Wayne's World 2.

Review #1608: Wayne's World 2.

Cast: 

Mike Myers (Wayne Campbell), Dana Carvey (Garth Algar), Tia Carrere (Cassandra Wong), Christopher Walken (Robert G. "Bobby" Cahn), Kevin Pollak (Jerry Segel), Ralph Brown (Del Preston), James Hong (Jeff Wong), Kim Basinger (Honey Hornée), Chris Farley (Milton), Michael A. Nickles (Jim Morrison), Larry Sellers (The Weird Naked Indian), with Ed O'Neill (Glen), Gavin Grazer (Scott), and Aerosmith. Directed by Stephen Surjik.

Review: 

It did not take long for folks to realize that Wayne's World was a success. To recap, Wayne's World began twofold: Mike Myers came up with the idea of Wayne that appeared in sketches for Citytv's City Limits and CBC Television's It's Only Rock & Roll in the mid 1980s before Myers joined Saturday Night Live in 1989 and starred in segments for the show with Dana Carvey that were featured from time to time for the next five years. The 1992 film of the same name, doubted by Paramount Pictures to be much of a hit, made nine times its $20 million budget, ranking as the most popular film based on a SNL sketch (which it still holds today). The sequel retains the main duo alongside a selection of cast members from the original alongside a sprinkling of cameo appearances (both musical and not), with Myers writing the film again with Bonnie and Terry Turner. However, the road to making a script for a sequel proved quite tough, in that the original idea by Myers wouldn't end up being used, which involved inspiration taken directly from Passport to Pimlico (1949), where the main duo would end up making their own country. Weeks before production was to start, this inspiration was pointed out by studio executives (who did not have enough time to negotiate the rights to the script and were thus incensed, with one threatening Myers personally) and they made Myers write an entirely new script. Conflicts between Myers and Penelope Spheeris over editing in the first film led to consideration of a new director in Stephen Surjik, who was known for his direction of segments for The Kids in the Hall (1990-1993). 

The film was not quite a hit like the original, but it was a marginal hit with audiences as the last hurrah for these characters. When it comes to comedies, it is a mediocre follow-up that will nevertheless please those who seek another ride of goofy charm with hit-and-miss pace. Those who weren't really fans of the original won't exactly be swayed here, because sometimes it really does feel like a bit of a rehash from before - truly, it is the take-or-leave-it film for the comedy season. Myers and Carvey prove up to the task of creating some amusing moments, whether spent with themselves or playing against others; in the case of Myers, it namely involves a vision of Jim Morrison as some sort of spiritual journey (inspired by Myers and his own journey that he took upon the death of his father) that leads to a few interesting moments to those who don't see the Morrison bits as just a bit. Actually, the "fight" (involving dubbing) between Myers and Hong is kind of funny, too. For Carvey, the moments spent with Basinger playing a femme fatale prove quite involving (along with seeming tacked there to give him something to do besides linger with the look-alike played by Olivia d'Abo). The segment showing Myers and Carvey talk about "The Leprechaun" is a decent highlight to look at for a minute, in the sense that it is probably better done than the actual film made fun of. It is nice to see Carrere, even if her part seems like a re-hash from before (in other words, trying to do music in the face of slimy producers), but the highlight is the re-creation of a particular sequence from The Graduate (1967) near the ending. Walken does well with straight-laced slime that nevertheless can grab a chuckle (or be used for better work involving straight-laced humor). Pollak is used for a bit involving eyes that goes over fine, but it is Brown that takes up the supporting reins in pairing with Myers/Carvey, which he does in a take off the eccentric character he played in Withnail and I (1987). There are various cameo appearances throughout the film, ranging from Rip Taylor to Aerosmith to Charlton Heston, with some proving better than others (Charlton Heston over Jay Leno? Shock, shock, shock. Actually, I take it back, TV sentimental favorite Ed O'Neill's brief moment as the oddball Glen is the better one). In other words, 95 minutes is just enough to handle a few decent moments and a mostly-original run-through for a follow-up film that will fit just fine for what one desires to see in entertainment without being too disappointed. In other words, one can party on just fine with this film without hurling too much back at the screen.

