The Navigator.

Review #805: The Navigator.

Cast
Buster Keaton (Rollo Treadway), Kathryn McGuire (Betsy O'Brien), Frederick Vroom (John O'Brien), Clarence Burton (Spy), and H.N. Clugston (Spy) Directed by Buster Keaton (#757 - Seven Chances and #762 - College) and Donald Crisp.

Review
It's fun to cover another Keaton movie because it is always nice to see the deadpan humor alongside stunt work by Keaton himself, complete with sight gags and a reasonable amount of pacing. The Navigator doesn't have many cast members, but the dynamic between Keaton and McGuire works just fine. It's entertaining seeing the two of them try to run a ship without servants nor anyone else to help; at one point they even fly the flag signaling quarantine, while trying to lower a boat to the water. Speaking of which, the aquatic scenes are well done, with Keaton being a master even under a heavy suit. The ship itself is a good setting, and it is used well, with several gags (such as when they try to make food) utilizing the ship to good capacity. It's interesting how the movie seemingly feels relevant today; sure, people don't go on ships as much as they used to, but there is a certain feeling of watching people try to use technology (of any kind) and either dealing with it or taking time to find ways to use it right. The movie moves at a fine pace, not languishing while on the ship; at 59 minutes, it is a treat for anyone.

Overall, I give it 8 out of 10 stars.

National Lampoon's Vacation.

Review #804: National Lampoon's Vacation.

Cast
Chevy Chase (Clark Griswold), Beverly D'Angelo (Ellen Griswold), Imogene Coca (Aunt Edna), Anthony Michael Hall (Russell "Rusty" Griswold), Dana Barron (Audrey Griswold), Randy Quaid (Cousin Eddie), Christie Brinkley (Girl in Red Ferrari), John Candy (Russ Lasky), Eddie Bracken (Roy Walley), Brian Doyle-Murray (Kamp Komfort Clerk), Miriam Flynn (Cousin Catherine), James Keach (Motorcycle Cop), and Eugene Levy (Ed) Directed by Harold Ramis (#138 - Bedazzled, #208 - Caddyshack, and #342 - Groundhog Day)

Review
[Skip to the second paragraph if you don't want to read a recollection of the past]
It has been a while since the last Lampoon film I watched (#771 - National Lampoon's Christmas Vacation), so I figured that this would fit with summer coming right up. From personal experience, I remember when me and my dad decided to drive all the way to Oregon years back (and vice versa). I was 14, but even with the problems that occurred (spark plugs problems, having to drive right straight through California* because we drove too far to the left in Arizona), it was still fun, if not with a few hurdles.

With this movie, I can relate to the frustrations of trying to have some fun on a vacation, but I also can have some laughs, which is what helps the movie, alongside a wonderful cast. Chase and D'Angelo have great chemistry along with good timing, coming off as natural, if not beleaguered. Chase does a great job selling this character, who clearly wants to have fun with his family, and it is fun (if not odd) to watch him gradually get more and more frustrated. It's an episodic kind of movie, expressed through their stops to different towns from St. Louis to Coolidge to (somewhere in) Arizona, all with a Wagon Queen Family Truckster, which is a great ugly car, complete with four headlights and wood paneling that would make a lumberjack blush. The music selection (Holiday Road, Blitzkrieg Bop) are also pretty good, fitting the movie well. Hall and Barron are also pretty good, making perfect examples of kids on a road trip, a weird road trip at least. The rest of the cast are also pretty memorable, such as Quaid and his bumpkin of a character that certainly endears to people who get to deal with at least one quirky relative every so often. There's a certain charm this movie has in that one can relate to (and giggle) with the experience in the movie, such as when they finally reach their destination, Walley World. Not to spoil much, but let's just say that it serves as a fine climax, complete with John Candy being added to the fray. For anybody looking for a vacation movie with all the stops of fun (and misery), I'd check this one out.

*Note: Nothing against California, which actually was pretty decent, if not a big state to go through. My highlight? Getting to drink Mr. Pibb for the first time. Hey, I was 14, give me a break.

Overall, I give it 9 out of 10 stars.

Detour.

Review #803: Detour.

Cast
Tom Neal (Al Roberts), Ann Savage (Vera), Claudia Drake (Sue Harvey), Edmund MacDonald (Charles Haskell Jr), Tim Ryan (Nevada Diner Proprietor), Esther Howard (Holly, Diner Waitress), and Don Brodie (Used Car Salesman) Directed by Edgar G. Ulmer (#797 - People on Sunday)

Review
Detour (by varying accounts) was made on a low budget that was filmed in a few weeks with the movie being released by Producers Releasing Corporation, a low-budget studio that made and distributed their own films in the 1940's, making over 100 films before it was acquired by Eagle-Lion Films Inc, which merged into United Artists by the 1950's. But in any case, Detour has thrived over the 71 years since its release, even being added onto the National Film Registry (alongside other noirs previously reviewed on this show, such as The Hitch-Hiker and Shadow of a Doubt). Nearly half way through the movie, we are introduced to Savage's character with a bright theme as she is picked up by the main character on the road. It's a nice scene because the rest of her scenes depict her as a sharp tongued hostile contrast to Neal, with the two exchanging multiple times in banter that gives the movie a sharp kind of edge.

Neal plays the everyman kind of character well, and it's interesting to see him have to adjust to the ever changing nature of his situation, what with a man plopping dead on a rock and all, with narration helping to set the movie up quickly. It's a movie all about guilt, with a hero that seemingly traps himself into a situation that gets more precarious by the minute. The movie ends on a quote the essentially sums up the movie: "Fate, for some mysterious force, can put the finger on you or me, for no good reason at all." Neal is easy to relate to along with being easy to watch, with a unique sort of ending (Yes, the Production Code of the time dictated that murderers were to not get away with it...but the movie finds a way to get around it of sorts). Detour, despite only having a few characters to focus on, a low budget, and a short run-time of 67 minutes, manages to rise above b-movie status to become a winner, and I would recommend this film for anyone looking for a film noir to watch.

Overall, I give it 9 out of 10 stars.

In a World...

Review #802: In a World...

Cast
Lake Bell (Carol Solomon), Fred Melamed (Sam Sotto), Michaela Watkins (Dani Solomon), Ken Marino (Gustav Warner), Demetri Martin (Louis), Rob Corddry (Moe), Alexandra Holden (Jamie), Nick Offerman (Heners), Geena Davis (Katherine Huling), and Tig Notaro (Cher) Directed by Lake Bell.

Review
Trailers (whether you love 'em or hate 'em), are certainly an interesting form of promotion for movies, and the voice (or voices) for those trailers certainly try to help sell the movie. The movie starts by showing clips of Don LaFontaine, who (quite possibly) is the most well-known voice actor for trailers, with his popularization of the phrase "In a World..." being the namesake of this movie. Bell also wrote and directed this film, and I'll give her credit for making a movie that at its heart is inherently easy to get behind. It's a movie that is likable enough and it zings with enough barbs to make for a relatively fine film. Bell certainly is a fine lead, having enough charm along with fine comic timing that makes for an interesting character to watch, with her and Martin also having a good chemistry with each other. Melamed certainly does a fine job as well, and while I wouldn't call him an antagonist, he certainly makes for an interesting character to watch with regards to his scenes with him and his (full grown) kids. The characters in the movie are pretty well-defined, all having some sort of quirk or just something that makes you want to watch them. The movie tries to mesh the comedy and drama and while it doesn't always seem to work perfectly, it is at least a movie worth seeing once. Is it for everyone? Probably not, but I felt that it worked on enough levels to work for me.

Overall, I give it 7 out of 10 stars.

Mission: Impossible.

Review #801: Mission: Impossible.

Cast
Tom Cruise (Ethan Hunt), Jon Voight (Jim Phelps), Emmanuelle Béart (Claire Phelps), Henry Czerny (Eugene Kittridge), Jean Reno (Franz Krieger), Ving Rhames (Luther Stickell), Vanessa Redgrave (Max), Kristin Scott Thomas (Sarah Davies), and Emilio Estevez (Jack Harmon) Directed by Brian De Palma.

Review
Today is the 20th anniversary of the release of this film, and I decided to honor that by reviewing it, since it has been a while since I actually watched one of the five films (#128 - Mission: Impossible - Ghost Protocol). While I will admit I have never watched the television series Mission: Impossible, I went into the movie with the expectation of watching something that would at least be entertaining, not necessarily going into it expecting a completely loyal version of the show. As it turned out, that was probably the right idea, because the original cast did not exactly have a positive reaction to the movie, and Peter Graves (the original Jim Phelps) rejected the offer to play the role again. With all that in mind, the movie was still pretty good for me. Cruise does an excellent job, seeming very comfortable in the role, with his action scenes (and stunt-work) being enjoyable to watch. Voight, while not exactly up to Cruise's strength, is at least a capable villain, with at least some sort of motivation (honestly though I think I would probably take up a hobby instead of well, doing an elaborate ruse). Béart doesn't get much to do, but she is at least decent. My favorites are Rhames and Redgrave, with the former being cool to watch who works well with Cruise, and the latter being an interesting character who's not necessarily a villain, just a middle-man in all of this. The action is well done, being entertaining along with feeling real enough. The movie's story seems destined to try and twist itself almost too much, but it manages to come off as serviceable, with enough spy elements to make for what is at least a fine experience that has spawned four sequels in the 20 years that have passed since this movie's release

Overall, I give it 8 out of 10 stars.

Shadow of a Doubt.

Review #800: Shadow of a Doubt.

