Thanks to the COVID-19 pandemic, this is one of the many films we had to wait an extra year for. But with the pandemic reaching its tail end (or so we have been told), we can look forward to “Halloween Kills,” the sequel to David Gordon Green’s highly successful “Halloween” reboot, arriving in theaters this October of 2021. John Carpenter, who returns as Executive, has told us the following about it:
“It’s brilliant. It’s the ultimate slasher. I mean, there’s nothing more than this one. Wow! Man.”
After watching the first trailer for “Halloween Kills” which was unleashed this past week, I believe Carpenter is a man of his word as what unfolds here is truly brutal. As I watched this preview, I wondered if this was a red band trailer or one which was approved for all audiences by the infamous MPAA.
When we last left this franchise, Laurie Strode (Jamie Lee Curtis) had left Michael Myers to burn to death in her house. But as she escaped alongside her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) in the back of a truck, they watched in horror as fire trucks rushed their way over to Laurie’s residence which had since turned into a burning inferno. But as one firefighter reaches out to another who has fallen through the floor, we know the hand he takes in his is indeed Michael’s.
Watching as Michael stepped out of the house while it was still engulfed in flames, and holding a rather sharp firefighter tool in his hands, I was quickly reminded of what Steve Rogers said to a bunch of mercenaries while stuck in an elevator with them in “Captain America: The Winter Soldier:”
“Before we get started, does anyone want to get out?”
Seeing Michael lay waste to these firefighters with their own tools, one of them a power saw, it is clear this will be an exceptionally bloody follow-up as we see the “essence of evil,” as Laurie describes him, lay waste to helpless victims with an assortment of tools, one of them a broken fluorescent light tube.
“Halloween Kills” looks to start mere seconds after the previous film ended, and it looks like the mob is out in full force as the town of Haddonfield is out for vengeance in the wake of so many murders. It feels like blood will be flowing endlessly this time around as we watch Anthony Michael Hall as Tommy Doyle, the young boy who took way too long to open the door for Laurie in the original “Halloween,” walking around town with a baseball bat. Not just any bat mind you, but one made out of metal. That’s right folks, Tommy is out to hit some balls!
There are several unforgettable images to be found here. Among them is the visual of three kids wearing those Silver Shamrock masks from “Halloween III: Season of the Witch” whose bodies lay lifeless and bloodied in a playground. Of course, part of me wonders if they got lucky. I mean, Michael got to them before they had any opportunity to “watch the magic pumpkin” on television. If they just missed Michael, their heads would have crumbled and turned to mush, releasing all sorts of pesky bugs and poisonous snakes. Haddonfield may have a solid police department, but how are they with animal control?
Also, Michael is once again unmasked in the franchise, this time by Karen who dares him to get his altered William Shatner “Star Trek” mask back. But we have been down this road before as Michael, as an adult, has had some opportunities to show us the face behind the mask, and it resulted in being nothing more than a tease (particularly in “Halloween 5”). Will the filmmakers here tease us yet again?
And yes, Jamie Lee Curtis is back in action, looking every bit as lethal as Michael does. Even after getting stabbed in the belly, you believe her fully when she tells her daughter that evil will die tonight. Regardless of how this film turns out, you can always count on Curtis giving a top-notch performance as she never disappoints.
“Halloween Kills” arrives at a theater near you on October 15, 2021. I look forward as I do to its soundtrack which will again be composed by John Carpenter, Cody Carpenter, and Daniel Davies. I am so excited to where I am reminding myself to keep my expectations in check. It is too easy to be disappointed in a film and for all the wrong reasons, and I want this one to live up to the hype.
It is only with a surprising amount of free time that I found myself watching “Stepfather III.” Its reputation is so bad that it did not even merit a theatrical release. Yes, it was made for television, but it looks too cheap even for Cinemax. Even Terry O’Quinn, who was so terrifying as Jerry Blake in the previous “Stepfather” movies, bailed on this one. Still, curiosity overtook me as I sat down to see how Jerry’s quest for the perfect family could continue even after being stabbed more times than any mortal being can possibly endure. Plus, it was free to watch on IMDB.
When “Stepfather III” begins, Jerry (played here by Robert Wightman) has already escaped the psychiatric institution in Puget Sound, Washington. This is the same place he was imprisoned in and escaped at the start of “Stepfather II,” and it makes me wonder why anyone would bother sending him back there after he stabbed a psychiatrist who thought he was making progress with him. Why not just send him to prison? Well, in horror movies like this, everyone gets a second chance, and then a third, and then a fourth. Just like Sideshow Bob from “The Simpsons,” there are idiots out there willing to give him a free pass.
Whatever the case, the filmmakers decided to skip over the escape part and cut straight to the chase. Jerry meets up with a back-alley plastic surgeon (played every so shamelessly by Mario Roccuzzo) who proceeds to alter his face while smoking an endless number of cigarettes. Yes, this is how sterile he keeps his workplace. This leads to one of the few interesting moments as director Guy Magar ended up filming an actual plastic surgery procedure which is more unnerving than what any makeup effects professional could have come up with. And again, this sequel has a ridiculously small budget, so filming the real thing must have saved Magar a few pennies.
With his new face, Jerry does what some would do to keep from going bankrupt due to high medical costs; he kills the doctor. Hey, medical insurance in America doesn’t cover everything. Besides, some companies would say being psychotic is a pre-existing condition.
Yes, yes, I know, this is a back-alley doctor who doesn’t deal in paperwork, but let me have some fun here.
Anyway, Jerry makes his way to Deer View, California where he lives under the alias of Keith Grant and works at a plant nursery. This makes sense as he has previously shown just how good he is with gardening tools and other sharp instruments. It’s also no surprise to see how good he is with a shovel.
While at a church dance where he dresses up as the Easter bunny, Keith ends up meeting Christine Davis (Priscilla Barnes), a divorced school principal with a son who is psychosomatically paralyzed. Surprise, surprise, the two quickly fall in love and get married because, you know, why wait in a movie like this? As you can imagine, there is a jealous ex-boyfriend who is quite possessive of Christine, and Christine’s son is busy doing detective work because kids are smarter than we think and are always cutting through their parents’ bullshit.
If there is an interesting angle in this dreaded “Stepfather” sequel, it’s that the story has a bit of a twist. Keith ends up meeting the widow Jennifer Ashley (Season Hubley) who has just moved into town with her son, and he begins courting her. So instead of one potential bride to start a family with, there is another for him to consider. From there, this sequel could have turned into a far more suspenseful motion picture as you wonder which lady will live and die. It’s like a demonic season of “The Bachelor” where a contestant gets a knife in the heart instead of a rose, or perhaps this more resembles one of the many twisted reality shows which aired on Fox back in the 1990’s.
Whatever the case, “Stepfather III” is a horrible waste of time for everyone involved and people like me who made the mistake of watching it. Moreover, this movie drags its way to a pitiful conclusion which utilizes a wood chipper in a way nowhere as memorable as what the Coen brothers did with one in “Fargo.” At least, the filmmakers here gave Jerry/Keith a more permanent conclusion. While he may have survived a dozen knife wounds, I imagine he has as much luck of being put back together as Humpty Dumpty ever did.
Speaking of dragging, this sequel has a running time of almost two hours. Whereas the original “Stepfather” ran a mere 89 minutes and “Stepfather II” is only 93 minutes long, someone decided they could get away with adding another 20 to 30 minutes of footage. On top of “Stepfather III” being boring and terribly made, it feels like it lasts forever. Towards the end, I couldn’t care less about who lived or died. I just wanted this awfulness to be over and done with.
In regards to Robert Wightman, I don’t know whether to pity him or feel sorry for him. Stepping into a role which O’Quinn handled ever so brilliantly was never going to be an easy feat, and Dylan Walsh didn’t have it any better when he starred in the inevitable “Stepfather” remake. O’Quinn brought both a real pathos and a humanity to Jerry Blake, and this made the character all the more frightening. While Wightman does get Jerry’s old-fashioned mannerisms down well, and lord knows this man is far too old-fashioned and polite on the outside, he is unable to make the character the least bit terrifying. In fact, he comes off looking quite harmless even after impaling a man with a rusty shovel.
