Category: Movies

I bought this film at the Friends of the Springfield-Greene County Library book sale in April, but the real trigger to watching it comes from having later bought Lanie Kazan’s record. And she plays Nia Vardalos’s mother in the film–third billed after Nia Vardalos and John Corbett, that guy from Northern Exposure who was briefly the It-Guy for (over-)educated hunks at the turn of the century, so of course I picked it up right away. Not because of John Corbett, although I would have felt more like him seven or eight years earlier when I was the over-educated one with the mullet.

I did not see this film in the theatre, but I saw this film with…. Originally, I thought it might be before my beautiful wife, but the timing is not right. Unlike Get Shorty, this film clearly came out (and by clearly, I mean by checking its date) after we were together married. Apparently, she had seen it with the ladies at work (back in the day when we went to work and not to our separate home offices–oh, so long ago), and she then wanted to watch it with me. And we did.

So this was Nia Vardalos’s big shot. She wrote it, and she stars as Toula, an ugly duckling daughter of a Greek restaurant owner in Chicago who wants more than to be the dutiful daughter all her life. So she–with the help of her mother, played by Lanie Kazan as I mentioned, gets her father to allow her (Toula) to attend college to learn computers. She does and gets some work with a cousin’s travel agency. Along the way, she meets Ian (John Corbett), an English professor who is the only child of WASPy white-bread parents. They fall in love, and the cultures clash as she has a big, boisterous family compared with his mother and father as sole representatives of his family.

The humor comes from that culture clash as they prepare to wed with their (mostly hers) family’s help. She pokes fun at Greek heritage, and Ian’s parents, well, they’re stereotypes (archetypes?) of the sort who name their child Ian.

But, you know what? As a pretty white-bread whitey who grew up in the ghetto and in the trailer park instead of any side that could be called “upper,” I’m not offended because:

• I can laugh at myself and those who look like me.
• There’s no money for me in faking outrage.

At any rate, a pleasant and amusing way to spend a couple of hours.

Apparently, it proved lucrative for Nia Vardalos. She had a hit film that spawned a franchise (a couple of sequels over the decades including one that’s forthcoming) and a television show based on the movie. She’s also had a career with television appearances and small movie roles over the years, but she did not replicate the success of this film into leading role success in the cinema.

I would draw a parallel to my own creative career, gentle reader, but you’re here on this blog, and this blog is pretty much it.

I kind of remember the Pink Panther movies from my younger years. I’d like to say that I saw one of them at the drive-in with my parents. We went a couple of times when I was younger, sometimes my parents, my brother, and I, and at least once with my mother and her friend the country singer and her two boys. Enough to think we went all the time, kind of like how a handful of Christmases and holidays from my very younger years set the pattern. But going to the drive-in in the late 1970s was already trending toward an anachronism. I’ve thought about taking my boys down to Aurora for the drive-in there (and mentioned it to my beautiful wife while talking about this film, triggering Facebook ads for that very drive-in). But I am sure my boys would find the experience underwhelming. I also think that I saw parts of a Pink Panther film when we later at the home of the country singer, her husband the wedding singer, and their two boys, either on a sleepover or in the interim month between exiting the projects and decamping for Missouri at the end of the school year–I remember the bit about Inspector Clouseau’s butler attacking him. I also remember that Inspector Clouseau was a bit of a, what, trope? when I was younger. You’d say someone was a Clouseau who was stating the obvious or was making a bad deduction. And look at his attire on the cover: He was the inspiration for Inspector Gadget, ainna?

At any rate, with the title The Return of the Pink Panther, I thought it would be the sequel to the first film. But, no: This is the fourth in the original series of 11 films (with two 21st century rebooted movies starring Steve Martin instead of Peter Sellers). It came out in 1975, eleven years after the first. So I have no idea of whether I’ve seen bits of this film before–probably what was showing in the drive-in or on HBO at the time would have been later entries in the series.

So: Someone has stolen The Pink Panther, a large diamond with a flaw in it that looks like a leaping pink panther (not like the Owen Corning pitch cartoon character–the cartoon character originated in the titles for the film series) is stolen (again), and Clouseau is tasked with investigating (over the wishes of his commander, who has finally succeeded in getting Clouseau off of the force). His old nemesis The Phantom (Christopher Plummer) is suspected of the crime, but he did not do it–so he sets out also to find out who did. A number of humorous set pieces later (my oldest passed through while I was watching it and guffawed at a bit), and Clouseau is there when the culprit is revealed: the Phantom’s lover, who did it to spice up the retired Phantom’s life.

Uh, retroactive spoiler alert, but it is a 48-year-old movie that isn’t about the whodunit it but the cartoonish comic pieces, like when Clouseau enters the suspect’s hotel room and destroys it with a vacuum cleaner.

