Dirty Rotten Scoundrels.

Review #1489: Dirty Rotten Scoundrels.

Cast:
Steve Martin (Freddy Benson), Michael Caine (Lawrence Jamieson), Glenne Headly (Janet Colgate), Anton Rodgers (Inspector Andre), Barbara Harris (Fanny Eubanks), Ian McDiarmid (Arthur), Dana Ivey (Mrs. Reed), and Meagen Fay (Miss Trumble) Directed by Frank Oz (#521 - The Muppets Take Manhattan, #795 - Bowfinger, #1468 - The Dark Crystal, and #1482 - Little Shop of Horrors)

Review: 
"The greatest thing you can do is surprise yourself."
"I love comedy. I love to make people laugh. If I hadn't been an actor, or an architect, which I really wanted to be, I'd have been a stand-up comic."

To have a good duo film, you need a good pairing to begin with, particularly when it comes to a comedy since pairings really happen only once and just that nowadays. Steve Martin, for example, was a fairly established comedy star at the time, having gone from television writing (such as The Smothers Brothers Comedy Hour) to stand-up (defined by self-referential riffs alongside banjo playing) and television work to eventually starring in his own films with The Jerk (1979). As for Michael Caine, he had done over a decade of work in films and television before coming to prominence in the late 1960s that included films such as The Ipcress File (1965) and The Italian Job (1969) that has continued with starring and character roles for over five decades. It is a remake of the 1964 film Bedtime Story, which had starred Marlon Brando and David Niven that had been written by Stanley Shapiro and Paul Henning. This time the two wrote the screenplay with Dale Launer. There were a few changes made while keeping the basic core of two con artists that bump into each other in the French Riveria that goes from apprenticeship to contest, most notably with the resolution (which had originally ended with one of the cons turning good and romancing the one being played...so I suppose that makes sense). This would serve the basis for a musical of the same name in 2004 (featuring John Lithgow) and another remake of the material was done in The Hustle (2019).

However one views the material, this is a fairly well-paired film. It makes for a good natured time with its balanced pair of timing and zippy lines in a relaxed setting that allows for chemistry between its actors without smothering them in complications. With a run-time of 110 minutes, the film runs fairly well for itself in staging amusing situations and bits for Caine and Martin to run free with (of sorts) making general humor that is fairly cheerful in making a decent setup. Martin is quite enjoyable here, jumping at the chance of playing off Caine with enthusiastic contrast that leads to quite a handful of moments to look upon him and laugh, whether that involves him struggling for a name or trying to scare off someone for an act (including a corked fork). Caine proves just as handy for generating snappy charisma and quick chemistry with Martin that does manners on the fly that seems fairly effortless, whether to ladies or gentlemen. Headly makes for a fair foil between the two, not quite too assuming nor too much of a mark to forget in the background, particularly for the last scene together. In general, if you like the movie enough, the last scene helps seal the deal in a charmer (if not however, welp). The supporting cast is a mix of dupers and dupes that do just fine, such as a subtle Rodgers. What we have here is a clever game of tricks and humor that generally work out well in pace and buildup with two likable scoundrels that maneuver gags with reasonable timing that seems well-suited for its era as a fine time for all and a fair piece for both Martin and Caine to have fun with along with a good show for Oz as well.

Overall, I give it 8 out of 10 stars.

Little Shop of Horrors.

Review #1482: Little Shop of Horrors.

Cast:
Rick Moranis (Seymour Krelborn), Ellen Greene (Audrey), Vincent Gardenia (Mr. Mushnik), Steve Martin (Orin Scrivello, DDS), Levi Stubbs (Audrey II), Tichina Arnold, Michelle Weeks, and Tisha Campbell (Crystal, Ronette, and Chiffon), Jim Belushi (Patrick Martin), John Candy (Wink Wilkinson), Christopher Guest (The First Customer), and Bill Murray (Arthur Denton) Directed by Frank Oz (#521 - The Muppets Take Manhattan, #795 - Bowfinger, and #1468 - The Dark Crystal)

Review: 
"I'm not making art, I think that's too highfalutin'. I'm just doing my best. Someone else can tell me whether it's art or not. In the meantime, I just want everyone else to enjoy it."

Most directors usually don't have puppetry to go alongside their talents, but Frank Oz is a good example of both. He started with apprentice work in Oakland, California with the Vagabond Puppets before he soon met Jim Henson that led to a decades-long collaboration on several projects, with plenty to note of his work with the Muppets, such as Sesame Street, where he served as puppeteer and voice for numerous roles such as Bert and Cookie Monster when the show started in 1969, serving on the show for over three decades. While he kept busy with puppeteering and voice work, he gradually shifted focus onto directing (being inspired by Orson Welles' Touch of Evil) where he debuted with co-director Henson in The Dark Crystal (1982).

