Freaked.

Review #2573: Freaked.

Cast: 

Alex Winter (Ricky Coogin), Michael Stoyanov (Ernie), Megan Ward (Julie), Randy Quaid (Elijah C. Skuggs), William Sadler (Dick Brian), Alex Zuckerman (Stuey Gluck), Keanu Reeves (Ortiz "The Dog Boy"), Mr. T (The Bearded Lady), Brooke Shields (Skye Daley), Bobcat Goldthwait ("Sockhead"/Sock (Tourist), Derek McGrath ("Worm"/Oxford Professor), Jeff Kahn ("Nosey"), John Hawkes ("Cowboy"), Lee Arenberg ("The Human Flame"), Patti Tippo (Rosie "The Pinhead"), Tim Burns ("Frogman"), Ray Baker (Bill Blazer), Jaime Cardriche ("Toad"), Tom Stern (Milkman), with Jon M. Chu (Giant Stuey Monster), and Michael Gilden & Joseph S. Griffo ("Eye N. Eye") Directed by Alex Winter and Tom Stern.

Review: 

"I made Freaked, which as I said was very much a kind of protest to celebrity—I mean, it was absurdist, it wasn’t any kind of arch-political statement. It was fun. It was done in the spirit of the comedy that Tom and I were doing at the time. It was very much a statement about ‘80s-Hollywood and celebrity and youth culture celebrity." - Alex Winter

"Sure, it's a little more mainstream. But we're talking degrees here. It's still fairly gross by most people's standards – and a lot more clever than it was. Compared to most comedies, it's not at all mainstream." - Tom Stern

Is it picking low hanging fruit to go along with a movie that basically was just screwed over by its studio? Alex Winter and Tom Stern met at Tisch School of the Arts at New York University in the 1980s that shared interests in "underground comix, punk rock, Monty Python, etc." They soon collaborated on a few short films together such as Squeal of Death, Bar-B-Que Movie (which featured the rock band Butthole Surfers*) and a few music videos. Alongside Tim Burns (who had met Stern when working on The Jim Henson Hour), they created the sketch comedy show The Idiot Box (aired in 1991), which ran for six episodes on MTV (back when it actually ran music videos). They ended the show to take a deal with 20th Century Fox for what became this film. At the time, Winter believed that cynical comedy was on the rise in part because of the outlook of the United States* and thought, well, what's more cynical than laughing at the misfortune of the main character? Of course, he also claimed that the original intent was to make the "ultimate cult film" to overly exaggerate before Fox came in and wanted rewrites (Joe Roth in particular was name-dropped for being with them on making a movie together), so there's that. Burns gave the film a re-write (evidently, one of the moments excised involved a guitar player playing with a living person's spinal cord). Studio turnover led to Roth departing Fox and replaced by someone who did not care for the film (shot for over $12 million that actually had merchandise released for it such as a figure line). Bad test screenings (one screening apparently had a bunch of numbskulls believing it was going to be like Bill & Ted) led to a theater release on October 3...to two screens (there exists a few different editions, with the longest being 86 minutes and the US version went 80). Winter has made a handful of features and documentaries (ranging from Fever [1999] to Zappa [2020] to Adulthood [2025]) while Stern has gone off on his own filmmaking with stuff such as co-writing An American Werewolf in Paris (1997), a handful of TV episodes and documentaries. After receiving runs on home media (2005, 2013), it got a full restoration (and release) from Winter in 2025.

It's one thing to put Reeves in a dog suit, it's another thing to have Mr. T. play a bearded lady. Among the folks responsible for the effects included Tony Gardner, Steve Johnson, and Screaming Mad George. If they couldn't get their dream of Beach Blanket Bingo meeting The Evil Dead", at least there's a gooey and goofy time to have here with this movie, which has plenty of glee over its Freekz (hey, the working title was "Hideous Mutant Freekz"), which are wonderful to gawk at alongside to have amusement over how they look when faced with crowds of humans who aren't really that much different in temperament, honestly. If Freaks (1932) wanted to show the actual side of sideshow performers* and the horrors that come in trying to ignore them as people, Freaked yearns to just go off the wall with its own type of performers that we celebrate for all that they do in mayhem: cow-men, toads with big tongues, and to top it all, a giant mutated nerd. It's the kind of movie fit for those who had fun with, say, Nothing But Trouble (1991). As star and co-director, Winter was wrapped with plenty of makeup for twelve hours (complete with remote control work), and, well, handling duties that resulted in him barely being able to sleep for a few months. As such, he makes for a good presence in carrying things in scuzzball grossness (as per the goal), one who hams it up with no hesitation. Winter, Stoyanov, and Ward make for a suitable group of goofs to get turned into freaks (one with half of a good face and the other two being pooled together) as equal opportunity jerks. The supporting cast has a handful of gags and charms, ranging from the most obvious person to play a sock puppet, a stuffy worm, and a delightfully dry Mr. T exploring the helpful side of femininity. The movie drifts in and out with just having fun in effects and slinging any gag possible that makes for a pretty good time to let play out. In a sea of over-the-top people that aspire to be a spokesman for toxic waste (hey, is it any less degenerate than people who go for gambling sites in 2026*?) or live with a group of folks ranging from worms to mutated hammers, aiming for any type of joke (high and low) is the kind of movie fit for the oddball in all of us.