I don’t know that I have seen any of the other films or reboots in the wild, but I might pick them up in the future if they’re a buck or so (as this was when I bought it in April).

I saw this film in the theater, without Mike as I just mentioned, although in this case “just” is three years ago as befits my work-from-home-addled memory.

In it, Brendan Fraser plays an obnoxious dweeb customer tech support worker at a tech company in San Francisco who tries too hard to relate to his co-workers and earns their disdain and mockery for his efforts. On an uninvited outing to a bar where his co-workers have gathered without him, he runs into a co-worker upon whom he has a crush but who dismisses his clumsy attempts at conversation. When he says he’d do anything to be with her, the Devil, played by Elizabeth Hurley, hears him and offers him seven wishes in exchange for his soul. He reluctantly accepts, and the bulk of the movie depicts the situations where he wishes to be rich, to be erudite, to be strong and athletic, and so on, and how the Devil thwarts him. He wants to be rich and married to Alison (his crush), and he ends up as a drug lord whose wife despises him (the scenes in the trailer of this piece prompted my call to Mike in el español), or a giant dumb athlete with a small, erm, you know, Johnson, and so on. Amusing and even funny at times (can I say that as a snoorky blogger, wherein I blend snooty and snarky into the portmanteau).

The film also has Gabriel Casseus as “Elliot’s Cellmate” but a stand-in for an angel or God. I’d remembered this role as played by Don Cheedle, but no. And at the time of my original viewing, I thought It’s that guy from… but looking at his IMDB entry, I can’t think of what it would have been. I saw him in Blackhawk Down and Black Dog) not an actual movie review, but a posting of when I bought the film which I watched shortly thereafter).

Theologically, the film gets a little muddy on the Devil/God thing, showing them at the end playing chess when Brendan Fraser’s character walks by with his ultimate earthly reward (a relationship with a pretty girl), and the Devil tries to cheat after pointing out the lovebirds and drawing the cellmate’s attention away. It does not mention Jesus, et cetera, but if you need to, you can kind of, sort of, recast it a bit as the book of Job, but not really. Although I’m not sure how one should recast the book of Job anyway.

But enough about theology. What of Elizabeth Hurley?
Continue reading “Movie Report: Bedazzled (2000)” →

Ah, gentle reader, this film provided a bit of mental relief for me in the real world. When I proposed watching this film, my beautiful wife said to me, “We saw that in the theater.” To which I responded that I had never seen the movie. Given that the film came out two years before we met, we did not see it in the theater. I was pleased to see that she, too, pencils me into some of her memories from that brief interlude between childhood and marriage. I myself have on several occasions said something like, “Remember when we…” only to discover she was not a part of the we I was thinking of. I thought perhaps I alone was muddy on that brief interlude between summer 1994 and early 1997, the interregnum between college and being a couple, which were very busy and whose memories I sometimes retcon my wife into.

At any rate, this film is based on an Elmore Leonard book. A small time loan shark, Chili (played by John Travolta) has a run-in with a henchman of a major Miami player (the henchman played by Dennis Farina) and humiliates the henchman but cannot be retailiated against because of his powerful boss. Chili goes looking for someone who has run out on a debt and whose $10,000 skimming has blossomed with an insurance settlement for a plane crash that the drycleaner/welsher (played by David Paymer, hello, hello–did I see Crazy People with my wife or before?). Chili goes to Vegas, braces the drycleaner, and is asked by the Las Vegas mob to collect on a debt from a horror movie producer, Harry Zimm (Gene Hackman). When Chili breaks into the house where Zimm is staying, he tells Zimm about the adventure he’s on, pitching it as a movie, and Zimm is interested–if Chili can help get the rights to a screenplay held by the writer’s widow (Bette Midler).

Oh, yes, it gets complicated. But it has a movie-within-a-movie that a medieval drama enthusiast would enjoy. It’s chock full of stars, and it has clever twists that you would expect from an Elmore Leonard book-turned-movie (see also Out of Sight and Jackie Brown, neither of which I’ve actually reported on… yet). I said to my wife after having seen the film that it’s a shame that they don’t make movies from Elmore Leonard books any more, but they’re still making them. Get Shorty had its sequel Be Cool and a television series; 3:10 to Yuma had a remake; Justified was based on a series of books by Leonard, and it’s getting a revival.

Probably a better question, with a worse answer, is why we don’t make writers like Elmore Leonard any more. Or why Hollywood would not adapt their works if we did.

I saw this film in the theatre with my beautiful wife probably on a date night–I mean, 2009 was a busy year for us, what with my sainted mother passing away, my brother returning to the St. Louis area, and our decamping Old Trees for Nogglestead. Still, a year is full of individual days that fit around the big events or the not-events of less consequential years. So we undoubtedly deployed our then-teenaged and by now nearly thirty babysitter and went to see this movie.

