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Forgotten Films: BMX Bandits

Sean — Wed, 11 Nov 2009 18:47:54 +0000

Forgotten Films is a semi-regular feature on Film Junk where we explore interesting movies that have fallen off the radar or slipped through the cracks over the years. If you've seen the recent documentary Not Quite Hollywood, about the history of Australian b-movies and exploitation flicks, then you're probably familiar with the name Brian Trenchard-Smith. Trenchard-Smith directed some of the most beloved cult classics from down under including The Man From Hong Kong, Turkey Shoot, and Dead-End Drive In, before eventually going on to helm some of the later installments of the Leprechaun series. To the average person that might not mean much, but for hardcore genre fans, that basically makes him royalty. Back in the '80s, he also took some time away from the carnage and blood-soaked mayhem to direct a family-friendly film of sorts called BMX Bandits. The movie has an interesting claim to fame in that it stars a 15-year-old Nicole Kidman in one of her very first major acting gigs. Imagine my surprise when I stumbled across this movie as part of a 3-in-1 DVD at the local dollar store (the other two movies are Coach of the Year and The Great Dan Patch -- don't ask). The price was right, so I couldn't resist taking it home just to see what kind of retro wackiness it might have to offer. The story is quite simple, and pretty illogical by today's standards. Three young BMX enthusiasts (P.J., Goose and Judy) stumble across a set of walkie-talkies out by the local dock, which unbeknownst to them, were left by a gang of bank robbers planning to use them to eavesdrop on the police. When the crooks discover that their radios have been pilfered by some meddling kids, they dispatch a handful of goons to recover them at any cost. I suppose back in the '80s this might have made some sense, especially if these walkie-talkies were expensive and hard to find, but nowadays it seems pretty stupid that they would waste time chasing after a bunch of kids to get their walkie-talkies back instead of just buying new ones. It also doesn't make sense that they would secretly stash them at the dock like they are some form of illicit goods, but I guess that's not really the point. All that matters is the bad guys have a reason to chase these kids all over South Wales, Austalia... and chase they do. Now I have to admit, I still haven't seen any of Trenchard-Smith's other films, so I really had no idea what to expect here. Early on there is a pretty awesome robbery scene involving pig masks and a car driving straight through a store front window, plus some cheeky sexual innuendo, but this all quickly fades away as the movie becomes a little more age-appropriate. Still, a lot of the BMX stunts are impressive, even if the bumbling chase scenes are cartoony and EXTREMELY long and drawn out. The villains actually have guns and cars, but somehow the kids are able to ride circles around them! It's pretty obvious during most of the stunts that Nicole Kidman is not the one riding her bike, but the sight of an experienced rider in a hot pink BMX suit passing for Nicole Kidman is pretty amusing. Some standout scenes include a suspenseful (although not particularly terrifying) game of hide and seek through a cemetery at night, and a waterslide chase that is pretty damn awesome. Yes, they actually ride their bikes down the slides -- what kid wouldn't love that? The main characters are pretty generic, but like all good kids movies, there is also a spoiled brat fat kid played for comic relief (listed as simple "Fat Kid" in the credits). I have to admit that the movie is not quite as hilarious as I had hoped it would be, as it quickly gets repetitive, especially with that '80s synthesizer soundtrack kicking in every 2 minutes (it has now been permanently drilled into my brain). Still, I suppose that is part of the film's charm, as Trenchard-Smith does as much as he can with what appears to be a painfully low budget. His inventive camera angles keep it energetic and visually interesting, and at least there are enough clunky one-liners to elicit a few chuckles here and there. BMX Bandits predates RAD by 3 years, so if you have fond memories of that film or the '80s BMX craze in general, you'll probably get a kick out of this. It does share some elements of youth classics like Home Alone, The Goonies, and 3 Ninjas, although it's nowhere near as competent. The movie still has a strong cult following today, and there is even a Scottish band that have taken their name from it. The 3-in-1 DVD that I watched was pretty terrible quality (although in a certain sense it kind of added to the experience), so you'd probably be better off picking up the individual DVD release. At least that way you'll have actual chapter stops. It would have been cooler if they had used the original '80s artwork though, instead of this sneaky photo of a much older Nicole Kidman.

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Forgotten Films: The Daytrippers

