora Ephron effort, although at least it isn't one with some sort of following (sidenote: this was a fair hit with audiences upon release). It is fundamentally a mediocre movie, wracked by middling humor that seems to be the work of too many cooks at writer (there are four credits for screenplay, one of them being the director) while also being too hokey when trying to inspire any sense of passion. Its one highlight is a lead performance from Travolta, an angel with a devil-may-care attitude that occasionally imparts wisdom.  He is eccentric enough to almost push this forward, but we're dealing with a road movie with otherwise empty others. That sure is a shame, because Hurt and MacDowell are capable actors, but it takes too much time to really build hints for a romance and it leads to a mild payoff that can't satisfy anyone. So they're both too cynical to open their hearts to love at first, big deal. The antics of its lead character almost seems enough for its own film without any attempts at comedy-drama, or even just a silly television movie. On the road with a fellow like its lead should be more interesting than what plays out here, aside from its one barfight scene and trips to random landmarks. The supporting cast is fine, but they aren't too special, mostly serving as one-hit wonders (such as a brash Hoskins) that carry the film with a mild relish (although the dog is cute, I guess). My expectations for this film were fairly middling, where I didn't think it would be a silly time or a particularly moving film - 105 minutes seems okay when it comes to mediocrity, I suppose. Once one gets behind the idea of Travolta playing a rascal from above (complete with wings), the possibilities could be endless (for hilarity or ridicule, you be the judge). It just seems a road movie isn't exactly what one has in mind (especially with how obvious its story beats are). Even a scene of a dog being run over doesnt have a pull, because one knows it's going to be reversed a few moments later anyway. If a film is about the journey and how it gets there, this is one where the journey seems to have a few too many dead ends. It needs more laughs and shocks to really pull something to the skies and above. At least this is the kind of film you could watch a few minutes on television without trouble -before either switching to find a better Travolta lead to view or going to sleep.

Overall, I give it 6 out of 10 stars.

Ready or Not (2019).

Review #1268: Ready or Not.

Cast: 
Samara Weaving (Grace Le Domas), Adam Brody (Daniel Le Domas), Mark O'Brien (Alex Le Domas), Henry Czerny (Tony Le Domas), Andie MacDowell (Becky Le Domas), Nicky Guadagni (Helene Le Domas), Melanie Scrofano (Emilie Le Domas), Elyse Levesque (Charity Le Domas), Kristian Bruun (Fitch Bradley), and John Ralston (Stevens) Directed by Matt Bettinelli-Olpin and Tyler Gillett.

Review: 
It can be fun to see what a group can do with a black comedy horror film. After all, this is a film of duos, having two directors (both part of a film collective called Radio Silence, which directed films such as V/H/S in 2012) while being written by Guy Busick and R. Christopher Murphy. With a budget of just $6 million, the film has already proven a fair success with audiences, and it really isn't hard to see why. It proves itself fairly adept at giving some laughs along with thrills, a crowd-pleaser for one who wants to see a bunch of wealthy people tear each other apart with blood and giggles. The premise is simple enough: hide from your new in-laws until dawn because they are compelled to hunt you down in a big old house. With various weapons and a whole bunch of hiding places, it is nice to have a film where you aren't besieged by an idiot plot or overt mugging of the camera (weak spots for either horror or comedy), where the 95 minutes pass by just fine. The cast is certainly game enough to go along with things, headlined by a resilient Weaving, who does a tremendous job with her surroundings that make her a worthy one to follow from the get-go. The members of the on-screen family do pretty well with generating moments that make for a mix of unsettling and biting fun, where they could fit into a family comedy, but they just happen to be tasked with hunting their new in-law down without a thought of not following tradition (well, almost no thought...). Scrofano comes out on top with delivering a dark laugh, but others like Czerny and Guadagni do come out to play just as well. There really isn't a weak spot when it comes to making some actual scares or laughs, and it doesn't skimp out on the intensity when it comes to gore. On the one hand you might see someone get into an accident with a dumbwaiter, on the other you might see a kid shoot at someone and hit. The climax is a fine one, even if it is a bit eccentric with delivering a satisfying conclusion, which might be felt to be a bit silly. To me, it worked itself out fine, in the sense that one won't have their whole experience ruined, as would be the case with a weaker horror film. In any case, this is an amusing scare that will please the curious and satisfy the appetite of those who seek some dark moments and capable production at hand to go along with it.

Overall, I give it 8 out of 10 stars.

Movie Night: Muppets from Space.

Review #377: Muppets from Space.

Cast
Dave Goelz (The Great Gonzo, Dr. Bunsen Honeydew, Waldorf, The Bird Man, The Swedish Chef and Zoot), Steve Whitmire (Kermit the Frog, Rizzo the Rat, Beaker and Bean Bunny), Frank Oz (Miss Piggy, Fozzie Bear, Animal and Sam the Eagle), Bill Barretta (Pepe the King Prawn, Bobo the Bear as Agent Rentro, Johnny Fiama, Bubba the Rat and Rowlf the Dog), Jerry Nelson (Robin the Frog, Statler, Uber-Gonzo and Floyd Pepper), Jeffrey Tambor (K. Edgar Singer), and Andie MacDowell (Shelley Snipes) Directed by Tim Hill (#308 - Alvin and the Chipmunks)

Review
It figures that I review a Muppets film, and what better than on Mothers' Day? I know, I could've have picked something else. But I don't care at this point. But hey, can I trust a film directed by someone who would later on make an unspeakable sell out with chipmunks? Eh...sort of. The Muppets themselves are interesting and they do have some good lines that do make me chuckle. The Muppets are more interesting than the human characters, maybe because they have more intelligence than the actual humans, which makes me groan. The effects work alright, and the story flows well in a relatively typical run time of 88 minutes, which at this point, isn't that surprising, but oh well. At least this gives me another opportunity to watch Frank Oz and his voicework, which is welcome. The film is alright for the most part, flowing decently, and this in a way is a underrated gem.

Overall, I give it 7 out of 10 stars.

Movie Night: Groundhog Day.

Review #342: Groundhog Day.

Cast
Bill Murray (Phil Connors), Andie MacDowell (Rita), Chris Elliott (Larry), Stephen Tobolowsky (Ned Ryerson), Brian Doyle-Murray (Buster Green), and Rick Ducommun (Gus) Directed by Harold Ramis (#138 - Bedazzled (2000) and #208 - Caddyshack)

Review
It figures that Groundhog Day is upon us, a day described by the main character as "A thousand people freezing their butts off waiting to worship a rat. What a hype.", so why not review a film with the same title? So how is it? Pretty good. Once again, I'm reviewing something with Bill Murray involved (Ghostbusters, Ghostbusters II, Scrooged, Tootsie, Caddyshack, Stripes, Space Jam), and he once again does a good job, always seeming to have some good wry humor, which helps the film in more ways than one. MacDowell does a fine job, better than the last time I reviewed her (#307 - Hudson Hawk), and the rest of the cast do good, keeping the level of humor high. But its main benefit is its story, which manages to be original and straight forward. It is well made and it is especially telling in how life sometimes seem to resemble a rerun over and over for unknown reasons, kind of like these reviews. On a day where a rat tells us it might be early spring, this film celebrates 20 years, and I celebrate that it manages to stay original after those years. Happy Groundhog Day, everyone.

Overall, I give it 9 out of 10 stars.