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Category: Classics

  • Batman: Mask of the Phantasm (1993)

    Batman: Mask of the Phantasm (1993)

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    Created by artist Bob Kane and writer Bill Finger in 1939, Batman was first introduced in Detective Comics #27. For almost 80 years, Batman has remained one of the most popular and iconic comic book characters of all time. Over the years, Batman has been adapted into numerous movies, TV shows, cartoons, and more. Batman first gained mainstream success with the ’60s TV series starring Adam West as the Caped Crusader. While this interpretation was more campy and over-the-top, the show helped bring Batman into pop culture. Batman returned to his darker roots thanks to Frank Miller’s The Dark Knight Returns and Alan Moore’s The Killing Joke. This culminated in Tim Burton’s 1989 film, a major success that ushered in a new era of comic book movies. Following the movie’s success, Batman: The Animated Series premiered in 1992. The show led to the theatrical film, Batman: Mask of the Phantasm.

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    One night, as Batman (Kevin Conroy) is taking on some gangsters, a mysterious figure known as the Phantasm appears. The Phantasm kills one of the gangsters, and Batman is falsely blamed for the murder. Councilman Arthur Reeves (Hart Bochner) wants Batman taken out thinking him a menace despite Commissioner Gordon’s objections. At the same time, an old flame of Bruce’s named Andrea Beaumont (Dana Delany) reenters his life after several years. As the Phantasm takes out more and more gangsters, we learn more about Bruce and Andrea’s past relationship. Turns out her wealthy father Carl Beaumont (Stacy Keach) had some shady dealings with some gangsters he owed money to. Soon enough, one of the gangsters hires the Joker (Mark Hamill) to eliminate Batman before he gets killed. Eventually, Batman discovers the Phantasm’s true identity, and he must confront the demons of his past to save Gotham.

    What’s interesting about this film is that it was originally intended to be released direct-to-video before being released theatrically. With that in mind, you can somewhat tell given the movie feels like an hour-and-a-half episode with a bigger budget. Even still, much like the show, the animation is very impressive and stylish, even more so given the bigger budget. The movie makes great use of shadows and harsh lighting that really add a dark noir vibe. It’s impressive given this was mostly done using hand-drawn animation in a time when CG animation was becoming the norm. In fact, the only CG-animated sequence is in the opening credits, and it’s phenomenal. Especially in the film’s climax, there are some really amazing set pieces that rival similar sequences from the live-action films. Granted, some of the character movements are somewhat wobbly and a bit cartoonish, but it doesn’t detract from the film.

    The story is also very complex especially for an animated movie, exploring themes of love and loss. There’s also some twists throughout that will catch you off-guard the first time you see it. The voice acting all around is great, Conroy and Hamill of course being amazing in their roles. Dana Delany does a great job as Andrea, which eventually led to her voicing Lois Lane in the Superman cartoon. The score, done by the late Shirley Walker, is amazing, giving the film a very grand and operatic feeling. In fact, there’s one scene towards the end where the score really shines that I don’t want to give away. Honestly, there’s so much more that makes this movie great that I could go for hours discussing it. In summation, Batman: Mask of the Phantasm is easily one of the best and most underrated superhero movies ever made.

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  • Halloween (1978)

    Halloween (1978)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}” column_structure=”2_3,1_3″][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Of the many subgenres in horror cinema, one of the most popular and longest lasting is the slasher film. Essentially, a slasher film involves a single killer going after a group of people one-by-one in an isolated area. There’s been debate as to what the first true slasher film was, some pointing to Psycho and Peeping Tom. Some even argue that Italian giallos from directors Mario Bava and Dario Argento laid the foundation for the slasher genre. Of course, most agree that the original Texas Chainsaw Massacre and Black Christmas are two definite examples of early slashers. Granted, while these films certainly were popular, there weren’t exactly tons of slashers that followed immediately afterwards. That is until 1978, when John Carpenter introduced the world to The Shape, aka Michael Myers. Originally titled The Babysitter Murders, the film that ultimately popularized the slasher genre was Halloween.
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    Synopsis

