Paramount Summer Classic Film Series- The Goonies

I never thought of myself as the biggest fan of "The Goonies", in spite of the fact that it came out in the mid 80s, and was directed by Richard Donner from a script by Chris Columbus, and produced by Steven Spielberg. Those would all be things that would be going in its favor, and seem to make me the target audience for the film. The big exception being that I was probably 10 years too old to experience the movie the way it was meant to be consumed. This is a movie for kids and teens, and although my adult self often feels nostalgia for adventure stories like this I've always been a little detached from it. After today's screening, I'd say that's a little less true, I liked it a lot but it still seems slightly off base to me.

The biggest problem for me is that the kids who star in the film are made to be overly loud, and talking over each other constantly. This was a choice that was done I'm sure to create energy for young people, but it had the opposite effect on me. I have the same problem with Steven Spielberg's "Hook", too many Lost Boys yelling over one another. However when we do get to moments where Sean Astin's character is trying to figure out a clue, or young Josh Brolin is engaging in some physical activity designed to show his alpha male status to a bunch of kids, the film works pretty well.

Corey Feldman and the other two kids who form the core of the Goonies are the most fun characters, but they are also the ones that do the most shouting and that's really what puts me off a bit from the movie. Chunk, the pudgy kid who makes friends with the giant member of the bad guys family, is pretty sympathetic as the conduit between "Sloth" and the rest of the characters. The late John Matuszak manages to give a sympathetic reading to the misshapen Fratelli brother. The make up overwhelmed his face but the small movements combined with some animatronics made it work anyway. 

A lot of the cast went on to solid careers in film. Astin starred in the "Lord of the Rings" films as everyone's favorite Hobbit,  Josh Brolin has been nominated for an Academy Award and played the ultimate antagonist in the Marvel Cinematic Universe. Martha Plimpton continues to work and had her own TV series. The great surprise in the group is Ke Huy Quan who plays the 007 inspired "Data". He was largely absent from the screen after his child roles in this and the "Indiana Jones" film, but made a big screen appearance and won an Academy Award for "Everything, Everywhere All at Once".  So whoever was the casting director for the film, seems to have done a good job in assembling child actors.

The treasure map, pirate ship and the booby traps are the things that make this movie worthwhile. Kids on a treasure hunt is a fun idea, the traps are all Rube Goldberg style setups that give the movie some visual excitement. The production design for the caves and the pirate ship in a hidden cove look great. The backsrory about the homes of the kids is a little clunky, and the performances of the adult parents was weak. Robert Davi, Joe Pantoliano and Anne Ramsey are a bit over the top, but the tone they set is right. It's a solid and fun film. Maybe not the classic some of it's fans think it is, but definitely worth a watch. Oh, and I got to wear my shirt. 

Borderlands (2024)

(by the way, no ELO in the film itself, just lying to us here in the trailer)

I couldn't help but feel flashbacks to the 1983 film  "Space Hunter Adventures in the Forbidden Zone", and the 2017 movie "Valerian and the City of a thousand Planets", as I was watching this film about a dystopian planet that contains a secret pursued by all of the characters. This film is apparently based on a video game, and it feels like one of those early 1990s / 2000s films that used video games as their launch point. It has some of the visual panache of the game but can't overcome the simplicity of the plot or the obviousness of the characters. So it has a good look, but that's about it. The characters who are supposed to be quirky and unique, just miss the mark like they did in "Space Hunter" and "Valerian".

The unfortunate thing that this film will most be remembered for, is that it proves that Cate Blanchett can in fact deliver a bad performance. She is the lead character in this story and Blanchett approaches it as if she's completely bored and it's just waiting for the director to call cut so that she can go home and read something interesting or look for a better job in the next movie. She's an admirable stand in when they're grafting her into a CGI action scene, but outside of that she is just boring, and that's not something I thought I would ever say about Cate Blanchett. The material is weak, but she does nothing to elevate it.