You know, I said about Jet Li’s Fearless:

But it’s an interesting film once you peel away the layer of Chinese propaganda film that hovers over all.

* * * *
So, well, yeah, a good story wrapped in Chinese anti-Western propoganda.

You could make a similar statement about a bunch of George Clooney films: A good story if you ignore the anti-American, anti-military, and especially anti-Iraq War message wrapped around it (see also Three Kings et al.).

A journalist, portrayed by Ewan MacGregor, loses his wife to an editor and makes his way to the Middle East to report on the war there and re-establish his manhood. He hooks up with a former (?) military man who participated in a paranormal research program who has a mission in the Iraq War, although he is not sure what it is. Through a series of flashbacks, the military operator, played by George Clooney, tells of the origins of the unit when Jeff Bridges, playing the Dude character, becomes a flower child and soaks up New Age stuff like a sponge and runs the military research unit like a commune, but it comes crashing down when a more military-minded and potentially inferior “gifted” officer, played by Kevin Spacey, fouls it up.

So it’s got some wryly amusing moments in it. It doesn’t really acknowledge the paranormal, leaving it a little ambiguous but certainly nobody here is a superhero at best.

But, yeah, a mocking tone that questions the military and its involvement in the Iraq War. While the Iraq War was still sort of going on. But more intelligent than anything that would come later with The Message.

And I have it on DVD in case I want to watch it again in another fifteen years.

Well, gentle reader, you know what you’re getting with a modern Chinese film. You’ve got some star power in Jet Li (whose other films I’ve enjoyed, including Kiss of the Dragon, Hero, The Black Mask, Lethal Weapon 4, and most recently The Expendables). Okay, an older Jet Li, kind of like you get an older Jackie Chan in similar films, but still interesting and exciting to watch. But it’s an interesting film once you peel away the layer of Chinese propaganda film that hovers over all.

Jet Li plays the adult son of a martial arts teacher whose father lost a public bout with honor and tried to instill that honor into his son, but did not. Eventually, Jet Li becomes the leader of a washu school of martial arts that his father began, and he becomes successful in drawing students. He starts to live a bit of the high life with it, but when a rival school’s leader beats one of his students, for no reason (he is told by the student), he fights that leader in his (Jet Li’s character’s) friend’s restaurant, leading to its (the restaurant’s) destruction and the loss of the friend. Worse, he kills the other school’s leader, and then he learns his student embelished the story and the whole thing was unnecessary. He ends up wandering, falls in with a family and a blind girl (played by Li Sun) and learns to love and live again. So he returns home to fight again, this time for China against the forces of the West plotting against China.

So, well, yeah, a good story wrapped in Chinese anti-Western propoganda. Although, strangely, the Japanese champion comes off humanized, or at least lives up to the Chinese ideal.

So all right. Perhaps in a couple of decades the Chinese propoganda element will be lessened or merely a historical note. And then we can look upon it as a story of redemption, and not preparing to paste it to my children who are coming into draft age.

But enough about us. About Li Sun.
Continue reading “Movie Report: Jet Li’s Fearless (2006)” →

After watching The Green Hornet, I picked up this film which might have been the movie that launched Seth Rogen’s career, to see if his characters always annoyed me. Which is a little less than rage-watching, but he had a big moment about a decade and a half ago, and I wanted to maybe catch a little of his career in case it ever comes up in a trivia night. After all, the things I thought were trivia–pop culture details from the 1940s-1970s–is now ancient history and the lost wisdom of the Ancestors.

So.

In the film, Rogen plays a frattish bro living with a bunch of friends who are hoping to make it rich off of an Internet site (coming sometime) that tells you when you can see boobies in the movies. Katherine Heigl plays an up-and-coming broadcast talent who finally gets her break in front of the camera. The frattish boys are out at the club because that’s what they do, and Heigl’s Alison is celebrating her promotion, and after many, many drinks, Rogen’s Ben and Alison hook up. The coitus they barely remember results in Alison becoming pregnant, and against the advice of her family and at risk of her career, she decides to keep the baby. When she tells Ben, he decides to help, and they get to know each other as they prepare for the baby’s birth.

So the manboy in this film does undergo some character growth–the woman too–but I attribute this more to it being a Judd Apatow film more than a Seth Rogen film. some of Apatow’s other works also have those bits of growth and depth to them–This Is 40, The 40-Year-Old Virgin maybe–but some are just straight ahead comedies (Anchorman, Superbad, Talladega Nights: The Legend of Ricky Bobby, et al). Looking over Apatow’s ouevre, I have seen a lot of his films, and although I note that many of the same actors appear in them–his family, Leslie Mann, Paul Rudd, Jonah Hill, Seth Rogen, and so on–I don’t think of the Apatowverse like I think of the Stillerverse or the Sandlerverse. Probably because he’s behind the camera–far behind it as a producer and writer not always the director.