Overall, I give it 8 out of 10 stars.

Song of the day!

Next: To hell with it, Speed Racer.

*Yes, the movie had its own fan website - Freekland: Official Homepage of Alex Winter, Tom Stern and Tim Burns

*Butthole Surfers? Good lord, what a crappy name for a band. What's next, Viet Cong? 

*At least 1993 had Bill Clinton. 

*DraftKings and any other site that goes all in for gambling should die a horrible death. Gambling should've been relegated to the seedy basement and never given any type of prominence. At least alcohol has an argument for being a "social" drink (hey, I think it's a piece of crap, but still), what the hell does gambling do for anything?

*I wondered, hey, would some bastard try to argue that Freaks (1932) isn't really a horror movie? Low and behold, some people do in fact try to argue that - sad! 

Demon Knight.

Review #2441: Demon Knight.

Cast: 

Billy Zane (The Collector), William Sadler (Frank Brayker), Jada Pinkett (Jeryline), Thomas Haden Church (Roach), C. C. H. Pounder (Irene), John Kassir (voice of The Crypt Keeper; Brock Winkless as puppeteer), Brenda Bakke (Cordelia), Dick Miller (Uncle Willy), Gary Farmer (Deputy Bob), Ryan O'Donohue (Danny), Charles Fleischer (Wally), John Schuck (Sheriff Tupper), and Sherrie Rose (Wanda) Directed by Ernest Dickerson (#1641 - Juice) 

Review: 

"I’ve always enjoyed Demon Knight. I love horror films, and I had a lot of fun creating a horror mythology. It was a great cast. I was also happy to do the first film where an African American woman saves the world. That was a good project to be involved with."

Hey, remember Tales from the Crypt? In 1989, a television series was created based on the bi-monthly horror comic anthology series that was created by Bill Gaines and Al Feldstein. By the 1980s, one was long past whiny parents and even whinier doctors having fears that horror comics were making kids illiterate and/or juvenile delinquents*, now you could mine old stuff for movies and premium TV (complete with sex and violence, the hallmark of horror movies and probably America too). The show ran on HBO until 1996 and it probably makes sense that movies were coming. Plans for three of them, in fact. The other ones were tentatively called "Dead Easy" and "Body Count". The screenplay was credited to Ethan Reiff, Cyrus Voris, and Mark Bishop, although it should be noted that the script for the film had been languishing around for several years and at one point there was a version scripted around not having demons being shown but instead a legion of Bible salesman clad in suits and sunglasses that just happen to be revealed as demons later. Demon Knight, a movie released in January of 1995 because they pushed it back from Halloween 1994, was a mild success with audiences (not with critics, but do you trust mainstream critics about horror?), and a post-credits scene states the next film of the Crypt would be Dead E-nope, the second film "presented by Tales from the Crypt" was quickly retooled into Bordello of Blood in 1996 (funny enough, that was also a movie involving an old script being retooled). A hastily made segment with the Cryptkeper character was done for a movie called Ritual (2002), which remade I Walked With a Zombie of all movies (seriously?), although that movie barely had a release in theaters.

