L.A. Story

Review #1630: L.A. Story.

Cast: 

Steve Martin (Harris K. Telemacher), Victoria Tennant (Sara McDowel), Richard E. Grant (Roland Mackey), Marilu Henner (Trudi), Sarah Jessica Parker (SanDeE*), Susan Forristal (Ariel), Kevin Pollak (Frank Swan), Sam McMurray (Morris Frost), Patrick Stewart (Maitre d' at L'Idiot), Andrew Amador (Bob), and Gail Grate (Gail) Directed by Mick Jackson (#202 - Volcano)

Review: 

"My mature film career started with All of Me and ends with L.A. Story."

There are plenty of films that involve a depiction or shall we say "love letter" to a city, whether that involves symphonies like Berlin: Symphony of a Metropolis (1927), films involving history with a city like San Francisco (1936), or films with a city in mind for a theme like New York Stories (1989), or even films that just happen to have a city in the title like The Houston Story (1956). But what about Los Angeles? One could offer up La La Land (2016), sure, but there exists a more clear option, one with a dreamy touch. Here is one for the "City of Angels", written and starring Steve Martin, who was raised near the area (in Inglewood and Garden Grove), which even included study at the University of California, Los Angeles (UCLA). This was his sixth writing effort, which he wrote on and off over the course of seven years (while working on other films, of course). Elements of William Shakespeare's A Midsummer Night's Dream come out in in the film (alongside modified quotations from the author recited in voiceover), although Martin noted that The Bothy Band's "The Maid of Coolmore" affected his writing for the film as well. This was the second directorial effort of Mick Jackson, a British director who went to Hollywood after directing numerous television films.

This is certainly a nice little film for what is a romantic comedy that drips satire every which way it can that takes amusement of everyday life in a city as eccentric as Los Angeles with clever interest that hits most of its marks when it comes to amusement made over its pokes that range from architecture to gags involving art (complete with a rolling scene at the Los Angeles County Museum of Art). In addition to that, there are various cameo appearances throughout the film that range from Woody Harrelson to Chevy Chase to Rick Moranis, which result in a few giggles as well. If one lets their mind go, the body (and enjoyment) will follow, you might say - it happens with a film that involves a mix of sight gags and other moments within the sunny superficial city (whether that means gun etiquette on the highway or a scene at lunch for example). In this sense, Martin is obviously in his element here, wry but always on the move when dealing with modern struggles that come with neurotic success. He skates, he (loosely) quotes Shakespeare, and he even gets to have an interesting time to spend in chemistry with Tennant (the two were married at the time of production, coincidentally). Tennant is up to following along with the offbeat times spent as the outsider bemused at what passes for L.A. culture without seeming distant or too wry for bemusement. Grant may not have as much to do, but he sure is nice to see here, offbeat but useful for what is needed in this love rectangle. Parker (best known for work on Broadway as a youth alongside films like Girls Just Want to Have Fun) does well here, playing a Valley Girl type with energy and enthusiasm that counters Martin (and the evident age difference, obviously) without being just being used for cheap gags and nothing else. Others have their moments, such as an accompanying Henner and Forristal in go-getter status and friendly eccentric, respectively. Pollak and others like Stewart (utilized in one fun sequence involving restaurant negotiation) fill in the edges of a L.A. that will feel right at home for those who live there without seeming too lofty for anyone else to enjoy for themselves. At 98 minutes, it sure will make for a fine way to spend one's time for enjoyment, having a touch of the bizarre without any sort of false note or any love lost when it comes to optimism and carefree time spent in a city that still finds way to resonate after three decades like the lights on a freeway sign - it's a labor of love that one could only hope to have for their own city, you might say.

Overall, I give it 8 out of 10 stars.

Dirty Rotten Scoundrels.

Review #1489: Dirty Rotten Scoundrels.

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

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

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

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

Overall, I give it 8 out of 10 stars.

Little Shop of Horrors.

Review #1482: Little Shop of Horrors.

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

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

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

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

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

Overall, I give it 7 out of 10 stars.

Planes, Trains and Automobiles.

Review #879: Planes, Trains and Automobiles.

Cast:
Steve Martin (Neal Page), John Candy (Del Griffith), Laila Robins (Susan Page), Michael McKean (State Trooper), Kevin Bacon (Taxi Racer), Dylan Baker (Owen), Olivia Burnette (Marti Page), and Larry Hankin (Doobie) Directed by John Hughes (#046 - The Breakfast Club, #207 - Ferris Bueller's Day Off, #249 - Sixteen Candles, and #643 - Uncle Buck)

Review:
When it comes to great buddy films and great holiday films, this one will likely spring to mind. Martin and Candy are a great duo, in part because of how easy they seem to portray their roles, along with having some wonderful chemistry. But like other good comedies, there is also a good edge of drama as well, with a great sense of realness and charm within itself. Sure, there are good funny scenes (such as when the two learn about being robbed), but there are also good dramatic scenes, such at the motel and even near the end as well. The story structure is a familiar one, but it is executed in a fresh manner. The timing is excellent, with gags and secondary characters that serve their purposes well. It uses its scenery (mostly with snow) nicely, where everything seems real and looks real too. It's not a movie with mere caricatures, as both are equally likable in their own way, contributing their own kinds of emotion that makes for a film filled with depth. In short, this is a fine film that keeps itself in check, with Martin and Candy providing for many highlights that make for an excellent film.

Overall, I give it 9 out of 10 stars.

Bowfinger.

Review #795: Bowfinger.

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

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

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

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

Overall, I give it 8 out of 10 stars.

Movie Night: Looney Tunes: Back in Action.

Review #007: Looney Tunes: Back in Action.

Cast
Brendan Fraser (D.J. Drake), Jenna Elfman (Kate Houghton), Steve Martin (Mr. Chairman), Joe Alaskey (Bugs Bunny, Daffy Duck, Sylvester, Beaky Buzzard, Mama Bear), Jeff Bennett (Foghorn Leghorn, Yosemite Sam, Nasty Canasta), Heather Locklear (Dusty Tails), Joan Cusack (Mother), Timothy Dalton (Damian Drake), Bob Bergen (Porky Pig), June Foray (Granny), Brendan Fraser (Tasmanian Devil), Eric Goldberg (Marvin the Martian, Michigan J. Frog, Speedy Gonzales, Tweety), Bruce Lanoil (Pepé Le Pew), and Billy West (Elmer Fudd, Peter Lorre) Directed by Joe Dante.

Review
This is the first film covered of the 2000s, a decade that has just passed us by recently. The film is a wacky, but fine comedy with animation and live action mixed in very well. The cartoon characters are voiced well, with decent acting from Fraser and crazier acting by Martin. It's a zany, but cool film worth all the comedy, action, drama, spyness, and more all into a 90 minute film that entertains even if it may have been overshadowed by Elf, Matrix Revolutions, and *sighs* Cat in the Hat (#210). I'd say it's an underrated gem, but you'll have to check it out to see for yourself. For me, it's successful.

Overall, I give it 8 out of 10 stars.