I think it’s fair to say that I wanted to be the karate kid when I was a growing up. The movie THE KARATE KID (1984) came out when I was 10 years old, and it changed my life. I’ve been a fan of Ralph Macchio, Elizabeth Shue and Pat Morita ever since then. I loved the relationship between Daniel and Mr. Miyagi, and I always thought Pat Morita was so funny. But honestly, I had never seen Pat Morita do a stand-up routine until today. In honor of Pat Morita’s 93rd birthday in cinematic heaven, I’m sharing a stand-up clip from his performance on Redd Foxx’s show back in 1977. It’s definitely politically incorrect, but it’s also playful and fun!
It would be hard to overstate how much I loved THE KARATE KID (1984) when I was growing up. The movie came out when I was 10 years old, and I think it would be fair to say that I wanted to be the karate kid. I was a scrawny little runt, and the whole storyline about getting the better of the big bullies appealed to me. Ralph Macchio and Pat Morita will always be special to me because of their roles as Daniel LaRusso and Mr. Miyagi. It’s also fair to say that my very first movie crush was Elizabeth Shue. I thought she was so beautiful as “Ali with an I,” and I still do!
It was so easy to hate Johnny Lawrence (William Zabka) and his band of bullies. The show, COBRA KAI, has finally helped me get over my anger at them. And then there’s Martin Kove as John Kreese, the head of that snake that was cobra kai. He is such an asshole in the movie! When I saw it was his birthday, I had an excuse to share one of my favorite scenes in cinema!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing Welcome Back Kotter, which ran on ABC from 1975 to 1979. The entire show is currently streaming on Tubi!
This week, season 2 begins!
Episode 2.1 “Career Day”
(Dir by Bill Hobin, originally aired on September 23rd, 1976)
The 2nd season begins with Gabe telling Julie a joke about the time that his aunt went to a pet store and complained that the turtle she had bought had blisters on the bottom of its feet. Apparently, there was a kid who thought that the turtles were toy trucks. Julie gets angry over the punchline and storms out of …. the principal’s office? Why was Gabe telling Julie a joke in the principal’s office?
It’s career day at Buchanan High! A radio DJ comes by the class and talks about the joys of being on the radio. He tells Horshack that there’s no way that he could ever be a successful radio DJ. After the DJ leaves, Epstein points out that everyone they’ve seen for career day makes more money than their teacher. As if on cue, Mr. Woodman enters the room with a special guest …. hey, it’s Pat Morita!
Pat Morita explains that he is Taro Takahashi and that he is an inventor. Among his inventions is “transistorized underwear,” which the Sweathogs think is a crazy idea. Takahashi gets offended and leaves. Gabe and the Sweathogs follow Takahashi to Woodman’s office.
“My class has something to say to Mr. Takahashi,” Gabe says.
“What?” Barbarino asks.
Eventually, all of the Sweathogs realize that Gabe expects them to apologize and, somewhat reluctantly, they do so. Epstein apologizes for not being a good student but he points out that teachers don’t make much money. Takahashi asks how much money teachers make. Woodman whispers the amount to Takahashi. Takahashi whispers it to the Sweathogs. Everyone has a good laugh, except for Gabe.
Takahashi is impressed by Gabe’s determination and offers him a job in Chicago and offers to pay him twice his current salary.
“I don’t think you understand how dedicated Mr. Kotter is to his students.” Horshack says.
“SHUT UP, HORSHACK!” Gabe replies.
Mr. Woodman announces that he’ll take the job and work for less than Kotter.
Takahashi says that he’ll be in New York for a week and he will be awaiting Gabe’s answer.
Gabe goes back to his apartment and tells Julie about the job. Julie tells Gabe that he should take the job so that they can get a two-room apartment and a second pair of shoes. She makes a good argument. Takahashi then shows up at the apartment, looking for an answer. And then Woodman shows up, wearing a kimono and still trying to get Takahashi to hire him. “I could learn to love raw fish!” Somewhat disturbingly Takahashi says that the biggest mistake he ever made was picking up a hitchhiker who looked a lot like Woodman.
