I (blank) the 80's. For those who either love or hate the 80's. http://www.lunch.com/iblanktheeighties <![CDATA[ Come with me if you want to live!! 95%]]>
It's also interesting to note that if you ask around a lot of Terminator fans, most will tell you that Terminator 2: Judgment Day is their favorite movie. If you would have asked me this question about 10-15 years ago, I would have concurred with the consensus on this. However, after some deeper thought about the two movies, I now consider the first Terminator my favorite because compared to the sequel, the first Terminator movie has a much stronger sense of tension and urgency.

STORY

In the relatively distant future (2029), a nuclear war has wiped out most of humanity. However, armies of anthropomorphic machines and cyborgs are dead-set on eliminating the survivors. The genocidal machines send a Terminator (Arnold Schwarzenegger) to Los Angeles circa 1984 to kill Sarah Connor (Linda Hamilton), the mother of human resistance leader, John Connor. The human resistance sends a resistance fighter named Kyle Reese (Michael Biehn) to infiltrate the Terminator and save Sarah.

CHARACTERS

What makes this movie such a great one is the characters. Sarah steals the show since she's very easy to relate to, since she feels like a real person. When she's faced with impending death by the Terminator, she understandably acts scared as hell and when she meets Kyle Reese, she initially thinks he's a maniac, even when he saves her from the Terminator at the Tech Noir club. Kyle is great as the "hero" of the movie because much like what John McClane would help establish in the mighty Die Hard several years after this movie, he's not unstoppable and is faced with grave danger that forces him to act creatively. He knows that the Terminator is much stronger than him, and in the beginning, is even doubtful that he can destroy it since he's restricted from the high-tech weapons he had in the future, and is forced to fight with sawed off shotguns and homemade pipe bombs.

Arnie did a great job as the Terminator. The Terminator lives up to his name, and is one terrifying entity that could easily make him among the best antagonists in film in the last thirty years. He has no emotion, can't feel pain, and is virtually unstoppable. It's also really menacing to see him murder people, especially unarmed women.

STORYTELLING

One of the things that really helps out this movie is how James Cameron has the story told. Through some scenes of exposition, such as when Kyle has to explain to Sarah what cyborgs are and what his life in the future was like, they didn't feel like the "designated spots" where exposition is done. Especially with Kyle explaining to Sarah what cyborgs are, he does so in a really cautious and quiet manner, since he knows that the Terminator is looking for him.

The logic behind time travel is not only established well, but like any good movie, the story and characters actually follow through that logic. An example would be with time travel. Only organic masses can travel through time, thus why the Terminator and Kyle arrive naked when they come into LA circa 1984, and when Kyle explains to a police psychiatrist why he couldn't bring back any advanced weaponry back to the past.

ACTION SCENES

With this movie being a sci-fi action/thriller entry, the action movies are top-notch.

Since the characters are developed well, these make the action scenes that much more tense. Among the best scenes in this has to be when the Terminator enters the Tech Noir club and finds Sarah Connor. You see Kyle emerge and fire many shotgun shells into the cyborg and it doesn't stop him. Also, this scene helps establish how much of a cold, ugly entity the Terminator is when he ends up gunning down a few people at the club during the firefight.

Let's not forget the iconic scene where the Terminator assaults the police station Kyle and Sarah are kept in. This scene marks how terrifying the Terminator is since not even over two dozen armed police officers could stop him, and shows how creative Kyle is when he's faced with danger and isn't in a position to fight.

The action scenes also show Sarah and Kyle as vulnerable characters, which make you root for them even harder as the movie runs. Kyle gets shot a few times and towards the end, gets worn down from all the combat to where Sarah has to push him into "snapping back into it."

The chase scene near the end also enhances the Terminator's characteristic of being unstoppable and of Kyle's creativity, since the Terminator survives a head-on collision with an 18-wheel tanker truck and Kyle has to see if one pipe bomb can stop a cyborg driving a tanker truck.