Jack Black does the Voice of the robot in the movie, named Claptrap. It's an unfortunately prophetic name given the way this character feels thrown together and written. He's supposed to be the comic relief, but too often he comes across as the irritating exposition dump for the movie. The producers of this film hired Kevin Hart to play a part that would have been better cast with Dwayne Johnson. Why you hire a comedian like Kevin Hart to play part where he has no comedic lines and his delivery should be serious, but remains dull instead, is a mystery to me. I'm not saying that Hart should only be relegated to comedic roles, but I am saying that he is outside of his depth here, and there is somebody else who probably could have played the part better.

This is a chase/action film set on a planet that looks like it was designed to house the film extras from a Mad Max movie. In "Thor Ragnarök" we got a similar kind of planet but there were interesting characters and there was some funny bits with the inhabitants of the trash dump that our heroes found themselves in, that is not the case with this film. The people who populate this planet are barely represented at all, they're not particularly interesting, and the set design is inexplicably dull in spite of the fact that it is meticulously recreating a trash dump very much like we saw in that Thor movie.

The film is full of energy that is misspent, acting that is indifferent, and creativity that is wasted on things that are unimportant. This movie just feels stiff from the very beginning. It's hard to put your finger on exactly what went wrong but it's easy to say that something clearly has gone wrong because I should be having fun and I'm not. I actually fell asleep for 5 minutes at a time in two different sections of the film one of which involved a chase and the other involved a shootout. If you can't keep me from dozing off during those kinds of sequences something is clearly wrong. Jamie Lee Curtis doesn't fix any of it. So it's easy to say about this movie,  "something is clearly wrong".  

Paramount Summer Classic Film Series- Oceans 11 (2001)

A good heist story is always entertaining as long as it is executed effectively. Stephen Soderberg's Oceans 11 is a big screen remake of a heist film from the 1960s, that had a hip reputation but was not a terrific heist movie. The remake corrects that. A heist movie depends on a clever plot, multiple complications in the execution of the heist, and usually a twist the audience didn't see coming. This version of Ocean's 11 has all of those in abundance, and it also has a great cast of characters to round out the story.

It may be true the George Clooney is not the star he once was, because his films have not drawn the box office numbers that they did Once Upon a Time. However he still has charisma, and this 23-year-old film demonstrates that in spades. Along with "Out of Sight" from two years earlier, Clooney was at the apex of charming criminal masterminds at the turn of the century. The plot here, involves a complicated intrusion into the vault that contains the cash flow of three major casinos in Las Vegas. The crew is attempting to steal the money from that vault, which is impenetrable and is protected by a vast security force. How will they do it, and will they get away with it?

The first two acts of the film set up the characters and the situation that they are faced with. We are given as much as possible to sympathize with them. The mark they are after appears to be a brutal, heartless, chiseler who has double crossed one of their team, and is stealing love of the team leader. Clooney, as Danny Ocean, is cool calm and collected as he assembles his crew with the assistance of his friend played by Brad Pitt. The two of them create enough cool in this movie to make it competitive with the Frank Sinatra movie that it's based on. When you layer on top of it, Don Cheadle, Matt Damon, Elliott Gould, and as the villain, anxious cold-eyed Andy Garcia. You can put your beer in the refrigerator now because this film is cooler than anything you're going to see this year.

The twists in this movie are fun, and well plotted. Like all movies of this ilk, the plot depends a little bit on certain characters behaving in a way that is anticipated by the other characters, to a T. Other than that old trope, the movie works well in disguising what's really happening, both to the characters in the film and for us the audience. When we realize how they're going to get away with it we smile with indulgence because we have been fooled by the cleverness of the master criminal. It's just too much fun.