The next day, Takahashi accompanies Gabe to school. At the classroom, the Sweathogs dress up in white karate outfits, bang a gong, and speak in exaggerated accents that I think are meant to sound Japanese and …. uhm, yeah, this episode is getting REALLY cringey.
Fortunately, Takahashi then spends about two minutes calling out everyone on the show for being insensitive, stupid, and crazy and Pat Morita totally kills it, perfectly capturing Takahashi’s growing annoyance with Buchanan High’s students and staff. (If you watch the scene carefully, you can catch both Gabe Kaplan and John Sylvester White breaking character and laughing in the background.) Takahashi’s Horshack imitation is peerless.
Gabe gives a speech about how much he enjoys being a teacher and why he could never give up his current job. Takahashi respects his decision and leaves so that Pat Morita can star in a short-lived spinoff called Mr. T and Tina. However, Takashi does return briefly at the end of the episode so Gabe can tell him about “Uncle Max and his friend” who used to enjoy discussing global politics as their local Chinese restaurant.
This episode suffered because it was obviously a pilot for another show. It felt off because the Sweathogs were largely sidelined by Mr. Takahashi. That said, Pat Morita was funny and Mr. Woodman’s gradual descent into madness continued to be entertaining to watch. It wasn’t an ideal season opener and a lot of the humor hasn’t aged well but, as is so often with this show, the chemistry of the cast turned out to be the episode’s saving grace.
Episode 2.2 “Inherit The Halibut”
(Dir by Bill Hobin, originally aired on September 30th, 1976)
Gabe asks Julie if he’s ever told her about his Aunt Esther “who was a matron in a movie house.” Julie politely listens as Gabe tells the story of a moviegoer who fell from the balcony to the floor.
At school, the Sweathogs check the big plastic halibut in which class treasurer Freddie has been keeping the class fund and they are shocked to discover that the halibut is empty! Everyone accuses Freddie of taking the money.
“You’re calling me a thief!?” Freddie says.
“No,” Horshack says, “an embezzler.”
It’s mock trail time! Gabe agrees to act as Freddie’s defense attorney. Horshack puts on a suit and plays prosecutor. Epstein serves as bailiff. Barbarino throws on a bathrobe and serves as the judge. The other Sweathogs are the jury.
Speaking in a bad Southern accent and carrying a paper fan, Gabe announces that “when you walk through the pasture of evidence, you’re bound to step in some facts.”
Horshack calls a witness who reveals that Washington bought a new bicycle at a police auction. He paid eight dollars, the same amount as what was in the halibut. Gabe points out that no one asked Washington from where he got the eight dollars. Mr. Woodman is sworn in as a surprise witness and says Washington did it.
“Objection!” shouts Gabe, “This witness is hostile!”
Woodman goes on to reveal that he saw Washington counting money outside of the school. (“I checked my wallet,” Woodman says.) Gabe claims that Woodman is too bitter to be a credible witness. Woodman announces that Gabe’s students will be spending a lot of time in the court in the future and runs out of the room, laughing maniacally.
Gabe only has one witness. He calls Freddie to stand and asks him if he took the money. Freddie refuses to answer questions from either Gabe or Horshack. While Horshack dramatically asks his questions, he accidentally breaks open the halibut and several coins and dollars fall out of it.
“There’s a lot more than eight dollars here!” Gabe declares. In fact, there’s $32 in the fish!
Horshack suggests a plea bargain — “Let’s pardon Washington and split the money 50/50.”
Instead, Gabe calls Horshack to the stand. Horshack says that he’ll never snap before admitting to putting $8 in the fish to try to clear Freddie’s name. Epstein is called to the stand and admits that he also put $8 in the fish. Barbarino, as judge, then interrogates himself and bullies himself into admitting that he contributed $8 of his own to the fish. The other Sweathogs then announce that they also put $8 in the fish.
Gabe says that they still need to determine whether Freddie stole the money. The jury takes a second to convict Freddie. Freddie finally reveals that he did take the $8 but just so he could put it in the bank. Freddie reveals that he kept quiet because he was offended at everyone assuming that he stole the money. Still, Freddie realizes how the money’s disappearance looked to the class, so he forgives everyone and takes the $32 to the bank.
