While the previous trailer for “Halloween Kills” showed how brutal the latest installment of this long running horror franchise is going to be, the final trailer proves it will be one hell of a reunion as well as several familiar faces return in an effort to lay waste to Michael Myers. Evil never dies, but it never stops the residents of Haddonfield from trying to kill it.
Kyle Richards returns as Lindsey Wallace, one of the kids Laurie Strode babysat in the original, and seeing her yell at a couple of young trick-or-treaters to rush home shows she has not fully recovered from the events of 40 years ago. We also see Nancy Stephens back in her fourth go-around as Marion Chambers, former assistant to the late Dr. Sam Loomis, and she is smart enough to bring a gun to a knife fight. But like Loomis in “Halloween II,” Marion appears to lack that extra bullet, and it looks as though she will have as much luck in this “Halloween” timeline as she did in the other.
Tommy Doyle, the other young lad Laurie saved in “Halloween,” is back as well, this time played by Anthony Michael Hall. Tommy as a youngster was convinced of how no one can kill the boogeyman, but seeing Hall wielding a metal baseball bat indicates he will give it his best shot.
Heck, even the kid who bullied Tommy as a kid, Lonnie Elam, makes a return to the franchise, and he is played as an adult by Robert Longstreet. This trailer also hints at Lonnie’s own encounter with Michael Myers, which he somehow survived, and even he is determined to take out “The Shape” anyway he can, even if it means going to Michael’s childhood home.
So, what is opening up in October looks to be a horror film where everyone is still deeply traumatized from the horrible events which took place four decades ago, and now history has repeated itself to where no one in Haddonfield will allow this murderous rampage to continue. While Laurie looked to be the only one traumatized amongst the characters in the previous “Halloween,” this follow-up is filled with dozens of people whose lives have been forever shattered. Of course, there is another sequel coming after this one (“Halloween Ends”), so it will be interesting to see how this one will conclude as Michael’s reign of terror is still far from over.
Seeing all the characters in town chant “evil dies tonight” makes “Halloween Kills” especially chilling as an angry mob, even with the best of intentions, can make some seriously awful mistakes. We have seen this in previous sequels like “Halloween IV,” but on a much smaller scale. This installment has a budget which allows for the appearance of far more characters than its predecessors could ever hope to have.
Watching this final trailer several times over makes me wonder about a few things. Is Will Patton actually returning as Deputy Frank Hawkins even after what happened to him in the last film? Will we see how Michael Myers was captured by the Haddonfield police all those years ago? If you look really closely, Sam Loomis does make an appearance, but will he look and sound like Donald Pleasance?
But another thing I wondered about more than anything else was this: will Laurie Strode (played by the great Jamie Lee Curtis) die in “Halloween Kills?” While Laurie is featured throughout much of this trailer, the climax appears to be dominated by her granddaughter Allyson (Andi Matichak) and her daughter Karen (Judy Greer) as they attempt to not only kill Michael, but unmask him for all the world to see. We don’t see Laurie in any of those scenes, so I am worried this film maybe it for her. If she is to be killed off, let’s hope she gets a better fate than the one she received in “Halloween Resurrection.”
And of course, we have been promised an unmasked Michael Myers before. We got a glimpse of his face in John Carpenter’s original film, and we were promised an up close and personal look of him in “Halloween 5,” but the latter turned out to be a cruel tease. Besides, with one more “Halloween” coming in 2022, is this really the time to see Michael unmasked? Well, anything is possible.
“Halloween Kills” will finally arrive in theaters everywhere on October 15th, and will also debut on the Peacock streaming service on the same day. If I were you, however, I would see it on the silver screen with an audience, be it a big or a small one. And if you do see it in a theater, wear a mask. Hey, it works for Michael.
WRITER’S NOTE: This is from a press day which took place in 2013.
With “About Time,” writer/director Richard Curtis once again proves that he is the master of making romantic movies. While romantic films are currently a dying breed in America, Curtis gives the genre a much-needed re-invigoration. This is the same man who wrote the screenplays for “Four Weddings and a Funeral,” “Notting Hill” and “Bridget Jones’s Diary,” and he also wrote and directed “Love Actually” which has become everyone’s favorite movie to watch at Christmastime. Curtis populates his films with characters we can all relate to, and he shows us how the simplest things in life can be so wonderful.
I got to meet up with Curtis when he appeared for the “About Time” press conference at the Four Seasons Hotel in Los Angeles, California, and he proved to be as charming and funny as many of the characters who inhabit his films. During the roundtable interview he talked about “About Time” differs from other romantic films, how he came to cast Domhnall Gleeson and Rachel McAdams, and why this will be his last movie as a director.
While these questions came from several reporters, I did take the time to put my name to the questions I asked Richard. You will find them eventually.
Question: Why did you not tear Tim (Domhnall Gleeson) and Mary (Rachel McAdams) apart in the middle of the movie only to bring them back together?
Richard Curtis: Well, I quite liked the idea in the film. There is a kind of habit in romantic films of getting people who hate each other when they meet; he’s a Nazi and she’s a member of the Socialist Worker’s Party (laughs), however will they fall in love? But most of us, when we bump into the people we are going to spend the rest of our life with, quite like them when we first meet them. I quite liked the idea that you could do something where people like each other, and then there was the time travel and then they liked each other again. I’m interested in if you can do it. I was writing about sort of a happiness in a funny way and writing about the interesting business of how things work rather than being really interested in the way things don’t work.
Q: Speaking of the time travel aspect, it’s something that people keep watching these movies for. They’re always keeping an eye out for the loophole or plot holes. Did that make it harder writing the script?
Richard Curtis: Look, you know you’re gonna fail, that’s the thing. I know where I failed in this so you just do your best and the people and the production keep you up to it, and anybody who spots anything that’s wrong will always say it to you because it’s a fun thing to spot when they’re reading the script. So, you know you’re getting closer to true without actually getting there, and it was fun to play with it. It’s also a thing where when you decide you’re going to do a time travel movie, it is something that is in your head as you’re walking around. The thing about not being able to go past the birth of your child was definitely the result of another conversation I was having with someone about how weird it is that you commit your entire life to people who you have no ability to choose, and then I thought that’s so true. And not only that, if I had sex four seconds later, I’d have a different child and then immediately I thought that would become a key plot point.
Q: This movie has two love stories in it. It has the father and son and it has the man and the woman. How were you able to find the balance so that one didn’t overshadow the other?
Richard Curtis: On the whole you try and rig films to make sure they turn out as you want them to turn out, but I think it seems as though perhaps the strength of the Bill Nighy story is more than I expected. It’s turned out to be more emotional than I expected, and I think that’s all down to the way Bill chose to play it. He chose to play it in such a sort of gentle way that I think, when you see the film, you can insert your own father into the space that Bill creates. Oddly enough, this film is in some ways less manipulative. If you’re doing a movie that ends in a big kiss and a romance, your kind of playing the cards all the way through to try and get the maximum emotion at the end. In this one I always knew that I was always aiming for this bizarrely simple final moment which was just gonna be a guy doing the most banal things in the course of an ordinary day. So, I didn’t think so much about the dynamics of the film, perhaps I have in others. But one of the ways of doing it was by getting them to get married halfway through, so that film’s done and there’s another film to rely on.
Q: Has it affected sort of the carpe diem qualities, or is that something you practiced before you started writing the script?
Richard Curtis: No. Oddly enough I think, and Bill and I talk about, because I’ve done the movie, I am thinking about that a lot more, I really am. My girlfriend, who never makes any concessions to me, says I always work far too hard and I always think that I’m not working as hard as I used to and always am. But even she is saying that she’s noticed that I seem to be creating more space and enjoying things a little bit more and making more time for normal things. So that’s why I have said I am not going to direct another film because I think that directing a movie is not a good way to have a happy life.
Richard Curtis: Anyone who says that, Steven is their hero because it means you can change your mind. It is becoming a great tradition; the great heroes like Jay-Z, doesn’t he resign? If I come back, I’m part of a noble tradition, but that is my intention at the moment.
Q: Can you talk about Comic Relief and how that came to you at a young age?