The film is adapted from the musical of the same name, which was first performed in 1982 with music by Alan Menken and lyrics/book by Howard Ashman that was loosely adapted from The Little Shop of Horrors (1960). If you are making a remake of something, you better make sure it is better than the original material. The Little Shop of Horrors (1960) was made incredibly fast with an interesting killer plant and good dark humor to make a solid little piece in the lineup of Roger Corman. When it comes to a film like this, what we have here is a mixed bag. On the one hand, I do admire the effort it took to create Audrey II as a presence to admire in its craftsmanship and some of the acting really does generate some laughs. On the other hand, the film simply drones in its first half with a pace kneecapped by its staging of songs that are never as catchy as they think they are, a film that thinks it needs a Greek chorus type of trio when what it really needs is to just take a breath and shut up. Feed the plant, feed the dialogue, but please don't feed me another conversation turning into a song: be seen, not heard. Moranis does a fine job with what he has to go with, warm and completely holding a well-lit candle to Jonathan Haze from yesteryear. Greene (reprising the role done on Off-Broadway) doesn't have as much to go on, seeming to grasp too hard to really make me care for her high-pitched and passive character beyond what you see on the surface. Gardenia is nice in brimming coarseness, even with a segmented role. Stubbs, a Motown singer with The Four Tops making his one film voice appearance, is a delight. He reaches the soul of a carnivorous plant with conviction that extends to the one key song highlight, "Mean Green Mother from Outer Space". When it comes to the rest, Martin and Murray really nearly steal the whole show away, even if they are making small appearances, but the sequence at the dentist's office, with a comedic show of a sadistic dentist with glee in Martin and a glutton-for-dental-punishment in the bright Murray. Candy and Guest are fine in one-scene appearances.

Look, there are fifteen musical numbers in this 94 minute film. One might think this might be a silly statement, but jeez is that too many to listen to. On a lark, I looked up a random musical and saw how many number there were in say, Gigi (1958) - that had fourteen, and it didn't feel as ridiculously overdrawn as this seems at times. There exists two versions of the film, differing on the ending. Keep in mind, the musical ended on a downbeat note, so the film ending on something similiar seems fair: we are talking about a plant that actually springs for domination of the whole Earth and eats everybody. How could you not resist that? Preview screening audiences did not see it that way, however, and it led to a re-shot happier ending. Personally, I find it more amusing to have a darker ending, since it wasn't like the original film was that happy anyway, and I admire the idea of subverting the expectation that these two normal loonies will live on to greener pastures after escaping a plant that ate people they knew.. But there's the rub: this just doesn't reach the heights of the earlier film. It has mostly better acting than before and a more developed plant, but it is just an average film with pretty window dressing that sings to you - if you buy into it, all power to you. It is meant to be fun and offbeat, but all I can feel is a loose jangling that only just reaches interesting moments when it is about that massive puppet in Audrey II - the cheesy stuff nearly chokes itself blue in self awareness that modern films would probably bow down to. By goodness, you have to really go for the throat in dark comedy to really make me believe this needed to exist, and all they did was make a passable effort. What is different between this and The Rocky Horror Picture Show (1975)? At least this isn't so incessant about singing and degenerate actions while working on some way as horror. On the whole, this is an adequate showcase in some of its comedy alongside a showcase for its puppetry that will likely serve itself well to singalongs or some sort of enjoyment - I may not have had as much as I thought I would, but it still wins out anyway.

Overall, I give it 7 out of 10 stars.

The Dark Crystal.

Review #1468: The Dark Crystal.

Cast: 
Stephen Garlick (Jen [performed by Jim Henson]), Lisa Maxwell (Kira [performed by Kathryn Mullen]), Billie Whitelaw (Aughra [performed by Frank Oz]), Percy Edwards (Fizzgig [performed by Dave Goelz]), Barry Dennen (The Chamberlain - skekSil [performed by Frank Oz]), Michael Kilgarriff (The General - skekUng [performed by Dave Goelz]), Jerry Nelson (The Ritual-Master - skekZok) [performed by Jim Henson], Steve Whitmire (The Scientist - skekTek), Thick Wilson (The Gourmand - skekAyuk [performed by Louise Gold], Brian Muehl (The Ornamentalist - skekEkt), John Baddeley (The Scroll Keeper - skekOk [performed by Bob Payne]), David Buck (The Slave-Master - skekNa [performed by Mike Quinn], Charles Collingwood (The Treasurer - skekShod [performed by Tim Rose], and Sean Barrett (urZah/The Ritual-Guardian [performed by Brian Muehl]), with additional performances by Kiran Shah, Mike Edmonds, Peter Burroughs, Malcolm Dixon, Sadie Corre, Deep Roy, and Jack Purvis. Directed by Jim Henson and Frank Oz (#521 - The Muppets Take Manhattan and #795 - Bowfinger)

Review: 
"My feeling about puppetry relates to stylization, simplicity, boiling down to - it's a wonderful form and I really love it. But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques."

