Thursday, June 30, 2016
LABYRINTH and John Carpenter’s all-holy BIG TROUBLE IN LITTLE CHINA which wasn’t just a flop but a flat-out disaster, opening in 12th place at the box office on opening weekend. Some of the big hits of that summer now seem emblematic of the 80s rot that was really setting in by this time, away from what we think of as the comparatively simpler enjoyments of RAIDERS, E.T. and GREMLINS from earlier in the decade. TOP GUN. COBRA. FERRIS BUELLER’S DAY OFF. Even the enjoyable RUTHLESS PEOPLE is deliberately about that ugliness. BEING THERE and THE THING is another stereotypical jerk in the D.A.’s office and Roscoe Lee Browne as the presiding judge offers some of the best comic timing in the film, making me wish it really were more of a courtroom movie. When he makes his entrance there’s such confidence in how he takes over the scene that I relax a little, happy to see him until I realize the character isn’t actually going to be around for very long. Elmer Bernstein composes the last of his four scores for Reitman and it plays like the composer knew all too well how much the film was depending on whatever excitement he could manage to bring to it. His music at least gets to make more of an impression here than in GHOSTBUSTERS where his work got buried by the pop songs--as anyone who was watching MTV at the time will remember, even if they don’t want to, Rod Stewart’s “Love Touch” was the one single for this movie and it plays over the end credits. PSYCHO III and HOWARD THE DUCK so I guess it wasn’t one of their better seasons but chalk that up to karma from not wanting to release BRAZIL the previous year, I suppose. But hey, it was the 80s. At least that decade is over with even though for me when I spot extras in front of the art gallery during the big climax or the shot of Debra Winger driving the wrong way into traffic it gives me a hit of nostalgia as I close my eyes and imagine a film being shot in NY back then. As for LEGAL EAGLES itself, it’s really only memorable in the sense that you remember movies you saw during the summer when you were 15. Which is better than not remembering it at all, I suppose.
Monday, June 27, 2016
FEDORA, to actually take a second look at ALOHA. To be totally honest, I didn’t have a strong dislike for the film a year ago—mostly what I remembered were the pleasant Crowe hangout vibes more than anything else. I didn’t think it was good but it seemed modest and amiable enough, nothing to get too upset over. So what I discovered on this revisit felt like a splash of cold water on the face within the first ten minutes, an unfortunate discovery where almost nothing seemed to work as if I was watching an abbreviated intermediate cut of material that was never correctly focused to begin with. There’s talk in ALOHA of what the past and the future can mean so when it comes to Cameron Crowe maybe those two things are what we should focus on as well. Maybe with this film we need more time for the present to become the past. Unfortunately, I’ve already started writing about it so I guess I have to continue.