Review #1494: Gremlins 2: The New Batch.Cast:
Zach Galligan (Billy Peltzer), Phoebe Cates (Kate Beringer), John Glover (Daniel Clamp), Robert Prosky (Grandpa Fred), Robert Picardo (Forster, chief of security), Christopher Lee (Doctor Cushing Catheter), Haviland Morris (Marla Bloodstone), Dick Miller (Murray Futterman), Jackie Joseph (Sheila Futterman), Gedde Watanabe (Mr. Katsuji), and Keye Luke (Mr. Wing), with Howie Mandel (Gizmo), Tony Randall (Brain Gremlin), and Frank Welker (Mohawk, Other Gremlins) Directed by Joe Dante (#007 - Looney Tunes: Back in Action, #096 - Gremlins, and #097 - Small Soldiers)
Review:
"It's the one time someone came to me and said: 'We want this movie and we don't care what it is. Do whatever you want, just give it to us by this date."
When it comes to underappreciated directors, Joe Dante certainly deserves consideration. He grew up with an interest in cartoons alongside watching matinee films as a youth. While a graduate of the Philadelphia College of Art, it was Roger Corman who Dante honed his craft into becoming a filmmaker, initially starting out in the trailer-cutting department at New World Pictures. He made his debut with Hollywood Boulevard (1976), co-directing with Allan Arkush along with editing the film. His first minor triumph was Piranha (1978), and The Howling (1981) helped get his foot in the door with Warner Bros. to make Gremlins (1984). The original film is a triumph of comedy and horror, dark and entertaining that had attracted attention for their effects (and of course, complaints from folks who managed to be fooled by the Christmas setting and critics of violence that don't know any better and are rightfully made fun of here) along with being a key force in the creation of the PG-13 rating. It is entirely possible that this is a sequel that was just a little too late to the party. It took six years for a sequel to Gremlins to arrive into theaters and its director Joe Dante had to be convinced to even do another film in the first place, and he was granted creative control and a bigger budget. Charlie Haas would take over in writing duty (the original had been done by Chris Columbus), who moved the action to New York City with satirical elements all throughout the film, such as the advent of cable television (most notably with Ted Turner) and sequels in general that was more cartoonish than dark, with Dante describing it as one of his most personal films.
It's a shame that this wasn't too successful on release, because I enjoyed it just as much as the original Gremlins. The quality is just about even here, replacing its dark sentiment for cartoonish anarchy that manage to resonate just as much in amusement. It touches upon elements of the original without being smothered by expectations or becoming too much of an effects show, and it does so without becoming dated. It does what one could want for someone with a clear interest in having a good time at the movies in a similar vein to someone like William Castle or even in cartoons with Chuck Jones (who provided the animation for the opening/closing titles). Galligan returns alongside Cates, and each prove just fine in providing continuity and some small moments of levity among themselves and some sort of Mogwai mayhem. Of course the real focus is on Glover, wrapped in spry curiosity that is very much in his element with a bit of camp enjoyment. Prosky, imitating Al Lewis' portryal of another famous horror Grandpa that hosted a horror TV segment, does just fine with mixing camp and care that does lend itself to some quick smiles. Picardo does fine with smarmy chuckles, but the true curiosity ineviably turns to Lee, with that solumn voice going just right with the cliches required for some momentary smiles. Miller and Joseph also return for a quick turn around with the creatures, while Morris and the Mogwai voices round out the cast just fine. Like before, there are quite a handful of cameos lurking around, most notably with Leonard Maltin being dragged away by unsatisfied viewer gremlins. The effects are always lurking in one's mind, and Rick Baker does a tremendous job with delivering some distinct creatures (with a mix of puppetry like before and also mechanical work and stop motion) that get to do a bit more madcap action, such as a bat gremlin for example. The plot threads verge a bit familar at times with its structure, but it makes up for it with some interesting tricks of offbeat humor (such as having the film be stopped and then re-started) that goes in the right direction to make a fun time worthy of further inspection as a quality sequel and an interesting film to highlight for the start of the 1990s.
Overall, I give it 8 out of 10 stars.
And now, the schedule for this month, a mix of familiar and new faces on and behind the camera as one approaches the end of the millennium.
