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  • Heaven’s Gate (1980)

    Heaven’s Gate (1980)

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    Filmmaking can have its own set of challenges, and sometimes a film’s production history can even transcend the film itself. Films like Cleopatra, Waterworld, Apocalypse Now, Alien 3, World War Z, and even Jaws are prime examples of troubled productions. While a film can overcome its troubled production and earn classic status, it more often than not ends in disaster. Enter Michael Cimino, a TV commercial director who made his cinematic debut with Thunderbolt and Lightfoot in 1974. While that did well, his next film, 1978’s The Deer Hunter, sent him into superstardom and made him a name. On a $15-million budget, the film grossed $49-million and earned five Academy Awards, including Best Director and Best Picture. With that success, United Artists gave Cimino free rein for his next film, so he set out to make his epic. That film wound up being the notorious box office flop, Heaven’s Gate.

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    Synopsis

    In 1890, James Averill (Kris Kristofferson) has been made marshall of Johnson County, Wyoming when he stops in Casper. He gets word from his college friend Billy Irvine (John Hurt) that the Stock Growers Association is planning something big. Turns out Frank Canton (Sam Waterston), head of the association, is putting together a “death list” of 125 immigrants. Canton is putting together a group of outlaws led by enforcer Nate Champion (Christopher Walken) to hunt down these immigrants. Meanwhile, Averill reunites with old flame Ella Watson (Isabelle Huppert), a bordello madam who is also infatuated with Nate. As tensions rise between the immigrants and the association, it’s soon revealed that Ella is on the death list. Soon, it falls on Averill to lead the immigrants to fight against the association while Champion questions his loyalty. Will the immigrants survive, will the association succeed, and who will Ella end up with?

     

    Review

    Heaven’s Gate is a film so notorious for its production history and lasting impact that there’s nothing I can add. With a final budget of $44 million, you can see the money on the screen, given the epic production design. The sets feel like real, lived-in Western towns that are straight out of the late 1800s, every detail spot on. For everything that’s been said about him, it’s undeniable that Cimino was a talented director who could frame a scene. Working with Oscar-winning cinematographer Vilmos Zsigmond, Cimino fills the screen with wide vistas that take advantage of the filming locations. The cast does an admirable job, Kristofferson making for a strong lead, though Walken completely steals the show. Though oddly cast given her nationality, Huppert does a good job and has good chemistry between Kristofferson and Walken. Waterston and Hurt, though having limited screentime, make the most of it.

    The rest of the cast is rounded out by Brad Dourif, Joseph Cotton, Jeff Bridges, Geoffrey Lewis, and Richard Masur. There are even some early appearances from Terry O’Quinn, Mickey Rourke, Tom Noonan, and Willem Dafoe, though he was fired. As much as I admire his attention to detail, it’s easy to see why Cimino was so problematic. With its three-hour-thirty-six-minute runtime, the film feels bloated, unfocused in its plot, and like it’s dragging its feet along. For instance, Ella isn’t introduced until an hour in, and only at the one-hour-forty-five-minute mark does anything plot-related happen. However, the way it’s structured, it almost feels we’re being transported into this other time following these characters. Despite its bloated nature and troubled production, this is still a fascinating piece of cinematic history given its notoriety. Overall, Heaven’s Gate is probably more suited for hardcore cinematic connoisseurs than general audiences.

     

    Buy Heaven’s Gate from The Criterion Collection: https://bit.ly/3jy35VR

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  • Puppet Master III: Toulon’s Revenge (1991)

    Puppet Master III: Toulon’s Revenge (1991)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _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=”{}”]After helming several projects during the Empire days, director David DeCoteau worked as a producer during Full Moon’s early years. He produced Crash and Burn, Trancers II, and Puppet Master II when he got a call about directing again. Paramount, who was distributing Full Moon’s films, was happy with how Puppet Master II did and immediately wanted a sequel. For the installment, they hired writer C. Courtney Joyner, who previously wrote the Charles Band produced Prison in 1987. They decided that rather than a straight-up sequel, this third film would be a prequel set in WWII Germany. After filming Subspecies in Romania, they wanted to film there but decided against it due to political turmoil. Instead, they shot for two days at the Universal Backlot, while the rest was filmed at their Los Angeles studio. Released months after II, Puppet Master III: Toulon’s Revenge hit video store shelves in 1991.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.16″ global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ global_colors_info=”{}”]

