Movie Review ~ Time Warp: The Greatest Cult Films of All-Time – Vol. 1 Midnight Madness


The Facts
:

Synopsis: From The Rocky Horror Picture Show to The Big Lebowski and everything in between, this fascinating deep-dive documentary begins its celebration of the greatest cult movies of all-time discussing the birth of the midnight movie.

Stars: Jeff Bridges, Pam Grier, Rob Reiner, Barry Bostwick, Michael McKean, John Turturro, Gary Busey, Jeff Goldblum, Fran Drescher, Penelope Spheeris, Peter Bogdanovich, Joe Dante, John Waters, Illeana Douglas, Kevin Pollak

Director: Danny Wolf

Rated: NR

Running Length: 105 minutes

TMMM Score: (8/10)

Review:  I don’t know about you but all this #StayHome #StayHealthy quarantine life has gotten me pretty nostalgic on the film front.  While I’m still enjoying being able to screen the newer releases that are coming through digitally, my work desk faces a wall of movies and I can’t help but let my eyes drift throughout the day to favorite classic films of mine.  There’s my Criterion BluRay of Blood Simple nestled in close proximity to a well-watched DVD copy of Captain Ron.  Joe Versus the Volcano is being shuffled around to make room for the newly acquired 4K of Knives Out.  And did I really mess up my alphabetizing and put my old DVD of Sky Captain and the World of Tomorrow before Shout Factor’s Collector’s Edition of Serial Mom?  For shame.

Now, these aren’t all classic films (to some) but they may be that one flick for others that ranks high on the re-watchability scale…but how does a film earn the legendary “cult” status?  That’s the question posed at the beginning of the first volume in Time Warp: The Great Cult Films of All-Time, a new documentary that aims to cover the oft-mentioned movies that started small and got big over time, and maybe perhaps uncover a few gems film fans have forgotten over the years.  While subsequent volumes will cover the horror (Volume 2, out in May) and comedy (Volume 3, out in June) genres, this first entry corrals the true pick of the litter, the Midnight Madness titles that stand out as exemplars of the moniker.

Beginning with the granddaddy of all midnite movies, The Rocky Horror Picture Show, audiences will be treated to interviews with cast, crew, and fans talking about the origin, initial reaction, and staying power of the film over the last four decades.  While it’s all fairly standard stuff and nothing anyone with even marginal information about the show likely wouldn’t know, there’s a marked energy among all (and all interviewees throughout the doc, come to think of it) that doesn’t make it seem like the warmed over info it is.  Maybe that’s due to the fact that while the movies aren’t treated as high art, again and again their vital importance in the zeitgeist is stressed so if you do happen to count a movie like Eraserhead as better than Citizen Kane, no one involved with this production is going to judge you for it.

Some of the other titles covered are The Big Lebowski, a good example of a movie that isn’t for everyone yet has amassed enough of an audience over time to push it into cult status; Pink Flamingos, the John Waters tale of comic debauchery that definitely isn’t for everyone…dogs included; and Coffy and Foxy Brown, two Blaxploitation films that put star Pam Grier on the map.  Each come with their own groupings of supporters that detail why the films had such significance then and how their influence was important over the ensuing years.  Another dozen films are discussed in some detail with countless others mentioned in passing – it would be hard for any viewer to not hear at least one of their personal favorites tossed around at some point.

It doesn’t surprise me to learn that director Danny Wolf and the distributor are planning on breaking apart all three volumes further to create an extended TV mini-series because why else would we need a quartet of color commentators awkwardly set-up in a studio to chat about their personal favorite films between segments?  Don’t get me wrong, I’d have welcomed Illeana Douglas (Cape Fear) and John Waters (Cry Baby) to serve as the de facto hosts but I just didn’t understand where director Joe Dante (Matinee) or actor/comedian Kevin Pollak (Indian Summer) fit in at the end of the day or what they really brought to the proceedings. (I’ve watched two of the three volumes at the time of this writing).  That said, some of the people they do interview are quite entertaining, none more so than director Penelope Spheeris who appears to talk about her landmark documentary The Decline of Western Civilization.  Dressed all in black with sunglasses on, she is an active and engaging participant but is the kind of straight shooter that guffaw-inducing sound-bites were made of.

I’ll hold off on more of my thoughts for the next two volumes but as a first entry, Midnight Madness is a swell introduction into Wolf’s look into a fun side of movie history.  Providing some cinematic comfort food while we’re all hunkered down, Time Warp: The Great Cult Films of All-Time, is well-worth a look and an easy, entertaining watch.

Happy Thanksgiving ~ Planes, Trains and Automobiles


Note: This review originally ran November 23, 2017

The Facts:

Synopsis: A man must struggle to travel home for Thanksgiving with an obnoxious slob of a shower ring salesman his only companion.

