Ryan’s Daughter (1970) [Two-Disc Special Edition] + Dune (1984) [Extended Edition] – DVDs

February 23, 2006Posted in1970s, 1980s, Action, Adventure, Authors: Bill Chambers, Directors: David Lynch, Disability, Drama, DVD, Mexico, Romance, Sci-Fi, UK

RYAN’S DAUGHTER
***/**** Image A+ Sound A Extras A-
starring Robert Mitchum, Trevor Howard, Christopher Jones, Sarah Miles
screenplay by Robert Bolt
directed by David Lean

DUNE
***½/**** Image B Sound B+ Extras B
starring Francesca Annis, Leonardo Cimino, Brad Dourif, José Ferrer
screenplay by David Lynch, based on the novel by Frank Herbert
directed by David Lynch

DUNE (Extended Edition)
*½/**** Image B Sound B+ Extras B
starring Francesca Annis, Leonardo Cimino, Brad Dourif, José Ferrer
screenplay by Judas Booth, based on the novel by Frank Herbert
directed by Alan Smithee

Ryansdaughtercap2

by Bill Chambers The common charge levelled at Ryan’s Daughter when it was released in 1970 was that it seemed anachronistic within contemporary film culture. Indeed, what so infuriated the New York critics, in particular, was not just that Lean had strayed from his roots (thematically, Ryan’s Daughter in fact represents a throwback for the Brief Encounter director), but that he had lost all trace of humility in the bargain. One might say the English were finally getting a taste of their own medicine, as Lean had essentially become a Hollywood imperialist, intruding on cinema’s evolution towards minimalism by treating a rather insular love triangle–catnip to the infidelity-obsessed British realists–like a theme-park attraction, subjecting it to both hyperbole and an incongruous perfectionism.1 (“In general the only way for artists to work in the medium is frugality,” wrote Pauline Kael, thereby consigning Lean to the realm of not-artists.) This violation of an unspoken Prime Directive resonates in the current trend of giving A-list makeovers to grindhouse fare.

Making Love (1982) – DVD

February 22, 2006Posted in1980s, Authors: Travis Mackenzie Hoover, Drama, DVD, Romance

*/**** Image B+ Sound B+
starring Michael Ontkean, Kate Jackson, Harry Hamlin, Wendy Hiller
screenplay by Barry Sandler
directed by Arthur Hiller

by Travis Mackenzie Hoover It's regrettably easy to mock Arthur Hiller's Making Love from a contemporary vantage point. Made long before the queer revolution of the early '90s (but not long after Cruising, its evil opposite number), the film is at once brave and cowardly, daring to utter the word "gay" while refusing to say it in a context where it might actually mean something. So much effort has been expended to be "tasteful," "mature," and "adult" that the filmmakers take out any real threat to the status quo–Making Love is contained to the kind of dull bourgeoisies as far removed from the front lines as possible. The comedy lies in watching these sitcom creations try to enunciate ideas that are entirely beyond their ken, speaking the name of the love but not the particulars that might quicken the blood.

Repo Man (1984) [Collector’s Edition] – DVD

February 6, 2006Posted in1980s, Action, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Esoterica, Sci-Fi, Thriller

***/**** Image A Sound A- Extras B+
starring Harry Dean Stanton, Emilio Estevez, Tracey Walter, Olivia Barash
written and directed by Alex Cox

Repomanunicapby Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. The question I ask after a screening of Repo Man is this: is it punk? And if it isn't punk, what is it? Those used to the anarcho-communitarian (i.e., "nice") ideals adopted by punk's intelligentsia would have no truck with the mentality of this film, whose hero, Otto Maddox (Emilio Estevez), is in it for cheap thrills and hasn't got an ideal in his head. Indeed, once he gets sucked into the more "intense" world of car repossessor Bud (Harry Dean Stanton) and thus gainful employment, he distances himself from his punk friends–as represented by the three mohawk'd chumps whose idea of "doing crimes" is "let's order sushi and not pay!" But the repo gig leads to another dead end, as Bud turns out to be a blowhard full of idiot rules and his compatriots prove more unstable than Otto's old friends. There is no future to Otto's dreaming–just the cul-de-sac of punk's dark flipside: nihilism.

