Soapdish.

Review #2533: Soapdish.

Cast: 

Sally Field (Celeste Talbert / "Maggie"), Kevin Kline (Jeffrey Anderson / "Dr. Rod Randall"), Robert Downey Jr (David Seton Barnes), Cathy Moriarty (Montana Moorehead / "Nurse Nan"), Elisabeth Shue (Lori Craven / "Angelique"), Whoopi Goldberg (Rose Schwartz), Teri Hatcher (Ariel Maloney / "Dr. Monica Demonico"), Garry Marshall (Edmund Edwards), Kathy Najimy (Tawny Miller), Arne Nannestad (Burton White), and Paul Johansson (Blair Brennan / "Bolt") Directed by Michael Hoffman.

Review: 

Who doesn't love a good soap opera? I vaguely remember seeing a bit of soap operas when I was younger (I'm told Passions had a town witch?) but parodies of soap operas have been around since what, Soap (the nighttime parody that ran in the late 1970s)? Apparently, the original impetus for what became Soapdish was formed during production of Steel Magnolias (1989), as writer Robert Harling had a handful of conversations with Sally Field and Alan Greisman, a producer and Field's husband at the time (apparently, Sigourney Weaver was at one point considered for the lead role before rejecting it, a move she regretted). Originally tabbed with Herbert Ross to direct at TriStar, it eventually shifted to Paramount, with a few other changes as well Andrew Bergman (who stated that he did not visit the set much) gave re-writes to the script. Of note is that Aaron Spelling served as a co-producer (yes, in between an executive producer on shows such as The Love Boat and Dynasty*, Spelling dabbed in producing, with this being his last one as a producer before being an executive producer for The Mod Squad [1999] and Charlie's Angels [2000]). This was the fifth feature film directed by Michael Hoffman who actually had studied at Boise State University before earning a Rhodes Scholarship that led to him studying Renaissance literature and eventually became involved in drama. Hoffman served as a co-founder of both the Idaho Shakespeare Festival and the Oxford University Film Foundation; his first feature was made at Oxford with Privileged (1982). Made on a budget of $25 million, the movie was a light success with audiences. Honestly, I had this film on the shelf as part of a three-pack (where it was somehow lapped in with Book Club [2018] and The First Wives Club [1996]) for a few years, so there's that.

 

Sure, it's a light farce that has a few garish colors with its outfitting at times (as designed by Nolan Miller of Dynasty fame that you can see in select shots here), and sure, it moves along with a quick pace at 97 minutes...and that's all good with me. It is a dazzling affair wrapped in the odd quirks that come with big stars and bigger egos that lends itself to plenty of humor from people who seem pretty game. At the helm is Field (already a bit familiar in comedy for those who watch, say, Smokey and the Bandit every year like I do*) in a role that lets her have a chance to play a goofy pampered oddball that is affectionately entertaining. She clearly had enjoyment at doing a slapsticky type of farce that could've just as easily been played as a pathetic clown but instead has a plucky type of charm to laugh along with in the wide variety of moments that come with being a name that ages by the Hollywood minute while real-life drama and soap drama really can just crash together. The best little scene might be with Goldberg and Field exchanging in a little game of egoboosting when the former pretends to recognize the latter at the mall to the surprised glee of a handful of fans (everyone loves a scene-chewer). Kline actually had a bit of experience with soaps via a brief run on Search for Tomorrow, so it probably makes sense that he said this role was akin to playing a "psychotic", which seems apt for someone basically given some room to play a neat little ham. Of course the real chewer of scenery in delightfulness is Moriarty, who clicks into place in ravenous conniving energy from the jump, one who takes (nearly*) everything in stride. There are highlights from rest of the cast in neat little quirks that come through, such as the brief dazzling nature of Hatcher*, the charmingly smarmy Downey Jr, the relatively normal charm of Shue, the all-too brief fun of seeing Marshall/Fisher riff on the usual privileged executive or the beleaguered Goldberg. It's a likable movie with plenty of goofy little moments of seeing people have fun with the inner workings of "the right shot", "the right script", "the right thing" all going to hell at the whims of basically who talked last or pulled rank the best. By the time the movie rumbles to its conclusion involving offbeat revelations and a plausible enough sell of life basically moving along to the next season of gossip and looking for the next thing to chase. As a whole, Soapdish is a charmer that dishes out enough little moments of amusement to keep the viewer soaped up for a fun time.

 

Overall, I give it 8 out of 10 stars.

Song of the day!

*I was going to mention 7th Heaven in the "hey, remember this show?" but I feel that mentioning the show starring an actual pervert seems a bit much.