What else? The music score sounds like it was done on one of those Casio pianos from the 1980’s (understandably, this movie could not afford any orchestra), the acting is terrible, the story is mostly predictable as we have been down this road before, the cinematography particularly at the beginning is bizarre, and the bloody effects look even worse than what Bob and Harvey Weinstein forced Jeff Burr to add to “Stepfather II,” and those efforts looked ridiculously fake.
While I’m at it, what are Priscilla Barnes and Season Hubley doing in this trash? Barnes played a Bond woman in “Licence to Kill,” Rob Zombie made great use of her in “The Devil’s Rejects,” and she was on “Three’s Company” for crying out loud! As for Hubley, she had an unforgettable scene opposite her then-husband Kurt Russell in “Escape From New York,” and she held her own opposite George C. Scott in Paul Schrader’s “Hardcore.” Surely their agents could have gotten them something better than this dreck.
Look, I did not expect much of anything from “Stepfather III” as any movie in this series lacking Terry O’Quinn is just asking for a severe round of bitch slapping. But still, I have seen many horror movies with worse acting and writing, and they proved to be far more entertaining and scarier than this one. Was anyone involved in this sequel’s making the least bit interested in making something the least bit thrilling, or were they more interested in making a quick buck? All we get here is a pathetic excuse of a motion picture which still has not gotten a DVD or Blu-ray release in America. I bet even Shout Factory doesn’t want to touch this one.
I think by now everyone has figured out that “The Hangover Part II” is essentially a remake of the first film. This creates a dilemma; do we dislike this sequel automatically because it brings nothing new to what came before or the characters we have come to love? Or, do we just accept it for what it is and have fun regardless? Most sequels are pale imitations of the movies which somehow justified their existence, and they usually have the actors and filmmakers just going through the motions for an easy paycheck. You can either bitch and moan about it, or just put up with what has ended up on the silver screen.
For myself, “The Hangover Part II” was actually pretty good for a remake, and it helps that the same director and actors are on board for this sequel. Granted, the law of diminishing returns does apply to this installment as the surprise is no longer there, but I did laugh hard at many scenes, and this was enough for me. It also threatens to be even raunchier than the original to where you laugh more in shock than anything else. Seeing what they got away with before, this time it looks like they got away with murder.
This time the Wolfpack are messing things up in Thailand, or Thighland as Alan (Zach Galifianakis) calls it (I have made this same mistake many times myself). The occasion is the wedding of Stu (Ed Helms) to the love of his life, someone other than Heather Graham (WHA??!!). Both Phil (Bradley Cooper) and Doug (Justin Bartha) are invited, and Alan comes along even though the guys are seriously uncomfortable in bringing him after what happened in Las Vegas. Before the wedding, they have a bonfire on the beach with some bottled Budweiser to celebrate.
Next thing they know, the three of them (Doug was smart enough this time to go back to his hotel room) find themselves waking up in some disgusting apartment in Bangkok. Alan finds his head shaved, Stu now has the same face tattoo Mike Tyson has, and Phil just wakes up all sweaty because he’s just too sexy to do anything reckless. There’s one big problem though; the younger brother of Stu’s fiancée who went along with them is now missing. Once again, they need to find the missing member of their party before the wedding commences.
The first thing going through my mind when they end up getting hung over again was this, how can Budweiser beer get our main characters this messed up? Once they come to see the things they did which they cannot remember, I seriously thought these guys were the cheapest drunks imaginable. They can’t bother to get any Thailand beer instead? They don’t even have to wait for this stuff to be imported to them! Of course, the real reason they got wasted does come to light later on, and it has nothing to do with Budweiser. Regardless, they are none the wiser than last time.
I really can’t talk too much about “The Hangover Part II” as I will simply be giving away the funniest parts of the film. Many of the events which befall our characters do have some resemblance to the original, and some of them come with a seriously eye-opening twist. Just when you thought movies could not be any more shocking or raunchy, this one shows how far the envelope can be pushed.
Zach Galifianakis once again steals the show as Alan Garner, the man child who means well but is seriously demented in the way he gets closer to people closest to him. His endlessly awkward ways guarantee this wedding will have serious problems, but his reaction to what goes on around him is constantly priceless. You know he’s gonna do something screwy, and the tension which builds up to those moments had me in hysterics.
Actually, the one actor who threatens to steal this sequel from Galifianakis is Ken Jeong who returns as gangster Leslie Chow. For some bizarre reason, Leslie and Alan became really good friends despite the stuff which went down between them in Vegas. Some may find Jeong’s character of Chow offensive, but he is so off the wall and hard to pin down to where labeling him as some sort of caricature feels impossible. Under the circumstances, Jeong’s bigger role in this sequel is very well deserved.
It is also fun to see Ed Helms back as Stu, and that’s even though he’s no longer with Heather Graham’s character of Jade. Having conquered and left his annoyingly snobby girlfriend from the first movie, he now has to face down his future father-in-law who compares him to rice porridge in front of the wedding guests. What the hell is it about being a dentist which makes one pummel on them like they have no reason to live? Do these characters even known how hard it is to become a dentist?
Bradley Cooper is fun to watch as well as Phil, but I still cannot understand how he gets out of these incidents relatively unscathed compared to Phil’s friends. I mean, nothing bad happens to him right away, but unlike Alan and Stu, all that happens is he wakes up with a headache and all sweaty, ruining a perfectly good white-collar shirt. Even when his character acts like a jerk, Cooper still has us along for the ride.
Director Todd Phillips knows what made the first “Hangover” work, and he keeps things snappy throughout. There is a bit of a lull in the middle when the laughs start to feel few and far in between, but things do pick up in the last half. Regardless of how well we know the formula, this sequel is still entertaining from start to finish.
To say “The Hangover Part II” is not original is beside the point. It’s a sequel, and it is coming out at a time when Hollywood does not seem to be all that interested in anything original. What matters is everyone involved still put on a good show, and many laughs will be had. I don’t know about you but I can’t really argue with that.
There was of course “The Hangover Part III,” and my reaction to it involves a whole other review. While I’m happy to give these guys a pass for doing the same thing this time around, even they knew they had to take things in a different direction if there was to be another installment.
Perhaps Phil, Stu and Alan could form a group helping those with hangovers they cannot come to grips with. These three could help others from making complete asses of themselves, and help them cover up their more embarrassing moments. I can see it now: “If someone’s hung over in your neighborhood, who you gonna call? HANGOVER-BUSTERS!!!”
Okay, I have not seen this particular sequel yet, nor have I seen the workprint which has been floating around the internet for years. But seriously, I came across not just one but two trailers for “Grizzly II: Revenge,” and neither of them try to hide how god awful this film must be. It’s bad enough the title reminds me of another excruciatingly awful sequel involving a killer animal, “Jaws: The Revenge,” but this one is so shameless in inviting audiences to check it out regardless of its subpar filmmaking on display (and that’s being generous).
Truth be told, “Grizzly II’s” backstory is bound to be far more interesting than the film itself. A sequel to the 1976 “Jaws” knock-off “Grizzly,” it was made back in 1983, but its production quickly got derailed due to a lack of funding, constant feuding behind the scenes, and technical issues with its 16-foot mechanical bear. 37 years later, after a ton of legal wrangling, it is now being shown in its final cut. But unlike other long-lost films such as “Gone with The Pope” or long in the making sequels like “I Spit on Your Grave: Déjà vu,” this one is unlikely to be worth the wait.
The first thing we in these trailers is the appearance of a couple of Oscar winners, George Clooney and Laura Dern, and Charlie Sheen before he did “Platoon.” Their names headline this movie, but as we can see, they are not in it for very long. We see their screaming faces up close, and it is clear the bear will treat this trio as dinner since hibernation is out of the question. This is not the first time recognizable names have been exploited to garner attention for a movie, and it won’t be the last either.
From there, we are introduced to actors who are forced to spout ridiculous dialogue a film like this always has to offer. A female scientist tells a group that the bear they are hunting is “huge.” No! Really??!! I mean, heaven forbid the bear they are dealing with is a small one! Can you imagine a little cub going psycho on so many stupid and unsuspecting humans?
