The Lambcast Draft of 1987 is underway and you may have already voted for the fine slate of films I managed to nab during the podcast. If you were uncertain in any way as to the quality of my selections, I thought I'd provide a brief rundown and justification for each of the five films. You can then go the The Lamb and vote your conscience. The video above will also give you a 42 second justification for my choices.
Robocop
In truth this needs no justification, everyone knows how amazing this Paul Verhofen film is. It is simultaneously an action film, science fiction story and political satire. There are moments of extreme violence and there are sections where you may find yourself laughing at things you would never have imagined being funny. The special effects are a combination of stop motion, make-up and animation that are solid for 1987 and were not improved on by the remake a couple of years ago. The film is held together by two outstanding performances. Peter Weller is Alex Murphy, the police officer who becomes Robocop. His story line is surprisingly poignant and it is accomplished while wearing a heavy costume and uncomfortable make-up. Kurtwood Smith is the over the top villain of the piece, Clarence Boddicker, a drug dealing murderous thug with a flare for self importance that we wait a long time to see taken down. Other performers are great as well, and I recently attended a Tribute Screening in honor of Miguel Ferrer who has a key role in the film.
The Untouchables
For a ten to fifteen year stretch, Brian DePalma was my favorite director. His films were hypnotic to watch but they often dealt with psych sexual concepts that kept them from being mainstream hits. The Untouchables broke that barrier for him with a straight forward gangster story that had a group of law enforcement officers as the heroes rather than a Cuban gangster (i.e. Scarface). The good guys were played by newly anointed star of the moment Kevin Costner, longtime character actor Charles Martin Smith, newcomer Andy Garcia and the winner of this years best supporting actor award, Sean Connery. The part of Al Capone was originally going to be played by Bob Hoskins, but when Robert DeNiro became available, Hoskins was paid off and another bigger than life star was added to the film. Hard as it is to believe, DeNiro was upstaged as the bad guy by the skeletal Billy Drago, who is memorably escorted to the car by Elliot Ness. The facts may not have been straight but the story was pretty terrific with several amazing set pieces that stand up to scrutiny today.
The Living Daylights
While my competitors on the podcast seem to mock my choice of a Timothy Dalton Bond film, all the real 007 fans out there know that Dalton was the real deal. He did not get much of a shot at playing the world's greatest gentleman spy. This was his first shot and the film was never tailored to his strengths. You can detect a little of the flavor left over from the Moore era Bonds, but the story did make the circumstances more real. Dalton looked the literary part more than any other cinema persona, even the true Bond Connery. This entry in the franchise features an excellent fight sequence and Bond is not even in it. The double crosses in this movie are more believable than those in a dozen other spy films, and the stunts continued to be the high spot in the 007 outings of the 1980s. Two years ago, as we were anticipating the most recent Bond picture, I did a series on my 007 favorite things about each film, "The Living Daylights" entry is here for your perusal. This was also the final Bond film for the long tenured composer John Barry.
The Hidden
This may be an obscure one for some of you. It was a low budget action film with stars who were not big names but were reasonably well known. The concept is the thing that sells this movie. In reality it is a science fiction chase film. Aliens have arrived on Earth, one is chasing the other. Now before you start having visions of Dolph Lungren in your head, the Aliens can take over a human body and use it to move around. The evil alien does this several times in the film, killing a series of otherwise law abiding people but turning their remains into blood-thirsty killers and thieves. There are some nice practical effects that show the parasite moving from one body to another. The L.A. Cop and the FBI Agent who are trying to track the perpetrator down are played by Michael Nouri from "Flashdance" and future otherworldly FBI Agent Kyle MacLachlan. This film features Agent Cooper before Twin Peaks, and we get an explanation as to why he is so odd. It is full of chases set in the streets of Los Angeles in the 1980s. By the way, all the construction you see on the streets then, is still going on. There is one scene set outside a strip club that is located next to Miceli"s Restaurant in Hollywood. It is across from a newsstand that I frequented before the internet, it is long gone now. The parking lot where the alien screws a guy to death is still there however, and the car they occupy is in a spot that I still park in when I go to the Egyptian Theater. This is 96 minutes of shooting, car chases, improbable plot developments and well known character actors getting a chance to strut a little bit. This film has the most bang for your buck in 1987.