Richard Curtis: Wow, do other people know about that side of my life? Well, it started off by an almost comical mistake in that a girl I know asked if I would like to go with her to Africa, and I just said I would go to keep her company and then the charities decided to send us to different countries. They said we would cover more ground, so that was a mistake. So, I was in Ethiopia at a very bad time and that could not but change my life. That’s something I have to carry. We did a stage show and then we did a TV show, and the TV show made so much more money than was expected that I couldn’t not do it again, and I have just gone on doing it. Every time we do it, we make more money than I will earn in my entire career. I think of it as my difficult child, it takes exactly half my time, it changes its nature so I now, and after doing it now for 25 years I got a feeling that the money we’ve raised might be less important than the education or part of it. Kids in England have always grown up knowing a lot about poverty in Africa and problems at home, and that educational thing may have actually turned out to be the function of it. The next thing I’m doing is doing a year and a half trying to be part of making the new declaration by the United Nations in 2015 to end poverty, so it’s a never-ending big subject. I think the way it’s bounced off on my career is that I haven’t written my seven bad films. I do think a lot of times when people, when they finish the thing, say have I got any other ideas whereas I’m always a year behind. I thought of this film in 2005, and then I chose to do the pirate movie (“Pirate Radio”) because I wanted to be a bit older by the time I made it. It’s actually given me breathing time and let things stew longer, so I always believe quite a lot in the projects I do by the time I get to them.
Q: Fighting poverty seems like an even bigger challenge now with the gap between the rich and poor growing bigger and bigger. Do you feel sometimes like it’s a never-ending battle and how we are going to do this?
Richard Curtis: Well, you have to be realistic about that. Actually, statistically speaking, the lives of the very poorest people on the planet have never gotten better quicker than in the last 15 years. It’s been extraordinary so I’m paying more attention to that. But the rich and poor inside countries, I’d just think it increases your responsibility to try and make sure that people like me who do live in the bubble of comfort are really aware of how peoples’ lives are at the other end of the scale. I made all my children watch a documentary called “Poor Kids” the other day. It’s just a really brilliant, very sweet-natured documentary about four really poor kids in the UK, and they literally could not believe what they saw and that increases the desire to communicate this.
Q: You also focus a lot on the joy of real people like with the Heathrow Airport scenes in “Love Actually,” and then there are scenes in “About Time” that look like they had regular people in them. Where did you find those people?
Richard Curtis: Well with “Love Actually” we put up a little black box with curtains in Heathrow and just filmed and then sent assistants rushing around and saying do you mind signing this release. It’s very weird, you haven’t seen your mom for 17 years and somebody’s saying we’ve just filmed you crying embarrassingly. The strange thing is when we edited that, over half of what I wanted in that sequence I couldn’t use because it turned out we hadn’t got the permissions. The bit at the end of this one was sort of the same thing. Quite a lot of it was sort of staged. There are some things that weren’t. Most of that was directed by my girlfriend. That was the weird thing. It was the final day of the shoot. I woke up and I was in the most astonishing pain. I thought I had kidney stones or whatever, and she leapt out of bed in the highest of spirits and said she would ring a doctor on the way to the set (laughs). Some of the loveliest images there were got by her which I think sort of shows because she is full of an energy and joy about her. It was interesting how ordinary those images had to be. I didn’t shoot them at the beginning, so I didn’t quite know how it was going to end. When I thought that I would end with a series of just normal images, I took a film by a friend of mine called Kevin McDonald called “Life in a Day” which is a movie he made about YouTube, and I cut like ten favorite images from that in and showed that to friends and it was a disaster because they were good. They were so definitive, so beautiful, so picturesque, and everyone said the movie’s all been about ordinariness and you can’t then say that every day is a beautiful sunset and every day is an astonishing child framed perfectly in a window in Milan. So, I did try and keep those end bits as sort of banal as they could be, but still joyful.
Ben Kenber: “Love Actually” is my family’s favorite movie to watch every Christmas Eve. I love it too but I’m always hoping we can add “Bad Santa” as a double feature though.
Richard Curtis: Lauren Graham’s in “Bad Santa!” I love her!
Ben Kenber: I’m not usually a big fan of romantic movies, but what I love about your movies is that the people and what they go through feels so real and relatable. A lot of American romantic films are manipulative but your films never feel like they are. Your movies touch on issues that most other filmmakers don’t really take seriously.
Richard Curtis: Well, thank you very much. I don’t have an answer for that, but don’t down American filmmakers because I think there’s a kind of feeling that romantic films may not be in a good place at the moment. “(500) Days of Summer” I thought was an incredible movie, “Like Crazy” is an amazing movie about love, and “Lost in Translation” is the greatest ever romantic comedy even though it’s not a romantic comedy. I’ve been looking back because I’m thinking about finishing and thinking why did I write all these films on this subject and then suddenly realizing it is because it is the context of my life and what matters to me. How your family treats you, who you love, how you get on with your kids and your friends are what fills most of your emotional time, and I’m just trying to hang on to that and write about normal things because I never, never bump into serial killers.
Q: A lot of people don’t seem to realize that “Love Actually” is a Christmas movie because the holiday gets so pushed into the background.
Richard Curtis: I think the funny thing about “Love Actually” is the casting is now out of whack. Originally it was 50% well known and 50% not, and now the naked guy is in “The Hobbit,” January Jones is Betty Draper on “Mad Men,” and even the boy is now in “Game of Thrones.” Liam Neeson is the greatest action hero in the world and Andrew Lincoln is on “The Walking Dead,” so it’s a hell of a cast now.
Q: You are obviously a believer in love. Do you have thoughts on marriage?
Richard Curtis: Well in a way “Four Weddings and a Funeral” was a long way of explaining to my mum why I wasn’t married. She always found it hard to accept. I haven’t gotten married for particular, peculiar reasons, but I’m sure that marriage is a wonderful thing.
Q: You make great use of music and songs in your movies. Can you give us an insight into what your playlists are?
Richard Curtis: Well, the insight I would say is that I really do have to use music in order to get through the process of writing. It really is part of me learning what I’m trying to do, and sometimes that takes very specific forms. When I handed this movie in, it said on the front cover “About Time” or “The Luckiest” or “Golden Lapels.” I thought about those two so much and was so sure I was going to use them, and I thought I might even name the movie after them. So, in this movie, all the cues were there as I was writing and helped me write the right scenes and work out what I wanted to say. There’s a version of “Downtown Train,” a Tom Waits song, by Everything But The Girl, an English group which was all I listened to while I was writing “Notting Hill.” That was all I was trying to do in the whole of that movie was reproduce the emotional temperature of that song which I knew could not be in the movie, but it was my sort of guide. And then I just use pop music to cheer me up, so I got different playlists on my computer. I’m trying to make my tastes more modern. My sons are pushing me hard in that direction. My 16-year-old says he can’t listen to traditional pop music anymore because the lyrics of the songs he listens to by people like Jay-Z are so much better than normal pop songs. Normal pop songs are so thin and so repetitive, he says, that he can’t listen to them anymore.
Q: The scene in the underground subway station is one of the best in this movie. Your use of music in all your movies is great.
Richard Curtis: Well, thank you. That was a really interesting day because sometimes you hope something works but you don’t know how. I couldn’t work out as I was shooting it how it was going to be possible to edit it because he’s always going to be singing the wrong words of the song. It was never going to be correctly timed so I just shot all night and hoped the editor could work it out, and the editor said there was no problem when we got to it.
Q: Can you talk about casting the two main parts? How did that come about?
Richard Curtis: There are completely different ways that casting works. My friend, Mike Newell, said to me, “When the movie is cast, the movie is made.” He was extraordinary when we were casting Vicar #3 in “Four Weddings and a Funeral.” The guy came in and Mike said, “So tell him about Vicar #3,” and I said, “Well the leading character is trying to decide whether to get married and the vicar comes in and…” And Mike said, “No, no, tell me why did he join the church” (laughs). That level of detail and three dimensionality, I think that casting is hugely important. Rachel, having always loved her work and having picked up a sort of vibe about her as a human being and being very interested in this part about sort of contentment and in the idea of going from someone you meet on the first date and, by the end of the film, she is the mother of three, was based on trust and faith and things that she had seen and things I had also heard about her from the people who had worked with her. Domhnall on the other hand was seen as one of the top 25 young actors in the country, and I saw lots of them as often happens when I audition. Unless it’s the right actor, there doesn’t seem to be anything there at all. That was very much the case with the sister’s part until we found Lydia Wilson. It seemed as though there wasn’t anything there, and then we got Lydia with all her complicated emotions and Domhnall instantly made it funny which is absolutely key because he’s actually interested in comedy. So many young actors, you know, aren’t. They’re actually trying not to be funny and they’re trying to make people take them more seriously and think them cool or attractive, and he was really happy to be stupid and loving. He’s a lovely actor and a very sweet man. It was complicated because he was wearing his “Anna Karenina” beard so he looked like he’d stumbled out of the woods in “Deliverance” (laughs). The beard looked great if you’re wearing a military uniform, but if you’re wearing a t-shirt and jeans you look like you’re too fond of farmyard animals. It was a real act of faith, and then I made him do a whole day on camera, still with the beard, actually acting out the part and stuff. So, he worked very hard for it and was then sort of perfect.