Cast
Teresa Wright (Charlotte "Charlie" Newton), Joseph Cotten (Charles "Charlie" Oakley), Macdonald Carey (Detective Jack Graham), Patricia Collinge (Emma Newton), Henry Travers (Joseph Newton), Wallace Ford (Detective Fred Saunders), Hume Cronyn (Herbie Hawkins), and Edna May Wonacott (Ann Newton) Directed by Alfred Hitchcock (#219 - Rope, #223 - North by Northwest, #446 - Spellbound, #447 - Psycho, #450 - Vertigo, #455 - Rear Window, and #553 - Strangers on a Train)

Review
Shadow of a Doubt benefits a great deal from being so tightly wound with suspense and thrills that never let up from beginning to end, the hallmark of a great film noir. Cotten is the first one introduced on screen, and whenever he appears he certainly has an alluring, likable charm, making for such a brilliant villain; when he lets out his other side (such as when he compares rich widows to fat wheezing animals) sneak onto the surface, it certainly makes for making this character very definable and very effective. Wright does a fine job as well, making for a great lead in that she has depth to her, not just being someone who happens to play onto all of these events; she has her struggles and her doubts about someone near to her, and it is all easy to relate and thus makes her character well defined. When she finally discovers the truth, it's a great scene because it finally culminates the clues sprinkled in beforehand (the inscription of the ring, ripping out a page of the paper, etc.), and the movie soon shifts into a game between the two Charlies. Wright and Carey share a good (if not extremely quick) rapport as well. The supporting cast is well done, doing their purpose and roles nicely, because they fit the movie well, being neither too distracting nor unhelpful to the plot. The final scene between the two of them is excellent, being a quick and effective climax that seals the movie neatly. Hitchcock described it as his favorite film, and it's evident that this really is one of his best films.

With that, 800 reviews have been written by yours truly in 1,979 days from December 20, 2010 to the present day. I am proud to have done this for over 5 years, and I am glad to have broadcast these reviews to all of you, wherever you are. I hope you enjoy this review, along with the previous and future installments of this show.

Overall, I give it 10 out of 10 stars.

The Hitch-Hiker.

Review #799: The Hitch-Hiker.

Cast
Edmond O'Brien (Roy Collins), Frank Lovejoy (Gilbert Bowen), William Talman (Emmett Myers), José Torvay (Captain Alvarado), Wendell Niles (Himself), Jean Del Val (Inspector General), Clark Howat (Government Agent), and Natividad Vacío (Jose) Directed by Ida Lupino.

Review
Hitchhiking (in principle) can be a way for people stranded or lost to get a ride to where they need to be, but the danger of accepting (or giving) a ride to someone you may not necessarily know is still something that is relevant today, even with the new technologies introduced in the past decade (or two), which makes this movie not as dated as it could have been. This was based off the real life hitch hiking murders of Billy Cook, who murdered six people in 1950; he, like the killer in the movie also had a detached eyelid, though the movie counterpart only has 3 victims. This film is considered to be the first film noir directed by a woman; Ida Lupino (who was also an actress) had directed five films previously as part of her production company The Filmakers, founded by her and her husband at the time, with the two also writing the script. The movie focuses on three main characters for a majority of the movie, and there is a good amount of tension in seeing what will happen next. Sure, one could say that given the time frame (the 1950's), you could argue that it is slightly predictable what will happen in the end. But really, who goes into a movie trying to figure it out by the first 10 minutes? For me, it's how the movie presents itself that absolves some gleam of predictability. It's a slick ride that moves quickly enough (at 71 minutes), setting up the characters and situation nicely to make for a well fashioned thrill. O'Brien and Lovejoy make for a good hostage duo, never coming off as too melodramatic nor too serious Talman is a fairly decent villain, coming off as slimy as one would expect, not trying once to come off (or phone in) as sympathetic. I especially like the scene in which he makes one of the two hostages shoot a can that the other is holding near him. The movie moves at a brisk pace that never wavers, with a good deal of realism but also thrilling charm to it.

Countdown: 10, 9, 8, 7, 6, 5, 4, 3, 2, 1.

Overall, I give it 8 out of 10 stars.

Sherlock Holmes and the Voice of Terror.

Review #798: Sherlock Holmes and the Voice of Terror.

Cast
Basil Rathbone (Sherlock Holmes), Nigel Bruce (Doctor John H. Watson), Evelyn Ankers (Kitty), Reginald Denny (Sir Evan Barham / Voice of Terror), Thomas Gómez (R.F. Meade), Henry Daniell (Sir Anthony Lloyd), Montagu Love (General Jerome Lawford), Olaf Hytten (Admiral Sir John Fabian Prentiss), and Leyland Hodgson (Captain Roland Shore) Directed by John Rawlins.

Review
Following two excellent Holmes films (#583 - The Hound of the Baskervilles, and #721 - The Adventures of Sherlock Holmes) were released by 20th Century Fox in 1939, Universal Studios bought the rights from the Doyle estate to make films about Holmes - updated to the present day. In fact, the opening title card talks about how Holmes (and Watson) is "ageless, invincible and unchanging", with this movie being about Holmes trying to take down a Nazi agent using propaganda through the radio (which did occur during the War). It is an interesting premise, but I can't resist to wonder if there were other movies dealing with plots like this. There is at some sort of mystery to the film, and the movie does move quickly enough, at 65 minutes (if you wonder why I always mention the length of a movie as positive/negative, it's merely a way to try and justify how the movie does with regards to pacing, or if a movie is too long or too short to try and enjoy, for my taste anyway. In this case, the movies does a fine job in terms of satisfying its goal of telling a story with a short length).

While it is a b-movie, it is at least a movie that tries its best to be entertaining while dealing a subject as serious as treason during wartime, not coming off as cheesy, nor too overblown (it's interesting to note that the movie ends with a title card stating to buy war bonds). Rathbone and Bruce are consistent as ever, making for a fine duo that play well off each other. Ankers is also pretty decent, making a good contribution to the plot. Denny (there really isn't spoilers if the movie is over 70 years old, so no complaints) is okay, coming off as so unassuming that you really don't think he's the villain, because...well, it is strange to presume that a member of the "Inner Council of British Intelligence" would be behind all of this - unless he was an impostor, because Holmes is a master at deducing that sort of thing, and it helps that I'll let it slide unopposed. It's a movie that is fairly passable for its time, even if it isn't as enjoyable as the previous films. Bottom line: Take it for what it is worth.

Countdown: 10, 9, 8, 7, 6, 5, 4, 3, 2...

Overall, I give it 7 out of 10 stars.

People on Sunday.

Review #797: People on Sunday.

Cast
Erwin Splettstößer (Himself - taxi driver), Brigitte Borchert (Herself  - record seller), Wolfgang von Waltershausen (Himself - wine seller), Christl Ehlers (Herself - an extra in films), and Annie Schreyer (Herself - model) Directed by Robert Siodmak and Edgar G. Ulmer.

Review
People on Sunday (Menschen am Sonntag) is not only the first film from 1930 reviewed on Movie Night, but it's also the first German film reviewed here since Metropolis (#500) over two years ago, alongside being the first silent film and second world cinema film reviewed this year. The subtitle of the film is "a film without actors", in light of the fact that the people in this movie were amateurs who (according to the opening titles) returned to their normal jobs by the time the movie was released in February 1930. It's interesting to see a movie like this, with ordinary people being spotlighted on their day (Sunday) off in Berlin, with the emphasis on five individuals. This is a movie not made for a complex plot, nor standout performances to win awards, but a movie made as it is, with no real inflated sense of artificial stock, feeling very realistic for its time about Berlin.

Though the movie was released as the Great Depression was in swing, the movie was made in the previous year on a low budget, but the movie nevertheless has an aura of innocence to it, especially Berlin, with regards to the decade (and more) that followed. I do love this one scene in which a photographer photographs a bunch of people's faces, from old to young, and I love the scene because there is a certain sense of charm to seeing people enjoying leisure time that fits well with the movie. It should be noted that this movie was written not only by the Sidomak brothers (Robert and Curt), bu also Billy Wilder, who left Berlin for Hollywood in 1933, writing and directing several classics, such as Some Like It Hot (#106), Ace in the Hole (#194), The Fortune Cookie (#422), The Apartment (#641), and several other movies in an over 40 year span. Fittingly, the movie ends on this title card: "And then on Monday...it is back to work... back to the everyday... back to the daily grind... Four... million... wait for... the next Sunday. The end." Ultimately, the movie is both an interesting time capsule into the lives of people (who never acted again) in Berlin along with being a hallmark of realism that is interesting to watch even today.

Countdown: 10, 9, 8, 7, 6, 5, 4, 3...

Overall, I give it 9 out of 10 stars,

Captain America: Civil War.

Review #796: Captain America: Civil War.

