She's Having A Baby

Starring: Kevin Bacon, Elizabeth McGovern, Alec Baldwin (Cameo's by: Ted Danson, Kirstie Alley, Woody Harrelson, Mathew Broderick, John Candy, Dan Aykroyd, Bill Murray, John Ratzenberger, Penny Marshall, Ally Sheedy, Annie Potts, Michael Keaton, Warren Zevon, Wil Wheaton, Magic Johnson)
Written by: John Hughes
Director: John Hughes
Year: 1988

Rating: * * *  Stars       +       (Fan Bonus -  )  Total: * * *

80's master of teen angst,John Hughes, directs this film leaving High School behind and exploring those uncertain first years of adulthood.

The story opens with Jake and Kristy Brigg's (Kevin Bacon and Elizabeth McGovern) wedding. Young newlyweds  they face all that life and marriage have in store for them. Jake drops out of college, and finds decent work hard to come by. If that isn't enough, he has a new home and mortgage to tend with. He tries to fit in with life and neighbors in suburbia. His in-laws are a source of constant stress, and on top of all this, his sex life has turned into a mandatory chore to conceive a baby. His friend Davis (Alec Baldwin) shows up from time to time, demonstrating the greener grass of being single. Yet not all is for the worse. Kristy gets pregnant, and with that Jake has a renewed sense of responsibility. Davis is actually quite miserable being alone, and Jake gets a job in advertising, which is right up his alley as a writer. As with life, all things change. When Jake finally has grabbed the bull by the horns and takes charge of his life, the unexpected happens. In the delivery room, there is a complication with the pregnancy and Jake is forced into the waiting room where he reflects on his life and marriage to Kristy, filled with regret and hope as he waits for news from the doctor.

John Hughes sense of comedic drama that made Sixteen candles, Breakfast Club, and Pretty In Pink such a hit with teens is applied to this film, recognizing that his audience is growing up, and wanted to make a film that grows up with them. The film is told through Jake's perspective, with dialogue and cut scenes directly reflecting his thoughts and feelings. Neighbors engaging in synchronized lawn-mowing, in-laws at the foot of the bed giving sex advice, and wedding vows worse than a marine induction ceremony are a few of the experiences Jake perceives. 

Kevin and Elizabeth have great chemistry, and are completely believable as a newlywed couple. William Windom is lovably irritating as the Father-In-Law, Russ Bainbridge, who continuously reminds Jake how he's failing as a husband and provider.  The soundtrack is unmistakably 80's new wave, establishing the yuppie, dehumanizing culture of Reaganomics of the era. Jake is a free spirit trapped somewhere between the rock of responsibility and the hard place of soulless capitalism as he searches for personal satisfaction. 

Although one of John Hughes more underrated works, She's Having A Baby is worth a second look. While teenagers could relate to Hughes' High School films, this movie was erroneously targeting the early 20-something audience. It's much more appreciated by older audiences who watch this film and can reflect on their experiences when they were this age. 

SEE THE TRAILER: She's Having A Baby

Police Academy

Starring: Steve Guttenberg, Kim Cattrall, Bubba Smith, David Graf, Michael Winslow, Leslie Easterbrook
Written by: Neal Israel, Pat Proft, 
Director: Hugh Wilson
Year: 1984

Rating: * * *  Stars       +       (Fan Bonus -  )  Total: * * * 

With a new policy regarding police recruitment, a motley assortment of misfits enlist in the Police Academy, much to the dismay of the instructors.

In order to combat the growing crime rate, the Mayor decrees that age, height, weight, sex, physical fitness and education will no longer be used as criteria regarding enrollment of applicants into the Police academy. Enter the cast of characters: Carey Mahoney (Steve Guttenberg), a lovable misfit in and out of trouble with the law. A sympathetic Police Captain issues him a choice, the Academy or jail. Eugene Tackleberry (David Graf), a security guard gun-nut with delusions of grandeur. Moses Hightower (Bubba Smith), an unassuming but intimidating florist standing 6'6. Karen Thompson (Kim Cattrell), an attractive, pampered socialite looking to gain a sense of independence and self worth. Laverne Hooks (Marion Ramsey), a soft-spoken and gentle woman with the voice of a child's doll, prepares for the gritty and rough world of police work. Larvell Jones (Michael Winslow), a motormouth miscreant who's mouth is a collection of voices and sound effects used to cause mischief.

