Release Date: March 9th, 1984 Directed by: Ron Howard Written by: Lowell Ganz, Babaloo Mandel, Bruce Jay Friedman, Brian Grazer Music by: Lee Holdridge Cast: Tom Hanks, Daryl Hannah, Eugene Levy, John Candy
Touchstone Pictures, Buena Vista Distribution, 111 Minutes
“What you looking at? You never seen a guy who slept with a fish before?” – Freddie
Splash was a movie that was on television all the time when I was a kid. I’d catch pieces of it from time-to-time and I have probably seen all of it but I haven’t actually watched it in its entirety from start-to-finish until now.
It wasn’t a film that I was super into, back in the day, but my mum dug it a lot. It was good enough to watch, though, because it has Tom Hanks, Eugene Levy and John Candy in it and I’ve always loved those guys, especially in the ’80s.
The film also stars Daryl Hannah, who was approaching the height of her popularity, which this film brought to the next level.
If you weren’t alive in the mid-’80s, you might not be able to comprehend how popular she was for a short time. I always thought it was a bit odd that she worked steadily for years but never really seemed to maintain that momentum she had in the ’80s. Regardless, she did always find decent work and had a bit of a resurgence from Quentin Tarantino’s Kill Bill movies.
For those who don’t know, the story follows a guy that is rescued from drowning by a mermaid. She ends up with his wallet and uses maps on a sunken ship to locate his home, New York City. She does track him down and the two fall in love. However, he doesn’t know she’s a mermaid and she only has a few days to spend with him before she reverts back to her fishy form. He discovers her secret in the worst way possible and is at first freaked out. However, love wins out in the end and this fairytale has a really satisfying ending.
For being a fairly standard comedy in the ’80s, it’s really well acted by the core stars, especially Tom Hanks and Daryl Hannah. However, I loved the hell out of Eugene Levy in this, as a total bastard that ended up having a heart of gold and risked everything to put things right.
This is fun, amusing and sweet. But it also has heart and I think that shows how talented Ron Howard was as a director, even at this very early stage of his career.
Release Date: March 10th, 1978 Directed by: Brian De Palma Written by: John Farris Based on:The Fury by John Farris Music by: John Williams Cast: Kirk Douglas, John Cassavetes, Carrie Snodgress, Charles Durning, Amy Irving, Andrew Stevens, Fiona Lewis, William Finley, Dennis Franz, Gordon Jump, Daryl Hannah
Frank Yablans Presentations, Twentieth Century Fox, 118 Minutes
“…and what a culture can’t assimilate, it destroys.” – Dr. Jim McKeever
The Fury is a movie that I haven’t seen in a really, really long time. I’m talking, late night on cable when cable was still cool… that’s how long.
Also, I never saw it in its entirety from start-to-finish. I always kind of caught it in the middle and it’d be at times where I had to fight to stay awake in hopes of finishing it.
Having now watched it in its entirety for the first time without fighting sleep, I’ve got to say that it’s damn good and it just solidifies the greatness of Brian De Palma, especially in his early days.
This feels like a natural extension of some of the concepts De Palma worked with in Carrie but it isn’t bogged down by Stephen King-isms and it’s a hell of a lot cooler and expands on those concepts in a bigger way, as we now see psychic powered youngsters being abducted and turned into psychic super weapons.
The film stars two actors that are absolute fucking legends: Kirk Douglas and John Cassavetes.
Douglas plays the hero character, trying to save his son, who has been abducted and turned into an evil psychic killing machine. All the while, Douglas is trying to save a young girl from the same fate.
Cassavetes, who just does sinister so well, plays the main antagonist who betrays Douglas and tries to have him murdered so that he can abduct his psychic son and brainwash him while honing his skills. Cassavetes mostly succeeds in the opening of the film but doesn’t realize that Douglas survived the orchestrated assassination attempt.
The real highlight of the film for me was the big finale and the moments that led up to it, which saw the psychic son unleash his powers in twisted and fucked up ways. The special effects used here were simple, practical and incredibly effective.
There were a lot of psychic power horror flicks in the ’70s and ’80s but The Fury is certainly one of the best of the lot. If this type of stuff is your bag, you definitely should give it a watch.
Rating: 8.5/10 Pairs well with: other ’70s and ’80s psychic horror movies, as well as Brian De Palma’s other horror and thriller films.
Release Date: April 8th, 2004 (Los Angeles premiere) Directed by: Quentin Tarantino Written by: Quentin Tarantino Music by: RZA, Robert Rodriguez Cast: Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, David Carradine, Julie Dreyfus, Gordon Liu, Michael Parks, James Parks, Bo Svenson, Samuel L. Jackson, Larry Bishop, Sid Haig, Sonny Chiba
Super Cool ManChu, A Band Apart, Miramax, 137 Minutes
“Bitch, you don’t have a future.” – The Bride
I dropped my review of Kill Bill: Vol. 1 a week ago but I watched them back-to-back and reviewed them that way, as well. But I like to save my last review on Fridays for bigger, well-known films, so that’s why this one dropped out of sequence.