At the apartment, Gabe tells Julie to guess what he’s hiding in his hands.
Gabe explains that he’s hiding an elephant and Julie smacks him.
I liked this episode, largely because it gave Lawrence Hilton-Jacobs, who felt a bit underused during the first season, a chance to take center stage. I also respected Freddie’s refusal to answer a question that he shouldn’t have been asked in the first place. Good for you, Freddie!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
Today, we wrap up season one of The Love Boat! All aboard!
(Dir by Alan Baron, originally aired on May 20th, 1978)
As I sat down to watch this episode on Paramount Plus, I was once again confronted with that weird commercial featuring P!nk and Michael Phelps tossing a big red COVID germ at each other. I’ve seen this commercial a few times. It’s popular not only on Paramount Plus but also on Hulu and Peacock. For a commercial that’s all about the terrors of COVID, I have to say that representing the risk by using a big rubber ball feels a bit …. well, counterproductive. (Actually, perhaps silly would be a better way to describe it.) To be honest, P!nk and Michael Phelps look like they’re almost having too much fun tossing COVID at each other. Someday, someone will actually take a serious look at how and why the combined efforts of the media and the advertising industry struggled to convince people to take the vaccine and this commercial will hopefully be remembered. Considering that it’s the elderly who are at the greatest risk when it comes to COVID, it’s interesting that almost all of the vaccination commercials that I’ve seen have been stylistically aimed at older millennials. Michael Phelps saying that his depression puts him at a greater risk of COVID is not the sort of thing that’s going to convince an 80 year-old to get a booster.
Speaking of commercials, the first season finale of The Love Boat featured Antonio Fargas as an advertising exec named Lee Graham. When we first see him, he’s saying goodbye to his wife as he boards the ship. He tells her that he’ll miss her and that the only reason he’s going to be on the boat is because he’s working on ad campaign for the cruise company. Of course, he’s lying. He’s actually taking the cruise so that he can spend some time with his mistress, Andrea (Jonelle Allen). Lee and Andrea are excited to finally have a few days where they can be with each other without feeling like they have to hide for everyone. However, Lee soon discovers that his nosy neighbors (played by Kaye Bass and Elias Jacob) are also on the boat! As a result, Lee doesn’t get a chance to cheat on his wife and, at the end of the cruise, he and Andrea realize that they don’t want to continue their adulterous ways. Fortunately, it turns out that Lee’s wife already knew about the affair and is incredibly forgiving. I’m not really sure why she’s so forgiving but hey, it was the 70s! It’s not like The Love Boat is going to end with a divorce. That’s more of a 90s thing.
While this is going, ruthless business tycoon Mr. Yamashiro (Pat Morita — yes, you read that correctly) is determined to convince Ruth Newman (Diane Baker) to sell him her late husband’s factory. Yamashiro even orders his assistant, Ken Davis (Gary Collins), to trick Ruth by pretending to fall in love with her. However, Ken really does fall in love with her and he loses his job as a result. Fear not, though. Ruth hires him and agrees to invest in a special, voice-activated word processor that he’s created. Yamashiro is so impressed that he agrees to invest as well. Yamashiro says that they can consider his investment to be a wedding present. Ruth and Ken have only known each other for a few days but sure, why shouldn’t they get married? I mean, it’s the 70s! People get married about knowing each other for a weekend and then they forgive each other for cheating. Love is all around, no need to waste it. They’re all going to make it, after all.
However, none of those stories can compare to what happens to Gopher. After starting the cruise in a bad mood because he feels that Captain Stubing doesn’t respect him, Gopher falls for a young communist named Vanessa! And Vanessa is played by Eve Plumb. That’s right! This episode features the original Jan Brady filling Gopher’s head with a bunch of Marxist nonsense! Vanessa is traveling on the boat with her wealthy father (Don Porter) and she sure does resent all of the money that’s being spent on the cruise. When she tells Gopher that he should stop taking orders from the Captain because, as “members of the Personhood,” no one has any right to order anyone else around, Gopher takes her words to heart and he ended up getting fired for insubordination! Fortunately, it doesn’t take long for both Vanessa and Gopher to see the errors of their ways and the Captain hires Gopher back, with the understanding that Gopher will never again bring a certain impractical economic theory. It’s a bit like that episode where the Captain told Isaac that he was spending too much time learning about black history. The Captain’s not going to let his purser go down the Marxist rabbit hole!