So, does it compare well to the 1972 Tales from the Crypt movie? Eh, sort of. If you accept the movie as a little ride through varied conversations about lore (well, something involving religion I guess) and familiar ground for a siege movie, you will be totally fine with what you get here. 92 minutes sounds like they could've just packaged a few episodes for video but it makes for a mostly paint-by-numbers movie, but...it is up the alley. If you thought the show could show promise when not just being a [name actor is here for 20 minutes]* episode, the movie will probably satisfy some of the expectations you may have in entertainment. Maybe it could have been more unsettling, but it at least makes up for it with a few solid moments, in particular because of the presence of Billy Zane, who is delightful in menace. He manages to be unsettling in the sequences of temptation because it ends up sounding pretty believable to walk along his path, which is a hard road when one scene has him drop the pretense of being a cop to just punch straight through a guy's head.  He just has an aura of energy and capability to make you want to listen to what the hell is coming up next that I almost wish would've made it all the way to the end. Sadler may be strapped with an understated type of hero role, but I see it more as an appropriately weary performance that is enjoyable to see play out, mainly because Sadler just seems reliable to take seriously. For a movie that invites you to the idea of a key filled with many, many people's blood (and Christ) in it, anyway. Pinkett makes a worthy participant to the proceedings around her, quirky yet eventually endearing enough to root for, at least when compared to the delightfully adversarial presence of Church* or the always on-time Pounder and Miller. In general, the movie sets its body count early and has a few fine moments with the effects and chuckles, although it definitely feels more a casual ride for those who've seen Assault on Precinct 13 (1980) a few too many times more than a truly original ride. But I like hokum like this when it is presented with likable people or a few little moments of gore to make me want to see it all the way to the ending, which might be a bit too cozy (even the lesser Crypt episodes tried sticking a twist in like a knife for the end). But as a whole, Demon Knight manages to have a few entertaining moments to ride through the obvious bumps that come with trying to turn 30-minute spine-tinglers into a full-edged movie for a moderate ride of success.

Overall, I give it 7 out of 10 stars.

*Why can't people focus their attention on asking aloud why certain people are weird like Taylor Swift superfans?

*Remember when Morton Downey Jr appeared in an episode about haunted ghosts on live TV? The one I probably remember best is the one with Joe Pantoliano about remembering just how many times he has died. Or the one about being trapped in one's own body.

*A Harlingen High School graduate, don't ya know?

Bill & Ted Face the Music.

Review #1592: Bill & Ted Face the Music.

Cast: 

Keanu Reeves (Theodore "Ted" Logan), Alex Winter (William S. "Bill" Preston, Esq.), Kristen Schaal (Kelly), Samara Weaving (Theadora "Thea" Preston), Brigette Lundy-Paine (Wilhelmina "Billie" Logan), William Sadler (The Grim Reaper), Anthony Carrigan (Dennis Caleb McCoy), Erinn Hayes (Princess Elizabeth Logan), Jayma Mays (Princess Joanna Preston), Hal Landon Jr (Captain Jonathan Logan), Beck Bennett (Officer Deacon Logan), with Kid Cudi, Amy Stoch (Missy), Holland Taylor (The Great Leader), and Jillian Bell (Dr. Taylor Wood) Directed by Dean Parisot (#237 - Galaxy Quest)

Review: 

“We wanted to ask, ‘What would happen if the things that you were told your life was going to be about when you were a teenager turned out to be wrong? How would you cope with it if you based your whole life on it? How would you deal with the disappointment? And how can we make that into a movie that is absurd and silly and embodies the buoyant spirit of Bill and Ted?"

To borrow a phrase liberally, perhaps it would be most excellent to start at the beginning. The genesis of what became Bill & Ted's Excellent Adventure (1989) came from a routine done by writers Ed Solomon and Chris Matheson in 1987. The routine involved (what else?) but two teenagers who need to pass a history test that resort to collecting historical figures. The development of going from a potential sketch in a film to a feature-length film only resulted in one real change: having them also be recruited by figures from the future to stay together as a band to unite mankind. There were plenty of moments that involved them saying "bogus" or "excellent!" to go around, although it is weird to try and look back upon its place among teenage hijinks films of its time (it proves superior to offbeat films like Weird Science and Heathers, that much is for sure). It is a silly, charming little movie, with no illusion of being anything other than just good ol' entertainment (I mean, this is a film where they go back to the 1400s and end up with girlfriends). Any movie that has a group of friends just having fun without needing to verge into philosophy beyond having an excellent adventure is probably going to turn out fine. With Bill & Ted's Bogus Journey (1991), Matheson and Solomon had them meet Death alongside evil robots of themselves. So basically, it was a fine sequel, continuing the tradition of hyper-real sincerity from Reeves and Winter, although the odds of either retaining their 8/10 ratings is 50-50 at best. Perhaps it is the fact that these are such light enjoyable movies that proves an interesting paradox: who saw a third film coming if two seemed enough? I saw the original two films in 2010, and the strangest thing is by that point the wheels were turning to make a script for a new film. It seems only fitting to see an 80s product find new life again, but it actually took several years to even find producers willing to do it...and then of course 2020 meant that the film received a simultaneous release in select theaters and video-on-demand.

