Catching Up With The Films of 2018: The Last Movie Star (dir by Adam Rifkin)


Vic Edwards (Burt Reynolds) was once the biggest movie star in the world.

At times, that’s hard to believe.  Vic may have started out as a stunt man before moving on to star in westerns and action movies but Vic is now 80 and he moves slowly and with a permanent slouch.  At times, he appears to be so frail that you wonder how he even manages to get out of bed in the morning.  Though he still possesses the acerbic wit for which was once famous, the words now come out a lot slower and his voice is tinged with pain that is both physical and emotional.  It’s been a while since Vic appeared on a movie set.  After years of being a self-described asshole, Vic now spends most of his time alone.  His only friend appears to be his aging agent, Sonny (Chevy Chase).

When Vic receives an invitation to attend a film festival in Nashville and accept a career achievement award, Vic goes in hopes of not only getting his ego stroked but also visiting some of the places where he grew up.  It’s only once Vic has arrived that he discovers that the film festival is basically a group of wannabe hipsters hanging out in the back of a bar.  Under the direction of Doug (Clark Duke), the film festival has previously given lifetime achievement awards to everyone from Al Pacino to Robert De Niro.  Vic’s the first recipient to actually show up.

After a night of watching a younger version of himself and answering inane questions about his career and his turbulent personal life, Vic comforts himself by getting drunk and yelling at Doug and his friends.  The next day, while the film festival continues, Vic get Doug’s sister, Lil (Ariel Winter), to drive him around Tennessee.  Vic wants to visit the places of his youth.  As for Lil, she just wants to get rid of her cranky passenger so that she can deal with her emotionally abusive boyfriend.

As you probably already guessed, in The Last Movie Star, Burt Reynolds may have been cast as a character named Vic Edwards but he was basically playing himself.  (Director Adam Rifkin has said that he would have abandoned the film if Reynolds had turned down the role)  When Vic watches himself onscreen, the clips are from Burt Reynolds’s old movies.  When Vic falls asleep and has a dream in which he confronts his younger self, the film uses footage from Deliverance and Smoky and the Bandit.  (“Slow down!” Vic yells as the cocky, younger version of him speeds down a country road.)  When Vic considers his own mortality, it’s obvious that the aging and frail Reynolds was doing the same thing.

At the start of the film, both Vic and Reynolds seem so infirm that you wonder how he’ll ever make it through the weekend.  But, as the film progresses, an interesting thing happens.  Before our eyes, both Vic and the actor playing him become stronger.  His confidence returns and, as Vic confronts the past, we finally start to see some hints of the old charisma that once made him the world’s biggest film star.  As we watch the film, we realize that his body may be weak but his mind is still sharp.  We come to realize that Vic now understands that he will die someday but he’s still not going to give up.  He may accept his own mortality but he’s not going to surrender to it.

That Burt Reynolds passed away just a few month after The Last Movie Star was released adds an extra poignance to his performance in the film.  The Last Movie Star has its flaws.  The pacing is inconsistent and, when it comes to Vic relationship with Lil, the film too often falls back on anti-millennial clichés.  In the end, the film works best as a tribute to its star.  The film argues, quite convincingly, that if anyone deserved to be known as the last movie star, it was him.

Satan’s Cop: Psycho Cop Returns (1993, directed by Adam Rifkin)


 Psycho Cop is back!

The Psycho Cop is Officer Joe Vickers (Robert R. Schaffer), who upholds the law with the help of Satan and the occult.  When he overhears two office mates talking about a party that they’re going to be throwing for a friend, Officer Vickers decides to stop by and dispense a little Hellish justice.  After killing the security guard, the Psycho Cop spends the rest of the money stalking white-collar workers and strippers.  He’s an efficient killer with a police-related pun for nearly every occasion but he meets his match when he goes after an accountant.  As much as he tries, Psycho Cop cannot catch the accountant.  He can catch security guards.  He can catch strippers.  He can catch low-level executives.  But an accountant?  That’s just a bridge too far.

Psycho Cop seems like he should be a good horror villain and, for the first half of the movie, he seems like he’s unstoppable.  But then he easily gets outwitted by both the nerdiest of the office workers and an accountant and you end up losing respect for him.  The idea of a demonic policeman will always have possibilities but Psycho Cop Returns never reaches the heights of Maniac Cop or even Kevin Bacon’s crazed sheriff in Cop Car.  For everything that you could do with the character of a policeman who is in league with the devil, Psycho Cop Returns just turns him into a one-liner spouting maniac.  Robert R. Schaffer does okay as the title character and he has the right look to play a psycho cop but he’s still no Robert Z’Dar.

As you can tell from the title, this is a sequel.  I haven’t seen the first Psycho Cop so I don’t know if it does a better job at exploiting the whole killer cop angle.  Psycho Cop Returns has potential and a sense of humor but, ultimately, there’s little to distinguish it from the countless other manic-on-the loose films that went straight to video in the 90s.

A Movie A Day #350: The Chase (1994, directed by Adam Rifkin)


Why so serious?

Jack Hammond (Charlie Sheen) was just an innocent clown who worked birthday parties.  Then he was mistaken for an outlaw clown and was accused of a crime that he did not commit.  When police incompetence led to the only piece of evidence that could exonerate him being tossed out of court, Jack had no choice but to go on the run.  Now, he’s in a stolen car, being pursued by not just the cops but also the tabloid media, and he’s got a hostage.  Natalie Voss (Kristy Swanson) turns out to be a willing hostage, though.  She is the daughter of Dalton Voss (Ray Wise, playing a character who is literally described as being “the Donald Trump of California) and what better way to act out against her father than to fall in love with her kidnapper and help him as he tries to reach the Mexican border?

What’s this?

A good Charlie Sheen movie that was not directed by Oliver Stone or John Milius?

It’s a Christmas miracle!

Actually, it may be misleading to say that The Chase is good..  By most of the standards used to judge whether or not a film qualifies as being good, The Chase fails.  There’s no real character development.  The plot is as simplistic as a plot can be.  A good deal of the movie could be correctly described as stupid.  But The Chase has got to be one of the most entertainingly stupid movies ever made.  It is about as basic an action comedy as has ever been made.  Almost the entire movie takes place on highway, with jokes mixed in with spectacular car crashes and only-in-the-90s cameos from Flea, Anthony Kiedis, and Ron Jeremy.  The pace never lets up, Kristy Swanson again shows that she deserved a better film career than she got, and Henry Rollins plays a cop.  As for Charlie Sheen, he basically plays the same character that he always plays but at least, when The Chase was made, he was still putting a little effort into it.  Maybe because they had already previously worked together in Hot Shots!, Sheen and Swanson have an easy rapport and make even the worse jokes sound passably funny.

The Chase may not be great and it really would have been improved by cameos from Burt Reynolds and Judd Nelson but it’s still damn entertaining.