Oscar (1991).

Review #2239: Oscar (1991).

Cast: 

Sylvester Stallone (Angelo "Snaps" Provolone), Ornella Muti (Sofia Provolone), Peter Riegert (Aldo), Tim Curry (Dr. Thornton Poole), Vincent Spano (Anthony Rossano), Marisa Tomei (Lisa Provolone), Elizabeth Barondes (Theresa), Eddie Bracken (Five-Spot Charlie), Linda Gray (Roxanne), Chazz Palminteri (Connie), Don Ameche (Father Clemente), Kurtwood Smith (Lt. Toomey), William Atherton (Overton), Art LaFleur (Officer Quinn), Robert Lesser (Officer Keough), Yvonne De Carlo (Aunt Rosa), Martin Ferrero (Luigi Finucci), Harry Shearer (Guido Finucci), with Richard Romanus (Vendetti), and Kirk Douglas (Eduardo) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, #1462 - The Blues Brothers, #1465 - An American Werewolf in London, #1699 - Blues Brothers 2000, #1718 - The Stupids, #2026 - Twilight Zone: The Movie)

Review: 

"Oscar is a farce set in 1931, sort of Damon Runyon meets Feydeau. I shot the picture in a deliberately stylized manner, attempting a thirties Hollywood comedy look and feel (Peter Riegart, at one point, actually says, Why I oughta...)"

 

Sure, I had this on my mind for a few years. How could one not be interested in a film with a director and actor passing through different tides of their career? It was the film Stallone appeared in right after the first perceived end of the Rocky series with Rocky V [1990] while for Landis it was the first of a string of, well, six films with little-to-no appreciation in the 1990s (which includes The Stupids [1996], a movie I heartedly defend). The film is a remake of the 1967 film of the same name, as originally directed by Édouard Molinaro (which in turn was based on a play by Claude Magnier). The key difference between the two Oscars is that the Landis one is set in the 1930s rather than being a contemporary comedy of errors; Landis wasn't exactly a stranger to screwy comedies, as evidenced by Trading Places (1983), for example. The film was written by Michael Barrie and Jim Mulholland, who actually had written for the comedy skit anthology film Amazon Women on the Moon (1987) to go with years and years of TV comedy writing. The movie was neither a hit with audiences or critics, with the common remark being that audiences apparently were not willing to go with Stallone in a non-action role (apparently, a test audience member actually wondered when Stallone was going to take off his shirt and start blasting people). Of course, Landis and Stallone do not shy away from talking about the film and its distinct place when it comes to actors trying to play against type (particularly when compared to Stallone in say, Rhinestone [1984] or the film that immediately followed Oscar with Stop! Or My Mom Will Shoot [1992])

I don't really understand how people didn't like this film. Was it really that hard to see Sylvester Stallone (who was cast in the film after Al Pacino came and went because Dick Tracy offered more money) do comedy? Really? Sure, the "Around the rugged rocks the ragged rascals ran" bit may have been familiar to some folks, but was it really hard to see how it could be played for worthwhile amusement with Stallone there to say it? Of course, Tango & Cash (1989) was sort of a funny movie that I appreciated with Stallone, so maybe broad It is a gangster film without any violence that confines itself to one location for most of its runtime (109 minutes) with a cast packed to the gills in names to see for later (and those that weren't as much) in support around Stallone that do the type of hit-or-miss comedy that is just about screwy enough to work. It is delightfully manufactured weirdness that contorts itself for a few delightful moments. Stallone isn't asked to do too much broad comedy here, but he clearly is game to play along with the idea of "civility" packed in a suit that handles the ever-growing confusion of daughters and cases with charm (I'm not sure if I agree with his musing that he should've played it "incredibly cynical"). Riegert and Palminteri accompany Stallone at times with their own goofy type of charm (one snide and one in constant confusion), which is delightful in the best ways possible. Go figure that Curry nails his enunciation act right then and there with dignified timing and (wait for it) charm to spare. Tomei is quite amusing in flapper attitude that is fiery in that momentary sparkplug of goofiness. It should be noted that Tomei was cast in My Cousin Vinny (1992) because the filmmakers for that film were invited to the set by Landis and liked what they saw of her acting in a scene, so that's one person who really benefitted from this film. For all the credit one can give to Stallone or others, Spano unfortunately draws the shortest stick, because he isn't particularly interesting enough to keep being in the film to draw attempts at what I think should be humor but is the equivalent of a vacant stare (Muti and Barondes narrowly miss the shortest stick). Others get less to nibble on but are neat for those who like certain faces or sounds in say, eagle-bleary-eyed Smith or the small double act of Ferrero and Shearer. The film drifts in and out with wry enjoyment at being a quirky flashback that I enjoyed more often than not with its dedicated cast engaged to make silly entertainment that is sincere enough to merit a look for the curious at heart.

Overall, I give it 8 out of 10 stars. 

Next up: Debt 1, Pirates 0 in Cutthroat Island. 

Twilight Zone: The Movie.

Review #2026: Twilight Zone: The Movie.

Cast: 

Opening sequence: Albert Brooks (the Driver), Dan Aykroyd (the Passenger), and Burgess Meredith (Narrator)

"Time Out": Vic Morrow (Bill Connor), Doug McGrath (Larry), and Charles Hallahan (Ray)

"Kick the Can": Scatman Crothers (Mr. Bloom), Bill Quinn (Leo Conroy), Martin Garner (Mr. Weinstein), Selma Diamond (Mrs. Weinstein), Helen Shaw (Mrs. Dempsey), and Murray Matheson (Mr. Agee)

"It's a Good Life": Kathleen Quinlan (Helen Foley), Jeremy Licht (Anthony), Kevin McCarthy (Uncle Walt), Patricia Barry (Mother), and William Schallert (Father)

"Nightmare at 20,000 Feet": John Lithgow (John Valentine), Abbe Lane (Sr. Flight attendant), Donna Dixon (Jr. Flight attendant), John Dennis Johnston (Co-Pilot), and Larry Cedar (Gremlin)

Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, #1462 - The Blues Brothers, #1465 - An American Werewolf in London, #1699 - Blues Brothers 2000, and #1718 - The Stupids), 

Steven Spielberg (#126 - Close Encounters of the Third Kind, #168-#170, #302, #351, #480, #563, #573,  #642, #958, #1068, #1305, #1478, #1520, #1528, #1560, #1843, and #2000 - Duel), 

