Apparently, David Tomblin, who worked as an assistant director on Return Of The Jedi, thought it would be fun to shoot a little behind the scenes movie back when they were making the film. This short ~25 minute movie was first seen at conventions in 1999 according to IMDb. Now it’s still a little obscure, but I was able to find a copy. This is what the holiday special should have been like in my opinion.
The movie opens up and we meet young Warwick Davis, barely a teenager, deciding it’s time for him to make a name for himself. This first takes him to see if he can be a training partner for Dave Prowse, the “Undefeated Weightlifting Champ”.
As you can see, that doesn’t work out for him. Insert your own joke here about Warwick Davis, Dave Prowse, and this scene from A Clockwork Orange (1971).
Next Davis spots a sign from the Chelsea Football Club for a “First Team Goalkeeper”. This is when Take The Long Way Home by Supertramp kicks in as we see Davis trying to play goalie.
But Davis was destined for other things. Such as intersecting with stock footage from the Star Wars movies. I love that we have Luke fighting Vader.
Then Luke gets pushed back by Vader into the street.
Davis gives him some words of encouragement,
then Luke goes back in the door…
and flips right back into the stock footage to finish the fight.
Now Davis is off to be an actor! But first he has to deal with those pesky elevators with their buttons that are too high to press. Davis is clever though. He calls someone on the floor he needs to go to and fakes a voice to get them to come down so he can go up. He makes it to an agent.
The agent tells him the movie he’s currently working on is Revenge Of The Jedi. Says he’s got a box of costumes, so go try something on and let’s take a look.
Warwick decides Boba Fett isn’t for him cause he wants to play a good guy. The agent suggests an Ewok. Neither knows what that is, but it pays, and the costume fits! So off he goes to try and find the studio.
The cab driver asks for his fare, but Davis tells him Ewoks don’t have money. Next let’s prank Harrison Ford.
Ford doesn’t know where he’s supposed to go so it’s time check in with Hamill.
When Hamill doesn’t know, then it’s time for Carrie.
Nice to know that Carrie just hung around in the bikini whenever she felt like it. She tells him to go Jabba’s palace so off he goes!
Davis runs into C-3PO, R2-D2, and Chewbacca. He asks for directions, but they get scared and run away. He finally makes it to the palace.
This is a great little scene where Davis interacts with the puppets, dances, and talks to the choreographer. Now Davis finds himself on the Death Star and narrowly escapes Boba Fett.
Davis thinks he’s found Frank Oz’s office, but whoops!
Now we see C-3PO being an annoying jackass. Luckily, Davis is here to show how to handle him. Just turn him off.
And with C-3PO turned off, let’s turn him into a lamp.
But Davis still doesn’t know where to go. That means it’s time to turn to Yoda.
Yoda tells him he needs to go to Endor which is in a galaxy far far away. Davis asks him how to get there. Yoda says on the table is his passport and ticket. So Davis is off to the airport. He first tries to get aboard the plane as an Ewok, but it’s a no go, so he goes undercover as Warwick Davis instead.
Finally Davis makes it to Endor. This part makes up the last 6 minutes or so of the movie. Davis basically wanders around Endor with a little interaction from the characters. The best part is when he runs inside the little fortress with a bomb and blows it up.
His job done, Davis leaves to go into the forest of Endor to meet back up with his parents.
They have a humorous little discussion about him wandering off, that sure he was just in a movie, and about how much it costs to take a rocket ship.
I was born the year The Return Of The Jedi came out so obviously I wasn’t there to see the holiday special when it aired, but I’d bet people were expecting something more like this movie. This was fun, it had it’s own original storyline that still interacted with the films, featured the actual actors, and more than anything, the actors actually look like they had fun making this. To my knowledge this still isn’t something that is out there widely available. That’s sad. If you can find it, watch it!
I think I was twelve when I first saw Heavy Metal. It came on HBO one night and I loved it. So did all of my friends. Can you blame us? It had everything that a twelve year-old boy (especially a 12 year-old boy who was more than a little on the nerdy side) could want out of a movie: boobs, loud music, and sci-fi violence. It was a tour of our secret fantasies. The fact that it was animated made it all the better. Animated films were not supposed to feature stuff like this. When my friends and I watched Heavy Metal, we felt like we were getting away with something.
Based on stories from the adults-only Heavy Metal Magazine, Heavy Metal was divided into 8 separate segments:
Soft Landing (directed by Jimmy T. Murakami and John Bruno, written by Dan O’Bannon)
Heavy Metal opens brilliantly with a Corvette being released from a space shuttle and then flying down to Earth, surviving reentry without a scratch. Who, after watching this, has not wanted a Space Corvette of his very own?
Grimaldi (directed by Harold Whitaker)
On Earth, a terrified young girl listens a glowing green meteorite called the Loc-Nar tells her that it is the source of all evil in the universe. This sets up the rest of the film, which is made up of stories that the Loc-Nar tells about its influence. The Loc-Nar is the film’s MacGuffin and, seen today, one of Heavy Metal’s biggest problems is that it has to find a way to force the Loc-Nar into every story, even if it meant sacrificing any sort of consistency about what the Loc-Nar was capable of doing. Even when I was twelve, I realized that the Loc-Nar was not really that important.
Harry Canyon (directed by Pino Van Lamsweerde, written by Daniel Goldberg)
In this neo-noir tale, futuristic cabby Harry Canyon (voiced by Richard Romanus) is enlisted to help an unnamed girl (voiced by Susan Roman) to find the Loc-Nar. Slow and predictable, Harry Canyon does feature the voice of John Candy as a police sergeant who attempts to charge Harry for police work.
Den (directed by Jack Stokes, written by Richard Corben)
Nerdy teenager David (voiced by John Candy) finds a piece of the Loc-Nar and is transported to the world of Neverwhere, where he is transformed into Den, a muscular, bald warrior. As Den, David gets to live out the fantasies of Heavy Metal‘s target audience. On his new planet, Den rescues an Earth woman from being sacrificed, overthrows an evil queen and a sorcerer, and gets laid. A lot. Den is the best segment in Heavy Metal, largely because of the endearing contrast between the action onscreen and John Candy’s enthusiastic narration.
