Roddy Piper Revisits John Carpenter’s ‘They Live’ at New Beverly Cinema

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It was a huge shock to hear of the sudden passing of “Rowdy” Roddy Piper who died on July 31, 2015 from a heart attack at the age of 61. Many of us remember him from his wrestling days with the World Wrestling Federation (WWF, now WWE) where he battled Hulk Hogan and Mr. T in the ring, and for also making Cyndi Lauper’s life (in her music videos anyway) a living hell.

But for me, I’m always going to remember him best for his performance in John Carpenter’s “They Live” in which he played a nameless drifter who discovers that the earth has been taken over by aliens disguised as rich people. While he may have seemed an unusual choice for a movie role, Carpenter said he cast Piper because he had life written all over his face, and that’s a quality that not enough people in Hollywood pay attention to these days.

The following is an article I wrote after I attended a special screening of one of Carpenter’s best movies.

They Live movie poster

Former wrestler and actor Roddy Piper visited New Beverly Cinema on June 10, 2012 to talk about his role in John Carpenter’s “They Live.” Once the film ended, Piper made his way to the front and leapt onstage and yelled out for all to hear:

“I HAVE COME HERE TO CHEW BUBBLE GUM AND KICK ASS!!! AND I AM ALL OUT OF BUBBLE GUM!!!”

This screening was put together by the horror convention Days of The Dead, and moderating the Q&A was Brian W. Collins from the website Horror Movie a Day. During the time he spent with the audience, Piper looked so incredibly happy to be there.

When Brian asked him how he got cast in “They Live,” Piper said he was doing Wrestlemania III and got asked out to dinner by Carpenter afterwards. Piper had, as he said, “been on the road since he was 15 years old,” and he admitted to the audience he “had no idea of who John Carpenter was.” But once he realized he was a movie director offering him the lead role in a motion picture, Piper was eager to work with him.

In talking about filming the destruction of the shantytown, Piper pointed out how many people in that scene were actually homeless and not your average Hollywood extras. He also said the filmmakers had to pay two gangs off so that, when they left at night, the trailers would still be there in the morning. Piper said he also knew the president of each gang, and that really helped.

Then there was the discussion about the “bubble gum” line which Brian heard was improvised by Piper. Piper confirmed it was his idea and jokingly described it as “lame,” and it came about when Carpenter told him just before the cameras started rolling:

“Roddy, you know you’re going into a bank, you got bullets on, you got a shotgun, you got sunglasses. You gotta say something because you’re not robbing it. Action!”

Piper said the line, and then Carpenter yelled cut and immediately said, “Lunch!”

One audience member asked Piper if he did his own stunts in “They Live,” and he admitted he did all of them except for when Meg Foster pushes him out the window. Piper, however, also said if it was the last shot of the movie, then they would’ve let him do it. Speaking of Foster, he confessed he did indeed trip out over her eyes because they are so beautiful. Looking back, he marveled at how she brings you right in with those eyes.

We never do learn Piper’s character’s real name, and he is called Nada in the end credits which in Spanish means nothing. In describing Nada, Piper said, “You don’t know where he came from, you don’t know why he’s doing what he’s doing, you don’t know why he’s wearing a wedding ring. You know nothing about him.” Carpenter told him the thought behind this was if you don’t know anything about him, it makes him more intriguing to where you want to watch more.

Piper ended the evening by speaking profoundly about his role:

“Nada is you, he is every one of you, not blue collar or white collar. He’s you and that’s why you know nothing about him because it depends on if it’s you, then that’s what’s about him. He’s supposed to represent everybody, not just America, but everybody in the world. And that’s kind of why you as an audience fill in the nothing with whatever ethics and morals you’re fighting for at the time.”

Upon hearing of Piper’s death, Carpenter said he was “devastated to hear the news of my friend Roddy Piper’s passing today. He was a great wrestler, a masterful entertainer and a good friend.”

RIP “Rowdy” Roddy Piper.

‘Ready Player One’ Revels More in the Virtual World Than in Reality

Ready Pkayer One movie poster

Ernest Cline’s “Ready Player One” is a novel I could see a lot of directors being ever so eager to turn into a motion picture. Edgar Wright, Guillermo Del Toro, Robert Zemeckis and even (gasp) Michael Bay would have had a blast bringing to life the virtual world Cline wrote about to where the possibilities of what they could bring to the silver screen seem infinite. In the end, it makes perfect sense Steven Spielberg was the one to adapt it as no other filmmaker has captured our collective imaginations as much as he has.

The year is 2045, and Earth has long since become consumed by pollution, corruption and climate change (which is real folks, don’t let anyone tell you different), and its inhabitants, those situated in the middle or lower classes, are consigned to mobile trailers which are stacked on top of one another. While this cannot be mistaken for a glamorous lifestyle, many clueless politicians and wives of U.S. Presidents would be quick to describe them as FEMA luxury suites. Looking at how barren their existence has become, it’s no wonder these characters prefer a virtual reality as opposed to the one they are forced to live in and endure on a daily basis.

Everyone, and I mean everyone, manages to escape their depressing reality in the OASIS (Ontologically Anthropocentric Sensory Immersive Simulation), a VR world which allows its users to engage in activities of either an educational, entertaining, or a profitable kind. You can be any avatar you want to be whether it’s Freddy Krueger or Godzilla, and you go into it believing it will allow you to be a somebody instead of a nobody. But eventually, even its most devoted users need to find a way to better deal with the real world as a line between the two needs to be drawn.

One of the OASIS’ most devoted users is Wade Watts (Tye Sheridan), an 18-year-old who lives in the slums of Columbus, Ohio with his aunt. It’s no surprise how quick he is to dive into this virtual world, but his reasons for doing so run much deeper than we initially realize. We learn the OASIS was created by James Halliday (Mark Rylance), an eccentric computer genius with an incredible love for 80’s pop culture. Halliday has since passed away, but he has left behind a trail of bread crumbs in the form of Easter eggs for his fans to discover. The first to find all these eggs is promised full ownership of the OASIS among other desirable gifts. Of course, there is a corporation, or a video game conglomerate if you will, named Innovative Online Industries (IOI) which is determined to gain ownership of the OASIS before anyone else. Will the rebellious users beat the greedy corporation to the finish line? Well, the answer might have seen obvious in the past, but these days it looks like the bad guys get away with far too much in the real world.

“Ready Player One” is essentially a combination of “Willy Wonka and the Chocolate Factory” and “Tron” as our protagonists are on the search for something which will fulfill their wildest dreams, but they have to find it in a world where the laws of nature do not necessarily apply. And when it comes down to it, the winner will not be someone who is the best at gaming, but someone with a good heart who wants to do the right thing, and who has a strong spirit. Finding someone like that in this day and age, let alone in the future, is an ambitious task as everyone appears susceptible to greed and corruption, but the filmmakers went into this project with the full belief such a person still exists, and a world without hope is not one we should be quick to live in.