Joe Dante (#007 - Looney Tunes: Back in Action, #096 - Gremlins, #097 - Small Soldiers, #1494 - Gremlins 2: The New Batch, #1744 - The Howling) 

and George Miller (#380 - Mad Max, #392 - Happy Feet, #493 - The Witches of Eastwick, #707 - Mad Max 2, #781 - Mad Max: Fury Road)

Review:

The Twilight Zone, originally broadcast on CBS in 1959, is generally considered one of the best television shows of its time, if not one of the best ever. There were 156 episodes of the anthology series, with a good majority of them (92!) written by series creator (and presenter) Rod Serling. He had come up with the idea for an anthology series that would use its "science-fiction setting" to have more freedom to write what he felt. Technically, the show was not meant to be scary, but it just happened to have plenty of twists within a mostly consistent show. Providing a list of what episodes are the best seems futile, but here is a list of episodes that would be neat for one to check out if they want to see just what the show could do in its format (most are a half-hour long, minus the hour-long fourth season): "One for the Angels", "Walking Distance", "A Quality of Mercy", "Printer's Devil", and "One More Pallbearer" (one could also go for Serling's reported favorites in "The Invaders" and "Time Enough at Last"). Rod Serling had an interest in doing a Twilight Zone film for quite some time prior to his death in 1975. Various cast members that had appeared in an original episode appear in the film: Burgess Meredith, Patricia Barry, Peter Brocco, Murray Matheson, Kevin McCarthy, Bill Mumy, and William Schallert. The movie was marked by tragedy in the making of the first segment of the film due to an accident involving a helicopter crash during filming on July 23, 1982. Two children, Myca Dinh Le, Renee Shin-Yi Chen were hired to do a scene at night (under the table) that involved pyrotechnics and a helicopter. This resulted in an accident that saw the death of Morrow and the two children. Various people, which included Landis, were tried and ultimately acquitted on manslaughter charges in a trial that spanned 1986 and 1987. Of course, the tragedy as a whole sparked a movement for fire safety regulations and entertainment industry requirements, complete with a safety committee made by the Directors Guild of America about safety bulletins and a phone hotline. The film was released 40 years ago in June of 1983, and it was a mild success with audiences. It would inspire CBS (who had the rights to the show because Serling had sold it to them) to go forward with a second rendition of the show in 1985. After its end in 1989, two further shows came and went in the following decades (2002-2003 and 2019-2020). 

The opening segment (roughly eight minutes) features Albert Brooks and Dan Aykroyd in a car conversation that eventually talks about the show within the movie and the question of if one wants to see something "really scary"? It is, uh, a strange way to start a movie, mostly because when I think of Twilight Zone, I don't think, man suddenly finds a surprise in a car. But it is with two folks that I like, so there's that. Burgess Meredith, who appeared in classic episodes of the show such as "Time Enough at Last", introduces each story in narration, which is a nice tribute to Serling's previous method, although they do use Serling's voice for the ending as a whole. John Landis directed this sequence alongside the first segment in "Time Out". The segment, lasting roughly 18 minutes, involves a racist and resentful man that goes to a bar after being passed over for promotion that finds himself wrapped up in the past, more specifically places such as Nazi-occupied France, a racist Klan rally, or in Vietnam. Evidently, the segment is a mishmash of the classic stories "Back There" (namely the time travel) and "A Quality of Mercy", with the writer being none other than Landis.  The original scripted idea obviously couldn't be completed due to the tragedy that occurred, which apparently was meant to have a resolution that would've tried to find redemption for the racist that saw him try to help two children out of a helicopter attack in a Vietnamese swamp. Instead, it ends on him going through a frenzy of terrifying events before being sent off by a train despite yelling out to his friends that he can see out of the slats. As such, the story is mild because it requires a bit more bite than what is required to either reach a payoff of redemption...or the opposite, and a segment that doesn't even last the time of an actual TV episode isn't going to cut it. As such, Morrow is essentially trapped in a segment with an unavoidable pall over the entire thing, but you can see the glimmer in one part of the diner scene. There he is, blithering around with a dirty mouth, and for a moment you can see him for what he is beyond the epithets: a loser who really thought the world owed him one because of what he looks and sounds like "as an American". Intended redemption or not, there obviously was something that could've been done here beyond what you know.

"Kick the Can" (lasting roughly 21 minutes) is based on the third season episode of the same name originally written by George Clayton Johnson. The segment screenplay was written by Johnson, Richard Matheson, and Melissa Mathison. It was directed by Steven Spielberg. Apparently, he had plans for an ambitious segment before the helicopter tragedy led to him curtailing plans...for a remake of an episode that I honestly can't remember watching to begin with beyond the phrase "old people get young". It has been rumored that Spielberg, under contract but having lost the heart for the project due to the tragedy, made only a half-hearted effort here. All of this is meant to subside the actual thoughts of the story about "the day we stop playing is the day we start getting old", which I vaguely remember seeing in my neighborhood park when I was a kid. If the Landis segment could be thought of as perhaps a bit too short, the Spielberg segment can be best described as half-brained and half-effective. I can't tell what is more annoying, its cloying sense of "cheer" for such an average effort, or the very rumor of Spielberg half-assing a story just to get out of a dilemma. Crothers actually does provide a decent performance here, pulling some of the mysterious requirements necessary to make a story telegraphed to us in every step of the way not nearly as painful as it could be, and Quinn is at least a quality foil the basic arguments made involving the inevitability of age. By the time the segment gets to the ultimate decision made, the lesson put there is at least one that isn't sapped of hokum...and then of course Crothers does a fourth wall bit before leaving. As a whole, it's just an okay segment, one that makes you wonder if being the "light segment" of the film is really a compliment.

"It's a Good Life" (roughly 27 minutes long) is loosely based off the third season episode of the same name (as written by Serling that was based on a short story by Jerome Bixby). Matheson wrote the screenplay for this segment (which Serling had discussed prior to his death as writing a draft to make into a film), with Joe Dante serving as director. The story involves a lady schoolteacher finding the company of a young boy at a rural diner when she helps him after he is accosted only to then accidently back her car into his bike. She gives him a ride home and meets the rest of his family, who all seem nice. Heck, I like Kevin McCarthy, what could go wrong with his character presence? Despite having quite a hill to climb in trying to remake one of the most famous Zone episodes, Dante has provided something special here: an off-beat and weird segment that seems to take you on a trip of not just sight and sound but of mind. It is a delightful and deranged segment, headlined by a useful cast. I of course dig the presences around the supporting folks like McCarthy, ever the panicky one in trying to keep appearances as essentially the elder statesmen of character presences here, made clear when he tries to figure just how a magic trick with an imaginative boy is going to go. Quinlan and Lichy make quite an effective pairing in the realm of dealing with such a funhouse of creativity that invites a tragic quality not present in the earlier adaptation (of course, since this adaptation uses an eight-year-old rather than a six-year-old, why not?), which seems like a suitable twist. It's a neat story as a whole.