There is also a brief moment with Louise Fletcher of “One Flew Over the Cuckoo’s Nest” fame telling someone to kill the bear as soon as possible because there is a big concert coming up. And then we have John Rhys-Davies playing what I guess is a mountain man of sorts, and he has one of those dramatic moments where he pauses before saying something intended to be hair-raising (“It’s very bad… you got the devil bear!”).
Speaking of the concert, we are shown some of it as well. But while the crowd looks huge, the onstage performers look like they are re-enacting scenes from the so bad it’s good rock musical “The Apple.”
But perhaps the biggest problem with these trailers is the lack of the bear itself. We hear it grunting throughout and see its point of view from time to time, but we never see its face until the last few seconds. Before this, we see Davies preparing to attack it, and it looks like the actor is about to attack a big pile of wool designed to look like a bear’s legs. Clearly there is no real bear there as it would have gobbled up Davies before he had a chance to draw a weapon.
In the end, these trailers for “Grizzly II: Revenge” represent filmmaking and marketing at its most cynical. The producers are simply looking for a quick buck here as they are exploiting big names and this film’s troubled production history for all it is worth. This sequel may have been 37 years in the making, but that was never intended to be the case. Its production was simply a case of very bad luck, and now this sequel exists as a mere oddity.
All of this just makes me miss Bart The Bear, a real-life grizzly who upstaged Anthony Hopkins and Alec Baldwin in “The Edge.” Now if Bart were in this, it just might have been worth watching.
Sacha Baron Cohen has long since proven to have balls of steel in doing the things he does, and you have to admire the fearlessness he exhibits from one crazy moment to the next. But when it comes to him bringing back his most famous character, Kazakh news reporter Borat Margaret Sagdiyev, there is a special daring on display here as Cohen has every reason not to. He announced his decision to retire the Borat persona some time ago as the character had become too recognizable for him to prank others successfully, but now he’s back 14 years later in “Borat Subsequent Movefilm,” a sequel which lays waste to the most ignorant parts of America, and one which proves to be almost as good as the original.
As the film begins, we discover Borat was sentenced a life of hard labor after embarrassing his home country of Kazakhstan all those years ago. In addition to failing to marry Pamela Anderson and, in his own words, “make love explosion on her stomach,” the townspeople in his village now infinitely despise him. He even discovers one his sons, Huey Lewis, now hates him so much to where he has legally changed his name to Jeffrey Epstein. If this is not spitting in a father’s face, I don’t know what is.
One day, however, he is released from the gulag by the country’s Premier Nursultan Nazarbayev (Dani Popescu, playing a fictionalized version of the leader) to deliver a gift to Donald Trump in an effort to redeem himself in his nation’s eyes. Along with him for the ride is the daughter he never knew he had, Tutar (Maria Bakalova), whom he eventually decides to gift to Vice-President Mike Pence even if Pence’s mother or wife does not approve.
“Borat Subsequent Movefilm” makes it clear as soon as it can of how its title character can no longer prey on unsuspecting targets without being recognized. As he tries to walk down the street like any other person, onlookers are quick to greet him despite his best attempts to remain invisible to them. To deal with this inescapable situation, he retreats to a nearby costume shop where he acquires as many disguises as Inspector Clouseau did in all those “Pink Panther” motion pictures, and it is amazing to see what he gets away with.
I would like to believe it is easier to spot Cohen these days as few actors have his height (he is 6 feet, 3 inches tall), and those eyes of his have a unique look to them. Nevertheless, he still manages to trick those who were so unsuspecting to where we wonder if they have any contact with social media or the rest of the world in the slightest. While watching this “Borat” sequel, I kept thinking about “In the Line of Fire” in which John Malkovich played a government-trained assassin who employs a number of different disguises during his attempt to assassinate the President of the United States. Like Malkovich’s character, Cohen manages to fool so many into believing he is the real deal when they should know better. Like Clint Eastwood, I wanted to tell everyone here to look at the eyes as they reveal more than anything else on the surface can.
But as brilliant as Cohen is here, special credit needs to be given to Maria Bakalova as she proves to be as equally fearless in exposing the prejudices of others as Cohen is. Right from the start, she dives right into the deep end as Tutar and appears unafraid to place herself in embarrassing situations others would never be caught dead in. Her commitment to her performance is equal to Cohen’s, and the two make quite the team as they skewer the most unsuspecting people in America. Many of my friends believe Bakalova should be considered for an Oscar nomination for her work here, and I am in complete agreement.
As I watched “Borat Subsequent Film,” I wondered if certain people in America were ignorant either in a willful way or due to a poor education they were subjected to. Borat and Tutar come across those citizens who are not quite up to date on what is going in the world. When Borat asks a tanning salon employee what is the best color for a racist, the employee quickly answers without batting an eye. When Tutar swallows a plastic baby on top of the cupcake she vicariously eats, she and Borat head to a nearby crisis pregnancy center (not to be mistaken for a Planned Parenthood) to have it removed, but Pastor Jonathan Bright thinks these two are involved in an incestuous relationship. Still, he is not eager to terminate what he believes to be an actual pregnancy even if it was conceived in an unsubtle way. As for the debutante ball, I am amazed at those who choose to participate in such a bizarre event, especially the adults who prove to be far too admiring of the teenage girls being put out on display.
But of course, the most talked about moment in this “Borat” sequel comes when Tutar gets to interview Rudy Giuliani, the one-time mayor of New York City. Much has been said about how Rudy acted following the interview, but it does look like he was simply straightening out his pants. Then again, some might describe what he did as being the equivalent of “the Picard Maneuver.” Regardless, when Giuliani asked Tutar for her address and phone number, the average viewer had to be disturbed.
One of the few people who comes off unscathed here and rightfully so is Tutar’s babysitter, Jeanise Jones. Granted, she is being duped like the others, but at least she is able to offer Tutar some much needed advice such as women do not need to be put in cages, and she also convinces her not to get that breast enhancement surgery because, of course, she does not need it. It’s nice to see that, even when an individual is being pranked, they still can seem intelligent simply because they are more in touch with the world than anybody else here.
“Borat Subsequent Film” is in many ways a hit-and-miss affair. Not all the jokes work, but the ones which do work had me laughing harder than at any other movie I watched this year. That it is not the equal of “Borat” should not be a surprise as the first film came at us out of nowhere, and we did not see its comedic firestorm coming at us. With this sequel, we have an idea of what to expect, but this still did not deter Cohen or director Jason Woliner from taking another stab at American culture. In the end, we got a sequel which defied heightened expectations and delivered some much-needed hysterics during the clusterfuck of a year which has been 2020.
As politically incorrect as Borat and Tutar are, it is fun to watch them evolve throughout as they reach a new place of understanding. Of course, as the ending shows, and to quote a lyric from a Paula Abdul song, they have taken two steps forward and two steps back.
As for Giuliani, his career was circling the drain even before he represented Trump. If he ends up getting a Presidential pardon, it will not be for his work here.
After watching the trailers for “Bill & Ted Face The Music,” one question kept popping into my head: How can these two guys from San Dimas go from playing in front of the largest audience in the world to performing for a crowd of 40 in Barstow, most of whom were there for $2 taco night? At the end of “Bill & Ted’s Bogus Journey,” we saw news articles of them performing all over the place, and they even got to stage a concert on Mars of all places. Seriously, you cannot plummet from a height of fame like that, right?
Well, keep in mind that at the end of “Bogus Journey,” Bill and Ted did finally learn how to play their guitars, but they also performed a cover of “God Gave Rock and Roll to You” by KISS. We never did hear them play any original tunes. As “Face The Music” begins, we learn their debut song as writers opened big and then plummeted to the bottom of the charts in record time. Even worse, their follow up albums were ravaged by the critics, one who described their work as being “manure.” Taking this into account, it makes perfect sense they would end up performing in Barstow, a town in the middle of nowhere. Like Vanilla Ice, they shot up into the stratosphere and then saw their follow-up album being sold at a used record store for only 99 cents (and that’s on the day after it was released).
We first see Bill S. Preston (Alex Winter) and Ted Logan (Keanu Reeves) at the wedding of Missy (Amy Stoch). Yes, Missy is getting married, and just wait until you find out to who. The two use the occasion to present the world premiere of their latest work, and while they play instruments with more confidence than before, they are still unable to put together a cohesive song, and the response they get is much like the one Spinal Tap received when they told the audience they were going in a “new musical direction.”