Captain Sternn (directed by Paul Sebella and Julian Harris, written by Bernie Wrightson)
On a space station orbiting the Earth, Captain Lincoln F. Sternn is on trail for a countless number of offenses. Though guilty, Captain Sternn expects to be acquitted because he has bribed the prosecution’s star witness, Hanover Fiste. However, Hanover is holding the Loc-Nar in his hand and it causes him to tell the truth about Captain Sternn and eventually turn into a bloodthirsty giant. Captain Sternn saves the day by tricking Hanover into getting sucked out of an air lock.
Captain Sternn was a reoccurring character in Heavy Metal Magazine and his segment is one of the best. Eugene Levy voices Captain Sternn while Joe Flaherty voices his lawyer and Dean Wormer himself, John Vernon, is the prosecutor. Even National Lampoon co-founder Douglas Kenney provided a voice.
B-17 (directed by Barrie Nelson, written by Dan O’Bannon)
After the Loc-Nar enters Earth’s atmosphere, it crashes into a bullet-riddled World War II bomber, causing the dead crewmen within to reanimate as zombies. Scored to Don Felder’s Heavy Metal (Takin’ a Ride), B-17 is one of the shorter segments and its dark and moody animation holds up extremely well.
So Beautiful and So Dangerous (directed by John Halas, written by Angus McKie)
Nubile Pentagon secretary Gloria is beamed aboard a spaceship that looks like a giant smiley face. While she has sex with the ship’s robot captain, the two crew members (voiced by Harold Ramis and Eugene Levy) pour out a long line of cocaine and shout “Nosedive!” before snorting up every flake. So Beautiful and So Dangerous is so juvenile and so ridiculous that it is actually all kinds of awesome.
Taarna
In the film’s final and most famous segment, Taarna, the blond warrior was featured on Heavy Metal‘s poster, rides a pterodactyl across a volcanic planet, killing barbarians, and finally confronting the Loc-Nar. She sacrifices herself to defeat the Loc-Nar but no worries! We return to Earth where, for some reason, the Loc-Nar explodes and the girl from the beginning of the film is revealed to be Taarna reborn. She even gets to fly away on her pterodactyl. Taarna was really great when I was twelve but today, it is impossible to watch it without flashing back to the Major Boobage episode of South Park.
Much like Taarna, Heavy Metal seems pretty silly when I watch it today. But when I was twelve, it was the greatest thing ever.
Here I am, glass of soda in hand and Christmas Time (Don’t Let The Bells End) by The Darkness playing while I write about The Star Wars Holiday Special. Didn’t I go to college or something? I have a paper on my wall signed by Schwarzenegger that says I did. Oh, well. Let’s talk about this thing. The special begins and it’s already showing me something sad.
Instead of airing an episode of The Incredible Hulk or Wonder Woman, they aired The Star Wars Holiday Special. Now we cut to Han Solo and Chewbacca in the Millennium Falcon. They are being chased by the Empire while they are trying to reach Chewie’s home planet so he can celebrate Life Day. I’ve watched the whole special and I still don’t know what that means. At first Han is a little hesitant, but they jump to lightspeed anyways. Now we get weird iris shots of people who are in the special including Julia Child if she were a man who was turned into a female plastic doll then given a spray tan.
Then we cut to this shot of the Swiss Family Robinson house.
Inside is the main set filled with the main characters such as:
Papa Wookiee who is here to give all the viewers nightmares.
Mama Wookiee who we know is a woman because she’s working in the kitchen.
And Baby Wookiee who we can all thank for introducing the worst animation I’ve seen since that Chinese computer animated movie Agent F.O.X. (2014).
After pointless and meaningless noises from the Wookiees, the special reveals it’s true colors. By that I mean that it’s really a variety show of bad comedy and musical numbers. It’s not everyday you get to see Anton Lavey in a musical number though.
And this shot makes watching the whole special worth it.
Now the Wookiees put in a call to Luke Skywalker.
It’s been awhile since I watched the original Star Wars movies, but I don’t remember Mark Hamill looking like this. He reminds me of Pierre Kirby’s girlfriend in Dressed To Fire (1988).
After Hamill embarrasses himself, we now go back to the Wookiee household. They place a call to “Trading Post Wookiee Planet C”. I call it we roped Art Carney into this horrible thing to do really unfunny comedy bits.
before cutting back to the Wookiees. Just in case the kids weren’t already traumatized for life…
there’s this scene where they thought it would be funny to dress up Harvey Korman like this. I’d be offended since I’m transgender, but all I can feel is sympathy for poor Korman. Not only is he in this, but this is one of his appearances in the special. That thing is cruel and unusual punishment. Mama Wookiee is watching this on TV.
Now the special cuts back to Han and Chewie to remind us they are still in the special before cutting back to more pointless crap. The only difference is that now Art Carney shows up to deliver some stuff to the family. Carney says the name Han as if he is saying the word “hand”. That would have made for a great name, wouldn’t it? Hand Solo. Goes right along with the single weirdest thing in the special that happens next.
Papa Wookiee looks at VR porn. Diahann Carroll says things like “Now we can have a good time” and “I’ll tell you a secret. I find you adorable”. Oh, and Papa Wookiee makes drooling noises while pressing a button to have her repeat “I find you adorable” over and over. Then she goes on to sing a reject Bond song. I guess this part could be worse. I’m pretty sure Wookiee’s don’t have genitals and he could have been watching Water Power (1977).
Now the special cuts to Leia and C-3PO to remind us they are in this too before cutting to Chewie and Han. Then Imperials show up at the treehouse to look for Chewbacca and to remind us that people in Dayton, Ohio suffered greatly one night.
This part goes on forever, and Art Carney gets a brilliant idea. I’ll distract this guy by making him watch Jefferson Starship.
We built this special on Schlock ‘N Schtick.
Then Baby Wookiee goes to some sort of device while the Imperials are searching the very small set. He calls up the infamous cartoon. This thing is supposed to introduce us to Boba Fett. I could actually talk about this cartoon, but I think this shot sums it up.
Already missing Harvey Korman doing bad comedy? He now makes a return. Earlier Baby Wookiee opened a present which had the Brain Computer from Brazilian Star Wars in it and now he needs to watch an instructional video on how to use it.
This part can best be described as Harvey Korman auditioning for Max Headroom about a decade before that show came on the air. Also, it shows us what anyone looking at this special was doing in 1978.
I don’t know what that was all about, but now we go to the bar scene. This is the only bright point in this special thanks to Bea Arthur.
Harvey Korman comes into the bar run by Arthur and attempts to hit on her. Korman has a hole in the top of his head that she pours drinks into.