Q: There’s a lot of Hugh Grant in Domhnall’s role, sort of like the younger version of him in “Notting Hill.” Was there any kind of connection made there?
Richard Curtis: I wasn’t aiming for Hugh at all. It’s obviously a voice that comes out when I write that part. I actually voted against Hugh in “Four Weddings and a Funeral” when it came down to it and I was, thank God, defeated 2 to 1 because Hugh was brilliant. But I think there’s something about Domhnall that’s much closer to my original inspiration when I started writing films. I was really inspired by “Gregory’s Girl,” “Breaking Away,” “Diner” and the guys in that except Mickey Rourke, and Woody Allen really. I was always looking for awkward, normal people, and I think when you first sit down with him at the party you don’t think that he’s the guy. You think he’ll be lucky to ever get a girlfriend. I like that side of him whereas with Hugh, girls would like him.
“About Time” is available to own and rent on DVD, Blu-ray and Digital. Please feel free to check out some other “About Time” interviews I covered for the website We Got This Covered by clicking on the names below:
WRITER’S NOTE: This interview took place back in 2012.
David Bautista has made a big name for himself during his time in World Wrestling Entertainment where he became a six-time world champion. Like many major athletes, he has since turned his attention to acting, and he gets one of his biggest roles in RZA’s “The Man with the Iron Fists” in which he plays Brass Body, one of the main antagonists and a mercenary who can turn his body into metal. This makes him almost completely invulnerable; much like Bautista seemed like whenever he was in the ring.
While at a press conference for “The Man with the Iron Fists” which took place at the House of Blues in Los Angeles, Bautista talked about what it was like making the movie. Co-starring alongside him was Cung Le who plays Bronze Lion and was also at one point a major kickboxing champion. Bautista was asked what it was like working with Le and if he had ever fought with him “in the cage.”
Dave Bautista: I never fought with him, but we actually trained a lot together in China (where the movie was made). I wish we had some scenes together. I’m determined in my life to do a movie with Cung Le just so I can get that fight scene with him just because he’s so dynamic and so intense. So, we never fought together but I picked up a lot of good things from him.
Bautista said he accepted the role of Brass Body without even reading the script and that the character originally only had one or two lines as it was more of a physical role. This soon changed once he was cast. The biggest challenge for him, however, was filming the fight scene between Brass Body and Blacksmith who is played by star and director RZA.
Dave Bautista: The fight scene itself took days and days and it was just a pain in the ass. It was cold, it was brutal, and RZA had those damn iron fists on and they were just killing my arms because he was hitting me. I had scratches and I was bleeding.We actually started the fight scene a few days after I arrived in China, and then we had to go back to it at the end and finish it because it was so drawn out. The two characters (the Blacksmith and Brass Body) were so strong and kind of invincible that we really didn’t know where to go with the fight scene. We really went without a plan and thought we could wing it and ad-lib and come up with stuff here and there, so that was really a challenge in itself.
One of Brass Body’s other big scenes comes when he viciously attacks one of the female characters, and Bautista said shooting it was “awkward.” He described himself as a “passive” person especially when it comes to women, and since this was essentially a “rape and murder scene,” it became very uncomfortable for him to do.
Dave Bautista: I kept coming out of character because my first instinct was to tell the actress, are you okay? But she actually made it a lot of fun for me because I had this little thong on and I was freezing because the set wasn’t heated. Even when I picked her up, I didn’t know where to touch her, so I picked her up and threw her over my shoulder and I’m trying not to grope her because I don’t want to make her uncomfortable. Then RZA stepped in and said ‘you gotta make it look more real. Grab her over her ass because it’ll help her out because it will cover some of her stuff up.
The actress Bautista was working with thanked him for doing her that favor.
In addition to wrestling, Bautista is also a skilled mixed martial arts fighter. The first martial art he learned was Kali which comes from the Philippines and emphasizes weapons-based fighting with sticks, knives and other weapons. When asked if he tried to influence his fighting style in this movie, Bautista replied he did to a certain extent but that it only went so far.
Dave Bautista: The stuff that we were doing just didn’t translate as well as we thought it would on film, so we had to switch it up a lot and bring Corey Yuen (the movie’s fight choreographer) in to help us through this. We wanted this to look like a traditional kung fu fight movie especially with the characters being so strong, but I did utilize a little bit of my Kali.
Those who have seen “The Man with the Iron Fists” can agree Bautista is perfectly cast as Brass Body as he truly comes off as a badass who cannot easily be defeated. When asked if he shares any similarities to his character and if he could offer advice to those of us who are not as athletically inclined as he is, Bautista’s response was actually quite surprising.
Dave Bautista: I never felt like I was invincible. Throughout my whole life I always felt like I was an underdog. It’s kind of hard to relate to a kung fu action hero. I was trying to stay in character to where he (Brass Body) would always feel invincible and how he would react when he realized he wasn’t invincible and started to break down. I tried to get that in my head and I tried to make it come out on film, but not being the best actor made it kind of a challenge for me. I wouldn’t be the best person to give advice on how to be invincible because I’ve never felt that way. Everything’s a challenge for me, but I’m a hard worker.
Before he concluded his time with us, Bautista was asked what his dream role is.
Dave Bautista: I hate to sound cliché but I’ve always wanted to do a vampire movie. Any kind of superhero stuff, that’s what I’m a fan of. I wouldn’t mind doing that, I just don’t see myself as a leading man type character. I like the drama; I just don’t know if I fit that type of role. But that’s the kind of stuff I like to watch though.
Upon seeing how the filmmakers gleefully manipulated the Universal Pictures logo to make it look like something out of an old Atari or Nintendo game in addition to scoring the fanfare with the prehistoric techno music we knew these games to have, I knew I was in for a very entertaining time at the movies. I always get a kick out of people messing around with the studio logos we see at the beginning of every motion picture. It is an immediate sign of how we are about to see something different from the usual Hollywood fare, something we do not get enough of. Perhaps if audiences embraced more movies like these, we wouldn’t have to deal with all these remakes and reboots!
“Scott Pilgrim vs. The World” was without a doubt the most fun I had watching a movie in a theater back in 2010. It is also another inspired masterpiece from director Edgar Wright who has previously given us the giddy cult classics “Shaun Of The Dead” and “Hot Fuzz.” Based on the comic book series by Bryan Lee O’Malley, it is really an ode to all things video games and a collage of the visual audio effects from them, and they are combined with a story featuring characters who are anything but boring. It is also beautifully shot, perfectly cast, very well written, and extremely well directed. In case you are wondering, yes, I love this movie, and I love it just as much 10 years after its release.
The Scott Pilgrim of the movie’s title is a 22-year-old man child who plays bass guitar with his friends for the rock band Sex Bob-omb. Finally rebounding from a devastatingly painful break up a year ago, he has started dating a 17-year old girl named Knives who is still in high school. Scott’s friends, including his gay roommate Wallace, tell him ever so bluntly he has lost his mind and assume he is trying to rebound with someone they consider to be his “fake girlfriend.” But then he gets a glimpse of the new girl in town, the mysterious raven-haired Ramona Flowers, and he is hopelessly smitten on sight and becomes intent on asking her out.
However, there is a catch; if Scott is going to be in a relationship with Ramona, he will have to defeat her seven evil exes. Indeed, Scott does get an email warning him of this, but he ends up deleting it quickly after declaring it as “boring.” As Arnold Schwarzenegger would say, big mistake! When Scott and his friends perform at a battle of the band’s competition, he is suddenly met by the first evil ex of the bunch, Matthew Patel. Other exes include those with mystical powers, a former skateboarder who has since become an actor, and another bass player who has developed telekinetic powers thanks to his Vegan diet. Let the battles begin!
Basically, the movie treats Scott’s life as though it were one old school game with dated graphics, and we watch him take on each ex (note, not all of them are men) as if he were in a real life Mortal Kombat tournament but without all the blood and guts. That’s the thing; there is no real gore to be found here as was the case in Edgar Wright’s previous two films. I bring this up because I gave my sister in law the DVD for “Hot Fuzz,” and she was horrified at the sight of Timothy Dalton’s face being impaled on a tiny replica of the Big Ben tower.