Jim Henson, if you didn't already know, was a tremendous force in puppeteering and comedy. Born in Mississippi and raised in Maryland, Henson had his influences in what he saw on television and heard on radio with the work of ventriloquist Edgar Bergen and television puppetry of Burr Tillstrom among others. In 1955, along with fellow puppeteer (and future spouse) Jane Nebel, he formed The Muppets, which would be featured in Henson's 5-minute show for WRC-TV in Sam and Friends (1955-61) that led to his own company in 1958 (now known as The Jim Henson Company). He soon went to the University of Maryland and learned further in craft and textiles (which led to graduation in 1960). In the following two decades, he would spend time with his puppets in various forms of television that ranged from commercials to talk shows to educational shows, with highlights including Henson's directorial debut in the short Time Piece (1965) and Sesame Street (1969). It was producer Lew Grade and his ITC Entertainment company that proved important to Henson in subsequent years: he helped to co-produce The Muppet Show (1976-1981) that helped the Muppets reach a broader audience, and he was executive producer for this film.

The film had a story from Henson (who also co-produced the movie) and a screenplay from David Odell (who had written for The Muppet Show), while Henson would direct alongside longtime collaborator Frank Oz (in his directorial debut). Henson had been inspired to make a film that had the darkness of stories such as the original Grimms' Fairy Tales, which would have spiritual influences from New Age philosophy such as the Seth Material, and noted fantasy illustrator Brian Froud would do concept art for the film. Instead of human beings on screen, this is a fantasy film with a showcase of animatronic puppets, which had a mix of control with rods/cables, radio control and human performances (which were grueling for the Garthim performers, since they had to be hung up on a rack at times to rest). The final result is a captivating and interesting film to view, one that does wonders with telling a capable fantasy story with atmosphere that makes a solid 93 minute experience for everyone, since one needs something that veers a bit into the dark now and then (it was a moderate success with audiences of the time, although some were put off by the dark elements, because irony is dead, perhaps). The voice cast do a fine job with filling the fantasy requirements needed, such as Garlick and his growing presence of confidence or Maxwell's warmth and spirit or the biting charm of Whitelaw to counteract the devious pit of decadence of the others. It builds its tension with care and appreciation for making entertainment on its own terms for everyone, one that can invite plenty of imagination over its subject matter (a TV series set years prior was just released in 2019, for example), with a climax that seals its fate of understanding with care. It invites one into a story of destiny and shattered crystals with careful pacing and a wonderful execution in style, puppetry, and music from Trevor Jones that prove very much worth a curious choice among the work of Henson.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode III – Revenge of the Sith.

Redux Review #144: Star Wars: Episode III – Revenge of the Sith.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senator Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Supreme Chancellor Palpatine), Samuel L. Jackson (Mace Windu), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Christopher Lee (Count Dooku / Darth Tyranus), Jimmy Smits (Senator Bail Organa), Matthew Wood (General Grievous), Silas Carson (Ki-Adi-Mundi / Nute Gunray), Temuera Morrison (Commander Cody), and Peter Mayhew (Chewbacca) Written and Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, #142 - Star Wars: Episode I – The Phantom Menace, and #143 - Star Wars: Episode II – Attack of the Clones)

Review: 
Countdown to 150 Reviews: 10, 9, 8, 7, 6...
At last, the end. The best of the bunch of prequels gets what I hope to live up to with the standard review, especially a redux - even if is more a blend of praise and slight criticism this time around. Enjoy.

Admittedly, finishing a trilogy can prove daunting, particularly when it is the culmination of a saga of a character as memorable as Darth Vader. This time around, there actually seems to be a real emphasis on making a tragedy alongside being entertainment. There are plenty of spectacle sequences along with a bit of depth - while also still having things to make light of. It isn't as inconsistent as the other two films, managing to find a heart of darkness that does seem to make this trilogy mostly worth it. For one thing, I actually seemed interested to view Anakin on screen beyond just lightsaber dueling. Sure, he always seemed to have problems with impulsiveness, anger issues, jealousy - and occasional lapses into ridiculous line reads. Christensen still struggles at times with the clunkier aspects of the dialogue at times - such as when he nonchalantly says to his wife that she'll die in childbirth. He shines best when conversing with McGregor or McDiarmid more so than Portman, who mostly is around just to linger in one set at a time without as much to really do. Their chemistry together isn't really too great, middling above teenage lyric posts on the Internet. McGregor proves efficient as ever, filling the noble roots set by Alec Guinness and completing the circle with charm. McDiarmid takes his time to go the ham of an actor on stage set by himself with Return of the Jedi (1983) - and I enjoy it just the same. Instead of being a phantom menace (pardon the pun) to the events around him, now he gets to be involved with actual fights, complete with snarls and cackles. Jackson gets something to do (and say), which I do enjoy when it comes to the film's key point for its first hour. Oz keeps the interest flowing as expected. Naturally, Lee is given four lines, disposed as quickly as expected from a trilogy that likes to jump from adversary to adversary before allowing its true puppet master to try and shine through. I would say that it might have been more interesting to have one villain throughout a whole trilogy before being disposed of (ignoring any sort of middle ground television show, of course) - but we're past that point of complaints, I guess. Smits is fairly serviceable; Wood is okay as a mediocre threat, which is quite the thing to say about a cyborg with four arms. Once the film disposes with the pretense of trying to build paper threats and actually showcases the true threat and Anakin's descent is when the film really does become an actual winner, complete with a worthy climax to alongside it.