Didn’t think this character through, did they? If he takes in drink through the top of his head, then what exactly comes in or out of his mouth? Arthur turns him down. Then an announcement is made over the TV that the bar is to be closed by order of the Empire. This is when the scene basically turns into that part from Casablanca where they sing the French National Anthem. Honestly, this scene is not that bad. Granted it’s surrounded by fecal matter, but still. Arthur does a decent job singing and is kind of funny.
Now we cut back to the treehouse where we get a cameo appearance by the Wilhelm scream as Han Solo throws a Stormtrooper off the patio. It’s funny that even during this tiny little scene with Harrison Ford, we can still see why he’s a good actor.
Now the time has finally come to celebrate Life Day where it appears a bunch of people are walking into a star to commit suicide.
It’s kind of like that overly edited version of the Star Wars commercial with Anna Kendrick that was on YouTube where they cut out enough of her lines that it appears she picks up a knife then kills herself.
Then we get to see the whole gang together. You know, like I’m sure everyone thought they were going to see when they tuned in to this “Star Wars” special. Carrie Fisher sings here because who cares.
After stock footage from the movie to remind us this thing actually had something to do with Star Wars, we cut to the Wookiees at the dinner table together.
I’m just going to assume they are conducting a seance to try and contact Obi-Wan. Now the credits roll and according to them we have Bob Mackie to blame for that thing poor Harvey Korman had to wear during the cooking scene. I love that the ending credits don’t include any of the actors names from the Star Wars movie. Apparently, Miki Herman was their “‘Star Wars’ Consultant”. It’s hard to believe that position existed. Oh, and of course David Winters did the choreography. That reminds me, I do need to see Dancin’ It’s On (2015). Heard it’s terrible. Then the 20th Century Fox logo comes up which is nice considering I’ve been watching Godfrey Ho movies that start with a girl standing like the Columbia Pictures lady while the Star Wars theme plays.
And the special goes out like it came in, by reminding us we could have been watching an episode of The Incredible Hulk or Wonder Woman.
I’m sure there’s a fascinating backstory to this, but I don’t care. This is one of the most ill-conceived and poorly executed things I have sat through this year. And I watched a parody of Rocky where he gets hit in the face with the Star Of David as well as a children’s Hallmark movie where a little girl refers to beauty squirting out of her body onto the floor.
— Big Ape (George Eastman), asking the question that everyone’s wondering in
2019: After The Fall Of New York (1983)
“Giara, if love had any meaning in the world, you would be the one I love.”
— Parsifal (Michael Sopkiw) in 2019: After The Fall of New York (1983)
New York City was a frequent location for Italian exploitation films and why not? Seeing as how most of the Italian exploitation films of the 70s and 80s were specifically designed to pass for an American product (with the actors and directors often credited under Americanized pseudonyms), it would only make sense to use America’s best-known city. Interestingly enough, these films rarely portrayed New York as being a very pleasant place. There was always either a mob war or a zombie invasion or police corruption or a madman with a knife to deal with. This portrayal of New York as Hell-on-Earth reached its logical conclusion with Lucio Fulci’s The New York Ripperbut even films less extreme than Fulci’s still presented New York as representing every negative thing that has ever been thought about Americans.
After the international success of the first two Mad Max films and John Carpenter’s Escape From New York, there was a handful of Italian films that were meant to portray what life would be like in New York after a nuclear apocalypse. (In most cases, life would not be pleasant.) Of the films that made up this odd, yet undeniably energetic genre, 1983’s 2019: After The Fall of New York is one of the best.
Every post-apocalyptic film opened with the task of explaining who went to war with who. In this case, the war was started 19 years earlier by the European-Asian Alliance. After reducing America to atomic rubble, the Euracs (as they’re called) set up their headquarters in New York. When 2019: After the Fall of New York opens, the few radiation-scarred survivors have been reduced to living in the sewers and eating rats. The Eurac army rides through the streets atop white horses, capturing survivors and subjecting them to terrible medical experiments. Consider this: 2019: After The Fall of New York was an Italian-made film about evil Europeans (including, presumably, soldiers recruited from Italy) invading America. If you ever had any doubt about how determined the Italian film industry was to appeal to American audiences, 2019: After The Fall of New York should erase them.
Despite losing the war, there is still an American government. The President of the Pan-American Confederacy (played by Edmund Purdom, who regularly showed in strange movies like this one and Don’t Open Til Christmas) is determined to savage what he can of American society before relocating to either Alaska or the moon. Just in case you had any doubt that this movie was made a long time ago, the supporters of the Pan-American Confederacy are called the Confederates. And they’re the heroes of the film…
It turns out that there is only one fertile woman left on Earth. And the Confederate President is determined to take her to the moon to harvest her eggs and use in vitro fertilization to restart the human race. However, she is currently in a state of hibernation in New York (which, we are told, protects her from the radiation. That doesn’t really sound quite right but we’ll just go with it). President Purdom wants her rescued before the Euracs track her down!
Meanwhile, Parsifal (Michael Sopkiw) is in Nevada, where he makes his living by winning violent car races. After his latest race, he is rewarded with a sex slave but, because he’s a good guy, he lets the slave go free. (Before leaving, the slave does tell Parsifal about the existence of cyborgs, which is information that comes in useful later on.) No sooner has Parsifal done his good dead then he’s grabbed by some Confederate soldiers and taken to see President Purdom. Purdom doesn’t quite say, “I heard you were dead,” but he might as well.
Working with the one-eyed Ratchet (Roman Geer) and a bitter former academic named Bronx (Vincent Scalondro), Parsifal enters New York and tries to find the woman while staying on step ahead of the Eurac commander (Serge Feuillard). Along the way, Parsifal gains allies like a little person named Shorty (Louis Ecclesia), a kickass warrior named Giara (Valentine Monnier), and former circus performer turned gang leader, Big Ape (George Eastman).
That’s right, George Eastman is in this movie. If you know the least bit about Italian exploitation cinema, you will not be surprised when George Eastman shows up. You also won’t be disappointed. Eastman (whose real name is Luigi Montefiori) was a regular presence in everything from Spaghetti Westerns to grisly thrillers like Anthropophagus to flamboyant gialli like Deliriumto post-apocalyptic thrillers like Raiders of Atlantis and this one. As always, Eastman is a lot of fun to watch in the role of Big Ape. Nobody played hulking menace with quite the flair of George Eastman at his best.