Cast
Chris Evans (Steve Rogers / Captain America), Robert Downey, Jr. (Tony Stark / Iron Man), Scarlett Johansson (Natasha Romanoff / Black Widow), Sebastian Stan (Bucky Barnes / Winter Soldier), Anthony Mackie (Sam Wilson / Falcon), Don Cheadle (James "Rhodey" Rhodes / War Machine), Jeremy Renner (Clint Barton / Hawkeye), Chadwick Boseman (T'Challa / Black Panther), Paul Bettany (Vision), Elizabeth Olsen (Wanda Maximoff / Scarlet Witch), Paul Rudd (Scott Lang / Ant-Man), Emily VanCamp (Sharon Carter), Tom Holland (Peter Parker / Spider-Man), Frank Grillo (Brock Rumlow / Crossbones), William Hurt (Thaddeus "Thunderbolt" Ross), Daniel Brühl (Helmut Zemo), and Martin Freeman (Everett K. Ross) Directed by Anthony and Joe Russo (#571 - Captain America: The Winter Soldier)

Review
One could make the argument that you could make a guess as to what will happen in the movie given the seemingly never ending progression of the Marvel Cinematic Universe from phase to phase, year after year. But I always try to go into these movies with at least some sort of open mind and try to see if I will enjoy what are currently the best made movies of this generation. The case still stands true with Civil War. While I think that Winter Soldier was a slightly better movie in terms of plot, Civil War manages to keep the entertainment flow going with enough action, charm, and bits of interesting discussion. It is hard to not compare this with the other film (#788 - Batman v Superman: Dawn of Justice) released earlier in the year about superheroes fighting against each other, but it is evident that this film did the better job in the departments that matter most: Setting up the conflict that leads to a fight and the actual fight itself. The progression of these films mean that one can see the layers of disagreement through the main two leads and actually emphasize with both sides (for the most part) and their viewpoints.

Sure, you can pick a side, but the movie marches on regardless, with expert juggling of all of these characters also being a key benefit. The villain this time around isn't easily apparent, but his motivations are least coherent enough, tying in well to the theme of the movie, involving the collateral damage that the Avengers leave in their battles (which while sounding like a no-brainer does make a bit of sense in the film). The usual castmates are excellent, with Evans and Downey being excellent main leads. Boseman and Holland are our new additions to the main cast, and they both make excellent impressions, with the latter (who is barely older than I am) especially standing out, with all the wise cracks one would expect from Spider-Man. Like the other Marvel movies before it, there is a certain level of fun amidst all of the mayhem, which makes up for a 2 and a half hour run time, although it certainly doesn't feel that long. Civil War manages to do its job effectively while not over-stuffing itself too much, and I certainly enjoyed it enough.

For reference, this is #23 in my (seemingly longrunning) Theater Saga, this time with friends, with this experience being pretty good.

Countdown: 10, 9, 8, 7, 6, 5, 4...

Overall, I give it 8 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.

Clerks.

Review #794: Clerks.

Cast
Brian O'Halloran (Dante Hicks), Jeff Anderson (Randal Graves), Marilyn Ghigliotti (Veronica Loughran), Lisa Spoonhauer (Caitlin Bree), Jason Mewes (Jay), and Kevin Smith (Silent Bob) Directed by Kevin Smith.

Review
When my local Blockbuster closed down last month (which part of that sentence shocks you, the former or the latter part?), I decided that it was important to give my thanks to the place that had been in my town for years, with my thanks being expressed towards buying a bunch of films. One of those movies was Clerks.

Clerks, for all of its language and quirks, is an enjoyable movie. It's not a movie just with raunchy lines to it, it's a movie with a brazen approach to showing these characters be who they are, without anything (like, say, a different ending) tacked on. The movie is quick with its approach and lines (alongside editing, due to the budget), and we can identify with the characters right away. The ending is admirable in its honestly with regards to the main two characters; none of the characters are inherently easy to root for, but they are at least with personality, which makes them memorable. O'Halloran and Anderson just click together, with their conversations (such as if there were any independent (and thereby, innocent) contractors working on the Death Star in Return of the Jedi when it blew up) being very effective. Their final one at the end (after a fight) seals the movie up nicely; even at the end of a day that had numerous things happen (good and bad), they still are friends. There's something about the movie being black-and-white (due to the budget) that just works for a movie like this, I think it's because it fits the sharp edge of the movie that color probably wouldn't have done as well for. This was the first film directed by Kevin Smith, who hedged money for the film by maxing out some credit cards, selling his comic books and other ways; it was actually filmed at the convenience store he worked at, done over a three week period. I applaud his efforts, which led to a well-done movie that pulls all the stops and does what it wants rather successfully.

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

Overall, I give it 9 out of 10 stars.

Office Space.

Review #793: Office Space.

Cast
Ron Livingston (Peter Gibbons), Jennifer Aniston (Joanna), Stephen Root (Milton Waddams), Gary Cole (Bill Lumbergh), David Herman (Michael Bolton), Ajay Naidu (Samir Nagheenanajar), Diedrich Bader (Lawrence), John C. McGinley (Bob Slydell), Joe Bays (Dom Portwood), Alexandra Wentworth (Anne), and Richard Riehle (Tom Smykowski) Directed by Mike Judge (#570 - Beavis and Butt-Head Do America)

Review
Office Space is based off the Milton cartoon series by Mike Judge (who co-created one of my favorite shows, King of the Hill, but also created Beavis and Butt-Head), with Milton being a supporting character in a movie that manages to be effective at sly humor and its portrayal of the workplace that I'm sure some can relate to in any form. The cast really seem to click well, especially Livingston/Herman/Naidu, making for some fun scenes, such as when they smash a printer near the end.  Nothing in the movie seems fake or overdone, with Cole's micromanager role being especially fitting. Aniston is also a welcome part of the cast, having decent chemistry with Livingston but also seeming like the one sane individual in a movie full of quasi cynical (but enjoyable) characters. Of course, Milton (and his red stapler) stands out as well, from his glasses to the way he expresses his aggressions. I especially like when he's trying to get a piece of cake (during a birthday party), and he seems to have a piece...right up until someone tells him to pass it to the next person, while he ends up not getting a piece after all (full disclosure: I would probably have just flat out left instead of passing it on, but that's probably me being annoyed at people cutting big pieces for people with a big crowd). The movie doesn't relent on showing how inane the workplace can be, from conversations between management and workers that seem so repetitive no matter what the situation, to the lack of motivation one has to work (which is expertly addressed midway through, which get him promoted). The ending is peculiar in how abrupt it feels, but it works for a movie that takes risks and accomplishes what it wants in just under 90 minutes. I recommend this movie for anyone looking for some sly edge humor, or something different about work.

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

Overall, I give it 8 out of 10 stars.

Black Sabbath.

Review #792: Black Sabbath.

Cast
Boris Karloff (Gorca, segment "The Wurdalak"), Mark Damon (Vladimire d'Urfe, segment "The Wurdalak"), Michèle Mercier (Rosy, segment "The Telephone"), Susy Andersen (Sdenka, segment "The Wurdalak"), Lidia Alfonsi (Mary, segment "The Telephone"), Jacqueline Pierreux (Helen Chester, segment "The Drop of Water"), Glauco Onorato (Giorgio, segment "The Wurdalak"), Massimo Righi (Pietro, segment "The Wurdalak"), Milly Monti (The Maid, segment "The Drop of Water"), Gustavo De Nardo (Police Inspector, segment "The Drop of Water"), Rika Dialyna (Maria, segment "The Wurdalak"), and Harriet Medin (Neighbor, segment "The Drop of Water") Directed by Mario Bava.

Review
With Year One (of college, anyway) done with, it only makes sense that I try to deliver some content to you loving folks (and hope that you didn't forget about me in the delays). And what better day to bring luck than Friday of all days? Black Sabbath is the American International Pictures cut of "I tre volti della paura", which was an Italian-French production. The original version was in Italian and had the order of stories changed, with "The Drop of Water" being the last one shown instead of "The Wurdalak", along scenes of violence and other various things (especially in "The Telephone") being edited in the AIP cut. Karloff not only stars in one of the segments, but he also acts as the host of the film, introducing the three segments anyone might try to do in a horror film, but Karloff (even in his aging state) manages to make it work with his voice. As for the segments, "The Wurdalak" is probably my favorite, mainly because it feels more complete and has some sense of terror, despite some strange thinking by the characters; Karloff is the highlight, but it does have some good reaction shots. "The Drop of Water" is relatively decent; Pierreux is decent, and her moments of terror are convincing enough. "The Telephone" is not necessary a bad segment, it pales (for me anyway) compared to the other two segments, but it is at least somewhat entertaining. It feels ridiculous at times, and the ending is admittedly a bit cheesy, but it fits the strangeness of this peculiar film. If you're looking for an anthology movie that's a little different, I'd suggest trying it out.

(I tried making a reference to the band Black Sabbath in this review, but I couldn't find a way to reference that they got their name from this film.)
Anyways...10, 9, 8...

Overall, I give it 8 out of 10 stars.

The Toxic Avenger.

Review #791: The Toxic Avenger.

Cast
Mitch Cohen (The Toxic Avenger), Kenneth Kessler (Voice of The Toxic Avenger), Mark Torgl (Melvin Ferd III), Andree Maranda (Sara), Pat Ryan Jr. (Mayor Peter Belgoody), Sarabel Levinson (Mrs. Ferd), Dan Snow (Cigar Face), Dick Martinsen (Officer O'Clancy), and Gary Schneider (Bozo) Directed by Michael Herz and Lloyd Kaufman.

Review
Well, I can certainly say this is one superhero film that stands out among the rest in terms of uniqueness, in part due to also being a horror comedy film with a toxic hero from New Jersey (of all places). While one could classify this as campy or schlock, there is a certain level of charm amidst all the laughs, blood & gore. The acting is nothing to praise about, but it's the way the movie just has fun with itself and entertains in such a bizarre format that runs effectively without tedium that makes for an effective film. It's a hokey kind of a movie, with no shame for what it does, because why not? You honestly can't be shocked at what you get from something titled "The Toxic Avenger", but you do get an entertaining movie. The villains are as expected to be: over-the top (with one group even playing a game of hit-and-run with their car), but the movie is campy enough to where you just enjoy it all. The movie turned out to be Troma Entertainment's most popular film, with three sequels (and a television series) being made in its aftermath. I'd recommend seeing it, especially if you're looking for something different.