Chief of Police Hurst is opposed to the Mayor allowing such riff raff to don the uniform, and finds sympathetic instructors who understand that just because they enlist, doesn't mean they can pass. Lt. Harris (G.W. Bailey) and Sgt. Callahan (Leslie Easterbrook) are the meanest instructors this side of R. Lee Ermey in Full Metal Jacket. Tasked with both the duty of forging rookies into police officers, they also work to drive the undesirable cadets out. This becomes a real problem for Harris concerning Mahoney, who has had enough of his screwball antics. Yet, no matter what paces Harris puts him through, Mahoney won't quit. If he quits, it's off to jail. If that isn't enough, Mahoney starts to fall for fellow cadet Karen Thompson, and as a result stops trying to get kicked out (he doesn't go to prison if forcibly kicked out).

This is pure character driven comedy, and each brings their unique hilarity to the table. It puts the police force in an amusing light, but doesn't discredit the institution of law enforcement. Situational comedies to outright slapstick, Police Academy delivers the laughs, with just enough action and drama at the end to give it some legitimacy.

SEE THE TRAILER: Police Academy

2001: A Space Odyssey

Starring: Keir Dullea, William Sylvester, Douglas Rain
Written by: Stanley Kubrick, Arthur C. Clark
Director: Stanley Kubrick
Year: 1968

Rating: * * * * *  Stars       +       (Fan Bonus *  )  Total: * * * * * *

Stanley Kubick's masterpiece is arguably the greatest science-fiction film to date, and among the greatest films of all time. Yet over 40 years later, it is still an often misunderstood film.

Stanley's pacing and artistic senses craft a tale of human evolution. The first twenty minutes of the film contains no dialogue. We follow a group of primates as they survive in a deserted wilderness. Dangerous wildlife and a tribe of enemy primates make the struggle for life difficult. Then one morning, the monolith shows up. A tall, black rectangle instills fear and curiosity into the tribe till one is brave enough to touch it. Evolution is given a nudge as this man-ape learns how to turn a large bone into a weapon. With this weapon, he is able to conquer the enemy tribe and secure the water hole, thus insuring the survival of his tribe. The monolith vanishes as mysteriously as it arrived.

Fast forward a million years to the year 2001. Mankind has achieved advanced technology. Commercial space travel and a base on the Moon are common things in this age. That is, until a dig on the moon discovers an artificial monolith. Once touched, it sends a signal to Jupiter.  Now, Dr. Dave Bowman and crew race to Jupiter to learn if there is a recipient to the signal. Aiding Dr. Bowman is HAL9000, a super intelligent computer that begins to obsess over the mission, at the expense of human life.

Those looking for an action-packed sci-fi adventure full of lasers and robots need to move on. But those looking for a legitimate narrative that is poignant and ambiguous, bringing respectability to a genre regarded for camp and low-brow entertainment need go no further. Adapted from one of sci-fi's greatest writers, Arthur C. Clarke, Kubrick handles the source material with great care. His methodical pacing allows for audiences to appreciate both the dramatic moments as well as marvel to the special effects, top notch during its day and still holds up now. But the special effects aren't meant to dazzle, but to illustrate the realities of space travel. The ship docking with the space station, for example, is played rather long, and would just be a quick establishing shot today. Yet it illustrates the nuances of space flight as the ship syncs up with the rotation of the station's docking port in order to board. In fact, much of this science fiction is based on science fact. Perhaps the most accurate from an astrophysicist's point of view. Stanley Kubrick had several technical advisers on board, some even recommended by Arthur C. Clark to oversee scenes involving aerospace dynamics.  Scenes involving astronauts in spacesuits outside their vessels re-enforces the notion of complete silence in space. In fact the only sound one would hear is his own breathing. Kubrick makes use of this in several scenes, where the breathing is loud and builds tension. The increased breathing rates relay the sense of fear and isolation as the character is literally floating in the void of infinity.