I wanted to watch these back-to-back primarily to get the full effect of the story. I’ve done that before but it’s been a really long time since I’ve watched these and I wanted to really make a day out of it due to how much I loved them when they were still fairly current films.
As I said at the end of my review for the previous film, it was a near masterpiece but it was also outdone by this movie.
I think the main reason for that, is that this one switches to more of a spaghetti western style than the Yakuza revenge flick the previous movie was. Martial arts are still alive and well in this picture, though, and it gives this a really unique feel. Also, despite the tonal differences in the films, the martial arts aspects still tie them together well and in some regards, this reminds me of the Kung-Fu television series, which oddly enough, also featured David Carradine, this film series’ primary antagonist.
I liked the spaghetti western feel because, well, I’m a big fan of that style. This was also Tarantino’s first attempt at delving into a western aesthetic and he did a tremendous job with it. Sure, this is more of a neo-western, as it is set in modern times but it kind of laid a solid foundation for him to build his skills off of in the genre. Without this, he may not have done Django Unchained or The Hateful Eight. Granted, in my opinion, this film is still superior to both of those.
Another thing that makes this the better half of the series, is that it is the culmination of everything that The Bride has set out to achieve. It’s the finale, the big final fight. But this also doesn’t give you a grand final battle. Instead, it subverts expectations in a beautiful and much more meaningful way. Unlike most modern filmmakers who like to take giant shits on well-established franchises like that never-been-laid fucknut Rian Johnson and that fart sommelier J. J. Abrams.
Anyway, the climax of the film is incredible and it has probably the best acting I’ve ever seen from David Carradine, as well as Uma Thurman. You believe that they have a lot of love between them, as well as a lot of anger and it’s fucking heartbreaking to watch, regardless of how many times you’ve seen it. Adding in the fact that there’s a young child placed between them makes the final showdown emotionally tragic but more complex and serious than it otherwise would’ve been. At this point, this moves beyond just being a simple revenge story, as the hope for a real life emerges at the end of The Bride’s violent journey.
Apart from the finale, the film also subverts expectations well in how Bud dies. He’s someone else on The Bride’s hitlist but he gets the best of The Bride and actually defeats her, quite easily. He underestimates her drive, though, and she goes right back on the hunt while he feels he’s safe from her wrath. However, by the time The Bride reaches him again, there’s a pretty big twist, which pits her against Elle, the second to last name on her list.
The fight between The Bride and Elle in Bud’s mobile home is damn good and it utilizes the cramped environment exceptionally well.
In the end, this is just a great fucking motion picture and one of Tarantino’s best, hands down. It’s my favorite and even though it’s not as talked about, these days, as his other movies, it’s still the best of the lot from where I stand.
Rating: 9.5/10 Pairs well with: the other Kill Bill films, as well as other movies by Quentin Tarantino, as well as the many films this homages.
Release Date: September 29th, 2003 (Hollywood premiere) Directed by: Quentin Tarantino Written by: Quentin Tarantino Music by: RZA Cast: Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, David Carradine, Sonny Chiba, Julie Dreyfus, Chiaki Kuriyama, Gordon Liu, Michael Parks, Michael Bowen, Jun Kunimura, Kenji Ohba, James Parks, The 188.8.131.52’s
Super Cool ManChu, A Band Apart, Miramax, 111 Minutes
“Do you find me sadistic? You know, I bet I could fry an egg on your head right now, if I wanted to. You know, Kiddo, I’d like to believe that you’re aware enough even now to know that there’s nothing sadistic in my actions. Well, maybe towards those other… jokers, but not you. No Kiddo, at this moment, this is me at my most… [cocks pistol] masochistic.” – Bill
The Kill Bill films are my favorite movies from Quentin Tarantino, which makes me happy that there are two of them. I felt that reviewing them was long overdue, so I had myself a little marathon with these two movies and some of the classic Pai Mei flicks I’ve already reviewed on this site.
The two films work really well together even though the first one plays more like a martial arts/Yakuza flick while the second is more akin to a spaghetti western. I think this is probably why they were split into two parts, as opposed to giving us one big epic film. Granted, I’m still waiting for the combined version that Tarantino promised years ago. Hell, I think it’s also about time for the third film, which he also promised years ago.
Anyway, this is a review of the first movie, so let me get to it.
The film is just great from top-to-bottom from the opening scene to the big, action-packed, blood-soaked finale.