Countdown to #800: 10, 9...

Overall, I give it 8 out of 10 stars.

The Emperor's New Groove.

Review #790: The Emperor's New Groove.

Cast
David Spade (Emperor Kuzco), John Goodman (Pacha), Eartha Kitt (Yzma), Patrick Warburton (Kronk), Wendie Malick (Chicha), Kellyann Kelso (Chaca), and Eli Russell Linnetz (Tipo) Directed by Mark Dindal.

Review
The movie actually has a deep production history, with development of what at first was called Kingdom of the Sun beginning in 1994. However, the movie soon spiraled from being a romantic comedy musical in the style of The Prince and the Pauper to a buddy film. A documentary of the process (and its retooling) was even made, and while I do appreciate the movie that was ultimately made, it is slightly bittersweet, with regards to the movie that was never made. Anyway...

I vaguely remember watching bits and pieces of the movie once (or twice) during one of my classes around 8 years ago, and I remember it certainly seemed to do its job to the class (I was a kid, cut me a break for not remembering more about it). Years later, I finally get a chance to watch it again, and it's interesting how short the movie is, running in at only 78 minutes. The movie certainly has a simple structure, with a narcissistic lead that has to redeem himself, with a good-hearted buddy, and so on. But at least it can be said the movie keeps itself contained to only a few batch of important characters, and it never really feels like the movie is padding itself out. The way that it handles itself as a light-hearted buddy film is the main selling point, because it manages to have a good degree of fun with itself, from the main character recapping and narrating over the first half of the movie (complete with barbs) to a chase scene montage, complete with a map marked by dotted lines...which the characters notice. The main four cast members seem to have a good time (particularly Kitt, who wonderfully hams up as the villain), and the movie runs as a good pace with just enough flair and quickness to make for a relatively decent experience. Is it a great movie? No, but it doesn't need to be.

Guess what? It's time for another countdown, this time to Review #800, starting with this review.
10... 

Overall, I give it 8 out of 10 stars.

The Break-Up.

Review #789: The Break-Up.

Cast
Vince Vaughn (Gary Grobowski), Jennifer Aniston (Brooke Meyers), Joey Lauren Adams (Addie Jones), Cole Hauser (Lupus Grobowski), Jon Favreau (Johnny Ostrofski), Jason Bateman (Mark Riggleman), Judy Davis (Marilyn Dean), Justin Long (Christopher Hirons), John Michael Higgins (Richard Meyers), and Vincent D'Onofrio (Dennis Grobowski) Directed by Peyton Reed (#728 - Ant-Man)

Review
A movie I had to watch for a Speech class? That's one good opening sign. To be clear, I had to do an assignment that dealt with stuff that happened in the movie that relates (for the most part) to what we are currently learning, such as the escalation (and de-escalation) stages of a relationship, and to the movie's credit it does at least fits the bill for an assignment and is reasonably something that could used a tool for at least some sort of learning.

It's a shame the movie isn't enjoyable as well. Yes, the movie does have a break-up, in fact it happens quite early on in the movie, a little over 20 minutes into it. Which means the rest of the time is dedicated to their attempts at trying to make the other move out of the condo they live in. This is such a miserable movie to watch mainly because not only do you know they won't get back together, you really just want the movie to end. The movie might've been better (if not at least slightly more tolerable) if it had waited longer for the two to break-up. All we really see of them before the breakup is them meeting at Wrigley Field (in probably one of the more weirder meet-cutes in recent record) and...a bunch of photos of them together over the opening credits, before the set up to their breakup. The vagueness of their happy relationship means that we never really get to care about the fact they break up. Seeing them bicker (And trying to get back at each other) is more tedious than mean-spirited, and while Vaughn and Aniston are at least passable leads, they can't save a movie that makes them feel so under developed, with only the latter seeming remotely close to being likable, and the latter barely edging towards likability near the end. The supporting cast isn't much better, barely ranging an emotional response from me that wasn't just a dejected sigh, save for D'Onofrio, who manages to be one of the only really interesting (if not weird) characters in an otherwise boring flick. Ulimately, everything seems so forced, and consequently I couldn't find myself to care about anything that goes on during the movie. The ending in which the two meet up a few months (or whenever) later and exchange pleasantries and regrets (compounded with a smile) just feels forced and (mercifully) is the final scene in an otherwise dreary movie that is neither memorable nor interesting. It is sometimes funny, but not enough to carry a movie.

But hey, at least it isn't Four Christmases.

Overall, I give it 5 out of 10 stars.

Batman v Superman: Dawn of Justice.

Review #788: Batman v Superman: Dawn of Justice.

Cast
Ben Affleck (Bruce Wayne / Batman), Henry Cavill (Superman / Clark Kent), Amy Adams (Lois Lane), Jesse Eisenberg (Lex Luthor), Diane Lane (Martha Kent), Laurence Fishburne (Perry White), Jeremy Irons (Alfred Pennyworth), Holly Hunter (Senator Finch), Gal Gadot (Diana Prince / Wonder Woman), Scoot McNairy (Wallace Keefe), Tao Okamoto (Mercy Graves), Ray Fisher (Victor Stone / Cyborg), Jason Momoa (Arthur Curry / Aquaman), and Ezra Miller (Barry Allen / The Flash) Directed by Zack Snyder.

Review
The idea of a movie with Batman and Superman facing off against each other is not a new concept (in fact, a script had been written back in 2002, though naturally that idea did not come to fruition), but in theory the concept shouldn't work, considering that Superman is....well, Superman. But of course this is not a movie about a face-off, it's a movie that attempts to establish other DC superheroes (such as Wonder Woman, Cyborg, Aquaman, the Flash) which I do applaud in the sense that the DC movie universe has had very little success with franchises not named Batman or Superman, with their biggest problem being that it took them this long to even put these characters to screen. But does it make sense to include numerous heroes in the same movie?

The answer to all the questions (including the unasked one of if it is actually any good) is a no. And yet, it works for April Fools Day because of the fact that I was laughing at it. It was the only way that I kept myself sane for a movie that has the nerve to be 151 minutes long and manage to feel even longer (apparently there is even a 3 hour edition, because I guess home media releases will really need it). When I said "establish" other superheroes, I did not mean a conventional way of say, having the heroes we know (like Batman and Superman) encounter them (save for Wonder Woman, who is in the movie for about 20-25 minutes)...but instead have them introduced to us via video files. The fact that the movie really doesn't do a great job in actually giving us a glimpse into heroes not named Superman and Batman is troubling, but not exactly the biggest sin in this movie.

The movie starts out with (spoiler alert for anyone who's never heard of Batman's origins - which would be no one) the death of Bruce Wayne's parents (with some inspiration taken from The Dark Knight Returns, which I had read earlier in the week), but honestly there's no point to the scene because that (plus the scene with the bats) is completely unnecessary. The acting in the movie ranges from passable to deserving of mocking. Affleck is pretty decent, and it is nice to see an older Batman for once (unnecessary opening scene non-withstanding), but not even he can save a movie that can't keep focus. The plot feels very ham-fisted together, with events happening and going without any real definition. The dream sequences are especially jarring, mainly because they don't really gel well, only seeming to make the movie feel even longer. Saying the words "Jesse Eisenberg playing Lex Luthor" does seem a bit ridiculous, and his performance actually makes me wish I was watching Robert Vaughn in Superman III. He never seems evil, coming off more as a Willy Wonka reject, and he just gets on your nerves after a while.

Batman and Superman do indeed fight...for maybe 10-15 minutes. Naturally, it's a one sided fight (that is predictable if one saw the trailers beforehand), and while I will admit that it is a decent fight...it ends in the most idiotic of ways. It isn't a spoiler to mention that both of the heroes' mothers have the same first name of Martha. Yes, that is actually the word that essentially stops their conflict. Not an epiphany, not a third party hero, a coincidence that someone probably figured out when reading Wikipedia articles on Batman and Superman. It's weird how one can make a movie that feels so detached from reality (compared to other, better comic book movies); even scenes where cities are being totaled don't really evoke any feelings. The final fight in the movie (with Doomsday, who also was spoiled in the trailer, and manages to look really ridiculous) is a jumbled mess, but at least Wonder Woman is finally given something to do, like fight, for one thing.

The movie feels so bloated and so untrained that it made me laugh (albeit in a sad way); the fact that I saw it in a half empty theater is also a bit sad, but the fact that Marvel not only had a head start on making a movie universe, they also seemed to be the only one who can properly set a timetable on what to do. Even though the movie is bound to be a moneymaker, not even money can hide the sad fact that this movie just does not work. I understand if people like the movie (grim-dark is admittedly entertaining, and I did like reading The Dark Knight Returns), but for me the movie was only really enjoyable when I laughed to myself about it.

Overall, I give it 4 out of 10 stars.

Redux - Special Edition: Return of the Jedi.

Review #115: Return of the Jedi.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), David Prowse (Darth Vader (voiced by James Earl Jones), Sebastian Shaw (Anakin Skywalker), Ian McDiarmid (The Emperor), Alec Guinness (Obi-Wan Kenobi), Frank Oz (Yoda), Denis Lawson (Wedge Antilles), and Timothy M. Rose (Admiral Ackbar, Sy Snootles and Salacious Crumb) Directed by Richard Marquand.

Review
In my original review (#115 - April 1, 2012), I had given the movie a 9/10 rating, and while I stand by the rating, I regretted not saying more about the movie, with regards to the characters, action and effects. Because of this, I decided to finally make a Redux - Special Edition (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). 