I had forgotten to mention John Williams and his music score throughout these films, which it goes without saying are pretty well, but it really does shine here with the mood and pacing throughout the movie here, such as the aforementioned climax but also subtle moments such as the rumination sequence, where it carries a 90-second moment that shows off on a visual level with effective choice in composition. It isn't a perfect film by any means. It still meanders with wooden dialogue on occasion, while also feeling a bit too ridiculous with its justifications for Padme's fate (losing the will to live being a thing only a robot doctor would assume, I guess), but at least there is an actual sense of adventure present without being completely lost in a virtual screen. Sure, it does try to be a bit tidy with its ending, trying to seal things up with plenty of connections to before (much in the same vein that the other two had done), which does seem a bit overboard - but at least it sure has a well-done last shot to close on. Revenge of the Sith strives for a glut of action and story in a 140 minute run-time with plenty of drive and spectacle, managing to succeed on the last go on the prequel merry-go-round with very little in terms of hitches to interrupt the ride.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode II – Attack of the Clones.

Redux Review #143: Star Wars: Episode II – Attack of the Clones.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Hayden Christensen (Anakin Skywalker), Natalie Portman (Senator Padmé Amidala), Ian McDiarmid (Chancellor Palpatine), Christopher Lee (Count Dooku / Darth Tyranus), Samuel L. Jackson (Mace Windu), Temuera Morrison (Jango Fett), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Daniel Logan (Boba Fett), Leeanna Walsman (Zam Wesell), Silas Carson (Nute Gunray and Ki-Adi-Mundi), Ahmed Best (Delegate Jar Jar Binks), and Jimmy Smits (Bail Organa) Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, and #142 - Star Wars: Episode I – The Phantom Menace)

Review: 
Countdown to 150 Reviews, 10, 9, 8, 7...
As promised, a redux of the second prequel film. I described it as better than the first film, but not by much, and not much really does change, does it? At least these are reviews I can feel proud of, which I hope you enjoy.

These films, if distilled into a basic premise of the portrayal of the rise and fall of Anakin Skywalker, from adolescence to adulthood, could have made for some weird and wonderful tragic drama. The first film proved that trying to cover details from the past mixed with ill-advised story choices made for a film that collapsed under its own weight of hubris and anticipation from others. The only thing that changes this time around is that the anticipation is more of a dead calm, and the film manages to find time for improvement at the pace of a snail. While Lucas once again served as director and writer, Jonathan Hales was brought in to help co-write for the film, refining the script until right before production was to begin. The dialogue can't quite help the actors out again, a villain is introduced and wasted once again, and story motivations seem more appropriate for an opening film than a middle movie. You really could skip the previous movie and not really lose too much grip on the story, since you could basically sum up key events in one line or less. As I mentioned earlier, having to switch actors for your main character doesn't help matters, especially since the dynamic between McGregor and Christensen only really comes into focus on occasion. In trying to make a grander, more epic scale Star Wars with plenty of plot-lines, Lucas has succeeded in making two mediocre movies to drive his trilogy, finally finding some sense of focus by the time of its climax, with its Clone Wars aspect.

The film builds itself on the blooming relationship dynamic between Christensen and Portman's characters, having the passion of lines spoke by a computer program. A film romance works best when it actually seems the actors are truly invested in what the script wants them to say. The previous trilogy had a romance that was subtle without being overbearing in the slightest. Lucas wanted something more than just a scoundrel and a princess - a forbidden romance with a Jedi involved. Again, this works best when I actually feel that these actors really seem invested in what they want to do, and it slowly rises from slightly weird to slightly palpable, but that isn't enough in a film that plods along for 142 minutes. The acting still plays hit-and-miss, but McGregor and McDiarmid do turn out to be the key winners of the bunch, the former seeming much more interesting to be around with this time around - whether when bantering with Christensen like an odd couple or in battle, and the latter being as conniving as ever. Christensen doesn't fare too well with such a big role to fill as the eventual Darth Vader, feeling a bit too flat and occasionally grating, falling into the same trap as Lloyd had with being stuck with offbeat lines that make a shadow of a character. Portman is okay, but not too particularly inspired as the other side of the token, faring a bit better when running onto an action set than on some grass trying to talk about politics. Highlights include complaints about sand, attempts at humor that go hit-and-miss, and eventual action sequences on dusty planets that can't help but be like cutscenes once again. Lee is criminally wasted as the main adversary behind the true power, a character cut from bare cloth that isn't too particularly menacing, even with a legend like Lee. The fight with him and Yoda is amusing to picture and weirder to try and describe, since it's a CGI muppet against a mix of Lee (then in his late seventies) and a stunt double. Morrison is quiet, but alright for the necessary time needed. Jackson and Oz are given a few lines to carry, so that's a nice repeat of before I guess. The action sequences here doesn't seem as involving as one would hope, and the political drama is only slightly less pale this time around. The question isn't so much if this is a better film than the previous one as is it really a question of how it took so long to drive the story to some sort of meaningfulness. Lost in a shroud of effects, flashy costumes, and questionable motivations, Attack of the Clones is a mediocre sequel to a mediocre movie that is made lesser by comparisons of past and future of Star Wars films. I wasn't exactly bored by what I saw - I just felt much of the same mood that I did the last time.