So the film was not as bad as I had feared it would be. Like most 21st century R-rated comedies, it has a lot of swearing and requires drugs or blackout drinking for major plot points–I need some Cary Grant films as a palate cleanser–but it is easily the best Seth Rogen film I’ve seen. Of which the sample size is small (although he has smaller parts in other movies in the Apatowverse, he stars in but a few).

I mentioned when talking about Judge Dredd that it felt like a throwback to the movies of the 1980s. The first Bad Boys came out the same year, and it seems like a far newer film. Will Smith when he was cool and Martin Lawrence chew up the scenery as two detectives hunting for heroin stolen from the police evidence room. A witness to a shootout (Téa Leoni) has been told to only trust Will Smith’s Lowery, a ladies man, but when she calls looking for help, she gets family man Burnett (Lawrence) who pretends to be Lowery. Which leads to some comedy as the detectives have to pretend to be each other to keep the ruse going. A couple of chases, gunfights, and explosions later, and finis.

C’mon, man, you’re not here for insight into the human condition. You’re here to see Smith and Lawrence chew the scenery and banter. Apparently, it works, since there have been two widely spaced sequels (2003 and 2020(!)). So an amusing couple of hours and a way for me to bring my pop culture knowledge all the way up to 1995.

And this might be the first film where Téa Leoni’s character did not annoy me. The list of those films includes Deep Impact, The Family Man, and Spanglish. I guess I did not specifically mention being annoyed with her in Fun with Dick and Jane, so maybe not.

I bought this videocassette at the Friends of the Library Book sale this spring, and it was only after I’d spent my quarter on it and I popped it into the videocassette player that I wondered if it was part of the four-movie Stallone set that I bought that has Demolition Man on it. I was pleased to learn it is not. Before I watched the film, I was not sure if I’d seen it before, but I think I had. To be honest, over the years, Stallone actioners and post-apocalyptic films didn’t stick with me after my younger years.

This film, based on a comic book, has Stallone as the title character, a sort of super-policeman in a crowded Mega-City One who serves not only as the person who arrests people, but can sentence and even execute them on the spot. A super-villain escapes prison and returns to the city, aided by powerful politicians who want to use the chaos to bring about a better world–wait a minute, am I watching Demolition Man? Apparently not, as this film also has Rob Schneider as comic relief in a hacker freshly released from prison. Dredd is framed for the murder of an investigative reporter and sent to a penal colony along with the hacker, and their transport is ambushed by marauders of the wasteland outside the city. They are rescued by Dredd’s old mentor, banished himself when he spared Dredd’s life on his conviction. The mentor reveals that Dredd and his friend, whom Dredd put into prison, are actually brothers, experiments in building the perfect judges. So Dredd and Rob Schneider return to Mega-City One to stop the chaos and to bring his brother to justice.

So you can see a lot of thematic material that was probably better presented in other films mashed up into this one. But it’s not a bad film–it’s just one that does not stand out. And when I watch it again–it’s the kind of thing I’m likely to watch again (and probably remember that I’ve seen it before next time)–I will enjoy it for what it is. A mid-1990s actioner that was already a bit of a throwback to the 1980s when it was released.

The film also featured Diane Lane, who played Judge Hershey, a trainee who becomes Dredd’s ally.
Continue reading “Movie Report: Judge Dredd (1995)” →

I’d had this film in the cabinet for quite some time, and I watched it instead of the growing selection of recent acquisitions spreading across the cabinets beside the television.

It has been a long time since I delved into Arthurian legend. I read Edna St. Vincent Millay’s The King’s Henchman in 2007. I saw The Sword of Lancelot with Cornel Wilde and his wife Jean Wallace sometime after the turn of the century but before I started relying on Movie Reports to provide content for my great advertising and affiliate marketing empire keep my mind straight as to what I’ve seen and when.