*I know Field is a two-time Academy Award winner and all that, but, yeah, Smokey is the one I think about when I think of Field first, which I probably should rectify. At least I don't think of her as a flying nun.

*I don't understand the criticism of the transgender character being revealed to be the villain. What, are transgender people supposed to be saints in every film ever? 

*And as we all know from Seinfeld, "they're real...and they're spectacular." I will say that if I had to consider watching slowly watching a TV show from start to end from the 2000s, Desperate Housewives would be on the shortlist. No, really.

Dave.

Review #1503: Dave.

Cast:
Kevin Kline (Dave Kovic/President Bill Mitchell), Sigourney Weaver (Ellen Mitchell), Frank Langella (Bob Alexander), Kevin Dunn (Alan Reed), Ving Rhames (Duane Stevensen), Ben Kingsley (Vice President Gary Nance), Charles Grodin (Murray Blum), Faith Prince (Alice), and Laura Linney (Randi) Directed by Ivan Reitman (#026 - Ghostbusters, #031 - Ghostbusters II, #243 - Stripes, #487 - Twins, and #1278 - Legal Eagles)

Review: 

"Your job is not to make things funny. Your job is to tell the truth on a daily basis."

When the right director and stars are at hand, one could do something really interesting. Ivan Reitman had already cultivated a career for himself in directing/producing since the 1970s (after attending McMaster University for music while making short films and being hired and fired from CITY-TV in Toronto). He started directing features with Foxy Lady (1971) while also serving as producer for film such as Shivers (1975), but his first true successes came through the hands of soon-to-be comedian stars: Animal House (1978), featuring a variety of stars (which Reitman co-produced with Matty Simmons) was a major hit, while Meatballs (1979), featuring Bill Murray in the first of four collaborations with Reitman, proved to be one of the most successful films ever done in Canada. Reitman has directed seventeen films while continuing to serve as producer for a variety of films (such as serving as co-producer for this film with Lauren Shuler Donner who liked the concept provided by campaign worker-turned-screenwriter Gary Ross), and he became interested in doing this film through Warren Beatty, who was first thought for the lead role before eventually bowing out. The choice for stage and film star Kevin Kline as the star nearly fell through as well because Kline thought that Reitman wanted a performance similar to his acclaimed performance from A Fish Called Wanda (1988), although he soon grew to like the idea of the film as a "very delicate sort of romantic comedy."

The film certainly has a feeling of familiarity, such as Frank Capra's Mr. Smith Goes to Washington (1939) in its tone, or perhaps The Magnificent Fraud (1939) and Moon over Parador (1988), which both dealt with a look-alike becoming president of a country. It certainly helps in a film that is fairly light on its feet in trying to make a charming little film work piece by piece in clever amusement for a serious subject, a guy pretending to be President of the United States, the most prominent person in this great country. With different hands or a different set of actors not as talented as these prove to be, one could have had just a silly film and nothing else, but with Retiman, Kline, Weaver, and Langella at their places on and behind the camera, one can't go wrong here. Kline proves a wise leading man in balance, capable of stepping into any moment required of him without any kind of hesitation in timing or composition, sifting through scenes as an impersonator-in-chief with honesty that resonates in all the right ways needed, and his brief double act is fairly amusing to view. Weaver follows along with respective timing and grace that makes for a fine pairing with Kline (such as an improvised song on the street, for example). Langella proves a worthy foil to Kline, one that nibbles on the scenery with careful amusement in polished arrogance that fits within the confines needed in cynicism. Dunn and Rhames prove efficient support, while Kingsley and Grodin are neat in small moments (the sequence with the latter involving looking over the budget is a good indicator of that), and the cameos involving a mix of television and politicians lend a small hand to helping the film breeze through 110 minutes well. On the whole, there is a good sense of everyman warmth through its direction and script that hits most of its marks in a careful subtle way that make it a reliable comedy for its time that still works out now more than ever.

Overall, I give it 8 out of 10 stars.

Silverado.

Review #1102: Silverado.