Along with Eastman, 2019: After the Fall of New York also some cult appeal because it starred Michael Sopkiw. The handsome Sopkiw had a short film career, starring in four Italian films and working with directors like Lamberto Bava and Sergio Martino, before retiring from acting. The briefness of his career and his backstory as a former sailor-turned-marijuana smuggler-turned-model have given Sopkiw a certain enigmatic mystique among fans of Italian exploitation. 2019: After the Fall of New York was Sopkiw’s first role and he brings a lot of enthusiasm to the role.
As directed by Sergio Martino, 2019: After The Fall of New York is full of interesting oddities that set it apart from your typical Italian post-apocalyptic thriller. For instance, a radiation-scarred man is occasionally seen wandering through the rubble, playing a trumpet and, at one point, serving as a chorus to the action. Another character, in a scene reminiscent of a Fulci film, has his eyes graphically ripped from their sockets and spends the rest of the film preparing for an eye transplant. Two of Big Ape’s followers are dressed up as gorillas and Big Apes even gets a chance to show off his skills with a scimitar. Perhaps my favorite random detail is that the Euracs do their evil plotting in front of a reproduction of Picasso’s Guernica. It’s just so wonderfully weird.
In fact, the whole movie is wonderfully weird. 2019: After The Fall of New York is Italian exploitation at its best!
The year 2005 was a dark time to be a fan of Star Wars.
The first two parts of the highly anticipated prequel trilogy had been released and had left fans feeling as if millions of voices had cried out in terror and suddenly been silenced. No sooner had fans started to recover from the trauma of The Phantom Menace then Attack of the Clones was unleashed and they were stunned to learn that a movie could be even more pointless than The Phantom Menace.
The summer of 2005 promised the release of Star Wars Episode III: The Revenge of the Sith. Fans were excited because they knew that Anakin Skywalker would finally be transformed into Darth Vader but they also knew that he would still be played by Hayden Christensen. Many of us who went to see the movie on its opening weekend did so with low expectations and mixed feelings.
“WAR!” the opening title crawl of Revenge of the Sith declared, as if it was trying to reassure those of us in the audience that it would not be another boring Star Wars prequel. There was nothing in the crawl about taxation or trade routes. Instead, it was all about how the Galactic Republic was at war with separatists and how Chancellor Palpatine was being held prisoner by General Grievous. After an exciting battle on Grievous’s flagship, Anakin not only rescued Palpatine but also decapitated Christopher Lee’s Count Dooku, despite the fact that Dooku had surrendered and was unarmed. That’s when those of us watching knew that Revenge of the Sith was not going to be like the other two prequels. Revenge of the Sith was going to be darker and edgier and not just for kids. A headless Count Dooku action figure would not be sold at your local toy store.
Looking back, it is easy to forget how relieved many of us were that Revenge of the Sith was not terrible. After the bitter disappointment of the first two prequels, we were happy that Jar Jar Binks only appeared during one shot towards the end of the film and he did not speak. We were happy that Ewan McGregor and Natalie Portman both finally got to give performances that justified casting actors of their caliber as Obi-Wan and Amidala. We were happy that, since Anakin and Amidala were secretly married between Attack of the Clones and Revenge of the Sith, we did not have to sit through any more scenes of them falling in love. Many of us had found Hayden Christensen’s performance to be petulant in Attack of the Clones and, intentionally or not, Revenge of the Sith seemed to validate our suspicions by having both Yoda and Mace Windu say the same thing about Anakin. After the embarrassment of Phantom Menace and Attack of the Clones, this was a prequel that we felt we could get behind.
And we were really happy with the climatic battle between Obi-Wan and Anakin. After Anakin had gone over to the dark side, he and Obi-Wan dueled on a volcanic planet. “You were supposed to be the chosen one!” Obi-Wan shouted after chopping off Anakin’s legs. After being left to die by Obi-Wan, Anakin was rescued by Emperor Palpatine. It was only after being encased in that famous black armor that Palpatine told the new Darth Vader that Amidala had died. Darth Vader’s “Nooooooooo!” would go down in history.
At the end of the film, Jimmy Smits was seen giving an infant Luke to Owen and Beru Lars and Darth Vader and the Emperor were seen standing on the bridge of an imperial ship and looking out at the skeleton of the Death Star. For the first time since the prequels were first released, some of us applauded at the end of a Star Wars film.
When, ten years later, I rewatched Revenge of the Sith for the first time in a long while, my immediate impression was that it was nowhere close to being as good as I remembered. Without a doubt, it was still the best of the prequels but how much was that really saying? Of all the prequels, it came the closest to capturing the sense of awe and excitement that made the original trilogy (even Return of the Jedi) so entertaining but, at the same time, it still had many of the same flaws that afflicted Phantom Menace and Attack of the Clones. Hayden Christensen was as stiff and inexpressive as ever, as was George Lucas’s dialogue. (When Obi-Wan tells Anakin that Palpatine is evil, Anakin actually replies, “From my point of view, the Jedis are evil!” He shouts this in the middle of a light saber duel.) Even the movie’s most shocking moment, when Anakin murdered a group of children, was no longer effective because everyone in the movie insisted on calling the children “younglings.”
Throughout the entire prequel ordeal, George Lucas would insist that it was necessary to see all three of the prequels to really understand the story he was trying to tell and how it fit in with the original trilogy. However, of all the prequels, Revenge of the Sith is the only one that feels as if it adds anything to what we had already learned from watching the original trilogy. Nor is there anything to be gained from having seen the first two prequels before watching Revenge of the Sith for the first time. The main accomplishment of Revenge of the Sith was to prove that The Phantom Menace and Attack of the Clones were entirely unnecessary. (Revenge of the Sith actually works better if you have never seen Phantom Menace because there is no way that the Anakin played by Jake Lloyd could have grown up to be the Anakin played by Hayden Christensen.)
Why, when we originally watched Revenge of the Sith, did so many of us think that it was so much better than it actually was?
In the year 2005, we were just happy to have a Star Wars film that did not totally suck.
After airing for seven seasons and counting on the Cartoon Network, Regular Show has finally gotten its own feature-length movie! In Regular Show: The Movie, the Earth is in danger of being destroyed by a time jumping volleyball coach and it is up to our two favorite slacker groundskeepers — Mordecai the Blue Jay and Rigby the Racoon — to save the world. But to do so, they are going to have to confront their past and Rigby is going to have to reveal something that not even his oldest friend, Mordecai, knows about.