The challenge Spielberg has with “Ready Player One” is balancing out the real world with the wondrous virtual world the characters are ever so eager to inhabit. But with all the tools he and his fellow filmmakers had at their disposal, it is easy to see how lopsided the balance is here. Spielberg clearly revels in amazing visual effects he can put onscreen. Watching this movie just once is not enough as there are an infinite number of Easter eggs to discover and acknowledge. While you may easily recognize such pop culture artifacts like Freddy Kruger and the DeLorean time machine from “Back to the Future,” there are so many others to acknowledge here to where you will be very surprised at what Spielberg and company were able to fit into a PG-13 movie.

When it comes to the real world, I feel Spielberg could have done more to distinguish it from the OASIS. This man did give us “Jaws,” “Close Encounters of the Third Kind,” “Raiders of the Lost Ark” and “E.T.,” movies which exceeded anything our imaginations could conjure up. Years later, however, he gave us “Schindler’s List,” “Saving Private Ryan” and “Munich,” films which did not shy away from the horrifying reality people are forced to endure. Surely Spielberg would be able to balance out the real world from the imaginary one to where we can see the difference between them or at least determine which one is more important to live in, right?

Well, “Ready Player One” functions a lot like the original “Jurassic Park” in that the spectacle gets the majority of attention while the human element suffers in comparison. But like “Jurassic Park,” Spielberg still has us captivated with incredible visual effects which leave us in complete awe. As the movie goes on, the avatars of the main characters start to look and feel more real than I expected, and this makes up for the limited character development they receive throughout. Cline co-wrote the screenplay with Zak Penn, but it feels like everyone could have gone a bit deeper with the material.

On a personal note, I loved how Spielberg digs deep into 1980’s nostalgia. Being a child of this decade, I still very much enjoy the music and movies which came out of it. To his credit, Spielberg doesn’t reference his own movies here, regardless of the fact they play a big part in Cline’s book. It’s also great to hear the music of Alan Silvestri here as his themes from the 80’s, particularly those from “Back to the Future,” never grow old. Silvestri’s score here references a number of pop culture classics, and I’m sure you will recognize many of them.

Tye Sheridan has turned in terrific performances in “The Tree of Life,” “Mud” and “Joe,” and he fits comfortably into the role of the typical young Spielberg hero who is wise beyond his years and smarter than the average adult. Olivia Cooke is a wonderful and strong presence as Samantha Cook, a fellow OASIS player whose avatar goes by the name of Art3mis. Ben Mendelsohn also shows up as Nolan Sorrento, the infinitely greedy CEO of IOI who is determined to gain full control over the OASIS. It’s a lot like the character Mendelsohn played in “The Dark Knight Rises,” but this time he is playing someone who believes they are in charge and actually is.

But if there is one performance worth singling out here, it is Mark Rylance’s as James Halliday, the main creator of the OASIS. Rylance makes Halliday into a wonderfully eccentric character whose social skills could use a bit of work, but whose heart shines through in everything he has created and accomplished. Not once does this Oscar-winning actor make Halliday into a caricature of Steve Jobs and instead presents us with a human being desperate to find someone in this world who has not been completely corrupted by the powers that be.

“Ready Player One” will not go down as one of Spielberg’s best movies, but it is far from being one of his worst. The visuals alone are worth the price of admission and watching it once will not be enough as there are so many Easter eggs to identify. Heck, if you close enough, you can even spot a poster with Wil Wheaton on it. While its message of how important it is to spend more time in the real world than the virtual one might seem a bit hypocritical, this movie was directed by a man who knows the difference between the two to where he doesn’t have to prove to us that he knows this. Still, on a story and character level, this could have dug deeper beneath the surface.

* * * out of * * * *

 

‘Annihilation’ is a Unique Sci-Fi Cinematic Experience

Annihilation movie poster

I have to give Paramount Pictures credit for taking risks in the past year or so on movies which defy what is considered these days to be mainstream entertainment. Last year, they released Darren Aronofsky’s “mother!,” a film which could in no way be mistaken for a comic book movie. Despite it earning a rare Cinemascore grade of an F, Paramount stood behind Aronofsky and his film defiantly, saying they were proud of the work he did. Keep in mind, the studio made this clear even after “mother!” suffered a weak opening at the box office, especially when compared to other movies starring Jennifer Lawrence.

Now in 2018, Paramount has released “Annihilation,” a science-fiction horror film which not only defies what many expect from Hollywood at the moment, but also proves impossibly hard to fit into any specific genre. This has led many to accuse Paramount of not giving the movie the proper promotion it deserved, but we will address this issue at another time. Whatever expectations you have for this cinematic experience, it would be best to leave them at the door as “Annihilation” deals with themes and situations other filmmakers have explored in the past, but this time they are handled in a way which feels truly fresh and not the least bit routine.

Natalie Portman stars as Lena, a biologist and former U.S. Army soldier who, as the movie starts, is in a depressed state as her husband, Army soldier Kane (Oscar Isaac), has been missing for a year, and many presume he has been killed in action. But suddenly, Kane reappears to Lena’s delight, but he resembles one of the pod people from Phillip Kaufman’s remake of “Invasion of the Body Snatchers” as he seems devoid of any emotion and cannot remember where he was. Before Lena can get a satisfactory answer regarding his whereabouts, Kane becomes very sick and is transported via ambulance to the hospital. As you can expect, military officials stop the ambulance, and it becomes clear Lena and Kane have stumbled across something those in power would prefer to keep under a heavy veil of secrecy.

“Annihilation” puts us right into Lena’s shoes as she desperately tries to understand the situation she has been thrust into. Finding herself at the United States’ government facility known as Area X, a name which implies a location always closed off to the general public, Lena is greeted by Dr. Ventress (Jennifer Jason Leigh), a psychologist who finally gives her some answers and introduces her to an area known as “the shimmer.” We see a meteor hit a lighthouse, and from there an electromagnetic field has developed and continues to spread at a rate to where it will eventually absorb everything in its path. Soldiers have been sent into “the shimmer” to better understand this phenomenon, but Kane is the only one who has come back from it alive.

Dr. Ventress ends up recruiting Lena and two other women to join her on the latest mission to enter “the shimmer,” a mission they have every reason to believe is a suicidal one. This is where “Annihilation” becomes particularly unique as these characters are not trying to be heroic but are instead dealing with their own self-destructive tendencies. Indeed, self-destruction is a big theme as these four women are revealed to be individuals deeply wounded by life in one way or another to where they feel as though there’s nothing much left to care about or live for. But as they get deeper into “the shimmer,” their survival instincts become awakened almost immediately.