Sean — Wed, 26 Aug 2009 05:02:21 +0000

Forgotten Films is a semi-regular feature on Film Junk where we explore interesting movies that have fallen off the radar or slipped through the cracks over the years. With the release of Greg Mottola's Adventureland on DVD this week, I thought I should finally get around to writing something about his very first feature film, the often overlooked The Daytrippers. When Adventureland hit theatres back in April, critics seemed very receptive to it, but a lot of moviegoers came away confused because they had been expecting another Superbad. To be fair, Superbad was Mottola's only well-known film, and the marketing for Adventureland did indeed play on that fact. But if you look at Greg Mottola's background as a filmmaker, you'll see that he isn't just another teen comedy guy. The reason why he fits so well within Judd Apatow's crew is because he favours relatable, character-driven films that have an emotional core. And that's exactly what The Daytrippers is... except that it's not about teenagers. The movie is about a married couple who are living a seemingly mundane life in the suburbs of New York. When Eliza stumbles across a strange love note behind her husband's dresser, she is dismayed and unsure what to do. Is he cheating on her? After going to her parents for advice, she soon finds herself piling into a station wagon with her parents, her sister Jo, and her sister's boyfriend Carl, destined for Manhattan in order to confront Louis at work. It turns into quite a hectic and unpredictable drive, with plenty of mishaps along the way, and in the end many relationships are put to the test and all the people involved learn something new about each other. The Daytrippers has a solid cast that includes Stanley Tucci, Hope Davis, Parker Posey and Liev Shrieber. Based on those names alone, I'm a bit surprised that more people haven't heard of this movie, although I realize that none of them are really big "stars" and continue to make a living primarily from indie films and supporting roles. The performances are all excellent on an individual basis, but it is the interaction between them that make it something special. For instance, Liev Shrieber plays Carl, the boyfriend of Jo (Parker Posey), who is an aspiring novelist. He wants to impress Jo's family, but whenever he starts to share his pretentious opinions and ideas, you can't help but wince (and laugh). Anne Meara plays Eliza's overbearing mother to perfection, meanwhile the tension between Eliza and Jo that slowly builds is totally believable. What I love most about this movie is that group car trips really do tend to bring out strange truths and exciting adventures. Just keep in mind that it's a fairly low key film, and if you sit there waiting for something massive to happen, you'll probably miss what's really going on. Just like with Adventureland, there are no big punchlines or pratfalls, just a lot of subtle comedy that comes from the authenticity of everything on screen. By his own words, when Mottola first started making movies, he was aiming to be more of an auteur, an art house type of guy who occasionally did a few mainstream Hollywood flicks as well. It just so happens, he had the perfect mentor for this kind of career, as Steven Soderbergh co-produced the movie and actually came to the set every day. The movie was shot for $30,000 over two weeks, and at times it almost feels like a student film, but yet, it is also surprisingly mature, and a bit darker than you might expect. It won the Grand Jury Prize at Slamdance, which was a bit of redemption after the movie failed to make the cut for Sundance. Eventually, it also went on to play at Cannes and scored a distribution deal with Columbia TriStar. It barely got a theatrical release though, and to this day, remains largely unknown. I will admit that the movie does feel a bit dated, 13 years later, and the twist ending plays as slightly cliched at this point (maybe it did back then too), but the key elements of the film still hold up. I also get a bit of a Seinfeld vibe from The Daytrippers, which kind of makes sense considering that it was released in 1996, right at the height of Seinfeld's popularity. (Then again, it could just be the New York setting, odd predicaments and the dysfunctional family dynamic.) Either way, with Greg Mottola quickly gaining a following, I think The Daytrippers is due to be rediscovered soon. The DVD was out of print for a while and ridiculously hard to find, although it looks like Amazon currently has copies in stock and now offers Video on Demand as well. Unfortunately, I think the only version that exists right now is a full frame pan and scan cut. There was talk at one point that Sony was contemplating a re-issue, so hopefully they follow through on that. The ironic thing is that we all know the DVD cover will boldly proclaim it to be "From the Director of Superbad!" Well, I guess sometimes you just can't escape your past.

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Forgotten Films: Dragonball – The Magic Begins

Wintle — Sat, 11 Apr 2009 04:07:49 +0000

The summer blockbuster roll-out starts early this year with the release of Dragonball: Evolution today. But this is hardly the first live-action adaptation of the manga series. Twenty years ago the world was blessed with the perverted pyrotechnic wonder that is Dragonball: The Magic Begins. In a quest to subjugate all Mankind, King Horn and his alien horde scour the world seeking the seven Dragon Pearls, artifacts which can summon a dragon which will grant one wish. King Horn is opposed by Monkey Boy, his friend Seetoe, and a motley assortment of creatures and warriors, all with their own personal agendas. Dragonball: The Magic Begins is an epic children's tale interspersed with non sequiturs and inappropriate content showing a little wear around the edges, not unlike a fever dream or a shroom binge. If you like pyro and wirework, you'll love this movie. It contains more explosions than any five other action movies I've seen combined. The blasts are detonated so close to some of the actors that I wouldn't be surprised if large groups of people were injured during the shoot. Life is cheap in Dragonball. And as much as I normally dislike wirework, its used to such excess here that it can't help but be endearing, and I would often get startled at the sight of a character walking normally down a flight of stairs instead of doing quintuple back flips to save time. The insanity of it all is grounded by the structure. After King Horn's minions destroy his home, Monkey Boy is forced to venture into a world he's never known, with each new environment bringing with it another companion until the group reaches its final destination. These characters' antics range from mildly musing to annoying, with one notable exception; Turtle Man, a powerful martial artist and incorrigible pervert. The character is played by Eddie Chan, one of the only actors in the movie with previous experience, and it shows. His performance is full of unique and distinctive physicality, from his walk to his wandering hands, and is the third good reason to check this out. I was surprised by how much I enjoyed Dragonball: The Magic Begins. It's brisk, with plenty of action and some genuine surprises. And it has a sense of humour, something which the latest live-action iteration of Dragonball seems to be lacking if the trailers are anything to go by.