CINEMATOGRAPHY

Adam Greenberg's cinematography for this was perfect. The shots of at the time current day Los Angeles look gritty and claustrophobic, helping to enhance the feeling of dread and tension in this movie. I thought it was perfect to have the final fight take place in a factory loaded with robotic assembly machines, helping to further the feeling of industrialized, metallic terror.

SPECIAL EFFECTS

While some special effects have shown their age (such as the walking Terminator skeleton near the end and of the Terminator's face when one of his eyes are damaged), other effects still look good today. I though one of the best-looking effects in that movie is when the Terminator does some self-surgery on his arm after getting in gun battles with Kyle, and you see the inner workings of his cyborg arm. This was simultaneously gross and impressive to look at. Even with the effects that could have aged better, the special effects overall help the movie greatly than harm it.

SOUNDTRACK

Brad Fiedel's soundtrack for this movie is one of the best I've ever heard in cinema, whether it be live-action or animated. Some may complain that the music is "dated," but I think it matches the tone and style of the movie perfectly. Most of the music on here is made from keyboard synthesizers, and all of it is instrumental. The soundtrack perfectly shows that a genius with minimal resources can make something brilliant. The mechanized, metallic beats and dread-laden synth-layers are superb, especially in the scenes where Kyle has a flashback to when he fought giant war machines and automated gunships and during the end fight in the factory.

MATURE CONTENT

This is not a movie for the kids, since there's quite a few scenes in the beginning with male nudity, some scenes of nasty gore, and a tastefully-done sex scene between Kyle and Sarah.

FINAL WORD

The Terminator is easily among James Cameron's brightest jewels in his filmography. If you don't have this movie in your collection yet, get it now.]]>
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<![CDATA[E.T. the Extra-Terrestrial Quick Tip by RabidChihuahua]]> This movie was a favorite of mine during my childhood and even after watching it for the first time in ten years, it's just as great as I remembered it to be.  One of the best family films of the 80's and one of the landmark films of American cinema, E.T. combined strong special effects with a brilliant soundtrack and believable characters.  Like any good movie, it does a good job at changing tones, as there's scenes that made me laugh my ass off (like E.T. getting drunk) and others that moved me (the end of the movie).

On to the 2002 re-release, I thought it was a joke.  The extra scenes didn't develop any scenes or characters any better, the CGI renditions of E.T. looked out-of-place, and the replacement of certain bits of dialogue and especially the shotguns with walkie-talkies butchered the movie.

I'm glad that Steven Spielberg saw the light recently and for the blu-ray release of the movie, released only the original version from 1982 with only a few enhancements in the background sound to bolster atmosphere.

]]>
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<![CDATA[ A fun light show, if you're into that sort of thing.]]>
There are a handful of films that I admire and enjoy for their unique, groundbreaking visual style alone and Steven Lisberger's "Tron" is just one of them. Critically, it is - honest to God - just not a very good film. It's plot is simplistic and fails to match the amount of imagination put into creating the world that it inhabits, the characters aren't very well-developed and therefore come off as disposable, the pacing is sometimes a mixed bag, and it is, at the end of the day, undeniably style over substance. But it's also a very stimulating cinematic experience; a stunning achievement for its time that still holds up if you're a tech geek like me who sometimes derives great pleasure from gazing upon elaborate CG landscapes so long as there is some sense of general direction. With "Tron", the good news is that there is.

The whole thing feels like it takes place in some futuristic variation on 1980's society (which was modern times in the film's year of release, which was 1982). We don't know when the story takes place exactly, but time's not a big factor here. The story concerns an ambitious and highly skilled computer hacker named Kevin Flynn (Jeff Bridges) who was previously employed by the computer software empire known as ENCOM to make video games for the company, all of which his employer Ed Dillinger (David Warner) had stolen, thus forcing Flynn to stick to being the guru of arcade gaming in his hometown. When he's not gaming, Flynn is still trying to exact revenge by hacking into Dillinger's system, but with little success.

