Clueless.

Review #1659: Clueless.

Cast: 

Alicia Silverstone (Cher Horowitz), Stacey Dash (Dionne Davenport), Brittany Murphy (Tai Frasier), Paul Rudd (Josh Lucas), Dan Hedaya (Melvin "Mel" Horowitz), Elisa Donovan (Amber Mariens), Justin Walker (Christian Stovitz), Wallace Shawn (Mr. Wendell Hall), Twink Caplan (Ms. Toby Geist), Julie Brown (Coach Millie Stoeger), Donald Faison (Murray Duvall), Breckin Meyer (Travis Birkenstock), and Jeremy Sisto (Elton Tiscia) Written and Directed by Amy Heckerling (#982 - Fast Times at Ridgemont High and #1060 - National Lampoon's European Vacation)

Review: 

"I was writing a character that I thought was the very opposite of myself, a character that was really happy and if there was any negative criticism, she just didn’t take it seriously because she had confidence, and if her father was angry she thought he was just being cute. So I ran with that and just looked for sources of happy characters to get inspiration from. The two big things, of course, were Gentlemen Prefer Blondes and Emma."

It is interesting to note the comedic career of Amy Heckerling, one with nine films to her credit that have had their range of successes more so than misses. The New York University and the American Film Institute graduate had attracted interest upon making short films while studying at the latter that invited Universal Pictures to want her on board for what became her debut in Fast Times at Ridgemont High (1982). Most of her films fall under the category comedy in some way, such as the Look Who's Talking series (for which she directed the first two) that resulted in some success while others like Johnny Dangerously (1984) and Vamps (2012) have seen more mixed favor. It all started with the idea to make a television series about teenagers. Specifically, 20th Century Fox wanted Heckerling to make one about the "in-crowd", and so Heckerling felt she could make one about making fun of. At any rate, 20th Century Fox would not through with the idea for either a show or a film, with one complaint reportedly that that there was one too many women in the script (they also had a quibble with ex-stepsiblings falling for each other); it was producer Scott Rudin that helped get the film moving, as he liked the script enough to inspire a bidding war, for which Paramount Pictures won the rights that would help get production started. A television series would be developed by Heckerling, which she wrote/directed four of the first nine episodes for upon its premiere on ABC in 1996; the show featured Dash, Faison, Donovan, Caplan, and Shawn in their roles from the film while the series lasted three seasons. A series of teen novels and a stage musical have also happened, with the latter being written by Heckerling. The connection to Jane Austen's 1815 novel Emma is an interesting one: when Heckerling had started on the script, she aimed to do one about a girl packed with optimism that ended up resembling Emma (which she read in college and re-read again), so essentially one can called it an inspired rendition that happens to take place in Beverly Hills, complete with characters similar to main ones in the book.

25 years later, the film was a fair hit with audiences, no doubt having a legacy that extends beyond its slang and career-making turns for its stars, whether that means "keeping it real" or other various segments that make for some charming moments. It certainly achieves what it wants to do in making a sweet little comedy with an edge for balancing its characters to where they aren't being used as just the butt of jokes or being just a bunch of privileged weird folk. Beyond being an entertaining piece for the 1990s, it manages to grow the mold of the teenager films that came before with snappy patience and style that still evokes interest after all these years for all the right reasons (and the fact that the film gets away with age is quite relevant: Dash was actually two years older than Rudd, and the latter was a 26-year old playing a college student).  Silverstone was a model that had started acting with television before landing her first film role with The Crush (1993), which helped with being featured in a trilogy of music videos for Aerosmith; it was these video performances that led Heckerling to cast her, the sibling of two British parents raised in California She manages to play the role with a great balance of sincerity and amusement that is unwavering in charm, never grating in all of that optimism because of she waves it off with confidence (whether in stoking love for others or learning to drive). Dash accompanies her with well-off enthusiasm, bright and amusing in those interactions spent with Faison that make quite a pair. Murphy, in her second film role, manages to do so well in showing a bright disposition that grows through the film with no wavering or a false "cutesy" note. This happens to be the film debut of Rudd (although technically Halloween: The Curse of Michael Myers was actually filmed first) - he counters the idealism of Silverstone with clear amusement in irreverence that make for a clear pairing despite those initial differences that you see before it resolves itself well enough. Hedaya plays the role with a mix of amusement in tough-guy patriarch that nevertheless resonates with Silverstone for sweet resonance. Others do well in smaller emphasis, such as the retro-disposition in Walker or calm foils in Shawn and Caplan or the aforementioned Faison. Ultimately, 97 minutes go just fine with a film detailing the amusement that can come from teenaged lives that deal in materialism with sly insight for romance that still stands tall for itself in clues then as now.