“Annihilation” was written for the screen and directed by Alex Garland who started out as a novelist with his book “The Beach” which was made into a movie by Danny Boyle and starring Leonardo DiCaprio. Since then, he has graduated to writing screenplays for “28 Days Later,” “Sunshine,” “Never Let Me Go” and “Dredd.” In 2015, he made his directorial debut with “Ex Machina,” a brilliant science fiction thriller which dealt with the subject of artificial intelligence in a way which felt familiar and yet very fresh. Even if the story reminded me of “Frankenstein” in a way, the approach Garland took with the material and the characters felt invigorating and wonderfully unique.

Garland has brought this same kind of energy and enthusiasm to “Annihilation” as it follows a group of people caught in a situation much like the one in John Carpenter’s “The Thing” to where they are dealing with an antagonist who is not quite visible, and this leads them to become increasingly paranoid about one another. Garland does an excellent job of keeping the audience off-balance as he takes us through the story in a non-linear fashion. When Lena awakes in a tent inside “the shimmer,” she admits she has no idea how she got there or of what she experienced in the past few hours. Indeed, we end up feeling as lost as her as we are desperate to better understand the situation everyone has been sucked into, and Garland holds our attention throughout as a result.

Throughout, Garland gives us much to think about such as the differences between suicide and self-destruction as well as the importance and inherent danger of discovery. While watching “Annihilation,” I was reminded of a scene in “Jurassic Park” between John Hammond and Ian Malcolm. Hammond doesn’t understand why anyone would stand in the way of discovery, but Malcolm leaves him with this to chew on:

“What’s so great about discovery? It’s a violent, penetrative act that scars what it explores. What you call discovery, I call the rape of the natural world.”

But while Garland has crafted “Annihilation” as the thinking person’s sci-fi movie, it is not at all lacking in the thrill department. Certain scenes have a visceral feel to where I jumped out of my seat for the first time in ages. On a visual level, it has a look which is as beautiful as it is haunting, and I am having a hard time comparing it to other movies I have seen recently. On top of this, “Annihilation” features a very unique sonic landscape courtesy of composers Ben Salisbury and Geoff Barrow, both of whom combine an earthly sound with an electronic one as they work to separate the real world these characters have left behind and the alien realm they have dared themselves to enter.

Natalie Portman has a tricky role to play here. As Lena, she has to be vulnerable but also exhibit a reserve of strength deeply embedded in a character who has served her time in the military. That Portman manages to pull this off is not the least bit surprising, and she gives us a fully formed character whose experience and pain aid her in the movie’s spellbinding climax. Many still can’t shake the squeaky-clean image they have of Portman, but she has been around long enough to remind audiences of the amazing depth and range she has as an actress.

It’s great to see Jennifer Jason Leigh here as well, let alone in any movie she appears in. As Dr. Ventress, she creates a truly enigmatic character who keeps her emotion in check to where you constantly wonder what is going on in her head. Clearly, this doctor has more interests than in just exploring “the shimmer,” and Leigh keeps you guessing what they are all the way to the end.

I also have to give credit to Gina Rodriguez, Tessa Thompson and Tuva Novotny for creating such memorable characters out of those which, in any other movie, could have been of the easily disposable variety. Some characters exist solely to further the actions of the lead protagonist or serve as mere fodder for an ever so lethal antagonist, but these actresses make theirs stand out in a way they would not have otherwise, and their final onscreen moments are hard to shake once you have witnessed them.

And when it comes to Oscar Isaac, you can always count on him to give an infinitely charismatic performance even in a role where the character looks to have been drained of all emotion. Telling you more about his character of Kane would be detrimental to your viewing experience, but once you watch him here, you will agree he has created a fascinating portrait of a man who once knew his place in the world, but who now is forever lost in it.

It has now been a few days since I have watched “Annihilation,” and I still find myself thinking about the movie quite intensely. Even if its pace lags a little more than it should, the questions it left me with remain endlessly fascinating. When we see Lena reading “The Immortal Life of Henrietta Lacks,” is that a hint of some kind? What led Garland to include the Crosby, Stills & Nash song “Hopelessly Hoping” here? And more importantly, is the movie’s ending a hopeful one, or is it meant to be relentlessly bleak? Garland is not out to give us easy answers, but my hope is you will be open to the unusual experience this movie has to offer. Cinemascore may have given it an average grade of a C, but please remember this is the same research group which gave “America: Imagine the World Without Her” an A+.

Trust me, check this one out, and be sure to come into it with an open mind.

* * * ½ out of * * * *

 

‘Inverse’ is an Infinitely Thoughtful and Riveting Sci-Fi Movie

Inverse movie poster

When it comes to mind-bending science fiction movies, I have gotten into the habit of trying to stay ahead of the filmmakers to see if I can guess where the story is heading and how it’s going to end. “The Sixth Sense” among other movies got me good, but now I want to beat directors at their own game. I don’t know, maybe I’m just sick of people playing with my head. But with Matt Duggan’s “Inverse,” it really helps not to second guess the filmmaker or attempt to stay ahead of him. Just when you think you know where this movie is heading, it becomes something else and goes out of its way to defy your expectations. What I thought was going to be something along the lines of “Starman” or maybe even “The Terminator” proved to be quite different, and it was in my best interest to just watch it and take everything in.

“Inverse” opens on a small picturesque house in a suburban neighborhood where we see a naked man (played by Josh Wingate) emerging from a swimming pool with no idea of who he is. Once he steps inside the house, he finds pictures of himself and discovers his name is Max, a man who actually died some time ago. His appearance causes quite a shock for his wife and other relatives who come into contact with him, but he can’t seem to remember who they are. Then Max is met by a man named Batter (Morlan Higgins) who informs him he is actually from a parallel universe and has been travelling back and forth between universes to where his brain has been almost completely fried. As Max begins to realize who he really is, he comes face to face with people who want to learn all they can about the universe he is from, and this ends up putting him in grave danger.

Like I said, “Inverse” is not a movie you want to try to get ahead of. Duggan unveils the different layers of the movie’s story to where it truly helps to pay close attention. It invites repeat viewings so you can get deeper into the story and discover new things. The first time you watch it will give you a visceral feeling as Duggan puts you right into Max’s shoes as he desperately tries to discover why he’s here, and you feel his insatiable need to get to the truth before he reaches an unfortunate end.

The other thing which intrigued me about “Inverse” is it’s not your typical good guy/bad guy story. There are no heroes to be found here as everyone has a price to pay for the actions they end up committing. Not even Max is safe as he comes to discover the damage he has incurred during his various travels, and there is really only one person here who hasn’t done anything wrong, and yet this person still gets harmed inadvertently. I leave it to you, the viewer, to figure out who this character is.

“Inverse” meditates on what it might be like to live in a universe where the level of intelligence is much higher than our own. It would certainly be nice to use more than 20% of our brains, so the appeal of certain characters wanting to discover the secrets of this other universe is very understandable. The movie also shows how the quest for higher intelligence can be an obsessive one, and it gets to where we realize there is only so much we should be allowed to discover as it may lead to our undoing.