Ishtar
Most people who ridicule this movie have not seen it. "Ishtar" was an attempt to recreate the film style of the Hope/Crosby "Road" pictures of the forties. Dustin Hoffman and Warren Beatty are cast against type, with Beatty as the flummoxed, tongue tied romantic and Hoffman as a self assured ladies man. Neither of the characters has it right but the two stars do all they can to sell it. Jack Weston is a New York talent agent who manages to get them a booking, and he is tired from the first to the last of his scenes. It is however Charles Grodin who steals the picture as a CIA man, trying to use the two musicians in a plot to control the government of a non-existent Middle Eastern Country. The two lead encounter spies, terrorists, a mysterious woman and a blind camel. Writer/Director Elaine May had her directing career stymied by the results of this film, but she continued to be an important comedy presence of the big screen and is responsible for some great film scripts in the 90s. Legendary songwriter Paul Williams worked out a number of "bad" songs for the duo to performs, most of which have just a couple of lines used. However, if you can appreciate the theme "Dangerous Business" you will know what kinds of laughs we missed when the planned album of Rogers and Clarke was cancelled.
I own this two poster set, it is a great image that highlights a funny part of the movie.
I know it is a bit of a risk, but if any of you watches "Ishtar" as a result of my choosing it for the draft, even if I don't win, I will feel some vindication.
This is the one you have all been waiting for, the 1987 Movie Draft on the Lambcast Podcast.
Four other Lambs and I compete to create the best slate of five movies from 1987. The show is a blast, as there is trash talk, reminiscences and general enthusiasm for this 30 year old time frame. You can listen to the show on the link below but more importantly, you can vote for a slate of films on the second link below that. Of course as a follower/reader of my site, I expect you to support my team. The only caveat is that I did include an outlier choice in "Ishtar". Next week I will put up a mini-review page with comments for each of my selections. If you need to wait for that before you vote, I understand. Those of you who trust and love me however, should go vote now. My films are highlighted in the picture above. You cant go wrong with Robocop, Sean Connery and James Bond. "The Hidden" is a not so widely seen Science Fiction/Action film featuring Kyle MacLachlan. "Ishtar" is popularly thought of as a bomb, but it contains a lot of big laughs and an amusing attitude throughout.
Voting can be done here:
LAMBCAST #385 1987 DRAFT:
It’s time for another year draft! To celebrated Jay’s upcoming 30th
birthday we’re taking the opportunity to look at films from his birth
year, 1987! Jay competed against Dylan, T…
http://www.largeassmovieblogs.com/2017/08/lambcast-385-1987-draft.html
MovieRob, the host of Acting School 101 on the Lambcast, invited me to join him for a discussion of the films of Sean Connery. Anyone who has been here before certainly knows that I think Connery IS James Bond so I was thrilled to participate. We countdown our own top five performances by Mr. Connery and have a good time talking about toupees and other acting tools.
In preparation for the podcast, I went through my laserdisc collection and put up a wall of Connery features. Four of my five picks can be found here. Try to guess what they are before you listen to the podcast. Have fun everyone.
Set in 1989 as the Berlin Wall is about to come down, "Atomic Blonde" is a Cold War Spy thriller with a kick. The twist is that instead of James Bond we have Jane Bond, so all those people who have made that casting suggestion to EON Productions can now all cool their jets. Director David Leitch comes off of a long career as a stunt coordinator and he previously was an uncredited director of "John Wick". He clearly has an eye for action scenes and stages some brutal fights for star Charlize Theron to kick ass through. From a shoot em up perspective, this is a fairly successful film. However, as a spy thriller with delusions of franchisehood, it leaves a bit to be desired.
Let me give you a little background on the literary character of James Bond as a prelude to discussing Lorraine Broughton, the English spy played by Theron. After Ian Fleming died, the literary 007 lay fallow for a few years. there were attempts to revive the series in the late sixties and seventies, but they never paid off. Sometime during the 80s, the publishers got their crap together and found a new author to pen Bond novels for several years. John Gardner had success in this field on his own, but the Bond Franchise would certainly be a jewel in his crown if it succeeded. Gardner wrote a more than a dozen Bond adventures, but he had too obvious a formula after a while. Inevitably there would be a double cross by one of the characters and occasionally there would be a triple cross. That is what is happening in this film. Double and triple crosses, however without the clarity of a narrative context. In other words, these things just happen out of the blue without much set up and certainly no trail that would allow an audience to participate in the process. Kevin Costner and Gene Hackman made it work in "No Way Out" because there was a ticking clock, and mixed motives that distracted us. "Atomic Blonde" doesn't bother to clarify anything. The end of the movie is a head scratcher and I was able to make sense of the first "Mission Impossible" film.