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Forgotten Films: Howard The Duck

Sean — Mon, 16 Mar 2009 17:34:13 +0000

Forgotten Films is a semi-regular feature on Film Junk where we explore interesting movies that have fallen off the radar or slipped through the cracks over the years. Say what you will about the Star Wars prequels and Indiana Jones and the Kingdom of the Crystal Skull, but George Lucas has been associated with far more dubious projects in the past -- movies like the 1980s Marvel comic book adaptation Howard The Duck. Fortunately for Lucas, he was able to erase this dud from our minds for over 20 years by foregoing any sort of official DVD release. Then just this year, for some reason, he had a change of heart. The most likely explanation is that he was running out of Star Wars special editions to re-release but maybe he realized that the movie did have a cult following and there was actually some sort of demand for it. Personally, I felt a need to revisit the movie mainly for the sake of nostalgia, and to see if after all these years it was really as terrible as everyone says it is. I must confess that I was surprised to find that Howard The Duck was actually pretty watchable and, while far from a masterpiece, it still makes a fun piece of '80s fluff. I guess it's important to note right off the bat that George Lucas didn't actually direct this -- he was merely the executive producer. The majority of the credit/blame falls on the shoulders of Willard Huyck (co-writer of American Graffiti and Indiana Jones and the Temple of Doom), who never did direct another movie afterward. Released back in 1986, the movie was based on the Marvel comic book series about a talking humanoid duck from an alternate dimension who finds himself accidentally transported to Earth -- "Cleve Land", to be exact. In some ways you might say the movie was ahead of its time, in the sense that it created a comic book movie that was more for adults than kids. True, it was still rated PG, and true, it's not nearly as edgy as the original comic book. But when you get a brief flash of bizarre duck nudity within the first 5 minutes you know you're in for something a little bit weird and demented. Indeed, the movie later flirts with the notion of a human-on-duck sex scene, and although it's mostly played for laughs, there is still something a little bit odd about seeing a sexy Lea Thompson in her underwear cooing over a guy in a duck costume. You've gotta give her credit, since she sells the scene (and indeed, a lot of the movie), but considering that she did this movie the year after Back to the Future, you have to wonder if it was the wisest career move. There's something I miss about movies like this and Teenage Mutant Ninja Turtles, where they actually bring cartoon characters into a live action setting by using a man in a suit (Howard was voiced by Chip Zien, but the suit was actually worn by a variety of stunt actors). Nowadays this would all be done with CG, and I can certainly understand why, but it's still a little more satisfying to have something real there on screen for the other actors to interact with. I realize that the duck suit is the thing that makes most people instantly dismiss this movie, but for what it is, I think it works. I mean, he's a duck for crying out loud... how realistic do you want it to be? Yes, the special effects are a mixed bag. The stop motion for the dark overlord at the end is just as dated as the exoskeleton at the end of The Terminator, but it's imaginative and, for its time, technically impressive. Some of the make-up effects are also decent but then again, it did cost $37 million to make. What's even more interesting is that the commercial failure of the movie forced Lucas to sell his computer animation division to Steve Jobs, which would eventually go on to become Pixar! Perhaps the best part of the movie is Jeffrey Jones (Ferris Bueller's Day Off), who is both hilarious and creepy as the scientist who gets possessed by one of the dark overlords. (His performance might have been even more scary had we known he would eventually go on to become a registered sex offender.) The movie really picks up once it has a clear villain, and even if some of the action set pieces like the pedal plane chase never quite reach a Steven Spielberg level of grace, they are far from inept. It's also worth mentioning the fact that Tim Robbins has a pretty major role in the film as the nerdy Phil Blumburtt. It certainly wasn't a breakout role for him (he also starred in Top Gun the same year), but it's pretty surreal seeing him ham it up as an awkward lab assistant at such a young age. Howard the Duck is certainly a movie that is steeped in '80s cheese, from the corny puns to the big hair to the synthetic pop music, which carries over into the soundtrack featuring Lea Thompson's fictional band Cherry Bomb. Even if you can't stand the music in the movie, you have to admit that the grand finale featuring a killer guitar solo from Howard himself is so off-the-wall hilarious that it is the perfect conclusion. It certainly seems to have echoes of Marty McFly's shredding in Back to the Future, at any rate. In my opinion, the movie is equal parts Ghostbusters, TMNT and Men in Black, and I really think there are some redeeming elements that make it worth revisiting. I'm not saying it's a diamond in the rough, so to speak -- there's certainly a reason for the reputation that it has gained over the years. Still, it's not quite as terrible as you might think, and if you can appreciate a little "blast from the past", you might want to throw this on and test the waters for yourself. (By the way, you can also save yourself some money and watch the movie online in its entirely on Hulu.)