The screening was packed with a variety of people, many of whom had not seen the movie before, as you could tell by the way they were reacting to some of the twists. Don Cheadle's accent, Elliott Gould's cigar and robe, and Casey Affleck and Scott Caan bickering with each other, all add humorous moments to the film, that aren't necessarily cool but are clearly a lot of fun. The film combines some really basic physical comedy, with some sophisticated dialogue and plot devices which amuse us in a completely different way.

Matt Damon is sort of the standout in the film, because he's a young buck on the rise, but he's still naive enough to fall for some of the bits that the older duo of Pitt and Clooney engage in. He's capable of playing comedy given the right material, and boy is this the right material. I shouldn't neglect that one of the characters in the film, is played by Julia Roberts, and although she's not one of the 11, she is critical in the execution of the heist. When the follow-ups of "Ocean's 12" and "13" appear, she finally gets counted as a member of the team. I'd be perfectly happy if they counted to 20 in the next few years, so we can enjoy these clever heist movies in greater abundance.

Paramount Summer Classic Film Series-Butch Cassidy and the Sundance Kid

Let's get this straight off the bat "Butch Cassidy and the Sundance Kid" is a terrific film, hugely entertaining, written in a style that was fresh and well researched. There is nothing about this film that is problematic. Which makes it so much easier for me to spend this post focusing on just a single element of the film, instead of finding a new way to evaluate a movie that people already love. So this post will be dedicated to the consistent crime that is committed by one of the world's greatest character actors, he not only steals the scenes he often steals the movie, Strother Martin.

It should be tough for an actor like this to make a big impact on a movie that is over 2 hours long and in which he appears for only about 10 minutes. However, when William Goldman is the screenwriter and the actor is the late Strother Martin, it's easier than a pickpocket lifting a wallet from an inattentive subway rider. Martin plays Percy Garris, the mine operator who hires Butch and Sundance to be payroll guards while they are down in Bolivia. This sequence takes place more than 80% of the way into the film, but it has the consistent humor, and dramatic heft that the film has sustained up to this point, and the gets elevated by the Percy Garris character. .

Percy Garris is diminutive fellow with an ill-fitting vest. a military style hat and a habit of burying his hands in his pockets when he's not quite sure what to do with them. However, when he is sure what to do with them, Strother Martin uses them like instruments to pull us into the story. When trying to test Sundance to see if he really can shoot accurately, he first asks to see the firearm that Sundance wears on his hip. Garris handles it efficiently, but without the flourish of a gunfighter or someone who knows how to brandish a weapon effectively. He takes the gun admires it and hands it back to Sundance, but puts his hands up in the air and pushes down when Sundance tries to put the gun back in his holster. All Garris wants to see is whether or not he can hit a target. He then reaches into his own pocket, pulls out what looks to be a small package, maybe of chewing tobacco, and tosses it about 20 ft away. Nothing flashy is being done here, but Martin actually dominates the scene when he is playing against Robert Redford and Paul Newman. The character constantly spits, and frequently without the force necessary to hit a target himself. When he does however hit whatever target on the ground he is eyeing,  Garris announces "bingo". We never see exactly what it is he hit, we just know the satisfaction that he gets from saying the word.

When Redford misses, Martin gives us a bemused look, when Sundance wants to draw on the target down on the ground, but he also gives a look of amazement as Sundance moves quickly and hits the target twice. Garris announces immediately "you start tomorrow". Martin's timing on all the comedic lines in the scene is perfection

As they begin their Journey down the mountain, Garris on a mule and Butch and Sundance behind on their horses, Garris sings a song full of innuendo, and old-fashioned cadences. He leans back in his saddle, comfortable and confident because he knows no one is going to rob them going down the mountain. Which is why he thinks of Butch and Sundance is being morons when they are being overly watchful on the trip to the bank. As he puts it, "I've got morons on my team". This is his key line in the movie. He is an old hand in Bolivia and feels superior to the two rookies he is hired to prevent a robbery. Of course later on, we do discover that he is capable of making a mistake. That mistake comes immediately after he explains to the two, that he's not crazy, he's just colorful.