"Nightmare at 20,000 Feet" (22 minutes) is a remake of the story of the same name (based on the short story by Richard Matheson, who also wrote the screenplay for this segment) that had premiered in the fifth season of the show, which I'm sure you remember had William Shatner as star. George Miller serves as director here. The key change is to the circumstances of the man in the predicament of seeing a gremlin on the plane he is flying in: the TV episode had him travel with his wife after just spending time in a sanitarium while the film features a man with a fear of flying traveling alone. The segment is all about the tension that comes with what you know of the person observing a nightmare right in front of their eyes that obviously could be just our nightmare too: what if you saw something that no one could see that could lead to your death? The gremlin costume is the biggest evident difference in adaptation, mainly because it actually looks quite spooky in the moments it is seen in the dark rainy night, which only add to the fear portrayed excellently by Lithgow. This segment is probably the one that hews closest to the original spirit of the TV episode, which either makes it the best segment of the film or a pretty close second and one can't go wrong there. The movie begins and ends with the same man asking if one wants to see something really scary. Friends of anthologies with varying quality such as O. Henry's Full House (1952) or Dr. Terror's House of Horrors (1965) will be just fine with this movie, one that will have enough peaks and lows to make the 101-minute runtime seem useful to perhaps step further into the realm of the Twilight Zone and see just how fun anthology can be in the right hands.

Overall, I give it 7 out of 10 stars.

Redux: Trading Places.

Redux #328: Trading Places.

Cast: 

Dan Aykroyd (Louis Winthorpe III), Eddie Murphy (Billy Ray Valentine), Ralph Bellamy (Randolph Duke), Don Ameche (Mortimer Duke), Denholm Elliott (Coleman), Jamie Lee Curtis (Ophelia), Kristin Holby (Penelope Witherspoon), Paul Gleason (Clarence Beeks), Robert Curtis Brown (Todd), Alfred Drake (Securities Exchange manager), and Jim Belushi (Harvey) Directed by John Landis.

Review: 

From my review on January 1, 2013: 

What else to start the new year of 2013 but with a film review (I hear one small whisper of yay and more crickets.), and how about an 80's flick (Gee, I haven't done 63 times before. Oh wait...) to start off the new year. (Fun fact: This is my first review on New Year's Day. I must either have been lazy the last two years or I just didn't care. I still think I'm both options.) So how is this film? It's pretty good. This is Aykroyd and Murphy at their best, always seeming to change from serious one minute to comedic in another. The supporting cast is good, and even the one bit characters have a funny line. It has a serious and comedic feel to it, always tiptoeing the lines flawlessly, and having fun. Fun stuff after almost 30 years.

"It took me a long time just to understand the con, what was going on. It's just so funny, it's so long ago now, the chicanery is so much more arcane now. At least in ‘Trading Places,’ at the end of the day, there was the commodity." - John Landis

Admittedly, having young memories of watching a film like this is probably a weird thing to admit when you first watched this movie over twelve years ago when you were barely in the middle of being a teenager. But this was the first John Landis film that I ever watched, which actually was released 40 years ago today. As mentioned before, his viewing of The 7th Voyage of Sinbad (1958) inspired him to become a director, and he would grow up to work a variety of film jobs that ranged from mail boy to production assistant. He made his first feature film with Schlock (1973). The next couple of comedy films that he found his way to directing went better, and I'm sure you are already familiar with Animal House (1978) and The Blues Brothers (1980). At any rate, he came across a script treatment labeled "Black and White" by Timothy Harris and Herschel Weingrod (writers of Cheaper to Keep Her (1981), a flop) that was being sold around at Paramount Pictures. Harris had been inspired to make a script based on his experiences with two wealthy but frugal brothers that he often played tennis with that liked to bicker about everything. He approached his writing partner in Weingrod about it with the presentation of two brothers bickering over nature vs. nurture, and research in the commodities market helped shape the film in setting while not making it the whole film. Landis saw the script as one that honed familiar to films in the 1930s such as screwball comedies or ones directed by Frank Capra that dealt with societal issues with distinctly amusing and strong characters (of course with the 1980s, the changes now involve a bit more swearing and nudity, which I imagine irritated the still-living and bitter Capra). This was the seventh feature film directed by Landis, who also served as director for Twilight Zone: The Movie in 1983. Landis worked again with Murphy with Coming to America (1988) and Aykroyd with Blues Brothers 2000 (1998). Harris and Weingrod would go on to do a handful of screenplays together, which resulted in films such as Brewster's Millions (1985), Twins (1988), and Space Jam (1996).

If you think about it, there really is something special about the fact that five of the main six actors in this film (Murphy, Aykroyd, Ameche, Curtis, and Elliott) would go on to receive Academy Award nominations after the release of this film (the only one who did not was Bellamy, who already had been nominated - in 1937!). It always is interesting to see what the more interesting challenge is, comedians trying to play drama or folks trying to play comedy, but I imagine what is more challenging is to make a movie about finances that actually turns out funny. It is safe to say that Landis and company made a worthy comedy with a strong cast and entertaining direction and script that makes it an enduring screwy kind of comedy. Debate all you want over what Landis film ended up being better in terms of laughs, but it is safe to say that when in the right element, it perhaps never worked out any better in distinguished intrigue than this film. The American Dream may involve a bit too much love of money, but with this film, well, why the hell not? Next, you'll be asking if it is a dated feature when not seeing it for yourself for a film that involves folks playing nationality dress-up. Landis also saw inspiration in the basic dynamic within Mark Twain's novel The Prince and the Pauper (which involved two look-alike kids born on the same day to swap clothes). 