Overall, I give it 6 out of 10 stars.

Redux: Star Wars: Episode I – The Phantom Menace.

Redux Review #142: Star Wars: Episode I – The Phantom Menace.

Cast: 
Liam Neeson (Qui-Gon Jinn), Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Queen Padmé Amidala), Jake Lloyd (Anakin Skywalker), Ian McDiarmid (Senator Palpatine / Darth Sidious), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Pernilla August (Shmi Skywalker), Frank Oz (Yoda), Ahmed Best (Jar Jar Binks), Oliver Ford Davies (Sio Bibble), Hugh Quarshie (Captain Panaka), Samuel L. Jackson (Mace Windu), Ray Park (Darth Maul, voiced by Peter Serafinowicz), Terence Stamp (Supreme Chancellor Finis Valorum), Keira Knightley (Sabé), Silas Carson (Nute Gunray), Brian Blessed (Boss Nass), Andy Secombe (Watto), and Lewis MacLeod (Sebulba) Written and Directed by George Lucas (#113 - Star Wars and #141 - American Graffiti)

Review: 
Countdown to 150 Reviews, 10, 9, 8...
Well, it has now been 20 years since the release of this film, the first of the three Star Wars prequel films. Fans may remember the revised editions of the Original Trilogy reviews (originally published 3/30-4/1, 2012) back in 2016, in light of Star Wars: The Force Awakens being released months earlier. I figured it was time to revise some admittedly okay reviews (original publish date of 5/19-5/20, 2012) right before Star Wars: The Rise of Skywalker comes out. I hope you enjoy these reduxes. 

Review: 
It goes without saying that Star Wars is one of the biggest media franchises of pop culture. It has transcended film, television, and beyond over the decades - the original trilogy is still beloved by many, whether from people who seeked it out upon original release or found it playing somewhere on their screen in the present day. Return of the Jedi was the last of these films for 16 years, with Lucas not being inspired to do further films of his saga until the advent of CGI led him to believe it could help him do what he felt was needed. The result proved polarizing, especially in the age of a growing Internet - and age doesn't really help make this film seem too much better. This is a film that bears more on spectacle and details than a fully developed adventure. Perhaps Lucas fared best when he had at least one other writer trying to guide story ideas into something more than just an assortment of old arch-types and myths. The space opera has now shifted into one with mixes of action and politics - which makes for a somewhat stilted result. Like before, there are plenty of creatures and worlds to look at, even if it seems a bit less involving to stick for. I appreciate the effects for what they try to deliver, since they hold up well for 1999 - but wondering what is a blue/green screen and what isn't does get a bit distracting sometimes. The story seems spread too thinly, distracted over whether to be a movie about the Republic or Anakin, spending too much time to really drive itself forward. To say nothing of the logistics of electing a queen at 14, or midichlorians (which is still something to ridicule even with the dawn of a further trilogy), or referencing things from the previous films (did you know who built C-3PO? Weird, I know), and so on. Making fun of these aspects is more interesting to do while watching the film rather than spend a paragraph writing, one must say. The film does fine with spectacle pieces like the pod race sequence or the Darth Maul duel, but the former verges on meandering and the latter is nearly distracted from its other battle at the same time to have the right impact. With all of these characters (new and familiar), only a select group seem truly necessary, but the dialogue doesn't give them many favors. The trilogy is meant to be a tragedy of Anakin Skywalker, and yet the first film can't really plant many seeds to make that start to bloom, perhaps since the initial focus is on a kid (after all, Lucas moved his age from initially being 12 to 9 to try and fit the effect of him separating from his mother better). It didn't need to be a rehash with him being a young adult like Luke, but Lloyd is fledged with an unenviable task of playing an eventual Darth Vader in only one go. Having just one actor (and a change in pace, no less) for three films might have made them roll with more impact - at least we would have been spared a kid Anakin asking someone if they are an angel.