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Forgotten Films: Lifeforce

Sean — Wed, 05 Nov 2008 18:03:42 +0000

Forgotten Films is a semi-regular feature where we explore interesting movies that have fallen off the radar or slipped through the cracks over the years. Back in the late '80s and early '90s, there was always a pretty limited selection of VHS tapes in the sci-fi and horror section at my local video store. If you were a fan of either genre, you got to know most of these movies pretty well, and while they weren't always the best flicks, you forced yourself to like them anyway. When I think back to the rental shelves in those days, one of the movies that always seemed to be staring back at me was the 1985 film Lifeforce. From what I remember, the cover was a little misleading because it looked like the whole movie took place in outer space, when in fact, that's not quite the case. However, since the movie was written by Dan O'Bannon (Alien), it was marketed as another space horror flick. What's surprising is that Lifeforce was also directed by Tobe Hooper (The Texas Chainsaw Massacre), who had just come off working on Poltergeist a few years previous. You'd think a movie of this pedigree would be a little bit better known, but nowadays it has all but faded away into obscurity. It's kind of a shame, because after revisiting it, I have to say that it contains more than enough fun moments to satisfy both horror and sci-fi fiends alike. Based on the book The Space Vampires by Colin Wilson, the story was tweaked for the big screen to tie in with the coming of the Halley's Comet in 1986. A space shuttle crew detects a ship hidden in the head of the comet with some weird bat-like creatures and three humanoids in suspended animation. Eventually the shuttle loses contact with Earth, and when a second team is sent to investigate they find all but one member of the original crew dead, and the aliens once again hibernating. The beings are brought to earth where it is revealed that they are actually vampires that suck the lifeforce out of humans. They wreak havoc on London, turning most of the population into zombie-esque hosts, while the only surviving crew member (Steve Railsback) and Major Caine of the British SAS (Peter Firth) try to find a way to stop them. The early scenes are tense and claustrophobic, and capture everything that is eerie about being in space including slow movement, silence, isolation, confinement, lack of oxygen, etc. I kind of wish more of the movie could have been spent here as it might have ended up as something in the vein of Alien, Event Horizon or Sunshine, but before long the setting shifts to Earth. Here the movie starts playing very similar to Species, mainly because you've got a voluptuous female alien who is completely nude for a large chunk of the movie. Played by French actress Mathilda May, she rarely speaks, but she manages to be both creepy and attractive at the same time. It's funny because I remember this movie freaking me out as a kid, but I'm not sure what was scarier at the time: the fact that the she was a vampire, or the fact that she was naked. Before long, the movie morphs into an Invasion of the Body Snatchers / The Thing type of thriller, as the vampires can transfer themselves from body to body. By the end, however, the genre mash-up is completed with an apocalyptic scenario where the people who are infected by the vampires have basically become zombies, leading to a viral outbreak. Perhaps one of the main reasons why Lifeforce was somewhat forgotten is that there aren't many big name actors involved and the characters themselves are totally forgettable. It's interesting to note, however, that the movie does star a pre-Star Trek:TNG Patrick Stewart, who gets possessed by the vampire and has to undergo an "exorcist" of sorts (complete with over-the-top moaning and screaming). This was amusing in and of itself, and I have to say, it was also a little surreal seeing him in a wheelchair like 15 years before the X-Men movie! The special effects are kind of hit and miss, but some of the stuff is still pretty mind-blowing, including a scene where Patrick Stewart's body disintegrates into a glob of blood that then morphs into a face. There's a lot of blue lightning used for the actual life drain (reminiscent of Poltergeist, I suppose), and some very grotesque (albeit dated) animatronics which alternate between horrific and hilarious. The movie also has a great score composed by Henry Mancini, although Michael Kamen apparently added some additional music when the studio decided to recut the film. The DVD release of Lifeforce is (I believe) the extended, international version of the film with all of Mancini's music intact, but I could be wrong on that. The frustrating thing is that the sole DVD release of this movie is, unfortunately, not enhanced for widescreen TVs. Come on people, it's time for a special edition re-release! In general, Lifeforce is one of those movies that bombed at the box office and later found an cult following on home video. While it's certainly a bit muddled and lacking in strong performances, the atmosphere and imagery left an impression on a lot of people who saw it back in the day, and it's unique and strange enough to warrant a viewing even today. Certainly fans of Dan O'Bannon and Tobe Hooper should check it out, and if you're in the mood for a wacky mix of horror and sci-fi, I don't think Lifeforce will disappoint.

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Forgotten Films: Crimewave

Sean — Mon, 13 Oct 2008 18:37:23 +0000

If there was an announcement made today that Sam Raimi was going to direct a movie from a screenplay written by The Coen Brothers (starring Bruce Campbell, no less), I don't think there's a film geek alive who wouldn't lose their mind. Based on their impressive filmographies and the cult followings that both have amassed, a collaboration of this magnitude would be a cinematic event like no other. But what if I told you that such a movie already existed, and not only did it bomb at the box office, but still remains to this day, exceedingly hard to find on DVD? Back at the beginning of their careers, Sam Raimi and The Coen Brothers were all a part of the same scene of up-and-coming Midwest filmmakers, and Joel Coen landed one of his first film gigs as assistant editor on The Evil Dead. A couple of years later, The Coen Brothers had written and directed their first film, Blood Simple, and Raimi was developing his next movie. He asked The Coens to write the script for him, and the result was Crimewave. Originally titled The XYZ Murders, this was Raimi's first time working with an actual studio, and it turned out to be a bit of a disaster. Raimi described it as the worst time of his life, and Bruce Campbell has not so fond memories of a miserable winter shoot in Detroit and all kinds of studio interference, as told in his book If Chins Could Kill: Confessions of a B Movie Actor: "Crimewave was a lesson about abject failure -- no matter how you slice it, the film was a dog, and everyone involved can pretty much line up and take forty whacks. As filmmakers, we failed to execute a misguided concept and our studio refused us the benefit of any doubt." The movie follows two psychotic hitmen who double as exterminators (played by Brion James and Paul Smith). They are hired by the co-owner of a security company to eliminate his partner, who is trying to sell the business behind his back to Renaldo aka "The Heel" (Bruce Campbell). Along the way a number of people accidentally cross paths with the hitmen, leading to a series of goofy chase scenes and cartoony murders, until they encounter a nerdy security technician (Reed Birney) who is trying to win the heart of a girl (Sheree J. Wilson). Raimi is known for his love of The Three Stooges, but I have never seen it shine through quite like it does in Crimewave. The movie is filled with all kinds of weird slapstick moments and cartoon sound effects. There are plenty of POV shots and silly set pieces, culminating in a pretty epic high-speed three car chase sequence. Some of the stunts are impressive, while others are pretty campy and fake-looking. This is Sam Raimi at his most hyper real, and I can see it turning off a lot of viewers. Anyone who disliked the dance scene in the jazz club from Spider-Man 3, for example, will probably hate this movie. I still had a lot of fun to watching all the camera tricks and the hammy performances from Bruce Campbell et al, however the movie itself is very nearly incoherent. It's hard to say how much influence The Coen Brothers actually had on this movie. Their quirky sense of humour seems to permeate some of the proceedings, although the dialogue itself is certainly not on the same level of cleverness that they are known for today. The Coens would go on to direct Hudsucker Proxy afterward, which Sam Raimi co-wrote and Bruce Campbell starred in (incidentally, Crimewave also has a prison in it called "Hudsucker Penitentiary"). Raimi would return to his independent roots to shoot Evil Dead 2. I can certainly understand why Crimewave has been sort of abandoned, and left hidden from the public eye. It's not a particularly brilliant movie, and it's easily one of the weakest projects that any of these great filmmakers have been involved in. I can also understand why the studio execs might have been a little bit unhappy with the final product, especially considering that it went over budget (the Columbia Pictures logo at the start of the film seems very out of place). Still, this is a movie that will certainly be of interest to hardcore Sam Raimi fans, and it has its share of fun moments. If you can get your hands on a copy without paying through the nose, I'd still recommend giving it a chance.