This 1981 film retells the legend of King Arthur from the time of his father Uther Pendragon–who receives Excalibur from the Lady in the Lake and unites England, but throws it all away and relies on Merlin to help him seduce the wife of his rival. The union produces a son, Arthur, whom Merlin raises. Arthur then reuinites England pretty much off stage, and then he meets a knight errant and bests him using the power of Excalibur inappropriately. The knight errant, Lancelot, falls in love with Guinevere but does not act on it until a drunken Gawain, put up to it by Morgana, Arthur’s half-sister, accuses them of adultery. Arthur orders a trial by combat, and Lancelot returns, and he and Guinivere consummate their shared love. Morgana comes to Arthur disguised as Guinivere and conceives a son, Mordred, whom she raises to supplant her half-brother. Arthur goes into a stupor and sends his knights out to find the Holy Grail which he hopes can restore him and England. So they all go out and look, falling into Morgana’s trap, except for Percival, who finds the Grail and restores Arthur just in time for a big battle where Arthur defeats Mordred but is mortally wounded, and Excalibur is returned to the Lady in the Lake for future distribution.

Sorry to ruin the story for you. Sadly, this is the 21st century, you know, and although school children will be exposed to many fine stories of today’s political mania, they won’t learn about the legend of King Arthur, and this would indeed be a spoiler alert for them.

The film is more ponderous than other sword-and-sorcery fare of the era, such as the Conan movies, but it is trying to be a serious film and a piece of art and not just entertainment and/or a blockbuster. The pacing is a tad slow for modern audiences, and of the films I might have caught bits of at my friends’ house, sponging off of their HBO and cable, this is definitely the one without the sword with three blades in it (The Sword and the Sorcerer, 1982, which now that I’m thinking of it, I’ll look for it).

Also, some of the anachronisms in the film kind of took me out of it–not a problem when dealing with the Hyborean Age, but still: the Knights of the Round Table ride around, alone, on horseback in full plate through the whole movie. If they’d cut more of those scenes, perhaps the pacing would have been better. But I think they might have been trying for the high-budget, good looking film, and shiny armor was that.

When I was reading up on the film for this post, I was stunned at the cast. Helen Mirren as Morgana–there’s a scene where Morgana, who had used magic to stay young, as the spell was broken ages into an old woman, and Helen Mirren clearly did not turn into a crone. Gabriel Byrne is Uther Pendragon. Liam Neeson is Gawain. Patrick Stewart is Leondegrance, one of the first to pledge to Arthur. I didn’t recognize any of them because they were so young.

I probably won’t watch this film over and over, and the previous owner did not, either, as the film still had cellaphane over most of it. Which meant the picture was amazingly clear.

It’s a bit of a shame, gentle reader, that I think of this 19-year-old film as the new The Punisher, but that’s because I am old enough to remember the 1989 Dolph Lundgren movie which was an earlier take on the character. I do not think I’ve seen that film en toto, but I remember that it was made. This rendition of The Punisher, only fifteen years later, might be the first with the Marvel Studios flipping comic pages with the main titles. Blade didn’t have it, did it? It’s been a while since I’ve reviewed the Blade trilogy, and I might want to revisit them since there’s another Blade movie in the works (and I might not bother seeing it).

This film opens with a couple of guys looking to facilitate an arms deal of some sort, but it goes bad and the police drop in, but in the ensuing shootout, one of them is killed. Turns out that he’s the son of a mafioso, Howard Saint, played by John Travolta. Saint (not the Saint, clearly) places a bounty on the man responsible, who turns out to be Frank Castle, played by Thomas Jane. Castle is a deep undercover government operative who vows this is his last job, and he goes to a family reunion in the Caribbean with his family. When Saint orders the hit in the Caribbean, his wife, played by Laura Harring, asks to have the whole family eliminated, and the bad men do just that, killing the whole Castle family but only leaving Frank for dead. When he is restored to health by a local juju man, Castle returns to the country with only one thing on his mind: revenge.

So Castle sets up shop in a rundown apartment building populated by some misfits, including Rebecca Romijn-Stamos (not painted blue). And he goes about destroying Saint’s business and setting him up to do violence to those closest to him before Castle kills him.

It’s a bit on the sadistic side, but I am starting to think casual sadism is a bit of a trope in the first part of this “21st” century. I mean, some people (in movies) just need killing, but some of the killings in this film include a little pain and realization before the final offing. I dunno. I don’t mind my heroes outside the law, and I can tolerate a bit of torture (in fiction) for vital information, but modern films just include cruelty for its sake or for the cinematic sake of it, and that bothers me (says the man who has read, what, a hundred Executioner novels?)

Speaking of which, I had a little problem at the beginning because they altered the origin story…. But then I realized I was comparing Castle’s story to Mack Bolan’s origin story, and then I was mollified a bit. I mean, the Punisher character was quite modeled on the Executioner–the comic with the first appearance of the Punisher also had an interview with Don Pendleton for cryin’ out loud (speaking of the greatest gap in my comic collection).

I had a harder time with thinking that Thomas Jane (I keep wanting to type “Hardy,” which means it must be closing in on time to actually read The Return of the Native) in this film looked an awful lot like a younger Herb Alpert.