So here we are, a film with the same two writers in Solomon and Matheson (in their fifth collaboration together), with the same main stars in Reeves and Winter together again. Each have had their own place in film in the decades that followed those films, whether that means an action presence (past and present) for Reeves or filmmaking (and technology advocate) with Winter. In a long, strange year, sometimes one really can't go wrong with a little bit of comfort filmmaking. It doesn't come off as a complete re-hash of what has been done before because it presents the ultimate contrast to the happy go-lucky folks from before in one way: hitting the reality of middle age, which it does fine without seeming hollow. It is probably just as goofy as the other films, even if it may not perhaps be all that it is cracked itself up to be with its attempts at staying excellent when it comes to nailing humor all the way through and through. It proves endearing for those who desire one last ride with some enjoyable presences or perhaps from those who like to see something with a bit of syrupy appeal for music "to unite the world". It all depends on how much luster still shines with Reeves and Winter at the helm. For the most part, they seem just fine in fitting right back into these roles, mainly because time hasn't seemed to wither them in cynicism. Reeves is calm but just as well-placed as usual with a breezy role that while not his best performance (since one can be spoiled by his run with John Wick) is at least on the target. Winter proves just as on balance when it comes to zippy charm within silly situation and the occasional effects shot (since both of them spend a bit of time together traveling forward in time...to themselves). It's obvious to see their engaging chemistry with each other that has made for a most interesting wholesome kind of trilogy, really. The action doesn't stop with them, since Weaving and Lundy-Paine make up their time count as the well-cast descendants to mirror Winter and Reeves without seeming like stale copies, having a decent chemistry with each other in rallying their own story with other figures. Schaal (taking the place set by the late great George Carlin in the previous films) does alright here, having a quiet usage in exposition and the occasional quip. Sadler, showing up only in the latter half (of a 91 minute film) arises to useful returns, in that it is nice to see him and his attempt at a light Death once again. Carrigan does what one can do with an insecure role, which is to say not too much. Others come here and there with mostly fair presence, in that no one is entirely distracting from what goes on (even if it is a cameo, as is the case with one appearance), which result in a movie that moves from point to point with at least some cohesion for a gag without pleading for it (although its effects can distract from that at times). Inevitably, it all rests on how much of the journey to find "that perfect song to unite everybody" really means to the person who ends up watching it. It's like an old sock that has come back from the wash ready to be done again after a long wait, with a hole looking to come out somewhere that nevertheless still gets worn for enjoyment anyway. The future is yet to be written, but if one needs a movie about two cheery friends staying together once again to get involved in time travel antics and music, you can't really go wrong here. In a year like this, that may surely prove more than enough.

Overall, I give it 8 out of 10 stars.

The Shawshank Redemption.

Review #1506: The Shawshank Redemption.

Cast: 
Tim Robbins (Andy Dufresne), Morgan Freeman (Ellis Boyd "Red" Redding), Bob Gunton (Samuel Norton), William Sadler (Heywood), Clancy Brown (Byron Hadley), Gil Bellows (Tommy Williams), James Whitmore (Brooks Hatlen), and Mark Rolston (Bogs Diamond) Written and Directed by Frank Darabont.

Review: 
"I really don't think you can get tired of the kind of loving reaction that people have for this movie. It seems to have become its own ambassador to the world. It does mean something to people, and that's so fantastic to me. How many people have even one thing like that in their lives?"

Sometimes a film can have all the right pieces fall into all of the right places. Cast, writing, direction, and several other aspects are important to making something that one would hope will find an audience in some way, and The Shawshank Redemption is no different. The man responsible for doing the film in the way it is in script adaptation and direction is Frank Darabont, making his theatrical feature debut. He was inspired to venture into film through his youth after seeing THX 1138 (1971). He went from jobs at the Grauman's Egyptian Theatre to production assistant on small production films. He made his first attempt at filmmaking with the short film The Woman in the Room in 1983 (based on the short story of the same name written by Stephen King, who granted permission for him to make the film), which was later described by King "clearly the best of the short films made from my stuff." He dabbled in writing scripts alongside production work before getting a break with being asked to become a writing partner with Chuck Russell to try and develop a script remake of The Blob. After doing a script worthy enough to try and pitch to shop around, they were approached to quickly re-write a script together with Russell serving as director. That film, A Nightmare on Elm Street 3: Dream Warriors, proved a hit with audiences and helped them get further opportunities in films (such as the subsequent 1988 remake of The Blob). It was King's appreciation of what Darabont had done with his short story that helped in King giving him rights to do a film of one of his novellas (Rita Hayworth and Shawshank Redemption, written originally in 1982 as part of Different Seasons), although it would take a few years before Darabont would get around to developing the project (the script however took just a few weeks), with Castle Rock Entertainment serving to help in making the film. The founder of that company, Rob Reiner was deeply interested in doing the project for himself (with Tom Cruise in mind for one of the lead roles), but Darabont held firm to directing the film for himself.