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Forgotten Films: Someone To Watch Over Me

Sean — Mon, 18 Aug 2008 02:43:23 +0000

Whenever you hear the name Ridley Scott, there are a few movies that instantly spring to mind: in particular, Alien, Blade Runner and Gladiator. There's certainly a good reason for this, since Alien and Blade Runner are both groundbreaking films in their own right, while Gladiator (although perhaps a tad overrated) won an Oscar for Best Picture. However, I like to think that Scott has a pretty impressive and varied filmography that he has built up over the years, and there are a lot of other underappreciated gems within that list. Sure there are a few misfires too (Kingdom of Heaven, Hannibal), but generally, he's a director who brings a slick visual aesthetic and a sense of restrained style to some pretty high profile projects. Recently I was skimming through some lists of the top movies from a number of directors, and among the recommended selections for Ridley Scott was a movie called Someone to Watch Over Me. I hadn't seen it before (which admittedly isn't a shocker), but what I found more intriguing was that I hadn't even heard of it. On top of that, it had come towards the earlier part of his career, just after Legend and Blade Runner. For some reason, my curiosity got the best of me and decided to track this mysterious movie down. Someone to Watch Over Me is a thriller starring Tom Berenger as Mike Keegan, a New York detective who is assigned to keep guard over a murder witness believed to be in danger. The witness is Claire Gregory, played by Mimi Rogers, who also happens to be a beautiful, rich socialite living in a massive Manhattan apartment. The main twist to the story (and there aren't many of them) is that Mike and Claire fall for each other, turning Mike into a conflicted man and bringing his marriage into question. It's true that the movie is rather simple and straightforward, and as Roger Ebert points out in his review, there aren't a lot of surprises to be found. However, there are still some noteworthy things about this movie that make it worth checking out. Once you get past the first couple of scenes, taking place at a house party and night club respectively (both of which are so 80's they hurt), you start to notice the Ridley Scott-isms taking over. For a concept that is rather ordinary, Scott manages to inject a lot of amazing cinematography and cool imagery into the flick. He takes high class Manhattan locations and makes them look sleek and futuristic but also dark and menacing, with the help of his immaculate lighting and penchant for smoky rooms. If you were to take some stills from this movie, it probably wouldn't be hard to convince someone that they actually came from Blade Runner. However, this movie was also a bit different for Ridley Scott, because it was one of the first times that he attempted to tackle a very down-to-earth, human story. Early on in his career, Ridley Scott was criticized for an inability to work with actors and actresses (Sigourney Weaver once talked about a time when she asked him for advice on a scene in Alien, and all he could do was compare her to a lens on a camera). You can certainly feel this in movies like Alien and Blade Runner, which are very cold and sterile -- although in both of those cases, it actually enhances the mood. Someone To Watch Over Me calls for a little more skill in dealing with emotions, and while it's still very clinical at times, I think the movie succeeds in communicating the internal struggle of Mike, his wife's heartbreak, and the pure terror of the final scene that supersedes everything else. A lot of the credit can go to Lorraine Bracco, who makes her first major on-screen appearance here as Mike's wife Ellie (she would appear in Scorsese's Goodfellas a few years later and get nominated for an Oscar). It's also interesting to note that the movie stars Jerry Orbach as a hard-nosed cop that predates his time on Law & Order by a few years. After seeing Someone to Watch Over Me, I can kind of understand why it has become a forgotten film. It feels a bit dated and formulaic, and it's certainly not as innovative as the movies that Ridley Scott directed beforehand. However, I think it marks an interesting transition point in his career, and there's enough talent on screen to make this worth seeking out even if you're not a Ridley Scott afficionado. Someone to Watch Over Me was previously released on DVD by Sony, but it's currently out of print. Netflix, eBay and the rest of the internet are probably the best places to look for it.