Scott defends himself pretty well, but he is also dealt a harsh beating without suffering any broken bones. It sounds cool when you think you can take a licking without a shattered collarbone or worst, but he does feel pain, so this side effect of taking on those people who were at other times equally enamored by Ramona is unavoidable. In defeating the exes, he will capture Ramona’s heart and become the first boyfriend of hers who is far from evil. He will also end up inheriting a boatload of coins after delivering the final blow.
I do have to say, however, it sucks he has no time to collect the coins or have some big gym bag to put them in. The amount spilled would have set him up in the local video arcade for life!
What I loved about “Scott Pilgrim vs. The World” is how endlessly inventive it is in its visuals and the scenarios Wright comes up with, and it integrates all these images from video games deeply engraved in our minds to make us feel like kids again. There is one shot in particular which defies easy description, but it had me laughing harder than anything else I had seen in 2010 to the point where I got seriously light-headed. I’m pretty sure you’ll know it when you see it.
Now the pitfall of having such great visuals is other elements like acting and the screenplay might fail to get the same attention. But Wright, along with Michael Bacall, has written a script containing characters who, while flawed, I came to care about deeply. Unlike all those characters from those Pac Man or Super Mario Brothers games we played at home or, in my case, at a friend’s house, these are not just one-dimensional beings with one simple goal in mind. Scott doesn’t just have to defeat the league of evil exes, he also has to develop a strong self-respect before he can move on with his life in Canada.
Leading the cast here is Michael Cera who plays Scott, and he gives one of his best performance here. He was dealing with a backlash back then because many assumed he was just playing the same character in every movie he was in; an awkward young man who isn’t sure how to feel or act about anything due to a deep fear of embarrassment. But Scott is not really the same sort of character Cera has been portraying. Sure, there is a good dose of awkwardness when we first see him talking to Ramona, but he’s about to give up on getting her to go out with him.
It’s also important to note that Scott is not always a likable character. At times he is caught red-handed in being very dishonest with his friends, and he doesn’t always take their feelings into consideration. The major triumph of Cera’s performance is he still makes you root for Scott in spite of some of his selfish actions.
Playing the beautiful Ramona is Mary Elizabeth Winstead, and I cannot think of another actress who has looked so incredibly gorgeous with dyed hair. Winstead has appeared as John McClane’s daughter, Lucy, who proved to be just as tough as her dad in “Live Free or Die Hard,” she showed off a fantastic set of vocal pipes in Quentin Tarantino’s “Death Proof” (one of the two movies in “Grindhouse”), and she was a force to be reckoned with in “10 Cloverfield Lane.” Winstead makes Ramona look tough and intimidating on the outside, but she also allows us to see the wounded person underneath that cold defensive exterior of hers. Ramona may look mean, but she is a wounded soul. Then again, who wouldn’t be after having endured seven failed relationships?
There is also a dynamic scene stealer to be found here, and it is Kieran Culkin who plays Scott’s roommate, Wallace Wells. Shamelessly stealing men from Scott’s little sister while texting gossip on his phone like it is second nature, Culkin gets to bring the same biting wit of his which he used to great effect in “Igby Goes Down.” He is a fiendish delight in every scene he is in.
As for the exes, each actor imbues their characters with the specific traits and powers they come equipped with, and they succeed in making each one totally unique from the other. Brandon Routh gets to really let loose here in a way he never got to in “Superman Returns” as Todd Ingram, the Vegan ex with telekinetic powers. Witnessing his expected demise brings about one of the funniest moments as Scott finds this rival bass player’s kryptonite. Jason Schwartzman is also excellent as a slick theater manager who uses his charms on anyone and everyone around him, and he is a slimy delight as a record company exec who earns your trust only to break it when you’re not looking.
What else is there to say about “Scott Pilgrim vs. The World?” Plenty! The director of photography on this splendid picture was Bill Pope, the same man who did wonders for many of Sam Raimi’s films as well as “The Matrix” trilogy. His style perfectly matches up with Wright’s sensibility, and the way he sets up certain shots is amazingly brilliant. Furthermore, I have to applaud artists like Beck and Nigel Godrich for giving Sex Bob-Omb some kick ass music for them to play. In movies like these, I expect the bands to get stuck with some lame music which is geared more to sell a soundtrack than fit in with the overall story. That’s not the case here, thank goodness.
There are also inspired turns from Anna Kendrick (“Up In The Air”) as Scott’s sister Stacey, Alison Pine whose character of Kim Pine shows a bitter and stony expression, and Aubrey Plaza whose heavy stares and sarcastic state of mind as Julie Powers is a sight to behold.
I was depressed to see “Scott Pilgrim vs. The World” bomb back in 2010. I could not believe it had such a lousy opening weekend, and I was miffed that audiences were more eager to see the god-awful comedy “Vampires Suck” snag the number one spot at the box office instead of this one. Over the years though, it has become a cult hit, and Wright did manage to score a big hit with “Baby Driver.” Regardless of its initial reception, this movie has proven to have a long shelf life, and I invite you to watch it if you have not already. Besides, in this time of an endless global pandemic, this one will take your mind off of it for a couple of hours.
When I went to see “MacGruber” at Grauman’s Chinese Theater in Hollywood back in 2010, I actually saw Jason Sudeikis while standing in line to buy a ticket. His impersonation of Joe Biden is a still a big hit with fans of the show, and he seemed like a very down to earth guy as he blended in with the crowd and talked with others.
Anyway, enough about him. Let’s get on with my review of this particular SNL sketch turned movie called “MacGruber.” About a decade before this one, movies from the long running comedy show were being released all the time, and many proved to be nowhere as funny as the sketches which inspired them. “The Ladies Man,” “Superstar,” or “A Night at the Roxbury” appeared to underwhelm audiences, and I wondered why none of them could come close to matching up with “Wayne’s World” or “The Blues Brothers.”
Now keep in mind, those movies were based on sketches which lasted 3 to 5 minutes on the average SNL episode. With “MacGruber,” we have a movie based on a sketch which typically lasts for a minute at most. We all know from watching this obvious spoof of “MacGyver” that they all end in the same way, with MacGruber failing to diffuse the bomb and it going off, blowing him and his whole team to smithereens. So therein lies the fascination of this movie; Can MacGruber keep himself from blowing up and killing everyone around him for more than a minute? Can he sustain a full-length motion picture when he can barely sustain himself in every control room known to man?
Well, it turns out he can and for around 99 minutes. Before it was released, “MacGruber” was bursting all over with reviews calling it the best SNL movie since “Wayne’s World.” I find this praise to be completely justified as it is consistently hilarious and filled with moments which had me laughing harder than anything I saw in the remake of “A Nightmare on Elm Street,” and that was supposed to be horrific and serious. But while the jinx on SNL movies finally came to an end with “MacGruber,” this same jinx has unfortunately not been broken at the box office. It ended up grossing only $9.3 million worldwide against a budget of $10 million, but it has since become a cult classic. Trust me, “MacGruber” is great fun and contains many gut-busting laughs, and it deserved a much bigger audience than it initially got back in 2010.
Like “Hot Shots Part Deux,” the movie opens with MacGruber (Will Forte) living a post-Rambo type existence in a monastery where he finds peace from all things explosive. But Col. Jim Faith (the late Powers Boothe) brings him back into service when it is discovered his old nemesis, Dieter Von Cunth (Val Kilmer gone wild), has acquired the X-5 nuclear missile and threatens to use it on a highly valuable target primed for utter destruction. Dieter also turns out to be the same man responsible for killing MacGruber’s fiancé, Casey (Maya Rudolph). To say this is all personal for MacGruber is pointing out the obvious. But seriously, what doesn’t this Inspector Clouseau of bomb experts not take personally? If you piss him off, please make sure he doesn’t memorize your license plate.
Forte never does quite convinces us that MacGruber is this great war hero, but that is part of the joke. He does, however, more than make us believe this character he has won more than a dozen purple hearts (how he earned all those is another story). No longer constricted by the dreaded FCC on network television, Forte really lets it loose here, getting away with stuff which would have had NBC and Lorne Michaels drop kicking him out of 30 Rockefeller Plaza if he pulled this off on live television. He also co-wrote the script, and he takes advantage of every opportunity for his character to make a supreme ass of himself while still remaining one you want to root for.
Plus, Forte does sex scenes here like no one else does in movies today, and I am certain no one has tried to match his acting in bed ever since.