The monolith is complex in its simplicity. It is as much a physical presence as it is an esoteric metaphor. It is a shape to something without form. It is a thought, a will, possibly the hand of God. It's ambiguity is its strength as Kubrick leaves it up to the audience what it represents. A God, an advanced alien race, an intelligent force of nature? It could be anything. What it does is act as a marker in the milestones in human evolution. It both nudges, and reports on, the progress of the human race.

Another powerful element to this film is the HAL9000 computer. It is regarded as an absolute flawless computer with artificial intelligence. Yet the computer develops paranoia during the space flight and begins to have a breakdown. The problem stems from being ordered to withhold information from crewmen until they reach Jupiter. This goes against his core programming, as HAL interprets it as a lie, and thus he is imperfect. Hence its decent into madness. The Odyssey is inspired by the classic tale Homer's Odyssey, in which Homer struggles with the Cyclops. The one eyed monster opposes Homer much in the same way that HAL9000, represented by a single red eye, stands in opposition to Dave.  

Kubrick once again digs deep into his musical repertoire creating a synergy of classical music with  the grand visual landscape of the cosmos. In fact, the score that plays during the stargate sequence is Legiti's Atmosphere, coupled with the events on screen. create a completely unnerving experience. In fact, at over 2 hours and 19 minutes, there is less than 40 minutes of dialogue. Kubrick intended to create a visual experience that bypasses the verbal narrative and directly penetrates the subconscious with philosophical and emotional content. 

The most confusing aspect of the film deals with the end. We see Bowman in a pristine, all white, grand hotel room, aging from one scene to the next. Like the beginning, these final minutes have no dialogue, and the ambiguous nature is left up to interpretation. Most feel he is kept in a sort of human zoo. He is cared for and observed by that, or those, who made the monolith. Other interpretations view the hotel as a sort of cosmic womb, where he experiences life, death and rebirth. Indeed, even the Monolith appears at the foot of the bed at the moment he dies, which then the scene cuts to a fetus in a womb, a cosmic starchild. This represents the next stage in human evolution.

While some may feel this film is long and slow paced, it is recognized by the U.S. Library of Congress as being, "culturally, historically, and aesthetically significant." They selected it for preservation in their national film registry. 

Seeing the film now does present an interesting juxtaposition. In scenes like the space station, we are treated to scenery that is supposed to be set in the future, yet the art deco furniture is a throwback to the 1960's.

SEE THE TRAILER: 2001: A Space Odyssey

Night Of The Living Dead

Starring: Duane Jones, Judith O'Dea, Karl Hardman
Written by: John A. Russo, George A. Romero
Director: George A. Romero
Year: 1968

Rating: * * * *  Stars       +       (Fan Bonus *  )  Total: * * * * * 

The dead have risen from the grave and seek out human flesh to sustain their damnation.

A Brother and Sister arrive at a cemetery to pay respects to their Father when they are attacked by a zombie. Then another zombie shows up. Johnny is killed, but his sister Barbra (Judith O'Dea) makes her way through the woods to an old farm house. The residents are missing, but there is an African American man named Ben (Duan Jones) who is also held up there. Ben tries to sort things out as Barbra is mute from trauma. 

But they're not alone. Several people are held up in the basement. A young couple Tom and Judy, and a middle age couple, Harry and Helen Cooper, along with their sick daughter Karen, who was bitten by one of the zombies.

Tension mounts as the farmhouse is surrounded by zombies. A few at first, then several dozen, and finally over a hundred. Those inside barricade themselves in best they can. The more zombies that show up, the less likely it is to escape. Eventually they begin to turn on each other, arguing over what to do next. Ben and Mr. Cooper come to blows, and Karen dies, but returns from the dead.

Romero proves that you can tell a compelling story on a shoestring budget. Despite being a horror film, with images of cannibalism, very risque for 1968, there is also a social commentary regarding human nature, survival instincts, and racism. The zombies pick right up, with no exposition explaining what caused them to rise from the dead. The film eludes to a cosmic radiation from a recently downed satellite as a probable cause when the survivors watch television for news on the situation.