One day, Flynn gets a visit from two ENCOM employees who are on his side; Alan Bradley (Bruce Boxleitner), who has created a program of his own which gives the film its name, and Lora Baines (Cindy Morgan). They warn Flynn that Dillinger has caught on to his unsuccessful attempts at breaching the system, which is enough to convince Flynn that he must temper with Alan's program in order to make the security a little less tight. In doing so, Flynn finds himself in the way of an experimental laser that beams him into the EMCO mainframe, which is better known by some as The Grid.

While this is far from a great or bold futuristic vision of an alternative plane of existence, it's still plenty intriguing even if it lacks grand-scale idealism. The Grid essentially mimics our own world, but with prettier lights (since as I always say, the future is just the present but with those). In this world, computer programs materialize as digital copies of their users - or human counterparts - and fight in a series of deadly games in which they wield identity disks and wear flashy color-coded suits (the users are blue, the villains are of course red). A command program named Sark (also played by David Warner) leads the baddies in trying to conquer the Grid for himself.

The film probably would have been great without the early moments where it just feels like it's dragging on and on for extended periods of time. But once we're in the Grid, the shit most definitely gets real. "Tron" is exciting and visionary; revolutionary and completely exciting. The visuals, which border on the psychedelic at all times, are a lot of fun to look at and serve as influential material for just about anyone looking to make a science fiction film with an elaborate style of its own. No, Lisberger's direction is not great and hardly any of these performances are memorable (although Bridges is always good); but you know, I really do dig this flick at the end of the day. It's really something else, regardless of its noticeable imperfections. To me, it's nothing more than pure escapist entertainment with a distinctive artistry to it that I connected with, literally, on sight. The nerd in me tells me that "Tron" is a minor classic, and while that's probably all it will ever be, it still resonates on some level outside of the dramatic grid. End of line.]]>
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<![CDATA[ The life of a repo man is always intense. Ain't that the truth.]]>
"The life of a repo man is always intense" says Harry Dean Stanton as Bud in one of the most prolific scenes from the Alex Cox cult favorite "Repo Man". The film, which is not really about Bud but more-so about the life and career of a kid that he brings into the trade of repossessing stolen cars, jumps from one whacky idea to another; eventually bordering on perplexing. It remains complicated and intriguing throughout yet never really gains our trust until the end, where you either surrender to the fact that a lot of it is just inexplicably weird and the other half or so is perhaps stranger than fiction, or you throw in the towel and feel as if you've wasted time.

The kid is Otto Maddox (Emilio Estevez), a young man caught in the punk rock scene of Los Angeles who is cheated on by his girlfriend, fired from his job at the local supermarket, and is then told that the money his pot-smoking parents had saved for him after he finished school has been donated by them to a Christian television cause. Otto is walking the streets, broke and alone, one day when he meets Bud; who makes up a dirty lie while on the job so that Otto will assist him in his work. Bud is impressed by the assistance that Otto gives him, and even brings him back to the head office to offer him a job as a repo man, and although Otto is at first disgusted by the concept of the job, he takes it out of desperation.

For a while, Otto embraces this new lifestyle; it's full of drugs, good music, good cars, and good people. What more could a working man want? One day, Otto is driving along - of course, looking for vehicles to repossess - when he spots a pretty girl named Leila (Olivia Barash), who tells him of a top secret government alien conspiracy that she thinks she may have uncovered. How, we don't know. But what we do know is that the corpses of the extraterrestrials, if existent, rest in the back of a Chevy driven by a mad scientist with one eye. Mexican repo men face off against the Americans in a race against time; who will get to the Chevy first?

It's hard to tell whether the film takes place in the future or not. If so, then it's merely the near future; although everything looks kind of futuristic in Los Angeles, so you never really can tell. Nevertheless, "Repo Man" is an innovative blend of science fiction-thriller storytelling and conspiracy mystery. I'll admit, I'm a sucker for conspiracies - especially the ones about aliens - and the film is able to cook up a sufficient web of intrigue. It conveys its ideas mostly through images; usually very strange ones, such as a flying car with a green glow in the closing scene. These images don't leave our heads; they are memorable. But they are also the heart and soul of the film; and it's not admired by so many people for nothing.