Ryan Phillippe co-stars as MacGruber’s right hand man, Lt. Dixon Piper, a dedicated soldier who is of course infinitely brighter than him, and this causes a lot of violent resentment between the two of them. Phillippe does great work in playing the straight man to Forte’s idiotic lunatic. Had he tried to outdo Forte in terms of getting laughs, this pairing never would have worked. Lord knows MacGruber needs a partner, but he would never admit this unless he became incredibly desperate (and he does, so watch out). He also perfects that stony stare you get from some NFL star turned actor, and his funniest moments come when he reacts honestly to just how stupid this Miata-driving explosive expert truly is. Other actors would have overplayed this role, but Phillippe doesn’t thank goodness.
Kristin Wiig reprises her role as MacGruber’s assistant, Vicki St. Elmo. She is great as always, and MacGruber keeps stupidly putting her in such thoughtless situations where her life is in constant mortal danger. The scene in the coffee shop where she is disguised as MacGruber is nothing short of hilarious as she shivers in utter terror, having no clue what to do if things go bad. Still, you want to see Vicki get together with this clueless idiot because giving up this line of work for her music doesn’t make much sense, and this is especially the case when you listen to the songs she wrote.
Then you have Val Kilmer on board as the evil Dieter Von Cunth , and he gets to act all unhinged and crazy in a way he has not for some time. We know the only way MacGruber can defeat Cunth is through sheer luck, and Kilmer’s rubs in his character’s smug intelligence which he has in spades over this heroic douche bag. This represented a comeback for the actor, but it was sadly cut short due to his continuing battle against throat cancer.
“MacGruber” was directed by Jorma Taccone, one third of the Lonely Island comedy troupe which is responsible for all the “SNL Digital Shorts.” I was also surprised to learn he is actually the son of Tony Taccone, the former Artistic Director of Berkeley Repertory Theater. If you are ever in Northern California, be sure to check out a show there as they continue to challenge their audiences as much as entertain them. Anyway, Jorma keeps the proceedings going at a good pace, and he never lets the movie drag during its running time. While he doesn’t do anything groundbreaking with this movie or its formula driven plot, he does succeed in making this kind of satire feel fresh again. This genre has been so burnt out that we’re lucky if anything works as well as it does here.
The audience I saw “MacGruber” with at Grauman’s Chinese treated the whole thing like a rock concert, cheering when the title character first appeared on screen. It was a great crowd to experience this movie with, so it was surprising and depressing it got such a lackluster reception during its opening weekend. Even with competition from “Robin Hood,” “Iron Man 2,” and even “Shrek Forever After,” I figured it would still make a sizable dent at the box office. Still, it did eventually find its audience years later.
“MacGruber” is by no means a classic, and it is far from original, but it is certainly above average for this kind of movie. Saying it is the best SNL movie in years is faint praise. If you’re looking for a terrific comedy which emanated from the classic late-night show, then this is one you should check out. Even if you never laughed much at the skit on SNL, this movie will give you several belly laughs which we all live for. Just be sure not to eat any celery before you see it.
I did not become aware of Alfred Hitchcock’s “Psycho” until its first sequel, “Psycho II,” was released back in 1983, 23 years after the original. Of course, I didn’t watch this sequel at the time as I was just a kid, but I do remember its movie trailers and the title cracking up on the big screen as it played before the feature presentation of “Return of the Jedi.” This image really freaked me out, and it was just as well I didn’t see the classic film which inspired it until many years later. When I rented and watched it on VHS with my older brother, we did not see what the big deal was as we had long since been spoiled by the “Friday the 13th” and “Nightmare on Elm Street” movies with all the blood and gore a hormonal teenager could ever want or endure.
Well, it turns out watching it once was not nearly enough. Whether or not you think “Psycho” is Hitchcock’s best movie ever, it is often the one he is remembered best for making. After 60 years, it remains a great study of how a director can maintain suspense throughout the entire running time of a movie, and of a master playing the audience all the way up to the last frame. This becomes even more apparent when you watch it for a second and third time. Hitchcock puts you into the mindset of Marion Crane as she drives out of town after embezzling some money, and then he completely changes the dynamic of the story once Norman Bates arrives.
With “Psycho” now at its 60th Anniversary, we have another chance to go behind the scenes to see how this horror classic was made. It also represents another opportunity for Universal Pictures to release a new digital edition of the movie so they can fleece a few more dollars from our wallets. There has already been a Blu-ray release which made it look exquisite, and there has got to be a 4K Ultra HD version at some point. Anyway, looking back at the history of this classic proved to be one of the most interesting research projects I have taken on in years as there is much to be said about what went on behind the scenes.
“Psycho” originated as a novel written by Robert Bloch which itself was based on Wisconsin serial killer Ed Gein, a man whose horrific exploits would inspire many horror movies to come. Hitchcock acquired the film rights through his agent for $9,000, and he chose to film it after two projects he was working on for Paramount Pictures, “Flamingo Feather” and “No Bail for The Judge,” fell through. But Paramount did not want to help Hitchcock out on this one either as they were quoted as saying they found Bloch’s novel “too repulsive” and “impossible for films.” The executives refused to finance the production, and they even went as far as telling Hitchcock their soundstages were unavailable because they were being used for other projects. Of course, this proved to be a bold-faced lie as their production schedule was already in a slump at the time.
Undaunted, Hitchcock was still determined to bring “Psycho” to the silver screen, and he even offered to defer his normal director’s fee of $250,000 in exchange for 60% ownership of the movie’s negative. Still, executives would not grant him the financing he desired, so he continued to go through several different cost-cutting measures before getting a budget of no more than $1 million to make the movie his own way. Hitchcock had planned to make the film fast and cheap anyway, and he employed the crew members of his television series “Alfred Hitchcock Presents” who were already skilled at doing the same. He also succeeded in casting proven stars Janet Leigh and Anthony Perkins at a quarter of their usual salaries.
Bringing down the budget also meant shooting the film in black and white, but this was fine with Hitchcock as he wanted to film it that way as to make the shower scene come across as less gory, and he was also a big fan of “Les Diabolique” which was also shot in black and white.
Like “Psycho,” “Les Diabolique” was remade many years later. Unlike the originals, both were filmed in color. Even more unlike the originals, they received mercilessly scathing reviews upon their separate releases.
In filming “Psycho,” Hitchcock started off by making it as objective an experience as possible, and we feel what Marion goes through as the voices in her head fill her with guilt and doubt over what she has done. To help emphasize this effect, Hitchcock shot much of the movie with 50 mm lenses on 35 mm cameras. By doing this, the camera was said to mimic normal human vision. As a result, you are not just watching the movie, you are experiencing it. This even goes on after Marion has gone and the story turns its focus to Norman Bates. When he pushes her car into a nearby swamp, you share in his anxiety when it does not completely sink. That’s the thing; like Norman, you want the car to sink, and it makes one feel like a voyeur just as Hitchcock intended.
Then, of course, you have the famous shower scene, and after all these years it remains one of the most talked about and heavily dissected moments in cinema history. I am sure you all know the details regarding it: it was shot over six days from 77 different camera angles, and the scene features around 50 cuts in the three minutes which it lasts. Not much is shown as you never see the knife penetrating Marion’s flesh, and there is no gore other than the blood (chocolate syrup was used) going down the drain along with the water. Indeed, it is what you do not see which makes the scene feel so violent. Like Spielberg later did with “Jaws,” Hitchcock dared the audience to use their imagination in regards to what they thought they saw here. This is one of many reasons why this scene has stood the test of time, and it was also the first time a director killed off his leading lady in the middle of a movie. Back in 1960, audience members could not help but wonder where things could possibly go from there, and shower curtain sales have never been the same since.
I also cannot go on without mentioning the infamous score composed by the great Bernard Herrmann, and it remains one of the scariest pieces of music ever applied to a motion picture. Throughout his career, Hermann proved brilliant in composing film scores which really captured the psychology of the characters. This proves to be as true about “Psycho’s” score as it was with Hermann’s work on “Cape Fear” and “Taxi Driver.” It was a surprise to learn how this score almost didn’t come about as Herrmann balked at Hitchcock’s request to take the job on a reduced salary. Somehow though, Herrmann agreed to the terms and ended up writing music for a string orchestra as opposed to a full symphony which would have included brass and woodwind instruments. This is now clearly seen as a masterstroke on his part as the screeching of violins captures the sheer terror which overtakes Marion and the audience during the infamous shower scene.
Although “Psycho” is now recognized today as a classic, it actually received mixed reviews upon its release. Some admired the buildup of tension, but others questioned the psychological elements as being less effective. It even made one critic, C. A. Lejeune, so offended to where she walked out of the movie before it was even over, and she soon after resigned from her position as film critic for The Observer. Looks like Norman’s mother did not just claim victims onscreen!