The original actors in mind for certain roles involved Gene Wilder & Richard Pryor for the main two roles, Ray Milland for the elderly brother role opposite Bellamy, and either John Gielgud or Ronnie Barker for the role later played by Elliott. Oh, and Curtis wasn't even a preference of the studio, because they had her pegged as a "scream queen". Ameche hadn't even acted in a film since Suppose They Gave a War and Nobody Came (1970) because apparently nobody had approached him about one (which meant that he had spent his time doing roles on stage and TV). And yet each prove quite amazing in their roles in terms of contribution of laughter that makes any scene count in conviction that really does outline how much it matters to have money in the rat race (regardless of race or class). Aykroyd in particular does a worthy job at playing the role to haughty brilliance that can be both mark and heel in consistent watchability, even when playing a miserable man watching past parties in the driving rain. Murphy, fresh off the heels of 48 Hrs. (1982), is enjoyable with spry timing (he ad-libbed a good deal of his own lines) that utilizes his talents for more than just silly humor, in part because he makes a worthy distinct image of Aykroyd when it comes to adapting to the situation around him (whether involving money or, well, you know). Oh sure, he is a scene-stealer much like his prior film appearance, but that is part of the fun. While it might have been interesting to see a pairing of Pryor and Wilder after the success of stuff such as Silver Streak, it is evident that Aykrord and Murphy were more than ready to deliver the screwball requirements. Apparently, Landis had an interesting time casting the role eventually played by Curtis because he felt it was the one character in the script that he had a problem with (because a "hooker with a heart of gold" seemed a bit on the fantasy side). I think we can say Curtis made the role count more than anyone else would have done, if only because her knowing charm and talent clearly shines through. The power of human nature is one thing, having the means to do things their way is another, basically.

The more established names are just as efficient, because Bellamy and Ameche make the ideal adversaries that you would believe would have both the attitude and insanity required to ruin a person's life over a bet to settle the pettiest of all arguments (look nature vs. nurture could make a good argument for a film, but most don't go around betting money on it). Ameche in particularly seems to relish the chance for a chance at amplified snobbery, and it is evident to see how he made an on-screen comeback with this in his credit. Bellamy is no slouch of course, because he is just as crafty in timing, and the last scene they share involving them at their new point of lowness is a worthy punchline that they each contribute well to. Elliott plays a role of such clear distinction (a butler) without coming off as just another cliche to pass off, and that I think comes from his resonance in caring about what he is doing on the screen on instinct (incidentally, he was known in previous films in a over three-decade film career as a scene-stealer).. Gleason plays a character with loose inspiration from G. Gordon Liddy and he proves quite well in scuzziness. The 116 minutes roll off pretty effectively, balancing its time with its main group to where the eventual leadup to the climax comes off without any hitches that has the task of making commodities something to watch and follow with chuckles. If you have to have folks talk about how the endgame at the market (filmed at the New York Mercantile Exchange with a good deal of actual traders participating) and are then referenced in Congressional testimony about commodities, clearly, you have done something right. It is safe to say that watching the film now has only strengthened my thoughts on it being a pretty effective film from its time that shows Landis and company at their strengths for worthy enjoyment.

Overall, I give it 9 out of 10 stars.

It really is 40 years to the day since this film was released, so what better way to say a movie is really good than to do a re-review? There will be a handful more redux reviews to come in the following months, so I hope you enjoy them.

The Stupids.

Review #1718: The Stupids.

Cast: 

Tom Arnold (Stanley Stupid), Jessica Lundy (Joan Stupid), Alex McKenna (Petunia Stupid), Bug Hall (Buster Stupid), Mark Metcalf (Colonel Neidermeyer), Bob Keeshan (Charles Sender), Christopher Lee (Evil Mr. Sender), Matt Keeslar (Lieutenant Neal), and Frankie Faison (Lloyd) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, #1462 - The Blues Brothers, #1465 - An American Werewolf in London, and #1699 - Blues Brothers 2000)

Review: 

"I'm happy to say it's very successful on television, and extremely successful on video because people buy it for their kids. It's meant for ten-year-olds. That really went under the radar. But I really like that picture."

Honestly, I have been looking to the best time to finally cover this movie. I first heard of it last year when it came time to cover the month of August with films of the 1990s. Of course, my reasoning for not picking it was because I would have to have countered it with Dumb and Dumber (1994) because I thought they sounded similar. Of course, the other reason is that one can only pick so many movies from John Landis at a time. I don't think anybody had such a curious third decade in directing like he did, with this being the fourth of six works in that decade, and each one did not fare well with audiences (or critics, but that's another story). It isn't the best of his movies, but Landis certainly made an interesting effort. The movie was made for a company called Savoy Pictures, but the company decided to cut back on their interest in the movie business (going instead to being a TV station holding company), which occurred during post-production. This was one of the fourteen films in the Savoy roster that was shipped out to potential buyers, and New Line Cinema ended up buying six - this was one of them; somehow, the studio thought it was some sort of raunchy product as opposed to a children's movie (as evident by the surprise noted by the studio chief at a screening with Landis there). A budget of $25 million resulted in a $2.5 million return. Look, we are talking about a movie that starts with two characters that wake up from bed having slept on the foot-end of the bed. Actually, it perhaps should be noted that The Stupids is an adaptation of a series of children's books of the same name, which were written by Harry Allard and James Marshall, who wrote four books from 1974 to 1989. I imagine the books also happened to depict a family that looks like All-American apple pie with dull wit to spare (apparently, in one of the books, they think they died...instead they had experienced a blackout), so is it surprising that this is a movie that segues from missing garbage stumbles into a plot with military weapon-dealing, aliens, and a plethora of cameos? I don't think there are that many oblivious family movies out there, particularly ones that seem to hone to winners of the Darwin Award.

For me, the surprise is the fact that I actually didn't hate the movie. It might run at a predictable pace of 94 minutes, but it grew on me quite quickly. It has a fun quality of obliviousness that I appreciate, one that rolls in stride with dim-witted sensibility without smugness. I admire its incoherency that is headlined by Arnold, who certainly tried to dabble in being the star of silly comedies rather than just a supporting piece (this was the same year as Big Bully and Carpool, after all). I'm sure plenty of folks can find reason to resist its "kid at heart" charm, but I thought it was silly enough to work without wasting my time (in other words, this is the kind of dumb movie to enjoy rather than stuff like Kung Pow! Enter the Fist (2002), for example). Picking at the flaws of plot is like trying to fix your cat's bad habits - sometimes you just have to let it go. I imagine that Arnold must have had a weird time trying to play funny angles for a movie that requires a great deal of earnest honesty without playing to all of the obvious bits that could be done with a different kind of dopey stiffs. Lundy doesn't have as many little moments of neat honesty, but she fares well with keeping things at a fair pace alongside McKenna & Hall in moving forward with what needs to happen without looking confused (the kids play right to the audience, of course). Undeniably, the supporting presences prove just as curious. Metcalf and Keeslar are dry enough to contrast with the main quartet handily enough that usefully seem plucked from a low-rent thriller. You may be interested to know that this was the first and only film appearance for Keeshan, who was most known for his work in television, such as Captain Kangaroo (1955-1984) which he created and starred in; here, he is playing a kindly warm guy mistaken by the oblivious ones as a figure of evil, which in that sense makes for a good chuckle. Of course, Faison, playing an attendant at a museum mistaken for God, is warm enough to resonate in his interaction with Arnold & McKenna. Technically, the best cameo comes from David Cronenberg, because of how low key the cameo is when compared to other faces seen (although it is amusing to name-drop the name Atom Egoyan and link it Jenny McCarthy, amusing for probably the only time ever); of course, like any true horror fan, the appearance of Lee is worth a watch and a half, as he chews on this momentary bit of evil amusement the way you would expect. Of course, not everything is consistent. One is curious who went with all of the clay-mation designs, since it has an off-putting feel when you see pets and aliens all of a sudden in a style that doesn't quite click with the usual look of the movie, which almost goes a bit too all over the place for its climax. As a whole, it might be easy to see why this wasn't appreciated 25 years ago, but there is an earnest fun quality here that manages to persist over all odds for a likable winner. It might irritate folks who don't have the patience for the one joke the movie has, but others will surely get a huge kick out of its silly enjoyment, where being a stupid campy experience is kind of the point. I don't usually go against the boat, but I can't see why this movie was treated so poorly back then. Maybe it was a bit behind the curve when it came to oblivious silly humor, but honestly, I find this to be a curious little gem of a movie, one made by a competent director that obviously is having fun with silly material and a cast that is fairly game for where it needs to go in silliness without becoming obnoxious about it. In that sense, you might be fine with checking it out.