    On Halloween night 1963, young Michael Myers stabs his older sister Judith to death for seemingly no reason. 15 years later, Michael is now interred at Smith’s Grove Sanitarium and is awaiting trial for his sister’s murder. The day before Halloween, Dr. Sam Loomis (Donald Pleasence) and nurse Marion Chambers (Nancy Stephens) come to escort Michael. Upon arrival, they find that the patients have been let loose and Michael ends up escaping using Loomis’ car. Michael targets high schoolers Laurie Strode (Jamie Lee Curtis), Annie Bracket (Nancy Kyes), and Lynda Van der Klok (PJ Soles). At the same time, Dr. Loomis teams up with Sheriff Leigh Bracket (Charles Cyphers) to track down and stop Michael. Loomis explains that Michael is not a person to be reasoned with and is the personification of pure evil. Will Dr. Loomis be able to stop Michael, and who will survive Michael’s rampage?

     

    Review

    As I mentioned in the intro, there were plenty of slasher films that predate this one. But while movies like The Texas Chainsaw Massacre and Black Christmas came first, Halloween was the more popular film. That being said, it’s very easy to see why as, while those two are fantastic, this one is phenomenal. What makes this film work so well, amongst other things, is just how simple of a story it is. At its core, it’s about an escaped madman stalking teenage babysitters while his doctor tries to bring him down. In addition, we’re never given much of a reason why Michael is killing these girls, which makes it more terrifying. It also helps that the characters are likable, the cast is great, and the soundtrack is amazing. While many other horror films focused on cheap jump scares and thrills, this film effectively builds suspense and tension throughout.

    If there are any issues with the film, it’s hard to find them and many are simply just nitpicks. For one, it’s set in Illinois, but is clearly shot in California, especially with the palm trees and license plates. Considering this was made on a budget of around $300,000, I think that can be excused as it’s very minor. Also, like many films at the time, it can be a bit slow at parts and some scenes drag slightly. And while the film certainly has blood and nudity, don’t expect the copious amounts you’d see in 80s slashers. But minor issues aside, this is still an incredible film that absolutely deserves all the acclaim it gets. Not only was it a game changer, but it also launched Jamie Lee Curtis’ and John Carpenter’s careers. With great cinematography, a great cast, and an iconic score, Halloween is essential for horror fans.

     

    Buy Halloween from Amazon: https://amzn.to/4ef9vV2.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Smokey and the Bandit (1977)

    Smokey and the Bandit (1977)

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    In September of 2018, the world lost a true acting legend, the mustached symbol of masculinity known as Burt Reynolds. Born in 1936, Burt Reynolds was probably one of the most iconic actors of the past 40 years. Like most actors, he first got his start on television, with shows like Gunsmoke, Hawk, and Dan August. His first major break came in 1972 when he starred in the survival thriller Deliverance, sans his iconic mustache. His career continued with hits like White Lightning and Gator, as well as bombs like At Long Last Love. At the same time, former stuntman Hal Needham was making the transition to directing. He had previously worked with Reynolds as a stunt coordinator on Gunsmoke, White Lightning, and Gator. In 1977, the two teamed up to work on a small film that ended up becoming a major phenomenon. That film was Smokey and the Bandit.

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    At a truck driving competition, father and son Big Enos (Pat McCormick) and Little Enos (Paul Williams) have a job. They need a truck driver to deliver 400 cases of Coors from Texas to Atlanta within 28 hours. Enter the Bandit (Burt Reynolds), who decides to take the job, which he’s promised $80,000 for. Bandit recruits his friend Cledus (Jerry Reed), aka Snowman, to driver the truck while Bandit drives the “blocker”. Essentially, while Snowman drives the truck, Bandit drives somewhat recklessly in order to divert attention away from the truck. Along the way, Bandit ends up inadvertently picking up Carrie (Sally Field), a runaway bride trying to lose her fiancé. Unfortunately for Bandit, this makes him the target of her fiancé’s dad, Sheriff Buford T. Justice (Jackie Gleason). What follows is essentially one big chase with Bandit trying to outrun the sheriff and trying to make the delivery.

    This movie is definitely a classic in every sense of the word that shaped a generation. While he was a star at the time, this is the film that would make Burt Reynolds into a superstar. As the Bandit, Reynolds is just dripping in charisma and charm, the very essence of an excellent leading man. As the sheriff, Jackie Gleason (who improvised all his lines) is incredibly funny and has excellent comedic timing. Whether it’s mocking his dimwitted son Junior (Mike Henry) or threatening to catch the Bandit, Gleason is delightful. Sally Field is also fun as the feisty runaway bride who has great chemistry with Reynolds. Jerry Reed, on top of performing the classic theme song, does a great job as the straight man alongside Reynolds. Given this was directed by a former stuntman, the car chases and stunts are tons of fun to watch.