My only reservations with it, seeing it for the first time in quite a damn while, is that some of the dialogue came out fairly cringe. The scene with Uma Thurman and Vivica Fox exchanging pleasantries seemed a lot less cool and a lot more forced and unnatural for me. It never really bothered me before but it set them film up poorly and because of that, I thought I was going to be disappointed and discover that this just wasn’t as good as I thought it was when I was a lot younger.
I’m glad to say that even though there is more dialogue cringe, it doesn’t really wreck the film or its dramatic effect. Quentin Tarantino is always getting props for the dialogue in his movies but I’ve never been as big of a mark for it. It’s almost always compelling but it tends to be an example of something that sounds great on paper but doesn’t work as well onscreen. And honestly, I think that’s what happened in some of these scenes and I don’t blame the actresses for it.
That gripe aside, everything else is pretty much perfect and the film moves at an incredibly brisk pace, leading to the big showdown with one woman against an army of Yakuza’s wielding samurai swords.
While Tarantino’s films always look fantastic and cinematically impressive, this one really takes the cake for me. Especially, during that final fight, as the film goes from color, to black and white, to just silhouette. The changes work really damn well and the visual tone helps to set the narrative tone, as it shifts during the battle. It also helps break it out into segments, keeping it fresh, as it does run on for a really long time.
Also, I love how after the fight, it switches back to regular color, where it reveals a giant hall full of downed Yakuza, blood absolutely everywhere and limbs just randomly dropped throughout the set. This whole sequence gives you pure, ultraviolence but you don’t actually see the sum of all its (body)parts until that final moment and its kind of breathtaking.
Additionally, the one-on-one final fight between The Bride and O-Ren Ishii is a beautiful, artful and calculated confrontation that works in contrast to the massive fight before it while also being a stunning exclamation point on the film.
The movie is also full of stupendous dramatic scenes and places where the dialogue is so damn good that it sort of washes away the cringe from earlier in the film. The scenes between The Bride and Sonny Chiba’s Hattori Hanzō are fucking beautiful, sweet and intense.
The closing moments of the movie, where The Bride explains her plan to Sofie is ominous as hell and spectacularly effective, as is the big reveal and twist, delivered by Bill, as the final line of the movie.
Kill Bill: Vol. 1 is pretty close to being Tarantino’s greatest masterpiece. But then, it is slightly edged out by its sequel, which I will review in about a week.
Rating: 9.25/10 Pairs well with: the other Kill Bill films, as well as other movies by Quentin Tarantino, as well as the many films this homages.
Release Date: December 11th, 1987 Directed by: Oliver Stone Written by: Oliver Stone, Stanley Weiser Music by: Stewart Copeland Cast: Michael Douglas, Charlie Sheen, Daryl Hannah, Martin Sheen, Hal Holbrook, Terence Stamp, John C. McGinley, James Karen, Sean Young, James Spader, Saul Rubinek, Sylvia Miles
Amercent Films, American Entertainment Partners, Twentieth Century Fox, 126 Minutes
“Man looks in the abyss, there’s nothing staring back at him. At that moment, man finds his character. And that is what keeps him out of the abyss.” – Lou Mannheim
I wrote pretty extensively on this film several years ago for a politics and economics site that I used to run. That article also made it into one of the books I published. That article was called Gordon Gekko, the Hero?
I won’t spend too much time rambling on about the morality, themes and messages within this film, as that lengthy article already does. This is a movie review, so I’ll focus on the things that make it great beyond just the story and my interpretation of its core characters and their real motivations.
To start, this is hands down one of my favorite Oliver Stone movies. It may, in fact, be my favorite but it’s been a really long time since I’ve seen Platoon and JFK.
This is also one of Charlie Sheen’s best performances and he held his own and wasn’t overshadowed by the stupendous cast around him, especially Michael Douglas, one of the greatest actors of his generation.
I did find Daryl Hannah to be kind of weak, though. I don’t necessarily blame her for that, as her character barely got time to develop or to allow you to care for her. I feel as if she was more than a predatory gold-digging shark but that’s pretty much all we got to see from her.
Additionally, I felt like Sean Young was really underutilized and honestly, the women just seemed like they were put on the backburner. Also, this wasn’t really their story but it felt like their efforts were a bit wasted for what they potentially could’ve brought to the film.
Anyway, the story is solid but the pacing can drag a bit, here and there, and I think that’s the main reason why I don’t see this as more of a masterpiece. That’s not to say it’s dull but a lot of scenes felt like padding, as if Stone wanted to hit a two hour mark on the running time.
The film is also full of so many great character actors in smaller roles and it’s sort of like a who’s who of cool ’80s dudes that were in everything. I especially liked James Karen and Hal Holbrook in this. John C. McGinley also stole the show in the scenes he was in.