    Synopsis

    In 1941 Berlin, puppeteer Andre Toulon (Guy Rolfe) and his wife Elsa (Sarah Douglas) are entertaining children with their shows. However, during their shows, they make fun of Hitler, which catches the attention of Major Kraus (Richard Lynch). Kraus has Lieutenant Stein (Kristopher Logan) investigate, and he discovers that Toulon has found a way to animate his puppets. This catches the attention of Dr. Hess (Ian Abercrombie), who’s been researching reanimating dead soldiers to create an immortal army. Kraus and his men raid Toulon’s home, kill his wife, and capture him with his puppets to be executed. The puppets manage to kill some of their captors, and Toulon makes his escape with them, plotting his revenge. Meanwhile, Kraus’ superior, General Mueller (Walter Gotell) orders him to find Toulon at once while Hess wants Toulon’s help. Will Toulon succeed in avenging his wife’s death, or will the Nazis kill him first?

     

    Review

    Of the films in the series so far, Puppet Master III: Toulon’s Revenge is easily the strongest entry. First off, the decision to film on the Universal Backlot greatly enhances the production value and adds to the authenticity. It’s also worth mentioning that the backlot sets used were the same ones used for the 1931 Frankenstein. Cast-wise, this has some of the best actors in any Full Moon film, including veterans Rolfe, Lynch, Abercrombie, Gotell, and Douglas. Much like in Trancers II, Lynch plays a very compelling villain who’s very sinister and determined while also showing humility. Rolfe, who you might remember from Stuart Gordon’s Dolls, delivers another solid performance, and his relationship with Douglas is touching. While he doesn’t have much screen time, Gotell also delivers a strong performance and adds to the pedigree on display. Also noteworthy is a brief appearance by famous scream queen Michelle Bauer.

    While the first two films were enjoyable, they had essentially the same plot of puppets killing people at a hotel. This film, however, stands out by having a plot centered on revenge that also makes the puppets the heroes. The one slip-up with the story is that the film takes place in 1941, while the original opened in 1939. Admittedly, it’s not a huge deterrent, but it’s kind of funny to point out and a glaring oversight. Also, while the puppetry and stop-motion hold up, there are some shots where you can see the strings. Even with that said, this is still an impressive entry in the series and a highlight in Full Moon’s catalog. Though the series would have its ups and downs going forward, this still stands as a milestone for Full Moon. Overall, Puppet Master III: Toulon’s Revenge is the best film in the franchise so far.

     

    Buy Puppet Master III: Toulon’s Revenge from:

    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 Puppet Master III: Toulon’s Revenge (1991)

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  • VFW (2019)

    VFW (2019)

    [et_pb_section fb_built=”1″ _builder_version=”4.4.8″][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.4.8″][et_pb_column type=”2_3″ _builder_version=”4.4.8″][et_pb_text _builder_version=”4.4.8″ hover_enabled=”0″]In Hollywood, while there are actors who are considered superstars, there are also those who make a living supporting them. Oftentimes called ‘character actors’, many of these actors can end up being more memorable than the leads. Some of the most prominent character actors include Lin Shaye, Keith David, Kurt Fuller, Jared Harris, and Clancy Brown. However, there are times where a character actor can transition into being a superstar, like Terry Crews and Octavia Spencer. There’ve even been movies whose primary cast is character actors, including The Adventures of Buckaroo Banzai Across the 8th Dimension. Enter Joe Begos, a relatively new director who made his feature film debut with 2013’s Almost Human. After making 2015’s The Mind’s Eye, Begos gained a lot more attention for his 2019 film Bliss. That same year, Begos directed what has become his most critically acclaimed film to date, VFW.
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    Synopsis

    Vietnam veteran Fred (Stephen Lang) runs a VFW post, meeting up with friends Walter (William Sadler) and Abe (Fred Williamson). One night, Walter, Abe, Lou (Martin Kove), Doug (David Patrick Kelly), and Thomas (George Wendt) come to celebrate Fred’s birthday. Unfortunately, things go south when a young woman named Lizard (Sierra McCormick) storms in with gang members after her. The veterans make fast work of them, but demand to know what’s going on and why the gang’s after her. Turns out she stole drugs from local crime boss Boz (Travis Hammer) after he killed her sister Lucy (Linnea Wilson). Even worse, one of the punks the veterans killed was Boz’s brother Tank (Josh Ethier), so he also wants revenge. Unfortunately, Thomas gets killed and Doug is critically wounded, so the others must fight to stay alive throughout the night. Will the vets survive, or will the gang kill them all?