    Admittedly, this movie is absolutely a product of its time, and acts as a time capsule of the late 70s. In that sense, the movie is dated, but that doesn’t take away from how enjoyable it is. It takes you back to a time when movies could be just simple fun without talking down to its audience. Plus, we see real cars getting into real chases and real crashes, something we sadly don’t see much of today. On top of making Burt Reynolds a superstar, but the film was even the second highest grossing film of 1977. The film even made Coors seem appealing, which is certainly not an easy feat given how gross the taste is. Of course, as tends to happen with a successful film, there were plenty of rip-offs and cash-ins made. Despite this, Smokey and the Bandit remains a quintessential 70s film and a true classic.

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  • Carlito’s Way (1993)

    Carlito’s Way (1993)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}” column_structure=”2_3,1_3″][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]After Sisters in 1973, Brian De Palma certainly had an interesting career in the following decades. He followed up with the now cult-classic Phantom of the Paradise, then scored his first hit with Carrie. Continuing with The Fury, he received major controversy with 1980’s Dressed to Kill. While Blow Out floundered financially despite positive reviews, his next big hit was Scarface with Al Pacino. A remake of the 1932 film of the same name, the film became a cultural phenomenon and remains popular today. Like before, he floundered again with Body Double, but returned with the box-office smash The Untouchables. After Casualties of War, De Palma’s career took a major blow with Bonfire of the Vanities. Not only was it savaged by critics, but it was also a major box office bomb. After Raising Cain, De Palma managed to redeem his status by reuniting with Al Pacino for Carlito’s Way.
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    Synopsis

    In 1975, notorious gangster Carlito Brigante (Pacino) is released 5 years into a 30-year sentence, promising to change his ways. However, things go south when he’s asked to join his cousin for a drug deal that quickly turns bloody. Carlito ends up taking $30,000 from the drug deal and uses it to buy a nightclub. Carlito’s plan is to raise $75,000 so he can move to the Caribbean to retire as a rental car salesman. He also runs into a brash young up-and-coming drug dealer named Benny (John Leguizamo) who he constantly turns down. At the same time, he gets back together with a former lover named Gail (Penelope Ann Miller). Also, Carlito’s lawyer and friend David Kleinfeld (Sean Penn) needs his help to break a mob-boss out of Rikers Island. As time goes on and the tension continue to build, it’s a matter of who survives and who’ll die.

     

    Review

    Given this was a crime-drama directed by Brian De Palma and starring Al Pacino, it’s easy to compare with Scarface. However, there are plenty of major differences between the two that make them stand apart from one another. For one, Scarface was clearly a product of its time and the main character is clearly the villain. However, in Carlito’s Way, the protagonist is more of an anti-hero and he’s trying to turn his life around. While Carlito certainly does questionable things, he has good intentions and he tries to do what’s best for everyone. That said, this film does almost work as a spiritual successor to Scarface, especially with characters talking about Carlito’s past. Of course, I’m not saying one’s better than the other, but that both have parallels and differences. While Scarface is one of the best 80s films, Carlito’s Way is one of the best 90s films.

    While Pacino is great in the film as always, the rest of the cast is also phenomenal. Sean Penn is practically unrecognizable as the sleazy, coke-addicted lawyer friend, clearly having immersed himself in the role. Penelope Ann Miller is also good as Pacino’s love interest, and the two do have great chemistry with each other. While he has limited screen time, John Leguizamo is very memorable as a small-time gangster trying to make it big. Some other recognizable faces that show up include Luis Guzman, James Rebhorn, Viggo Mortensen, and even Marc Anthony. De Palma’s direction is top-notch here, especially during a particularly tense chase sequence at Grand Central station towards the end. This movie not only showcases De Palma’s talent as a director, but also showcases Al Pacino’s acting talent. While not as popular as Scarface, Carlito’s Way is a great crime drama about one man’s quest for redemption.