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Forgotten Films: The Nude Bomb (aka The Return of Maxwell Smart)

Sean — Fri, 20 Jun 2008 03:44:06 +0000

With the release of Get Smart starring Steve Carell this weekend, I thought it was a good time to take a look back at the only other Get Smart movie ever to play in theatres: the 1980 flick The Nude Bomb. What's that you say? Never heard of it? Turns out The Nude Bomb was something of a dud that disappointed at the box office, and in fact it had never been released on DVD until just this week. It definitely qualifies as a Forgotten Film... but is it really as bad as everyone says it is? The Nude Bomb was originally conceived as a reunion TV movie that would capitalize on the popularity of Get Smart ten years after the series had ended. The only problem is that the whole original cast wasn't available for said reunion. Ed Platt (The Chief) had passed away in 1974, and Barbara Feldon (Agent 99) didn't want to take part in the project. With the absence of these two key characters, the producers were forced to make up for it in other ways... for instance, by casting not one, not two, but three female sidekicks for Max (Andrea Howard, Sylvia Kristel, and Pamela Hensley). They also made the humour a lot more risque, with plenty of sexual innuendos and even some curse words. With all the womanizing that Don Adams does in the film, it left some fans feeling that Maxwell Smart had lost the innocence and naivete that made him so lovable (not to mention the fact that there wasn't a single word spoken about Agent 99, to whom he was supposed to have been married at this point). The only other original cast member who returned was Robert Karvelas, as the always dependable Larrabee. The Chief was played by Dana Elcar (best known for his recurring role as Pete Thornton on MacGyver). Ironically, Elcar looks exactly like David Koechner, who is playing Larabee in the new movie. Although it was planned as a made-for-TV project, in the months leading up to its release, fans began to take an interest in The Nude Bomb and Universal realized that they could make more money if they put it in theatres. In order to make it worthy of the big screen, they took the film out of the hands of the writers who had previously worked on the show, and added some new scenes including a painfully unfunny opening credit sequence that parodies the Bond films. They also added a chase scene through the Universal Studios backlot -- a choice that drew a lot of criticism since it was viewed as little more than a 10 minute commercial for the studio tour. Watching it now, however, it is kind of neat to see some of the old attractions featured such as the "Battle of Galactica" animatronic laser show. There's no question that this movie is missing a lot of the things that made the Get Smart TV series so good. Mel Brooks and Buck Henry had no involvement, and although writers Leonard Stern and Arne Sultan had previous written for the show, there are a lot of jokes that fall flat and elements that feel out of place (some viewers may also find the lack of a laugh track somewhat off-putting.) That said, it's not a complete waste of time, and there are some funny moments. The concept itself is pretty classic; KAOS are threatening to drop a bomb that can destroy all clothing in the world unless the United Nations pays them ten billion dollars a month. They are secretly hoping to become the world's only supplier of clothing. There are some great visual gags, such as a chase scene with Don Adams driving a motorized desk, and an enemy hideout that has a giant zipper for an entranceway. It's interesting to note that the VHS release of The Nude Bomb displays the tagline, "Before The Naked Gun... there was The Nude Bomb." In a lot of ways, this movie did remind me that Get Smart was a precursor to The Police Squad series and The Naked Gun movies, and almost certainly served as inspiration for the comedy team of Zucker, Zucker and Abrahams. The other thing I found interesting about this film is that a lot of the wacky costumes and the colourful sets stayed true to the 60's feel of the show, despite the fact that it was released in 1980. At times it reminded me of the 60's Batman series, which is always a good thing. Last but not least, Don Adams was absolutely spot on as Maxwell Smart; even if the surroundings had changed a bit, he still delivered all his lines with the same brilliant timing and hilarious facial expressions. Despite some of the redeeming qualities that may be found in retrospect, at the time The Nude Bomb was definitely seen as a disappointment. Fans wondered why Max now worked for PITS (Provisional Intelligence Tactical Service) instead of CONTROL, and felt like their old friends had simply grown apart from them. The movie also had the dubious distinction of being nominated for a Razzie Award in its inaugural year (it didn't win though... that honour went to Can't Stop the Music, the Village People biopic). The Nude Bomb would later air on TV under the name The Return of Maxwell Smart, in order to avoid censorship issues with the title (strange when you consider that there is no real nudity in the movie and it was actually given a PG rating). In 1989, another made-for-TV Get Smart sequel called Get Smart Again! was released, and was much more well received (Barbara Feldon even starred in it). This seemed to erase the bad memories of The Nude Bomb, which perhaps explains why it has remained fairly obscure up until now. Yeah, The Nude Bomb has its flaws, but it didn't deserve to stay buried forever. As far as I'm concerned, the movie is still must-see material for fans of the show, and if you can get past the thought of what it should have been, there's still a halfway decent comedy to be found here. The Nude Bomb is currently available on DVD courtesy of Universal Home Video.

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Forgotten Films: Nick Fury: Agent of S.H.I.E.L.D.

