“A Little Nonsense Now And Then Is Relished By The Wisest Men”: RIP Gene Wilder


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The world just got a little sadder. News has been released that funnyman Gene Wilder has passed away at age 83 from complications due to Alzheimer’s Disease. Wilder was without question one of the greatest comic actors of the late 20th Century, beloved by both filmgoers and peers for the manic energy he brought to his everyman characters.

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Born in Milwaukee, Gene Wilder (nee’ Jerome Silberman) made his film debut in the small part of Eugene, hostage of the outlaw duo BONNIE & CLYDE. He then scored the plum role of neurotic accountant Leo Bloom, caught by in Zero Mostel’s scheme to produce a Broadway bomb in Mel Brooks’ THE PRODUCERS. This was the first of three Wilder/Brooks collaborations, each one funnier than the last. BLAZING SADDLES casts Wilder as The Waco Kid, an alcoholic ex-gunfighter who helps Sheriff Bart (Cleavon Little) bring peace to Rock Ridge. Best of all was YOUNG…

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Back to School Part II #14: Grease 2 (dir by Patricia Birch)


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So, the whole reason that I watched Grease last week was so I would be prepared to watch the 1982 sequel Grease 2 over the weekend.  As I’ve mentioned many times on this site, I absolutely hate Grease and I know what you’re probably asking yourself:

“But Lisa, if you hate Grease so much, why did you want to see Grease 2?”

Well, there’s a very good answer to that question but I’m not going to reveal it.  I’m going to encourage you to learn to love the mystery.  For whatever reason, I wanted to watch Grease 2.  Perhaps it was because I’ve heard that Grease 2 is the worst sequel ever made.  I really didn’t see how that was possible.  How, I wondered, could a film be any worse than the original Grease?

And, so, I watched Grease 2 on Netflix and yes, it was really, really bad.  But you know what?  It was so bad that it became almost compulsively watchable.  Unlike the first Grease, which is full of slow spots, Grease 2 is oddly exciting in its mediocrity.  I watched much of it in open-mouthed horror, wondering if things could possibly get any worse.  And, with each scene, it did get worse.  It was so overwhelmingly and shamelessly bad and so thoroughly misguided that, strangely enough, I really want to rewatch it.

Grease 2 takes place in 1961.  There’s a whole new gang of students at Rydell High!  Well, actually, Frenchy (Didi Conn) has returned.  You may remember that, in the previous film, Frenchy dropped out of high school and went to beauty school.  (She was also visited by Satan, who came to her disguised as the Teen Angel.)  But now Frenchy is back, trying to pass a chemistry class so she can … well, I’m not really sure what the whole deal with Frenchy was.  I imagine that Didi Conn was probably free for a weekend.

The T-bird and the Pink Ladies are still around but they have a whole new membership.  The head of the Pink Ladies is Stephanie Zinone (played, in her film debut, by Michelle Pfeiffer).  Her boyfriend, Johnny Nogorelli (Adrian Zmed), is the chain-smoking leader of the T-birds.  Actually, Johnny is now her ex-boyfriend.  He cheated on her over the summer.

And there’s a new boy at Rydell!  He’s originally from England and he’s Sandy’s cousin!  His name is Michael Carrington (superhandsome Maxwell Caulfield, who is perhaps fated to always be best known for playing Rex Manning in Empire Records) and, when we first meet him, he’s getting off a school bus and he’s wearing a suit!  Michael really likes Stephanie but you have to be a T-bird if you’re going to date a Pink Lady and…

AGCK!

Sorry, that was a primal scream.  Trying to describe the plot of Grease 2 inspires a lot of primal screams.

Anyway, this is a film is also a musical but apparently, none of the original Grease composers were involved with the sequels.  All the songs kinda sound like something you would hear in a parody of Grease, as opposed to a sequel.  Also adding to bizarre feel of this sequel is that everyone delivers their lines as if they’re appearing in a stage production, projecting to the back of the theater and overenunciating every single syllable.  This may have made sense for Grease, which was adapted from an actual stage show and, despite efforts to open up the action, was still deliberately stagey.  Grease 2, meanwhile, is an adaptation of a stage show that never actually existed.