Bill and Ted are still married to the princesses, Joanna (Jayma Mays) and Elizabeth (Erinn Hays), and they have two beautiful music-loving daughters in Theodora (Samara Weaving) and Wilhelmina (Brigette Lundy-Paine). Still, they have not yet written the song meant to unite the whole world, and it appears as if this destiny may have been misread. Furthermore, their daughters are in their 20’s and still living at home, and their wives are starting to tire of the lack of the direction in their husbands’ lives. Ted’s dad, Captain Jonathan Logan (Hal Landon Jr.), refuses to believe he and Bill could have traveled in time or gone to heaven and hell and begs them to get “real jobs.” Yes, middle age has hit Bill and Ted real hard to where they feel the need to reassess their goals.
Then into the picture comes Kelly (Kristen Schaal), daughter of the late Rufus, who takes Bill and Ted to the future to meet The Great Leader (played by Holland Taylor) who is not exactly happy with where they have ended up in life. From there, they are informed that the universe is unravelling and will be destroyed if they do not write the unifying song in the next 78 minutes. How about that? You are tasked with writing the song which will unite the world, and you have just over an hour to compose it. Talk about pressure! As we get older, 78 minutes doesn’t last as long as it used to.
Bill, however, comes up with a most excellent plan to travel with Ted into the future when they have already written the song and to take it from themselves. Ted considers this to be stealing, but Bill convinces him it isn’t as long as they are stealing from themselves. Hey, it worked for James Horner!
“Face the Music” comes to us more than 25 years after “Bogus Journey,” so it is hard to know what to expect. It reunites not only Reeves and Winter, but also screenwriters Chris Matheson and Ed Solomon who penned the previous two films as well. I am thankful to say this sequel is no “Blues Brothers 2000” which relied on an overabundance of nostalgia to where I found myself wanting to watch the original. Instead, it does come with some good laughs and a lot of heart as everyone involved has worked their damndest to bring this last chapter of Bill and Ted to the silver screen and digital streaming for dozens of years. Regardless of what you may think, no one is out to simply repeat themselves here.
Both Reeves and Winter are clearly having a blast as Bill and Ted keep traveling to different parts of the future in an effort to talk to themselves and get the song. This allows the actors to portray them in various ways to where we see them as has beens, a duo ever so in love with English culture, and hard-core prisoners who have bulked far more than you would ever have expected (nice makeup work by the way). Regardless of the many years which have passed them by, both actors slip back into their roles as if they never left them, and they keep these characters from becoming mere caricatures throughout.
Also, believe it or not, there is some evolution to Bill and Ted. Granted, they are still pretty dense when it comes to things like couple’s therapy, but they also realize how their famous sayings of “be excellent to each other” and “party on dudes” do not have the same resonance as they once did. Before they go on their latest excellent adventure, they have to realize they are at a crossroads as things cannot keep going the way they have been as things have got to change. Still, it is worth it to see them playing air guitar here and there even as they approach middle age with inescapable apprehension.
Both Weaving and Lundy-Paine are fun to watch as the daughters, and this is even though the section where they search for famous musicians to create a band is the film’s weakest. It’s a bit of an anemic retread of when Bill and Ted, on their “Excellent Adventure,” went back in time to gather historical figures for their final history exam. Regardless, it is cool to see Jimi Hendrix jam with a bewildered Mozart who has no idea what he is hearing.
It is also great to see William Sadler return as the Grim Reaper as he stole every scene he had in “Bogus Journey.” He too slips back into this hilarious character as if he just played him yesterday, and not once does he have to struggle to get a laugh out of any of us. Seeing the Reaper attempt to make peace with Bill and Ted over the fallout they had with all those 40-minute bass solos is not just one of “Face the Music’s” funniest moments, but also one of its most heartfelt.
Each of the “Bill & Ted” films have had a different director: Stephen Herek directed “Excellent Adventure,” Pete Hewitt helmed “Bogus Journey,” and behind the camera for this installment is Dean Parisot. As a result, each one has a different feel to it despite having most of the same cast and the same screenwriters. Parisot is a perfect fit for this entry as he is terrific at mining material for both laughs and heart, and he proved this with “Galaxy Quest,” one of the greatest cult movies ever made. “Face the Music” doesn’t reach the same heights as “Galaxy Quest,” but Parisot does show a lot of respect for these characters and gives this sequel the heart it deserves. More importantly, he gives it a fulfilling conclusion which truly put a big smile on my face.
Upon first watching “Bill & Ted Face the Music,” I have to admit my feelings on it were mixed as I hoped it would be funnier. But after watching it a second time, I found myself appreciating it more as speaks to the values of friendship and music, both of which we need in these crazy times. Whether or not this sequel is all you ever hoped for, it is clear everyone involved put everything they had into it, and I do hope the fans are satisfied with what they see.
Could a fourth “Bill & Ted” movie ever happen? I don’t know, and frankly this one serves as good conclusion. Seeing them rock out at the conclusion reminds me of what Neil Young once said:
WRITER’S NOTE: Eddie Pence selected this as his Video Vault pick on the August 15, 2020 episode of “The Ralph Report.” But while the host of the podcast, Ralph Garman, was not particularly crazy about it, I think it is better than Garman gives it credit.
“Hamlet 2” starts off with an invisible voice telling us that to be an actor, you have to live in a dream. But dreams do die however, and the question posed here is this: Where dreams go when they die? Well, if you are Dana Marschz (played by Steve Coogan), then you go to Tucson, Arizona to spend the rest of your life teaching high school drama. Being an actor myself, there is something quite scary about the fate of this particular actor who is best known for his herpes medication commercials. Here in Arizona, he hopes to pass on his love of acting to high school students, and this is the thrust of the plot which powers up a motion picture dealing with one of the most unlikely sequels ever to be created.
“Hamlet 2” was a big hit at the Sundance Film Festival, and while it didn’t quite live up to the hype in my eyes, it was still a very clever movie which kept me entertained from beginning to end. It is a hilarious look at how art can never truly be suppressed, and this includes art which was never all that good to begin with.
We meet up with Dana Marschz sometime into his career as a high school teacher, and he only has two students, Rand Posin (Skylar Astin) and Epiphany Sellers (Phoebe Strole), who really seem to care about drama and acting. His latest class, he discovers, is largely populated by Latino students who are in attendance because their other electives have been cut, and drama is the only one left. It reminds me of all those high school kids with who were in drama class because was the only one they could get an easy A in other than physical education. Dana, however, is convinced this is being presented to him as a challenge he must face with no fear. While these students may seem unenthusiastic about drama, he is determined to change their minds.
Dana’s existence is a recovering alcoholic with a wife named Brie (played by the great Catherine Keener) who drinks a margarita from a gigantic martini glass. They also have a boarder, Gary, (David Arquette) who is sleeping with Brie while Dana rollerblades to school because he cannot afford a car. His gift to the high school is plays he wrote which are direct adaptations of the movies “Erin Brockovich” and “Dead Poets Society.” Still, they get ripped to pieces by a young critic who shows no mercy for Dana’s passion. Dana’s basic cry for all the negative criticism is, “He fisted us!”
Dana ends up conversing with this unsympathetic teenage critic to seek inspiration, and he suggests to Dana that he write something original and put everything into it. Thus, he comes up with what in many ways is a completely unnecessary sequel to one of William Shakespeare’s most famous plays, “Hamlet.” There is a rather large problem though as just about every character dies at the play’s end. But Dana, still up for an artistic challenge, remains undeterred by this, and he comes up with a device to solve this problem in the form of a time machine. Upon discovering the rather racy nature of the play, the most suburban students do everything they can to keep it from being performed, but Dana ends up proving to everyone that you cannot stop art.
It’s a little hard for me to critique “Hamlet 2” objectively because Dana’s fate is one I hope to avoid. It is made clear from the outset that he is not particularly talented, and we get a montage of scenes featuring him as an actor. The funniest one is a commercial he did for Herpes medication as he tells us, “Right now, I am having a herpes outbreak. But you wouldn’t know it!”