Sean — Sun, 25 May 2008 19:11:28 +0000

Prior to the release of the first Blade and X-Men movies in 1998 and 2000 respectively, the comic book genre wasn't seen as particularly profitable or worthwhile throughout the movie industry. At the time it was assumed that the public interest just wasn't there (or had dropped off due to Joel Schumacher's treatment of the Batman franchise), but the real problem is that no one was giving these stories the talent and the budget needed to make them work. You may have heard of some of the embarrassing projects that Marvel was involved in throughout the early 90's, specifically the original Captain America and Fantastic Four movies. These are much worse than Batman & Robin ever was, and in fact, this particular take on the Fantastic Four was never officially released because Avi Arad (then, Marvel head honcho) actually bought out the movie and ordered all of the prints destroyed. (It has since leaked out online via torrents and file sharing sites.) However, in light of the recent Iron Man and Incredible Hulk movies, which feature Samuel L. Jackson in a small, overlapping role as Nick Fury, I thought it might be fun to take a look at another dubious Marvel film that is probably even less known than the previous two. Nick Fury: Agent of S.H.I.E.L.D. is a made-for-TV movie that aired on Fox back in 1998, with none other than former Baywatch/Knight Rider hunk David Hasselhoff donning the eye patch to play the no-nonsense cigar-chomping spy. Yep, they were really slumming it back then. How Marvel ever decided to let the Hoff near one of their characters is beyond me, especially since by that time he was well past his prime and everyone knew it. In this particular adaptation, Fury is now retired and living a life of seclusion in the Yukon, when S.H.I.E.L.D. comes knocking at his cave (no, seriously). It seems that HYDRA, a terrorist organization run by his former arch enemy, ex-Nazi Baron von Strucker, has resurfaced with a deadly virus threatening to wipe out America. The children of von Strucker are now in charge of the group, and looking to raise what they are calling "The Fourth Reich", and awaken their father from cryogenic freezing. The movie co-stars Sandra Hess (Mortal Kombat: Annihilation) as Andrea von Strucker aka Viper, who at one point in the film administers the "kiss of death" to Fury. This infects him with a venom that will kill him in 48 hours unless he can get an anti-venom from her blood. Fury and his crew are left with little choice but to mount an attack on HYDRA's helicarrier headquarters. As you can probably guess, Nick Fury: Agent of S.H.I.E.L.D. is not the most inspired comic book adaptation ever to grace the screen. Pretty boy Hasselhoff is ill-equipped to play such a bad ass, and seems somewhat out of shape during action scenes. Sadly, this was also before his "Don't Hassle the Hoff" days, where he finally learned to embrace his cheesy public persona. In this movie, he plays it completely straight, and aside from a few choice one-liners it's not nearly as fun as it could have been. That said, it's not necessarily as bad as I was expecting it to be either. I don't think the story strays far enough from the comic book canon to anger fanboys, and some of the special effects in the movie are actually decent, particularly for a TV production. On the other hand, there are other things that cheapen the look, such as gun shots that have no muzzle flash or smoke whatsoever. The most surprising thing about the movie is the fact that it was written by David Goyer, who of course went on to write the critically-acclaimed Batman Begins. I am guessing this is one project that he now leaves off his resume, although strangely enough, he also wrote Dark City and the first Blade movie around the same time, and Nick Fury: Agent of S.H.I.E.L.D. does share a similar gothic vibe with both of those flicks. Most serious comic book fans probably want this production erased from existence, and if Marvel is smart they will never release it on DVD., but thankfully there's always the internet and cable TV re-runs to keep farces like this from being completely lost. Even as a "so bad it's good" kind of experience, I can't really recommend Nick Fury: Agent of S.H.I.E.L.D., but still, it remains an amusing (if somewhat pitiful) footnote in the history of comic book movies.

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Forgotten Films: Over The Edge

Sean — Mon, 31 Mar 2008 17:57:24 +0000

Before Fast Times at Ridgemont High, before The Outsiders, before Dazed and Confused, and before Kids, there was Over The Edge. Throughout the U.S. in the 1970's, planned surburban communities began springing up across the country, attracting middle-class families who wanted to get away from the overcrowding and crime of big cities. The environment they ended up creating, however, was not as idyllic as they thought it was, because it left their kids isolated and bored out of their minds. Over The Edge is based on real events that took place in Foster City, California, where at one point it had a higher percentage of juvenile crime than anywhere else in the country. In a community called New Grenada, the teenage kids are restless and living on the verge of total anarchy. The only place they have to hang out is the local rec center, which closes at 6 pm, so they spend their evenings getting high, breaking and entering, and vandalizing city property. When a wealthy real estate tycoon comes to town, city officials realize they need to do something drastic, so they close down the rec center and try to impose a curfew. Unfortunately, this sets off a series of violent encounters with the police, and while concerned parents in the community are trying to figure things out, the kids are busy plotting their revenge. Basically it's a story of disenfranchised youth, teenage rebellion and clashes with authority. It certainly isn't the first movie to tackle this subject (Rebel Without A Cause predates it by over 20 years, and I assume there are still others that came before that), but there is a gritty realism to the film, an element of authenticity not often seen in these kinds of movies. This is thanks in part to the brilliant casting, which included many non-actors and real kids who actually looked the same age as their characters (that is, under 16). The movie also served as the first on screen performance of a young Matt Dillon. Legend has it that a casting agent discovered him at his high school after he was kicked out for smoking in the bathroom. The movie was released in 1979, the same year as both Rock n Roll High School and The Warriors, two movies that it has much in common with. The controversy surrounding The Warriors and its portrayal of gang violence resulted in Over The Edge foregeoing a theatrical release, and quite honestly I'm not surprised. Even by today's standards the movie is pretty raw and daring, with its depiction of 15 year old kids doing drugs, abusing cops, shooting guns and just generally kicking the crap out of each other. Even if it's not presented in a completely believable way, this flick certainly doesn't pull any punches. Over The Edge did eventually make its way to HBO where it was supposedly a mainstay of their programming line-up throughout the 80's. This is where the movie developed its rabid cult following, including numerous bands and musicians from the early 90's (which makes sense, when you consider that the soundtrack included Cheap Trick, The Ramones and The Cars). In particular, Kurt Cobain had said in interviews that this was his favourite film, and the music video for "Smells Like Teen Spirit" is inspired by Over The Edge. There are some things about the movie that are pretty laughable, including the cartoony portrayal of the police officers and parents, and the massive explosions that occur in the film's climax. There is certainly an element of exploitation at work here (director Jonathan Kaplan had previously done a few Roger Corman flicks; afterwards he went on to direct The Accused), and at times the low budget aesthetic makes it feel like an episode of Degrassi or something. That said, Over The Edge addresses many of the issues in a surprisingly honest and intelligent way, and still holds up quite well today. I'm not sure if it necessary qualifies as a "forgotten" film, since it continues to have many fans and its influence is still felt today (the 2006 animated film Over The Hedge quite obviously references it). Either way it makes for an entertaining watch, and it's a movie that I think more people should know about. Over The Edge is currently available on DVD courtesy of Warner Home Video.