Next Time: The Savages (2007).

Overall, I give it 8 out of 10 stars.

Alien Resurrection.

Review #1594: Alien Resurrection.

Cast: 

Sigourney Weaver (Ripley 8), Winona Ryder (Annalee Call), Dominique Pinon (Eom Vriess), Ron Perlman (Ron Johner), Gary Dourdan (Gary Christie), Michael Wincott (Frank Elgyn), Kim Flowers (Sabra Hillard), Dan Hedaya (General Martin Perez), J. E. Freeman (Dr. Mason Wren), Brad Dourif (Dr. Jonathan Gediman), Raymond Cruz (Vincent Distephano), Leland Orser (Larry Purvis), and Tom Woodruff Jr (Lead Alien, Alien Queen, and the Newborn) Directed by Jean-Pierre Jeunet.

Review: 

It is a funny thing to think about the progression of the Alien films. The original film, released in 1979, was a great experience in chilling horror that had its striking power created by inspiration from writer Dan O'Bannon (who co-wrote it with Ronald Shusett) to basically do a horror version of Dark Star (1974) that took inspiration from a variety of sources that revolved from The Thing from Another World to the writings of H.P. Lovecraft that combined with the talent of director Ridley Scott and creature design by H. R. Giger made for one of the best films to ever invade the genres of horror and science fiction. Aliens (1986), directed by James Cameron, moved itself into action sci-fi with particular influences being Robert A. Heinlein's novel Starship Troopers alongside the Vietnam War that ended up making a sequel just as good (if not better) as the original feature. Alien 3 (1992), directed by David Fincher, was a depressing failure in every sense of the word, full of potential that went off the rails to the point that its director disowned it. That film ended with the death of its lead character, and yet here we are, with a cliche title to boot. The film was written by Joss Whedon, whose previous writing credits included Buffy the Vampire Slayer (1992) and Toy Story (1995). Asked how he felt about the film that resulted from his script, his response is probably the most amusing part of the film, as he thought that it "was mostly a matter of doing everything wrong". In any case, one should really begin with director Jean-Pierre Jeunet, who had an interest in cameras as a teenager in France. He did animation, advertisements, and music videos before entering feature films with Delicatessen (1991, the first of two collaborations with Marc Caro) at the age of 38. This was his third feature film effort and only Hollywood production  (Jeunet's next feature in Amélie (2001) proved more fruitful and is arguably his most famous effort). He was picked after other potential names like Danny Boyle and Peter Jackson rejected the offer (the latter found it hard to find enthusiasm to do an Alien film. Not surprising, honestly), with freedom granted to do his own film without too many studio notes involved. There exists an extended cut that restores a few scenes to the film, although Jeunet has stated the original version is the preferred one by him.

Here we are, with a movie that has a fundamental flaw in its premise: Ripley is cloned, with blood samples collected before she died. Somehow, her DNA is mixed with a Xenomorph queen that means she has a embryo in it to raise. So Ripley now has more strength and semi-acidic blood to go along with a link to the aliens. All of this, including the idea that someone wants to exploit the Xenomorphs for further use, is beyond ridiculous. 200 years after the third film, and there's still weirdos trying to play fetch with killer creatures? In the end, should anyone be surprised that this is such a bland movie? The aliens seem to have taken a hike in terms of actual scares (particularly with its offspring at the climax), and the pop-ups of close-up shots at times only serve to make a confused movie that can't seem to figure out exactly what it wants to be. It is too murky in its design beyond just muddled spaceships and attempts at humor, and it all boils down to the idea that only doesn't really care about what's happening at any point. They run around corridors and yell, but who cares? Actually, its even stranger, because the amount of people who come out of here alive is almost more than the entire amount of the other three films combined (six, as opposed to the four here). The acting doesn't really do many favors, not so much because they do awful, but it is more that they can't really hold the film up to anything other than wooden space fare. Weaver is undeniably the most interesting presence, in that the idea of making Ripley one with perhaps splintered loyalty to either human or alien-kind could have potentially made a useful premise to go on, with a hardened edge and less dialogue keeping things semi-interesting. The sequence with the failed Ripley clones is the most effective scene. Ryder does not fare as well, seeming miscast when it comes to trying to keep up in presence when it comes to supposed mystery (i.e. "she's a robot!", following in the tradition of the first two films) that results in wires of wood. Pinon (a regular in Jeunet's films) does okay, and Perlman seems to be enjoying himself in ham-fisted ham, at least (he shoots a spider at one point). Dourdan and others seem too stock to really make a useful impression (Hedaya and his examining the brain before death doesn't count), unless one counts bewildering in the case of Dourif, who spends separate scenes with his face near the glass of an Xenomorph and calling a new baby alien a "beautiful butterfly". And Whedon blamed the execution of his script? No, I think the failure of the film falls on everyone's shoulders starting with Whedon. He wrote five endings! And none of them were actually used, believe it or not. Can you imagine what could have happened if there had been a fifth film on Earth? Weaver wanted to see a good script before doing another film, and perhaps it shouldn't be surprising that there wasn't a sequel done - where else could you go? The next film to involve the Xenomorphs wouldn't be done until the crossover film Alien vs. Predator (2004). Beyond a silly way to bring back Ripley and the Xenomorphs, there is just a fundamental lack of scares and/or thrills to really inspire anything other than a bland 109 minute experience that proves that some film franchises just need to stay un-resurrected. 