And so, the first season comes to a close. This was a good episode with which to end the season. Though his storyline was undeniably icky, Antonio Fargas proved himself to be a talented physical comedian as he tried to keep his neighbors from noticing his girlfriend. The second story was a bit bland but Pat Morita transcended his stereotypical role. And seriously, how can you not enjoy Eve Plumb radicalizing Gopher?
When The Love Boat began, the crew was unsure of how to react around Captain Stubing. As the first season comes to a close, they’ve learned that Stubing will always have their back, as long as they don’t talk about Black History or Marxism. What will the crew discover about their captain during season 2? We’ll find out soon!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
Welcome aboard! We’re expecting you.
Episode 1.12 “The Old Man and the Runaway / The Painters / A Fine Romance”
(Directed by Stuart Margolin and James Sheldon, originally aired on December 24th, 1977)
Hey, this episode of The Love Boat aired on Christmas Eve! Oddly enough, unlike last week’s episode, it was not a holiday-themed episode. You really do have to wonder if there was some sort of scheduling snafu at ABC and perhaps the episodes were shown out-of-order. Then again, it could be that ABC realized that everyone would be busy getting ready for Midnight Mass on Christmas Eve so they decided to burn off a lesser episode while no one was watching.
(Doesn’t everyone spend Christmas Eve getting ready for Midnight Mass while their aunt tells them to dress more like the Virgin and less like the Magdalene? Or was that just my experience?)
Yes, this is a lesser episode of The Love Boat. It’s not a terrible episode but, at the same time, it’s not all the memorable. A big problem is that there’s not really much romance on this cruise. The show was called The Love Boat for a reason and, when there’s no love, it just doesn’t feel right.
For instance, one subplot dealt with two incompetent painters (played by Arte Johnson and Pat Morita) painting the captain’s office during the cruise. They kept screwing up the job, which led to Captain Stubing getting progressively more and more annoyed. From the start, I guessed that the punchline would be that the painters were screwing up on purpose so that they could stay on the boat and get a free cruise and …. yep, that’s exactly what it was. Johnson and Morita were a good comedy team but the story itself felt like filler.
Meanwhile, a grumpy old widower (Will Geer) discovered that he was sharing his cabin with a teenage runaway (Bayn Johnson), who had stowed away on the ship and who was planning on meeting up with her boyfriend in Mexico. Once he got over complaining about her being young and irresponsible, Geer convinced her to return to her parents. Again, it wasn’t terrible and Bayn Johnson did a good job of keeping her character from getting annoying but it felt a bit out of place on The Love Boat. Obviously, the 75 year-old man and the 16 year-old runaway weren’t going to fall in love and leave the ship arm-in-arm while the crew smiled knowingly. Instead, this was a typical generation gap story. The most interesting thing about this story is that this was the second time that a runaway managed to stowaway on the Love Boat. Does that boat not have a security team? Don’t you actually have to show your tickets to board the boat? How does these people keep sneaking aboard?
Finally, the third storyline felt a bit more like a Love Boat story. Cruise director Julie (Lauren Tewes) is super-excited when she sees that Sean McGlynn (Anson Williams) is a passenger on the cruise. Julie and Sean grew up together and Julie always had a crush on him. At first, Julie and Sean have fun hanging out but, whenever Julie tries to flirt, Sean panics and runs off. Julie worries that there’s something wrong with her (oh, Julie!) but …. nope, Sean’s a priest. Apparently, he was having a crisis of faith when he boarded the boat, which is why he didn’t tell anyone he was a priest. But, when his roommate (Tom Poston) has a heart attack, Sean delivers the last rites and his faith is restored. (Don’t worry. His roommate survives and has a surprisingly quick recovery. Doc Bricker is a miracle worker!) Anyway, Sean leaves the boat wearing his collar and Julie stays on the boat, no doubt waiting for someone else from her past to buy a ticket. It’s a bit of a shame, as Lauren Tewes and Anson Williams did make a cute couple. Then again, we all know that Julie and Gopher belong together.