If you want a good LA thriller with a touch of sci-fi and various other genre stylistics, this is the film for you. Alex Cox seems to be interested in bringing a whole lot of style and substance to independent filmmaking; proving that he's a lot smarter and creative than others working in his time. This is probably the one film aside from "Sid and Nancy" that people remember from the man, but that said, these two films assure that he won't be forgotten like so many others before and after him. "Repo Man" is a fun, charismatically acted, and intellectually stimulating crime thriller that almost defies classification and is plenty unique on its own right. It's pure cinema in the sense that it creates truly unforgettable images and scenarios; and it still holds up after all these years. And like all good sci-fi movies, there's some good social satire buried underneath it too; some of it more obvious than other portions. You'll laugh just about as much as you'll ask yourself just what the hell you're watching.]]>
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<![CDATA[Commando Quick Tip by RabidChihuahua]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Commando-13-1014529-218153.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Commando-13-1014529-218153.html Sun, 1 Jan 2012 04:50:04 +0000 <![CDATA[ A surrealist horror classic.]]>
Back in the day, when people like Wes Craven and John Carpenter could still make pretty good films, good ol' Wes made stuff like "The Last House on the Left" and "A Nightmare on Elm Street". With the latter, he was able to pull elements from our deepest nightmares and edit them for added fright and stylistic value. I kind of have to admire that; his film was relevant for its time, and it's still relevant and pretty darn good now. It's one of those horror films that is so good, that I do believe it hasn't aged a bit; which is odd. It must be something quite special...and it is. In fact, it's a masterpiece of horror; an undeniable classic. There are many reasons why I love it, some of them which you may already know, but nonetheless, I felt the need to revisit the film and review it once again just so that I could, for a good night, clear my mind and watch something that I already liked. However, something more happened this time around; I lost the ability to "like" the movie, and discovered how to "love" it. I understand that, as a slasher picture, it follows formula and runs it into the ground; but it has a unique, original concept, and unlike many slasher flicks before and after it, "A Nightmare on Elm Street" is nothing less than what its name implies.

And yet, while it's scary, freaky, gory, and atmospheric; the heart comes from the unexpected sense of humor contained within it. Craven's film has these random, surreal moments of slapstick horror-comedy that pop up wherever - and whenever - they please. These are the moments that make the film fun; not to mention the concept, which turns into something much more as the film goes on. Sure, it deals with familiar motives and characters; but there's no denying that "A Nightmare on Elm Street" has something going for it that I might have been missing all these times that I've watched it. I have always admired it and considered it a minor classic, but I've finally looked into it and saw a reflection worth talking about.

A series of bizarre murders involving teens being slain by unseen forces with sharp razor claws and demonic cackling gets the attention of fellow teen Nancy (Heather Langenkamp), who has lost some friends to this bizarre and seldom discovered killer. Who is he? What is he? The only evidence of his existence lies in the dreams that seem to be dreamt up by the circle of friends within the story; Nancy, Tina (Amanda Wyss), Rod (Nick Corri), and Glen (Johnny Depp). Eventually, after a few friends go and her overly-protective mother finally goes over-the-edge, plunging head-first into insanity; our heroine is able to pull out a name from her dreams; Fred "Freddy" Krueger. It is implied that he was once a man; but, known as a rather sick and depraved one from the opinions of those who once surrounded him in a happy little community. So basically, here's the story in a nutshell; there's a pedophile serial killer who stalks and kills you in your dreams, but nobody else can see him because, of course, he's IN YOUR DREAMS. But that doesn't mean you can't fight back.