Stars: Steve Martin, John Candy, Laila Robins, Michael McKean, Kevin Bacon, Ben Stein, Edie McClurg

Director: John Hughes

Rated: R

Running Length: 92 minutes

Original Release Date: November 25, 1987

TMMM Score: (10/10)

Review: Here’s a movie I’m really, truly thankful for.  30 years (!!!) after its original release, Planes, Trains and Automobiles is a gift that has kept on giving to countless people throughout the year but especially at Thanksgiving.  Writing this review in 2017 as I’m about to hit the road to celebrate the holiday with family, I knew I had to get my annual viewing of this one in a day before the big Turkey Day. Revisiting this one is like meeting up with an old friend who tells the same jokes but still delivers them with a master’s precision.

It’s two days before Thanksgiving and marketing exec Neal Page (Steven Martin, Parenthood) is rushing to catch an early flight home to Chicago to be with his family for the holiday.  If only he could make it to the airport.  In mid-day NYC rush hour traffic, he races for a cab with another big shot (Kevin Bacon in a cameo done as a favor to John Hughes right before they made She’s Having a Baby together), gets his cab stolen out from under him by an unseen man toting a large trunk with him, and arrives at the terminal to find his flight delayed.  That’s where he meets Del Griffith (John Candy, Splash), a portly shower ring salesman that turns out to be the cab thief.  When their plane is diverted to Kansas on account of the weather, Neal and Del become unlikely travel mates as they work together to get back to their families.

Hughes was on a real roll at this point, having just come off of directing back to back to back to back hits that have become seminal favorites (Sixteen Candles, The Breakfast Club, Weird Science, Ferris Bueller’s Day Off) not to mention writing National Lampoon’s Vacation, Pretty in Pink, and Some Kind of Wonderful.  This was his first movie to deal with real adults and it’s a marvelous pairing of a perfectly assembled cast with Hughes’ hilarious (if episodic) script.  There’s not a single boring moment in the movie, pretty remarkable considering how hard it is to sustain comedy for any length of time, let alone 92 minutes.

The movie is filled with classic scenes.  Martin and Candy waking up in their small hotel bed in an awkward embrace, Martin’s hysterically foul-mouthed run-in with a car rental agent (Edie McClurg, Elvira, Mistress of the Dark), Candy driving cross-country and accidentally getting both of his arms stuck behind him while Martin sleeps, the list goes on.  Hughes is smart enough to have Del be the catalyst for a joke but not make him the ultimate target, to do that would be too cruel to be funny and that’s not what he’s interested in.

Martin is great as the tightly wound Neal who alternates between hating the schlubby Del and hating himself for the way he treats him.  It’s not hard to see why Neal gets so frustrated, either, because Del does himself no favors.  He’s a slob, he takes all the air out of any room he’s in, he doesn’t recognize normal social signals, and he has an uncanny way of destroying anything he touches.  Still, in Candy’s brilliant hands he’s a lovable dude and by the time the movie reaches its surprisingly emotional zenith, you’ll probably be like me and wiping tears away.  Oh yeah, I cry every time I watch the movie…I know I will and have accepted it at this point.

On a personal note, I can’t watch this movie without remembering my late father’s howling laugh when I first saw it.  I can still hear him roaring at Candy’s cluelessness and Martin’s slow-burn reactions.  This was a family favorite of ours and while my dad isn’t here to watch it with me, I think of him constantly when I put it on.  I watch a lot of movies and don’t always take the time to go back and rewatch many films…but there are exceptions and Planes, Trains and Automobiles is certainly one of them.

Down From the Shelf ~ Planes, Trains and Automobiles

The Facts:

Synopsis: A man must struggle to travel home for Thanksgiving with an obnoxious slob of a shower ring salesman his only companion.

Stars: Steve Martin, John Candy, Laila Robins, Michael McKean, Kevin Bacon, Ben Stein

Director: John Hughes

Rated: R

Running Length: 92 minutes

Original Release Date: November 25, 1987

TMMM Score: (10/10)

Review: Here’s a movie I’m really, truly thankful for.  30 years (!!!) after its original release, Planes, Trains and Automobiles is a gift that has kept on giving to countless people throughout the year but especially at Thanksgiving.  Writing this review in 2017 as I’m about to hit the road to celebrate the holiday with family, I knew I had to get my annual viewing of this one in a day before the big Turkey Day. Revisiting this one is like meeting up with an old friend who tells the same jokes but still delivers them with a master’s precision.

It’s two days before Thanksgiving and marketing exec Neal Page (Steven Martin, Parenthood) is rushing to catch an early flight home to Chicago to be with his family for the holiday.  If only he could make it to the airport.  In mid-day NYC rush hour traffic, he races for a cab with another big shot (Kevin Bacon in a cameo done as a favor to John Hughes right before they made She’s Having a Baby together), gets his cab stolen out from under him by an unseen man toting a large trunk with him, and arrives at the terminal to find his flight delayed.  That’s where he meets Del Griffith (John Candy, Splash), a portly shower ring salesman that turns out to be the cab thief.  When their plane is diverted to Kansas on account of the weather, Neal and Del become unlikely travel mates as they work together to get back to their families.