The cast is all around excellent, and hopefully we will get to see more from them in the future. Wingate carries the weight of this movie on his shoulders as we stay with him from the first scene to the last. It’s almost exhausting to watch him here as he is forced to exhibit a wide range of emotions, and he succeeds in making you feel all of them.

There’s also a great supporting performance from Morlan Higgins as Batter, a character who serves as Max’s conscience throughout the film. We watch as Batter explains to Max how he got to where he is now, and in the process of trying to do the right thing, Batter ends up imprisoning himself into a mental cage which offers no easy escape. Higgins is actually one of the most well-known actors on the Los Angeles theatre scene, and he proves to be the kind who inhabits a character more than he plays one. You never catch him acting, and this is one of the joys of watching his performance here.

In addition, you have strong turns from John Burish as Tommy, Max’s brother, who is put in a difficult situation of putting a close family member in harm’s way in order to get at the truth of what’s going on. There’s also Alanna Priere and Michele Lawrence who play the women in Max’s life who are not all they appear to be. To say more about their characters would be giving too much away, so I’ll leave you to see how they fit into this story.

But the best performance in “Inverse” belongs to Chris Pauley who ends up playing two roles here. The most notable role of the two is Bert, a man who knows who Max really is and where he’s from. Pauley is utterly riveting every moment he appears onscreen as he interrogates Max through various methods, one of which includes him rocking out to some techno music for no easily discernable reason. You never know what Pauley is going to do next, and you can’t take your eyes off him for a single second.

“Inverse” was made on a very low budget, and Duggan makes the most of it. In the end, this is a sci-fi movie which thrives more on ideas than on spectacle. Even if the pace drags a little, Duggan holds your attention throughout as the effects of Max’s actions become all the clearer toward the movie’s conclusion. Credit should also be given to the movie’s producers, Stephanie Bell and Trevor Boelter, for seeing it all the way to its completion. Like a lot of low budget movies, this one had a very long journey to the silver screen, and it proves to be worth the wait.

Rumor has it Duggan wants to make a trilogy of movies starting with “Inverse,” and it would be very interesting to see where Max’s adventures will go from here. This is a movie which is coming way, way, way beneath the radar, and it deserves a big audience. Here’s hoping we eventually see a sequel to it.

* * * ½ out of * * * *

“Inverse” is now available to stream on Amazon Prime. If you are already a member, you can stream it for free.

Duncan Jones Revisits ‘Moon’ at New Beverly Cinema

Moon movie poster

Filmmaker Duncan Jones was the guest of honor at New Beverly Cinema on November 19, 2011 where his first two movies “Moon” and “Source Code” were being shown. Right after “Moon” finished, he leapt up to the stage like a contestant on “The Price Is Right” for a Q&A alongside his “Moon” producer Stuart Fenegan. Sam Rockwell and Kevin Spacey were not in attendance, but Jones brought along Rockwell’s spacesuit and a balloon of Gerty’s face as their stand ins.

Jones explained how he had worked in the advertising industry for years with the goal of eventually working in movies. He originally wanted his first film to be “Mute” which takes place in a futuristic Berlin, but he and Fenegan came to the conclusion it was too big for them to make into a movie at that point. It’s amazing to learn “Moon” only cost $5 million to make, and Jones said he was determined to squeeze as much out of that amount as possible. Fenegan was quick to point out what was at stake and said, “With the first movie, commercial success is far more important than critical success as it determines whether you’ll make another.”

There were two distinctive sets Jones had to work with on “Moon;” a 360-degree space station set which everyone got stuck in for the day once it was sealed, and another for the lunar module which Rockwell’s character uses to travel outside. As for Gerty, the “2001” Hal-like character voiced by Spacey, Jones described it as a beautiful model which could be moved around the set, but that it was a CGI effect in the wide shots. The special effects ended up getting a polish from Cinesite, a digital visual effects and post-production facility in London.

One audience member asked if Rockwell’s character was named Sam on purpose, to which Jones said yes. “Moon” was made with Rockwell in mind for the lead, and since he plays different clones of the same person, Jones really wanted to mess with his head during the 33-day shoot. This way, Jones said, the actor would be constantly reminded of the movie’s thematic elements. While this made Rockwell uncomfortable at times, Jones described him as a good sport overall.

In terms of influences, Jones said “Moon” was inspired by many science fiction movies he watched in the 60’s and 70’s. Specifically, he cited Bruce Dern in “Silent Running,” Sean Connery in “Outland,” and the first chunk of “Alien” as the biggest influences on the movie’s story. The characters in these films came from a working class or blue collar environment, and the portrayal of it in an outer space setting made everything seem more real and relatable. As for must see movie recommendations, Jones replied “Blade Runner” is the be all and end all of science fiction. You could follow any character in Ridley Scott’s film, he said, and you would still have an amazing movie.

When asked of his future plans, Jones said that he has finished polishing his latest script and will be sending it to the one person he wants to star in it (he wouldn’t say who). It is another science fiction movie, but the director is eager to move beyond this particular genre. With “Moon” now being considered as one of the best science fiction movies of the past few years though, I’m sure his fans will be begging him to revisit the genre more often than not.

‘Star Wars: The Last Jedi’ Defies Easy Expectations

Star Wars The Last Jedi movie poster

With “Star Wars” movies now becoming a yearly tradition, I wonder if they will begin to feel less like an event and resemble a typical episode of the “Law & Order” franchise. You know a version of the show is always on television in one form or another, but are you as excited to watch an episode as you were when you first discovered it? Perhaps this is an unfair comparison, but considering where Disney is taking this franchise, it is beginning to feel like it no longer takes place in a galaxy all that far away.

I bring this up because I couldn’t stop thinking about this during the opening crawl of “Star Wars: The Last Jedi.” Each new “Star Wars” motion picture feels like a major event to where it should be declared a national holiday, but since it’s becoming a regular thing now since Disney bought Lucasfilm, will the franchise still feel this special with each future installment? Well, hopefully this remains the case as “The Last Jedi” proves to be a rousing piece of entertainment which stays true to the franchise’s ideals, and it even has a number of surprises up its sleeve to where I eagerly await the next episode set to come out in 2019.

While each “Star Wars” film typically takes place several years after the last one, “The Last Jedi” begins where “The Force Awakens” concluded. Rey (Daisy Ridley) comes to meet the legendary Luke Skywalker (Mark Hamill) who has long since exiled himself on the planet Ahch-To (gesundheit), a much nicer destination than Dagobah. Meanwhile, the Resistance finds itself feeling the First Order after the latter obliterates their main base. From there, the rebels are on the run, but they can only get so far before they realize the First Order has tracked their whereabouts and to where they are trapped with little hope of escape. It is up to the daring and dashing Poe Dameron (Oscar Isaac) and former stormtrooper Finn (John Boyega) to save the day with the help of friends both old and new.