Overall, I give it 7 out of 10 stars.

Blues Brothers 2000.

Review #1699: Blues Brothers 2000.

Cast: 

Dan Aykroyd (Elwood J. Blues), John Goodman (Mack McTeer), Joe Morton (Commander Cabel Chamberlain), J. Evan Bonifant (Buster Blues), featuring Aretha Franklin (Mrs. Murphy), James Brown (Reverend Cleophus James), B.B. King (Malvern Gasperone), The Blues Brothers Band [Steve "The Colonel" Cropper (rhythm guitar / vocals), Donald "Duck" Dunn (bass guitar), Murphy Dunne (keyboards), Willie "Too Big" Hall (drums and percussion), Tom "Bones" Malone (trombone / tenor saxophone / vocals), "Blue Lou" Marini (alto saxophone / tenor saxophone / vocals), Matt "Guitar" Murphy (lead guitar), Alan "Mr. Fabulous" Rubin (trumpet / percussion / vocals)], The Louisiana Gator Boys [various musicians, featured below], Erykah Badu (Queen Moussette), Blues Traveler, Lonnie Brooks, Eddie Floyd, and Kathleen Freeman (Mother Mary Stigmata) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, #1462 - The Blues Brothers, and #1465 - An American Werewolf in London)

Review: 

"I was very pissed off by what Universal did to me on ‘Blues Brothers 2000′ and that was my first experience with the new corporate Hollywood. It’s very different. Everything is by committee now, and they destroyed that movie, though the music is still good."

If you remember correctly, the Blues Brothers was the result of two guys who loved the blues. John Belushi and Dan Aykroyd (who credits Donnie Walsh and Richard “Hock” Walsh as the model for their characters) had performed together on Saturday Night Live with the act a few times before being asked by Steve Martin to be his opening act at one of his shows, which resulted in the live album Briefcase Full of Blues in 1978. This, alongside Belushi's success with Animal House (1978) only served to attract the interest of studios to engage in a bidding war to make a movie. Of course, that movie was racked by chaos involving substances and one half of its writing team being fairly green at the art of creating a screenplay. In other words, it wasn't easy to make a movie involving numerous music acts and the destruction of 103 cars while shooting exclusively in Chicago, or one that focused exclusively on the blues (in a time that was more about disco and less about the blues and soul) while dodging complaints of being too over-the-top (i.e. people who don't know shit) to become a classic. Perhaps it only makes sense that Aykroyd kept the name around with the chain restaurant (and live music concert hall) House of Blues, which has managed to have a few locations around the country, and Aykroyd has taken to tour on occasion with the band (alongside with John's younger brother, Jim). So yes, I suppose it makes sense that Aykroyd wanted to do another movie involving the blues and put more acts on film. Of course, it is also possible that Aykroyd and Landis wanted to re-capture lightning in a bottle when it comes to success - this was after all the sixth collaboration between the two of them, all of which that were done in the 1980s. Just remember, this was done in 1998.

Reportedly, Landis and Aykroyd did not have a great time with filming. While they were the writers behind the script, Universal Pictures made their stipulations clear that involved requiring a PG-13 rating and a child lead. Of course, the original pitch that the two was apparently just a re-hash of the original, since it would have featured a plot involving refurbishing the old orphanage (which would have featured Jim Belushi cast as "Brother Zee" alongside Goodman as a trio). Of course, Belushi could not do the film due to contractual obligations (at the time, he was cast in a lead part in the series Total Security, which didn't even make it to 1998), so the script instead was modified to include Morton. Have you ever seen a movie that looks and seems DOA as quickly as this one? Making a sequel eighteen years after the fact is already a tough task, but making a comedy sequel that has the task of replacing one part of its key nucleus is like trying to do The Three Stooges with only two actors. Of course, Belushi wasn't the only actor to have died in the gap between the two films (the film opens with a tribute to Belushi, Cab Calloway and John Candy). Oddly enough, everybody else in the Blues Brothers Band returns, and they all get to have a scene dedicated to re-uniting them all together, because how else would this film run for two hours? Well, there is one solution that would probably have worked to the benefit of everybody who don't care for stories about pint-sized kids getting mentors and voodoo witches: focus entirely on the music. Heck, cut around the "plot" with no explanation and call it artistic license, that would probably work just as well (that, or alienate a whole bunch of folks who wonder where Eric Clapton came from). Call it the "Mission from the Blues" Edition, if you will. Let me be clear: teenagers don't watch movies just because the rating is PG-13 instead of R, and they sure won't watch it just because there's a kid as one of the leads. That isn't say to that foul language and certain situations is important to making something people want to watch, but this is a movie that clearly is the result of studio notes from people who think they know better.