Like I said, this was not a terrible episode. It just wasn’t particularly memorable. It needed just a bit more romance. After all, love is life’s sweetest reward.
What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable or Netflix? This feature is all about those insomnia-inspired discoveries!
If, over the next few weeks, you find yourself having trouble getting to sleep, you might be tempted to log onto Netflix and watch the fourth season of Cobra Kai. That’s certainly what I’m planning to do over the course of the next few days. However, before you watch Cobra Kai, you should make sure that you’ve seen all of the earlier Karate Kid films because you never know who might show up on the show. I mean, if Thomas Ian Griffith is coming back, anyone could be coming back! And that includes Julie Pierce, the young karate student at the center of 1994’s The Next Karate Kid.
Julie (played by Hillary Swank) is a troubled teenager. She lives in Boston with her grandmother. She attends a high school that is run by a weirdly fascistic self-defense instructor named Colonel Dugan (Michael Ironside), who teaches all of the jocks to be tough, ruthless, and to show no mercy. When Julie’s grandmother leaves to for Los Angeles so that she can relax, Julie’s new caretaker is an old family friend who turns out to be Mr. Miyagi (Pat Morita).
At first, Julie wants nothing to do with Miyagi. She’s still angry about the death of her parents in a car crash. All she wants to do is take care of a falcon that lives on the roof of the school. She does like a boy named Eric McGowen (Chris Conrad) but Eric is also friends with the members of Colonel Dugan’s paramilitary gang, the so-called Alpha Elite. She needs someone who can understand her and her anger and, at first, Miyagi doesn’t seem like he’s capable of doing and of that. But then Miyagi discovers that Julie has a natural talent for jumping on top of cars and this leads to….
Well, you know what it leads to. It’s The Next Karate Kid! Ralph Macchio was 33 years old when this film was first released and was a bit too old to still be playing a kid so the film’s producers tried to reboot the franchise by giving Miyagi a new student. The Next Karate Kid pretty much hits all of the story beats from the first film, though it does change things up by not featuring a karate tournament. Instead, it all leads to a post-prom fight between Miyagi and Dugan. This film is your only chance to see Pat Morita face off against Michael Ironside and that’s got to be worth something.
The Next Karate Kid does not have a particularly good reputation and, watching the film, I understood why. There’s very little of the spontaneity or the wit that made the first film memorable. That said, I did appreciate Michael Ironside’s villainous turn. If Hillary Swank doesn’t necessarily give the type of performance that would make you think, “Future two-time Oscar winner!,” she still does a good job of portraying the anger that’s at the heart of the character. If nothing else, The Next Karate Kid deserves some credit for taking Julie’s anger seriously as opposed to just writing it off as being a “teen girl thing.” The Next Karate Kid wasn’t as bad as I expected but it was still hard not shake the feeling that it was largely unnecessary.
That’s said, I still look forward to Julie’s eventual visit to Cobra Kai.
You and your BFF are at a luau in Hawaii. Fires are being spun. People are dancing. Drums are being beaten. It’s almost time to eat the pig and suddenly, you discover that a mysterious old man wants to speak to you. The man is surrounded by armed guards but you’re used to that. Both you and your BFF work for the government. You blow things up and save the world for a living!
Anyway, the old man informs you that he is a master criminal named Kane. He’s one of those “I’m going to take over the world” types but apparently, you keep thwarting his plans. He’s a little bit upset about that and why not? It’s hard enough trying to conquer the world without having somebody continually blowing up all of your friends. He says that he’s going to have you killed.
Uh-oh!
But fear not! Kane isn’t going to kill you right there and then. It turns out that Kane has a code of honor that he lives by. He may be evil but he believes in fair play. So, Kane says that he’s going to kill you later. Apparently, he’s hired six different teams of assassins. Over the next couple of days, they’re going to try to kill you. Fortunately, the team’s aren’t going to work together or anything intelligent like that. That wouldn’t be fair. Instead, they’re going to come at you one at a time. Once one teams fails to kill you, they’re out of the hunt.
How would you react? What would be the first thing that you and your BFF would do?