Revealing more about a “Star Wars” film just as it is released tends to result in actions which will prove to be infinitely painful to say the least, so this will be a spoiler-free review. What I can tell you is while this episode deals with the subjects of hope and the need to discover more than what can be found on the surface, the key subject writer and director Rian Johnson deals with here is failure. All the characters are dealing with failure in one way or another, and it comes to haunt every action they take. The characters we grew up with are dealing with failings they cannot escape, and the ones we were introduced to in “The Force Awakens” are now discovering the irreversible consequences of their actions.

Johnson previously wrote and directed “The Brothers Bloom” and “Brick,” but his best known film before helming “The Last Jedi” was “Looper,” a sci-fi time travel motion picture which was ingenious as it was thrilling. Having seen it, I went into this “Star Wars” extravaganza with the confidence he could pull it off, and he did. Even though “The Last Jedi” threatens to overstay its welcome at two hours and 32 minutes, making it the longest “Star Wars” movie to date, you cannot punish Johnson for his ambition as he covers a lot of ground while leaving us salivating for more.

When it came to the prequels, you had to forgive the actors because they were being directed by a man, George Lucas, who is a master storyteller but deeply deficient when it came to dealing with the human element. But Johnson, like J.J. Abrams before him, knows how to elicit strong performances from his cast, and each actor is more than up to the challenge.

Watching Mark Hamill and Carrie Fisher was deeply fascinating as their adventures in the original “Star Wars” trilogy remain forever burned into my consciousness, and it still feels like I first watched those movies just yesterday. Their youthful exuberance in fighting the dark side was contagious as I wanted to fight alongside them, and I know I’m not the only who feels this way. When we catch up with their characters of Luke Skywalker and Leia Organa in “The Last Jedi,” the years of endless battles and devastating defeats show in their faces as we wonder how much of a fight they have left in them considering what they have been through. While they are heroes, both have grown weary in the face of an enemy which is every bit as imposing as the Galactic Empire, and their confidence in their abilities is shakier than ever before.

It’s especially poignant to watch Fisher here as this was her last movie before she passed away, and knowing this will be the final time we will see her as Leia is a real heartbreaker. Even as Leia’s accent changes yet again, Fisher imbues the former princess with a dignity and humility which will not be easily shattered in the face of defeat. Even as the odds get worse for the Resistance, Fisher makes Leia stand tall, and she makes clear to the audience that this sci-fi icon will not go down without a fight.

After watching Hamill’s brief appearance in “The Force Awakens,” I came into this film wondering where he would take the great Luke Skywalker. Well, he’s no Yoda here as a devastating failure has led him to believe the Jedi should end and has robbed almost completely robbed him of his sense of humor. Whether or not this is the Luke Skywalker you hoped to see in “The Last Jedi,” Hamill dares to take this character in another direction, but despite defying expectations, the actor makes Luke the powerful Jedi we always wanted him to be.

It’s also great to see “The Force Awakens” veterans Oscar Isaac and John Boyega back as Poe Dameron and Finn as their charismatic energy lends itself nicely to the special effects extravaganza which could have, but does not, overwhelm their talents. Watching Isaac here also serves as a reminder that covering him in pounds of makeup like Bryan Singer did in “X-Men: Apocalypse” is completely unnecessary and just takes away from him. Domhnall Gleeson still makes General Hux into more of a twisted tightwad than we previously saw, and Andy Serkis mesmerizes as Supreme Leader Snoke while continuing to shroud the character in mystery.

Among the newcomers to this franchise are Laura Dern as Resistance Vice Admiral Amilyn Holdo, Benicio Del Toro as the codebreaker DJ, and Kelly Marie Tran comes into play as Rose Tico, a maintenance worker who becomes a key player in the Resistance. While it is great to see Dern and Del Toro here, let alone in any other movie they appear in, their characters are a bit underwritten to where their talents can only go so far with the material given to them. Tran, however, makes Rose Tico into a terrific character I am very eager to see in the next “Star Wars” episode. As for the Porgs, they are delightful little creatures who do not overstay their welcome, and they serve as a reason why Chewbacca might consider becoming a vegetarian in the future.

But the performances which really held my attention more than any others came from Daisy Ridley as Rey and Adam Driver as Kylo Ren. Both bring a raw intensity to their characters which left me on edge as their passions could lead them either in the right direction, or instead down a road which offers no hope of return. The connection Rey and Kylo share throughout “The Last Jedi” is one which grows stronger in each scene, and it makes me wonder if they could possibly survive without one another in Episode IX. Both actors bring a natural energy which Natalie Portman should have been allowed to bring in the prequels, and they remain as compelling as ever.

Many complained “The Force Awakens” hewed too closely to the plot of “A New Hope” to where it became an exercise in nostalgia more than anything else. So it’s only natural filmgoers are coming to “The Last Jedi” expecting something close to “The Empire Strikes Back.” However, Johnson and company have succeeded in giving us a “Star Wars” episode which surprises us more often than not. While many may be sitting in a movie theater crying out, “I knew that was going to happen,” I think they need to realize not everything is going to go the way they expect. It reminded me of the next to last episode of “The Sopranos’” second season as it left me in shock and wondering what could possibly happen next. While we feel we know and understand the formula of the average “Star Wars” movie, this one upends it to where we can only guess what will happen in the future.

“The Last Jedi” also shows us there is more to failure than we see at first, and this is an important lesson to take in as we often let failure keep us from moving forward in life. It also shows us how hope can be tested more than ever before to where we grasp onto any last piece of it. In “The Shawshank Redemption,” Morgan Freeman talked about how “hope is a dangerous thing” and that “hope can drive a man insane,” but our heroic characters still cling onto hope as nothing else will do, and surrender is not even a part of the equation.

While the continuing onslaught of “Star Wars” movies threatens to make this franchise feel a lot less special, none of my worries detracted from my enjoyment of “The Last Jedi.” It proves to be as entertaining as any other “Star Wars” movie currently out there in circulation, and yes, I include the prequels. This film also makes me look forward to Rian Johnson’s continued contributions to the franchise which look to be many, and I eagerly await the next episode as I am not sure what to expect from it. I just hope I don’t go into a future “Star Wars” movie saying to myself, “I got a bad feeling about this.”

* * * ½ out of * * * *

 

‘Attack the Block’ Features John Boyega in a Terrific Debut Performance

Attack the Block movie poster

Attack the Block” is a highly entertaining combination of action and sci-fi genres which deals with humans defending themselves against a swarm of unfriendly extra-terrestrials. It follows a street gang of young kids who, in the process of robbing a female nurse, get greeted by an alien who lands with a loud thud on someone’s car (here’s hoping they have auto insurance). It marks the beginning of an attack by an alien race which immediately tears apart anything in its path, and it’s up this gang of delinquents to save the day.

The majority of “Attack the Block” takes place in a council estate, a location which houses the financially challenged of England’s residents, and it is generally overrun by a nasty criminal element. This setting has been used to great effect in “Fish Tank” and “Harry Brown,” movies which effectively showed how isolating it can be to live there. The characters presented feel very true to life, and it makes what could be seen by many as another B-movie far more effective as a result.