In the process of writing and directing his sequel play, it gets banned from being performed at the high school, and Dana ends up inspiring the Latino kids to put it on at another location. He even gets help from the ACLU to keep his play from being censored. Talk about free publicity!
“Hamlet 2” is a terrific star vehicle for Coogan, and he is never afraid to make himself look completely silly. He shows no fear in portraying Dana as a complete failure both as an actor and a drama teacher. That he somehow inspired these students who have grown up in a far different environment than his is pretty amazing. But in the end, it doesn’t matter if Dana is really bad or good because he gets the play up to the excitement and infuriation of everyone in Tucson, Arizona, the city where dreams come to die. Coogan proves to be a brilliant comic actor here, and he still is all these years later.
The director and co-writer of “Hamlet 2” is Andrew Fleming, and he does a good job of not taking things too seriously. Fleming started off his career as the writer and director of the “A Nightmare on Elm Street” wannabe, “Bad Dreams” (this title tells you all you need to know). From there, he went on to direct “Threesome,” “The Craft,” “Dick,” and “Nancy Drew.” Suffice to say, he has been around for a while, and this film proved to be one of his stronger efforts.
“Hamlet 2” also features a terrific performance from Elisabeth Shue who plays herself here. In this movie, she has given up on acting and appears to be much happier working as a nurse in a sperm bank. Dana goes gaga over Shue and invites her to speak with his class, but they have no idea who she is. We all remember her from “The Karate Kid,” and she earned a much-deserved Oscar nomination for her unforgettable performance in “Leaving Las Vegas,” but over the years her star has not ascended in the way we thought it would. Still, she works constantly and is always on the verge of giving us her next memorable performance. And, as “Hamlet 2” shows, she has a great sense of humor about herself.
Anybody who has ever been involved with community theater or in high school plays will get a kick out of this film. In retrospect, the high school students were the ones who manage to get the show up and running, and this is shown here. That Dana manages to inspire these kids through his embarrassing ways is astonishing. When you are already deep into the production of a show and your director flakes out or becomes useless, you can’t just give up. As Dana’s personal life hits rock bottom, it’s those kids who pull him up from the abyss.
I also like how “Hamlet 2” got into the conflicts Dana has with the school and parents because everyone in these situations always acts in an overly conservative way. As time goes on, I get more interested in what does not offend people because it seems like we are always looking to get mad about something. Granted, you can see why people might object to Jesus Christ kissing Satan or with a song entitled “Rock Me Sexy Jesus,” a song which was criminally robbed of an Oscar nomination. But everyone in the end is saved due to the protected freedom of the 1st amendment of the Constitution. That pisses a lot of people off, but that’s their problem.
The ACLU eventually gets involved when the show is threatened to be shut down, and a lawyer comes to visit Mr. Marschz to lend her help. She is played in a kick ass scene stealing performance by Amy Poehler. Her character of Cricket Feldstein is a ball buster about protecting the production, and she makes sure everyone involved gets to put it up. Her disinterest in whether or not the play is any good (“It’s irrelevant,” she says) is hilarious, and Poehler continues to show why she is one of the funniest actresses ever.
“Hamlet 2” is a lot of fun to watch, and the play which comes out of it is a hoot as it is a quasi-musical in which Hamlet and Jesus team up to change the past. Granted, they take all the drama and tragedy out of Shakespeare’s “Hamlet,” but it is a little hard at times to argue with Dana who calls the play “a real downer.” In addition to “Rock Me Sexy Jesus,” there is another song called “Raped in The Face” which is Dana’s stab at the critics who keep taking apart his plays based on movies. The song title alone demands your complete attention.
All the same, I wished the filmmakers had pushed the envelope a bit more. Seriously, you have to expect some envelope pushing when one of the writers, Pam Brady, is from “South Park.” I’m not saying “Hamlet 2” had to be insidiously evil, I just wished the satire in parts was a little sharper. Or perhaps I got a little depressed with Dana’s station in life because it is one I hope to avoid in my own life, and this made it hard for me to be more objective about what I saw. Still, this comedic film has stayed with me since I first saw it, and at some point, I need to watch it again.
Shakespeare once wrote about how all the world is a stage, and he was absolutely right. We are all merely players in this crazy thing called life, and “Hamlet 2” plays with this to such an enthusiastic extent to where I wonder if another “Hamlet” sequel is in our future. Or better yet, maybe we can get a “Romeo & Juliet” sequel as young love does not have to be so infinitely depressing. Seriously, everyone deserves a second chance.
My journey with “Star Wars” began back in 1980 when my parents took me to see “The Empire Strikes Back.” I had no idea what to expect, and what I saw scared the crap out of me. When that wampa monster attacked Luke Skywalker, I recoiled in shock as that thing came out of nowhere. For the rest of the film, I kept my hands close to my ears as things like those Tie Fighters became unbearably loud. But despite my initial reaction, it was safe to say this particular motion picture did have a profound effect on me. And after watching “A New Hope” a year or two later, I found myself completely hooked on this universe George Lucas created and have never lost my excitement for it.
Now comes “Star Wars: The Rise of Skywalker,” the last film in this latest trilogy which has J.J. Abrams returning to the director’s chair. This is said to be the end of the Skywalker saga, and this may indeed be the last “Star Wars” trilogy ever as Lucasfilm looks to create more stand-alone movies in the future. As a result, Abrams must have had a motherload of stress making this one as has so many people to satisfy and over 40 years of characters and situations to wrap up in a nice bow.
Well, “The Rise of Skywalker” is far from perfect. The screenplay by Abrams and Chris Terrio (“Argo”) has too much going on, and the story is hard to follow at times. Even with a running time of 142 minutes, things feel a bit rushed as the filmmakers looked to be working furiously to get from one storyline to the next as there are many characters to deal with in one way or another. And while it has many visual splendors, this episode feels like it is lacking somewhat in the imagination department.
And yet, as “The Rise of Skywalker” went on, I found myself completely caught up in the many adventures these characters come to have. As with any epic space opera, there are challenges to be faced, sacrifices to be made, and perhaps even a chance at redemption. By the end of this ninth episode, I honestly found myself choked up as I reveled in the victories and the sorrows everyone faces here. Even with all its weaknesses, this is indeed a “Star Wars” movie. For those who say it is not a true “Star Wars” movie, please shut up. You all gave Rian Johnson way too much flack for thwarting your expectations with “The Last Jedi,” and that episode deserves more respect than we initially gave it.
Obviously, giving you a spoiler-ridden review is not in the cards here as, like everyone else, I HATE IT WHEN PEOPLE SPOIL MOVIES. What I can tell you is the opening crawl practically shouts the following phrase at us: “The dead speak!” It should be no surprise by now that Emperor Palpatine/Darth Sidious (Ian McDiarmid) shows up alive though physically impaired to the astonishment of many including Kylo Ren (Adam Driver) who still looks to continue the legacy of Darth Vader. Meanwhile, Rey (Daisy Ridley) is taking Jedi lessons from General Leia Organa (the late Carrie Fisher), eager to become one like Luke Skywalker before her. As for Finn (John Boyega), Poe (Oscar Isaac) and Chewbacca, they fly off into the galaxy to seek out… Well, you’ll figure it out.
As a whole, the “Star Wars” movies have rarely, if ever, been perfect. The only one which can be said to be so is “The Empire Strikes Back” which remains the best of the bunch to this day. But even the least of these movies, their strengths more than make up for their weaknesses. One of the biggest strengths of “The Rise of Skywalker” is the investment it has in the characters. We have followed them through their intergalactic highs and lows, and seeing them take part in one last battle proves to be highly involving even when the story threatens to be a bit too convoluted.
I adore Daisy Ridley’s work as Rey, a scavenger who struggles to find an identity in the midst of intergalactic chaos. Her intensity remains strong and never wanes here, and it is almost exhausting watching her here. She is again equally matched by Adam Driver who is a pretty intense actor himself, and their scenes together prove to be among the highlights here as their characters come to admire and despise one another in equal measure.
I also love seeing Oscar Isaac and John Boyega back as Poe and Finn as they both prove to be pair of dudes with plenty of natural charisma to spare. Even if they spend a bit too much time bickering with one another, they still prove to be quite a pair.