Hughes was on a real roll at this point, having just come off of directing back to back to back to back hits that have become seminal favorites (Sixteen Candles, The Breakfast Club, Weird Science, Ferris Bueller’s Day Off) not to mention writing National Lampoon’s Vacation, Pretty in Pink, and Some Kind of Wonderful.  This was his first movie to deal with real adults and it’s a marvelous pairing of a perfectly assembled cast with Hughes’ hilarious (if episodic) script.  There’s not a single boring moment in the movie, pretty remarkable considering how hard it is to sustain comedy for any length of time, let alone 92 minutes.

The movie is filled with classic scenes.  Martin and Candy waking up in their small hotel bed in an awkward embrace, Martin’s hysterically foul-mouthed run-in with a car rental agent (Edie McClurg, Elvira, Mistress of the Dark), Candy driving cross-country and accidentally getting both of his arms stuck behind him while Martin sleeps, the list goes on.  Hughes is smart enough to have Del be the catalyst for a joke but not make him the ultimate target, to do that would be too cruel to be funny and that’s not what he’s interested in.

Martin is great as the tightly wound Neal who alternates between hating the schlubby Del and hating himself for the way he treats him.  It’s not hard to see why Neal gets so frustrated, either, because Del does himself no favors.  He’s a slob, he takes all the air out of any room he’s in, he doesn’t recognize normal social signals, and he has an uncanny way of destroying anything he touches.  Still, in Candy’s brilliant hands he’s a lovable dude and by the time the movie reaches its surprisingly emotional zenith, you’ll probably be like me and wiping tears away.  Oh yeah, I cry every time I watch the movie…I know I will and have accepted it at this point.

On a personal note, I can’t watch this movie without remembering my late father’s howling laugh when I first saw it.  I can still hear him roaring at Candy’s cluelessness and Martin’s slow-burn reactions.  This was a family favorite of ours and while my dad isn’t here to watch it with me, I think of him constantly when I put it on.  I watch a lot of movies and don’t always take the time to go back and rewatch many films…but there are exceptions and Planes, Trains and Automobiles is certainly one of them.

Down From the Shelf ~ Jumpin’ Jack Flash

The Facts:

Synopsis: A bank employee gets a coded message from an unknown source and becomes embroiled in an espionage ring.

Stars: Whoopi Goldberg, Stephen Collins, John Wood, Carol Kane, Annie Potts, Roscoe Lee Browne. Phil Hartman, Jon Lovitz, Michael McKean, Tracey Ullman

Director: Penny Marshall

Rated: R

Running Length: 106 minutes

TMMM Score: (6/10)

Review: Here’s an example of a movie I always remember being better than it is. Over the years I’ve returned often to this strange mix of comedy and intrigue with fond memories of fun only to wind up 106 minutes later wondering why I thought it was so great.  Don’t get me wrong, as a showcase for rising star Whoopi Goldberg, Jumpin’ Jack Flash is aces but considering the actress was coming off her Oscar-nominated breakthrough performance in The Color Purple and was several years away from winning her Oscar for Ghost one can’t help but see this as a minor blip on her way to the A-list.

You aren’t wrong in thinking the role of a lonely bank employee that gets roped into a real-life spy adventure is a strange fit for Goldberg.  Just like Sister Act was conceived as a vehicle for Bette Midler, Jumpin’ Jack Flash was intended for Shelley Long who opted for The Money Pit and Outrageous Fortune instead.  Aside from a few instances that were surely the result of Goldberg’s improvisation, the dialogue and overall plot seems generally unchanged from when it was Long’s…and that’s problematic.  With no discernible personality, Goldberg’s character (and the actress herself) struggles at the confines of a screenplay that often works against her more than it does her any real favors.

After original director Howard Zeiff was fired after a few weeks of filming, actress and first-time director Penny Marshall was brought in and that also doesn’t exactly help things.  While Marshall would go on to have several notable efforts like Big, A League of Their Own, and Awakenings, the rookie mistakes are evident.  Though it has comedy in fits and starts, the tone of the movie is all over the place.  One moment it’s an office comedy, then it’s an international thriller before getting Keystone Kop-y after Goldberg finds herself locked in a telephone booth tethered to the back of a tow truck.

With all these items in the minus column of my critical spreadsheet, why do I keep returning to this one?  Clearly, it’s Goldberg and it’s thanks to her the movie remains a rainy day option.  Managing to sell most of the malarkey dialogue she’s tasked with, Goldberg’s NYC vibe creeps in at opportune times.  I still get a kick out of her conning her way into a royal gala at the British embassy dressed as Diana Ross and lip-synching to one of the singer’s tunes.  While the telephone booth scene is quite screwball, listening to Goldberg riff on her situation provides some nice chuckles.  Let’s also give a hand for a fine supporting cast of familiar faces and a great big roll of the eyes at the ancient computer technology that at one time was cutting edge.

A hit at the box office, even if Jumpin’ Jack Flash is an interesting step in Goldberg’s ladder to stardom and hasn’t aged well at all it’s still better than Burglar, Fatal Beauty, and the string of other head-scratchers she appeared in the years after The Color Purple was released.