Leading this street gang is Moses (John Boyega), a 15-year-old who is older than his age would suggest. Moses and his mates spend their time robbing those walking through the terrace they live in. But when the aliens enter into their territory, they find antagonists that are completely unwilling to give up their valuables (assuming they have any), and the threat they pose to this gang make their struggles in daily life a cakewalk in comparison.

“Attack the Block” was directed by Joe Cornish, an English comedian, television and radio presenter, director, writer and actor. This marks his directorial debut as he has previously helmed several behind the scenes documentaries like “The Fuzzball Rally” featured on the “Hot Fuzz” DVD and Blu-ray. Cornish’s work here is very assured, and he does an excellent job of combining elements of horror and comedy to great effect, something never easy to pull off. He also generates highly suspenseful moments which really get the audience on edge, and they make for a surprisingly unpredictable motion picture.

Of all the performances, the most impressive comes from John Boyega as Moses. This is his film debut, but he looks and acts like he’s been acting for ages as his eyes reveal a battle over how far he will go and of all the bad things he has seen in life. As the fight against the aliens goes on, it offers his character a chance for redemption and to be a hero, and Boyega makes Moses earn those honors long before the film’s conclusion.

Also impressive is Jodie Whittaker as Sam, a hospital nurse faced with an impossible situation where she has to work with the same gang of kids who mugged her in order to survive. Whittaker convincingly takes her character from being a frightened woman to one who holds her own alongside these kids, and she is not your typical horror victim screaming her way throughout the entire movie.

It’s also great to see Nick Frost here as the drug dealer, Ron. Frost brings an ever so dry humor to the proceedings, and all the other actors work off of him to great effect. In each movie he does, Frost is brilliant at sneaking the occasional joke in when you least expect it, and you can always count on him to leaving on the floor laughing.

“Attack the Block” was made for only $13 million, and the visual effects the filmmakers came up with are very impressive considering the budget. Having less money forces directors to be more creative, and Cornish succeeded in making this film look like it cost a lot more. The aliens themselves are minimal in their design, but they feel far more threatening than the ones you might remember from “Cowboys & Aliens.” Their pitch-black fur is highlighted by neon-like eyes and teeth, and their horrendously loud shriek is certain to make audiences jump out of their seats more often than not.

The action is also highlighted by a super cool electronic score by Basement Jaxx which really puts you in the right frame of mind. I definitely recommend buying the soundtrack once you have watched this movie. I myself didn’t even hesitate in purchasing a copy. That’s how much I like this kind of film music.

The summer 2011 movie season was mostly disappointing due to a lack of creativity and inspiration as many of the blockbusters were cynically made by studios with the intention of making money while giving audiences what they thought they wanted. Watching “Attack the Block” though is a great reminder of how much fun it can be to go to the movies, and it was one of the best action movies to come out that year. This is a must see.

* * * ½ out of * * * *

‘Looper’ – From the Director of ‘Star Wars: The Last Jedi’

Looper movie poster

Rian Johnson’s “Looper” is an ingenious movie which combines the genres of noir, science-fiction and western into a mind twister of a film which will have you enthralled throughout. It reminds you of all those time travels movies you grew up watching, and yet it feels very original when compared to them. It also proves Johnson is a creative filmmaking force to reckon with, and it gives each cast member an opportunity to give their best performance in any film they appeared in during 2012.

Joseph Gordon-Levitt stars as Joe Simmons, an assassin in the year 2044 who works for the mafia and kills agents sent back from the year 2072. In this future, time travel is possible and also illegal, and the mob takes advantage of it to get rid of their garbage. The movie’s title refers to the kind of assassin Joe is, a foot soldier who is paid on the condition their targets never escape. They are given a shotgun called a Blunderbuss which doesn’t have much of a range but it is powerful enough to kill a person up close. When “Looper” starts, Joe looks to have been doing this for a while and has been living the good life as a result.

Things, however, change drastically when the mob decides to “close the loop” by sending back the Loopers’ future versions of themselves to eliminate. Joe ends up coming into contact with an older version of himself (played by Bruce Willis), and the old Joe escapes before young Joe can get him in his sights. From there, the young Joe is on the run as he has searches for his older self in order to get the mob off his back and live to see another day, so to speak.

To say more will spoil some of “Looper’s” most inventive moments as it is full of surprises you don’t see coming. The story looks to have been very well thought out, and its focus is more on the characters than anything else. Also, it creates a future which looks futuristic and yet not far removed from our present. Some movies can alienate you with their overreliance on special effects, but “Looper” isn’t out to blow you away visually. Instead, it finds its most potent moments involving the insane situations Levitt and Willis find themselves in.

Seeing Levitt and Willis face off in a diner gives us one of the most riveting scenes in any movie released in 2012. Considering how brutal they are to each other throughout “Looper,” I couldn’t help but think: talk about being hard on yourself!

Time travel as a concept has been done to death in movies, and Johnson is fully aware of how familiar audiences are of the rules surrounding it. I loved how he used this familiarity to his advantage here as it makes “Looper” easier to follow than it might seem at first. Johnson also succeeds in juggling different storylines to great effect as things could have burned out creatively speaking before the end credits came up. You go into “Looper” thinking it’s about time travel, but then it becomes about something else entirely. It is a film which demands to be seen multiple times for you to take in all its meanings.

Levitt had a fantastic year so far in 2012 with terrific performances in “The Dark Knight Rises,” “Premium Rush” and “Lincoln,” but “Looper” was truly the icing on the cake for him. As the young Joe Simmons, he gets one of his meatiest roles ever as an assassin who’s a drug addict (what’s in those eye drops anyway?), but who still has a conscience even after all the damage he has done to himself and others. While the prosthetics on his face, which were used to make him look more Willis, are a bit awkward to take in at first, Levitt gives the role his all and looks thrilled to able to transform himself into a character like this.

So much has been said about Bruce Willis over the years as his role as John McClane from “Die Hard” will forever be burned into our consciousness, but seeing him as old Joe in “Looper” reminds us of what a great actor he can be. His Joe is driven to correct the past so he can save the future he has built up for himself, but it also forces him to do things which leave him morally conflicted. Seeing the pain which crosses Willis’ face makes us root for him somewhat in “Looper” even as his character goes seriously astray with his deadly actions.

Then there’s Emily Blunt who plays hard bitten single mom Sara, and she is an incredibly powerful even when she is not wielding a heavy-duty shotgun. Blunt has been a continually wonderful presence in each movie she’s appeared in, and here she gets to be both bad-ass and very vulnerable. Her scenes with Pierce Gagnon, the 5-year old actor who is amazing as her son Cid, are as emotionally powerful as they are deeply suspenseful.