Seeing Carrie Fisher here proves to be bittersweet as her character of Princess/General Leia was supposed to be a big part of this installment. Alas, she died before “The Last Jedi” was released, but Abrams ends up making ingenious use of cut footage from the previous films to make her a significant part of the story here. She certainly deserved a better exit than what she got previously, and it is great to see her this one last time.
And yes, it is a blast to have Billy Dee Williams back as Lando Calrissian. Even after all these years, he remains as cool as ever, with or without a Colt 45 in his hand.
As “The Rise of Skywalker” reaches its thunderous conclusion, I found myself of two minds. Yes, this story does feature a number of familiar beats which makes things seem a bit predictable. At the same time, however, I was still very wrapped in the fates of these characters to where I found myself deeply caught up in their predicaments. By the end, I found myself on the verge of tears as I found myself joyously reveling in their triumphs and reunions, and few movie cane make me feel these emotions nowadays.
The other thing which occurred to me is how the “Star Wars” movies always seem to come out when we need them the most. The odds are always against our heroes as evil never dies and always seems to exist in larger numbers, and maintaining a sense of hope can be quite a struggle. In the world we live in right now, hope feels in very short supply as the corrupt seem to have far too much control over everything, and the rich keep getting richer at the expense of everyone else. History repeats itself, and this has certainly been the case in these three recent “Star Wars” movies as the First Order is simply another version of the Empire. And yet these characters continue to persevere despite everything in their way, and seeing this filled my soul up in a way not easily filled. We need to keep the fight going in our lives because giving up is not an option, and we are reminded of this here.
It will be interesting to see how people will view these movies in ten years from now. Perhaps they will receive a much-needed critical evaluation. Regardless of how you feel about “The Force Awakens, “The Last Jedi” and “The Rise of Skywalker,” they are indeed “Star Wars” movies which demand your attention, and it has been a lot of fun revisiting this galaxy once again. I will miss these characters very much. This last chapter may be imperfect, but I still found it to be very satisfying.
WRITER’S NOTE: This article was originally written in 2013.
Taye Diggs and Sanaa Lathan return to reprise their roles of Harper and Robin from 1999’s “The Best Man” in writer/director Malcolm D. Lee’s long-awaited sequel, “The Best Man Holiday.” When we last saw these two, Harper proposed marriage to a very shocked Robin. Now its 14 years later and they are happily married and expecting their first child. But while Harper’s previous book “Unfinished Business” proved to be a bestseller, his latest book gets rejected by his publisher. To make matters even worse, he is laid off from his teaching job at New York University, and he doesn’t have the nerve to break the bad news to Robin.
All those concerns get put on hold, however, when Harper and Robin travel to Lance (Morris Chestnut) and Mia’s mansion to celebrate the holidays, and it reunites them with the other characters from the original film. But old rivalries and passions are quickly reignited as Lance has not forgotten about the affair Harper had with Mia all those years ago. Can these two men find it within themselves to forgive one another and move on from their past?
We got to catch up with Diggs and Lathan when they appeared at “The Best Man Holiday” press junket which was held at the Four Seasons Hotel in Los Angeles, California. Together they talked about what made them decide to do this sequel, how everyone has evolved since the first movie, and what it was like returning to play these characters 14 years later.
Question: For this movie to work, essentially everybody in the original cast had to sign on to do it. At what point did you to decide to do the sequel?
Sanaa Lathan:A couple of years ago, Malcolm actually got us all together and we went to Boa (Steakhouse), and he hadn’t written a script yet and at a loud restaurant with lots of drinks flowing, he literally pitched moment by moment and beat by beat the story. In that environment which is very challenging for a pitch, we were on the edge of our seats and we all at that moment said, “If you write it, we’re gonna do it.” So, for me it was that, and then the script came much later…
Taye Diggs:And then it just became about fine-tuning.
Taye Diggs:We all obviously had a great time doing the first one. Great friendships and bonds were made and we’ve kept all those friendships, so at this dinner it was so great to see each other just on general principle. It’s great to see old friends that we haven’t seen in a while. I think a couple of us knew possibly what Malcolm was going to come with, and then to actually hear him say it and then to hear the story and then to kind of get together as a group and do what we all needed to do to get this project done and made, it has been a great experience.
Question: How do you think Malcolm has evolved since directing the first movie?
Sanaa Lathan:He actually regressed… No, I’m kidding.
Taye Diggs:I was there every day on set, and good is good. I think we all evolved. We’re all older, we’re all more mature, and we have all had more experience. For me what I noticed this time around, when it pertains to Malcolm, was the outside pressures. I could tell this time around that he had a lot more on his shoulders, so I would say he has evolved in the sense that he was able to deal with a lot more pressure.
Sanaa Lathan:Yeah, and there’s the pressure of the first movie and of living up to it too. That’s a huge pressure.
Taye Diggs:Right and he did it again with a lot more on his shoulders. He had a cast that had experience…
Sanaa Lathan:(We were) very vocal. We tested him a lot and we were having a lot of fun, but we were always like, why? Why are you doing that? I know that we tested his patience but he dealt with it well, right?
Taye Diggs:Yeah. We were all new (at least I was) for the first one, so we weren’t nearly as vocal. But now we have matured as actors and we look at a script differently and challenged him on character and through lines and story structure, so he handled it well.
Question: Taye, have you seen “The Best Man” with your real-life wife?
Taye Diggs:Oh, of course. My wife was at the premiere and was a huge supporter, and hopefully she will enjoy the second one as much or even more than the first.
Question: You all look like you had an absolute blast on this movie. How much fun would you say you had on set?
Sanaa Lathan:They (the men) turned into like seven-year-olds (for the dance sequence). They had dance rehearsal because it wasn’t that simple and Tate has a dance background and Morris has no background. So literally in between takes for weeks they would be like okay, and 5, 6, 7, 8 (laughs). All the girls were so excited. This was like their debut at Alvin Ailey (laughs).
Taye Diggs:I have a stage background. I don’t know if you all know that. For me, stage is a lot more nerve-racking than film acting because no matter what you’re in front of people. With film acting you have control. If we’re shooting an emotional scene and its private you can say I don’t want anybody in the room except for the cinematographer and the director. It’s less nerve-racking doing film, but with this dance sequence Malcolm said, “Be on your stuff because the girls are gonna be watching.”
Sanaa Lathan:The first time we saw it was real-time reactions (laughs).
Taye Diggs:Yes, and there was a level of performance that we had to take into account because we wanted them to think we were good. So, we were nervous, at least I was, and I wanted to make sure that we had the counts and whatnots and it worked. It helped and when we filmed it, seeing them and getting that live, real energy…
Sanaa Lathan:And those reactions that you see in the movie are real.
Taye Diggs:That was great.
Question: Some of the themes in this movie are about unity and brotherhood and sisterhood amongst friends and family. Why do you feel it is so important that we see these images so often for minorities?
Taye Diggs:We don’t see them enough.
Sanaa Lathan:I think it’s important for us to see ourselves reflected in all that we are instead of one type of genre like the over-the-top comedy. It’s really important for the art form of film to reflect the world that we live in and who we are, and I think that it hasn’t really done that for people of color at this time in history.
Taye Diggs:We’ve come a long way but we are still struggling.
Sanaa Lathan:We still have a ways to go, but I think that’s why a movie like “The Best Man” resonates so much because people are hungry for stories that are layered, and they can recognize themselves and their family and friends in the things that they’re going through.
Question: What are the holidays like at your houses?
Taye Diggs:It’s crazy, fun and there’s always a little tension with those couple of family members who always bring something surprising. But growing up I’ve always looked forward to the holidays. Now I got my own little boy so there’s that level of enjoyment and excitement that comes with having a baby, and this Halloween was the first Halloween where he understood what was going on.
Sanaa Lathan:What was he?
Taye Diggs:He was, and he chose this, a zombie Michael Jackson from “Thriller” and he was into it. I had a different take on Halloween this time. I was just loving being able to live through him.
Sanaa Lathan:What were you?
Taye Diggs:I wasn’t anybody because I was so focused on him which is something different. Usually I’m worried about what I’m going to be and dressing up and leaving him with the sitter and partying myself, but this time it was all about Halloween for him. It’s fun. The holidays are fun, and they are way more fun with a four-year-old.