The Alan Clarke Collection – DVD

January 24, 2006Posted in1970s, 1980s, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Documentary, Drama, DVD, Esoterica, Prison, Television, UK
SCUM (BBC VERSION) (1977) ***½/**** starring Ray Winstone, Phil Daniels, David Threfall screenplay by Roy Minton directed by Alan Clarke SCUM (THEATRICAL VERSION) (1979) ***½/**** starring Ray Winstone, Phil Daniels, Mick Ford screenplay by Roy Minton directed by Alan Clarke MADE IN BRITAIN (1982) ***½/**** starring Tim Roth, Eric Richard, Terry Richards screenplay by David Leland directed by Alan Clarke THE FIRM (1989) ***/**** starring Gary Oldman, Lesley Manville, Phillip Davis screenplay by Al Hunter directed by Alan Clarke ELEPHANT (1989) ***½/**** screenplay by Bernard MacLaverty directed by Alan Clarke DIRECTOR: ALAN CLARKE (1991) **/**** directed by Corin Campbell-Hill by…

A Dry White Season (1989) – DVD

January 16, 2006Posted in1980s, Authors: Travis Mackenzie Hoover, Drama, DVD, Thriller

***/**** Image B Sound B+
starring Donald Sutherland, Janet Suzman, Jürgen Prochnow, Marlon Brando
screenplay by Colin Welland and Euzhan Palcy, based on the novel by Andre Brink
directed by Euzhan Palcy

by Travis Mackenzie Hoover Belonging to the white-centred apartheid genre, '80s division, A Dry White Season is by far the best of a bad lot. At the time of its release, the film was widely–and rightly–criticized for being, like Richard Attenborough's Cry Freedom, more concerned with its Caucasian lead than with the more central but less bankable blacks who suffer by his side. But unlike Cry Freedom (or last year's dismal In My Country), A Dry White Season isn't about a heroic fait accomplis so much as an evolving conscience shedding its skin. Donald Sutherland's Ben du Toit actually comes off like a naïve dingbat in early scenes, convinced that the caning of his gardener's son was justified and that the various disappearances subsequent to the incident must have some logical, moral justification. The film's project is to show him that to fight the power, he has to give up everything–a message sure to strike fear in the hearts of armchair liberals everywhere.

The Jazz Singer (1980) [25th Anniversary] – DVD

December 22, 2005Posted in1980s, Authors: Travis Mackenzie Hoover, Drama, DVD, Music, Romance

*½/**** Image B Sound A- (DD)/B+ (DTS) Extras D
starring Neil Diamond, Laurence Olivier, Lucie Arnaz, Catlin Adams
screenplay by Herbert Baker, adaptation by Stephen H. Foreman, based on the play by Samson Raphaelson
directed by Richard Fleischer

by Travis Mackenzie Hoover Having always had a knack for turning schlock into symptomatic gold, J. Hoberman once worked his magic on the remake of The Jazz Singer by comparing the original’s vision of Jewish cultural schizophrenia against the 1980 version’s post-Israel reversal. I recommend the essay (from his collection Vulgar Modernism) not merely for its brilliance, but also to discharge you from seeing the movie–because the only thing Hoberman gets wrong is that it’s “a mediocre film but a resonant one.” Mediocre it may be, but resonant it ain’t, entirely too careful as it is to soft-pedal some traumatic material so as not to upset star Neil Diamond’s MOR constituency. The Jazz Singer has all of the singer’s sentimental weaknesses without the attendant cheesy bombast that makes him entertaining. It’s a singularly bland film that doesn’t quite hurt but that feels like a chore as it trickles towards the end.

Hammett (1982) – DVD

November 22, 2005Posted in1980s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Mystery

**/**** Image A- Sound A-
starring Frederic Forrest, Peter Boyle, Marilu Henner, Roy Kinnear
screenplay by Ross Thomas and Dennis O'Flaherty, based on the novel by Joe Gores
directed by Wim Wenders

by Travis Mackenzie Hoover Wim Wenders nominally directed Hammett, and its famous recutting by the studio depressed him to the point of taking revenge with a lovely film called The State of Things. (Hammett sat in limbo for so long that the two actually came out at the same time.) Indeed, you'd be hard-pressed to connect this overdesigned, hermetically-sealed, zestily cynical movie with the director's gently disappointed, free-ranging, existing-location-dependent masterpieces. More accurately, Hammett is a Francis Ford Coppola film, a Zoetrope film, and a landmark in the failure of '80s cinephilia. It does for Dashiell Hammett what Raiders of the Lost Ark did for Flash Gordon, which is to say it reproduces surfaces without a shred of critical distance or analytical incisiveness. It's a non-stop reference orgy that loves the idiotic conventions it ought to be deconstructing–Chinatown, as seen through the prism of Sin City: a series of hyper-real, hard-boiled requirements to be fulfilled rather than a summing up of what they represent.