Regular Show: The Movie opens in the future, with a massive battle in space. Rigby is leading a squadron composed of his former co-workers at the state park against the forces of the evil Mr. Ross, a former high school volleyball coach-turned-cyborg who is using a “timenado” to destroy time itself. (Ross is in a hurry to destroy Earth because, after devoting 25 years to his evil plan, he has a lot of television to catch up on.) During the battle, Rigby is shocked to discover that his former friend Mordecai is one of Ross’s soldiers. Mordecai tells Rigby that he wants revenge for something that Rigby did in the past. Rigby manages to escape in a time ship but not before getting shot by Mordecai.
Future Rigby lands in a Georgia state park where, as usual, present day Rigby and Modecai are trying to get through the day by doing as little work as possible and without getting fired by their boss, an uptight gumball machine named Benson. Before Future Rigby dies, he reminds Present Rigby and Mordecai of the time that they built a time machine in high school. The time machine malfunctioned and caused the science lab to explode, which led to Rigby and Mordecai being expelled from high school. It also caused Mr. Ross to lose a volleyball game, which set Mr. Ross on his path to madness (or, as Mr. Ross, puts it, drove him “craze-o” because that is how they say crazy in the future).
Using the time ship, Present Rigby and Mordecai try to stop Past Rigby and Mordecai. But before they can save the world, Rigby has to find the courage to reveal his secret to Mordecai, a secret that causes them to question and reconsider their friendship.
Regular Show: The Movie is a fun and trippy movie that is full of nods to 80s and 90s pop culture. (The Ferris Bueller homage was my favorite.) The voice work is also excellent, with Mark Hamill a stand-out in the role of Skips, a very intelligent and reasonable Yeti. Devotees of the series will not be disappointed by this frequently hilarious expansion.
Attack of the Clones is, at least in my opinion, the worst Star Wars film ever made. Hands down. That is not to say it’s not mildly entertaining, but it demands a great deal of good will from its viewer to keep him from sneering at the movie constantly, especially if said viewer is a fan.
Christ, where do I even begin.
It’s important to note that Episode II is a transition movie. If that’s not clear enough, what I mean is that it’s a movie that exists to connect both the childish, yet potentially endearing Episode I, and the much darker and edgier Episode III. Episode II is somewhere inbetween these two moods, trying to make the transition smoother, disastrously so. It’s catastrophic in many levels, but mostly because of Hayden Christensen’s Anakin Skywalker. We’ll get there soon.
Episode II starts as a movie about politics. Now, I like fictional world politics as much as the next person. I honestly do. Especially in a space opera setting. But in Star Wars the politics are dull and barely explained. Padmé Amidala’s two terms as democratically elected Queen of Naboo (wait, what?) are now over, and she continues her career as a politician by becoming a senator. The story begins by trying to make it interesting that people are trying to kill Amidala, on what appears to be politically motivated crimes. We don’t get much context, except that she opposes some other senators. Palpatine, being the super trustworthy guy everyone always knew he was, assigns the Jedi Order to protect her, and finds that Obi-Wan is a suitable bodyguard for Padmé, considering their friendship way back in Episode I. Of course, Obi-Wan must take his apprentice, Anakin Skywalker, with him. And hilarity ensues.
Now, you’re probably familiar with whom Anakin is to become, and you probably know whose father he is, so this movie must establish one very important thing; an origin to the affection between future Lord Vader and an unwitting woman, so that we can learn whose womb was it that those guys from the original trilogy came from. Therefore, in addition to being about lackluster politics, this is a movie about love.
DAMN SON.
Now, I have to agree with Padmé. You can preach all you want about how you have a massive crush on Hayden Christensen’s mini braid, but that piercing sex offender gaze made me uncomfortable. Throughout the first act, Anakin goes from flirting with the poor woman to actively doing stuff very similar to sexual harassment. I mean, seriously, look at this lecherous, leering asshole.
Darth Vader has always been regarded as one of the greatest villains of cinema, but I never figured that he was also one of the sleaziest.
I wish this was the only problem with Anakin. Maybe it’s not Mr. Christensen’s acting, but the poor writing (though I suspect that, considering his absence in major movies this decade, his acting was definitely a factor). Young Skywalker is a very gifted Jedi, being immaculately conceived by midi-chlorians and all (I can’t stop laughing), and he is painfully aware of his skills, which he shows through an overpowering arrogance. Now, arrogance when done right can be charming, and perhaps that was the intention; to make Darth Vader a badass even as a teenager, a daredevil, someone who just barely succeeds, but does it with style. Anakin, however, comes across as impudent, annoying, and exceedingly stupid. It seems Anakin can’t go two scenes without doing something that would displease the Jedi council, and entirely aware of it too. ‘Cause that’s just how he rolls. James Dean from a galaxy far far away.
Second act comes. Anakin grows more and more adolescent and fascist. More politics happen. Then there are some cool action scenes that seem to save the film. Obi-Wan is written as barely having a personality, aside from comments that try to make it evident that he is growing older and grumpier, even though he can’t be much more than 30. Regardless, he is arguably the saving grace in the main cast, at the very least as far as really cool fights go. He pilots fighter ships, he fights with a lightsaber; the man sees some action. It’s almost depressing to see an actor of Ewan McGregor’s caliber being reduced to action hero and grumpy mentor to an angsty teenager.
Their dynamic is oddly reminiscent of Gran Torino
Jar Jar also appears. Fan favourite Jar Jar. I feel this is worth mentioning because in an extremely important scene he proposes (as stand-in senator for Amidala) to convey supreme power to Chancellor Palpatine. Yes, that Chancellor Palpatine, and I have to wonder why they couldn’t task this burden to an unnamed senator. Don’t people hate the poor gungan enough? It’s as if George Lucas is just fucking with his public to see how far they can go, at this point.
And then, in the third act, we are introduced to the big bad: Count Dooku, played by the late Sir Christopher Lee. You’d think that bringing this legend of acting might infer that this character is the highlight of the cast. Might have been. Dooku is a character full of potential. He’s obviously evil, but with just the right amount of idealism to seem more shades of grey than the cruel, pure black villains the series are accostumed to. But apparently all he does is some exposition, then pave the way for the epic arena fight scene that kind of defines this movie as a Star Wars film (perhaps one of the only things that defines this as a Star Wars film), some more exposition, a lightsaber duel (a really cool one, wrapping up the whole two things that make this a Star Wars film), and then he’s gone, apparently having started a war. The movie is over, without fully explaining why things escalated, and who exactly Count Dooku represents that the Republic is at war with.