In a sea of interesting acting choices, it should only prove fair to have them seem routine behind some sets and screens. Neeson seems a bit too pallid to evoke much drama, with his final fate not having as much impact as it likely could have. McGregor doesn't quite have his familiar role pinned down here, and the lack of a dynamic between him and his future student in Anakin doesn't help much. Portman is hindered more by a ridiculous decoy plot than anything, but at least she does make some sort of curious impression. Lloyd doesn't quite have the conviction to make this role work, but how can anyone turn dialogue such as "Now this is podracing" really work (while being on a starfighter - long story) without ridicule? Any time with him and Portman is just weird in general. McDiarmid does well with playing the subtle kingmaker of his own doing without hitting a snag. August is quietly effective, even when occasionally lost in the spectacle background. Best plays a role that Buster Keaton would likely laughed off as too clownish with effort - it may not work out well, but at least he isn't the only fault present. The others (including a criminally underused Stamp) are pretty forgettable, and Darth Maul proves to be a fair but not too inspiring threat. Obviously the real threat is supposed to be the bigger one to look into (even if you already know who said threat is), but it only served to make for a trilogy of cut-scene quality adversaries. The droids don't prove too imposing, either, just big stick-looking things to fill the screen. By the time it gets to its climatic battle sequences, it proves to be a glut of overload, though the Maul fight is a bit nice. At least the lightsaber fights stick out for their attempts at finesse. In the end, the movie is a mish-mash of old story types, a dash of hubris, and ultimately something ridiculous to behold for each generation of fans, old and new. Some can rush to defend it for its quirks, and I understand that basis all the same - to me, this is an average adventure compounded as a disappointing Star Wars film.

Overall, I give it 6 out of 10 stars.

Bowfinger.

Review #795: Bowfinger.

Cast
Steve Martin (Robert K. Bowfinger), Eddie Murphy (Kit Ramsey / Jiffrenson "Jiff" Ramsey), Heather Graham (Daisy), Christine Baranski (Carol), Terence Stamp (Terry Stricter), Robert Downey, Jr. (Jerry Renfro), Jamie Kennedy (Dave), Adam Alexi-Malle (Afrim), and Kohl Sudduth (Slater) Directed by Frank Oz (#521 - The Muppets Take Manhattan)

Review
Ooh look, another survivor from the Blockbuster vault. Anyway...

Movies about making movies are interesting to watch with regards to watching the craft try to make something out of nothing, which also describes Bowfinger really well. Martin (who also wrote the script) does a wonderful job playing this desperate producer who clearly has a vision to make films but has neither the talent (nor luck) to do it. Murphy does a fine job in a double role, playing each person brilliantly enough that they stand out equally, and it is fun to see him play around with a character as paranoid as Ramsey is. Graham also excels with her charm and enthusiasm, with the rest of the cast also doing a fine job making these interesting characters stand out. Bowfinger is a movie that doesn't take a vicious stab at the Hollywood system, but it sure does rib at it enough with a good amount of fun and with good timing with regards to the lines. The antics of trying to film the movie (including a scene on a freeway) are excellent to watch, and you really get a good feel for these people in their attempts at making a movie. Bowfinger manages to wrap itself nicely in 97 minutes while balancing all of these wonderfully weird characters together to make for an entertaining look into making a film (in the non-conventional sense).

Countdown: 10, 9, 8, 7, 6, 5...

Overall, I give it 8 out of 10 stars.

Redux - Special Edition: The Empire Strikes Back.

Review #114: The Empire Strikes Back.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), David Prowse (Darth Vader (voiced by James Earl Jones), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Frank Oz (Yoda), Jeremy Bulloch (Boba Fett), Alec Guinness (Obi-Wan Kenobi), and Denis Lawson (Wedge Antilles) Directed by Irvin Kershner (#004 - Robocop 2)

Review
In my original review (#114 - March 31, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the characters and effects at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux - Special Edition (which I did for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy.

The Empire Strikes Back is often called the best installment of the original trilogy and one of the best sequels of all time, and with good reason. It raises the stakes along with the mood and tension in a degree that makes for an entertaining movie that eclipse the excitement and depth of the original film in some aspects. It's interesting that the beginning of the movie starts not only with a large-scale battle, but one that our heroes technically lose (in that they retreat). Sure, they had destroyed the Death Star, but the story (and the war) didn't end just because you can blow up a base (or two). It has been three years since they destroyed the Empire's space station, but the Rebels has moved on from celebrating in Throne Rooms to having to deal with getting a new base and adapting to the cold and the fear the Empire would find them. The music by John Williams is once again fantastic, ranging from tense (The Battle of Hoth) to mysterious (Yoda's Theme) to one that inspires dread (The Imperial March) to one that fits for the climax (The Clash of Lightsabers), with the music fitting the movie just perfect.

Of the (now seven) films, Empire Strikes Back is the only one that introduces key characters while not having any major ones die, and the movie still manages to be emotionally satisfying. Williams is certainly a welcome addition to the band of heroes, managing to have a certain aspect of intrigue along with conflict about the decisions he has to make. Yoda is an interesting case, depending on when you see him (prequels/originals), but in this he certainly has a mystique that evolves from seeming like an strange little hermit (in our first encounter watching him first meet Luke) to a wise master that seems to have more secrets than he lets on. I love the puppetry for Yoda because it never seems fake or off-putting to watch. The way it moves around along with the voice (by Frank Oz) fits well with a character as grand as Yoda.