Question: Sanaa, how did playing a pregnant character throughout the entire film affect your craft, and how do you think your character handled being under the same roof with two women who have a romantic history with your movie husband?
Taye Diggs: Usually they ask how it affected me (laughs).
Sanaa Lathan:When Malcolm pitched the idea that I was nine months pregnant, I was (coming from a female vain perspective) like, well damn (laughs). I’m like, the whole movie? And it’s not like three or four months where it’s cute, it’s nine months. But I think that energy and “well damn” is what women feel in their ninth month, so it worked. I had to put on this huge belly that they actually… I did “Blade” where I played a vampire years ago, and the same people that did the prosthetics for “Blade” did my belly, so it was like a real belly. It was heavy, it made me hot and you have to waddle. It was a drag, but it worked for the character. And I realized how sick and sadistic people are. Literally every day, I would get about three punches in the belly out of the blue (laughs). They were just laughing. Malcolm would do it and it was crazy! Something about knowing that it wasn’t real (laughs).
Taye Diggs:We were awful.
Question: How has your real lives paralleled what your characters go through, and how was it coming back after 14 years?
Sanaa Lathan:In terms of the parallel, I tried to be a glass half-full person and I think Robin has always been that especially for Harper. He’s kind of the glass half empty and she’s the glass half-full, and a lot of my friends call me a hippie. I cultivate that mindset to see the bright side of things, and I come from a family of artists and Bohemians in the 70’s so there’s that aspect. But other than that, the reunion was great. It was fun and it didn’t feel like work. We had so much fun in between takes.
Taye Diggs:It helps. I think it shows in the chemistry. You can choose to act it or you can just be real, and obviously it always helps when it’s real. Just being able to hang out socially and look forward to the time when the cameras aren’t rolling as well as the time when the cameras are rolling, it makes the entire experience truly enjoyable. It just worked out. I think we were so blessed, lucky, fortunate or however you want to term it. The fact that we even got everybody together in the first place I think was miraculous, and then to have that type of script and then to have everybody mature the way that they did. We all brought our life experiences to these roles. We’ve all been through our ups and downs, and that has affected us as people and as actors. We were lucky in that we could apply that to these characters.
Question: Sanaa, having grown up with a parent who is a director, has that affected how you approach filming and have you ever worked with your dad?
Sanaa Lathan:You know I’m about to work with my dad. I’m going to do kind of like a cameo thing on “Real Husbands of Hollywood.” I think that’s his show.
Taye Diggs:Oh, I want to do that. You tell him I want to be on it.
Sanaa Lathan: I will. You’d be perfect because you are a real husband of Hollywood. It’s a fake reality show, but Regina (Hill) is going to do it too. I wasn’t really around on set with my dad coming up. He and my mother broke up when I was five so I didn’t see him. He was always in my life but he was always so busy. The sets that I remember going to were “Sesame Street” when I was very young… I don’t know, I just didn’t go to a lot of sets and I have never worked with him. The great thing that I think I have in having parents that have been in the business is that they understand, and I think that’s a very special thing. I realize with a lot of my peers that they don’t have parents who really get what they are going through, and it’s great to have parents that you can lean on when you are going through some stuff.
Taye Diggs:You probably were blessed that you weren’t raised on set. A lot of times kids that have that early exposure end up going down the wrong avenues and you’re fairly sane.
Question: So, when it comes to your mentors, who would you say have been some of the people you go to for guidance in this industry?
Taye Diggs:For me, it was a very emotional shoot and Sanaa has always been in my life someone who I can bounce stuff off of and she always has really, really great and positive things to say. I have a best friend who is not an actor and we’ve been close since junior high school. No one knows me better than him and he has a good perspective. A lot of times you don’t want to go to someone that knows the business. You want a more accurate kind of view that doesn’t give you a lot of excuses like people in the business do. So yeah, I’ve leaned on him as well.
Sanaa Lathan:You know I get it from everybody, from my parents and I have great girlfriends. I feel like having some really close black actress friends is actually great because it’s such a unique road that we travel. There are so many blessings and so many challenges, but it’s great to have that community because there are days where you don’t want to do it anymore, and it’s great to have that person who is kind of in the trenches who would say to you, get up. So, I get it from everywhere. I don’t really have any one mentor.
“The Best Man Holiday” is available to own and rent on DVD and Blu-ray, and you can also stream it on various digital platforms.
WRITER’S NOTE: This interview was from a press day which took place in 2013.
In Hollywood, most sequels usually come out one to two years after the original because the studios want the money to keep rolling in while the property is still fresh in audiences’ collective minds. But when it came to making a sequel to “The Best Man,” writer and director Malcolm D. Lee was not about to rush it. “The Best Man Holiday” is being released 14 years after its predecessor, and it reunites Lee with Terrence Howard, Taye Diggs, Morris Chestnut, Harold Perrineau, Nia Long, Sanaa Lathan, Monica Calhoun and Melissa De Sousa who reprise their roles. This time the college friends reunite for the holidays at Lance and Mia’s mansion, and it soon reignites old rivalries and romances from the past.
Since “The Best Man,” Lee has gone on to direct the comedy “Undercover Brother,” the roller-skating comedy-drama “Roll Bounce,” “Welcome Home Roscoe Jenkins,” the musical comedy “Soul Men” and the horror spoof “Scary Movie 5.” We got to catch up with him when he appeared at “The Best Man Holiday” press junket held at the Four Seasons Hotel in Los Angeles, California. While there, Lee discussed why it took so long to make this sequel, what he thinks about the success that African American films have had in 2013, and of the possibility of there being a third “Best Man” movie.
Question: In a world where people are making sequels a year to three years later, what took you so long?
Malcolm D. Lee:Honestly, there was talk of doing a sequel very early on when the first movie came out, but I wasn’t interested in doing the sequel right away. I didn’t want to get pigeonholed as a director. It was my first movie and I didn’t want to just do the same thing. My idea was if I was going to revisit these characters, and I thought I would want to, it would be like 10 years later after they’ve lived some life and had kids. Around late 2005 or so I just started percolating the idea and I would see the cast over the years and say hey I’m thinking about doing the sequel, and they were like, oh okay. It just got to the point where I was like, okay I’m ready to do this now, and I had taken enough notes and put enough of a structure together where I said well, let me get the cast together and let’s see what can happen. I basically got them together in early 2011 and said okay, let’s all get in the same room and at least we will have all caught up. I have an idea for a sequel, and if we all think at the end of this meal that it’s worth doing then I’ll pursue it. So, I pitched them the idea and they were all into it and they liked it, and I said well, let’s go. Then a couple months later I went to Universal and pitched them the idea and we got it going. It took a while to get it going because I wrote the script pretty quickly because I had been thinking about it for so long, and it wasn’t easy. It was, as you’ve seen from the film, very different tonally speaking than the first one, and I think that was part of their hesitation of wanting to make it. I didn’t want to do the same thing again. I didn’t want to tell the same story. The things you think about when you are in your mid to late 20’s is very different than what you think about when you are in your late 30’s and early 40’s and married and have children and have bills to pay and do grown up stuff and dealing with grown up things. So, I said to them it’s not about wanting to do a destination wedding or anything like that. People loved this movie because they loved the characters. They loved the people. They don’t just love that it was a wedding. It took us bringing the cast together and doing a read through, and once they did the read through they were like okay, we get it.
Question: Could you talk a little bit about the process of getting into the minds of these characters after so long?
Malcolm D. Lee:I know these characters very well. I’ve lived with them in my head for a long time so when you evolve as a person you have to have your characters evolve too. Not only that, but my actors were great actors in the first movie, and they are even better now. I have grown as an artist, as a writer and as a director. I’m better, so I wanted to make something that was more sophisticated, something that spoke to these characters that would be similar to where they were but which also showed their growth and evolution. I don’t think it was that difficult. It was just a matter of really knowing the characters and making them evolve.
Question: Did you seriously entertain other alternatives to the storyline for each character at any point?