The film starts with a 7 minute production number called Back To School Again.  As the Pink Ladies and the T-birds and all the other students show up outside of Rydell, they sing, “Woe is me!  The Board of Education took away my parole.”  And the scene just keeps going and going, until you start to wonder if Rydell High is a cult compound.

This is followed by a song about bowling (!) that’s called “Score Tonight.”

And it just keeps getting worse from there.  The film becomes sickly fascinating as you find yourself trying to predict how much more worse it can possibly get.  You may be tempted to give up but you’ll definitely want to stick around for the scene in which Michael discovers that Stephanie wants a “cool rider.”  How does he know that?  She sings a song about it!

Naturally, Michael gets a motorcycle, a helmet, and pair of goggles and he starts to romance Stephanie.  Stephanie doesn’t know who that Michael is the mysterious motorcyclist, despite the fact that Michael is just wearing a helmet and a pair of goggles.  Though you have to admire Pfieffer’s commitment to her role (and she gives a fairly good performance, considering the material she was working with), you can’t help but feel that Stephanie might not be the smart.  Especially after she sings, “Who’s that guy?”

Uhmmm … it’s Michael.  It’s not like he’s dressed up like a bat or wearing the Iron Man armor.  He’s just got a helmet and goggles on.  Add to that, while Maxwell Caulfield doesn’t give a bad performance (he seems to be doing the best he can with what he’s been given to work with), he also doesn’t attempt to act any differently when he’s the mysterious motorcyclist than when he’s Michael.

There are other things going on as well.  The film is full of vignettes about life in 1961, all featuring the students and teachers at Rydell High.  For instance, former teen idol Tab Hunter shows up as a substitute teacher and sings a song about reproduction.

And again, it’s so bad that you can’t look away and you watch knowing that you’ll never get the images and the songs out of your head.  So compulsively watchable is this bad movie that I may have to watch it again after I finish this review.  (Then again, I’ll probably just rewatch the fifth season of Degrassi…)

(That said, I would actually argue that Grease 2 is a better directed film than the first Grease.  Grease 2 was directed by Grease‘s choreographer and, as opposed to the first film, the dance numbers are actually framed with modicum of care.)

(By the way, I’ve always wanted to use the phrase “modicum of care” in a review.)

Anyway, Grease 2 apparently bombed at the box office and, as a result, there have been no further Grease films.  It’s a shame because you so know that Grease 3 would have taken place in 1967 and featured hippies.

Oh well.

We’ll survive…

 

Music Video of the Day: Runaway Train by Soul Asylum (1993, dir. Tony Kaye)


You have to remember that this came out only a year or so after Jeremy by Pearl Jam and No Rain by Blind Melon. We also had America’s Most Wanted in full swing. The music video is partially made up of some scenes of the band playing mostly acoustic instruments while the lead singer does a better version of Eddie Vedder’s performance in Jeremy. The rest is made up of dramatizations of people running away/kidnapped, the consequences, and children’s pictures shown onscreen with their names and how long they have been missing.

The showing of actual missing kids led to some unintended results. It sounds like a good idea at first. I mean one of the members of Bone Thugs ‘N Harmony was found thanks to the TV Movie Adam (1983) that led to America’s Most Wanted, so why not? Well, if you hop over to the Wikipedia page, then you find out there were some bad things that happened as a result. In one case, the girl wasn’t actually missing, but had been killed and buried in the backyard by her mother. Another case was a girl who was forced back into a bad situation after having seen the music video. There are other details there too, such as the multiple versions of the music video with different kids in it. Some are still missing, while others have met unfortunate endings. It’s sad. Thankfully, according to the director, around 30 of the kids were found.

It is a classic both in song and video. It just also happens to be a sad case of the best of intentions turning sour for some.