It's interesting how popular Boba Fett (voiced by Jason Wingreen originally, though replaced by Temuera Morrison after 2004) became even though he doesn't have many lines to say (though he does have a crucial role), though his armor is admittedly interesting to look at.  The Emperor (voiced originally by Clive Revill but replaced by Ian McDiarmid in the newer editions starting in 2004) has only one scene in the movie, but he manages to have an important presence even when he isn't seen because even though Vader seems to be more in control (as opposed to Tarkin essentially having Vader on a leash in the previous one) of the Empire's wrath, he still has a Master to look to. Of course, one can't mention the movie without saying something about the Han-Leia dynamic, and the way their romance doesn't seem to override the movie or take away from it - because it seems natural and it makes the movie more interesting than it already is. Even the line of "I know" to Leia saying "I love you" works because it doesn't bog the movie down in melodramatic form of romance (which is something the prequels, in particular Episode II failed to do).

Once again, the effects (visual and sound) are impressive, but the fight between Vader and Luke is also a key highlight, with the lighting and steam creating a subdued atmosphere, for a fight sequence that is a key improvement over the last film in terms of tension and stunt choreography. The reveal of Darth Vader being Luke's father is a moment in which the movie manages to culminate all the emotional buildup of Luke having believed that his father was killed by Vader only to find out a harrowing truth (or was it?...of course it was) into a powerful moment that still is a great scene even when you've already seen the movie or know the mythology because it still manages to be a memorable and effective scene, serving as a great climax for the film. Ultimately, The Empire Strikes Back manages to be a dark, but entertaining movie that serves a great sequel to the original Star Wars film that while not ending on a high note for the characters, still has a hopeful outlook to continue onto more adventures.

Next up on Redux - Special Edition is the film that ended the story of our heroes...for a while on a peculiar note...

Overall, I give it 10 out of 10 stars.

Movie Night: The Muppets Take Manhattan.

Review #521: The Muppets Take Manhattan.

Cast
Jim Henson (Kermit the Frog, Rowlf the Dog, Dr. Teeth, The Swedish Chef, The Muppet Newsman, Waldorf, Baby Kermit, Baby Rowlf, Ernie), Frank Oz (Miss Piggy, Fozzie Bear, Animal, Sam the Eagle, Baby Piggy, Baby Fozzie, Bert, Cookie Monster), Jerry Nelson (Floyd Pepper, Crazy Harry, Camilla the Chicken, Pops, Lew Zealand, Bear), Richard Hunt (Scooter, Janice, Statler, Baby Scooter), Dave Goelz (Gonzo the Great, Chester the Rat, Bill the Frog, Zoot, Penguin, Jim the Dog, Baby Gonzo), Steve Whitmire (Rizzo the Rat, Gill the Frog), Louis Zorich (Pete), Juliana Donald (Jenny), Lonny Price (Ronnie Crawford), and Art Carney (Bernard Crawford) Directed by Frank Oz.

Review

While The Muppets Take Manhattan may not be as magical as The Muppet Movie, it certainly has enough gas to chug to the finish line and it does have its moments of shine. The Muppets, as usual, are entertaining. They sing well and they mesh well with each other and the human cast. It has its standard fare of cameos (Such Art Carney, Liza Minnelli, John Landis), but I suppose at this point it makes perfect sense. The movie's plot is not exactly original (A group (or a person, take your pick) trying to make it big on Broadway), but the Muppets manage to make the most of it, the songs are nicely done and there is never a dull moment in the film. It's not great, but this film does have enough Muppet power (whatever that means) to drudge along just fine.

Overall, I give it 8 out of 10 stars.

Movie Night: The Muppet Movie.

Review #520: The Muppet Movie.

Cast
Jim Henson (Kermit the Frog, Rowlf the Dog, Dr. Teeth, Waldorf, and the Swedish Chef), Frank Oz (Miss Piggy, Fozzie Bear, Animal, Sam the Eagle, and Marvin Suggs), Jerry Nelson (Sgt. Floyd Pepper, Crazy Harry, Robin the Frog, Lew Zealand, Camilla the Chicken and Blue Frackle), Richard Hunt (Scooter, Statler, Janice, Sweetums and Beaker), Dave Goelz (Gonzo the Great, Zoot, Dr. Bunsen Honeydew, Nigel the Conductor, and Doglion), Charles Durning (Doc Hopper), Austin Pendleton (Max), and Scott Walker (Snake Walker) Directed by James Frawley.

Review
Ah yes, the movie that started the Muppet film franchise, which has had 7 films released in a 35 years span, with an 8th coming this year. Usually I'd ask if this a good flick to watch, but I think we both know the answer: Yes, of course. The Muppets are entertaining, especially when they sing. The puppetry is good and all, but the real show stoppers are the many voices and characters the Muppets bring to the table. But that's not all the movie has, it also seems to have endless cameos (Bob Hope, Edgar Bergen, Mel Brooks, Dom Deluise and last but not least, Orson Welles), good songs (such as Rainbow Connection) and a good deal of imagination with fun, there is never a dull moment to get in the way of the pace and it always keeps itself fresh and well. It's no wonder why there were more Muppet movies after this, and I'm going to continue that with another Muppet film soon.