The film is as great - and unforgettable - as it is because of this "world" that Wes Craven is able to create. It's outstanding that the guy went from his outlandishly violent first feature ("The Last House on the Left") to this magnificent, dream-like work of art. I am not, in any way, saying that Craven's debut picture was a bad one; in fact, I kind of liked it. But "A Nightmare on Elm Street" is something significantly different; a slasher horror film that covers new ground and invents even more. It's impressive; it really is. There are some pretty radical and iconic scenes in particular that I enjoyed and shall remember forevermore. One that I feel is worth mentioning would be the one in which the heroine sets up a booby trap for Fred, in the form of a sledge-hammer that is released onto he who walks through the door that is set above when triggered. This kind of moment defines what I liked most about the film. It's goofy, playful, and a nice, pleasant getaway from any of the violence that could potentially disturb people; much like its villain, the cunning, burned-up bastard.

Stairs turn into the equivalent of pudding. A bathtub becomes a shadowy, underwater abyss. Anything can happen here, and more than often, it will. This very horror film is pure nightmare surrealism; and I loved it. Surrealism adds so much to a horror film; it's even saved a couple when it comes to my personal verdict. Since its story is simple, its characters are mostly one-dimensional, and its acting is mostly forgettable (with the exception of Robert Englund in a legendary performance as the hilariously energetic Fred Krueger, as well as John Saxon); the film has to turn somewhere. It will get most of its audience, perhaps, for its visuals alone. And that's reasonable enough. Last time I checked, there isn't another film out there that features Johnny Depp getting eaten and regurgitated by his bed. Blood everywhere. Not a pretty picture. But still fun.

If you can find humor in the genuinely morbid, and entertainment out of fun little dream vinettes, then this film is for you. It requires everyone in the audience to succumb to dream logic and forget about what they have come to expect out of movies. Horror films exist to scare us, creep us out, thrill us, and perhaps even inspire us. When one comes along that shows us new images, and new situations, why not just accept it for what it is and enjoy all the grotesque whimsy while it lasts? What I hope is that the film will continue to grow in popularity, as there are most definitely people out there who need to discover it. The film was remade in 2010; and it was a bad remake indeed. It had good visuals, but they weren't "good" in the sense that these ones were. The remake showed nothing new. For its time, "A Nightmare on Elm Street" was almost revolutionary. It puts special effects to wondrous, otherworldly good use. Few horror films today can do that. This is Wes Craven's best film. There are few additions to his filmography that can top it; although a couple might come close to rivaling it in quality and quality alone. But there will never be another Wes Craven film quite like it. I'm glad he hasn't really tried to top it. He's a man who knows his limits; but still isn't afraid to put them to the test when he's behind the camera, filming his ghastly killers and ghouls.]]>
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<![CDATA[ Not really that good of a night.]]>
"Prom Night" is derivative, boring, bland, ridiculous, stupid, and the worst "classic" slasher/horror film I've seen since "My Bloody Valentine". The film offers no surprises, no suspense, and no substance. It isn't scary, there's nothing worth anticipating, and all-in-all, it just plain sucks. Why it has garnered a semi-large cult following, I shall never know. I'll never quite understand what people see in such an unoriginal and unintentionally hilarious product such as this, but maybe that alone explains why so many people get off to watching a film, such as "Prom Night", in which people are stabbed in lame ways, people are decapitated in lame ways, and in which Jamie Lee Curtis proves that she needs a better agent.

The film is intended as a tongue-in-cheek horror picture, but where's the humor? I'm usually good at spotting satire within horror films, but then again, maybe "Prom Night" was aiming for different territories all-together. The film itself begins with the tragic death of a child, who falls to her unfortunate demise after a group of crappy, brat children scare her while playing a little "game". Six years after the death, the kids, all teens now, are facing guilt and anxiety. It is the day- soon to be night- of the big prom, and one of the girls (Jamie Lee Curtis), son of the school principle (Leslie Nielson), has been chosen to be the Prom Queen.

The problem is that this night is about to become reckless as all hell. Earlier on in the film, a mysterious man phone-calls each of the kids from the opening scene. He knows they will be attending the prom, so that is where he is expected to turn up. The man may be seeking vengeance for the death, as he was a witness. Nobody really knows what he wants. That is, until he starts, as I mentioned, stabbing and decapitating teens (in lame ways).