Would you make sure your guns were loaded, lock the doors, and then wait for the first team to make their move?
Would you try to make the first move, maybe trying to take out Kane right then and there?
Or maybe you would leave the country and try to start a whole new life under a new identity?
I’d probably go with the third option but that’s not what Donna (Dona Speir) and Nicole (Roberta Vasquez) do when Kane (Pat Morita) tells them that they’ve been targeted. Instead, they get topless and relax in the hut tub while discussing how much it sucks that someone wants to kill them.
Honestly, this shouldn’t come as a surprise. The 1991 film, Do or Die, was directed by Andy Sidaris. In a Sidaris film, a topless hot tub party plays much the same role as the family get togethers that often end the Fast and the Furious movies. Still, it’s hard not to be a little bit disappointed by their sudden passivity. After all, Donna is the same agent who previously used a rocket launcher to blow up Erik Estrada at the end of Guns.
Speaking of Erik Estrada, he’s back. However, he’s playing a different character than he played in Guns. Now, he’s a heroic agent named Rico. When Donna and Nicole finally get around to letting their boss, Lucas (William Bumiller), know what’s going on, Lucas recruits Rico to help protect them. Bruce Christian (Bruce Penhall) and Shane Abilene (Michael Shane) are also brought in as well. Shane still has terrible aim. I know that’s a running joke in all of the Sidaris films but you really do have to wonder why the government continues to employ someone who sucks at a huge part of his job.
Anyway, Donna and Nicole eventually head for the mainland but that doesn’t do much good because Kane put a tracking device on her watch and Donna apparently lost several IQ points between the end of Guns and the start of this movie. At first, they go to Vegas but eventually, they end up in Louisiana. This leads to the usual remote-controlled boats and helicopters, the same ones that appear in nearly every Sidaris film. Needless to say, a lot of stuff gets blown up.
And it’s all pretty boring, to be honest. It sounds like it should be fun, what with all the different assassins showing up and Kane getting more and more frustrated as Donna and Nicole continue to survive. But, unfortunately, none of the assassins are that interesting. Most of the film takes place in Caddo Parish. My family lived in Shreveport for a year and a half. I like Caddo Parish. But it really can’t compare to Hawaii as far as photogenic locations are concerned.
Do or Die had potential but it got lost in the hot tub.
We’ve reached the end of February, and the last version of Movies by Alien Ant Farm. This is the one most people know. Unfortunately, I sat down late to write this, so let’s keep it simple.
The music video starts off with lead-singer Dryden Mitchell apparently confused by a hotdog jumping around onscreen next to a bun when his just sits in his hand.
It must be because that’s not supposed to happen without John Travolta around to sing about Olivia Newton-John.
Grease (1978, dir. Randal Kleiser)
He decides to jump into the screen in order to work in a reference to Last Action Hero (1993). The rest of the band decides to follow suit, and are instantly replaced by every alt-rock band from the time-period.
Once inside, they notice that the movie magic is now dead.
Now they remind us of how big a fan they are of Michael Jackson–in case we didn’t get that from them covering Smooth Criminal–by referencing Captain EO (1986).
However, their reference to Captain EO also features the Italian evil-eye thing that ignorant people think has something to do with Satan, and it pisses of the local Sammi Curr.
Trick Or Treat (1986, dir. Charles Martin Smith)
It doesn’t matter that he now dresses more like Axl Rose. Sammi thinks that he is the only rocker that has the right to reach into or out of a screen. He did it in Trick Or Treat to kill Ozzy Osbourne.
Trick Or Treat (1986, dir. Charles Martin Smith)
Luckily the band turns into the Ghostbusters in order to deal with Sammi Curr. I’m sure it was also a way of taking a shot at critics of their brand of hard rock/heavy metal.
The band performs as themselves for awhile, and brings more stuff out of the screen to remind us of the early-80s 3D craze before turning into Oompa Loompas.
Veruca Salt is the audience. She is promptly turned into a giant blue M&M.
Now the band goes into Karate Kid mode, but Mitchell is down!
That’s no problem though because Pat Morita shows up to heal him through the power of movie magic.
This causes them to flash to an Asian guy in the audience before moving on.