Review of Stranger Things: The Vanishing of Will Byers, Season 1 Episode 1. ALT Title: Nosferatu Class of 1983


There have been a lot of reviews of this sleeper hit, but it’s clear to me that Stranger Things, at its heart, is a Postmodern Gothic Vampire story.  No, not like True Blood or Twilight where the Vampires are sexy; Stranger Things goes back to the roots of Vampyre … back to Nosferatu as an unthinking monster beast of the shadows.  Gentle reader, you can disagree with me at the end, but I ask you to have an open mind for now. I know what you’re thinking: But Case, there are no stakes or silver.  My response borrows from a real chat John Landis had with his son Max:

John: How do you kill a vampire?

Max: Stakes? Silver?

John: Wrong! Anyway you like because vampires don’t exist!

Here we go and enjoy the reviews!

We open at the creepy castle… I mean government facility in the woods of rural Indiana where something has been awoken.  The camera takes us down into the crypt or basement of the facility and a very nerdy man is running for his very nerdy life.  We know the monster is nearby because the lights are flickering similar to the yellow-barrels in Jaws to let the audience know the shark was nearby, the flickering lights in Strange Things indicate that our monster is near. The scientist believes he has made it, but as he makes it to the elevator and promised safety, he hears the sounds of bat-like sonar, looks up, and is pulled up head first by the unseen monster into the abyss.

The story moves to the child-protagonists.  The kids are Mike (the leader/dungeon master), Dustin (the brainy/geekiest of the group who looks uncannily like a young Judah Friedlander of 30 Rock), Lucas (the rational member of the group), and Will (who barely speaks for the entire series).  They are playing Dungeons and Dragons in a basement.  Yes, if you didn’t guess it yet, these boys are bullied … a lot.  The game goes to crap because of a poor dice roll, bringing us to Karen (Cara Buono) who tells the boys that it’s time to call it.  BTW, Cara Buono, if one of my buddies had a Cara Buono as a mom, I would’ve come up with every excuse to help out with chores for her… just sayin.  There is a hilarious moment when Mike declares that he has prepared the D&D game for two weeks and his Mom’s eyes open amazingly wide as if to say: My Son- The Forever Virgin.  The lights flicker and the t.v. is wonky, indicating the approaching monster.

The boys start heading home, but not before we get to meet the uber driven and ambitious Nancy (Nightmare on Elm Street nod) who wants nothing to do with her brother or his dork friends.  Nancy’s relationship with Steve is one of the only boring subplots, but I will cover it briefly for completeness: She dates a rich douchebag named Steve who looks like Young Jean-Ralphio of Parks and Rec.  Ok, that’s it.

Will Byers is biking home with his friends and breaks off to go his dumpy part of town.  It’s true that this biking around is somewhat reminiscent of E.T., but not really. I am of this generation and every suburban boy had a bike and no helmets either. In fact, our playgrounds were all built on top of cement and asphalt.  I guess it’s like E.T. in that boys are on bikes, but they also are breathing and wearing clothes.  It is a testament to the art department that this piece is causing people to relive the 80s so well, superimposing every movie they see onto it.  Will is getting home until he sees the silhouette of THE MONSTER.  Will dumps his bike and runs to an empty home.  The home is in stark contrast to Mike’s home; Will’s home is all wood paneling, old carpet, and dingy.  Will sees the monster approach and runs to a wood shed in the backyard.  Sadly, Will gets a rifle ready for a Vampyre fight.  The lights go nuts, we hear bat-sonar, and Will vanishes into God knows where.

Roll Credits.

The opening credits are truly a marvel of 80s nostalgia, but also a nod to vampirism.  The colors used are Black, White, and Red.  Black is the color of Nosferatu’s cloak, White is the color of Nosferatu’s fangs and skin, Red is the color of the blood Nosferatu seeks, and the opening theme music is a heartbeat.

The next scene introduces us to my very favorite character- Chief Jim Hopper (David Harbour).  He has the greatest story arc and his grief is teased out through entire series. Side note: David Harbour is without a doubt one of the greatest actors I have seen in 10 years.  Hop is obviously hungover and even smokes and drinks during his teeth brushing.  This man is the picture of deep deep grief.  Another note for 80s accuracy, Hop’s size was very common of the early 80s cops; I had never seen a small policeman until the 90s.  Cops in the early 80s were still big, could and would fight, and avuncular.  Hop is the accurate epitome of this era.