Overall, I give it 9 out of 10 stars.

Movie Night: Spies Like Us.

Review #513: Spies Like Us.

Cast
Chevy Chase (Emmett Fitz-Hume), Dan Aykroyd (Austin Millbarge), Steve Forrest (General Sline), Donna Dixon (Karen Boyer), Bruce Davison (Ruby), Bernie Casey (Colonel Rhombus), William Prince (Keyes), Tom Hatten (General Miegs), Frank Oz (Test Monitor), and Charles McKeown (Jerry Hadley) Directed by John Landis (#328 - Trading Places, #410 - Coming to America)

Review
Meant as a homage to the Road to... film series (that starred Bing Crosby and Bob Hope, who even makes a cameo), Chase and Aykroyd are paired up for the first time and they do okay, they certainly pair up well together, I suppose. The film around them...doesn't. It's a mediocre story with barely funny jokes that amount to a few laughs. Dixon does okay, and the rest of the cast is okay (Frank Oz being the more memorable for me even if he has only one scene), but the jokes are mediocre and why there are a few cameos along the way (Such as B. B. King, Ray Harryhausen and Terry Gilliam), the film still can't get past the mediocrity line, and it certainly pales in comparison to Trading Places or even Coming to America. The film is okay and while it may miss more then it hits, it at least tries, so I guess that makes sense.

Overall, I give it 6 out of 10 stars.

Movie Night: The Muppet Christmas Carol.

Review #498: The Muppet Christmas Carol.

Cast
Michael Caine (Ebenezer Scrooge), Dave Goelz (The Great Gonzo as Charles Dickens, Waldorf as Robert Marley, Dr. Bunsen Honeydew, and Betina Cratchit), Steve Whitmire (Kermit the Frog as Bob Cratchit, Rizzo the Rat, Beaker, Bean Bunny, Belinda Cratchit, Beetle, and Lips), Jerry Nelson (Tiny Tim Cratchit, Statler as Jacob Marley, Ma Bear as Ma Fozziwig, Ghost of Christmas Present, Lew Zealand, and Mr. Applegate), Frank Oz (Miss Piggy as Emily Cratchit, Fozzie Bear as Fozziewig, Sam the Eagle as Headmaster of Junior High Graduates, Animal and George the Janitor), David Rudman (Peter Cratchit, Old Joe, Swedish Chef), Jessica Fox (Ghost of Christmas Past) and Steven Mackintosh (Fred) Directed by Brian Henson.

Review
I've reviewed movies based on the story A Christmas Carol (#076 - Scrooge (1951) and #079 - A Christmas Carol (1984)) before, but this one is a little different, as the Muppets (Last seen by me in #377 - Muppets from Space) intervene in the process, certainly making for a unique adaptation. Michael Caine, while not as good as say George C. Scott, does make a decent Scrooge who is entertaining enough, and he pairs off well with the Muppets. Speaking of which, the Muppets are really entertaining, especially The Great Gonzo and Rizzo, who pair well off each other all throughout the film. The story flows well and the characters are all fine and dandy, and this certainly is a fine way to spend a weekend near Christmastime. Countdown to 500 Reviews: 10, 9, 8, 7, 6, 5, 4, 3, 2...

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: Sesame Street Presents: Follow that Bird.

Review #284: Sesame Street Presents: Follow that Bird.

Cast
Caroll Spinney (Big Bird, Oscar the Grouch, Bruno the Trashman), Frank Oz (Bert, Grover, and Cookie Monster), Sally Kellerman (Miss Finch), Jim Henson (Ernie, Kermit the Frog), Jerry Nelson (Count von Count, Herry Monster), Richard Hunt (Gladys the Cow, Feathered Friends Owl), Martin P. Robinson (Mr. Snuffleupagus, Telly Monster, Grouch Diner Patron), Bob McGrath (Bob), Roscoe Orman (Gordon), Linda Bove (Linda), Sonia Manzano (Maria), Emilio Delgado (Luis), Loretta Long (Susan), Alaina Reed (Olivia), Kermit Love (Willy), Joe Flaherty (Sid Sleaze), Dave Thomas (Sam Sleaze), and Waylon Jennings. Directed by Ken Kwapis.

Review
This was the first of two feature length Sesame Street films. (The other being The Adventures of Elmo in Grouchland) As most of you should already know, Sesame Street is a television show created 43 years ago on November 10, 1969 that has teached children to this day. The film uses one of its biggest (pun intended) characters of the show, Big Bird to be the main focus. Does it work? I think you know the answer: Yes. It's imaginative and so heart warming with a multitude of characters that if I listed them all, I would probably be here all day. This film might actually make a smile or about 20 of them happen, like it did with me. In the end, this film has aged as well as the show has, still doing a good, if not great job of entertaining, yet teaching as well. Happy 43 years, Sesame Street.

Overall, I give it 8 out of 10 stars.