Perhaps it is my imagination or my memories have faded from the year that followed watching the original film, but Aykroyd seems to have thoroughly faded into nothingness when it comes to generating anything more than a quivering thought of a chuckle. The fact that he doesn't take off those Ray Ban sunglasses doesn't help either, a dubious marker of shame for someone who probably should have known better as both writer AND star. Honestly, I do wonder if Goodman would have prevailed with the original script when it comes to zippy energy. He seems kind of pale here, seemingly stuck in that suit and sunglasses like a statue without a home to draw a response. Morton gets to play both uptight authority and inevitable "Blues Brother" in the same film, and it is perhaps a fitting marker of dubiousness that his most notable scene is one where he sees the error of his ways by levitating in the air and changing his outfit. Embarrassment is a hard word to swallow when it involves your lead trio. Well, there is Bonifant, but you and I both know that child actors are either forgettable, passable, or terrible. Take a guess how he does. Perhaps if one had never heard of the original movie they would be okay with this one, or maybe if they watched it solely to see blues musicians play on a big screen. Name dropping is an annoying habit, but yes, there are quite a few performers to see (mostly near the end) for the "The Louisiana Gator Boys": B.B. King, Isaac Hayes, Lou Rawls, Billy Preston, Bo Diddley, Koko Taylor, you get the idea. It is far more interesting than the car wrecks or the attempts at plot that go nowhere (which involves the group being turned into plastic statues after being forced to play Caribbean music...???). In the end, this reeks of something you might see in the direct-to-video junkpile, yet here we are with a $31 million/123 minute movie of failure that benefits from moments of music more so than anything else - indeed, it is some sort of accomplishment to have brought back the same director and a portion of the same cast after many years apart and make a sequel inferior in every way. 

Overall, I give it 4 out of 10 stars.

An American Werewolf in London.

Review #1465: An American Werewolf in London.

Cast: 

David Naughton (David Kessler), Jenny Agutter (Nurse Alex Price), Griffin Dunne (Jack Goodman), John Woodvine (Dr J. S. Hirsch), Don McKillop (Inspector Villiers), Brian Glover (Chess Player), David Schofield (Dart Player), and Lila Kaye (Barmaid) Written and Directed by John Landis (#328 - Trading Places, #410 - Coming to America, #513 - Spies Like Us, #1114 - Animal House, and #1462 - The Blues Brothers)

Review: 

"What no one understands, ideas are a dime a dozen. An idea has no real value. It's all about the execution of the idea."

"The thing that I find so fulfilling about my job is I like the fact that you start with something that's just an idea in your head. You read the script and right away you visualize something and you see that thing that at one point was just an idea in your head looking real and alive. It's exciting and is a little bit like being Dr. Frankenstein. I want to scream "It's alive!"

John Landis was a tremendous showman director for his time, one that generally knew how to reach his audience with humor for a career that started with such modesty. He was inspired to be involved in films from a young age, citing The 7th Voyage of Sinbad (1958) as a key influence. He subsequently worked his way up in film production, starting as a mailboy before taking other parts such as stunt double and dialogue coach. After getting the chance to be an assistant director for Kelly's Heroes (1970), he found inspiration for what would become this film from a chance viewing of a gypsy ritual (while in Yugoslavia) being done in a burial in which they tried to make sure the body wouldn't rise from the grave). At the age of 21, he began production on his first directorial effort in Schlock, which was released two years later in 1973 with him in the title role alongside writer-director. It was his first work with a young makeup artist in Rick Baker. Baker was in his third ever assignment in film with makeup, having started his career with costume work on Octaman (1971). The highlight of the film was done from Baker, who became the first winner of an Academy Award for Best Makeup (several people had been given honorary awards for effects in the past before a formal category was created), and he would win six more in a career that has spanned over four decades.

The film languished for a decade because of the perception that it was either too scary to be comedy or too funny to be a horror film, with Landis stating that "People keep calling it a comedy, it's very funny I hope, but it is a horror film." It is a fairly morbid film at times, taking inspiration from the classic Universal horror films with clear interest in making a London film with atmosphere, complete with plenty of moon songs that set the film well (or whatever one feels about the choice of "Blue Moon" after a swift finale) that makes a well-earned classic for the night as one of the higher-achieving werewolf films. Landis stages a fine film well, and Baker makes it all worthwhile with the special effects utilized to depict the werewolf that proved to be a tremendous highlight for practical effects in a decade fitting for it, even if it took plenty of makeup and time to make it all come out right (the transformation scene took nearly a week to finish due to all the time spent on getting the makeup on and off), utilizing its real and unreal elements such as fake patch of skin and hair and robotics to make for an iconic moment for effects.

One watches the film to see the transformation sequence come out in the midst of a 97 minute film with care to build its creeping humor in its look upon the wolf of the night and the curse of the undead that come from it. In this case, our main trio is fair game to go with that horror challenge. Naughton (picked because of his four year work with Dr Pepper and their "Be a Pepper" ad campaign by Landis) does a fine job with being our person of interest, a take on the anguished man in despair over potentially being a wolf and a killer, approaching the material with care and fine timing without needing being overshadowed completely by effects or gags. Agutter (known for her television and film work in Britain and abroad) makes a sensible pairing to all the fuss, calm but attentive to the last. Dunne proves amusing while spending a good deal of time on screen in makeup, which makes him a charmer to see on screen with Naughton, such as with the scene in the theater confronting what to do about trying to end the curse (and the methods one could do it with, suggested by the several dead folk). On the whole, the film builds itself fine with playing with the horror genre with some creepy imagery and useful makeup and effects, and while it could've had a stronger climax, it ultimately does prove worth it in the long run, a casual classic worth a watch for those who appreciate craftsmanship done the natural way and those looking for a chill.

Overall, I give it 8 out of 10 stars.

The Blues Brothers.

Review #1462: The Blues Brothers.

Cast: 
John Belushi ("Joliet" Jake Blues), Dan Aykroyd (Elwood Blues), featuring James Brown (Reverend Cleophus James), Cab Calloway (Curtis), Ray Charles (Ray), Aretha Franklin (Mrs. Murphy), Steve "the Colonel" Cropper (Lead guitar), Donald "Duck" Dunn (bass guitar), Murphy Dunne (keyboards), Willie "Too Big" Hall (drums), Tom "Bones" Malone (trombone), Lou "Blue Lou" Marini (saxophone), Matt "Guitar" Murphy (lead guitar), "Mr. Fabulous" Alan Rubin (trumpet), with Carrie Fisher (Mystery Woman), Henry Gibson (The Head Nazi), John Candy (Burton Mercer), John Lee Hooker (Street Slim), and Kathleen Freeman (Sister Mary Stigmata) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, and #513 - Spies Like Us, and #1114 - Animal House)

Review: 
"...A good man, but a bad boy." 