Monster High (1989) – DVD

November 14, 2005Posted in1980s, Authors: Alex Jackson, Comedy, DVD, Horror, Sci-Fi, ZERO STARS

ZERO STARS/**** Image D Sound D
starring Dean Iandoli, Diana Frank, David Marriott, D.J. Kerzner
screenplay by Roy Langsdon and John Platt
directed by Rudiger Poe

by Alex Jackson I do not use this analogy lightly: Watching Monster High is sort of like watching your wife get raped. I felt actual fear as it unspooled, and there were several times I had to hold back from melting into a crying fit. These were not tears of incredulity or even pain, but tears born of anger, existential despair, and finally an acknowledgment of one's own innate inadequacy. There is this feeling that the whole thing will go unpunished and unacknowledged. Director Rudiger Poe and screenwriters Roy Langsdon and John Platt have taken something vital from me, something I don't think I can ever get back. And they have done it for no reason. There is no sin I could have committed to prompt this atrocity, it's something that just happened, as random and as meaningless as life itself.

Hellraiser: Hellworld (2005); The Boogeyman (1980)/Return of the Boogeyman (1984); The Fallen Ones (2005) – DVDs

October 18, 2005Posted in1980s, 1990s, 2000s, Adventure, Authors: Walter Chaw, DVD, Horror, Romania, ZERO STARS

HELLRAISER: HELLWORLD
*/**** Image A Sound A Extras B
starring Lance Henriksen, Katheryn Winnick, Christopher Jacot, Doug Bradley
screenplay by Carl Dupre
directed by Rick Bota

The Boogey Man
½*/**** Image B Sound B
starring Suzanna Love, Ron James, John Carradine
written and directed by Ulli Lommel

RETURN OF THE BOOGEYMAN
ZERO STARS Image D Sound D
starring Suzanna Love, Kelly Galinda, Richard Quick
directed by Deland Nuse

THE FALLEN ONES
** Image A Sound A Extras B+
starring Casper Van Dien, Kristen Miller, Geoffrey Lewis, Navid Negahban
written and directed by Kevin VanHook

by Walter Chaw The only genre that boasts more direct-to-video fare than horror is porn, and since we haven't quite reached the point of quiet desperation needed to begin reviewing porn, find here a smelted cheddar of four dtv horror features (actually, The Boogeyman got a theatrical release in 1980, though I can't understand why): the eighth film in Clive Barker's venerable horror octology, Hellraiser: Hellworld; The Boogeyman and its second sequel, the legitimately straight-to-video Return of the Boogeyman; and Kevin VanHook's The Fallen Ones. The only thing that binds them together, of course, is the general disrepute of their genre, doubled by their status as never having secured "legitimate" distribution–but, what with us teetering on the eve of the major studios embarking on a grand experiment in franchising their licenses for direct-to-video treatment, now seems as good a time as any to give these films a look. First we had a couple of Wild Things sequels, then The Sandlot 2 and a Carlito's Way prequel, and soon Single White Female will follow in the Disney footsteps of producing DVD cheap product for fast returns and an eternity gathering dust and puzzled glances in drugstore dollar bins. It's the equivalent of turning Idahoan runaways into crack whores before discarding them for the next small-town beauty led astray.

The Breakin’ DVD Collection (1984) – DVD

October 2, 2005Posted in1980s, Authors: Alex Jackson, Comedy, Drama, DVD, Musical, Romance

BREAKIN'
**½/**** Image C- Sound D+
starring Lucinda Dickey, Shabba-Doo, Boogaloo Shrimp, Ben Lokey
screenplay by Charles Parker & Allen DeBevoise and Gerald Scaife
directed by Joel Silberg

BREAKIN' 2: ELECTRIC BOOGALOO
***/**** Image B Sound B+
starring Lucinda Dickey, Adolfo "Shabba-Doo" Quinones, Michael "Boogaloo Shrimp" Chambers, Susie Bono
screenplay by Jan Venture & Julie Reichart
directed by Sam Firstenberg

BEAT STREET
**/**** Image C+ Sound B
starring Rae Dawn Chong, Guy Davis, Jon Chardiet, Leon W. Grant
screenplay by Andy Davis & David Gilbert & Paul Golding
directed by Stan Lathan

by Alex Jackson Ebony and ivory are living in perfect harmony in 1984's Breakin'. This is hardly a "white" movie, but it's not really a "black" one, either. It actually seems that Breakin' is genuinely multicultural: The film doesn't neutralize or marginalize blackness–in fact, it quite certainly celebrates it. But it's not black at the expense of excluding white faces. Instead of aligning itself with one particular racial identity, Breakin' aligns itself with a conglomerate of all of them. This is a party to which everyone is invited.