Now, with May 25, 2023 on the horizon, it is time for a bit more editing. Don't worry, it's just the addition and subtraction of certain sentences to give better clarity. Enjoy.

Decades after its release, Return of the Jedi always seems to be lumped in as the lesser of the three films of the so-called Star Wars Original Trilogy. On an emotional level, the movie is a bit too safe, particularly with the ending. Granted, The Empire Strikes Back is a tough act to follow, because that film basically saw the series grow up a bit when it came to the stakes being even higher in terms of space opera while separating its characters into neatly defined plots. I maintain of course that the original 1977 film is the one with the most punch in terms of "first-time joy", but with Return of the Jedi, it does have the benefit of closing its door of a story not one of simple rebellion, but of one with father and son. Howard Kazanjian replaced Gary Kurtz as producer. The director would be Richard Marquand, who had directed The Legacy (1978), Birth of the Beatles (1979), and Eye of the Needle (1981), with the latter being cited by Lucas as key to hiring. This time around, Lawrence Kasdan and George Lucas wrote the screenplay with Lucas providing the story (Kasdan used tape transcripts of him, Lucas, Marquand, and Kazanjian in conference discussing ideas to help make the script). The film was a tremendous success, although for Marquand, having to direct with Lucas looming on set frequently when it came to handling effects certainly must have been a challenge. Marquand directed three further films after Jedi before his death in 1987 at the age of 49 following a stroke. 

Of all the cast in the movie, the one actor with the most impact is the one with little screen time and only 24 words, Sebastian Shaw, who manages to evoke the dying words of a redeemed but withered man with such little time and be one of the more memorable aspects of the film. The Emperor, after being seen briefly in Empire Strikes Back (voiced by Clive Revill in 1980 but replaced by Ian McDiarmid with computer-generated imagery for the 2004 alteration), is given his time to showcase his power over the Empire and Vader himself. McDiarmid plays this master of deception with an unsettling tone of voice that makes the villain more than just a hammy bad guy, compelling even without much revealed about him (until the prequels, anyway, which let him play a double act). Hamill's best scenes are with McDiarmid & Jones, and they make for compelling entertainment, with the lightsaber duel being a key highlight. While the trio of Hamill, Ford & Fisher doesn't really cover any new ground, it is nice to see them again. It's interesting that Ford wanted his character to die as a "self-sacrifice" for a character that progressed from a rogue who didn't particularly care about the Rebellion (while caring mostly about himself) all those years ago to one who decides to die for his friends; Kazanjian had got Ford to return to the role and actually agreed with Ford's suggestion to kill the character off, but Lucas refused. The reveal of Leia being Luke's sister isn't a bad scene, but after everything the two characters had gone through (such as the kiss in Empire to make Han jealous - at least I hope so), it comes off as somewhat strange, especially with Leia stating that she apparently always knew. Circle of life and all. The movie ends with everyone happy (complete with celebratory music in both the original and Special Editions), but does an Empire truly end just because you take down the leader? By this point, Lucas wanted to end the trilogy and curtail any plans he (supposedly) had for Episodes VII-IX and just end it, even if it wasn't as poignant as it could've been. My thoughts on the film have shifted the tiniest bit when it came to the Ewok battle on Endor, since a group of teddy bears that believed a golden robot was a deity manage to take down Empire soldiers with logs and...overpowering them seems more and more amusing when considering the idea of a technological empire losing to a primitive tribe was evidently Lucas deciding to evoke the Vietnam War. Hell, he calls the Ewok sequences a "distraction", not a win, so keep that in mind. The opening rescue sequence on Tatooine with the loathsome Jabba the Hutt is a delightful way to spring adventure from the get go.

Of course, the space dogfight is as fun as ever, probably more so when considering how the series would do them in later years (to say nothing of the Special Editions, which are most apparent here, from the ridiculous song in the first half to the ending); Richard Edlund, Dennis Muren, Ken Ralston and Phil Tippett were each given a Special Achievement Academy Award for their work in the film in effects. Once again, the music by John Williams is excellent, being entertaining (any of the themes from the Battle of Endor, with one of my favorites being "Into The Trap", but "Emperor's Throne Room" is also a chilling brilliant one). For all I said about how it seems too safe at times, Return of the Jedi an enjoyable film, full of spectacle that has enough fun to mostly overcome its emotional shortcomings. Is it slicked in more commercial flavor than the other two? Sure, but it still an enjoyable adventure, one that showed what is fun about making space adventure that turns old cliches into new enjoyment for all to see.

32 years later, Star Wars: The Force Awakens bridged its continuation to the old and new generations of fans, doing a fine job as a beginning of a new trilogy. Time will tell how the new trilogy (and spin-off films) will go, but as someone who saw Episode VII on opening day and enjoyed himself, I sure can't wait.

Overall, I give it 9 out of 10 stars.

Redux - Special Edition: The Empire Strikes Back.

Review #114: The Empire Strikes Back.

Cast
Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Billy Dee Williams (Lando Calrissian), Anthony Daniels (C-3PO), David Prowse (Darth Vader (voiced by James Earl Jones), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Frank Oz (Yoda), Jeremy Bulloch (Boba Fett), Alec Guinness (Obi-Wan Kenobi), and Denis Lawson (Wedge Antilles) Directed by Irvin Kershner (#004 - Robocop 2)

Review
In my original review (#114 - March 31, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the characters and effects at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux - Special Edition (which I did for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy.

The Empire Strikes Back is often called the best installment of the original trilogy and one of the best sequels of all time, and with good reason. It raises the stakes along with the mood and tension in a degree that makes for an entertaining movie that eclipse the excitement and depth of the original film in some aspects. It's interesting that the beginning of the movie starts not only with a large-scale battle, but one that our heroes technically lose (in that they retreat). Sure, they had destroyed the Death Star, but the story (and the war) didn't end just because you can blow up a base (or two). It has been three years since they destroyed the Empire's space station, but the Rebels has moved on from celebrating in Throne Rooms to having to deal with getting a new base and adapting to the cold and the fear the Empire would find them. The music by John Williams is once again fantastic, ranging from tense (The Battle of Hoth) to mysterious (Yoda's Theme) to one that inspires dread (The Imperial March) to one that fits for the climax (The Clash of Lightsabers), with the music fitting the movie just perfect.

Of the (now seven) films, Empire Strikes Back is the only one that introduces key characters while not having any major ones die, and the movie still manages to be emotionally satisfying. Williams is certainly a welcome addition to the band of heroes, managing to have a certain aspect of intrigue along with conflict about the decisions he has to make. Yoda is an interesting case, depending on when you see him (prequels/originals), but in this he certainly has a mystique that evolves from seeming like an strange little hermit (in our first encounter watching him first meet Luke) to a wise master that seems to have more secrets than he lets on. I love the puppetry for Yoda because it never seems fake or off-putting to watch. The way it moves around along with the voice (by Frank Oz) fits well with a character as grand as Yoda.

It's interesting how popular Boba Fett (voiced by Jason Wingreen originally, though replaced by Temuera Morrison after 2004) became even though he doesn't have many lines to say (though he does have a crucial role), though his armor is admittedly interesting to look at.  The Emperor (voiced originally by Clive Revill but replaced by Ian McDiarmid in the newer editions starting in 2004) has only one scene in the movie, but he manages to have an important presence even when he isn't seen because even though Vader seems to be more in control (as opposed to Tarkin essentially having Vader on a leash in the previous one) of the Empire's wrath, he still has a Master to look to. Of course, one can't mention the movie without saying something about the Han-Leia dynamic, and the way their romance doesn't seem to override the movie or take away from it - because it seems natural and it makes the movie more interesting than it already is. Even the line of "I know" to Leia saying "I love you" works because it doesn't bog the movie down in melodramatic form of romance (which is something the prequels, in particular Episode II failed to do).

Once again, the effects (visual and sound) are impressive, but the fight between Vader and Luke is also a key highlight, with the lighting and steam creating a subdued atmosphere, for a fight sequence that is a key improvement over the last film in terms of tension and stunt choreography. The reveal of Darth Vader being Luke's father is a moment in which the movie manages to culminate all the emotional buildup of Luke having believed that his father was killed by Vader only to find out a harrowing truth (or was it?...of course it was) into a powerful moment that still is a great scene even when you've already seen the movie or know the mythology because it still manages to be a memorable and effective scene, serving as a great climax for the film. Ultimately, The Empire Strikes Back manages to be a dark, but entertaining movie that serves a great sequel to the original Star Wars film that while not ending on a high note for the characters, still has a hopeful outlook to continue onto more adventures.

Next up on Redux - Special Edition is the film that ended the story of our heroes...for a while on a peculiar note...

Overall, I give it 10 out of 10 stars.

Redux - Special Edition: Star Wars (1977).

Review Special Edition: #113: Star Wars.

Cast

Mark Hamill (Luke Skywalker), Harrison Ford (Han Solo), Carrie Fisher (Princess Leia Organa), Peter Cushing (Grand Moff Tarkin), Alec Guinness (Obi-Wan Kenobi), David Prowse (Darth Vader (voiced by James Earl Jones), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Peter Mayhew (Chewbacca), Phil Brown (Owen Lars), Shelagh Fraser (Beru Lars), Jack Purvis (Chief Jawa), Denis Lawson (Wedge Antilles), and Garrick Hagon (Biggs Darklighter) Directed by George Lucas.