We want to know who the killer is, in the end, and this is the only reason why we stick around. I liked- or at least somewhat liked- how the film THOUGHT that it was on to something, but when all is said and done, it needs to be a little more self-aware. Really, this might help it, you know, work.

Suspense scenes are poorly staged, even for a low-budget horror movie. The 80's seemed like a good time for some filmmakers to stretch their creative limbs, as well as a good time for down-right morons to make movies that nobody really gives a damn about. Low-budget does not mean you have to give us an overdose of cheese and unoriginality. You can milk an idea until it has nothing left, or you can expand and be creative. Tell me, where's the creativity here? What makes "Prom Night" a "good night" (at the movies)? If nobody can answer me, then hell, I'll just give up.

Oh, now look what your movie has done, John Carpenter. Your horror masterpiece "Halloween" has transformed the brave and bold scream-queen Jamie Lee Curtis into a "type actor". She is brave and bold no longer, but granted, she's still a scream-queen. But still, it doesn't matter. What matters is story, characters, and wit; all things which "Prom Night" simply does not have. Nielson is kind of pleasurable in his relatively small role, but forgettable in the end.

I don't go into slasher movies expecting ANY of them to be good. That's the beauty of the moment when, to my surprise, they turn out to be good. I approached "Prom Night" the same way, and got bored really fast, just like I have with other just-as-bad slasher movies. Believe it or not, there are good slasher movies, and then there are, obviously, the god-awful ones. The only truly scary thing attached to "Prom Night" is that it has an audience, and sadly, it's a stupid one.]]>
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<![CDATA[ 'Tron' the Original Elicits More Than a Primitive Arcade]]>
I wondered if maybe I was older and the novelty had worn thin. Maybe it was generational. Some of us have not been impressed by the enhancements seen in games since the simple charms of "Pac-Man," "Asteroids," and "Donkey Kong". I thought maybe I was merely enthralled by the original because I had the mind-set of a college student, and maybe that was why younger viewers hold their own ‘Tron [Legacy]' so dear.

To test the truth of my observations, I had to see the first one again to be sure. Yes, the visuals were blockish, but I felt that I had forgotten the joys and nuances of the film. It was as if though I were seeing the movie for the first time. On the other hand, as little as I had remembered about the original, my hunch about my hypothesis held true: The original was much more suspenseful, harboring a much more tangible menace than its successor. The tension and chase were far more believable, and the contests--although cruder--were more harrowing in presentation.

I'll give ‘…Legacy' its due, though. The arcs of neon light emanating from the characters and their discuses are an appropriate update to the franchise. It's just that the script back then was crisper, the characters easier to identify, and the pace was nearly exceptional.

Mostly original, I have to adhere to my first reservations which came seeping into my memory: ‘Tron' did take us inside a computer for the adventure, but the outfits, the enemy, and some of the battle scenes--even some of the dialogue, no less--seem more than heavy borrowing from the ‘Star Wars' franchise. For it is no revisionism to note that among the many alchemies of Lucas's creation (myth, ‘The Wizard of Oz,' ‘Buck Rogers,' and Silent Running'), the original ‘Star Wars' was (among other achievements) the premiere movie to tap into the video arcade.

My final test would be to sit back and recommend (respectfully, of course) that teenagers and young adults take a look at the original ‘Tron,' and let the rest of us know what they think. In their minds, this ‘Tron,' could be lame, half-baked, wooden, or irrelevant. On the other hand, they may find, like I did, that the pace, the music, and other nuances, give this primitive, trail-blazing, pioneer movie an edge they could not foresee in the advanced version of ‘Legacy'.

Either way, we could all agree that, a third ‘Tron' movie with all the right ingredients: today's effects matched by an able story, proper pacing and editing, and (especially) without the "wooden" effects of fake spectators, we'd might be able to see the arcade movie of our dreams.]]>
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<![CDATA[ Take a peek inside and get your face mauled off.]]>
I have a lot of trouble accessing certain classic "B-Movie" flicks, especially ones within the horror genre. Maybe this is because I'm stubborn and need a narrative to call a film good, or maybe this is because I sincerely don't like the films. I don't know, and I never will. But I do know that funny, well-crafted B-movies can be made, and the newest entry to the "B-movies that I enjoyed" list, which is a decidedly non-existent list, is "Basket Case".