Evil Dead II (1987) [The Book of the Dead Limited Edition] – DVD

September 20, 2005Posted in****/****, 1980s, Authors: Walter Chaw, Comedy, Directors: Sam Raimi, DVD, FFC Must-Own, Horror, Zombie

a.k.a. Evil Dead II: Dead by Dawn
****/**** Image A+ Sound A+ Extras A+
starring Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley
screenplay by Sam Raimi & Scott Spiegel
directed by Sam Raimi

Mustownby Walter Chaw More a remake with yuks than a sequel, Sam Raimi's astonishing Evil Dead II is a kitchen-sink splatter flick inspired by the drive-in spam-in-a-cabin tradition and leavened by an unhealthy fascination with The Three Stooges. Leading man and crash-test dummy Bruce Campbell (Bill Chambers referred to him once as "brick-jawed," and I can't improve on that, literally or figuratively) turns in a legend-making, career-defining performance, re-imagining his shemp Ash as a man of stage-melodrama, white-hat resolve who comes of age upon discovering his knack for slaying the undead. The great unspoken peculiarity of siege classics like George Romero's Night of the Living Dead is that there is somehow always discovered a hero who's biologically hardwired for the task of staying alive in the face of great demonic hordes. The crux is that it's unspoken no longer in Raimi's "Dead" trilogy (the third instalment the out-and-out comedy Army of Darkness), which, by the end, becomes a rags-to-rags fable about a retail clerk repelling an army of Harryhausen skeletons laying siege to a medieval castle. In its way, this is as canny a satire of the consumer/clerk relationship as anything in Dawn of the Dead.

The Adventures of the American Rabbit (1986) – DVD

September 19, 2005Posted in1980s, Animation, Authors: Alex Jackson, DVD, Family, Japan, Superhero

*½/**** Image B Sound B+
screenplay by Norm Lenzer
directed by Fred Wolf and Nobutaka Nishizawa

"And you come up with images in [Invincible] that are so remarkable, including these countless red crabs in this one, that are so frightening to me–because they are life, yet they are mindless and they just keep going on and on despite whatever we think or whatever we hope."
-Roger Ebert to Werner Herzog

"The moon is dull. Mother Nature doesn't call, doesn't speak to you, although a glacier eventually farts. And don't you listen to the Song of Life."
-Item 10 of Herzog's "Minnesota Declaration"

by Alex Jackson There are a few basics tenets I have followed during my initiation into the world of film criticism: 1. That art is made up of subject matter and a perspective; 2. Frivolousness is not a substitute for offering a perspective–rather it is a perspective in and of itself; 3. Artist intentionality is less than meaningless, as perspective is often constantly being informed by greater cultural, social, and subconsciously psychological forces; 4. In light of tenets 1,2, and 3, one should be careful of dismissing the film you are reviewing, in particular because most of those you will be tempted to dismiss are frivolous, and dismissing them only advances their mission to secularize and marginalize the cinema.

Lady Chatterly’s Lover (1981) + Mata Hari (1985)

September 8, 2005Posted in1980s, Authors: Alex Jackson, DVD

LADY CHATTERLEY'S LOVER
**/**** Image A Sound A-
starring Sylvia Kristel, Nicholas Clay, Shane Briant
screenplay by Marc Behm, based on the novel by D.H. Lawrence
directed by Just Jaeckin

MATA HARI
½*/**** Image A- Sound A-
starring Sylvia Kristel, Christopher Cazenove, Oliver Tobias, Gaye Brown
screenplay by Joel Ziskin
directed by Curtis Harrington

by Alex Jackson Cinematically at least, I view the 1980s as being an entirely pro-cultural period. Black became mainstream–everybody listened to music from black artists and watched films and television shows starring black actors. Gay became mainstream, blurring gender lines. Feminism likewise became mainstream, blurring gender roles. Blacks, gays, and women were not necessarily disenfranchised in the culture during the 1970s, but by the 1980s they defined the dominant culture, creating a new status quo. The '80s were not a carbon copy of the 1950s, rather they were the 1950s dragged through the '60s and '70s; it was essentially a period of multicultural homogenization. There was, then, never a proper counterculture or fringe element. Nobody was an outsider and nobody was "other." Similarly, there was no feeling of liberation, as there was nothing to be liberated from.