WAR AGAINST WHOM???
I’m serious when I say this can be an entertaining movie. The fight scenes can be fun and you can laugh at what ridiculous situations the actors are subjected to. But it’s mostly incredibly dull. It’s a film that throws you into an extended torrent of politics you need to understand beforehand to appreciate, and that lead to Clone Wars, a pretty cool spin-off that most people never got to see and that might as well have been properly included as crucial to the continuity since it’s much better than this. As a standalone film, the story is a confusing, rushed mess even at two hours long. As a Star Wars film, Attack of the Clones makes it obvious that the series is not infallible. Horribly, gapingly, obviously not infallible.
See those green things in the picture above? You’re probably looking at them and you’re thinking to yourself, “Those are the biggest avocados that I’ve ever seen!”
Well, they’re not avocados.
No, instead they are green eggs from Mars. They may look harmless but if they start glowing, pulsating, and making an eerie womping noise, you might want to get away from them. When those eggs explodes, they spray out a green goo. Any living creatures that is so much as even splashed by this goo will then explode in a mass of blood and guts. It’s messy. I would not want to clean up after anyone is sprayed with green goo.
Those eggs are at the center of this week’s daily sci-fi grindhouse, the 1980 Italian film, Contamination. How much you enjoy Contamination will largely depend on how much you like old school Italian exploitation films in general. If you’re the type who rolls your eyes at bad dubbing and who demands that a film follow some sort of narrative logic, you are not the ideal audience for this movie. However, if you’re like me and you enjoy the pure shamelessness of Italian exploitation, you’ll probably have an easier time enjoying Contamination.
It won’t come as a surprise to any student of Italian or grindhouse cinema to learn that Contamination was ripped off from several films that were popular in the late 70s. The eggs are largely lifted from Alien and, whenever the goo-sprayed bodies explode, it’s reminiscent of that ugly little thing bursting out of John Hurt’s chest. The second half of the film feels like a secondhand James Bond film, complete with a sinister conspiracy, a mysterious mastermind who earlier faked his own death, and a femme fatale. The conspiracy is headquartered on a coffee plantation in South America. It’s not difficult to imagine Baron Samedi or some other villain from Live and Let Die showing up and laughing before throwing an exploding egg at someone.
Contamination opens with a seemingly deserted ship floating into New York harbor. Fans of Italian cinema will immediately think about the opening of Lucio Fulci’s Zombi 2. Just as Zombi 2 opened with the New York City police investigating an abandoned boat and getting attacked by a zombie, Contamination features the New York City police investigating an abandoned boat and getting sprayed with green goo. The only cop who doesn’t explode, a tough New Yawker named Tony (Marino Mase), works with Col. Stella Holmes (Louise Marleau) to figure out why those eggs were on that boat.
Helping them out is an alcoholic former astronaut named Commander Ian Hubbard (Ian McCulloch). Somewhat appropriately, McCulloch was also in Zombi 2. (And let’s not forget about his role in Zomie Holocaust…) I once read an interview with McCulloch (in Jay Slater’s overview of Italian zombie cinema, Eaten Alive) in which he said that he didn’t feel he did a very good job in Contamination but I think he’s being too hard on himself. Is the very British and slightly uptight Ian McCulloch miscast as a cynical, alcoholic, American astronaut who can’t even walk to his front door without stumbling over discarded beer cans? Sure, he is. But he’s so miscast that it actually becomes rather fascinating to watch him in the role. He may be miscast but you can tell he’s really trying and he’s just so damn likable that you almost feel like it would be a disservice to him not to watch the film.
Anyway, Stella, Tony, and Hubbard have to discover out why the green eggs are on Earth and they eventually do figure out what’s going on. I’ve watched the film multiple times and I have to admit that I’m still not sure what they figured out. It’s a confusing movie and I doubt that there’s really any way that it could have ever made any sort of coherent sense but then again, that’s part of the film’s charm.
So, here’s what does work about Contamination. The exploding green eggs are both scary and wonderfully ludicrous. Ian McCulloch is a lot of fun as drunk Commander Hubbard. Goblin provides an excellent and propulsive score. And finally, there’s an alien monster who simply has to be seen to be believed. To his credit, director Luigi Cozzi realized that the monster looked cheap and he uses all sorts of creative editing and employed an arsenal of jump cuts to try to keep you from noticing. Much as with McCulloch’s performance, you can’t help but appreciate Cozzi’s effort.
As I said before, you’re enjoyment of Contamination will probably be determined by how much you enjoy Italian exploitation films in general. If you’re not familiar with the Italian grindhouse, Contamination is not the film to use for an introduction. However, if you are already a fan, you might appreciate Contamination.
Contamination is in the public domain and, as such, very easy to track down.
Every year, since 2013, us as a #LateNightMovie gang have had an annual Christmas party week. In 2014 it was two weeks and this year it will be three weeks. And as a joke, myself and Tammy (@TRDownden) try to find the worst #LateNightMovie ever.
And as Tammy, and the rest of the gang admitted, I found it!
The movie I put the gang thru was “Santa and the Ice Cream Bunny”
Cast: As I researched this movie, literally, no cast member wanted to be associated with this movie, but here is what I could find. Director: R. Winer
Writer: Hans Christian Andersen (You will get this if you watched the movie)
Santa: Jay Ripley
Plot:
In Florida, Santa has his sleigh stuck in the sand. To escape the heat all of his reindeer fly back to the North Pole, leaving him in the heat. Passing out from the heat, Santa telepathically summons local children to help. The children bring several animals, including a donkey, a horse, a gorilla and most hilariously a pig, to try and get the sleigh free.
When all efforts fail, Santa tells the children the story of a girl who visits a theme park and hears the story of ‘Thumbelina’. At this point, the movie-in-a-movie starts, with the entire 1970 Barry Mahon ‘Thumbelina’ playing, credits and all.
After the movie, Santa tells the children not to give up. The children leave and return with an Ice Cream Bunny driving a fire truck. The bunny offers to take Santa back to the North Pole. The kids left wondering about the sleigh, it disappears and joins Santa at the North Pole.