     

    Review

    Whereas Super 8 felt like J.J. Abrams’ tribute to Steven Spielberg, VFW feels like Joe Begos’ tribute to John Carpenter. The film takes its inspiration from Assault on Precinct 13 with some elements from Escape from New York thrown in. Stylistically, there are some Argento and Fulci influences with the vivid colors and use of shadows and darkness. This results in a hyper-stylized look that fits along with the unbridled insanity and over-the-top violence on display. You’ll see heads exploding, limbs being cut off, faces getting stomped, and blood splattered everywhere bordering on being gratuitous. Thankfully, for all the violence and action thrown in, there are plenty of moments for exposition and character development. The cast is fantastic, with Lang and McCormick, in particular, being the major highlights and the heart of the story. Hammer makes for a solid villain, and Dora Madison is good as his accomplice.

    The rest of the main cast alongside Lang is comprised of some of Hollywood’s greatest veteran character actors. Even though some don’t have much screen time, each of them is given a moment to shine they excel in. Williamson and Kove are still major powerhouses as always, and Sadler also has some fun moments where he’s unhinged. Also, Tom Williamson plays a young Army veteran who more than holds his own against these Hollywood veterans. There are tons of practical effects work for the blood and gore, which further adds to the film’s visceral quality. Honestly, it’s a much better tribute to 80s action than The Expendables films, which use tons of CGI blood. Much like those films, this goes to show that no matter how old they are, actors can still be awesome. Overall, VFW is an enjoyably brutal horror-action fan sure to please genre aficionados.

     

    Buy VFW from DiabolikDVD: https://bit.ly/3gLnUuS

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  • Back to the Future Part III (1990)

    Back to the Future Part III (1990)

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    The original script for Back to the Future Part II was considered too long, so it was split into two. Universal Studios, alongside co-writer/producer Bob Gale and co-writer/director Robert Zemeckis, decided that Parts II and III would be filmed back-to-back. Once Part II was finished filming, Part III would start immediately afterward, amounting to roughly 11 months’ worth of shooting. There was even a short teaser trailer for Part III added to the end of Part II. While working on the first film, one idea that started circulating was moving the action to the Old West. To realize this, they built a whole Western town in Monument Valley, California, and everyone in the crew was excited. For this third installment, Zemeckis felt there wasn’t much left for the McFly’s, so the focus shifted to Doc Brown. After a lengthy production, Back to the Future Part III was released in 1990.

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    Synopsis

    Following Part II’s ending, Marty McFly (Michael J. Fox) gives 1955 Doc Brown (Christopher Lloyd) instructions left by 1885 Doc. They show how to repair the DeLorean so Marty can return to 1985 and to not go to 1885. However, Marty discovers that Doc will be shot in 1885, so he uses the DeLorean to try and save him. Unfortunately, the DeLorean’s fuel line gets cut, so it can’t go 88 miles per hour to make time travel possible. Marty manages to find Doc after running into local outlaw Buford “Mad Dog” Tannen (Thomas F. Wilson), who’s after Doc. After Marty warns him, Doc devises a plan to get the DeLorean moving: have a locomotive push it. Along the way, Doc meets local schoolteacher Clara Clayton (Mary Steenburgen) and they fall in love. It’s a race against time to stop Mad Dog and get Marty back to the future!

     

    Review

    While Part II expanded on the original and asked thought-provoking questions, Back to the Future Part III plays it safe. As a whole, it’s largely a retread of the first film, the only main difference being the setting. Marty goes back in time, arrives at an older Hill Valley, confronts a bully, and must get back to 1985. Admittedly, this film does have several major differences besides the setting, namely that this is largely Doc Brown’s story. Not only is Marty’s motivation to prevent Doc’s death, but he’s given more character development and a bigger arc. It’s an interesting angle to take, essentially role reversing Marty and Doc, even giving Doc a love interest. It doesn’t hurt that Lloyd and Steenburgen have great chemistry together, and they feel like a fully fleshed out couple. There’s a mixture of old tropes and new ideas thrown into the mix.