Make no mistake, this film is the grandfather of modern zombie films, as well as the sub-genre of "survival horror." The actors, all unknowns, are compelling and very believable. Effectively a single set film, the eerieness of this film is just as strong as it was over 40 years ago. 

SEE THE TRAILER: Night Of The Living Dead

The Rocky Horror Picture Show

Starring: Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien
Written by: Jim Sharman, Richard O'Brien
Director: Jim Sharman
Year: 1975

Rating: * * 1/2  Stars       +       (Fan Bonus *  )  Total: * * * 1/2

Put your hands on your hips, do the pelvic thrust, cause it's time to do the Time Warp again.

This musical horror-comedy has endured harsh reviews from film critics, and is sustained by a cult following who redefined audience participation. The story revolves around Brad and Janet (Barry Bostwick and Susan Sarandon), just engaged, have car trouble and break down at night in the rain. They find their way to the castle of Dr. Frank-N-Furter (Tim Curry) who is throwing a party to unveil his latest creation, a man named Rocky. With no phone to call for help, Brad and Janet are offered to spend the night. But will they stay with all the strange goings-on? For not only is Dr. Frank-N-Furter a mad scientist, but also an out and proud transvestite. Rocky is to be his plaything, but Rocky isn't attracted to him. Writer/Actor Richard O'Brien is wonderful as Riff Raff, the resident handyman, who's deadpan dialogue and expressionless delivery elicit both a sense of creepiness and laughs. But it's Tim Curry's performance that is over-the-top, and cemented his career for years to come. He fully embraces his role, which from the costumes alone is extremely gutsy.

Before Homosexuality was truly out and proud as it was in the 90's, this film spotlights the gay/transvestite culture without insulting it, but not coming off as preachy either. Instead, its real tragedy is Richard O'Brien, who wrote the play turned film. A transvestite himself, his work is clearly an homage not only to his personal sexuality, but incorporates his love of horror and comedy. Yet, despite Rocky Horror's success and longevity, it isn't for the reasons he intended. Critically panned as a bad film, Rocky Horror gained momentum as fans would return to screenings dressed up as the principle characters, dance in the isle, and shout comments back to the screen. Nowadays, there is a Rocky Horror event going on somewhere every weekend. There are live performances accompanying the film, grab bags full of props the audience uses during certain scenes, and a pre-show initiation  for Rocky Horror "virgins."

The films musical numbers are a blend of rock-n-roll meets horror, with a distinct cornball aftertaste. Yet you will tap your feet and find yourself proudly singing along to Time Warp and Sweet Transvestite.

SEE THE TRAILER: The Rocky Horror Picture Show

Excalibur

Starring: Nigel Terry, Helen Mirren, Nicol Williamson, Gabriel Byrne, Patrick Stewart, Liam Neeson
Written by: Thomas Malory, Rospo Pallenberg
Director: John Boorman
Year: 1981

Rating: * * * *  Stars       +       (Fan Bonus -  )  Total: * * * *

A sword of power, A boy turned King, and a love affair that destroyed a kingdom.

Arguably the gold standard in the Arthurian Legend on film. This film covers the conquest of the Britains by King Uther, his betrayal of the alliance, and his siring of his child, Arthur. It follows Arthur as a young squire when he retrieves Excalibur from the stone, the arrival of Merlin who explains to Arthur his true lineage, and is a guiding hand as Arthur brings peace, erects a castle, and forms the round table. He is betrayed by his wife and greatest knight, forcing him into a great depression, and the land suffers for it. After questing for the Holy Grail, Arthur finds his courage and strength and sets out to fight those that would conquer Camelot.

This adaptation of the Arthurian Legend is a perfect blend of both the Christian and Pagan adaptations of this often altered tale of Britain's greatest king. Nicol Williamson is the greatest actor to have portrayed Merlin. He is both wise, yet comical. He is magical, yet seems very down to Earth. His robes seem more hermit-like, betraying the stature of his role as King's Adviser.  Helen Mirren is seductive and ruthless as Arthur's half-sister Morgana, who casts a spell to sleep with her brother in order to bare a son who will overthrow him. Nigel Terry as Arthur is just fantastic. He performs well as Arthur through many stages in life, such as the uncertain lad, the noble King, the repentant husband, and the courageous old man. Familiar actors such as Patrick Stewart, Liam Neeson, and Gabriel Byrne are excellent in their supporting roles.