     

    Buy Carlito’s Way from Amazon: https://amzn.to/4ozSyL7.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Carlito’s Way (1993)

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  • Con Air (1997)

    Con Air (1997)

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    While considered a joke today, in the 90s, Nicolas Cage was one of the biggest actors at the time. He achieved box office success with The Rock and Face/Off, and even won an Oscar for Leaving Las Vegas. At the same time, there was also Jerry Bruckheimer, a major Hollywood producer who rose to fame in the 80s. Alongside fellow producer Don Simpson, the two brought us Flashdance, Beverly Hills Cop, Top Gun, and Bad Boys. However, things went awry when Simpson and Bruckheimer disagreed over the concept of their next film, and the two separated. Unfortunately, Simpson passed away shortly after producing The Rock, and his death had little effect on the next film. Many feel that after Simpson’s death, the subsequent productions of Bruckheimer lost the age they had beforehand. That said, some of that edge from their earlier productions was still visible in 1997’s Con Air.

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    Coming back from the war, Army Ranger Cameron Poe (Nicolas Cage) returns home to his wife Tricia (Monica Potter). She works as a waitress at a bar where she gets hassled by some drunk guys. While defending her, Poe accidentally kills a guy and ends up getting put in prison for involuntary manslaughter. Cut to years later where Poe is granted parole and is free to return to his wife and new daughter. However, in order to get home, he has to board a plane full of convicts called the Jailbird. Things go well until the convicts, led by Cyrus Martinez (John Malcovich), take control of the plane. While FBI Agent Duncan Malloy (Colm Meany) wants to shoot them down, Agent Vince Larkin (John Cusack) thinks otherwise. With few options and little time left, it’s up to Poe to stop the convicts and return home.

    Now, I’m not going to lie, this movie is pretty ridiculous and definitely a product of its time. There are cheesy one-liners, big set-pieces, total disregard for collateral damage, and a silly melodramatic love song that plays throughout. That said, this is still a fun example of how entertaining 90s action films were. While not as over-the-top as usual, Nick Cage is still fun to watch between his flowing mullet and thick accent. John Malcovich is fun as the villain, acting like he’s constantly annoyed and on edge, and has some great one-liners. Another stand-out is Steve Buscemi, who is essentially doing a toned-down version of Anthony Hopkins from Silence of the Lambs. There are also some great appearances from character actors like Danny Trejo, Ving Rhames, and M.C. Gainey. The action sequences are well-shot and the score gets you in the right mood.

    Of course, this movie isn’t without its problems, but then again, no movie is perfect. For a major portion of the film, Monica Potter isn’t really given much to do. She just shows up at the beginning, appears here and there, and comes back at the end. Also, as fun as John Cusack is, there isn’t really much to his character except the rivalry with Colm Meany. Obviously, there’s no point in addressing the flaws with this film since it’s not trying to be high art. This is simply meant to be a big, dumb, fun summer blockbuster, and in that respect, it succeeds. Sure, it’s dated and feels like a product of its time, but it’s still a fun time. Con Air, while over-the-top and ridiculous, still has some fun action sequences and larger-than-life characters to keep you entertained.

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  • Raging Bull (1980)

    Raging Bull (1980)

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    Martin Scorsese is without a doubt one of the most celebrated and talented filmmakers of the 20th century and beyond. With such classics as Taxi Driver, Goodfellas, and Casino, Scorsese has always delivered and his films are still beloved today. He’s probably one of the few directors to come out of the New Hollywood Movement with continued success. However, despite his critical acclaim, there were still some dark periods in his career. After making his biggest hit at the time, Taxi Driver, things weren’t looking too great for him. His follow-up film, 1977’s New York New York, was both a critical and commercial failure, which sent him into depression. At the same time, Scorsese had a massive cocaine addition that left him hospitalized and in poor health. Luckily, his friend and fellow collaborator Robert De Niro managed to get him back on his feet with Raging Bull.

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    The film is a somewhat loose biopic of real-life heavyweight boxer Jake LaMotta, here played by Robert De Niro. We follow his life story from his early days as a boxer to his later life as a stand-up comic. We see him in his biggest bouts with heavyweights like Jimmy Reeves, Sugar Ray Robinson, and Tony Janiro. While he’s a champion in the ring, his violent temper destroys his personal life. He leaves his first wife Lenore (Theresa Saldana) for a woman named Vickie (Cathy Moriarty). Once married, Jake on occasion beats her and accuses her of sleeping with other men. At the same time, his brother Joey (Joe Pesci) tries to help, but he’s often pushed aside. Jake starts accusing his brother of having an affair with Vickie, and he even accuses her of sleeping around. Eventually, things go downhill leading to the end of Jake’s boxing career.