The video decides it’s time to go into the 90s with Edward Scissorhands (1990) .
Edward spots a guy sporting an afro in the audience and decides to update him for the times by giving him the Coolio.
It also spells out AAF just in case we forgot what band we were watching. At this point, the audience decides it’s time for them all to jump into the screen.
That is except for the usher…
who disappears in the far shot…
but reappears when the camera cuts back to the front of the theater.
The music video was directed by Marc Klasfeld who you might know from any number of places, including:
Friday Night (T.G.I.F.) by Katy Perry
He’s directed over 100 of them. He also shot around 20 of them.
Emilie Sennebogen produced the video. I can only find two music video credits for Sennebogen.
Scott Free was the stylist on the video. He appears to have done around 10 music videos.
Jeff Judd worked on make-up. I can only find two music video credits for him.
Ben Oswald was the production manager. He’s worked as a producer, production manager, and as an associate producer on music videos.
Finally, I am getting a chance to continue my series of Back to School reviews!
Earlier today, we had a pretty big storm down here in Texas and it knocked out the electricity for three and a half hours! There I was, sitting in the dark and wondering if I would ever get a chance to review the 16th movie in this 56-film review series.
(Originally, I was planning on being done by this weekend but, as always seems to happen whenever I do a review series, I’m currently running behind so it’ll probably won’t be until the weekend after next that I post my final Back to School review.)
Fortunately, the Oncor truck eventually showed up in the alley. I, of course, ran out into the back yard and started to shout at them, “I need power! I have movies to review!” They must have heard me because, suddenly, the power came back on. And now, I can finally get around to sharing a few thoughts on the original, 1984 version of The Karate Kid!
Up until last night, believe it or not, I had never seen The Karate Kid before. Certainly, I knew about it. Much like Star Wars and Star Trek, The Karate Kid is one of those cultural landmarks that everyone knows about even if they haven’t actually sat down and watched the movie. Even before I watched the film, I knew about Mr. Miyagi. I knew about “wax on” and “wax off.” I knew about the crane. I even knew about “You’re alright, LaRusso!”
But I hadn’t actually seen the film and I have to admit that I was a little bit hesitant about doing so. Everything I had heard about The Karate Kid made it sound like a thoroughly predictable and excessively 80s sports film. I was expecting the film to be all about power ballads and training montages and uplifting dialogue and certainly, The Karate Kid had a lot of that.
But what took me by surprise is what a genuinely sweet movie The Karate Kid is. Yes, it’s predictable and it’s full of clichés but dammit, it all works. It still brought tears to my mismatched eyes.
The karate kid of the title is Daniel LaRusso (Ralph Macchio), who moves, with his mother, from New Jersey to California. Daniel’s a nice kid who has learned a little karate from reading books but he’s still no match for the bullies at his new high school. Daniel does get a girlfriend, Ali Mills (Elisabeth Shue, giving a performance that feels far more genuine than any of her more recent work), but even that leads to him getting in trouble. It turns out that Ali’s ex-boyfriend is Johnny (William Zabka), the top student at Cobra Kai. Oddly enough, Johnny’s teacher is also named John. John Kreese (Martin Kove) is a Vietnam veteran who decorates his dojo with pictures of himself looking threatening. Kreese, we soon discover, is a total psychopath. “NO MERCY!” he shouts at this students.
When Johnny and his fellow Cobra Kai students beat up Daniel on Halloween, Daniel’s life is saved by Mr. Miyagi (Pat Morita). Mr. Miyagi may appear to just be a simple maintenance man but he’s actually a total badass. He teaches Daniel not only the moves of karate (“Wax on…wax off…”) but the philosophy as well. He explains to Daniel that there are “No bad students. Just bad teacher.” In short, he is the exact opposite of Kreese.
Who is the better teacher? That’s a question that will be answered when Daniel faces off against the Cobra Kai bullies at the Under-18 All-Valley Karate Tournament. Can Daniel defeat Johnny, win Ali’s love, and earn the right to live free of harassment?