A man seeking bloody vengeance	The best musical artist in recording history

Maybe I am still confused.

So I liked the film alright in spite of the unnecessary brutality in spots. But not enough that I won’t like the reboot, although I guess that was a streaming show, which means it has been fired into the ether never to be seen again.

The film did feature Laura Harring as Livia Saint, and it’s not too often that I say, “Wow!” about an actress. But, “Wow!”
Continue reading “Movie Report: The Punisher (2004)” →

This is a buddy cop film comedy with Will Ferrell as a forensic accountant and Markie Mark as a hothead. They never get the good cases because two hotshot cops, played briefly by Dewayne Johnson and Samuel L. Jackson, get all the good cases, the headlines, and the nookie. When the two hotshot cops die in a foolish jump during a chase that did not have their normal Hollywood ending, Gamble and Holtz think that they have a shot to make the big time. But even though they’re on the thread of something big–a permitting violation has focused them on a British celebrity businessman who is involved in a massive bit of fraud to cover the losses incurred on behalf of a client.

So the film has rather predictable shenanigans and a recurring gag that the geeky Gamble (Ferrell) has the attention of beautiful women, including his wife (played by Eva Mendes) and an ex-girlfriend (Natalie Zea), which Holtz cannot fathom.

Eventually, of course, they get their man and save the day.

Overall, I might have confused this film with The Nice Guys, the Gosling and Crowe period piece. Well, not that closely. But I suspect that The Nice Guys is better. When picking films to watch one evening, my oldest mentioned that he’d started to watch this on Netflix but abandoned it. Given that he’s a Will Ferrell fan, this commentary probably explains why this film really never entered the zeitgeist for me to remember it outside of a profligate movie buying incident.

Well, I guess I am on a Virginia Madsen kick. I mean, I posted the trailer of Electric Dreams for a twee post on AI, and then I watched Sideways. While researching her C.V., I discovered that she was the love interest in this film from back in the 1980s, and since I just watched Highlander in January, watching this film just seemed the thing to do. Also, note that since I picked up a second set of videos in the Highlander series, watching them again will mean that I’ve watched the series through within a span of five or seven years–more than the Conan series even. Make of that what you will.

So: Highlander purists deny this film from the canon, and it’s a strange thing that there are Highlander purists and Highlander has a canon. The film strays a bunch from the thin story set forth in the first movie and retcons some things in that make little sense in a continuing franchise, but this was the 80s, man (the film’s release date was 1991, but the zeitgeist was 80s). They weren’t thinking in terms of story arcs and trilogies and whatnot then–they were thinking “Hey, can we milk this almond one more time?” So when the third movie came along somehow, it ignored the events and stories set forth in this film. Rightly so.

At any rate: The film takes place in the far off future of 2024 (that is, next year). In 1999, Connor MacLeod, grieving the death of his wife Barbara (apparently, he married the woman from the first movie) due to–radiation sickness? Severe sunburn?–helps a scientific team to build an artificial “Shield” to replace the ozone layer which a decade after the first movie has broken down enough to threaten all life on Earth (remember that? No–we remember the artificially created panic around the possibility, but by the actual 1999 we’d moved onto the artificially induced panic of Y2K). The film takes place in 2024, 25 years later, when Connor has aged.

Here’s the retcon: MacLeod and Ramirez, Sean Connery’s character from the first film, were actually revolutionaries on a planet called Zeist where they rebelled against the rule of General Katana, played by Michael Ironside. When they’re captured, they’re exiled to Earth, where they’re immortal until they slay the other Zeistians(?), which I would guess includes all the other people who were killed in the first film and the Kurgan(?). Wouldn’t they have been fellow revolutionaries on Zeist? Ah, forget it, they’re just making stuff up and not planning beyond the end of this movie. Once Connor (I keep typing Duncan because that’s the Highlander from the television series) got the prize at the end of the first film, he could have chosen to go to Zeist (but he didn’t remember that part?) to be immortal there but chose to age on Earth (the alternative) with his wife. Who then died twenty-five years before the film takes place.

At any rate, for some reason, General Katana can no longer just wait for MacLeod to die of old age and sends two goofy assassins to kill him. Earth, meanwhile, under the shield is a miserable place, hot, humid, and without the chance of rain or the site of the sun and the stars. When the elderly MacLeod defeats the Zeistian assassins, the quickening from their deaths restores his youth and Zeistian immortality. He encounters the head of a resistance group, played by Virgina Madsen, who has learned that the Shield might not be necessary any more as the ozone layer appears to heal itself, and then General Katana comes to Earth himself to tackle MacLeod and so Michael Ironside can chew some scenery. Katana makes himself partner in the parent corporation (with a smarmy corporate leader Blake played by John C. McGinley, last seen hereabouts in The Animal. Sean Connery’s Ramirez is resurrected for some quick comic relief and to sacrifice himself to save MacLeod, and MacLeod defeats Katana and turns off the Shield to save mankind (I’d say “spoiler alert,” but, c’mon, man, we knew it would happen).