Cast: 
Kevin Kline (Paden), Scott Glenn (Emmett), Kevin Costner (Jake), Danny Glover (Mal Johnson), Brian Dennehy (Sheriff Cobb), Rosanna Arquette (Hannah), John Cleese (Sheriff John Langston), Jeff Goldblum (Calvin "Slick" Stanhope), Linda Hunt (Stella), Joe Seneca (Ezra Johnson), Ray Baker (Ethan McKendrick), Thomas Wilson Brown (Augie Hollis), Jeff Fahey (Tyree), and Lynn Whitfield (Rae Johnson) Directed by Lawrence Kasdan (#1059 - The Big Chill)

Review: 
It is not hard to admit that Silverado is a fine Western, completely successful as an adventure (written by Lawrence and Mark Kasdan) that showcases a finely-tuned cast and capable action that shines fairly enough with its plot structuring to make a fair winner. It isn't anything that proves to be great entertainment, but it serves as good quality fun, with a spirit that makes it worth watching. With its 133 minute run-time, it certainly likes to take its time to build its characters and situations complete with everything you'd expect in a film involving cowboys, shootouts, and a variety of other things, but it does so without lingering in cliches, being something well accomplished for the tradition that you would expect for entertainment. The main four of Kline-Glenn-Costner-Glover manage to click fairly well, having a sort of watch-ability to them that makes for good adventure, and they each have their own interesting moments, whether with each other or others. Kline comes out the best in the sense that he exudes a certain energy and care that makes him interesting to view when engaged with the plot, whether with humor or charm. Glenn does just fine with his role, playing this reserved role without hesitation or any sense of dullness, playing this pretty handily. Costner (in only his tenth film appearance) plays this goofy if not immensely entertaining character pretty capably, never verging on becoming too silly for the film's taste while also proving to be a capable hero in his own right. Glover does a fine job with making this an interesting role to follow with and care for, being as sure and confident as one might expect from him. Dennehy plays his part with a fair degree of balance between his stated role and what ultimately comes on screen without becoming unsubtle or too obvious, having a quality that makes for an interesting performance. Arquette is okay, but she doesn't have too much to do within the story, particularly within the second half, where the adventure outweighs any sort of semblance of romance (whether that hurts the film at all is up to you). Cleese, Goldblum and Hunt fit their roles just fine with the narrative, each sticking well within the spirit of the film's intent in their own ways that have useful moments without seeming like sore thumbs sticking out. The action sequences are well done and capably executed, and the music by Bruce Broughton makes it all the more entertaining to sit through. The climax is fairly riveting, making up for a film that occasionally likes to build itself up with twisting its story to try and be mildly complex (for better or worse), complete with each of the main four getting their chance to shine. It won't stick out as adding anything particularly new to the genre in terms of its story quality, but what turns out on screen is something that is at the very least a finely tuned machine worth checking out once.

Overall, I give it 8 out of 10 stars.

The Big Chill.

Review #1059: The Big Chill.

Cast: 
Tom Berenger (Sam Weber), Glenn Close (Sarah Cooper), Jeff Goldblum (Michael Gold), William Hurt (Nick Carlton), Kevin Kline (Harold Cooper), Mary Kay Place (Meg Jones), Meg Tilly (Chloe), JoBeth Williams (Karen Bowens), and Don Galloway (Richard Bowens) Directed by Lawrence Kasdan.

Review: 
Admittedly, recollections about the past can tend to make for an interesting subject for a film, so it is no surprise to see that Lawrence Kasdan, writer of films such as The Empire Strikes Back (#114), Raiders of the Lost Ark (#168), and Return of the Jedi (#115), directed and wrote a film involving the reunion of old friends from the baby boomer generation (with this film along with Return of the Secaucus 7 (1980) serving as influences for the creation of the show thirtysomething). It is strange to note that there were scenes cut out that had featured Alex, the one who had committed suicide (featuring a then-unknown Kevin Costner), and I do wonder what it would've done to the pace and tone of the film. In any case, it's not hard to say that this is neither a great nor terrible movie, falling in the middle fairly easily, for better or worse. The ensemble cast is fairly enjoyable, particularly Berenger, Hurt, Kline, and Tilly. Each of them has something that stands out, such as Berenger and his entertaining type of allure that contrasts with his thoughts on having fame (and memories from the past), or Hurt and his bitter but honest nature that clicks in some way with Tilly (the lone standout in the main ensemble not part of the main generation), with Kline being a fine straight man and pillar along with Close. Goldblum is also fairly entertaining and amusing, and Kay Place and Williams are also fine. The cast manages to make what could've been a bunch of cliches seem a bit more fruitful and watchable. The movie (shot in Beaufort, South Carolina) has a fine look to it that certainly clicks with uniting these people without looking too fake. The soundtrack of the film is pretty interesting, having highlights such as "I Heard It Through the Grapevine" by Marvin Gaye and Creedence Clearwater Revival's "Bad Moon Rising", so I'll give the film credit for having a fine pick of music.