Every decade had plenty of entertainment to spare, and the 1980s was certainly a decade among itself in trying to reach audiences every which way it could, for better or worse. A newly forged era of studio films with the stars came about in this decade that emphasized high-concept ideas for films to go along with the freshly-devised blockbuster (an old term in the 1940s that came back into prominence with the release of films like Jaws and Star Wars). One film to represent a high point in comedy to start the decade off is this film, directed by a newly-honed showman director in John Landis and talents in John Belushi and Dan Aykroyd. They had met while each were performing in The Second City comedy troupe in 1973 (Aykroyd initially joined the Toronto troupe before being part of the Chicago group). Both were original members of the television series Saturday Night Live when it began in 1975, and they both had developed interest in music from a young age, with Aykroyd being interested in the blues while growing up near a blues/jazz club in Ottawa and Belushi having formed his own band while growing up in Chicago lasted for exactly one single (where he played drums and sang). In 1978, they formed The Blues Brothers, which turned from a musical sketch on SNL to an actual band that had Belushi as vocalist and Aykroyd as harmonica/vocalist while being accompanied by musicians of the time such as Paul Shaffer for their debut album in Briefcase Full of Blues (with Cropper, Dunn, Murphy, Malone, Marini, Rubin participating in both the album and the film), which did covers of blues and soul songs that ranged from "Soul Man" to "Groove Me".

This was the second of three collaborations in film that they would do after leaving SNL and having their own band (the other films being 1941 and Neighbors). The script for this film was originally done by Aykroyd, who wrote over 300 pages. Obviously this couldn't work for just one film, so it fell to Landis to help cut the script down over the course of a couple of week (it did not stop the film from possibly being too long, since the first cut of the film was actually two-and-a-half fours long). We are talking about a film that involves folks on the run from the police, Illinois Nazis, and country singers, after all. The film had its share of production issues, such as the budget, which Universal had actually settled to initially make for $17.5 million that went to over $30 million at the end along with trying to keep Belushi away from going over on his addiction to cocaine, but it all eventually worked out for a tremendous success in the end. There aren't that many comedies that can also be thought of as a musical (or at least that what Landis said to the crew), especially one that presents musical greats and gives them each a chance to sing a number, whether it is Calloway singing his classic "Minnie the Moocher" with a big band behind him once again or an energetic Brown (as if one expects anything different from the "Godfather of Soul"), and so on and so on - with the Blues Brothers following right behind in doing entertaining covers of songs to go with it ("Theme from Rawhide" was a song I head long before I saw this film, but it doesn't make it any less charming). Simply put, Belushi and Aykroyd are a dream team of energy and deadpan that makes for a mostly successful ballad of humor and songs in a manic state that holds up well after four decades. This is the kind of film where a stroll through the mall with cars is only just the first layer of the spectacle cake that makes for silly fun to go with a fair supporting group to go alongside our main duo (such as a jilted would-be assassin played by Fisher) and a sneaky Gibson. On the whole, this 133-minute package of music and comedy might go over the top in chaos, but it has a cast and director that make the best of it with success more often than not to make a worthy film to represent a decade with.


Overall, I give it 9 out of 10 stars.
Now then, let me announce the films slated for review in July. It was a list worked over to try and fit the best possible representations of the decade without going completely overboard - despite that, there are 32 slated reviews, with several films that didn't make the shortlist that could be done at a later time. Although I do wish there was a special review for Canada Day or Independence Day, I do hope that this month will prove satisfactory for some fun reviews of interesting movies, both with new and old faces.

Animal House.

Review #1114: Animal House.

Cast: 
John Belushi (John "Bluto" Blutarsky), Tim Matheson (Eric "Otter" Stratton), John Vernon (Dean Vernon Wormer), Peter Riegert (Donald "Boon" Schoenstein), Thomas Hulce (Lawrence "Pinto" Kroger), Stephen Furst (Kent "Flounder" Dorfman), Bruce McGill (Daniel Simpson "D-Day" Day), James Widdoes (Robert Hoover), Douglas Kenney (Stork), James Daughton (Gregory "Greg" Marmalard), Mark Metcalf (Douglas C. Neidermeyer), Kevin Bacon (Chip Diller), Verna Bloom (Marion Wormer), Donald Sutherland (Professor Dave Jennings), Karen Allen (Katy), Sarah Holcomb (Clorette DePasto), DeWayne Jessie (Otis Day), Mary Louise Weller (Mandy Pepperidge), Martha Smith (Barbara Sue "Babs" Jansen), and Cesare Danova (Mayor Carmine DePasto) Directed by John Landis (#328 - Trading Places, #410 - Coming to America, and #513 - Spies Like Us)

Review: 
Fellow readers, the following review has a bit of history involving the production intermixed with the normal parts you would see in a normal review - whether you read it or not is up to you, but I feel it is necessary to have it alongside the review (located in the second paragraph) for context. Thank you and enjoy. 

On July 28, 1978, Animal House premiered in theaters, the brain child of its three writers, Chris Miller, Douglas Kenney, and Harold Ramis. Each were involved in some capacity with National Lampoon prior to the creation of the film. Miller was one of the writing talents for the magazine, and it was his own experiences in the Alpha Delta Phi fraternity at Dartmouth College being an inspiration for the film. Kenney (a graduate of Harvard University) was one of the co-founders of the magazine (alongside Henry Beard and Robert Hoffman), with contributions including the satirical short story Bored of the Rings (alongside Beard) and being involved in editing capacity in the magazine from 1970 to 1976. Ramis had starred (along with Belushi) in the comedy radio show The National Lampoon Radio Hour. He utilized ideas from a treatment he had written (named "Freshman Year") that had been based off his experiences at Washington University in St. Louis. The director with the task of directing a project was John Landis, whose work on The Kentucky Fried Movie (1977) helped get him the job for this movie. It was Landis that assisted with casting certain actors, wanting unknowns and character actors for the parts, such as originally wanting Jack Webb (of Dragnet fame) to play the Dean, although the rejection by Webb led to Vernon being approached for the role. The movie was shot in 32 days in Eugene, Oregon (the location for the University of Oregon) on a budget of just $2 million.