This is a 55-year-old film so it's probably too late to worry about spoilers, but Percy Garris does not make it to the end of the movie. He is the one character who dies, before the end of the film, that we care anything for. He's hired our anti-heroes, he's passed on some wisdom, and he's engaged in some jocular conversation with the two outlaws he has hired to guard against robbery. This makes it a poignant moment when he is killed so suddenly, without much of an exit line. The character is well written, but it is the delivery of those lines, and the unique voice of Strother Martin that makes these scenes work. Martin worked with Paul Newman a half dozen times or more, this was his only collaboration with Robert Redford. He almost certainly would have been in "The Sting", had he not been shooting another picture. That's because he also worked with director George Roy Hill multiple times. Having an acting ensemble is one of the things that made these movies from 50 years ago so much more memorable.

Oh yea, he is fourth billed, right after the three stars.

Lambcast #742 1984 Movie Draft

 

I don't usually post the Podcast on my personal site, but this was a lot of work and I want people to watch.

Paramount Summer Classic Film Series-To Wong Foo, Thanks for Everything, Julie Newmar

Here's a movie that I haven't seen in 20 years, but I did see numerous times in the first 10 years after it was released. This was one of those films that when I acquired it on LaserDisc the kids decided they were going to watch repeatedly. I'm not sure exactly why it had an appeal for them, except that it featured adults acting in particularly stupid ways which may have made them feel a little superior. Plus there are cool songs.

At the time this came out it seemed an innocuous entertainment with a secondary theme of acceptance. The world has changed a great deal in the last 30 years and both sides of the lgbtq+  whatever divide would probably find much to object to in this film. For the most part I thought it was still mildly funny, and borrowed heavily from other films. The three lead actors all have something in this film that should make them happy to have it on their Vita, but that doesn't mean that the movie is great. It's a fantasy that stretches believability way past the breaking point. That it does so in a fairly genial way is the one thing about it that allows me to forgive some of the dumb stuff.

I'm sure Patrick Swayze was proud of this movie, coming as it did after some of the action films that he had done. This was a chance to show off a little leg, and some acting chops, that didn't really require him to throw more than one punch. Wesley Snipes is in the film, but his character has almost no arc to the story, and he seems to exist just to fill in spots that need an extra character. John Leguizamo, would probably be strung up by the LGBT plus community because he's basically appropriating a role that should have gone to a real drag queen, and he uses every stereotype you can think of to play a gay man who dresses as a woman. This sort of casting could probably not be done today. In fact I seem to remember that Scarlett Johansson ended up canceling a film where she was supposed to be a crossdresser, and there was political outrage.

The movie starts off as a road trip movie, but ends up as a fairy tale when our three protagonists land in an isolated town, and have to rescue the damsels in distress, from the local dragons. That they do so by using a beauty parlor, a used clothing store, and a makeup kit, is one of the charming yet ridiculous premises of the second half of the film. It doesn't really help that the two men who are the primary antagonists are drawn in such a cartoonish manner. The husband of one of the local women is it domestic abuser, and the sheriff who is pursuing the three drag queens, is not only homophobic but racist as well. He also seems perfectly willing to exceed his authority by using deadly force to try and take into custody people who's only real crime was having a tail light that was out. It is also a little fantastic to believe that the young hoodlums who seem to populate the small town, can be overcome by one assertive encounter, that involves having their testicles groped.

When the film originally came out, maybe there weren't a lot of movies that offered representation to people in this subculture. This film feels a little bit like the white savior movies that try to bridge the divide over race, only here it is working on gender. The clothes are nice to look at, and I always like the Spartacus moment at the end of the film, mostly because I think Stockard Channing is terrific, and she gets to lead the charge.

I enjoyed seeing the movie again, although I do think under the existing circumstances it will be treated negatively by the opposing sides for completely different reasons. As a time capsule of what the world was like, it is a little biased but still enjoyable. I just don't think it would be a good idea to use this as a basis of any political discourse in the present world. Although the stupidity that would follow if you did would be...FABULOUS. 