When you look at the history of cinema, it is important to keep in mind how movies we see these days as classic were not necessarily treated this way upon their original release. It is over the passing of time where movies get re-evaluated or seen in a different light, and none can ever truly be perfect (although some do come very close to it). “Psycho” was a game changer as it came about during the Motion Picture Production Code which was heavy in its censorship of violence and sex in American films. With “Psycho,” Hitchcock flirted with showing nudity as well as gore, and this later opened up doors for filmmakers to exploit these elements with far more detail. Without “Psycho,” there may never have been a “Halloween” which by itself inadvertently sparked a whole wave of slasher movies. And without “Halloween,” there certainly would not have been a “Friday the 13th” as Jason Voorhees, like Norman Bates, also had serious mommy issues.
The cultural impact of “Psycho” lasts on to this very day. There are only so many movies which could have a sequel made to it several decades later. “Psycho III” followed a few years later, and a prequel came about because some just thought it would be a good idea to show how Norman Bates got to be the shy psycho we know him to be. There was even a failed television pilot called “Bates Motel” which starred Bud Cort as Alex West, an asylum inmate who befriends Norman and later inherits the motel and the house where mother lived (Anthony Perkins wanted nothing to do with that one). It also inspired a shot-for-shot remake by Gus Van Sant which seemed almost every bit as odd as Norman himself. The only purpose of it seemed to be proof of how remakes will never be able to recapture what made the original so good. But if they make money, the studios will clearly not mind the critical bashing even if it proves to be justified.
Television would later take another shot at the “Psycho” franchise with another version of “Bates Motel,” and this one starred Freddie Highmore as Norman Bates and Vera Farmiga as his mother. This version ended up lasting five seasons and proved to be very compelling as our fascination with the dark side of human nature is always stronger than we ever bother to realize. While some may have said enough already with “Psycho,” this show proved there was more life to it than we cared to initially realized.
Even today, you cannot hear screeching violins and not think of “Psycho.” Filmmakers reference it today like Wes Craven did in “Scream,” and there are dozens of movies out there which have done the same. That shower scene has been spoofed lord only knows how many times, my favorite being on “The Simpsons” where Maggie ended up attacking Homer with a mallet after watching one Itchy & Scratchy cartoon. Another great one came about during one of Billy Crystal’s Oscar montages where he was in the shower and ends up getting accosted by Kevin Spacey who plays his “American Beauty” character of Lester Burnham. Turns out it was not the same shower Marion got stabbed in, but instead the one where Lester often experienced the highlight of his day.
Leigh never looked at taking showers the same way again, and it would be ages before she ever took one. Perkins would forever be typecast in roles similar to Norman Bates, but he said he would still have done “Psycho” even if he knew this would be the case. Many filmmakers (Brian DePalma especially) have tried to use the tricks Hitchcock employed in this and his other films to varying degrees of success. Still, there is no topping what Hitchcock did with this classic 1960 movie, and it remains the one so many other suspense and horror movies are judged by. Hitchcock’s powers of manipulation remain very hard to duplicate after all these years, and this illustrates what he meant when he was quoted as saying, “I enjoy playing the audience like a piano.”
By the time I finally got around to renting Steven Spielberg’s “Jaws” on VHS, I already knew how it ended. Heck, everyone knew the ending of all the “Jaws” movies just as we did with “Rocky” and its endless sequels, and yet we still went in droves to the nearest theater playing them when they opened. But even while the great white shark’s final moment was never in doubt, it still provided to be one hell of an exciting movie. Much of this is thanks to Spielberg and actors Roy Scheider, Richard Dreyfuss, and Robert Shaw. Its landmark success has been noted for starting the trend of summer blockbusters as well as the collective phobia of what’s in the water. 45 years later, many of us still do not feel the least bit safe about going into the water.
Looking back at the making of “Jaws” reveals a very troubled production which almost didn’t make it to the silver screen. From what I have read, this movie was to Steven Spielberg what “Apocalypse Now” was to Francis Ford Coppola. Remember the picture of Coppola on the set of “Apocalypse Now” with a gun to his head? Steven had one of him resting in the shark’s mouth, and he looked like he was more than ready for the shark to eat him.
The story of a great white shark terrorizing a New England island originated as a novel of the same name written by Peter Benchley which itself was inspired by several real-life incidents of shark attacks including the ones on Jersey Shore back in 1916. After buying the rights to the novel, film producers Richard D. Zanuck and David Brown tried to get John Sturges who made “The Great Escape” to bring it to the screen. When this did not happen, they went to Dick Richards who ended up calling the shark the whale, so he didn’t last long. Zanuck and Brown finally brought on Spielberg to direct, and this was just before the release of his first theatrical film “The Sugarland Express.” In adapting the novel, Spielberg focused on its main concept and took out the various subplots such as the affair between Ellen Brody and Matt Hooper. In retrospect, this was an excellent call as it would have added more stories to a movie which did not need any extra baggage.
Hearing Dreyfuss describe his take on the whole production gives one idea of the mess Spielberg and Universal got themselves into:
“We started the film without a script, without a cast and without a shark.”
When he appeared on “Inside the Actor’s Studio,” Spielberg said he invited the actors to dinner and they ended up “spit balling” the entire movie or, in other words, they made it up. Pages of the script were apparently not available to anyone until the day they were actually shot. A lot of filmmakers still work like this today even though it makes far more sense to work with a finished screenplay.
Then there was the shark itself which Spielberg nicknamed “Bruce” after his lawyer, Bruce Raimer. Three mechanical sharks were built for the production: a whole shark to be used for underwater shots, one which moved from camera-left to right as to hide the other side which completely exposed its internal machinery, and an opposite model with the right side uncovered. But while these models were tested in a pool under controlled conditions before production began, making them work in the ocean was another story. Some of them accidently sank and a team of divers were forced to retrieve them. The main mechanical model endured various malfunctions throughout, and its operation was constantly hindered by the hydraulics being corroded by salt water. Spielberg even joked about Bruce’s maiden voyage and how he sank to the bottom of the sea:
“It was a terrible sight! The shark comes out of the water tail first, wagging like Flipper! The tail comes down into the water, and then it sinks. And then there’s another explosion of white water, and all these pneumatic blue cables come out like snakes everywhere flying around! And then that got quiet, and then there was one last belch of bubbles, and that was the last we saw of the shark for about three weeks.”
Dreyfuss described the frustration everyone had with these models, and those walkie talkies being used by the crew always had the same words coming out of them:
“(static) The shark is not working, (static) the shark is not working.”
Things got even worse from there as filming at sea resulted in many delays as it would with just about any other film. Uninvited sailboats kept drifting into shots, and the Orca ended up sinking while the actors were onboard. This apparently led Spielberg to yell out as it was sinking:
“Screw the actors! Save the sound equipment!”
The crew members had absolutely no reason to believe they were filming a classic, and they instead nicknamed the film “Flaws.” Brown commented how the budget was originally $4 million, and it ended up costing $9 million. While this may sound like chump change today, this was long before the days when movies came with budgets of at least $100 million. Filming was scheduled to last 55 days, but it ended up lasting 159. Spielberg was not yet the director we know him as today, so you have to understand what was going through his mind while he was enduring this trial by fire:
“I thought my career as a filmmaker was over. I heard rumors that I would never work again because no one had ever taken a film 100 days over schedule.”
Spielberg was not even on set for the final shot when the great white meets its maker, and it was mainly because he was under the suspicion the crew would throw him into the water. This has apparently become a tradition for Spielberg on the films that he directs; not being there for the shooting of the final scene. This is regardless of the fact not all his movies take place on the water.
As we all know now, the shark malfunctioning proved to be a blessing in disguise as it gave the “Jaws” a more suspenseful tone than it had already. By filming the dorsal fin as often as he could or using those yellow barrels to indicate the shark’s location, he was able to get away with not showing the whole thing through most of the movie. In fact, he had already told the producers he would agree to direct the movie on the condition he did not have to show the shark for the first hour. Spielberg went on to explain the logic behind this decision:
“I don’t know of anything more terrifying than off-camera violence, off-camera suspense. You have to give the audience credit; they bring with them to the movie theater probably collectively more imagination than any of us behind the scenes put together. And they come in there with their imaginations and implore us as filmmakers to use it.”