Starstruck (1982) – DVD

August 31, 2005Posted in1980s, Australia, Authors: Travis Mackenzie Hoover, Blue Underground, Comedy, Drama, DVD, Music, Musical

***/**** Image A Sound A (DD)/A+ (DTS) Extras B
starring Jo Kennedy, Ross O'Donovan, Margo Lee, Max Cullen
screenplay by Stephen MacLean
directed by Gillian Armstrong

by Travis Mackenzie Hoover By all rights, Starstruck shouldn't be as much fun as it turns out to be. Chief amongst the film's faults is its insistence on laying a '70s template over an '80s milieu: the harsh straight lines of new wave get rounded off, making for a completely incongruous let-it-all-hang-out attitude. Things are not improved by the tentative approach of director Gillian Armstrong, not known for extroverted behaviour in the past and seemingly unsure of herself here. Yet although it's rather like watching Meat Loaf belt out Gary Numan's "Cars" at the top of his lungs, the combination of bright happy colours and an aw-shucks demeanour is undeniably infectious. You wind up grinning uncontrollably despite Starstruck's decidedly uncool approach to being cool.

The Greatest American Hero: Season Three (1982-1983) – DVD

August 29, 2005Posted in1980s, Adventure, Authors: Walter Chaw, Comedy, DVD, Superhero, Television

Image A Sound A Extras C
"The Price is Right," "30 Seconds Over Little Tokyo," "Divorce Venusian Style," "Live at Eleven," "The Resurrection of Carlini," "Wizards and Warlocks," "Heaven is in Your Genes," "This is the One the Suit Was Meant For," "The Newlywed Game," "Desperado," "Space Ranger," "It's Only Rock 'n Roll," "Vanity, Says the Preacher"

by Walter Chaw Aliens come to earth in a giant metal calamari ring and give a nebbish schoolteacher a red superhero outfit with the Chinese symbol for "centre" on the centre of its chest. They also give him an instruction booklet he promptly loses, leading to a couple of seasons of Ralph (William Katt) trying his best to figure out how to use his special jammies with the help of his attorney girlfriend Pam (Connie Selleca) and rogue FBI agent Bill (Robert Culp). It's on-the-job training, though, as the reluctant crime-fighting trio find themselves, weekly, pitted against a Saturday morning cartoon's rogue's gallery of two-bit hoodlums that reek, somehow simultaneously, of desperate invention and formula contrivance. (How else to explain the second-season search for a sea monster in the Caribbean?) But there's something that remains effective–sticky, even–about a show more at home in the Shazam! posture than in the prime time slot it was asked to fill. (Indeed, I discovered the show in syndication, seeing as I was too busy during its regular run watching "Knight Rider" and "The A-Team" on a rival network.) It's wish-fulfillment of the flavour towards which most superhero creations tend, sure, but it also speaks to what is essential in the American ethos: that the least of us believes we can be heroes under the right circumstances.

The Blues Brothers (1980) [25th Anniversary Edition (Widescreen)] – DVD

August 29, 2005Posted in1980s, Action, Adventure, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Music, Musical, Road Movie

**/**** Image A- Sound A- Extras B
starring John Belushi, Dan Aykroyd, James Brown, Cab Calloway
screenplay by Dan Aykroyd and John Landis
directed by John Landis

by Travis Mackenzie Hoover Long before Quentin Tarantino would run a tear across the super soul sounds of the '70s, there was the strange case of John Belushi and Dan Aykroyd in the deadly "Blues Brothers" affair. Sitting somewhere at the low end of White Negro trickle-down, the Blues Brothers were two conspicuously white soul singers who made up for in enthusiasm what they lacked in talent–though their "Saturday Night Live" clowning conveniently omitted this bit of information, half-expecting us to take them seriously as they tumbled and caterwauled their way through various musical numbers. Where a true hipster would have meticulously re-created their favoured forms, Joliet Jake Blues (Belushi) and his brother Elwood (Aykroyd) had nothing but "heart" and "sincerity"–a nice way of saying they were rank amateurs doing primitive karaoke. They were compellingly frantic performers, but they weren't the blues and never would be.