That is a lot of backstory and whatnot to make essentially a low budget B-movie about swordfights. It does not add the depth that the flashbacks do in the first movie, and they really don’t add anything at all. But it’s not bad for all that, although I don’t have an emotional stake in the Highlander canon to worry about the real serious issues you guys about this film in the whole mythos. Because it really wasn’t planned to be a mythos, and it doesn’t seem to have been planned much beyond getting the film done cheaply at all.

I have additional copies of the other two films in the to-watch library, so don’t be surprised to see a movie report about Sonny Spoons chewing the scenery in the near future.

This twenty-year-old Dennis Miller live comedy video from 2003 is mostly interesting as an artifact. I mean, I like Dennis Miller and all (I can’t believe that I’ve only reviewed Ranting Again during the lifetime of this blog, but I read The Rants in 1996 and I listened to other things as audiobooks before I started writing them up as well). But I think part of Dennis Miller’s appeal, at least to me, is a bit of snob appeal–he makes a lot of clever allusions to classical works, and I chuckle to hear them.

But his humor is very topical and based on contemporary events. This show was filmed in Chicago, and the biggest responses it got were about getting ready to invade Iraq and a joke about the child sex abuse scandal in the Catholic church. Twenty years on, though, they’re not as fresh.

I have to wonder if I would appreciate this standup routine better as a book, but I’m not sure a single standup routine is enough for a whole book.

I got this film in February, and I watched it when it was amongst the latest and greatest haul. However, the February haul has been supplanted by the box load from the Friends of the Springfield-Greene County Library Book Sale over the weekend, so I will likely start in on those before I finish the ones I bought in February.

At any rate, Sideways is a Paul Giamatti film. His name is above the title. I’ve always been a fan of Paul Giamatti–I remember him from The Truman Show and probably The Negotiator, but suddenly it seemed like he was in everything. But this is the only film I recall him in the starring role.

Giamatti plays Miles, a divorced man who is a writer and a wine and food enthusiast who takes his college roommate Jack on a week-long trip to wine country before Jack’s wedding. Jack is a philanderer and a scallawag, a bit shallow, but Miles is not an unblemished character either–his marriage collapsed due to his affair, and he starts the trip by visiting his mother to wish her happy birthday and to “borrow” (he probably thinks) some cash from her reserves. When they reach wine country, Jack sees that a waitress, played by Virginia Madsen, is into Miles, and he (Jack) arranges a double date when he picks up a winery pourer (played by Sandra Oh).

The relationships progress, but Miles learns that Jack has invited his ex-wife and her new man to the wedding, so he goes into a bit of a tailspin. Meanwhile, Jack’s relationship with Stephanie progresses as well even though Jack is supposed to be getting married in a couple of days–but he declares his love for Stephanie and their planned life together. One gets the sense that he means it, too, just like he means everything in the moment. When Miles lets slip they have to go to a rehearsal dinner, Maya tell Stephanie, and everything is off, but Jack has time for one last fling with another waitress before they return with a cover story explain his broken nose (having it broken by a jilted woman swinging a motorcycle helmet would not do).

The film is most notable for having damaged the merlot industry for a few years (and boosting the pinot noir varietal), but could be secondly noted for having two fully naked sex scenes in it. Miles walks in on both, and I’m sure this is a commentary on his lack of a relationship since his marriage and perhaps a comment on modern relationships as neither is a particularly Biblically sanctioned coupling. But give how few boobs one sees in action and comedy films these days, it was a little strange. Perhaps that’s because it’s a serious movie, where such things are allowed.

At any rate, a good film, a thoughtful film, and I am sure it would have hit me in a different chord if I’d watched it when I was 30 years old and fancied myself a struggling writer (about the time the film came out, I, too, was trying to place a book). But I’m twenty years older than that, and I’m a little calmer these days. So I did not identify with Miles as much as I might have.

Virginia Madsen appeared in this film. I mentioned Electric Dreams, a film that was an early role for her, last month. So perhaps I am on a Virginia Madsen kick.
Continue reading “Movie Report: Sideways (2004)” →

This is a 1988 film directed by Roman Polanski, filmed in France obvs because if he filmed in the United States he’d be arrested if he did. Harrison Ford stars as a doctor whose wife is murdered (sorry, wrong movie) disappears from their hotel room in Paris. She’d had trouble opening her suitcase, and when a call came in, she walked out while he was taking a shower. Did she leave willingly or was she taken? The search leads him to believe that it’s the latter. Then the doctor comes across a woman whose bag the wife mistakenly took from the airport. So it’s like 8 Heads in a Duffel Bag but in Paris, and ponderous because it’s directed by an auteur.