Overall, I give it 5 out of 10 stars.

The Usual Suspects.

Review #1508: The Usual Suspects.

Cast: 
Stephen Baldwin (Michael McManus), Gabriel Byrne (Dean Keaton), Benicio del Toro (Fred Fenster), Kevin Pollak (Todd Hockney), Kevin Spacey (Roger "Verbal" Kint), Chazz Palminteri (Dave Kujan), Pete Postlethwaite (Kobayashi), Suzy Amis (Edie Finneran), Giancarlo Esposito (Jack Baer), and Dan Hedaya (Sergeant Jeff Rabin) Produced and Directed by Bryan Singer (#008 - X-Men, #010 - X2, #584 - X-Men: Days of Future Past, and #1077 - Superman Returns)

Review: 
"I believe that as a writer and a director, you're only providing the skeleton of a character, and you're hiring actors to fill it out."

It's easy to make a film people remember when you have assembled a script worth thinking about. Christopher McQuarrie spent his first few years out of high school (spent with classmate Singer) doing some traveling and work in a boarding school and a detective agency. His first foray into film came with Public Access (which he co-wrote with Singer) in 1993, which he co-wrote with Singer and Michael Feit Dougan. The film did win some attention from critics (such as with the Sundance Film Festival), but it ultimately did not find much of an audience to play to. The thing that sparked interest in writing the film came about from seeing a title of a Spy magazine column that was "The Usual Suspects" (which also happens to be a classic line from Casablanca), and a casual conversation about doing a film with that title led later on to Singer asking if he could write a film for him with that in mind (since there was interest by investors interested in their last work for a $3 million project). McQuarrie, working at a law firm at the time, found inspiration in a small white room that looked like one used for interrogation, with this springing to mind a character who talks too much; names for some of the characters would come from stuff revolving around McQuarrie in his workplace, such as the interrogator (named for a office manager at the firm) and even Keyser Söze (although the last name was changed from real life).

The most interesting parts of the film involve those little moments of interaction between the core cast that we follow along with in its story, more so in the first half than the second. It is Byrne who we gravitate to in terms of interest, one who just grabs at you with a flickering intensity that certain inspires a certain kind of imagination as to what he really is, since he is the figure we see in the midst of events that had started the film anyway. Baldwin follows along with useful pacing that is quick on the trigger in high-temperedness. Del Toro does fine with a share of eccentricity that lends curiosity for what really seems to be a plain character on paper. Pollak proves worthy of a few cheeky smiles in short fused-temperament, while Palminteri proves a worthy one to contrast against the core group of seediness with coarse charm. Spacey is the key to plenty in the film, since he is the one we are listening to and viewing within the background of the perspective, and he does a fairly decent job in unassuming nature, useful to the film is what it shows without seeming like an extra presence, verbalizing himself with effective weaving.