Review

In my original review (#113 - March 30, 2012), I had given the movie a 10/10 rating, and while I stand by the rating, I regretted not saying more about the movie. I barely mentioned the acting at all, among other aspects that I should have talked more about. Because of this, I decided to finally make a Redux Review (which I had done for A Christmas Story, Halloween, Licence to Kill, and On Her Majesty's Secret Service). Enjoy this "Special Edition" version, if you will. 

Star Wars (also referred to as A New Hope) is a mythical tale that has entertained audiences all around the world for over 40 years, and the scope of its influence on cinema (and filmmakers) can't be understated. It's interesting how a space opera like this had been influenced by other movies such as The Hidden Fortress and Flash Gordon serials, but also works by Edgar Rice Burroughs. Star Wars at its heart is a fairy tale with the mythical nature of the characters, legends in an epic that is not set in the beginning, but rather the middle. You don't have to watch the prequels before seeing this because this film s manages to introduce itself and its story extremely well, right from the opening crawl. I remember watching this when I was around 13 years old, and I can recall that I didn't know much about Star Wars at the time (aside from the name), but the Battle of Yavin (amidst other scenes) managed to stick out the most in my head, even years later. Perhaps it was the memorability of the characters, or the music (by John Williams) being so in tune to the movie, with Binary Sunset being especially memorable, but other music works extremely well to the atmosphere of the film (Cantina Band) or with adventure with the Yavin sequence at the end.

The characters are interesting to watch interact with each other (particularly our main trio), which is more interesting than the actual acting with regards to the dialogue. While admittedly Hamill can come across as slightly whiny, the progression of his character throughout the trilogy means that it is worth it in the end. Ford is a charming rouge who (along with Chewbacca) manage to be entertaining from the first scene they are in, primarily because of the sheer magnetism of the duo. Fisher also does a fine job, alongside Cushing and Guinness (both already well-established actors of film), who are both memorable in their own ways. Cushing is the perfect actor to play a role that really is the main enemy of the film (as he is the one that commands the Death Star, orders the destruction of Alderaan), even with a Sith Lord at his side. Guinness manages to seal the mysterious wise aspects of an old warrior in his first few scenes while putting Luke onto the path of adventure (even if what he says is true from a certain point of view) and realizing what he must do to play his part in trying to bring down the Empire. It's interesting how David Prowse plays the physical aspects of Darth Vader, and he sure fits the imposing frame of a villain perfectly, with James Earl Jones' voice being quintessential for the character.

Even though the movie has had fixes over the years (most notably the "Special Edition" version), the effects are still impressive to me in the sense that I love the effort it must have taken to get the look and action right, such as the TIE fighter attack and how it was based off of dog fights from World War II. The fun isn't in the themes or the dialogue, but in the adventure that ensues, and how it satisfies you by just being a charming movie that doesn't need slogs of backstory to be enjoyable. You can watch this first instead of the prequels and still not be too confused because it isn't one to try and fill background information, rather it is one that has a story of its own with a mythos that would only get expanded upon in future installments.

Next up on the Redux Review / Special Edition: The sequel that many argue is one of the best sequels of all time...

Overall, I give it 10 out of 10 stars.

Superman IV: The Quest for Peace.

Review #787: Superman IV: The Quest for Peace.

Cast
Christopher Reeve (Superman / Clark Kent), Gene Hackman (Lex Luthor / voice of Nuclear Man)
Jackie Cooper (Perry White), Margot Kidder (Lois Lane), Jon Cryer (Lenny Luthor), Mark Pillow (Nuclear Man), Sam Wanamaker (David Warfield), Marc McClure (Jimmy Olsen), Mariel Hemingway (Lacy Warfield), and Damian McLawhorn (Jeremy) Directed by Sidney J. Furie.

Review
Simply put, this movie is terrible. Any which way you look at it, the movie fails at every level, from failing as a superhero movie to failing to make a plot or direction that works to failing be a movie of spectacle or excitement. To make a long review of this movie would be redundant, but a basic criticism will suffice for such a basic movie. The first (and easiest) flaw to notice is the opening credits, which are representative of both the cheapness of the production studio (Cannon Films) and the harbinger of a movie that goes downhill from there. As usual, Reeve (who contributed to the story for the film) does a fine job, and Hackman returns to make for an entertaining Luthor once again, but neither can save a movie bogged down by terrible, terrible film-making not just from directing, but from a (chopped-down) budget that can't support what the movie wanted to be. The effects are the ultimate final blow, with easily visible strings, a shot of Reeve "flying" towards the camera being repeated numerous times, and numerous other examples of futile attempts at penny pinching. At least Cooper, Kidder and McClure are back, though they don't really very interested in the movie, much like the rest of us. The less said about Cryer, the better. Nuclear Man is certainly a strange villain, looking like he was time-warped from the early 80's, especially with the silver nails, and the fact that he is voiced by Hackman is somewhat off-putting. The fights between him and Superman are downright laughable, and the solution to defeating him via moving the moon in front of the sun is the only perfect way to end such a silly climax.

What is interesting in all of this is the amount of footage that was cut from the movie. Originally, the movie was over 2 hours long, but due to a bad test screening, Furie cut over 30 minutes out of the movie, with a good portion of those scenes (but apparently not all of them) later resurfacing on DVD many years later. Almost all of them have a bit of degradation to them, and scenes meant to show special effects (such as one scene where Superman rescues a child from a tornado) are unfinished, and even the final intended scene, with Superman and Jeremy (a child who wrote him a letter wanting him to intervene in possible war) flying over the Earth isn't finished, with a red glow effect on them.

In the end, the movie has no hope, no substance, no luck, and most of all no budget, proving to be the death knell of the movie franchise for 19 years. I'd recommend the movie as a guide on what not to do with regards to budgeting, editing, and most importantly, presentation.

Overall, I give it 4 out of 10 stars.

Superman III.

Review #786: Superman III.

Cast
Christopher Reeve (Clark Kent / Superman), Richard Pryor (Gus Gorman), Robert Vaughn (Ross Webster), Annette O'Toole (Lana Lang), Annie Ross (Vera Webster), Pamela Stephenson (Lorelei Ambrosia), Jackie Cooper (Perry White), Margot Kidder (Lois Lane), Marc McClure as (Jimmy Olsen), and Gavan O'Herlihy (Brad Wilson) Directed by Richard Lester (#541 - A Hard Day's Night, #594 - A Funny Thing Happened on the Way to the Forum, and #785 - Superman II)

Review
There is nothing wrong with a bit of humor and/or slapstick. Some comic book movies even excel at moments of lightness in otherwise good films. Superman III is not one of those movies. It's a sad, desperate attempt of trying so hard to be both that it manages to fail at every turn. It's hard to tell when the first cracks appear, but it could be argued that it's either when Richard Pryor first appears, or when the title sequence is shamelessly put on the bottom of the screen so we can all see some slapstick immediately after Pryor shows up. Afterwards, the movie goes up and down from there. Reeve is the best part of the movie, carrying the movie even when you know it's already past the point of no return. He even gets to play a Superman who (briefly) becomes weakened by synthetic kryptonite (just go with it) and becomes...a Superman who fixes the Tower of Pisa and even drinks some alcohol (while flicking peanuts at beer bottles). It's a ridiculous aspect of the movie, but it gives Reeve something to do amidst the Pryor parts that really take up nearly 45% of the film. There's even a scene where the two "Supermans" fight each other, which while being ridiculous (especially in how it ends), is actually pretty interesting to watch.

The new villain this time around is played by Robert Vaughn, but he doesn't really stick out too much, coming off as a Lex Luthor stand-in. O'Toole is the new leading lady (by that I mean for only this film), and while she is relatively decent, she isn't given much to do, as compared to Kidder...who is essentially put on a bus early on. And then of course there's Richard Pryor. He's not inherently terrible, and he is somewhat funny, but he doesn't really feel like he should be in a Superman film. For most of the movie he is on the side of the villain(s), but the second that Superman is in actual danger, he switches sides, and it comes off as a dull surprise. The only thing that surprised me is the computer "robotizing" one of the characters near the end, but of course it's not permanent, so whatever (by the way, how does a computer who is supposed to know Superman's weaknesses not realize how a certain acid gets volatile under intense heat? Actually, forget it, the movie still stinks). The movie's biggest flaw is that there really is no spectacle to any of it. You never really care about anything that goes on, and nothing sticks out in this movie that you truly remember as a good thing. The main idea behind the movie isn't terrible, but the execution falls flat on its face.

Overall, I give it 5 out of 10 stars.

Superman II.

Review #785: Superman II.

Cast
Christopher Reeve (Clark Kent / Superman), Gene Hackman (Lex Luthor), Margot Kidder (Lois Lane), Terence Stamp (General Zod), Jackie Cooper (Perry White), Sarah Douglas (Ursa), Jack O'Halloran (Non), Ned Beatty (Otis), Valerie Perrine (Eve Teschmacher), Marc McClure (Jimmy Olsen), Susannah York (Lara), Clifton James (Sheriff), and E.G. Marshall (The President) Directed by Richard Lester (#541 - A Hard Day's Night and #594 - A Funny Thing Happened on the Way to the Forum)

Review
If you're interested in the review, skip this paragraph, as it does not pertain to the review, merely serving as a little bit of background...

If you remember my review from two years ago of the original Superman movie (#547), I had said that it was a fine epic that succeeded in nearly every way possible, with the most important being that it was entertaining. Naturally, the movie was a success, and Superman II (which had been filmed simultaneously with the first film) would soon follow...but not with Richard Donner, who was "replaced" from the film by the Salkinds producers a few months after the first film's release. Richard Lester was tasked to finish the film. The dispute over what footage of the movie is Donner's and so on continued for years, with a "Richard Donner Cut" made in 2006 that tried to restore (as much as possible) footage that Donner had shot, though he was not involved with that cut.