James McAvoy is the suspected double and at the end of the story, you need to be able to clarify why he has acted in the manner that he did. It's almost impossible to explain because it makes no sense. We know he fits a particular type but we are not clear on his motives or why any of this had to go down the way it did. The film is structured like a police procedural, where the suspect is telling a story that we get to see, but it it interrupted by side tracks and events that the subject would not have been aware of. "The Usual Suspects" made an effort to tie things together with bits of information in the background of the interrogation, this film does no such thing. So watch this for the action and style and forget about trying to figure out what the hell is going on.
Theron is ice cold as a blonde killing machine, and she plays the part of a spy being debriefed with the right amount of frustration with her superiors. Toby Jones is the MI-6 section supervisor who cross examines her and they have a couple of nice testy moments. John Goodman is a CIA advisor that she is reluctant to speak in front of, but we don't know why until the end of the film. It also makes no sense but at least it counteracts the bad taste that another twist was going to leave in our mouths. Sophia Botella was in "The Mummy" earlier this summer and in "Star Trek Beyond" last summer. She gives a solid performance as a French operative in over her head, and interestingly as a romantic interest for Theron, even though her part is mostly meaningless. Between Theron and Botella, fishnet clothing may end up in short supply in the European markets.
The look of the film is good and the style choices for the lead are interesting. I appreciated that when a character had been in a fight, that there were signs that a fight had taken place. The degree of punishment for the fight participants, whether winner or loser, is never quite believable because it is so over the top, but I suppose that is what makes it a fantasy spy film rather than a leCarre' story. It is a cool film, but not as cool as you want it to be given the trailers. Once again, all the best stuff is in the ads and there is not enough saved for the film.
If you watch the trailer for this film, you will not be expecting a horror movie. The tone of the preview clearly outlines that this is a meditative film about the afterlife and not a Halloween fright flick. The impression the ad leaves you with is that this movie is going to contemplate the emotions of grief and loneliness. It turns out however, to have bigger things on it's mind, although what those things are is not entirely clear to me. The tagline on the poster says "It's all about time." So if you are in the mood for a slow moving, abstract story about the metaphysics of death, her it is.
The above introduction might give the impression that I did not like the film. On the contrary, there are a number of things that the film does that are intriguing and thoughtful. Writer/Director David Lowery clearly has things on his mind, but he is taking his time getting them into ours. I thought the film he made last year, the re-imagining of "Pete's Dragon", was wonderful. There are quiet moments of beauty that get lingered over and many shots are clearly carefully composed. The reservation I have is that the point of it all is more opaque as the film goes along. The mediation of grief is one of the shortest elements of the film. The widow is shown in despair and coping in very mundane ways. Her story though disappears halfway through the film. At one point the "Ghost" in the story essentially commits suicide. Yeah, I know that does not make much sense but none of this is supposed to be taken literally, my hesitation is that It's not very focused on how we should try to digest it. The turn involves a switch in time, from the future to a past maybe a century earlier. When the past starts to replay itself, I guess we are to see existence as an infinity mirror. The closest we get to any explanation of why is the pontification of a beer guzzling philosopher at a house party that the "Ghost" lingers through.
The deliberate pacing worked for some scenes but in others I found it very off putting. Two examples can help illustrate. First, when the couple featured in the story first hear a sound in the middle of the night, after they check for it's source and return to bed, they cling to each other very intimately. It's not a sex scene or any kind of exposition, it is just a few moments of silent hugging, kissing and nuzzling, much as any couple might engage in when both are awake and want the other to know that they care. It goes on for a few minutes but it leads to nowhere. As a character moment I think it tells us something about their relationship that we might not have know. The second extended scene involves the widow, sitting on the kitchen floor, alone, eating a pie. We see every bite and the mucus dripping from her nose as she is grieving, but it is all too much and too long. Lowey is making a film where the camera rarely moves. The shots are static because that's the way he wants us to perceive time. Unfortunately it also tries our patience when it happens repeatedly.
This year's Academy Award winning actor, is the star of the film, but he appears in maybe five to ten minutes of the film. Casey Affleck is fine in those scenes, but there is nothing to suggest that the spirit, embodied by a hospital bed sheet, is in any way the actor we know. The performance that dominates the movie is a pantomime by an image of a child's version of a ghost. This is the accomplishment of the director and not the actor. I doubt that Affleck stayed on set to sit under a sheet and not move for long stretches of time. Jack Nicholson famously told Michael Keaton when they made "Batman" to let the costume do the acting. That is exactly what happens here. Rooney Mara fares a little better but her part is also almost without dialogue. The way in which she is displayed sitting on the bed or the floor, or looking out a window, is all a directors choice and it largely works. The two leads have faces that are not used very vividly in the movie, and the rest of them is minimal as well.