    Acting-wise, everyone does a good job, Fox and Lloyd still working as a comedic duo and being the franchise’s heart. Since he’s given more of an arc, this entry allows Lloyd to further show his acting abilities aside from eccentricity. Like before, Wilson steals the show, this time as the gun-totting and ill-tempered outlaw Mad Dog Tannen. While George “Buck” Flower doesn’t return, there are plenty of Western character actors thrown in, some even from Blazing Saddles. Production-wise, the Western town built for the film is impressive, feeling like something that would’ve existed at the time. The climactic train sequence is just as thrilling as anything else from the series, and the ending perfectly wraps everything up. Though arguably the weakest film in the trilogy, it still works as a satisfying conclusion without any loose ends. Overall, Back to the Future Part III is a solid final chapter.

     

    Buy the Back to the Future trilogy on Amazon: https://amzn.to/3ipaAxQ

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  • Back to the Future Part II (1989)

    Back to the Future Part II (1989)

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    Though having a cliffhanger ending, director Robert Zemeckis never thought a sequel to Back to the Future would happen. However, upon its July 3rd, 1985 release, the film grossed over $381 million worldwide and was the year’s highest-grossing film. Combined with the overwhelming praise from critics, Universal immediately wanted a sequel, so Zemeckis agreed, but only on one condition. He’d only do it if Michael J. Fox and Christopher Lloyd would return, which thankfully they both agreed to return. However, making the sequel had its own problems, namely when it came to getting the rest of the original cast. While they got both Lea Thompson and Thomas F. Wilson came back, Crispin Glover and Claudia Wells wouldn’t return. After finishing 1988’s Who Framed Roger Rabbit, Zemeckis and company set off to make a sequel worthy of the original. So, in 1989, Back to the Future Part II was finally released.

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    Synopsis

    Continuing from before, Marty McFly (Michael J. Fox), Doc Brown (Christopher Lloyd), and Jennifer Parker (Elisabeth Shue) travel to 2015. They arrive to straighten things out with Marty’s son when they unwittingly meet old man Biff Tannen (Thomas F. Wilson). Unfortunately, Biff ends up stealing the Delorean and uses it to travel back in time to change his fate. Marty, Doc, and Jennifer return to 1985 only to find it in a chaotic state where Biff is in charge. Turns out old Biff gave young Biff a Sports Almanac Marty bought in 2015 so he could get rich. After leaving Jennifer back in 1985, Marty and Doc travel back to 1955 to retrieve and destroy the almanac. At the same time, they must make sure that what they did in the first film isn’t undone. It’s a race against time to make sure the timelines are restored.

     

    Review

    Making a worthwhile sequel to such a monumental film as Back to the Future was never going to be easy. Thankfully, while it’s not quite as good, Back to the Future Part II still succeeds at building on the original. Once again, Fox and Lloyd work well as a duo, trading back-and-forths and matching each other’s energy fairly well. Lea Thompson is given much more to do since we get both 1955 Lorraine and an alternate 1985 Lorraine. The latter is shown to be a sad wreck with plastic surgery who’s an alcoholic that’s been beaten into submission. However, Thomas F. Wilson steals the show playing 2015 Biff, alternate 1985 Biff, 1955 Biff, and even Biff’s grandson Griff. This film does an amazing job taking a stock bully character and making him a force to be reckoned with. Even George “Buck” Flower makes another appearance.

    Unfortunately, the recasting is pretty obvious right from the beginning when you see Elisabeth Shue instead of Claudia Wells. Shue isn’t terrible, but it’s distracting, though not as much as the lengths they went to barely show Crispin Glover. In addition to having actor Jeffrey Weissman standing in, they also use strategically-placed close-ups that show Thompson but not Glover. Also, there are story elements added that make no sense, namely how Marty is triggered when someone calls him “chicken”. This was never established or alluded to in the first film, so it feels forced and out-of-place here. On a more positive note, the technology they created to show multiple versions of one actor at once is impressive. Plus, the film asks questions about how time travel should be used and how one tiny thing can change everything. Overall, Back to the Future Part II is an enjoyable if flawed follow-up.