There are also other terrific performances to be found in “Looper” from actors like Paul Dano who plays the neurotic assassin Seth, and Noah Segan who channels Billy the Kid into his role of a six-shooter carrying killer named Kid Blue. And there’s no forgetting the great Jeff Daniels who brings both danger and humor to his role of mob boss Abe. Some are surprised to see Daniels in this kind of role given how he has been typically cast as nice guys in movies, but keep in mind, this is the same guy who played the most embittered of writers in “The Squid and The Whale.”

It’s a treat for moviegoers that a film as endlessly inventive as “Looper” got produced in a time where creativity was at a cinematic low. Everyone involved in this picture clearly came to it with tremendous enthusiasm, and it shows in every single second which unfolds before us. It is not only one of the best movies of 2012, but also one of the best time travel movies ever made. And watching it again makes me all the more excited for Johnson’s biggest movie yet, “Star Wars: The Last Jedi.”

* * * * out of * * * *

‘Thor’ Arrives with Thunderous Abandon

Thor movie poster

Thor” makes its presence known with thunderous abandon. Now like many comic books, this one is yet another I haven’t read, so I can’t say how true it stays to its origins. However, judging from the great Kenneth Branagh’s handling of the material, I imagine it’s very respectful to the character.

Heeding closely to classic Norse mythology, Thor is the god of thunder and heir to the throne of Asgard. But on the day of his ascension, the Frost Giants invade the planet’s deeper regions to retrieve the Casket of Ancient Winters, the source of their power. They are easily defeated, but their violation of the truce put together between them and Asgard seriously pisses Thor off. Against his father’s wishes, he and his fellow warriors journey to the Frost Giants home planet of Jotunheim to keep some frosty ass. Odin, however, intervenes and, infuriated with his son’s arrogance, strips him of his powers and banishes him to Earth. For a warrior like Thor, being banished to Earth does feel like a nasty insult.

First off, I really liked the way Branagh handled this material. In the wrong hands, this could have easily become high camp which would have been enjoyable for all the wrong reasons. But Branagh takes the characters and places they inhabit seriously, and he infuses them all with a strong humanity which comes to define them more than does their place in the universe. Even the villains are remarkably complex as their corruption results not so much from a need for power, but instead for a father’s love and approval. Of course, with Branagh directing, you can count on many Shakespearean references throughout, be it Iago from “Othello” or “King Lear,” and they prove to be a perfect fit for this movie.

I was also impressed with how well Branagh handled the visual elements of “Thor.” The last time he made a movie heavy with special effects was “Mary Shelly’s Frankenstein,” and he seemed a bit out of his league with that one. Perhaps we should not be impressed as this movie has a budget of at least $100 million, not counting advertisement costs, but the key thing here is the effects succeed in being an extension of the characters instead of just dwarfing them completely. Then again, that giant creature the Frost Giants unleash on Thor immediately had Liam Neeson screaming in my head, “RELEASE THE KRAKEN!!!”

As Thor, Chris Hemsworth, who played Captain Kirk’s father in J.J. Abrams’ “Star Trek,” owns the role right from the first moment he walks onscreen. Hemsworth clearly revels in portraying the great power Thor possesses, and he is a gentleman when the situation calls for it. Seeing him as a fish out of water on Earth also makes for some splendid moments which are slyly comic. I’m also glad to see Thor is not just another character who doesn’t want to be “the one,” conflicted about the things he is destined to do. With Hemsworth, you know from the get go he is fully aware he’s “the one” and owns this knowledge to where you feel his impatience in wanting to prove it to the universe. Instead of a whiny Anakin Skywalker, Hemsworth gives us a powerful warrior worth cheering for, and one who eventually learns from his mistakes.

As scientist Jane Foster, Natalie Portman’s casting in the role seems like a no brainer. We know from her off screen life that she is a remarkably intelligent human being, so she doesn’t have to prove to us how believable she can be as a scientist. She sparks instant chemistry with Hemsworth (damn those six pack abs!!!), and that shy smile of hers kills me every single time.

Then there’s the great Sir Anthony Hopkins whose portrayal of Asgard’s king and father to Thor, Odin, is nothing short of gallant. This is especially the case with the opening narration which he recites with such depth to where he makes all other actors who’ve done it before him sound like they were sleepwalking their way through it. While many may think this is one of those roles Hopkins did for an easy paycheck, it’s really one of the best performances he’s given in a while.

Tom Hiddleston plays Loki, Thor’s brother and the movie’s main villain. What I liked about Hiddleston is how he does so much more than give us the usual one-dimensional bad guy. Just like Joaquin Phoenix’s character from “Gladiator,” Loki feels slighted by his father as he prefers another man over him, and he becomes desperately eager to prove himself in any way he can. But of course, he ends up doing it in the worst way possible. Hiddleston makes Loki into a character who is more spiteful than hateful, and this makes his eventual fate seem all the more tragic in retrospect.

There are other strong performances throughout this blockbuster affair to enjoy as well. Rene Russo, where have you been? Idris Elba makes a memorable Heimdall, and it never seems like a small part with him playing it. Kat Dennings steals a few scenes as Darcy Lewis, Jane’s co-worker whose science is more political than astronomical. And Stellan Skarsgård remains a dependable actor as always playing scientist Erik Selvig, a character who ends up playing an important role in “The Avengers.”

Having said all this, “Thor” did feel like it could have been a little more exciting. It doesn’t quite have the same invigorating sweep as some of Branagh’s Shakespeare adaptations like “Hamlet” or “Henry V,” and it takes longer to get to the action than it should. It’s not quite as entertaining as “Iron Man,” but I would definitely rank it above “The Incredible Hulk.”

Regardless, there is still much to like about “Thor,” and Branagh has done the best job anyone could have in bringing this particular comic book hero to the big screen in such a respectful fashion. It also benefits from excellent casting, especially Hemsworth who looks like he came out of the womb looking like a warrior with a mighty hammer in his hand. This is one of the few times where “getting hammered” will sound more like a threat than an embarrassing state of drunkenness.

* * * out of * * * *

Peter Weller and Company Revisit ‘Buckaroo Banzai’ at New Beverly Cinema

Buckaroo Banzai poster

Looking back at some of the articles I have written about screenings at New Beverly Cinema, I kept saying or implying that you could never expect any screenings showing there to sell out. But now it looks like that’s becoming less and less the case. Ever since Quentin Tarantino bought the building where the theater is located and saved it from becoming another Supercuts, more and more movie geeks have descended on this establishment, the last standing movie reparatory theater in Los Angeles. Jason Reitman did a movie program there which featured “Election,” “Boogie Nights” and “Ferris Bueller’s Day Off,” and it brought out huge crowds of people. Torgan and company ended up having to do something they almost never do; turn people away!