I suspect that this experimental type film will be attractive to fans of existentialism. I prefer narrative and character, but I was intrigued by the ideas in the film, at least up to the point where the issue of the infinite became the focus. This is going to be one of those films that when written about, says more about the reviewer than anything else. I hope this commentary does not make me appear to be too shallow, but I do want to appear to be honest. I sort of liked it, but I was also irritated at times. Frankly, you will have to make up your own mind.
What looks like is going to be a Gothic horror set in the Civil War period, turns out to be a psycho-sexual drama with a slightly demented finish. I was not fooled by the trailer or other marketing, because I'd seen the original version of the story from 1971. There are a few changes in the film which were supposed to alter the perspective from the soldiers point of view to that of the women in the story. I guess that would be the justification for remaking a film that was not particularly compelling the first time out. Let's just say for the moment that they may have altered the perspective some but they have not overcome the issue of the film lacking a need to exist in the first place.
Sophia Coppola is a director that many admire but I have found most of the films by her, that I have seen, to be cold and disengaging. They are beautifully shot and "The Beguiled" is certainly beautiful. Set in Virginia during the last year of the War between the States, the story concerns a wounded Union soldier taken in by a girls academy. The school is run by matron southerner Nicole Kidman. She is assisted by a younger woman played by Kirsten Dunst and they are in charge of five young women and girls who are being educated in a traditional form for young ladies. As they learn French and penmanship and sewing skills, their life is disrupted by the war around them. The introduction of Corporal McBurney (a solid Colin Farrell) into their island of antebellum etiquette throws things into a tizzy. Since it is a Sophia Coppola film however, it is done at a languishing pace with each frame posed as if it were a still life being painted for the wall of another plantation.
The pacing of the story is so agonizingly slow, but still interesting, because of the mores and cultural rules the people of that time operate in. Even when he is being chastised by Kidman, the dialogue between the two consists of polite and well thought out vocabulary. The inflections and tones contain the reprimands more than any word does. McBurney slowly courts the Dunst character and again it is done in a manner reflecting the times. In the original film, Clint Eastwood is much more clearly manipulative and he is wooing multiple women simultaneously. Farrell's version of the character seems sincere in his approach to Edwina, but Kidman's Miss Martha is also drawn to him and Elle fanning as the recalcitrant Alicia is the most brazen of the girls who have sexualized the Corporal in their heads. The little girls are fascinated by him as well but it is his Irish Charm and status as a Union soldier that holds their interest. As the story gets closer to the dramatic elements, it feels like it wakes up in a burst of energy and tries to accomplish everything the movie set up in the first ninety minutes in a two minute segment. There is a betrayal on a couple of levels, but those come rapidly and are followed by a resolution that seems to have been arrived at capriciously. The film feels like it is missing the second act.
Farrell and Dunst are the two standout performances. They are tentative and then passionate and frustrated and anguished in very effective moments. Kidman seems a little miscast. She is older but certainly desirable rather than repressed and desperate. Her delicate bathing of Farrell when he first arrives was the strongest part of her performance but in the manner she shows herself during the rest of the film, she feels a little stiff. The biggest unpleasant surprise from the actors comes from Elle fanning, an actress that i thought was special in Super 8, but here she looks like she is play acting and although she is an aggressive flirt, she does not give off the impression of lustfulness that would justify the Corporal's behavior.
The only way I see this film as being a more feminist version of the original is that only one of the women completely falls under the sexual power of the man, and he is the one who is manipulated by two of the other women. That's about it. This is a good film but not a great one. It retells the original story but without much justification for doing so. It also makes the languid pace of the original seem frenetic by comparison. The only music in the film occurs on screen when the girls are singing or performing, with the exception of an occasional synthesizer note held for a long period as a prelude to a couple of moments near the end. That may be another reason the fil feels longer than it should, without a melody it feels plodding. This is a film for Coppola Completists or someone who has missed the original and has already seen everything else playing. I am largely indifferent on it.
In truth this needs no justification, everyone knows how amazing this Paul Verhofen film is. It is simultaneously an action film, science fiction story and political satire. There are moments of extreme violence and there are sections where you may find yourself laughing at things you would never have imagined being funny. The special effects are a combination of stop motion, make-up and animation that are solid for 1987 and were not improved on by the remake a couple of years ago. The film is held together by two outstanding performances. Peter Weller is Alex Murphy, the police officer who becomes Robocop. His story line is surprisingly poignant and it is accomplished while wearing a heavy costume and uncomfortable make-up. Kurtwood Smith is the over the top villain of the piece, Clarence Boddicker, a drug dealing murderous thug with a flare for self importance that we wait a long time to see taken down. Other performers are great as well, and I recently attended a Tribute Screening in honor of Miguel Ferrer who has a key role in the film. 