Review:
Gawd, this movie was horrible! I mean really horrible! If you are sitting around with 96 minutes of your life you never want back, try and sit thru this movie. I will almost put that out as a dare.
Quips:
As always, the #LateNightMovie gang brought their A game to this movie. Here is a sampling of the snarky fun!
TRDowden:
Annnd we just found an even more annoying song
(referring to another movie we will watch!)
WarrenPeas64:
So… exactly how much LSD would it take to write this? TRDowden:
Did Vic Savage direct this one too?*
PinkyGuerrero:
no one thinks to get an adult with a brain to help
kellythul:
Little children, animals, creepy old guy… this IS a Vic Savage film *
*Great minds thinking alike!
TRDowden:
Is there going to be trauma therapists on hand after this movie, because we’re gonna need it
WarrenPeas64:
I think I’ve been to the other part of Florida – the parts I’ve been to don’t have children wandering the beach with farm animals
JesCoolbaugh:
Plot twist, the horse kicks Santa in the jingle bells…
PinkyGuerrero:
Ok, how ironic that Santa say if you have faith your dreams will come true, and he can’t move his sleigh Janeen_FluffyJ:
Wow! Santa heard our wishes and gave us a new movie! LOL
(And Thumbelina begins) kellythul:
Was this movie one of the 7 plagues set upon Egypt? It should have been
WarrenPeas64:
When this bottle is empty I’m going to hit myself in the head with it
Janeen_FluffyJ:
Great… now our hell is freezing over. TRDowden:
The director really needed to quit licking frogs at this point WarrenPeas64:
Hey – I am LOVING this – we’re MYSTing a movie that’s nearly as bad as Frankenstein’s Island
(Nearly as bad???)
JesCoolbaugh:
Ahahahahaha!!! THe coming was foretold!!! kellythul:
makeitstopmakeitstopmakeitstopmakeitstopmakeitstopmakeitstopmakeitstopmakeitstopmakeitstop WarrenPeas64:
Bet you guys aren’t pitying me for being a Jew now, are ya? are ya?
JesCoolbaugh:
Even Santa can’t take another song. F’k the sleigh, let’s get outta here!!!
Thanks Amber, Becs, Myke, Cindy, Holly, Jinni, Jes, Kelly, Phil, Pinky, Warren, Matt, Kurt, Tammy and Myrna for watching this disaster with me!
If you dare to try and sit thru this movie, here is your chance!
The time was May of 1999. The place was a movie theater in Baltimore, Maryland. The theater was packed with people waiting to see the most anticipated film of their lifetime. The film was The Phantom Menace, the first prequel to the original Star Wars trilogy. For two years, the people in the audience had followed every detail of the film’s production. Some of them had gone to showings of Meet Joe Black and Wing Commander, just so they could see the first trailers for the film.
Sitting out in that audience was one 16 year-old boy who, a few nights earlier, had been standing outside a Target at midnight so that he could be one of the first to buy Phantom Menace merchandise. He bought two Jar Jar Binks action figures because, even before Phantom Menace opened, he suspected Jar Jar would be the most controversial character.
When the lights went down, the audience cheered. At the start of every trailer, someone in the dark theater shouted, “I bent my Wookie!” The audience laughed the first two times. By the fifth time, there were only a few pity titters.
Finally, it was time! The first few notes of John Williams’s Star Wars theme echoed through the theater. Again, the audience cheered as the familiar title crawl appeared on-screen.
The 16 year-old read the opening crawl and he started to get worried. What was all this talk about taxation? Trade routes? Trade Federation? Blockades? It seemed more appropriate for Star Trek or even Dune. Except for the mention of Jedis at the end of the crawl, it did not sound much like Star Wars.
Things started to look up as soon as Liam Neeson and Ewan McGregor made their first appearance as Qui-Gon and Obi-Wan. Obi-Wan’s first line was, “I have a bad feeling about this.” A few people in the audience clapped. “I bent my Wookie!” a familiar voice shouted. Nobody laughed.
When a hologram of Darth Sidious appeared and told the Trade Federation goons to kill Qui-Gon and Obi-Wan, everyone in the audience knew that Darth Sidious was Palaptine, the future Emperor, and the excitement was palpable. When Qui-Gon and Obi-Wan fought off the battle droids and escaped to the besieged planet of Naboo, the audience started to relax. Maybe this wouldn’t be as bad as the critics were saying.
Then Qui-Gon and Obi-Wan met Jar Jar Binks and the whole movie went to shit.
In the months leading up to the release of The Phantom Menace, everyone had heard about Jar Jar Binks and how he was a totally computer-generated character. Jar Jar Binks was the future of movie technology and, from the minute he first appeared, the future was fucking terrifying. Jar Jar was a Gungun, an amphibious creature who was characterized as being clumsy and cowardly. He shrieked in a high-pitched voice and spoke in an indescribable dialect. As much as the audience tried, there was no way to avoid or ignore Jar Jar Binks. He was not in the entire movie but he was at the center of every scene in which he did appear.
As Jar Jar led Obi-Wan and Qui-Gon to the underwater city of the Gunguns, a voice in the dark theater shouted out, “I bent my Wookie!”
“Shut the fuck up!” the 16 year-old snapped back.
The 16 year-old was not sure if anyone heard him but the voice was silent for the rest of the movie.
Sorry, Ralph.
No sooner had the audience recovered from their introduction to Jar Jar then they met young Anakin Skywalker. Anakin’s story was the whole reason that The Phantom Menace had been made. The audience knew that the prequels would show how Anakin Skywalker would grow up to the greatest and most evil badass in the universe, Darth Vader. But in Phantom Menace, he was just a 9 year-old slave on the planet of Tatooine, conceived by immaculate conception. Even before Phantom Menace was released, the word was out that Jake Lloyd, the child cast as young Anakin, was not exactly the best actor in the world. But even though they had been forewarned, the audience was not prepared for just how terrible little Jake Lloyd was in the role. There was no darkness to Jake Lloyd’s cutesy performance. There was no sadness or toughness. Jake Lloyd came across like the type of hyperactive child who would end up in the ensemble of a Christmas play, breaking character and waving to his parents during the Crucifixion. Not only could the audience not see him growing up to be Darth Vader but they could not imagine him as a slave living on an inhospitable desert planet.