Well, the line around New Beverly once again snaked around the corner as actor Peter Weller was scheduled to introduce a screening of the 1984 cult classic, “The Adventures of Buckaroo Banzai Across the 8th Dimension,” on March 29, 2010. Every single was taken, and the screening got delayed because the line at concessions threatened to snake around the theater as well. Weller brought along two other players from Buckaroo’s crew: Billy Vera who played the bass guitarist for Banzai’s rock band the Blue Blaze Irregulars, and Gerald Peterson who played Rug Sucker. The Q&A was moderated by Jeremy Smith, Mr. Beaks from Ain’t It Cool News, and he proclaimed this to be “the nerdiest movie ever made.” Upon saying this, he got a huge applause from the audience.

Weller did look a little ragged, and he later explained it was because he didn’t go to bed until about 2 a.m. the night before as he just got through 86 hours of PhD exams at UCLA. Furthermore, he said he has been wearing the same clothes for several days straight which reek of cigar smoke as he was smoking 10 of them in a day.

“Buckaroo Banzai” turned out to be a lot of fun, and this is despite the fact I have no idea of how to explain what it’s exactly about. However, it turns out the most ardent fans of this movie and the actors who starred in it can’t really explain what the plot is about either.

“I didn’t understand it (the script) actually, and I think no actor in it does understand it. I don’t think Billy or Gerald understood it, but it was fun,” Weller said.

“If you say you understood it, you’re a liar,” Vera said.

Weller went on to say 20th Century Fox didn’t know how to market “Buckaroo Banzai” at all. The studio executives came to the set around the time they were finishing principal photography and asked him, “Is it an action movie?” Later on, the editor of the movie, Oscar nominee Richard Marks, said, “That film is a comedy! It’s a comedy and they should have known that from the jump!”

But perhaps the best way to describe “Buckaroo Banzai” is its half comedy and half drama. Vera added many television shows later took on the half comedy and half drama formula, but he couldn’t think of any which came before this movie. To this, Weller added, “Or after.”

Weller was actually not sure if he was going to do this film because he had his eye on a romance movie around the same time. But this same romantic movie was getting bounced around from studio to studio, and his agent convinced him to take “Buckaroo Banzai” since it looked more and more like the other flick was not going to happen. With a cast which included Christopher Lloyd, Ellen Barkin and John Lithgow, this could not have been easy to turn down.

“The Adventures of Buckaroo Banzai Across the 8th Dimension” marked the directorial debut of screenwriter W. D. Richter who was best known for writing Phillip Kaufman’s version of “Invasion of the Body Snatchers” and also “Brubaker.” Richter was also responsible for co-writing another movie 20th Century Fox had trouble promoting, John Carpenter’s “Big Trouble in Little China.” Weller described Richter as a beautiful and really laid-back guy, and that he was also an intellectual from the east coast. Richter didn’t have the get up and go Hollywood thing going on, and Weller said this made him perfect for the actors to work with. Also, Richter was a musician as was Weller and several of the cast members, and Weller said his heroes have always been musicians.

Vera said he got cast after Richter and Weller saw him perform at the Viper Room in Hollywood. After he was done, Vera said Richter got a hold of him and asked, “You know, I like the way you improvise on stage. Do you think you could do that in a movie?” “Yeah, I do it every night,” Vera said. ”Do me a favor,” Richter said, “kind of tell me where you’re gonna stand so that I can have a camera ready for you.” Weller, Vera and Peterson all agreed that this was the way Richter directed the whole movie.

Mr. Beaks then started taking questions from the audience, the first one coming from a guy who read somewhere that the producers of “Buckaroo Banzai” were not at all happy with the film. He asked if this dislike of theirs bled onto the set to which Weller replied, “Uh, yeah.“ It must really suck to make a movie while knowing those who got the ball rolling and spent so much money on it don’t believe in it after viewing the dallies. And like many cult movies, this one was a box office flop, but it eventually found a cult following on video, cable, and DVD. You have to wonder how this movie among others could inspire such fans to watch it at least 57 times. Weller summed it all up perfectly:

“The longevity of it is that it’s unique. There’s a uniqueness to it,” Weller said. “They (the producers) wanted it to fit into a mold. They thought that it would be more slapstick, overt action and humor. The humor, although I have to say I don’t understand a lot of it, was fantastic. The humor was so… Just under the radar man.”

“And that’s why they cut a half hour of it,” Vera added. “The movie was a half hour longer which gave the jokes more room to breathe, but the studio said they wanted to cut it short so that they can show it more times per day.”

Particularly fascinating was Weller’s take on Christopher Lloyd whom we all know best as Doctor Emmet Brown from “Back to the Future.” Weller talked about when Lloyd’s house in Montecito burned down during the devastating Malibu fires. Lloyd had gone on television to talk about what happened, and Weller described how he and his wife were so devastated over what happened to him. But during a conversation with one of Weller’s professors at UC Santa Barbara, who brought up how sorry he was for Lloyd losing his house, Weller quoted exactly what he said:

“You’re gonna be the first to know the truth… I was already selling the house and there was nothing in it at all. I was living in an apartment in Montecito!”

Stunned at hearing this, Weller looked right at Lloyd and said, “Chris! The world, not just LA, but the whole world! We even saw this news in Italy! You looked so sad…” Lloyd’s response to this really did turn the whole thing into a comedy:

“I know! Because when the fire was going and I walked up and they put three cameras in my face, and I didn’t know what to do except LIE!”

Weller also said he met Jeff Goldblum on the same night he lost his virginity, and then he brought up an almost insane story about Goldblum which took place when he was getting married. Weller had already been married at that point and was telling Goldblum how excited he was to see him settling down. What Goldblum told him after that made us see him in different light:

“We’re on the other side now Peter!”

Other tidbits about “Buckaroo Banzai” included how the montage of Buckaroo and his comrades coming together during the end credits was actually an addition made by Richter later on. While filming this, Weller admitted he and the actors were actually walking to the tune of Billy Joel’s “Uptown Girl.”

Before those end credits began, there was also the promise of a sequel laid out for the audience entitled “Buckaroo Banzai Against the World Crime League.” One audience member asked why this sequel never got made, and it turns out there was more to it than the movie dying at the box office:

“Well the one guy (producer) went to prison for bank fraud, and the other guy blew his brains out in Century City Plaza,” Weller said. “Both of those guys were really good guys and I stayed in touch with the one who went to the joint, and he’s out now.”

 Just before they finally started showing the movie, Weller thanked the crowd for coming out and said that this turnout and excitement was what he had expected when he walked in to meet his professors at UCLA today. Instead, they just gave him more stuff to work on, and that was after the 86 hours of work he had already done. Suffice to say, this crowd was far more welcoming.

It was great to finally see “The Adventures of Buckaroo Banzai across the 8th Dimension” after all these years, and it was even more fun watching it with a large audience. To see it on television is one thing, but there is nothing like experiencing it on the silver screen in a packed theater. Weller took a very unrealistic character who was a renaissance man, a top neurosurgeon, particle physicist, race car driver, rock star and comic book hero, and he made you buy into him without questioning the logic of how he found the time to take on all these disciplines.

Another memorable evening at the New Beverly Cinema!