For a ten to fifteen year stretch, Brian DePalma was my favorite director. His films were hypnotic to watch but they often dealt with psych sexual concepts that kept them from being mainstream hits. The Untouchables broke that barrier for him with a straight forward gangster story that had a group of law enforcement officers as the heroes rather than a Cuban gangster (i.e. Scarface). The good guys were played by newly anointed star of the moment Kevin Costner, longtime character actor Charles Martin Smith, newcomer Andy Garcia and the winner of this years best supporting actor award, Sean Connery. The part of Al Capone was originally going to be played by Bob Hoskins, but when Robert DeNiro became available, Hoskins was paid off and another bigger than life star was added to the film. Hard as it is to believe, DeNiro was upstaged as the bad guy by the skeletal Billy Drago, who is memorably escorted to the car by Elliot Ness. The facts may not have been straight but the story was pretty terrific with several amazing set pieces that stand up to scrutiny today. 
While my competitors on the podcast seem to mock my choice of a Timothy Dalton Bond film, all the real 007 fans out there know that Dalton was the real deal. He did not get much of a shot at playing the world's greatest gentleman spy. This was his first shot and the film was never tailored to his strengths. You can detect a little of the flavor left over from the Moore era Bonds, but the story did make the circumstances more real. Dalton looked the literary part more than any other cinema persona, even the true Bond Connery. This entry in the franchise features an excellent fight sequence and Bond is not even in it. The double crosses in this movie are more believable than those in a dozen other spy films, and the stunts continued to be the high spot in the 007 outings of the 1980s. Two years ago, as we were anticipating the most recent Bond picture, I did a series on my 007 favorite things about each film, "The Living Daylights" entry is here for your perusal. This was also the final Bond film for the long tenured composer John Barry. 
This may be an obscure one for some of you. It was a low budget action film with stars who were not big names but were reasonably well known. The concept is the thing that sells this movie. In reality it is a science fiction chase film. Aliens have arrived on Earth, one is chasing the other. Now before you start having visions of Dolph Lungren in your head, the Aliens can take over a human body and use it to move around. The evil alien does this several times in the film, killing a series of otherwise law abiding people but turning their remains into blood-thirsty killers and thieves. There are some nice practical effects that show the parasite moving from one body to another. The L.A. Cop and the FBI Agent who are trying to track the perpetrator down are played by Michael Nouri from "Flashdance" and future otherworldly FBI Agent Kyle MacLachlan. This film features Agent Cooper before Twin Peaks, and we get an explanation as to why he is so odd. It is full of chases set in the streets of Los Angeles in the 1980s. By the way, all the construction you see on the streets then, is still going on. There is one scene set outside a strip club that is located next to Miceli"s Restaurant in Hollywood. It is across from a newsstand that I frequented before the internet, it is long gone now. The parking lot where the alien screws a guy to death is still there however, and the car they occupy is in a spot that I still park in when I go to the Egyptian Theater. This is 96 minutes of shooting, car chases, improbable plot developments and well known character actors getting a chance to strut a little bit. This film has the most bang for your buck in 1987. 
Most people who ridicule this movie have not seen it. "Ishtar" was an attempt to recreate the film style of the Hope/Crosby "Road" pictures of the forties. Dustin Hoffman and Warren Beatty are cast against type, with Beatty as the flummoxed, tongue tied romantic and Hoffman as a self assured ladies man. Neither of the characters has it right but the two stars do all they can to sell it. Jack Weston is a New York talent agent who manages to get them a booking, and he is tired from the first to the last of his scenes. It is however Charles Grodin who steals the picture as a CIA man, trying to use the two musicians in a plot to control the government of a non-existent Middle Eastern Country. The two lead encounter spies, terrorists, a mysterious woman and a blind camel. Writer/Director Elaine May had her directing career stymied by the results of this film, but she continued to be an important comedy presence of the big screen and is responsible for some great film scripts in the 90s. Legendary songwriter Paul Williams worked out a number of "bad" songs for the duo to performs, most of which have just a couple of lines used. However, if you can appreciate the theme "Dangerous Business" you will know what kinds of laughs we missed when the planned album of Rogers and Clarke was cancelled. 