With all that in mind, Superman II still manages to be a decent sequel. While it isn't up to the same craft as the first film, Superman II is as least entertaining enough to work. The movie has elements of humor that veer into slapstick (no doubt added by Lester), which admittedly gets in the way of enjoying my favorite part of the movie: The climatic fight with Superman and Zod, Ursa & Non. While it is a good fight that takes up the last 30 (or so) minutes of the movie, it is marred by random aspects. One example is Superman throwing his emblem shield at Non, which mystifies me on the level of practicality. Reeve and Kidder do have good chemistry together once again, and the romance is at least watchable, even despite the fact that Superman can just erase memories with a kiss (if he chooses to, I suppose), which makes for a peculiar (if not extremely inevitable) reset. The movie takes time to get going in the sense that it is more fun with Zod and the others around. The effects, while a bit peculiar at times, fit the movie well enough. Stamp certainly makes for a standout villain in the sense that there finally is a villain who can match to the physical strength of Superman, alongside the fact that Stamp is entertaining to watch, especially when asking someone to kneel. I wish that the idea of Superman taking his powers away in favor of being with Lois could have been more than just a five minute blip that just passes through and is nearly forgotten, right up to the end, anyway. I do find it interesting that at the end of the movie, Superman beats up a trucker (the one who had beaten him up while he was temporarily human), because...I guess Superman really felt that he needed to get some sort of retribution. Superman II is a sequel that has its bogging flaws, but it shines just enough with charm and a little bit of magic to work.

As for the sequel...next time.

Overall, I give it 8 out of 10 stars.

10 Cloverfield Lane.

Review #784: 10 Cloverfield Lane.

Cast
Mary Elizabeth Winstead (Michelle), John Goodman (Howard Stambler), and John Gallagher, Jr. (Emmett DeWitt) Directed by Dan Trachtenberg.

Review
Once again, I'm back at the theater, and it figures I do it on the one day with a discount for tickets. The end credits for the movie lists eight people for the cast, with three of them being our main cast and the other five being (very) minor roles. The movie mostly takes place within a bunker, and the enclosed nature of the movie works really well, with the biggest strength being its cast, and for good reason. Winstead is interesting to watch interact with everything that happens around her, but she also is a capable heroine, which is nice. Gallagher is certainly not a bad part of this cast, and he does contribute to making the movie bit of humor without being annoying. The big highlight is John Goodman, mainly because of how effective he is in a thriller that relies on tension and fear, which all the cast succeeds at doing. It can be fun to watch at one moment and then turn dark another moment, with the movie getting better and better as it progresses. None of the characters are annoying in their motivations, nor inherently unlikable, which is also a plus. Even without the Cloverfield labeling (I'll get to the other Cloverfield soon), it works well on its own. The climax of the movie is a bit of a departure from the thriller aspects, but it does manage to make the movie keep its good footing going. Admittedly, the ending does leave room for a sequel, which I wouldn't mind because I'd like to see what other stories could be told, and that is the last sign a movie did its job.

Overall, I give it 8 out of 10 stars.

Hot Pursuit.

Review #783: Hot Pursuit.

Cast
Reese Witherspoon (Cooper), Sofía Vergara (Daniella Riva), Matthew Del Negro (Detective Hauser), Michael Mosley (Detective Dixon), Robert Kazinsky (Randy), Richard T. Jones (Detective Jackson), Joaquín Cosio (Vicente Cortez), John Carroll Lynch (Captain Emmett), and Jim Gaffigan (Red) Directed by Anne Fletcher.

Review
Watching this movie is like microwaving a dried out hot pocket near its expiration date: it will either make for a modestly enjoyable experience that you'll forget about conveniently later...or it'll just come off as a stale experience that you'll forget about conveniently later. In my case, this falls in the latter, but what was I expecting? It's difficult to come up with elements to get aggravated about, mostly because there are far better (or worse) movies to talk about. The movie is as cookie-cutter as it gets, with jokes that would be funny if they made sense. The characters/acting are nothing special, feeling like cliches of established cliches, and of course the duo is all bickering at first, but not as much at the end...I suppose. Witherspoon and Vegara never seem at all comfortable together, and any chemistry they could've had is weighed down by tedious plot device that make the movie seem more detailed than it really is. The comedy is not entirely obnoxious, but it just feels so bland that nearly any pairing could be in this "buddy film" without any changes to the plot. Near the end, I wonder if this would've worked better (or at least not as bland) as a drama...probably not. Let's do a little game:
I wish my mind could convince me that my friends care about me and not just merely tolerate me.
If you think there's a joke about Witherspoon looking like a little kid (because 5'1 people are so short), collect 10 points.
If you think there's a joke about Vergara being described as 45-50 years old on TV bullitens, collect 10 points.
If you think the movie is less than 90 minutes, collect 10 points.
If you think this game is an unnecessary exercise in trying to escape having to describe the movie in detail, collect 1,000 points.
While I like doing these reviews, I have a lack of energy to actually review, especially now. Sorry.
If you have 30 points, you either watched one trailer for it, or you flat out used conventional sense.
If you have 1,030 points...you are beyond correct. If you want to see a buddy film, literally google to see if there are other picks. If after exhausting all your options and stuck with no one around to watch it with (or stop you)...go to sleep. Or fix your film shelf. Or try and reach out to friends.
Yea, like that last one will ever happen. Seriously, I watch most of these films alone.
Overall, I give it 4 out of 10 stars.

Zootopia.

Review #782: Zootopia.

Cast
Ginnifer Goodwin (Officer Judy Hopps), Jason Bateman (Nick Wilde), Idris Elba (Chief Bogo), J.K. Simmons (Leodore Lionheart), Tommy Chong (Yax), Octavia Spencer (Mrs. Otterton), Jenny Slate (Dawn Bellwether), Shakira (Gazelle), Nate Torrence (Officer Benjamin Clawhauser), Bonnie Hunt (Bonnie Hopps), Don Lake (Stu Hopps), Alan Tudyk (Duke Weaselton), Mark Smith (Officer McHorn), Raymond S. Persi (Flash), and Maurice LaMarche (Mr. Big) Directed by Byron Howard, Rich Moore (#386 - Wreck it Ralph) and Jared Bush.

Review
Honestly, the movie exceeded my expectations. And it only makes sense that it comes from a movie ultimately all about how we perceive types of people...and the fact that it came at a time like this with regards to prejudice and stereotypes. It's not merely a buddy film, or a movie just with animals in a city, or even just a silly comedy, it's a clever movie on many levels that could appeal to anyone. Of course it helps the cast is enjoyable as well. Goodwin and Bateman have good chemistry together, being enjoyable to watch not just exchanging remarks, but actually in solving the case. The rest of the cast is also pretty enjoyable, making these characters (and animals) stand out. It's also a wonderfully animated movie, especially with shots of the city, but also the look of the animals. It's a movie that also doesn't hesitate to take risks with plot and characters, and it always kept me interested in what would go on next. The way the movie talks about prejudice and stereotyping is also well done, being neither over done nor underplayed, being utilized neatly. More importantly, this is a movie that works for both kids and adults, being a movie full of creativity and enjoyment that anyone can like.

Overall, I give it 9 out of 10 stars.

Mad Max: Fury Road.

Review #781: Mad Max: Fury Road.

Cast
Tom Hardy (Max Rockatansky), Charlize Theron (Imperator Furiosa), Nicholas Hoult (Nux), Hugh Keays-Byrne (Immortan Joe), Josh Helman (Slit), Nathan Jones (Rictus Erectus), Zoë Kravitz (Toast the Knowing), Rosie Huntington-Whiteley (The Splendid Angharad), Riley Keough (Capable), Abbey Lee (The Dag), Courtney Eaton (Cheedo the Fragile), John Howard (The People Eater), Richard Carter (The Bullet Farmer), and iOTA (The Doof Warrior) Directed by George Miller (#380 - Mad Max, #392 - Happy Feet, #493 - The Witches of Eastwick, and #707 - Mad Max 2)

Review
When it comes to action films, Mad Max: Fury Road will certainly come up as a discussion subject with regards to action movies that truly never let up, from beginning to end. Miller wanted to make a movie that was a continuous chase of cars and action...and he certainly succeeds. But the movie is more than that, it's a wonderland of spectacle and unique action. One of the characters has a guitar that doubles as a flamethrower, but the movie already has enough in terms of interesting characters, with the most interesting not entirely being Max, but Furiosa. Perhaps it has to do with her being a strong character who flat out takes command of the situation (and perhaps the movie) and never lets up in just being a compelling action hero (With a metal arm to boot), with her motive of redemption being especially interesting. Hardy is our new Mad Max, doing a good job at capturing the essence of a man haunted by his past (even awakening from a dream shaking), and thankfully there's never a moment where you're stuck wondering how it would've been with Gibson, which helps the movie gain more and more footing. The rest of the cast also does a good job, especially Keays-Byrne, who makes for an interesting villain. The wives (Kravitz, Huntington-Whiteley, Keough, Lee, Eaton) also do a fine job, interacting well with each other as well as rest of the cast. The movie (much like the other Mad Max films) looks great with regards to the environment and effects. The music by Tom Holkenborg (aka Junkie XL) is also well-done, matching the movie in great unison. It's a movie about survival and redemption, with home being the biggest motivation of them all. Whether it's a sequel or a reboot is irrelevant, the movie is a wonderfully octane experience that has more layers than meets the eye.