     

    Buy Back to the Future Part II on Amazon: https://amzn.to/3AIVNMl.

    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 Back to the Future Part II (1989)

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  • Back to the Future (1985)

    Back to the Future (1985)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/go8xI5LH9_I” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.27.0″ global_colors_info=”{}”]Following the release of Used Cars in 1980, writer Bob Gale thought of an idea for a time-travel movie. While visiting family in St. Louis, Gale thought if he would’ve been friends with his dad in high school. With that, he brought his idea to director Robert Zemeckis, who immediately loved it, and they took it to Columbia. Unfortunately, Columbia and various other studios turned the script down for being too light-hearted compared to other teen comedies. Around this time, Zemeckis went off to shoot Romancing the Stone, which ended up being a huge hit in 1984. Following its success, Zemeckis and Gale presented their concept to Steven Spielberg, who agreed to produce it through Amblin Entertainment. In the end, the film got picked up Universal and was given a $19 million budget despite its risky nature. Finally, on July 3rd, 1985, Back to the Future was released to theaters.

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    Synopsis

    Marty McFly (Michael J. Fox) is an average high schooler with a beautiful girlfriend in Jennifer Parker (Claudia Wells). However, Marty also likes to hang out with the eccentric Doctor Emmett “Doc” Brown (Christopher Lloyd) as his assistant. One night, Doc asks Marty to meet him at the mall to show him his latest invention: a time-traveling Delorean. Unfortunately, Doc gets shot by Libyan terrorists, and Marty escapes in the Delorean, unexpectedly traveling to the past. Marty arrives in 1955 and almost immediately meets his younger parents George (Crispin Glover) and Lorraine (Lea Thompson). He also runs into local bully Biff Tannen (Thomas F. Wilson), who constantly picks on George and soon threatens Marty. Once he meets young Doc, Marty convinces him to help get back to his own time, but there’s a catch. Lorraine’s fallen in love with Marty, so he has to make sure his parents get together.

     

    Review

    Back to the Future is a film that defined the 1980s despite how much of a gamble it was. First off, the cast is wonderful, especially because they all play their roles completely straight, which adds to the comedy. Fox is instantly likable as Marty McFly, having great comedic timing and perfectly reacting to everything around him. Lloyd is wonderfully eccentric as Doc Brown, able to play it straight while managing to act over-the-top without being annoying. Glover is both off-putting and loveable, Thompson is overtly sweet and beautiful, and Wilson steals the show as the bully. There are also some fun appearances from character actors George “Buck” Flower, Will Hare, Courtney Gaines, and even Huey Lewis. Speaking of, his songs “Power of Love” and “Back in Time” are instantly catchy and will stick with you. Also, Alan Silvestri’s score adds to the scope and gives the film added weight.

    What also makes Back to the Future so special are the themes it touches on, specifically on family and time. The film reminds us that, while we may have disagreements with our parents, they’re still responsible for us being here. It also makes you realize how fleeting time can be and how we should be willing to take chances. Even though some have criticized the ending’s implications, it does show how one little change can make a huge difference. As phenomenal as the film is, there are a few shortcomings, namely that some of the humor is slightly on-the-nose. There are tons of jokes about how something old in 1985 is new in 1955, and they start running thin. Even then, this is still one of those films I would classify as being perfect, if not a masterpiece. Overall, Back to the Future is a classic that’s worth revisiting.

     

    Buy Back to the Future on Amazon: https://amzn.to/4cIza86.

    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 Back to the Future (1985)

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  • Robot Jox (1989)

    Robot Jox (1989)

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    After directing three back-to-back horror films, Stuart Gordon decided his next film would tackle a whole new genre: science-fiction. At the time, he was a fan of the Japanese Transformers toys as well as the Macross anime series. He noted that while giant robots were done in animation, no one at the time tried a live-action version. Following the release of Dolls, Gordon presented his concept to Charles Band, who was initially reluctant due to high costs. Eventually, Band reconsidered after Gordon presented him a demo reel featuring stop-motion animation from David Allen of robots in action. Gordon wrote the script alongside sci-fi writer Joel Haldeman, who clashed with him over their different visions of the film. With a budget of roughly $10 million, it would be the most expensive film Empire Pictures ever produced. After a delayed release due to Empire’s bankruptcy, Robot Jox was released in 1990.