I think most of us have a grasp on how well-regarded this film has become over the past 25 years. It wasn't the hugest hit with audiences at the time of release (this was the year of Forrest Gump and Pulp Fiction), but video release and numerous television showings have helped spread the film into a phenomenon that certainly seems suited for any curious audience viewer. It has an appeal that can seemingly reach any person that sees it because of how much of it can resonate with a viewer. We all have our moments when we need to seek out some sort of hope or redemption, whether through some sort of tough situation or for ourselves. Fear can keep us in line in many ways, but it is what we do with that challenge that makes life worth living to pull through. It has a great sense of sensitivity and movement that we can cling to almost immediately with the way it moves along with pace and sensibility to go along with some entertaining performances through its cast. Robbins moves with a shuffled pace that certainly stands different from the others in our main setting in how we observe him in his routine of endurance and capability to stroll through routine without fail. Freeman is our observer and eyes for the film (along with narrator) that we appreciate almost immediately in his terrific honesty and weary reflection that never wavers in conviction or in method. Gunton proves exquisite in his time handled on screen in perfectly controlled form of hypocrisy and manner of authority that sells his moments with Robbins or with others with no trouble at all. Sadler and Whitmore lend a supporting hand to the scope of the surroundings with charm and sobering stature, respectively (the latter's scene out of his prison at long last is likely one of the best poignant moments of the film). Brown rounds out the group with tremendous intimidating stature that is effective in driving the oppressive elements of the main setting down with ease. Beyond its great cast and well-done direction is a great look captured by Roger Deakins in cinematography to go with the sound stage sets (to go alongside exteriors of the real Ohio State Reformatory in Mansfield) that makes its message all the more useful and strong. With a 142 minute run-time that goes along like prose in building its atmosphere to all the points it desires with relentless honesty that makes its climax all the more rewarding. For some, it may very well be one of the greatest films ever, but it most definitely can be agreed by most to be one for the ages in hope and usefulness to view for themselves.

Overall, I give it 10 out of 10 stars.

Movie Night: Bill and Ted's Bogus Journey.

Review #022: Bill and Ted's Bogus Journey.

Cast
Alex Winter (William "Bill" S. Preston, Esq./Evil Bill/Granny S. Preston, Esq.), Keanu Reeves (Ted "Theodore" Logan/Evil Ted), William Sadler (Death (The Grim Reaper)/Englishman), Joss Ackland (Chuck De Nomolos), George Carlin (Rufus), Pam Grier (Ms. Wardroe), Annette Azcuy (Elizabeth), Sarah Trigger (Joanna), Hal Landon Jr. (Captain Logan), and Amy Stock-Poynton (Missy) Directed by Peter Hewitt.

Review
Well, this film is a radical one. The reasons: It's slightly more funnier and insane then the first one, with as terrorizing parents, go to Hell, get in a duel with Death, fights Evil robotic versions of themselves, and have babies all in one movie. It has some alright slapstick, and overall this is a useful sequel. Will there be a third film? Who knows?

Overall, I give it 8 out of 10 stars.

Movie Night: Die Hard 2.

Review #016: Die Hard 2.

Cast
Bruce Willis (John McClane), Bonnie Bedelia (Holly Gennero-McClane), William Sadler (Colonel Stuart), Art Evans (Leslie Barnes), William Atherton (Dick Thornburg), Franco Nero (General Ramon Esperanza), Dennis Franz (Captain Carmine Lorenzo), Fred Thompson (Ed Trudeau), John Amos (Major Grant), and Reginald VelJohnson (Al Powell) Directed by Renny Harlin.

Review
This film brings out all the stops of action and story with alright performances that are almost better then the first one (even if you go to watch the action). Although not directed by the first Director (John McTiernan), Harlin manages to make a movie with a bit of the tone from the first one but not too much like it. The plot is decent, but out of the four Die Hard films as of 2010, this one is probably the least remembered even for a sequel because it isn't as fun as the others, but is still a decent film.

Overall, I give it 8 out of 10 stars.