Whether a low budget film or not, Director John Boorman kept all visual effects grounded in believabilty. Even the magic was regulated to smoke machines and chants by the actors. A wonderfully selected classical score, dominated by works from Richard Wagner, keeps this film epic. Certainly not a kids film, but for young adults wanting a good sense of the story of King Arthur, you can't do better.

SEE THE TRAILER: Excalibur

Gung Ho

Starring: Michael Keaton, Gedde Watanabe, George Wendt, Mimi Rogers, John Turturro
Written by: Edwin Blum, Lowell Ganz
Director: Ron Howard
Year: 1986

Rating: * * *   Stars       +       (Fan Bonus -  )  Total: * * *

Cultures clash in this Ron Howard comedy about a Japanese auto company and their American work force.

A small town outside Pittsburgh, Hadleyville is on its last legs. With the Auto factory closed, and so many employees laid off, it is quickly becoming a ghost town. Hunt Stevenson (Michael Keaton), former foreman, goes to Japan to pitch to Assan Motors to re-open the factory. They agree, and Hadleyville's citizens are back to work. However, all is not well.

First, the union is dissolved, and they return to work at less wages than they were previously receiving. Plus, the Japanese executives who moved to Hadleyville to oversee operations run the factory like a Japanese factory. They don't pay overtime, expect workers to work harder, frown on reading newspapers in the bathroom, and cannot understand workers who come to work late or leave early. The Americans, once welcoming them with open arms, resent their work ethic. They get moved around to different departments a lot, insuring everyone is equally trained and no one is special. They hate working weekends, and to leave early for family emergencies counts against them.They also have no respect for the companies exercise regimen.

Hunt is promoted to employee liaison, and finds himself caught in the middle between his duty and the respect of his friends. He tries to explain American work ethics to his bosses, yet has to meet out rules to his former friends and co-workers. Hunt is sort of an unofficial town hero, milking his high school basketball days well into his 30's. 

Meanwhile the manger Oishi Kazihiro (Gedde Watanabe) is on thin ice with the company, and making this factory productive and profitable is what stands between his success and getting fired. Yet Oishi is at odds with himself and the company as he truly values his employees as people, and empathizes with them. Yet with the owners nephew on staff, he is under constant scrutiny.

In order to save face for all concerned, Hunt makes a deal with Oishi to make 15,000 cars in one month, more than they ever did back in Japan. If Hunts men win, they get full salary, benefits, and more people employed. Yet when Hunt tells the angry workers of the deal, despite their "we're number 1" attitude, hate the deal. He then caves to peer pressure and lies about another deal for a 1/2 raise  for 12,500 cars. Satisfied that this number is doable without having to put in the hard work, Hunt is again their hero. That is, till they learn the truth.

Gedde Watanabe is as funny as he was as Long Duck Dong, only now getting a lead role. As the film goes on his tension mounts until he finally loses it and flips out. Michael Keaton is his wonderfully animated self as the guy trying to win the big game all over again. The Ron Howard / Michael Keaton formula only improves from their last collaboration, Night Shift. Howard is more seasoned as a director, and Keaton is at his comedic prime, coming off the success of Mr. Mom. The film itself neither glorifies or demeans either culture, but illustrates the clear differences in a humorous way. When the Assan executives play softball against the working team, the metaphor is clear; they are beating us at our own game. Just an all around funny film that'll leave you feeling somewhat inspired.

SEE THE TRAILER: Gung Ho

Ninja III: The Domination

Starring: Sho Kosugi, Lucinda Dickey, Jordan Bennett
Written by: James R. Silke
Director: Sam Firstenberg
Year: 1984

Rating: * 1/2   Stars       +       (Fan Bonus 1/2  )  Total: * *

This third installment in the "ninja franchise" has no continuity to either Enter the Ninja or Revenge of the Ninja. This film attempts to blend the mystique of ninjas with the Exorcist, peppered with an Mtv flavor.