Looking back at the hell Spielberg went through to finish this, it is amazing any movie came out of it. You can only imagine what he was thinking before “Jaws” was even released. One of the funniest stories he ever told about it was when he went to a preview or test screening. As he stood in the back of the theater right near the exit, he was expecting the worst:
“Around the time that little boy was killed on the raft, a man got up and began to walk out of the theater. And I said ‘well, here’s our first walk out, the movie’s too violent. I shouldn’t have done this; I shouldn’t have made it that intense.’ The guy then starts running and I go ‘oh worst the walking out, he’s running out of the theater! He’s RACING out of the theater!’ He got right next to me, went to one knee and threw up all over the carpeting of the lobby. Went to the bathroom, came out five minutes later, walked back to his seat and I said ‘IT’S A HIT!’ “
“Jaws” ended up becoming the first movie in history to gross over $100 million at the box office, and it marked a watershed moment in how movies were distributed. Since its release, it has spawned several sequels, become a memorable part of the Universal Studios tour and has spawned lord knows how many VHS, laserdisc, and DVD reissues. And, of course, it was released on Blu-ray, and it has now been released on the format 4K Ultra HD. If there is to be another new format on the horizon, you can be sure “Jaws” will be released on it.
As for the sequels, “Jaws 2” had its moments, the only saving graces of “Jaws 3-D” was its 3D effects which look awful when viewed on your television, and for the beautiful appearances of Bess Armstrong and Lea Thompson. As for “Jaws: The Revenge,” it remains one of the worst movies ever made as it contains many unforgivably glaring errors. On the upside, “Jaws: The Revenge” did inspire one of the greatest movie reviews on “Siskel & Ebert” which still has me laughing whenever I watch it. Spielberg later said he felt bad about how the franchise turned out, but he couldn’t go back to it after the frustration he had with making the first. By the time “Jaws 2” came around, Spielberg and Dreyfuss were already busy making “Close Encounters of the Third Kind.”
After all these years, “Jaws” remains one of the all-time great movies as it effortlessly taps into those fears we all have of the unknown, or of what is underneath us in the water. You could watch it a dozen times and still be thrilled by it, and it made Spielberg into the director he is today. If you are about to watch it for the first time, and you will find that the shark is indeed still working.
Here are some other interesting tidbits about “Jaws”:
Spielberg originally offered the role of Brody to Robert Duvall, but he was more interested in playing Quint.
Charlton Heston expressed interest in playing Quint, but Spielberg felt he was too big a personality and would end up overshadowing what he saw as the film’s real star: the shark.
Spielberg was initially apprehensive about casting Scheider because he feared he would play a tough guy like he did in “The French Connection.”
The role of Quint was offered to Lee Marvin and Sterling Hayden, but both turned it down.
The scene where Hooper discovers Ben Hooper’s body in the hull of his wrecked boat was actually added after an initial screening of the film. Spielberg said he was greedy for one more scream, and he ended up financing this moment with $3,000 of his own money since Universal Pictures denied him anymore financing at that point in the production.
I always figured comedians were the best kind of people to hang out with as a kid. Hearing them tell funny stories, making joke after joke, happiness always seemed served up to them on a silver platter. But as time went on, I came to see while they were clowns on the outside, they were crying an endless river of tears inside. Comedy from these people comes from a deep pain and sadness in their lives, or out of a deep-seated anger they have at the world around them.
Look at Richard Pryor, need I say more? He had all the money, women, cars and drugs you could ever ask for. For “Superman III,” he ended up paid more than Christopher Reeve. Still, I remember reading an interview in which he said the last truly happy moment he remembers in his life was when he was jumping around in the dirt while pretending to be a cowboy at the age of 10, and he was in his 40’s when this interview was conducted. Comedy was his constant weapon against pain, and he never held anything back in his routines.
“Funny People” understands very well this gloomy realm many comedians live in, and is written and directed by a filmmaker who still performs from time to time as a standup comedian, Judd Apatow. But unlike “The 40-Year Old Virgin” and “Knocked Up,” this film has a darker edge to it and doesn’t hide away from the inherent viciousness of its characters. “Funny People” has been advertised as a comedy drama, but the balance often veers more to the dramatic. There are many laughs to be had here, but this movie clearly came from a rather dark place.
Adam Sandler stars as George Simmons, a comedian turned movie star whose career looks a lot like Sander’s own. George became famous with movies like “Merman” where he played a male mermaid, and “Re-do” in which he plays a character whose body has transformed into that of an infant. Seeing George’s head digitally inserted onto a baby’s body at once gives us a great sight gag, but it also seems like the kind of silly comedy Sandler himself has made once too often. Besides, I have more than my fill of talking babies.
George has it all: a beautiful mansion overlooking the sea, a swimming pool he does laps in on a regular basis, great cars, women who don’t hesitate to sleep with him even if they have boyfriends, and all the money one could hope to live off of to the end of time. But in his eyes, we see he is a sad man who has come to truly despise himself for what he has become. All the wealth he has amassed only serves to isolate him from the rest of the world, and it makes him defensive around total strangers who are unable to see him as ever resembling a regular person. But now, his doctor has diagnosed him with a terminal disease and has only months left to live. George reacts to this news as if someone drained his blood while he wasn’t looking, and it makes him realize how much self-hatred he has. From there, he becomes to make every last minute of his life count, but this may not alter his antagonistic personality from where it currently resides.
As George Simmons, Adam Sandler gives one of his best performances to date, and its right up there with his brilliant turn in Paul Thomas Anderson’s “Punch Drunk Love.” Not once does he back down from how George is a hard man to like. Throughout “Funny People,” George is dismissive to many around him, and he ends up being thoughtlessly mean to those who look up to him. Regardless, Sandler still manages to make you sympathize with this character and of the terminable diagnosis which he did not see coming. It’s the moments where Sandler lets it show through his eyes just how full of regret Simmons is, and it serves as proof of how this former “Saturday Night Live” performer is more talented than he thinks.
Along with this famous comedian on his cynical farewell tour is Ira Wright (Seth Rogen), an aspiring young comic who is not entirely confident with his stand-up act. George catches Ira’s act one night after he makes a surprise appearance at a comedy club, and while he is hurt when Ira discusses how he bombed onstage just moments before, George thinks this kid has got talent and offers to pay him some money to write up some jokes for an upcoming benefit show. From there, George hires Ira as his personal assistant, an employment opportunity which involves more work than the average 9 to 5 job which never pays enough.
Remember all those nasty horror stories from people who were assistants to the stars and certain sociopathic studio executives? Well, Ira may have gotten off easy compared to those people, but we fear his soul will be forever crushed the longer he stays with George.
In a lot of ways, Ira is they typical kind of character Rogen has played over and over again in movies, and not just the ones he does with Apatow. While I would love to see him take on riskier roles like the one he played in “Observe and Report,” he is the perfect match for Sandler’s endlessly cynical misanthrope of George. By the movie’s end, Rogen his performance proves to be the most underrated in the film, and he believably takes Ira from someone lacking in confidence to one who finds his voice with each standup routine he does to where he shows a strength he did not know he had. Rogen makes this transition feel seamless to where he had a stand out moment when he faces down Simmons and tries to make him see how his terminal disease has not come close to changing his outlook on life.
But the one person who almost steals “Funny People” is Apatow’s wife, Leslie Mann. Having already proved what a comedy dynamo she was in her husband’s previous films, there should be no more talk from those who believe she has only gotten this far as an actress because of nepotism.
Mann plays Laura, and George describes her to Ira as “the one that got away.” Laura was and still is George’s one true love, and he finds she still yearns for him even though their relationship came to a heartbreaking end when he cheated on her. This is a moment George appears to regret more than any other, and he becomes eager to make up for it as soon as he can. Laura never tries to hide her character’s undying affection for this man who is lonelier than most, and she is willing to end her marriage to an Australian soccer nut (Eric Bana, who is hilarious) who may be cheating on her as well. As Laura, Mann succeeds in making you fall for this character even while she selfishly tries to redirect her life without realizing the consequences of her actions.
There are a lot of strong elements working in favor for “Funny People,” but it doesn’t change the fact it is a deeply flawed movie. While it is good and worth watching, it will most likely be seen as one of Apatow’s weakest movies. I do like how he dared to go in a slightly different direction with this movie compared to what he has given us previously, but the balance between comedy and drama is off kilter most of the time. For many, I don’t think it will be entirely clear as to whether they are watching something comic or very serious.
Plus, at over two hours long, this movie really could have been shorter. I’m usually cool with long movies, but only if they can justify their length. It is way too easy to come off as self-indulgent when making a three-hour epic. “Funny People’s” length does cut deeply into its comic momentum, and there are spots where it things really dragged. It does pick up towards the end, but the story still could have used a bit more tightening.