The story moves back to Will’s mom – Joyce (Winona Ryder), who like Cara Buono, must have a very mysterious portrait in her attic (double points if you get the reference).  Joyce is a poor working single-mom of two boys Will and the older brother named Creeper … I mean Jonathan.  After a briefly upbraiding Jonathan for working instead of being home for Will, Joyce realizes that her son is gone.  She calls Karen who has no idea where Will is.  There is also a good showing not telling moment in this scene to really hammer home the wealth disparity between Joyce and Karen.  Joyce is calling from already obsolete rotary phone, but Karen is speaking into a touchtone phone with the numbers in the cradle.

We are now at the school where …. brace yourselves… our three D&D obsessed child-protagonists are routinely bullied.  Nancy and her nerdy friend Barb are going on about Steve (AKA Young Jean-Ralphio).  Nancy gets a note in her locker to meet Steve in the bathrooms- that’s what I call ROMANCE.  Maybe, the arousal is from the urinal cakes or the potential of someone no longer being able to wait for them to leave and just starts furiously pooping, but they do make out quite a bit and arrange to have a study makeout session later.  Steve declares that he can be like a Ninja and get into her house without rousing her parents.  I give it to Steve on this one; I always thought ladies dug the poetry and seeing a rom-com; NOPE – it’s all about being around toilets and ninjaing to attend a makeout session.

Hop arrives at the Sheriff’s office and plays his character as still about 1/8th drunk.  Before he goes to his office, he rearranges his Deputy’s playing cards, revealing his incisive mind.  Joyce is waiting for him in his office, insisting that her son is missing.  He wonders if the father took him.  She convinces him to look, beginning his quest.  Again, this is another great nod to gothic horror, where the hero is usually flawed in someway and goes on the heroic quest for redemptive purposes.

We return to the Castl… I mean Government Facility where we meet Dr. Vanhels…I mean Dr. Brenner (Evil Modine) who, with a number of armed men wearing space suits enter the basement.  There’s snow and a general ethereal atmosphere as they approach the portal to the Monster’s Home.  This scene leads directly to us meeting our main protagonist- Eleven 0r El.

There are bare feet walking in the cold November Indiana woods.  We focus on Eleven or El.  She is a shaved-headed girl who is partly Stephen King’s Carrie and Part-Mute. She tries to steal food from a diner and is stopped by the large diner owner with a heart of gold.

We return to the school where we meet our child-protagonist’s friend – Mr. Clarke the science teacher.  He takes them to their new equipment. Yep, they are the founders and administrators of the AV Club.  I’m not writing that anyone deserves bullying, but come on, at least try ultimate frisbee or something.  Dungeons and Dragons AND the AV Club?! WORD?!  Clearly, ladies aren’t into that; they want to be making out in bathrooms with guys who Ninja around their homes!  Hop questions the boys and gets a line on where he might be.

El is eating at the Diner with the Burly Owner.  He feeds her and calls CPS to help out, poor guy.  Then, we see El use her mojo telekinesis to stop a fan from moving.

The boy’s information has led Hop to Will’s bike. When Hop gets to the abandoned bike, he knows that something terrible has happened.  Correctly, he says, “these bikes are like Cadillacs to these kids”.  Hop takes the bike to Joyce and his entire demeanor changes from grief-stricken drunk to determined hero.  BRILLIANT!  He searches the home, the outside, and goes to the backyard shed and sees signs of a struggle and a great scare moment.  He is certain at this point that Will is missing.

A search party develops and we learn that Hop’s daughter passed. BAM! Every parent watching this show understands Hop and feels a pain in their chest for him.  The boys decide that they will search for Will.  As Mike leaves to help, he sees Steve (AKA Young Jean-Ralphio) awkwardly ninjaing into his sister’s room.  I watched this scene twice and Steve did some piss poor ninjaing if you ask me!

Burly diner owner answers the door for the Evil CPS Lady and is gunned down for his trouble.  El is stopped by two armed government goons whom she easily dispatches with her Killer Mind Mojo.  El’s Mojo- it’s not just good for turning off fans and messing with electronics- IT CAN KILL!!!  She escapes into the rain where she runs into our child-protagonists.