Trap (2024)

 

OK, I'm going to say this right off the bat so you can decide if you want to keep reading, this movie is not good. It is however entertaining enough for the hour and forty-five minutes that it runs. It would not hurt the film at all if it was fifteen minutes shorter, but that would probably mean that the concert sequences and musical performances by co-star Saleka Shyamalan, the daughter of writer/director M. Night Shyamalan. I strongly suspect that more than half of his reason for making the film in the first place was to showcase her.

Movies about serial killers are a dime a dozen. Occasionally they transcend the genre and have something special about them which makes them essential. "The Silence of the Lambs", "Seven" and "Zodiac" are not found in the discount dozen. Those are the exceptions, more often we get "The Watcher", ""Copycat", "Mr. Brooks" and this film. Because this is an M. Night Shyamalan film, you expect something of a twist in the storytelling. He is famous for the twist endings of some of his films, but this movie starts with the twist. The serial killer is a loving Dad, who is taking his tween daughter to a concert by a pop culture phenomena. It's not really a spoiler to tell you there is a "Trap" in play, it's right in the title. This movie plays with conventions only slightly, and it does not do much to build any tension, except in the fact that we are sympathizing with the serial killer for most of the film.

There are a couple of reasons this works. First the film is told almost entirely from the perspective of the killer, at least until the third act. Also, we are spared seeing any of his crimes, they are mildly described and we get a discrete crime scene photo, so we don't know much about how horrible he is until later in the story. The third thing that serves the purpose of making us root for evil, is the performance of the actor cast as "The Butcher". Josh Hartnett is solid as a doting father, and when he is prowling through the arena, looking for ways to escape, he is convincingly clever (and of course conveniently lucky). If there is anything that holds the movie together, it is his performance. Otherwise, the film is a series of cliches and tropes that don't seem to be written in a very interesting way.

For the movie to work, you have to suspend your disbelief repeatedly. Here is a list of just a few of the lazy writing moments; there is a pop concert by a major star, at an arena in a big city, in the early afternoon, the serial killer gets information first from the loosest lipped venue employee on the premises, when challenged for a card that would prove he was at a particular location, he magically discovers one, every radio contact he listens in on is timed perfectly with his next move. Those are just the plot points that stretch credulity, the concert setting itself offers us a whole bunch of impossibilities. For instance, in a crowd of twenty thousand, only three thousand of which are men who could be the killer, they all are using the same bathroom at the same time. I went to a Katy Perry concert several years ago, with similar demographics, and when I went to the men's room at Staples Center, I was alone. 

If there is a twist to the story, it is what happens when the location changes. Had I known the connection of the pop star to the creator of the film, I think I would have seen her plot line coming. I did not realize that "Lady Raven" was the daughter of the director until I saw the credits. Halfway through the movie, the trap is behind us but there is still an hour of the film. Things really go off the rails then, and the exposition dump at the climax, tries to explain how this all could have come together. It feels completely tacked on.

Ariel Donoghue is cute as Riley, the daughter of our serial killer. Alison Pill shows up late in the film and she has the thankless role that is supposed to get us to the conclusion of the movie. Disney child star Hayley Mills has grown into the role of wizened expert profiler, and ninety percent of her performance takes place over walkie talkies.  Saleka Shyamalan is a better singer than she is an actress, and that is unfortunate because her character is critical when we get to the midway point of the film, and she struggles to be convincing. 

I did not hate this movie the way I did "Longlegs" from a week or two ago, I was just indifferent to it. I tried to ignore all the shortcuts that were being taken and just enjoy the story. Walking out of the theater, I could see all the things wrong with the movie, but I paid to see it, I wanted to have a good time, and I allowed myself the amount of space needed to be partially entertained by this concoction. Maybe I should see Mr. Brooks again.