    Given when this film came out, it’s easy to make comparisons between this and Rocky. While both are boxing movies that are more so character studies, they are quite different. In Rocky, the main character is flawed and not-too-bright, but he’s good at heart and the movie is very up-lifting. Here, the main character is abusive to his wife, turns away people trying to help him, and things end badly. It’s a very down and dirty film that doesn’t have very many bright spots and shows a real dark side. Even still, Jake LaMotta is a character who, while not the best, is still engaging to watch. Robert De Niro does an excellent job, especially considering how much time and effort he put into his performance. The rest of the cast, particularly Joe Pesci and newcomer Cathy Moriarty, are excellent and work well opposite De Niro.

    Considering how reluctant Scorsese was in making this film, his direction here is phenomenal. With its black-and-white photography, it really makes the boxing matches all the more vicious and visually interesting. It also helps to cement the film in the time period it’s set, giving a somewhat film noir look. While not a huge hit with critics and audiences at the time, it eventually was cemented as a certified classic. Some people might be put off by its grim tone, hard-hitting violence, and its not-so-good lead character. But for others, Raging Bull stands as a perfect example of an exceptional actor-director powerhouse with Scorsese and De Niro.

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  • Dr. Strangelove (1964)

    Dr. Strangelove (1964)

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    After the end of World War II in 1945, tensions between the US and the Soviet Union began to arise. While both were allies fighting against the Nazis, the two were still wary of one another. The US feared the threat of communism, while Russia viewed Americans as cowards. The USSR began spreading their communist influence throughout Eastern Europe as the US and England provided aid to Western Europe. This led to a decades-long conflict known as the Cold War, a term coined by George Orwell in 1945. For the next 40+ years, the two were engaged in a stand-still, threatening one another with total nuclear annihilation. As paranoia continued to mount, Stanley Kubrick, following his 1962 film Lolita, decided to show how absurd this conflict was. In 1964, he created the black comedy, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.

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    At Burpelson Air Force Base, General Jack D. Ripper (Sterling Hayden) has gone insane. He is convinced that the Russians have poisoned our drinking water through fluoridation, threatening our “precious bodily fluids”. As such, he orders Group Captain Lionel Mandrake (Peter Sellers) to put the base on high alert. Ripper also issues “Wing Attack Plan R”, wherein several B-52 Bombers attack various Russian targets. Meanwhile, at a secret underground base called the War Room, several officials have been assembled. As General Turgidson (George C. Scott) explains the situation, President Muffley (Sellers) tries warning the Russian premier. We also follow a crew of one of the B-52s, led by Major TJ Kong (Slim Pickens), as they prepare their run. With the threat of nuclear annihilation looming, the president’s nuclear advisor Dr. Strangelove (Sellers) tries working out how to survive. It’s a race to try and avert the situation before getting worse.

    Despite how dire the situation is, the movie presents this as an absurd black comedy. The characters are intentionally over-the-top and exaggerated caricatures and things spiral out of control to a ridiculous level. Peter Sellers plays three roles in this film: Captain Mandrake, President Muffley, and Dr. Strangelove. He does such a great job that you can buy these characters as three different people. George C. Scott is also memorable as General Buck Turgidson, who acts almost like a spoiled child. He pouts whenever he’s scolded at has an adolescent view of women and sex. Slim Pickens is fun as the stereotypically Texan Major Kong, and watch for an early role for James Earl Jones. Sterling Hayden plays General Ripper seriously enough to where he’s believable in spite of his ridiculous lines. The cast assembled does a great job between playing it straight and being as crazy as possible.

    This being one of his first major studio productions, Kubrick does an outstanding job staging these scenes. In spite of how absurd things get, this movie does have a message that’s still relevant today. Today, we live in a world where our leaders can wipe out entire countries with the press of a button. At anytime, the US, Russia, North Korea, or any other country can use nuclear weapons to take out their enemies. This movie was very ahead of its time, given that the Red Scare was still prevalent. Admittedly, some of today’s audience might find this movie to be dated and not as funny as one would believe. There is a lot of dialogue and it can be hard to follow at times. However, if you have an open mind, you’ll find that Dr. Strangelove is a great slice of absurd counter-culture satire.