Being an Oliver Stone picture, one should expect this to be technically sound and beautiful and it is. Wall Street doesn’t disappoint and it features some stellar cinematography and a few iconic shots that have been burned into my memory since I first watched this picture as a kid in the late ’80s.
Also, the music is perfect from the film’s score by Stewart Copeland and the pop music tracks sprinkled throughout. It’s been so long since I’ve last seen this that I forgot how much I loved that motorcycle sequence to Brian Eno’s “Mea Culpa”.
All in all, this is still a fantastic motion picture where just about everything goes right. There are those few minor flaws but they hardly detract from how great this movie is, as a whole.
Rating: 9/10 Pairs well with: it’s sequel, as well as Boiler Room, The Wolf of Wall Street and Rogue Trader.
Release Date: June 25th, 1982 Directed by: Ridley Scott Written by: Hampton Fancher, David Peoples Based on:Do Androids Dream of Electric Sheep? by Philip K. Dick Music by: Vangelis Cast: Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh, Daryl Hannah, William Sanderson, Brion James, Joe Turkel, Joanna Cassidy, James Hong
The Ladd Company, Shaw Brothers, Blade Runner Partnership, Warner Bros., 113 Minutes (original workprint), 116 Minutes (original US theatrical), 117 Minutes (international theatrical), 114 Minutes (US television broadcast), 116 Minutes (The Director’s Cut), 117 Minutes (The Final Cut)
“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time… like tears in rain… Time to die.” – Roy Batty
Blade Runner is a classic but I think my appreciation of it is different than that of most. While I see a lot of weaknesses and flaws with it, which I’ll explain, the pros most certainly outweigh the cons by a tremendous amount.
For me, Blade Runner is an incredibly slow paced film. Not a lot really happens in it. You quickly understand the setup and the hunt that is taking place, as well as the fact that the main character, Deckard, is falling in love with the very thing he is hunting. There are a lot of layers here that could be explored in more depth but everything is just sort of presented on the surface and not explored beyond a sort of subtle emotional response to the proceedings. You never really know what Deckard is thinking but the film also works in that regard, even if I feel that it makes it hard to align your emotions with the characters’.
Blade Runner is a very topical film. What I mean by that is that there are all these beautiful and mysterious things in the forefront but the substance of what is really behind it all isn’t greatly explored or understood. You have some clues with the conversations Deckard has with Rachael and Batty but most of the characters feel as soulless as the Replicants were intended to be. I don’t blame the acting, which is superb, I blame the ambiguous way that the film was written, as it leaves you perplexed and with more questions than answers, really. And frankly, it is hard to care about those questions without the emotional investment in the characters living in this world.
Speaking of which, Ridley Scott created such a cool and stunning world that I wanted to know more about it. I truly wanted to experience and live in it, alongside these characters, but it is hard to do that when everything feels so cold, emotionless and distant. But this also begs the question, which people have been asking for decades, is Deckard also a Replicant and if so, is that what the tone of the film is very blatantly implying? I would have to say yes but I guess that question won’t truly be answered until this film’s sequel finally comes out later this year, a 35 year wait since this picture came out.
As I already pointed out, the film takes place in an incredible looking world. While it is the Los Angeles of the future, two years from now to be exact, it is a cold, dark and dreary place highlighted by flaming industrial smokestacks and neon signs. Scott made his future Los Angeles look otherworldly and menacing, tapping into the fears of where we could find ourselves in a world that further urbanizes itself, where we are all living in dark metropolises blanketed by dark smoky skies.
The music of the film, created by Vangelis, is absolutely perfect. It is one of the best scores ever produced for a film and its magnificence will be hard to top in the upcoming sequel. The end titles song of the film is one of my favorite pieces of music ever created.
The film is very loosely based on Philip K. Dick’s Do Androids Dream of Electric Sheep? In reality, it just shares a few concepts and ideas and Blade Runner is really its own thing, where Dick’s novel was more or less the kernel of an idea that Hampton Fancher and David Peoples turned into this tech-noir tale. Honestly, someone could do a true adaptation of the novel and no one would probably pick up on it being the same material. But Philip K. Dick is one of my favorite authors of all-time and anything inspired by his work will get my attention. But I probably wouldn’t have found his work as early as I did in life, had it not been for this movie and really, this film is what gave his work notoriety, after his death.
Blade Runner is not a film for everyone. In fact, when I have shown it to people over the years, I’ve gotten more negative or baffled responses than I have positive ones. I think it is a film that works for those who already know it or who grew up in a time when it was well-known. There was nothing like it at the time but there was a lot like it after it made its impact on pop culture. I don’t think that The Terminator would have been quite the same film had Blade Runner not come out two years before it.
It will be interesting to see where a sequel can go and what it answers and how. But we’ve got a month or so to wait for that. But it’s already been over 35 years, so what’s a month?
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