You know those movies that people say they would like for you to see in how it plays out? There are some films that people can really, really get into, ones that can lend plenty of discussion for how something "just works", something far more than what one could assume from a noir mystery and so on and so on. Honestly, the one sticking point for me when it comes to this film is that I wish it was better than I expected. What was there to expect? The climax at the end isn't exactly spoiler-free from pop culture, but it generally does help to not read too much into an ending for a film before you watch it anyway (look, either Keyser Söze will be revealed to us in the end as either someone already established or he won't be at all, it isn't exactly more than a binary choice). The film relies on this twist because of its perspective that it wants to tell within its confines of a story that perhaps works for numerous viewings, one might say (it has been described as Double Indemnity meets Rashomon). Well, that doesn't really work if you don't find its shaggy dog kind of storytelling that particularly highly to begin with, a big trick to play on the audiences. The cast ultimately plays into part of how this film falls into what I like to call the "five stages of movie classic disappointment" (in which one does when they are faced with a movie people like but you don't, which obviously differs from the inverse of normal movie disappointment, namely in paragraphs). In this never-tested method, they would represent denial, in that I am believing that because they do pretty well, I cling to the idea that this really will be a great film. Anger (or in this case, frustration, because who really gets mad at being tricked by a film?) presumably kicks in right around when the story starts to teeter a bit too long in making me keep caring to the inevitable stop. Bargaining comes around in the whiny voice of consciousness that argues that wants me to compromise (in other words, not just immediately say this film isn't quite right without a little bit of digging) and think of it as "good, but not quite perfect" because maybe the climax really will prove itself. This leads to that fourth stage of depression (disappointment), where I just sit through the motions of how it really chooses to go the way it goes and sighing all the way, with that fifth stage standing right there practically mocking me when I finish that last train of thought.

This isn't to say I hated the film, because I actually did find it okay in making a fair piece of curiosity with a few highlights within conventional folks made fair through the actors (such as the scene where they all have to say a line in a police lineup), but in my view its magic trick leaves me feeling indifferent rather than astonishment. Pull that tablecloth from under the table all you want, but that doesn't make it a cool trick if I can see the way you "did it" coming.  Conventional can seem old hat and tired, but you know what was better in its portrayal of details and chase in the same year that this came out? Coincidence or not, that film is Seven (1995), which also happened to feature Spacey in a key role. Why stop there? Why not just chuck along a better film in dealing with stringed-together storytelling in Reservoir Dogs (1992)? Look, sometimes a film just doesn't have the reaching power it thinks it does, and that just falls to the perspective of the person who just saw it, and I just thought it was okay. I can understand the accolades and praise it received from certain audiences (which included an Academy Award for its screenplay, beating films of that year such as Braveheart and Toy Story) while also reaching the final stage of movie-classic-disappointment-grief: Acceptance that it just isn't completely what I think of when I think of a classic, and I move on to the next one.

Overall, I give it 7 out of 10 stars.

Blood Simple.

Review #1063: Blood Simple.

Cast: 
John Getz (Ray), Frances McDormand (Abby), Dan Hedaya (Julian Marty), M. Emmet Walsh (Private detective Lorren Visser), Samm-Art Williams (Meurice), and Deborah Neumann (Debra) Directed by Joel Coen and Ethan Coen (#659 - True Grit (2010) and #765 - Fargo)

Review: 
Blood Simple was the directorial debut of the Coen brothers (although due to guild rules Joel was the one credited as director while Ethan was credited as producer, with both also writing the film), with future director Barry Sonnenfield serving as cinematographer. The film has its edge of darkness and amusing nature, with a fine balance that never comes off as inconsistent nor endless. It's a twisted film that also serves as a good neo-noir that pulls its devious strings of paranoia and guilt with characters that certainly accompany the movie in their own particular ways. Easily the best part of the film is Walsh, who manages to elevate the character onto a sort of legal edge that can be both ruthless and amusing - never coming off as too much of one thing while also being an interesting person to watch on-screen. Getz and McDormand prove to be a fairly decent pairing, being adept at their situations that make this escape of a romance seem right and not out-of-place. Hedaya plays his slimy role comfortably well, doing his role with a sort of relish and emotion that seems right at home for a film like this. The film certainly has a good look to it, having a feel to it that is important to making such a tawdry tale come alive without being glitzy nor overtly muddled. The climax is tense and quick to the point, with a final line that certainly closes the film out on the right note. It is clear that the Coen brothers had a good vision that they wanted to tell on-screen, and they certainly achieve that, weaving a film that succeeds as a piece of noir that manages to hit more times than it misses. They manage to build tension without suffocating the audience in too many cuts or being too long, with this film lasting 96 minutes (with a director's cut that tightens the editing along with shortening certain shots that runs slightly shorter), which feels just right for this movie. Ultimately, this is a fine piece of film-making from the Coen brothers that certainly shows a kind of ingenuity and flair that makes for good entertainment if you're in the mindset for it.