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  • Caddyshack (1980)

    Caddyshack (1980)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Harold Ramis was probably one of the greatest comedic talents who ever lived. It’s because of him that we have comedy classics like Ghostbusters, Stripes, and Meatballs. Prior to this, he worked for Playboy as the magazine’s joke editor and reviewer. Eventually, he worked with the famous Second City Improv Troupe and The National Lampoon Show. He worked alongside other people from Second City like John Belushi, Gilda Radner, and Bill Murray. His first major break was penning the script for 1978’s Animal House. On a budget of $3 million, the movie went on to make over $140 million. Following that film’s success, Ramis not only wrote but also worked as a first-time director on the cult comedy classic Caddyshack. The film not only helped cement Ramis as a comedy genius, but also helped Rodney Dangerfield become a comedy superstar.
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    Synopsis

    It’s somewhat difficult to discuss the plot of the film since it doesn’t really have a straightforward narrative. The film plays more of a series of sketches that’re somewhat interconnected with one another. Essentially, the main plot has to do a young caddy named Danny Noonan, played by Michael O’Keefe. He’s down-on-his luck and has aspirations to go to college, but he can’t afford it. His best bet is to get in good with Judge Smails, played by Ted Knight, for a chance at a caddy scholarship. At the same time, Smails is dealing with newcomer Al Czervik, played by Rodney Dangerfield, an eccentric real estate developer who likes to party and have fun. Also, the local groundskeeper Carl Spackler, played by Bill Murray, is hired to kill a troublesome gopher. And there’s Chevy Chase as Ty Webb, more or less the straight man in all of this.

     

    Review

    As mentioned before, this movie doesn’t so much have a plot so much as it’s stuff happening that’s somewhat connected. Plus, while you could argue that there is a central plot, there are several different subplots that come and go. There’s Danny trying to get the scholarship, Carl trying to get the gopher, and Smails trying to get rid of Czervik. Because of that, it can sometimes be hard to follow how one scene relates to another. However, what makes it work as well is the writing and especially the cast. The way it’s written, it feels less like you’re watching a movie and more like you’re watching the daily goings-on at a country club. While dominated by Dangerfield, Knight, Murray, and Chase, the rest still do a great job. O’Keefe is very likable, his relationship with Sarah Holcombe is sweet, and Cindy Morgan is a knock-out.

    Most of you reading this have already seen this movie several times over and can quote the most memorable lines. For those who haven’t, I won’t spoil any of the gags or lines here. Suffice to say, this is probably one of the best comedies ever made. Also, shoutout to Kenny Loggins, who’s title song I’m Alright is instantly catchy. It’s no wonder why the song is so popular even to this day. Regardless of whether or not you’ve already seen it, Caddyshack is the sort of movie you can watch over and over and still find hilarious. And, the less said about the sequel, the better…

     

    Buy Caddyshack on Amazon: https://amzn.to/3YM2fvw.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Caddyshack (1980)

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  • Jaws (1975)

    Jaws (1975)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default”][et_pb_column _builder_version=”4.27.4″ _module_preset=”default” type=”4_4″][et_pb_video _builder_version=”4.27.4″ _module_preset=”default” src=”https://youtu.be/_SVmV1ydVQA” hover_enabled=”0″ sticky_enabled=”0″][/et_pb_video][/et_pb_column][/et_pb_row][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]In the early 70s, while working various odd jobs to make ends meet, writer Peter Benchley started working on the novel that would be his crowning jewel, Jaws. Inspired by stories Benchley had heard about great whites being reported and caught off the beaches of Long Island and Block Island in the 60s, the novel attracted the attention of producers Richard D. Zanuck and David Brown, who purchased the film rights in 1973, a year before the book was even published. After trying to find a director and removing one they had locked down because he kept referring to the shark as a whale, they ended up hiring a then relatively unknown Steven Spielberg, who had just finished his first theatrical film, The Sugarland Express, which Zanuck and Brown had produced. What followed was a very tumultuous production: the script was being rewritten constantly, casting was all over the place, and, most famously, the shark was not working. Despite all these problems, Jaws managed to become one of the most successful and critically-acclaimed movies, not just of the 1970s, but of all time.