Well, it would be a pretty depressing movie if he didn’t…
Anyway, The Karate Kid turned out to be a really sweet and likable movie. I was never surprised by the movie’s plot but I still found myself being drawn into the story and hoping that everything would work out for Daniel and Ali. The character of Mr. Miyagi has been parodied in so many other films that I was a bit surprised to see just how good Pat Morita was in the role. Yes, Morita gets to say a lot of funny lines but he also gets a rather harrowing dramatic scene where talks about how his wife and child died while he was away, serving in the army.
It’s interesting to note that, at the end of the film, even Johnny got to show a glimmer of humanity, suggesting that even the worst jerk in the world can be redeemed by a good ass-kicking. That said, Kreese is pure evil from beginning to end and Johnny’s friend, Dutch (played by Chad McQueen), is about as scary a high school bully as I’ve ever seen. But at least Johnny is willing to admit the truth.
If I had been alive in the 70s, I would have been terrified if I had ever found myself in the same general location of Paul Newman, William Holden, Ernest Borgnine, Red Buttons, Jacqueline Bisset, or Burgess Meredith. Just based on the movies that they spent that decade appearing in, it would appear that disaster followed them everywhere.
Ernest Borgnine and Red Buttons both ended up taking an unexpected Poseidon Adventure together.
Jacqueline Bisset was a flight attendant in the first Airport and nearly got killed by a mad bomber.
And finally, Burgess Meredith was a passenger on The Hindenburg.
Seriously, that’s a dangerously disaster-prone bunch of thespians!
So imagine how terrifying it must have been on the set of the 1980 film When Time Ran Out when all 6 of those actors — along with a lot of other disaster film veterans — were first gathered in one place. People were probably running for their lives, both on-screen and off.
When Time Ran Out takes place on an island in the South Pacific. Shelby Gilmore (William Holden, playing yet another ruthless but essentially good-hearted businessman) owns a luxury resort that happens to be sitting dangerously close to an active volcano. Oil rigger Hank Anderson (Paul Newman) is convinced that the volcano is about to erupt but Shelby’s son-in-law, Bob Spangler (James Franciscus), refuses to listen and claims that even if the volcano does blow, the resort will be safe.
(As a sidenote, why were William Holden’s son-in-laws always too blame in disaster movies? First, you had Richard Chamberlain in The Towering Inferno and now, it’s James Franciscus in When Time Ran Out…)
Suspended over a volcano
You can just look at the film’s title (When Time Ran Out!) and guess that Bob is probably wrong. However, Bob has other things on his mind. First off, he’s cheating on his neurotic wife (Veronica Hamel) with a native islander (Barbara Carrera) who happens to be married to the hotel’s general manager, Brian (Edward Albert). Brian also happens to be Bob’s half-brother and is therefore owed at least half of Bob’s fortune but nobody but Bob realizes that.
And, of course, there are other colorful guests at the hotel who will soon find themselves either fleeing from or drowning in molten lava. There’s a white-collar criminal (Red Buttons) who is being pursued by a detective from New York (Ernest Borgnine, of course). There’s also two retired tightrope walkers (Burgess Meredith and Valentina Cortese) and you better believe that there’s going to be a scene where one of them is going to have to walk across a plank that happens to be suspended over a river a lava…
Told ya!
Eventually, that volcano does erupt and…well, let’s just say that When Time Ran Out is no Towering Inferno as far as the special effects are concerned. The scene where one random fireball flies out of the volcano and heads for the resort is particularly amusing for all the wrong reasons. Not only does the volcano apparently have perfect aim but it’s also painfully obvious that the fireball is streaking across a matte painting. This is the type of film where, when people plunge into a river lava, they do so with heavy lines visible around their flailing bodies. That, along with the cast’s obvious lack of interest in the material, adds up to make When Time Ran Out a film that is memorable for being so ultimately forgettable.
The Horror!
(It’s odd to consider that this film was directed by the same James Goldstone who directed such memorable films as Rollercoaster and Brother John.)
When Time Ran Out is something of a historical oddity because it was the last of the old 70s all-star disaster films. (This may have been released in 1980 but it’s a 70s film through and through.) The movie was such a monumental failure at the box office that it pretty much ended an era of disaster films.
For that reason, it also feels like an appropriate film with which to close out the 70s. Tomorrow, we’ll continue to embrace the melodrama with the 1980s.