Overall, I give it 7 out of 10 stars.

Hamburger Hill.

Review #1591: Hamburger Hill.

Cast: 
Dylan McDermott (Sgt. Adam Frantz), Steven Weber (Sfc. Dennis Worcester), Courtney B. Vance (Spc. Abraham 'Doc' Johnson), Don Cheadle (Pvt. Johnny Washburn), Michael Boatman (Pvt. Ray Motown), Anthony Barrile (Pvt. Vincent 'Alphabet' Languilli), Michael Dolan (Pvt. Harry Murphy), Don James (Pvt. Elliott 'Mac' McDaniel), Michael A. Nickles (Pvt. Paul Galvan), Harry O'Reilly (Pvt. Michael Duffy), Daniel O'Shea (Pvt. Frank Gaigin), Tim Quill (Pvt. Joe Beletsky), Tommy Swerdlow (Pvt. Martin Bienstock), Tegan West (Lt. Terry Eden), and Kieu Chinh (Mama San) Directed by John Irvin.

Review:
"If you are able, save for them a place inside of you and save one backward glance when you are leaving for the places they can no longer go. Be not ashamed to say you loved them, though you may not have always. Take what they have left and what they have taught you with their dying and keep it with your own. And in that time when men decide and feel safe to call the war insane, take one moment to embrace those gentle heroes you left behind." - Major Michael Davis O'Donnell

My father shaped my experiences in watching film by the rows of films that were on the shelf collected by him while I grew up as a child. There was a small but significant portion of films that dealt with war in some way, which likely made sense with his service in Vietnam (he did not talk about it much, but the point remains). One of those films that stood firm was Hamburger Hill (1987). Time and time again one needs to look on a war film to see what seems familiar and what seems different from a depiction of a war, whether that means films made during the war itself (like The Green Berets (1968)) or ones made about the war years later (with or without a filmmaker with some war experience involved somewhere). Hamburger Hill came out in the run of the 1980s that depicted the war (with root from real life events or experiences) that ranged from Platoon (1986) to Casualties of War (1989). This was the sixth feature film from John Irvin, who apart from starting his work in television (with his most famous production being the miniseries Tinker Tailor Soldier Spy) had done work in Vietnam in documentary filmmaking. The film was written by James Carabatsos (who also served as a co-producer), with this being the third of his six theatrical film efforts revolving around the war (the other two being Heroes (1977) and Heartbreak Ridge (1986)), as he had served in the 1st Air Cavalry Division in 1968; he did years of research in interviews with people of the conflict that took place over "Hill 937" from May 10-20 that is generally referred to as the Battle of Hamburger Hill.

As is the case with a number of war films, this one (produced by RKO Pictures) utilizes an ensemble cast, comprised of fresh faces that would include a few faces later to become familiar for subsequent works (whether involving film, television, or stage). Throughout the 110 minute run-time is a build to its title focus with a little bit of development before making its jump(s) to the battlefield, which generally turn out fine. As a chronicle of combat, it generally will rank well, mostly because it is a satisfactory film with unflinching perspective for the plight that comes with war that make it effective for what is needed. In other words, it's a good movie, sprinkling itself with a few interesting presences that we follow with as they try keep themselves from tearing oneself apart. The head among the cast (which has been listed both alphabetically or rank) falls to McDermott, making his feature debut. He does pretty well here, leading in steel weariness, young but still worthy in presence to lead folks on without being trapped in cliché. Vance (who had starred in the original 1987 Broadway production of Fences before making his film debut) also provides interest as the sense of soul for this group of folks to follow, hardened but still fascinating to view. Others do well in moments apart from warfare, such as with Weber, Boatman, or with Barrile, since one is dealing with a war of keeping one's will intact in a war of attrition and social unrest. By the the time the film makes its move on the hill (which took place over several assaults), the film is generally on its toes about where it wants to go in showing a group of people in a certain view without needless mythmaking or too much statement-making (although a scene jawing at reporters on the hill is certainly...interesting to think about). As a whole, it can certainly prove a harrowing pick for those who find interest in war films, whether for the experiences that come from it or something deeper inside.

Happy Veterans Day, folks.
Overall, I give it 8 out of 10 stars.