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    Synopsis

    The setup is pretty basic, but it works in its simplicity. At the small coastal town of Amity Island, everything is peaceful as the townsfolk prepare for the 4th of July. That is, until a giant man-eating great white shark starts wreaking havoc and devouring skinny dippers and even small children. While Sheriff Martin Brody (Roy Scheider) is trying to close the beaches and keep the people safe, the town’s mayor (Murray Hamilton) wants to keep the beaches open since the town relies on the tourism revenue they get around the 4th of July. Eventually, it becomes clear that this whole shark situation is too much to handle, so the town puts out a call for people to hunt and kill the shark. A shark expert known as Matt Hooper (Richard Dreyfuss) arrives and, even though a group of hunters managed to find and kill a shark, he’s unsure if it’s the same shark that’s been terrorizing Amity Island. Turns out he was right, since shortly after, the shark comes back and almost kills Brody’s kids, which leads to the town enlisting the help of local fisherman Quint (Robert Shaw) to take out the shark. Having said goodbye to his wife, Ellen (Lorraine Gary), Brody, along with Hooper and Quint, go out into the ocean to hunt down and ultimately kill the shark.

     

    Review

    To say that this is a great movie would not be doing this film justice. This film is an absolute masterpiece of filmmaking, which is especially remarkable considering the numerous issues they encountered during production. While the movie differs significantly from the original novel, I believe that many of the changes made were for the better. For instance, in the book, Hooper was more of a ladies’ man and had an affair with Ellen Brody, creating a love triangle between Sheriff Brody, Matt Hooper, and Ellen Brody. Additionally, the novel featured a subplot where the mayor owed money to the mafia, providing a more compelling reason why the mayor would not want the beaches closed. Honestly, their removal from the movie was for the best, as adding those subplots would have detracted from the movie’s overall quality. Pretty much everything in this movie works: the performances are great, the effects are excellent, there is tons of suspense and dread throughout the film as you’re waiting to see the shark, and the score by John Williams is legendary. What’s funny is how the point-of-view shots of the shark are one of the many things in this movie that work, considering how the animatronic shark wasn’t working, and the filmmakers intended to show it in the film more prominently. The fact that you don’t see the complete shark until the last act of the movie helps ramp up the tension until the finale.

    Roy Scheider shines as the reluctant hero Sheriff Brody, a simple family man who wants to keep the townspeople safe and protect his family from the shark despite the mayor getting in his way. As much as people talk about some of his bigger moments, mainly when he kills the shark at the end, he also has a lot of great, quieter moments in the film. One instance is when he’s at home, frustrated, and his son starts mimicking his actions. It may seem insignificant, but it shows how he cares about his family and is just a regular guy at the end of the day. Richard Dreyfuss as Hooper makes for a great partner to go along with Scheider’s Sheriff Brody, but it’s Robert Shaw as the salty sea dog Quint that steals the show. His USS Indianapolis speech is probably one of the scariest monologues ever in a movie, and Shaw delivers it so well that you believe that he went through all of that. It’s also interesting to see how Hooper and Quint disagree and are at odds with one another, revealing a dichotomy between the old ways and the new. While it’d be easy to completely hate Murray Hamilton as the mayor because of how he’s more concerned about tourism revenue than the lives of innocent people, he does come around and become sympathetic when he finally decides to do something about it. Honestly, there are no weak spots in the film, though it is somewhat funny to see the animatronic shark propped on top of the boat at the end and Shaw pushing his way into the shark’s mouth.

    If I spoiled the movie for you, I take no responsibility for spoiling a 40+ year old film that you could have and should have seen by now. Even if you’re not a horror movie fan, this is an essential film that everyone should see, especially if you’re looking for something to watch on the 4th of July. With some terrific performances, an iconic score, and tons of suspense that leads to a thrilling climax, Jaws is not only a well-crafted film that helped usher in the age of the summer blockbuster, but it is probably one of the greatest and most important films ever made!

    You’re gonna need a bigger boat!