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    Synopsis

    In the future, war has been abolished, and all global conflicts are settled through one-on-one combat using giant robots. These robots are piloted by robot jox aka robot jockeys, each representing either the Western Market or the Eastern Confederation. The Confederation champion Alexander (Paul Koslo) has killed his previous opponents, and next is the Market champion Achilles (Gary Graham). During their match, Alexander launches a projectile towards some nearby spectators, and Achilles blocks it only to fall, crushing them. Shaken up by this, Achilles announces his retirement, and he is subsequently labeled a traitor and a coward. Genetically-bred jox Athena (Anne-Marie Johnson) replaces him, but Achilles has second thoughts and decides to come out of retirement. It’s soon discovered that there might be a spy in the Market who’s giving secrets to the Confederation. Who is this spy, what will happen to Athena, and will Alexander be defeated?

     

    Review

    Considering Empire Pictures’ state of affairs at the time, it’s impressive Robot Jox got made at all. At the time, Empire was going through massive debt, so spending $10 million on an ambitious sci-fi film was risky. Thankfully, with a talented director, effects crew, and cast, this is quite a fun ride, even if disjointed at times. Like his previous films, Gordon’s direction is top-notch, really giving it a sense of scale and larger than it is. Performance-wise, everyone does a commendable job, even if their characters are more or less stock characters, though it is intentional. Gary Graham works as the hardheaded hero with a heart of gold, and Koslo is fun as the stereotypical villain. Johnson does well as the female lead trying to prove herself, though she becomes Graham’s love interest, which is odd. Also noteworthy are appearances from regulars Robert Sampson, Jeffrey Combs, and Carolyn Purdy-Gordon.

    The special effects from David Allen and his team are some of their best work, arguably their best work. The stop motion animation is fantastic, the robot fight sequences being a massive spectacle and easily the film’s highlight. Just the amount of detail put into the models and the range of movement is impressive given the budget. Admittedly, there’s probably only about 15 minutes of screentime devoted to the robot fights, but it’s still fun to watch. Probably my biggest issue with the film is the inconsistent tone, either being too silly or too dark. Admittedly, this can be chalked up to the disagreements between Haldeman and Gordon, each wanting a different tone. Even with its off-kilter tone and somewhat stock characters, this is still a fun movie to watch, especially with friends. Overall, Robot Jox is a solid if flawed attempt for a director to try different genres.

     

    Buy Robot Jox from Amazon: https://amzn.to/2Nvcteg.

    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 Robot Jox (1989)

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  • The Lost Boys (1987)

    The Lost Boys (1987)

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    Initially a window dresser, Joel Schumacher realized filmmaking was his passion, so he moved to LA in the early 1970s. While studying at UCLA, he was working as a costume designer on films like Woody Allen’s Sleeper and Interiors. After earning a Master of Fine Arts degree, Schumacher wrote the screenplays for Sparkle, Car Wash, and The Wiz. His first two films as director, The Incredible Shrinking Woman and D.C. Cab, made modest profits and received mixed reviews. His next film, 1985’s St. Elmo’s Fire, was a smash hit, earning over $37 million on a $10 million budget. Following its success, Schumacher was hired by Warner Bros. to direct a film originally offered to Richard Donner. The film was a story of vampires inspired by Peter Pan that also served as a coming of age story. That film would be released in 1987 as The Lost Boys.

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    Synopsis

    Michael (Jason Patric), Sam (Corey Haim), and Lucy Emerson (Dianne Wiest) have just moved into Santa Carla, California. One night, they decide to check out the nearby boardwalk, Lucy looking for work and the boys strolling around. Sam checks out a local comic book store and meets the Frog Brothers, Edgar (Corey Feldman) and Alan (Jamison Newlander). Meanwhile, Michael meets Star (Jamie Gertz), a young woman who hangs out with David (Kiefer Sutherland) and his biker gang. They invite Michael into their group despite Star’s hesitation, but soon Michael discovers things about him are changing. He becomes sensitive to sunlight, his reflection is fading, and he develops a thirst for blood, almost attacking Sam. While Michael battles with his vampirism, Sam recruits the Frog Brothers to figure out who the head vampire is. Will Michael succumb to his vampirism, or will the head vampire be defeated?