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Forgotten Films: Sour Grapes

Sean — Mon, 03 Mar 2008 19:03:34 +0000

We've often been told that we don't cover enough older movies here at Film Junk, so I thought it was time we launched a new feature to try and remedy that fact. Forgotten Films will be a semi-regular column in which I attempt to explore movies that have been swept under the rug for one reason or another, flicks that many people (myself included) may have missed the first time around. They probably won't all be hidden gems, but I'm looking forward to digging them up, dusting them off, and holding them up for you all to see. For the first installment of Forgotten Films, I have decided to tackle Sour Grapes, the first and only movie (so far) to be written and directed by Seinfeld co-creator Larry David. To be honest, I hadn't even heard of this movie when it was first released, which was back in April 1998, not too long before the series finale of Seinfeld. You'd think that a movie directed by Larry David would be a big deal (especially at that time) and that everyone would have heard of it. Well, the thing is, the movie bombed hard, and was soundly trounced by critics. Roger Ebert actually listed it among his most hated films of all time! A couple of choice quotes from Ebert's book, I Hated, Hated, Hated This Movie: "Sour Grapes is a comedy about things that aren't funny... Larry David, who wrote and directed Sour Grapes, apparently thinks people are amused by cancer, accidental castration, racial stereotypes and bitter family feuds." "I can't easily remember a film I've enjoyed less." I guess it's pretty hard for a movie to find an audience with comments like that coming from the big man. Keeping that in mind, I was a bit apprehensive to watch it. Being a big fan of both Seinfeld and Curb Your Enthusiasm, I was worried that this would tarnish my appreciation for the comedic genius of Larry David. I was quite surprised, however, to find that Sour Grapes (while far from a perfect film) does have quite a few funny moments, some decent performances, and tons of classic Larry David-isms. It plays out more or less like an extended and slightly less sanitized episode of Seinfeld. Evan and Richie are two cousins living in New York who head off to Atlantic City for a weekend of gambling with their girlfriends. Richie is lucky enough to win a $400,000 jackpot playing the slot machines. The trouble is, he won the jackpot using two quarters that he borrowed from Evan. I'm sure you can see where this is going. It all leads to a bitter feud between the two cousins, with Evan demanding half of the pay out while Richie adamantly refuses to give him more than 3%. The animosity continues to escalate with plenty of unbridled rants and debates over the proper social etiquette for such a thing. Evan and Richie's girlfriends eventually break up with them because they become obsessed and refuse to budge, and things get progressively worse for both of them. Leave it to Larry David to explore another one of those awkward, true to life situations that has no simple rules to govern it. I'm sure you can see how this premise would have made a great episode of either Seinfeld or Curb, and while the idea does get stretched a bit thin over a 90 minute feature, it's still fast-paced and consistently entertaining. Steven Weber (Wings) and Craig Bierko (Cinderella Man, Fear and Loathing in Las Vegas) do a great job carrying the energy level of the movie, with Weber resembling Jerry Seinfeld in both appearance and mannerisms (not to mention his hard-line stance on social graces), and Bierko hovering somewhere between Kramer and George (he even has a Jewish mother that resembles Estelle Harris). Some might say that their performances are a bit too derivative of the Seinfeld TV series, but I didn't have a problem with it. Both characters seem to represent different sides of Larry David, although they are both equally stubborn and greedy. By the end of the movie, it all becomes a little bit silly and far-fetched with some of the ways they try to plot revenge on each other (not to mention the guy who accidentally gets both of his testicles removed and ends up speaking in a high-pitched voice). I can definitely see how some would find the movie mean-spirited... but then again, black comedy is a staple of Larry David's diet. That's not all the movie relies on though; there are also plenty of random one-liners and non-sequiturs to be found throughout. The bottom line is that if you like Seinfeld or Curb Your Enthusiasm, I don't see how you wouldn't enjoy this flick. There's a biting tone and familiar rhythm to it all, and heck, it's worth renting just to see David's parody of Friends. The movie is also backed by a classical music soundtrack (not unlike Curb Your Enthusiasm) and features small appearances from Orlando Jones and Philip Baker Hall. All I can say is to give it a chance... it's no masterpiece, but it's an easy target for critics, but I don't think it deserves all the hate it has received over the years. At the very least, it's an interesting footnote in Larry David's career, and makes me wish he would consider aiming for the big screen again one of these years.

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