     

    Buy Jaws from Amazon: https://amzn.to/3FB693z.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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  • The Breakfast Club (1985)

    The Breakfast Club (1985)

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    John Hughes is a name that has become synonymous with growing up as a teenager in the 1980s. Having started as a writer for National Lampoon, he wrote two of the most seminal comedies of the decade, namely National Lampoon’s Vacation and Mr. Mom, both released in 1983. Then, in 1984, Hughes not only wrote but also directed Sixteen Candles, which was a hit with both critics and audiences, and is still regarded as a classic of its time. Since it was much more of a lighthearted comedy and slightly more inline with some of the other screwball teen comedies of the early 80s like Porky’s, Screwballs, and, to an extent, The Last American Virgin, Hughes decided to follow it up with a film that took a closer examination of what life was like for the average teen in high school. Tackling issues like figuring out how you fit in, being locked down into a specific clique, and the pressures teens are put upon by their parents and their fellow students, that film would go on to be one of the most important and beloved films of the 1980s, The Breakfast Club.

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    Our film starts off on a Saturday morning at Shermer High School, where we have five students from different social classes and school cliques who are forced to come in for detention. These students include the nerdy kid Brian Johnson, played by Anthony Michael Hall, the athletic Andrew Clarke, played by Emilio Estevez, the reclusive and strange Allison Reynolds, played by Ally Sheedy, the popular young socialite Claire Standish, played by Molly Ringwald, and the reckless criminal John Bender, played by Judd Nelson. Under the watchful eye of Principal Vernon, played by Paul Gleason, the five are there for their own reasons that are revealed as the movie goes along, and they spend the day eventually getting to know one another and finding out that they’re not as different as they think. Truths are shared, secrets are revealed, friendships/relationships are formed, and they all grow as young people trying to find their place in the world.

    The setup really can’t be any simpler than that: five teens stuck in detention spend the day eventually learning about who they really are. As simple as it is, it really works, and there’s a lot more that goes on besides that. What makes this film truly special is that despite it obviously being in the 80s (the music, the clothes, the hairstyles, etc), this is a really timeless film as the issues it addresses are still applicable to young people today. All of us who have been through high school have experienced at least some of the same things as these kids, whether it’s how Andrew feels pressured to be #1 all the time because of his overbearing father, Brian being upset that he got an F on a shop assignment and how it will affect his grades, or even Claire’s having to always maintain her image and go along with everything her friends say. Each of the five characters is relatable in their own way to how we were in high school. Given that John Hughes was in his 30s when he wrote this, it’s amazing how he perfectly captures how teens think and act, almost as if he’s still a teenager himself, but in the body of a fully-grown adult.

    The five leads all fit into their characters perfectly. Anthony Michael Hall, who’s best known for being the nerdy kid in movies like Sixteen Candles and Weird Science, really gets to shine as Brian, who’s arguably the most relatable one of the group. Emilio Estevez, while seeming a bit bland at times, is still great as Andrew, especially in some of his more emotional scenes such as when he tells the story of what he did to get into detention and why he did it. Molly Ringwald, though initially a bit stand-offish, does become both likable and sympathetic as the movie goes on, and she even tells some truths that, while painful, are pretty true of how certain cliques interact with each other in high school. Ally Sheedy, though largely quiet in the first act, does grow as a character once she does talk, and she’s probably the second most relatable character next to Brian since at least some of us have felt like an outcast at that time. And of course, there’s Judd Nelson, who absolutely steals the show as John Bender, as he has so much manic energy and says so many quotable lines that it’s hard not to love the guy, especially in the scenes where he’s telling off the principal. Gleason is also fun as the principal, who tries to maintain his authority figure status despite some of the more ridiculous stuff that happens to him, and a special mention goes to John Kapelos as Carl, the janitor who probably understands the kids more than they know themselves.

    If I did have any complaints about the film (and it’s so minor that it probably doesn’t really matter), it’s that the movie doesn’t necessarily have a straightforward plot. A lot of the film is kind of a series of events strung together, almost feeling episodic. Like one scene, they’re running around the school trying to get to Bender’s locker without being caught. Then, Andrew and Brian are chatting when Allison joins in and dumps her purse out to them, essentially dumping all her problems on them. Granted, there is a narrative to these scenes, and it does really capture the feeling of being stuck at this school with the five of them just trying to find a way to pass the time while also growing closer together. All in all, this is an absolute wonder of a film that’s still just as relevant now as it was back then. Every one of us has been a brain, an athlete, a basket case, a princess, and a criminal at some point in our lives, and The Breakfast Club is a great examination of how each of us embodies each of those characteristics all at once.

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