Overall, I give it 8 out of 10 stars.

Movie Night: Shaft (2000).

Review #545: Shaft (2000).

Cast
Samuel L. Jackson (John Shaft), Vanessa Williams (Carmen Vasquez), Jeffrey Wright (Peoples Hernandez), Christian Bale (Walter Wade, Jr), Richard Roundtree (Uncle John), Busta Rhymes (Rasaan), Toni Collette (Diane Palmieri), Pat Hingle (Dennis Bradford), Dan Hedaya (Jack Roselli), Ruben Santiago-Hudson (Jimmy Groves), Josef Sommer (Curt Flemming), and Lynne Thigpen (Carla Howard) Directed by John Singleton.

Review
Shaft is strangely not a remake of the notable 1971 film, instead a sequel (The 1990's/2000's/2010's were a hotbed for remakes of films, in fact, there's a RoboCop remake in theaters right now, remakes of films 20-80 years old are common), and hey, the original star from the '71 film (Roundtree) even makes an appearance. For those who don't know, Shaft was a franchise in the 1970's (originally based off the novel of the same name by Ernest Tidyman), consisting of three films: Shaft (1971), Shaft's Big Score, and Shaft in Africa, along with a television series. So after all that history (or whatever), how is the film itself? It has its moments of good action, and Jackson does a wonderful job. But what makes the movie stand out is its (unintentional) hilarity that I sometimes received from the movie. Some of the scenes were effective, but they were also hilarious because of how over the top it could get, the way that the characters react to the action made me laugh. It's funny how Christian Bale went from this film to Batman in only 5 years, just shows that anyone can be Batman (Isn't that right, Daredevil-I mean Ben Affleck?), given the circumstances. The movie has a good deal of style and the right amount of charm (I do like the scenes with Jackson and Roundtree, from...nephew to uncle. I guess Shaft had a brother who named his son in honor of John) to make for a fun film.

Overall, I give it 8 out of 10 stars.

Movie Night: Commando (1985).

Review #324: Commando.

Cast
Arnold Schwarzenegger (John Matrix), Rae Dawn Chong (Cindy), Alyssa Milano (Jenny), James Olson (General Kirby), Dan Hedaya (Arius), Vernon Wells (Bennett), Bill Duke (Cooke), and David Patrick Kelly (Sully) Directed by Mark L. Lester.

Review
Conan-*Record suddenly changes* What? Oh, right. Commando was an 80s flick (right in the middle of it, no less), and it is easy to tell. But does that make it just a regular "meh" action film? Not entirely. Schwarzenegger does a fine job, it's almost like he is doing a satire version of heroes. The supporting cast is fine, ranging from decent to...odd. It does has a decent length, running only an hour and a half. Surprisingly, there is a good amount of decent humor. Actually the whole film feels like it has some sort of subtlety, with action put in. And of course like most action films, it has...well, action. Is it any good? I kinda like it, it doesn't necessary have much realism (I wonder if the main character is wondering how all those soldiers missed hitting him considering his size and the fact he's nearly right in front of them.), but it isn't something that hurts the film. I do like some of the lines in the film ("Remember when I promised to kill you last?  I lied" "And if you want your kid back, then you gotta co-operate, right?" "Wrong!"), which are a (welcome) fixture for Arnold by this point. In the end, the film is allright, not bad, not great, but...good. Fun stuff. Kind of a guilty pleasure.

Overall, I give it 7 out of 10 stars.

Movie Night: The Addams Family.

Review #077: The Addams Family.

Cast
Raúl Juliá (Gomez Addams), Anjelica Huston (Mortica Addams), Christopher Lloyd (Uncle Fester), Christina Ricci (Wednesday Addams), Dan Heyada (Tully), Elizabeth Wilson (Abigail), and Jimmy Workman (Pugsley Addams). Directed by Barry Sonnenfield.

Review
This film is based off the classic 1960s television show of the same name, which was based on the comic strip made by Charles Addams. Anyway, this film is a charm to watch. It has good acting (With good casting), with chilling visuals and an alright plot. The film is morbid fun with a good feel to it that doesn't violate or ruin the atmosphere of the film that makes this an alright flick to watch.

Overall, I give it 8 out of 10 stars.