Overall, I give it 9 out of 10 stars.

The Witch (2015).

Review #780: The Witch.

Cast
Anya Taylor-Joy (Thomasin), Ralph Ineson (William), Kate Dickie (Katherine), Harvey Scrimshaw (Caleb), Ellie Grainger (Mercy), Lucas Dawson (Jonas), and Bathsheba Garnett (The Witch) Directed by Robert Eggers.

Review
It's been a week since the last review, so on a whim, I decided to look up films in the theater. Of the new ones in release, this one popped up that I hadn't heard of. After a bit of searching over what it was (including the fact that it had premiered at Sundance the year before), I decided to go see this film on a whim. Even though there were only a handful of people there to see with me, the movie was worth the price of admission. The movie (set in the 17th century) certainly has a good atmosphere and setting, while managing to have a fairly entertaining group of characters and not trying cliche techniques to scare the audience. The dialogue (which according to the credits is based off real journals and accounts of the time) takes a bit of time to get used to, but the actors manage to sell the movie and make the characters very believable. The child actors (Scrimshaw, Grainger and Dawson) are not too annoying, and they share a critical scene (Along with Taylor-Joy) that manages to be creepy. The movie certainly does take its time to get going, but the movie eventually gets its footing on the strength of the family dynamic and the interactions between all of them. It's not a movie to watch for blood/gore, but for the creepy tone that it manages to set up with such a simple premise. It's not a great horror film, but it is at least an entertaining movie that keeps itself going from beginning to end.

Overall, I give it 8 out of 10 stars.

Deadpool.

Review #779: Deadpool.

Cast
Ryan Reynolds (Wade Wilson / Deadpool), Morena Baccarin (Vanessa Carlysle), Ed Skrein (Francis Freeman / Ajax), T.J. Miller (Weasel), Gina Carano (Angel Dust), Brianna Hildebrand (Negasonic Teenage Warhead), Stefan Kapičić (Peter Rasputin / Colossus), Leslie Uggams (Blind Al), and Karan Soni (Dopinder) Directed by Tim Miller.

Review
I didn't know what to expect with Deadpool, but I decided to go with it not only because it had been nearly two months since the last time I went to the theater to watch a new movie, but because I wanted to see how an R-rated Marvel movie (the first one of those in quite some time) would pan out. Yes, a movie doesn't need to be R to be good, but restricting yourself to PG-13 (like some certain movies) doesn't help either, and this movie certainly pulls all the punches needed to make for a really entertaining movie. For all of the years that it took to get Deadpool onto the screen (and an appearance in X-Men Origins: Wolverine that I (and probably you) have no recollection of), it seems that it certainly was worth it with the end result, with the biggest reason for the movie's success being the script + Ryan Reynolds, both working a great pace to make a really funny, really offbeat lead character, who truly is the "Merc with a mouth".

The movie works at such a rapid pace (even when focusing on the origin part of Deadpool), and the cast works really together, especially Reynolds-Baccarin, and even Skrein (our villain) gets a few good barbs here and there. The movie is certainly not family-friendly (good!), but it isn't just flat out profanity, especially with the spectacular (if not gruesome) action. From the opening credits, the movie establishes itself as one with no real rules, and it goes on from there, completely going off-the-wall into a territory on a completely different level from other comic book films made by 20th Century Fox (or Marvel), especially when Kapicic and Hildebrand (according to Deadpool, the only two X-Men the studio could afford to put on screen) are in the picture. To spoil the movie is no fun, you need to see the movie in order to at least see if this...unique kind of bizarre movie is for you. And as it should be, stay for the end credits.

Overall, I give it 8 out of 10 stars.

Redux: RoboCop 3.

Redux Review #006: RoboCop 3.

Cast
Robert John Burke (RoboCop / Alex J. Murphy), Nancy Allen (Anne Lewis), Remy Ryan (Nikko Halloran), Rip Torn (OCP President), John Castle (Commander Paul McDaggett), Jill Hennessy (Dr. Marie Lazarus), Mako (Kanemitsu), C. C. H. Pounder (Bertha), Felton Perry (OCP Vice President Donald Johnson), Robert DoQui (Sgt. Warren Reed), Bruce Locke (Otomo), Bradley Whitford (Jeffrey Fleck), and Mario Machado (Casey Wong) Directed by Fred Dekker.

Review
Welcome to a Redux Review of the original RoboCop 3 film, which is a revised review meant to say more about the movie as a whole. The rating will stay the same, but I feel that this Redux is necessary (which I could say for a good deal the original batch of reviews). Not to worry, there will be new reviews on the way, but I feel that the upcoming Redux Reviews are necessary to help better the evolution of Movie Night, and to help alleviate the unintentional month long hiatus. Enjoy. 

Yes, RoboCop 3. If you've seen the other two Redux Reviews, I went into a good amount of words to express a variety of opinions for a movie that was really good...and the one that was a disappointment. With this, it's not hard to say why this movie isn't good, or even passable, though the younger me kinda thought it was okay (still, I gave it a 5, but even a mediocre movie can be enjoyable at times). With the third movie, the expectations are extremely low, and the fact that the movie was actually shelved (according to the 1992 copyright) due to the bankruptcy of Orion Pictures. In fact, the movie was filmed in buildings slated to be torn down for the 1996 Olympics (if there's an irony, I hope you find it) in Atlanta. Peter Weller did not want any part of this movie (deciding to do Naked Lunch and not have to deal with the bulky suit once again), and Nancy Allen did the movie only on the condition that she would be killed off (and probably some money too, but hey, I can't imagine why). There is also no more Dan O'Herlihy as the head of OCP, instead being replaced by Rip Torn. The makers decided to make the movie PG-13 oriented (because of the belief that kids were part of the fanbase - which I believe in the sense that kids watched because of their parents) instead of R, which meant lowering the amount of violence (in a sense). Once again, Frank Miller returned to write the story and screenplay (along with Dekker), but it doesn't matter all too much. Despite all of this...I can't say I hate this movie.

Don't get me wrong, it is a movie dead on arrival, with no chance at being anything but a lackluster movie made to try and make money (and failing)...but still. This is a movie where RoboCop not only fights robot ninjas, but also flies in a jet pack for the climax of the movie. I can't even be angry at the nondescript villain (easily the worst villain in the trilogy), because this is a movie that has nothing going for it. Burke is not exactly miscast as RoboCop, but after two movies with Peter Weller that were probably one of the best aspects for both movies, Burke comes off as less memorable and more robotic sounding. and he doesn't have much time to develop any chemistry with any of the characters. Rip Torn doesn't get much to do, but he is at least amusing in a thankless role. C. C. H. Pounder is mildly enjoyable, and Felton Perry does a reasonable (if not brief) performance once again. Of all the actors that had been in the other movies, Robert DoQui is my favorite, and I guess its probably because he just seems more at ease with being in these movies, whether good or bad. Mako is indeed in the movie...for maybe 5-10 minutes. Seriously, he says a few lines about how he will send his robot ninja (Otomo) to deal with the Resistance problem, and he bows to RoboCop at the end of the movie. I had forgotten about Remy Ryan and her computer whiz kid character...at the age of 8. Clearly, it was a preparation for Anakin Skywalker in The Phantom Menace, and I can't figure out which is worse. Naturally there's a character named Lazarus, because either a 9th grader thought of the name after learning it in English class, or because it sounded cool (you decide). Hennessey is okay, but no good (or great) performance can save a movie that looks destined for TV-movie status.

And yet, I can't help but laugh at the ridiculous aspects. For example, the jet pack scene. There had been foreshadowing (or outright hints) of it throughout the movie, and though it is first used as a way for RoboCop to charge himself (not as a phone, mind you), you just know it is coming. When it does happen (in the midst of a battle between OCP and the Resistance/cops), RoboCop takes his sweet time in getting to the crux of the fight (which already had punk mercenaries and a granny packing an Uzi)...and he promptly fires a rocket into an OCP tank that blows it up (and fires a few shots at some mercenaries), which apparently wins the battle. But my particular favorite is his confrontation with not one, but two ninja robots (because one's not enough, and I guess Kanemitsu sent 3 robots and not one as it implied)...and the kid programmer and Lazerus program two robots with swords to chop each other off in a matter of seconds. Remember how I said logic is dead? RoboCop 3 resurrects it, then it kills it all over again, complete with 90's cheese. Afterwards, RoboCop has to escape the self-destruct that activated when the two robots destroyed each other (okay), and the villain is stopped...by the flame discharge by the jetpack, which means he can't stop the self-destruct. The fact that this villain is such a non-threat that never comes off as having any sort of personality or brutality in him means you can barely enjoy his defeat.

Basil Poledouris does at least return to score the music, and while a good chunk of it is from the first film, it is refreshing to hear that main theme once again (after RoboCop shoots up his roof with his gun - yes I'm serious), even if the movie has no sense of emotional depth. At least it doesn't reset RoboCop to having to find his human side again, but I'm amazed at the ineptness of OCP still having to get Delta City off the ground, but the idea of a Resistance fighting off against corporate bad guys is exactly what you think it is. I can understand someone really hating the movie, but for me personally, it's a stupid (but silly) movie.

And so ends my Redux Recap Trilogy on the three RoboCop movies. I hoped you enjoyed the reviews, and I promise you there will be more material (including Redux Reviews on another famous trilogy covered once before), but especially new reviews, coming soon. Stay tuned.

Overall, I give it 5 out of 10 stars.