Qui-Gon, Obi-Wan, Jar Jar, Queen Padme (Keira Knightley), and Padme’s handmaid, Amidala (Natalie Portman) were stranded on Tatooine when they first met Anakin. Qui-Gon felt that Anakin was “the chosen one,” who would bring balance to the force. It was hard for the audience to believe him when they heard Anakin shout, “Yippe!”
For that 16 year-old who had stayed up past midnight to buy two Jar Jar Binks action figures, that “yippe” was the final straw. He had watched the original Star Wars trilogy on VHS tapes. He had gone to the re-releases. He loved Star Wars and he wanted to love The Phantom Menace. Instead, he felt so let down by the film that he could barely look at the screen.
The 16 year-old wondered why C3PO and R2D2 were in the film. Phantom Menace revealed that they were built by the future Darth Vader. R2D2 would even help Anakin in the film’s final battle. It made no sense. The 16 year-old wondered if anyone else in the audience was as confused as he was. He wondered why, if he could see that this made no sense, George Lucas could not understand the same thing.
Anakin won a pod race and was allowed to leave Tatooine. The film’s action was moved to the Coruscant, a planet that was covered with one huge city. Samuel L. Jackson appeared as Mace Windu and, when he stared out at the audience, he seemed to be saying, “I fucking dare you to yell anything about bending your motherfucking Wookie!” There were scenes set in the galactic senate, presumably to appease everyone who wanted a meticulously detailed portrait of how a galactic Republic would be governed. Padme turned out to be a fake and Amidala was revealed as the real queen. There was a final battle between the forces of the Republic and the Trade Federation. Qui-Gon was killed in a duel with the evil Darth Maul (Ray Park) but Obi-Wan promised to train Anakin in the ways of the Jedi. Palpatine promised that he would be watching Anakin’s development.
And, of course, there was this:
For many in the audience who truly loved the original trilogy and who had spent the past two years scouring every corner of the Internet in search of news about The Phantom Menace, the midi-chlorians was the point that they give up on the movie. The Force added a hint of mysticism to the original trilogy. Because it was so mysterious and its origins so deliberately obscure, fans of Star Wars could imagine that The Force was inside of them as well as Luke and Darth Vader. “May the force be with you,” was more than just a catch phrase to those fans. It was a reminder that, even in a galaxy far far away, there was still mystery and faith. When Qui-Gon talked about midi-chlorians, fans realized that not only did they understand the appeal of Star Wars better than George Lucas but George Lucas did not even care why they loved his film. For those fans, the midi-chlorians not only ruined The Phantom Menace but cheapened the original trilogy as well. The Force was no longer special or mystical. Anakin might as well have just been bitten by a radioactive spider.
For the 16 year-old, it was somehow even worse that, before asking about the Force, Anakin apologized to Qui-Gon for causing so much trouble. Sitting out in the theater, he knew that the boy who would grow up to be Darth Vader would never yell “yippie!” and he would never apologize for causing any trouble.
At the end of the movie, the audience did not know how to react. The 16 year-old talked to his friends as they filed out of the theater. Everyone was in a state of denial. They knew that they had seen something very disappointing but, after all the excitement leading up to the release of The Phantom Menace, they did not want to admit how disappointed they really were with the actual movie. They talked about what did work. They talked about the pod race, which had been fun. They talked about the exciting light saber duel between Qui-Gon, Obi-Wan, and Darth Maul. Being teenage boys, they also talked about Natalie Portman and Keira Knightley.
They tried not to talk about Jar Jar Binks, beyond agreeing that he sucked. They tried not to talk about Jake Lloyd as Anakin. It was too painful to know that Star Wars had been reduced to Jar Jar Binks and Jake Lloyd. They did make fun of the “I bent my Wookie” guy. In the face of grave disillusionment, it was all that the 16 year-old and his friends could do.
Today, enough time has passed that it is easier to laugh about Jar Jar Binks and The Phantom Menace. Though the initial trauma may have faded into memory, it all came rushing back to me as soon as Lisa asked me if I would be willing to review The Phantom Menace for this site. I cautiously agreed and hoped that, since I already knew what I was getting myself into, The Phantom Menace would not be as disappointing the second time around.
It was a strange experience rewatching The Phantom Menace. While I remembered how bad the movie was, I’d forgotten how equally boring it was. Jar Jar Binks was even more annoying than I remembered and Jake Lloyd was even worse. Of the film’s best scenes, the pod race went on too long and the duel with Darth Maul was too short. For such a badass villain, Darth Maul was underused for much of the film, as if George Lucas did not understand that the kids he claimed to have made the film for would be far more interested in the dynamic Darth Maul than the histrionic Jar Jar Binks.
Emphasizing Jar Jar Binks over Darth Maul made as much sense as emphasizing the Ewoks at the expense of Boba Fett.
Worst of all, the entire movie felt even more pointless the second time around. When the prequels were first released, George Lucas always said that all three of them should be viewed in the context of the larger story that they were telling. But what do we really learn from The Phantom Menace or any of the prequels? Did anyone really want to know about how trade was regulated before the Empire? Did we really need to know the exact details of how Anakin became a Jedi? Watching The Phantom Menace, the answer is no.
I was especially surprised by how bad the CGI looked. When The Phantom Menace was first released, the CGI was often the only thing that was critically praised. Critics may have hated Jar Jar Binks as a character but they all agreed that it was impressive that a major character had been created by a computer. It is easy to forget just how big a deal was made about The Phantom Menace‘s special effects. At the time, we had yet to take it for granted that an entire movie could be made on a computer.
But seen today, the CGI not only seems cartoonish but, like the midi-chlorians, it feels like a betrayal of everything that made the original Star Wars special. The universe of New Hope and Empire Strikes Back felt lived in. It was imperfect and real. It was a universe where even the most fearsome storm trooper could accidentally bump his head on a doorway.
But the CGI-created universe of The Phantom Menace was too slick and too perfect. There was no chance for spontaneity or anything unexpected. The universe of the original Star Wars trilogy was one in which you could imagine living but the universe of The Phantom Menace seemed only to exist in the computers at Lucasfilm. With The Phantom Menace, George Lucas seemed to be reminding those who loved his films that the Star Wars universe belonged to him and him alone. Our imagination was no longer necessary.
As for that 16 year-old who first saw The Phantom Menace in that Baltimore theater, I still have those Jar Jar Binks action figures. I keep one of them on my desk at work and I enjoy the strange looks that it gets. If you push down its arms, Jar Jar sticks out his tongue.