The movie opens on a golf course where a VIP is playing a round of golf with business partners and enough body guards to make the President jealous. In the shadows is a ninja, assigned the task of assassinating this man. He is successful, but now must escape. After killing an army of bodyguards, and half the L.A. Police department, including taking out a police chopper, he is finally overwhelmed and gunned down by law enforcement packing automatic riffles and shotguns. Yet he isn't dead, he simply hides. Wounded and dying, he crawls to a telephone technician working on a downed line. The tech is the lead character and resident hottie, Christie (Lucinda Dickey). Through ninja magic, he hypnotizes her and forces his soul into her body.

After questioning, Christie leaves the police department and begins experiencing strange phenomena. The ninja spirit takes over from time to time on a mission of revenge. One by one she hunts down the police officers who finally killed him, yet she has no memory of the events.  One of those officers, is obscured in the sunlight, but is revealed later to be Christie's love interest, Billy. The police officer, Billy Secord (Jordan Bennett) seeks out ninja master Yamada (Sho Kosugi) who confronts the possessed Christie in an attempt to subdue her and dispel the spirit. He does, but the Spirit manifests in its old body, becoming a ninja zombie.

While completely enthralling to the 10-13 year old crowd, revisiting this film results in slouching in the chair from embarrassment.  While Sho Kosugi wanted to make a film that showcased the superstitions and mythologies associated with ninjas, the sub par acting, poor direction, and over the top sequences make this film all sizzle, and no steak. It also moved the ninja from historical figure to improbable super-hero.

This film was the last of this franchise, although Sho Kosugi would go on to make other ninja themed films, with moderate success. 

SEE THE TRAILER: Ninja III: The Domination

Back To School

Starring: Rodney Dangerfield, Sally Kellerman, Burt Ward, Keith Gordon, Robert Downey, Jr., Ned Beatty
Written by: Rodney Dangerfield, Greg Fields
Director: Alan Meter
Year: 1986

Rating: * * *   Stars       +       (Fan Bonus -  )  Total: * * *

Rich and successful business man Thornton Mellon (Rodney Dangerfield) is a self made millionaire, yet never went to college. When his son is contemplating dropping out, Thornton decides he'll go through it with him, and becomes a college freshman.

Having never met a problem he couldn't buy his way out of, Thornton passes admissions after a sizable donation to the University, and with a little paid construction work, turns his, his son's Jason (Keith Gordon) and college pal Derek Lutz's (Robert Downey, Jr) adjoining dorm rooms into one large suite. 

Father and son attend a few classes together, including a business class where Thornton and the Professor, Dr. Phillip Barbay (Paxton Whitehead), instantly clash as what he is teaching is in direct contrast to Thornton's experience as a business man. They also attend a poetry class of Dr. Diane Turner (Sally Kellerman) who Thornton immediately develops a crush on, and who happens to be dating Dr. Barbay. Thornton is on his own, however, in History class with Professor Terguson (Sam Kinison), who's love of history borders on the psychotic. Jason grows increasingly frustrated with his Dad. His Father pays people to do his homework and take notes in class. He also struggles to get on the diving team, only to believe his Father paid off the coach to get him in. Plus he has all the normal anxieties to deal with, including a love interest who happens to be dating the resident college-jock douche bag Chas, played by the great 80's bully William Zabka. While Dad is having all the fun of college life, Jason buries himself in midterm reports and studies, trying to make it on his own without his Father's help.

The fish out of water motif is played up in this fantastic 80's comedy. Perhaps Dangerfield's most memorable performance since Caddyshack, he pulls off a convincing rich and successful business man, yet retains his "no respect" shtick that made him famous. Burt Ward is a perfect compliment to Dangerfield as Lou, Thornton's limo driver, masseuse, and body guard. He keeps Thornton grounded just enough to keep everything in perspective. Paxton Whitehead turns up the snobbery as Thornton's nemesis. The comedy is impeccably timed, eliciting the right amount of laughter, and no joke falls short. While this film may get lost in the shuffle of other 80's school films like Revenge of the Nerds, Animal House, Fast Times at Ridgemont High, and just about anything John Hughes, Back To School stands on its own two feet and is definitely worth peeping out.