     

    Review

    Much like Near Dark, which came out the same year, The Lost Boys is a fantastic modernization of vampire mythology. While that film had a more Western feel, this has a punk rock feel, from the clothes to the music. For being his fourth film, Schumacher shows just how talented he was as a filmmaker, giving this a rich style. He uses tons of shadow, harsh lighting, and deep colors to help create a mood that’s both haunting and inviting. Cast-wise, everyone delivers a fantastic job, with Patric and Haim being solid protagonists. As the villain, Sutherland is very cool and sinister, while the amazingly gorgeous Gertz acts as Michael’s voice of reason. Feldman and Newlander are fun as the Frog Brothers, two guys who take vampirism seriously while everyone else doesn’t. Also noteworthy is Edward Hermann, a seemingly kindly man whose true intentions become clear later on.

    The other three lost boys, played by Brooke McCarter, Billy Wirth, and Alex Winter, unfortunately, aren’t given much to do. On that same note, Wiest and Bernard Hughes have some decent moments, but they also aren’t given much. Also, there are times when the editing can get choppy at times, making it difficult to understand what’s happening. While the soundtrack is great, the song “Cry Little Sister” is played several times throughout, so get used to it. On a more positive note, the makeup effects from Greg Cannom are impressive, especially the vampire designs and gore effects. The film also serves as a nice coming of age story, the vampirism a metaphor for change and finding identity. While it does have its flaws, this is yet another great example of a modern vampire story done well. Overall, The Lost Boys is a fun film to sink your teeth into.

     

    Buy The Lost Boys from Amazon: https://amzn.to/2CwvN8C

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    This review is dedicated to the memory of filmmaker Joel Schumacher, who passed away on June 22, 2020, at the age of 80.

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  • Ghostbusters II (1989)

    Ghostbusters II (1989)

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    Released in 1984, Ghostbusters was an instant hit, making almost $300 million worldwide on a $30 million budget. With its success, the studio immediately wanted a sequel, but there was some hesitation from the cast and crew. Following the film’s success, the studio teamed up with animation studio DIC Enterprises to produce The Real Ghostbusters in 1986. Despite some confusion with a preexisting cartoon, the series was also a hit, prompting the team to reconsider a sequel. Reitman returned to direct, while Aykroyd and Ramis returned to write and star alongside Murray, Weaver, Hudson, Moranis, and Potts. Since the cartoon was popular with kids, they decided to make the sequel more child-friendly as opposed to the original. Columbia was pushing for the sequel since their last few releases flopped, giving this a $37 million budget. Finally, five years after the original, Ghostbusters II was released in the summer of 1989.

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    Synopsis

    Following the events of the first film, the Ghostbusters have disbanded after being sued for property damage by the city. However, when her baby’s carriage rolls by itself onto an intersection, Dana Barrett (Sigourney Weaver) turns to them for help. Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd), and Egon Spengler (Harold Ramis) investigate, discovering an underground river of slime. Unfortunately, they’re arrested and tried for illegal supernatural investigation, but they’re released after capturing some death row ghosts. Meanwhile, Janosz Poha (Peter MacNicol), Dana’s boss at the museum, is enslaved by the spirit of Vigo the Carpathian. Turns out Vigo is getting power from the slime, which is feeding off all the negative emotions in New York. His ultimate plan is to be reborn, so he orders Janosz to kidnap Dana’s baby so he can possess him. With the city in danger, it’s up to the Ghostbusters once again.

     

    Review

    Following up a landmark film like Ghostbusters was no small task, so Ghostbusters II had plenty to live up to. While it isn’t quite on par with the original, the sequel still manages to retain its charm and humor. Everyone in the main cast, from the Ghostbusters to Dana, Louis, and Janine, all do a fantastic job. Newcomer MacNicol as fun as the eccentric Janosz and Kurt Fuller does well filling in for William Atherton. Murray, Aykroyd, and Ramis still have their signature comedic timing, and Hudson gets more to do and say here. The mood slime is a great concept and helps share a message to be nicer and friendlier to one another. There are some fun highlights to be had, including the courtroom scene and the Statue of Liberty scene. Plus, Vigo makes for a good villain, especially with Max Von Sydow providing the voice.