Illegally Yours (1988) – DVD

August 23, 2005Posted in1980s, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD

*/**** Image B Sound B
starring Rob Lowe, Colleen Camp, Kenneth Mars, Kim Myers
screenplay by M.A. Stewart & Max Dickens
directed by Peter Bogdanovich

by Travis Mackenzie Hoover The '80s drove a lot of talented filmmakers to desperate lengths, but few sank to the levels of depravity that Peter Bogdanovich did with Illegally Yours. Like so many before him, the once-unstoppable cineaste was forced to rethink his auteurism along cheesy romantic-comedy lines; unlike so many before him, he chose to ignore the ugly implications of a disturbingly infantile screenplay, instead committing to a literal interpretation as tedious as it is unpleasant. Watching Rob Lowe pester a suffering woman on the flimsiest of pretexts isn't at all funny (it's like watching a stalker get rewarded for his predations), and as he's surrounded by some of the most irritating "hilarious" types ever to grace the screen, the only variation is in the switch from creepiness to frustrated annoyance.

Weekend at Bernie’s (1989) – DVD

August 16, 2005Posted in1980s, Adventure, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD

*½/**** Image A- Sound A-
starring Andrew McCarthy, Jonathan Silverman, Catherine Mary Stewart, Terry Kiser
screenplay by Robert Klane
directed by Ted Kotcheff

by Travis Mackenzie Hoover Film comedy ceased to be the realm of the inventive and the stylish some time ago–about 30 years ago, to be precise, after wit and flair gave way to the Brightly-Lit Comedy (BLC). In order to domesticate the laffer, the architects of the BLC invented a lighting style that a) ensured that every stick of poorly-chosen furniture was impossible to miss, and b) destroyed the possibility of shadow play or other flourishes that might call attention to themselves. The BLC flooded the set with white light, banishing nuance and paving the way for stuff like Weekend at Bernie's–a black hole from which not even humour itself can escape.

Target (1985) – DVD

August 3, 2005Posted in1980s, Action, Adventure, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Thriller

½*/**** Image D+ Sound D+
starring Gene Hackman, Matt Dillon, Gayle Hunnicutt, Josef Sommer
screenplay by Howard Berk and Don Petersen
directed by Arthur Penn

by Walter Chaw Of the myriad disappointments of Arthur Penn's atrocious Target, one of the smaller ones is the appalling score by Michael Small, who, in the Seventies, was doing very fine work on Penn films like Night Moves and Alan Pakula flicks like The Parallax View and Klute. His music for Target reminds of the incidental cues on "Scarecrow and Mrs. King". The rest runs the gamut from flat direction from one of the prime architects of the amazing cinema of the American '70s, an unspeakable screenplay by non-native speaker José Luis Navarro and some idiot named Don Petersen, a pair of squandered (if only mediocre) performances from the great Gene Hackman and the badly-miscast Matt Dillon, and a plot that's an unapologetic ripper of John Schlesinger's Marathon Man. It's such a bad film, in fact, that the only enjoyment to be had from the thing is through the cruel deconstruction of its gaping implausibility. If Target finally provides a few chuckles, it does so at the expense of one of the United States' genuinely important actors (Hackman, natch) and directors.

National Lampoon’s Movie Madness (1983) – DVD

August 1, 2005Posted in1980s, Authors: Alex Jackson, Comedy, DVD, Satire

National Lampoon Goes to the Movies
Movie Madness
*/**** Image C- Sound C+
starring Robby Benson, Richard Widmark, Diane Lane, Candy Clark
screenplay by Tod Carroll, Shary Flenniken, Pat Mephitis, Gerald Sussman and Ellis Weiner
directed by Bob Giraldi and Henry Jaglom

by Alex Jackson There is a Japanese restaurant in Beverly Hills called Ginza Sushi-Ko where some dishes are only in season for two days. The owner imports 90-95 percent of his fish from Japan and so his menu is contingent upon the current geographic conditions of the country. If the fishermen can't go out because of a typhoon, he'll close down his restaurant and cancel reservations. National Lampoon's Movie Madness is a film like that: it's as hyper-topical as a late-show monologue–every reference is isolated in 1981 and unable to expand itself onto a greater context. By the time the picture was actually released a mere two years later (direct-to-video in most territories), many of its jokes had already become dated. Just think of what an additional twenty-two years has done. Reviewing this thing isn't film criticism, it's archaeology.