With all of the praise (or occasional criticism) and history one could read on this film, it's amusing to list all that for something that is an energetic and unapologetic piece of comedy that never relents on its assault of humor in its 109 minute run-time, most of all coming from Belushi, who manages to generate numerous laughs from his expressions that balance the fine line between noise and overbearing, reminding me in some way of silent film comedians. Incidentally, Landis told Belushi to play the character as a mix between Harpo Marx and the Cookie Monster. The result certainly seems to be a success, with some of his lines falling into memorability, such as the toga sequence for example or the scene near the climax. Matheson is also a fine highlight, showcasing a fair degree of charm to along with a share of amusement. Vernon proves entertaining at being the adversarial straight man to everything that goes on, playing to the rules that you would expect each time he is on screen. Riegert proves fairly refreshing, and his scenes with Allen (who along with Bacon was making their film debut) have their share of charm. Hulce and Furst don't have too much time, but they each make for a few laughs at times. Other members of the main amusement group such as McGill and Widdoes also prove effective with their time on screen. Daughton and Metcalf prove to effect contrasts with the other members. Other highlights include Sutherland and Bloom, who prove to be cool delights in their respective time on screen. It has an episodic nature to its narrative, but it is an interesting experience to go through in part because it never really lets go of just having fun with the gags and lines that it throws at the audience, including some fun music, with highlights being "Louie Louie" from Richard Berry and "Shout" by Otis Day and the Knights (which has its own scene for great effect). There are numerous highlights, and it would be a shame to spoil the fun for the viewer, but one particular favorite part of mine is the cafeteria sequence, ending in the messy way you might expect with help from Belushi. There is a pitch and execution to everything that goes on that makes this one of the most enjoyable comedies to watch to this very day.

The film was a huge success at the box office, making over $100 million while being one of the top ten grossing films of 1978 (alongside other films such as Superman). A year later, the major three networks all tried to make their own sitcoms inspired from the film, such as Delta House on ABC, which retained some of the cast such as Vernon and Furst. However, the raunchy humor (along with other things) did not make the transition to television, and fights with the network doomed the show after 13 episodes. The attempt by CBS (named Co-ed Fever) lasted one episode before cancellation. NBC's attempt with Brothers and Sisters also proved unsuccessful. You can see the influence the film has had with raunchy coming-of-age films, such as Porky's and American Pie - with varying quality. In any case, Animal House is a film best enjoyed through watchful eyes and ears for each semblance of unfettered amusement that still endures after four decades since its release.

Overall, I give it 9 out of 10 stars.

Special - Michael Jackson's Thriller.

Review #X: Michael Jackson's Thriller.

Cast: 
Michael Jackson, co-starring Ola Ray, with 'Rap' from Vincent Price. Directed by John Landis (#328 - Trading Places, #410 - Coming to America, and #513 - Spies Like Us)

Dancers: Marcea Lane, Kim Blank, Lorraine Fields, Tony Fields, Michele Simmons,,Vincent Peters, Michael Peters, Vincent Paterson, Michael De Lorenzo, Ben Lokey, John Command, Richard Gaines, Mark Sellers, Suzan Stadner, Diane Geroni and Suga Pop.

Review: 
You probably are wondering what am I doing reviewing a music video, especially on Friday the 13th. Honestly, I do enjoy Movie Night and the films that it can cover (for better or for worse), but I decided that it wouldn't hurt to do something that was both interesting and different from the usual content. This is basically a one-off special for me, and I hope you enjoy this, especially for an October like this.

How many music videos linger in your memory? Or more importantly, can a music video be more than just a "vanity piece" for a song/album? If you haven't guessed my opinion, Michael Jackson's Thriller is one of the most memorably crafted pieces of music video ever put onto screen ever since its release in 1983, especially if you enjoy Jackson's music (as I do from time to time) or like the execution of direction and movement. The Thriller album happens to be the world's best-selling album, but the motivation for doing this album is because the record had fallen off being #1 in the summer of 1983. One can't really say anything too substantial about the acting, since it plays only a small role in regards to the "story", but it gets the job done (this was five years before Moonwalker (#403), which was actually stranger, especially since that was an actual film). Jackson and Ray seem to be a decent little duo, but the real star of the show involves the dancing and the "Rap" by Vincent Price, who seems to revel in delivering these lines so capably well, the perfect choice. Landis, who had directed An American Werewolf in London just two years prior (speaking of films, that is one I will have to get to eventually) was recruited by Jackson to make (along with write) the video, and it certainly is interesting seeing how film directors did not generally direct music videos at the time. He does a fine job in setting the mood, with the photography by Robert Paynter being a big help as well in making for a spooky experience, especially with the ending. The choreography by Michael Peters and Jackson is praiseworthy, having movements that are still being done and repeated to this very day. The fact that there are numerous allusions to horror films also helps in making for a interesting atmosphere, from the parody of horror films to the style of the two leads in clothes. Rick Baker contributed to the special effects, and they are the hauntingly spectacular capstone in a video that has expert production values. It was actually screened in theaters (along with the 1940 film Fantasia) in December of 1983 as an attempt to garner a nomination for an Academy Award as a short subject, though it was not nominated. However, it did win a Grammy Award for Best Long Form Music Video (now known as Best Music Film).

Among all of the iconic things one can cite from the film, the jacket (designed by Deborah Nadoolman Landis) worn by Jackson is particularly noteworthy, particularly because of how cool it looks. There is something undeniably entertaining about how he rocks the jacket. You might wonder if it overstays its welcome, seeing how it runs at 13 minutes, 41 seconds. But it really isn't, and that is likely due to how entertaining it proves itself to be, not feeling overtly dragged out. This is a landmark of music videos, to the point that it was even selected for the National Film Registry in 2009 by the Library of Congress, the first ever music video to be selected.

For the rating system, here is something different for the review different from the rest. Enjoy today, along with the rest of the month, folks. I hope you enjoyed this special.

Overall, I give it 5 out of 5 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: Coming to America.

Review #410: Coming to America.

Cast
Eddie Murphy (Prince Akeem/Clarence/Randy Watson/Saul), Arsenio Hall (Semmi/Morris/Mr. Brown/The Girl), James Earl Jones (King Jaffe Joffer), Shari Headley (Lisa McDowell), John Amos (Cleo McDowell), Madge Sinclair (Queen Aeoleon), Paul Bates (Oha), Eriq La Salle (Darryl Jenks), Allison Dean (Patrice McDowell), Frankie Faison (Landlord), Vanessa Bell (Imani Izzi), and Louie Anderson (Maurice) Directed by John Landis (#328 - Trading Places)

Review
Landis and Murphy once again team up, and once again they do well. The beginning of the film works really well, and Murphy does a fine combination with Hall, and the two also play multiple character that also generate laughs. James Earl Jones is a fine actor, and he can also generate some laughs, stopping me from making endless Star Wars jokes...for a moment or two. Headley is a decent lead actress, and she and Murphy make an alright film couple. I like the film, but sometimes it can get a bit too sappy on its romance, not too sappy but at least the film is enjoyable, and while it could be argued the film could be even better, this is arguably a classic and Eddie Murphy is a lot of fun. It has been 25 years, which is a welcome milestone for any film.

Overall, I give it 8 out of 10 stars.