Still, I really did like “Funny People” because it shows how Apatow still succeeds in giving us characters and situations which feel very real on an emotional level. With him taking his established formulas in a different direction, it is clear his work will continue to grow with each successive project he takes on.
I also love the brilliant cameos he manages to extract from big celebrities in his films. One scene in “Funny People” has George meeting up with a lot of famous comedians like Norm McDonald, Andy Dick (wow), Charles Fleischer, Collin Quinn and Sarah Silverman who has one of the movie’s funniest scenes. But the biggest surprise cameo to be found here is Eminem’s as I never expected to see him in any movie, let alone one directed by Apatow. Seeing him dissing Ray Romano provides us with an unforgettable moment where Ira ends up saying to Ray, “I thought everybody loved you.”
One perception about “Funny People” which needs to be cleared up is that it is not what many would call a “disease movie.” It is really to Apatow’s credit here that he never gets all mushy on us like many others would have when it comes to films about people who think they are facing certain death. George’s arc here is much like the character Michael Keaton played in “Clean and Sober.” In the process of trying to improve themselves and become better people, they end up fooling themselves to where they think they are changing for the better, but are instead acting more selfishly than they realize. Their attempts to help those in desperate situations reveal just how self-involved they are, and it just gets worse for them from there. It is not until the climax which has them at a place where they realize what they truly need to do to move on from a fractured past.
“Funny People” is definitely worth seeing. Just don’t go in with the normal set of expectations you have for the average Apatow production because things are a little different here. It definitely has some hilarious moments and dramatic ones, and Sandler makes it clear to us he can be a great actor when given the right material. It is also an intimate look at the fame and success one person experiences, and of how damaging and isolating it can be.
This project was really a long time coming for both Apatow and Sandler because they did share an apartment when they first moved out to Los Angeles. “Funny People” actually starts off with home video footage of them making prank phone calls which has them laughing in hysterics. It is meant to be a look of innocence which fame forever changes, but at least we can see how in real life these two funny men have their families to keep their egos in balance. George Simmons is simply the person each of them would have become if they weren’t careful.
WRITER’S NOTE: The following article is about a screening which took place back in 2011.
In the midst of promoting “Contagion” in Los Angeles, California, filmmaker Steven Soderbergh dropped by the Silent Movie Theater where Cinefamily was screening one of his earlier and most underrated features, “King of the Hill.” Not to be confused with the Fox animated series, the film follows 12-year-old Aaron Kurlander (Jesse Bradford) who is forced to fend for himself in Depression era America after his parents leave him alone at the Empire Hotel in St. Louis. Aaron is forced to grow up a lot faster than any kid should ever have to, and he desperately searches for ways to avoid eviction from the family’s apartment. Soderbergh thanked the sold-out crowd for coming to the theater, and he started off by saying, “Why aren’t you guys going to see ‘Contagion’? This film is never going into profit!”
“King of the Hill” was Soderbergh’s third film after “Sex, Lies & Videotape” and “Kafka,” and it was released back in 1993. Based on the memoir of the same name by A.E. Hotchner, it was given to him as a gift by a friend. At the time he was looking for something different than “Sex, Lies & Videotape,” and he found Hotchner’s story to be just what he needed. He did, however, describe it as a “tricky adaptation” since he only had a budget of $8 million and 48 days to shoot the film, and it was a period piece. On the upside, though, he said Universal Pictures, which released the movie through its Gramercy Pictures division, was “hands off” during the production.
Watching it again, Soderbergh described it as the one movie of his he might change aesthetically. He felt the prettiness of the picture would help counteract the harsher parts of the story, but now finds the film to be “almost too pretty.” Most of the conversation he had in pre-production involved the overall palette color which he and cinematographer Elliot Davis wanted to remain within a certain range. Were he to film it today, Soderbergh said he would go out of his way to make it “less commercial.”
Soderbergh recalled doing three preview screenings of his movie, none of which went well. When finished with the project, he admitted feeling somewhat dissatisfied as the movie’s ending did not seem entirely satisfactory to him. Whatever problems he had, they did not stop him from trying to adapt Hotchner’s follow up memoir “Looking for Miracles” which focused on the writer’s relationship with his brother. Sadly, Soderbergh’s hopes were quickly dashed when “King of the Hill” did not find an audience upon its release.
Regardless of his feelings, the audience was in agreement that “King of the Hill” is a great film, and it truly is one of Soderbergh’s best works. The director also found a big fan in Sid Sheinberg, the famous entertainment executive, who, soon after seeing it, introduced him to Lew Wasserman. It also made Soderbergh how that he didn’t enjoy writing as much as he thought, but he did continue writing screenplays for his films “The Underneath,” “Schizopolis,” and his remake of “Solaris.” This was one of five films he did after “Sex, Lies & Videotape” which he openly admitted “did no business,” but perhaps they will eventually.
“King of the Hill” is not currently available on DVD (not in America anyway) or Blu-ray, nor is it available to stream on Netflix. Soderbergh remarked this is because “cult flicks are not marketable right now” and that “no one buys DVD’s anymore.” But with this director being so highly regarded in Hollywood, hopefully this third film of his will get the digital release it deserves so fans can discover it for the great movie it is.
UPDATE: “King of the Hill” has since been released by the Criterion Collection in a DVD/Blu-ray combo pack. It features a new restored 2K digital film transfer, interviews with Soderbergh and Hotchner, movie trailers, and Soderbergh’s fourth film “The Underneath.” To find out more about this release, click here.
WRITER’S NOTE: This article is about a screening which took place back in 2012.
“Every day of my life for the last twenty years, people come up to me, look me in the eyes and say ‘Buddy Revell!'”
That’s what actor Richard Tyson told the audience at New Beverly Cinema in Los Angeles where the theater was showing “Three O’Clock High” in honor of its 25th anniversary. The 1987 high school comedy marked Tyson’s film debut, and his character of Buddy Revell was the school bully who threatens the meek Jerry Mitchell (Casey Siemaszko) to a fight after Jerry touches him on his leather jacket. From that point on, it is clear you never ever touch Buddy Revell at any time.
Around the time the movie was headed into pre-production, Tyson had just graduated with a Master of Theater Arts degree from Cornell University and was living out of his truck when he heard about it. Apparently, he went through about 14 callbacks before he got cast as Buddy, but the film’s director Phil Joanou was always convinced Tyson was the only one for the role.
Phil Joanou: While Jerry is so manic and nervous and flopping like a fish on the deck, Buddy is like an iceberg floating across. Just cool, he sits in the class, he just looks over at Jerry then he looks back. Buddy’s almost expressionless, and so many other actors would have been expressionless, but what was so cool about what Richard did is that he’s doing nothing but he’s doing something. That’s really hard to do, but you can see that there’s something going on behind this guy’s eyes.
In talking about how he established Buddy Revell’s physicality, Tyson brought up the scene where Buddy gets in a fight with the jock in the library. Joanou asked Tyson what he would do if someone came up and poked him in you the chest the way Buddy gets poked, and Tyson responded he would “break his fucking finger” and then showed him how he would do so. Once he was convinced, Joanou asked Tyson if he could throw a right cross punch after breaking the finger and Tyson had no problem doing so.
It’s important to note that the screenwriters of “Three O’Clock High,” Richard Christian Matheson and Thomas Szollosi, were on set the day the library scene was being shot. Matheson and Szollosi had their doubts about Tyson at first, but after watching him in action, they were convinced the filmmakers got the right guy to play Buddy.
In comparison to all the bullies we see and hear about on school campuses these days, Tyson said he didn’t think Buddy was really a bully.
Richard Tyson: I think the system, the school and the environment were worse than him. It’s not just the guy in the leather jacket. The leather jacket guys are usually left alone. Just don’t touch them in the bathroom!
What was great about Tyson’s performance in “Three O’Clock High,” and Joanou pointed this out, was in showing how Buddy was always in control and of what happened when he loses control. When Jerry manages to punch Buddy in the nose, you suddenly see the rage in his face as he registers this is the first time he has ever been hit and drawn blood. Seeing that look of rage which crosses his face shows what makes Tyson’s performance so damn good: he shows you the character’s emotions without ever having to spell it out for you.
Richard Tyson went from “Three O’Clock High” to starring in such movies as “Two Moon Junction,” “Kindergarten Cop” where he played Arnold Schwarzenegger’s nemesis, and “There’s Something About Mary” in which he banged Ben Stiller’s head on a table several times. Tyson’s still got a lot of great work ahead of him, but we will never ever forget his performance as Buddy Revell.