They discover that the woman whose bag the wife had taken was not smuggling drugs as she had thought but instead had a MacGuffin, and rival governments were after it. Once they get a hold of it, they exchange it for the wife, the government agents vying for the MacGuffin engage in a shootout, and all ends mostly well.

I don’t feel bad about giving a bit of a spoiler alert there because if you’re going to watch this film, you’re watching it because you’re a big fan of Harrison Ford even though some of his film choices are questionable and didn’t age well. Or you’re a fan of Roman Polanski. Or maybe just a fan of the Barenaked Ladies, who did their bit to keep this film’s cultural relevance in 1998.

But not high on my list of recommendations.

I watched the original film last month, and when I spotted this film in February at the antique mall, I picked it up. And popped watched it relatively quickly by Nogglestead standards.

Well, if you liked the first one (which I really didn’t as it’s more of a modern R-rated comedy and not to my taste) then you’ll like this one as it’s pretty much the same story. This time, the “wolf pack” travels to Thailand for Stu’s wedding (which is not to Heather Graham’s prostitute from the first film–ah, how fleeting is drunken love!). And this time, they don’t lose the groom: They lose the brother of the Lauren, the bride, played by Jamie Chung. And they again have to recreate the events of their blackout night. Which somehow again includes Mr. Chow, played by Ken Jeong, and an appearance by Mike Tyson.

Well, it wasn’t a terribly long movie, and it ended. I didn’t get much out of it. And it is unlikely that I will watch the third part of the film. Unless I can find a copy for fifty cents. After all, Heather Graham appears in it, and Jamie Chung reprises her role, presumably as the wife this time.

Continue reading “Movie Report: The Hangover Part II (2011)” →

You might remember hearing about this George Clooney football movie. I am not sure how many people saw it. When you come right down to it, you could say that about a lot of George Clooney movies: You’ve heard of it, but you’ve not seen it. He made some interesting selections at the peak of his movie bankability: Oh Brother, Where Art Thou?, The Men Who Stare At Goats, Syriana, Solaris–sometime after 2000, he decided his name alone could bring people in, and I guess it did, but not many. Although, to be honest, I guess I have seen a number of those in the theater, so perhaps I am speaking here without data to back it up (a blogger, abstracting incorrectly? Heaven forfend!).

At any rate, it’s probably best to not think of this as a football movie or a football comedy but more around the drama of the logistics of having a professional football team in the early part of the 20th century. Clooney plays Dodge, a player/coach for a fictional Duluth professional football team struggling to remain solvent as they barnstorm the Midwest to play other teams in similar situations. When the team goes under, Dodge convinces a college star and recently returned World War I hero (Carter Rutherford, played by John Krasinski) to play for his team to draw people into the stands–even though the team doesn’t really exist. As they start attracting crowds, a female reporter played by Renée Zellweger is investigating whether Carter’s war exploits were oversold.

So the focus is not on the playing of the football but rather the off-field antics as Dodge woos Lexie, the reporter, and tries to keep the plates of running the football team spinning.

So although it’s a comedy, like The Men Who Stare At Goats and Oh Brother, Where Art Thou? (I admit twice I added the appropriate second comma to that title, but that would be [sic]), it’s amusing in spots at best and that’s about it. Perhaps Clooney would indicate it’s too sophisticated for me. Perhaps he would be correct.

The war story, though, I recognize that as based on Sergeant York’s story, which was believed initially and then doubted for a time as more skeptical generations arose but has more recently been sort of verified. Although Carter’s story of his battle differs–he awakens from a drunken stupor to find he’s behind a German advance and captures a bunch of them from there–one can see the influence. I guess I’m not sophisticated enough to celebrate tearing down icons, even fictional ones. (As a reminder, I watched Sergeant York with Gary Cooper in 2020 and read Sergeant York: His Own Life Story and War Diary last year).

At any rate, I don’t know if I will rewatch this DVD, but I can if I want. Which is unlike football comedies like Necessary Roughness and The Waterboy which are more comedic and more focused on the football qua football.

As a closing thought, I have to wonder if George Clooney got the sense that he was a modern Cary Grant–I know some press compared him to the black-and-white star back in the day. But Grant’s comedies, such as His Girl Friday and even The Bachelor and the Bobby-Soxer, are funny. Or maybe just funny to people steeped in the tropes of black-and-white. Who can laugh at the jokes at Shakespeare and Jonson without reading the footnotes first. By whom, I probably mean me. And, for the record, I have never considered going Clooney.