    I think the film’s biggest problems are two-fold: they waited too long and they tried making it too kid-friendly. Though it was popular thanks to the merchandising and cartoon, audiences seemed to lose interest and wanted something different. It doesn’t help that this sequel repeats some of the same plot points from the original almost verbatim. Also, in trying to capitalize on the same audience as the cartoon, they lose much of the first one’s edge. Aside from Vigo and the Scoleri Brothers, all the other ghosts are too goofy and silly to be taken seriously. That said, much like the first film, the effects here are fantastic, especially with ILM handling a majority of them. On the whole, the movie certainly has its flaws, but it’s nowhere near as bad as some critics have said. Overall, Ghostbusters II is an underrated sequel that deserves more credit than it gets.

     

    Buy Ghostbusters II from Amazon: https://amzn.to/3fEhAEP.

    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 Ghostbusters II (1989)

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  • Dark Angel: The Ascent (1994)

    Dark Angel: The Ascent (1994)

    [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″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Much like how Empire Pictures would use Italy, Full Moon Features started shooting their films in Romania and Bucharest. They found success shooting Subspecies in Romania, so films like Oblivion, Lurking Fear, and Mandroid would also be filmed there. Around this time, writer Matthew Bright, who frequently worked with Richard and Danny Elfman, found himself working at Full Moon. He started writing a script that involved horror, romance, and vigilantism that drew its influence from Taxi Driver. Originally to be directed by Jeff Burr, relative newcomer Linda Hassani, who previously worked on Silk Stalkings, was hired. Angela Featherstone, who had a small part in Army of Darkness, was cast in what became her first lead role. Produced for a small budget of $350,000, the film would end up being one of Full Moon’s more unique entries. In 1994, Dark Angel: The Ascent was finally released.

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    Synopsis

    In the depths of hell, young demoness Veronica Iscariot (Angela Featherstone) years to venture up to the mortal world. Her father Hellikin (Nicholas Worth) disapproves and threatens punishment, but Veronica escapes and makes her way to Earth. Soon after arriving, she’s hit by a car, taken to the hospital, and tended by Dr. Max Barris (Daniel Markel). Since she has nowhere else to go, Max decides to let Veronica stay with him in his apartment. While he sleeps, she watches TV and catches a broadcast of Mayor Wharton (Milton James), recognizing his corruption and evil. This motivates her to find evil in the city and dispatch sinners, killing muggers/rapists and racist cops. These murders catch the attention of Detectives Harper (Mike Genovese) and Greenberg (Michael C. Mahon) who are on her trail. Will Veronica succeed in dishing out justice, or will the cops manage to stop her?

     

    Review

    Compared to the likes of Puppet Master, Demonic Toys, and Subspecies, Dark Angel: The Ascent is certainly a unique experience. Much like Meridian: Kiss of the Beast, Dark Angel is an interesting mix of horror, romance, and some vigilante justice. The Taxi Driver comparisons are very apparent, including the lead targeting a politician and taking a date to a porno. On top of that, there’s the lead going on a murder spree in what they see as a holy quest. While not as compelling as Robert De Niro’s Travis Bickle, Angela Featherstone delivers a solid performance as Veronica Iscariot. On top of being stunning to look at, she has a nice, quiet charm mixed in with a subtle intensity. Markel is decent, though a bit bland at times, though Genovese and Mahon do a fine job with their material. Also, Worth has some fun scene-chewing moments early on.

    The practical effects, from the demon prosthetics to the gore effects, are impressive considering the small budget they had. There are also some fairly decent optical effects, but they haven’t held up very well over 25 years later. I’d say the biggest problem with the film is the pacing, namely how it takes a while to get going. After the first 10 minutes in hell, it grinds to a halt as Veronica begins learning about the human world. It isn’t until about the 45-minute mark when she starts going on her vigilante spree and things start picking up. For a relative newcomer, Hassani’s direction is pretty good, taking full advantage of the Romanian locations for an effective atmosphere. While I wouldn’t recommend this to Full Moon first-timers, I’d recommend it to someone looking for something a bit different. Overall, despite its flaws, Dark Angel: The Ascent is worth a watch.

     

    Buy Dark Angel: The Ascent from:

    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 Dark Angel: The Ascent (1994)

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