The film has its serious moments of looking at the past, but it also has a few moments for some laughs that make for a good enjoyment for most of its running time of 105 minutes. I will admit that the ending is probably a bit too neat and probably a bit too convenient for someone looking for something a bit more, although that depends on what one is expecting. Do you want something that tries to say something about nostalgia? You'll get it with this movie, although you may not get everything with it. If you want something that tries to face nostalgia with reality, this could (or could not) be for you. I can't exactly fault someone for liking films that try to throw itself back with nostalgia (after all, I am writing this review in the same year that Ready Player One is coming out, so make of that what you will), but I find that the movie is fine (if not really anything too great) with weaving a story with some depth from its recollection. For lack of a better way to say it, The Big Chill is a finely packaged film if you're in the mood for what it offers you.

Overall, I give it 7 out of 10 stars.

Movie Night: Wild Wild West.

Review #454: Wild Wild West.

Cast
Will Smith (James T. West), Kevin Kline (Artemus Gordon and Ulysses S. Grant), Kenneth Branagh (Dr. Arliss Loveless), Salma Hayek (Rita Escobar), M. Emmet Walsh (Coleman), Bai Ling (Miss East), Ted Levine (General "Bloodbath" McGrath), Frederique van der Wal (Amazonia), Musetta Vander (Munitia), Sofia Eng (Miss Lippenrieder), and Garcelle Beauvais-Nilon (Belle) Directed by Barry Sonnenfeld (#005 - Get Shorty, #077 - The Addams Family, #078 - Addams Family Values, #211 - Men in Black, and #212 - Men in Black II)

Review
This was adapted off the classic television show The Wild Wild West, though judging by how they apparently changed significant aspects of the film, I'd cross out the word adapted. Will Smith is usually charming, even in the cliched Independence Day, but not even he can give any life to the way his character is portrayed. Kevin Kline is okay at best, but to say this would be a step down from A Fish Called Wanda is an understatement. Kenneth Branagh...playing an southern scientist with no legs was odd enough...but the thing that takes the cake is...the spider. Yes, a Mechanical Spider, in the Wild West. You might wonder how it could feasibly be made, I'm just wondering how no one ever mentions seeing it after the film's end, though I suppose Grant wouldn't want "I saw a giant spider, while opening a railroad. No I am not insane." being the last line of his memoirs. The effects have more merit then the story and it's a bland  stand still of a film, disappointing western buffs, action buffs, and of course, Wild Wild West fans.

The film was terrible enough to inspire Robert Conrad (the star of the original show) to accept the film's five Golden Raspberry Awards in person, and I can't blame him for doing that. In conclusion, the best way to sum this film is one quote: "I made a mistake on Wild Wild West. That could have been better. ... No, it's funny because I could never understand why Robert Conrad was so upset with Wild Wild West. And now I get it. It's like, 'That's my baby! I put my blood, sweat and tears into that!' So I'm going to apologize to Mr. Conrad for that because I didn't realize. I was young and immature. So much pain and joy went into The Fresh Prince that my greatest desire would be that it's left alone." And when that comes from Will Smith himself, that just makes this sad film even worse. Avoid this film like it's the plague.

Overall, I give it 2 out of 10 stars.

Movie Night: A Fish Called Wanda.

Review #428: A Fish Called Wanda.

Cast
John Cleese (Archie Leach), Jamie Lee Curtis (Wanda Gershwitz), Kevin Kline (Otto West), Michael Palin (Ken Pile), Maria Aitken (Wendy Leach), Tom Georgeson (George Thomason), and Patricia Hayes (Mrs. Coady) Directed by Charles Crichton.

Review
It has been 25 years to the day that this film was released into theaters (U.S. and Canada theaters anyway, it wouldn't be released in the U.K. until months later for some reason), and it was a major hit when it first came out, with Kevin Kline garnering a Best Supporting Actor award at the Oscars and the film also had other various nominations, but enough about that, how is the film? It's pretty good. The actors do pretty well, and Kline does steal the show after a while, but Curtis and Cleese do manage to keep the focus going, and Palin slides in and does a well job, given his character and all. The story itself isn't lost to stupidity, or to disgusting gags with no point or too much vulgarity unlike some recent comedies, the story in this is coherent, it actually flows well without a misstep, the actors and the story matter, and the comedy comes in later, this movie could actually work as a drama, but the comedy is abundant enough to work as a comedy as well. And the film isn't dated, it could still be believable after 25 years, and when a film can do all that, clearly that is an accomplishment, which it was 25 years ago and still is today.

Overall, I give it 9 out of 10 stars.