END CREDITS!!!

If you liked this piece, tell a friend and better yet, TELL LISA BOWMAN!

 

What Thor Was Doing During Civil War


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For the past decade or so, Marvel Studios has had a major presence in Hall H of San Diego Comic-Con. They’ve made it a point to hype up their upcoming films. From their very first one with Iron Man all the way back in 2007 to this year’s upcoming Doctor Strange and next year’s Spider-Man: Homecoming and Guardians of the Galaxy Vol. 2. One film coming out next year that only got a sizzle reel of concept art was Thor: Ragnarok. By the time of San Diego Comic-Con the film had only been filming for a couple weeks so any usable footage wasn’t ready to be shown.

Taika Waititi, the film’s director, decided that a sizzle reel of concept art for the film wouldn’t do and ended up filming a short 3-minute mockumentary detailing the whereabouts of one Thor Odinson during this past summer’s Civil War event. People who attended the Hall H presentation were raving about this short film and now the rest of the world gets a chance to see it as Marvel Studios have released the footage for all to experience.

Listen Close; You’ll never get it out of your head #Earworm


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Writer and Director: Tara Price

Stars: Ernest Thomas

Production: Dirigo Entertainment

Have you ever woken up one morning with a song stuck in your head, just bouncing around, like you can never get it out?

Yeah?….Well, this is not the song you want to wake up to tomorrow!

In Tara Price’s new short film Earworm, that is what it is all about. What can you take? The relentless, unending things on (in) your mind can take everything out of you.

Preview:

For a short film (Thomas)  gives everything, literally, everything. And Tara knows how to write, direct and tell the story she wants!

After watching the trailer, I went to bed with my earholes tightly closed!

If you would like to see a trailer for Earworm movie you can here!

 

Music Video of the Day: Smells Like Teen Spirit by Nirvana (1991, dir. Samuel Bayer)


If you haven’t seen it, then watch it. This music video premiering in September of 1991 was the 90s equivalent of The Beatles going on Ed Sullivan.

I’ve been a fan of Nirvana for a long time now, but I have never been a fan of this music video. According to Wikipedia, director Samuel Bayer figures he was hired because he would make a “not corporate” music video seeing as it was the first one he was hired to do and he felt his test reel was lousy. Also according to Wikipedia, the extras doing their thing wasn’t staged. They got pissed off sitting around all day, so Cobain and Bayer let them act out their frustration and filmed it. The janitor was played by Tony De La Rosa. The last shot of the close-up on Kurt’s face was his idea along with a few other edits he did for the final version that was shown on MTV. I’m glad he did seeing as I can’t think of anything more visually iconic about Nirvana than Kurt’s face screaming in close-up.

I like to imagine Nirvana performing at a high school like how it must have looked when Dead Kennedys performed at my old high school in 1982. Or, how it would have looked had they shown up in Frederick Wiseman’s documentary High School (1968).

High School (1968, dir. Frederick Wiseman)

High School (1968, dir. Frederick Wiseman)

There’s other information out there about the music video, but the important thing to know going into watching this is context. This was a major break visually and audibly from what was going on prior to the release of the album Nevermind.

Enjoy!

Hammer Time!: KISS ME DEADLY (United Artists 1955)


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Mickey Spillane’s Mike Hammer novels have long been one of my favorite Guilty Pleasures. Spillane’s books were the literary equivalent of knocking back shots of Jack Daniels with no chaser. The misanthropic Mike Hammer’s Sex & Violence filled adventures are rapid paced, testosterone fueled trips through a definitely un-PC world where men are men, women are sex objects, and blood and bullets flow freely through a dark, corrupt post-war world.  Spillane turned the conventional detective yarn on its ear and, though critics hated his simplistic writing, the public ate up his books by the millions.

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The film version of Spillane’s KISS ME DEADLY turns film noir on its ear from its opening shot of Christine Bailey (a young Cloris Leachman) running down a lonely highway, almost getting run over by Mike Hammer. The PI picks her up and the opening credits roll backwards to the strains of Nat King Cole crooning “Rather Have The Blues”. This beginning set-up lets…

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