Malcolm D. Lee:What I had come up with I pretty much stuck to. There wasn’t a whole lot of deviation. There were a lot of suggestions by the studio about making it a wedding movie and blah, blah, blah, and I was just like no I don’t want to do that. So, it was pretty much what I wanted to do, and the actors had some input about what they felt about their characters and where they could be strengthened and layered. Some of the suggestions from the studio were like, well this person is out of the picture already, this person is that already, and this person is divorced, and I was like I brought the cast back together and we are going to do this collectively, period. At least you’ve got to give this a fair shot. So that’s why we did the reading, and that’s what made them say oh okay, we get it.
Question: Futuristically speaking, do you foresee a production of a series or a spinoff from this kind of film like “Soul Food” or something similar to that?
Malcolm D. Lee:It’s possible. People love these characters and they want to live with these characters, so it’s a rich enough world and a world that’s rarely seen on network or cable television. The only danger would be like, could you get all the actors to do a series and where do you start it? Do you cast different people? So, I don’t know. I had the idea of, were this movie to be successful, to do a series that would take place from the end of the first movie until the second movie. That 14-year span might make for an interesting television show, but how do you cast that too? It’s possible. We’ll see.
Question: Have you thought about doing a third movie?
Malcolm D. Lee:Well we have to see how this one’s going to perform first. That will dictate whether a third one gets made or even talked about. There have been some whispers. I have an idea, let’s put it like that.
Question: What’s the idea?
Malcolm D. Lee:I’m not going to say.
Question: Are you going to wait another 15 years to make it?
Malcolm D. Lee:I will not wait another 15 years. If it happens at all, it’ll happen quickly.
Question: “The Best Man Holiday” actually feels like a stand-alone movie in that you don’t have to go back to the first movie to catch up with or relate to the characters. Was it important to you to make it a stand-alone film so that you can capture new audiences as well as retain the fans of the first?
Malcolm D. Lee:I don’t know if that was a conscious decision. When I set out to make the first film, I set out to make a classic movie, one that will stand the test of time. Fortunately, that has been the case. People really love “The Best Man,” and with this one I knew I had to, in my mind, make a movie that was better than the first. Or at least, in my mind, more sophisticated and more layered and have some deeper things to explore. So as a result, yes I guess the movie stands on its own but that’s what the whole opening credits are about which is trying to fill in people who may not know, and then also the fans of the first one get kind of tickled about remembering them then and this is what they’ve been doing and this is where they’re at now. I certainly wanted the movie to stand on its own and I think that there are people who really loved the first one will be more deeply connected. I think people that have not seen the first one was still enjoy this, but I think the fans of the first one will really enjoy this because they’ve had the experience of 14 years of viewing it.
Question: 2013 has been a great year for critically acclaimed black films. What do you think that means for the future of black filmmaking?
Malcolm D. Lee:We’ve seen these bursts before, and what happens is that studios and filmmakers start to churn out carbon copies of these movies. When Spike (Lee) first came out with “She’s Gotta Have It” and “School Daze,” it was like this Spike Lee phenomenon. There were a couple of movies that came out like “House Party” and “New Jack City,” and they were all different. John Singleton started with “Boyz n the Hood,” and that was like the whole hood genre and pushing that. Then “Menace II Society” and “Juice” came out and we got saturated with that and we were like, okay, what’s next? On their tail came “Love Jones,” “The Best Man” and “Soul Food” which gave us a different side of African-American life. Then in 2008, nobody wanted to make any black movies. They weren’t profitable, nobody was going to support them, people got tired of them and they petered out which is why I had to wait until “Jumping the Broom” came out before I went ahead and pitched the movie to Universal to see what the appetite of the studios and the audience was going to be. I hope that the diversity of African American fare this year will continue. It has been a very refreshing year to see sports movies, comedies, musicals, romantic comedies, historical drama and indie movies that are made by black filmmakers. So, I hope that it continues and that the quality of the work keeps getting better because I feel like that’s great. But if there’s like, oh, we can make money because they’re going to come out for Kevin Hart or this person or that person, then it’s going to be a money grab. It’s got to be about having choices at the movie theater that African-American audiences can enjoy and general audiences can enjoy, and just let it be a regular thing. Let’s see great movies.
Question: Can you tell us about more about the movie’s soundtrack and what role you played in it?
Malcolm D. Lee:One of the things that I was doing back in 2005 was listening to Christmas music and thinking about where it could fit into the movie. I love music. I think music and songs are such an integral part of filmmaking so I was playing a lot of Stevie Wonder’s Christmas music and Nat King Cole and Marvin Gaye. So, a lot of those songs were written into the movie, and then we get updates of many of them. It was very, very integral in the soundtrack and making sure that the sound that was created was going to be integral to the movie. I don’t like soundtracks that just are “inspired by.”
Question: How did you decide which artists to include in the soundtrack?
Malcolm D. Lee:You work with a label and they say well we got this person and we’ve got that person and it’s kind of like casting. I thought Fantasia would do a good job on this song, I think Jordan Sparks would do a good job on that song. Someone like Ne-Yo who came out of the blue, the song that he sings is a Marvin Gaye song called “I Want to Come Home for Christmas.” I thought that nobody was going to be able to replace that, but Ne-Yo came in and I showed him the scene and where it fit, and I showed them how important was for the movie and how the emotion was going to play. He said listen, I’m not going to sound like Martin, but I’m going to do it in a way that is me and it will be faithful, and he killed it. First time out and I was like, wow! That doesn’t always happen. Sometimes you’re just no, that’s not quite it. Let’s try that again. Also, the one song that’s featured, the Stevie Wonder song that Marsha Ambrosius and Anthony Hamilton sing on camera (“As”), that had to be in the movie where it was because it was very integral to the first film. I always felt that it was one of the greatest love songs ever made and it would be great to do it as a ballad or as a duet, so Marsha and Anthony were a great choice for that. It’s funny because people, when I’ve been watching the movie with audiences, love seeing Anthony, and then they recognize the song. And if that’s not enough, then they see Marsha and they are like, oh my god! It’s really a beautiful combination. We struck gold with that, I think.
Question: Which of the characters do you relate the most to and why, and did that change from the first movie to the second movie?
Malcolm D. Lee:There’s a little bit of me in all the characters. They’re all within me. I lived with them in my mind. Of course, there are female characters and there are certain things that I don’t know because I’m a man, and I observe and talk to people about how they feel about fidelity. Murch (played by Harold Perrineau) finding out those kinds of things about his wife and they have a great open relationship, but it’s like whoa, that’s something I didn’t expect. How do I deal with that? Should I be mad about that? I don’t think they’ve changed over the years. They’re pretty much the same to me.
Question: Can you walk us through what it’s like with your writing process when it comes to creating these characters? Where does it start and how does it develop?
Malcolm D. Lee:When it came to these characters, I want to see where they left off. From the get-go I just started saying that I wanted to set this movie at Christmas time because it’s a cinematic time of year, and it makes it a reason for being together. If you are going to bring these characters back together, it’s got to be for a reason. Harper (Taye Diggs) was kind of on top of the world when we left off. He had learned some things and had been beaten down a little bit, literally and figuratively, but he was on his ascension. So now I want to say okay, what if he has a couple of failed things? Lance (Morris Chestnut) has this seemingly charmed life and he does; he’s about to break a record, he’s got four beautiful children, he’s got this ginormous house and this wonderful, beautiful, supportive, loving wife, but there’s something that’s going to test his faith even more than in the first movie. And then you have the other characters and you just try to give them conflicts and obstacles that they have to get around. I’ve learned over the years to be a better writer and what characters are used for. Quentin (Terrence Howard) is going to be that button pusher still and he’s going to give us the comic relief and so is Shelby (Melissa De Sousa) and they’re going to be my comic fastballs, but at the same time they are more than they were in the first movie. I tried to write something sophisticated, challenging for myself and challenging for the actors because why come back together because it wasn’t for the money. This wasn’t a money grab at all. We did this for price and it was about displaying their acumen as actors, mine as a director and writer, and kind of re-introducing ourselves to the world and the time was right. We also knew that there was a large fan base for this movie that really wanted to see these characters again, so let’s give the people what they want.
“The Best Man Holiday” is available to own and rent on DVD and Blu-ray, and it is available to stream on various digital platforms.