"Basket Case" is trashy fun. It's an ultra-violent exploitation B-movie that lacks a good amount of writing in the way of characters, emotions, or plotting in general; but that's far from the point of the film. It's intentionally cheesy, and it knows how much it sucks (or at least how much it would suck if we compared it to horror films that DON'T aim for self-parody). It was bloody, it was violent, and at the same time, it was a lot of fun.

Duane (Kevin Van Hentenryck) is a strange and mellow man who walks around city streets with a basket case. It's all locked up, and he prevents other people from seeing what it contains. In due time, it is revealed that inside the basket is a monstrous being, which also happens to be Duane's conjoined twin brother, who he was, quite literally, separated from a while ago. However, even though the two are now physically separate, Duane is a loving brother.

Duane's mutant kid brother eats meat and kills people when he gets mad. And that's all there really is to the guy (thing). I guess that's the point, therefore I'll dismiss it. Most of the action takes place in a hotel where Duane and his kin are hiding out; with Duane finding himself a love interest and his brother finding pleasure in murder whilst he's out.

People like B-movies because they are stuffed with cheese, and nothing but cheese. I admire that in some context, and resent it in others. There are B-movies that embrace their intentionally unoriginality and silliness, and this is one of them. "Basket Case" is far from perfect, for both its genre and its sub-genre, but it's more than I asked for, and I watched it at the right time, and in the right mood.

Most of the kills are somewhat imaginative in their cheesiness, which is a good thing. Most of them are intended as stand-outs, and that is what they are. I am told by various sources that "Basket Case" is very low-budget horror, which doesn't surprise me, and at the same time, impresses me. The film satisfies when it comes to gory kills, and the effects for the creature that lurks inside the basket are at least decent. The film has all the ingredients that would make a solid B-movie, and I found a lot to like here. "Basket Case" is nothing more than a "fun movie", but that's just about all it needs to be at this rate.

I would recommend "Basket Case" to fans of "the genre", as well as those who know how to spot fun in the way of craft. This is an impressive and entertaining picture that satisfies in its short but appropriate run-time, keeps the blood flowing, and never holds up because it never needs to. It is fast-paced, completely enjoyable, and has pleasures of its own. So it's not completely unoriginal and lame; even if that's the basic aim. But sometimes, films deserve recognition for knowing how absurd they are. "Basket Case" deserves some recognition and some respect; both in equal amounts, and both for the same exact reasons.]]>
http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Basket_Case_movie_-823-1016751-208966-Take_a_peek_inside_and_get_your_face_mauled_off_.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Basket_Case_movie_-823-1016751-208966-Take_a_peek_inside_and_get_your_face_mauled_off_.html Sat, 18 Jun 2011 02:18:13 +0000
<![CDATA[Prom Night Quick Tip by rbuchanan]]> http://www.lunch.com/thegrindhouse/reviews/movie/UserReview-Prom_Night-534-1414234-208852.html http://www.lunch.com/thegrindhouse/reviews/movie/UserReview-Prom_Night-534-1414234-208852.html Wed, 15 Jun 2011 23:09:40 +0000 <![CDATA[ '80s Pop Star Tiffany Goes Country]]>
Turns out Tiffany isn't a stranger to country music and Nashville. She performed on The Ralph Emery Show at the age of 10 and has performed alongside George Jones. She's also an accomplished songwriter and co-wrote 7 of the album's 8 tracks. Who knew? Maybe this record won't be so bad after all...

The album's leadoff track, "Feel the Music," is a great Nashville anthem. With the annual CMA Music Festival approaching, I can't help but think about how great this song would sound blaring from the speakers as thousands of country music fans check out the honkytonk scene on Broadway. It's just a feel-good song that makes you want to party it up country-style. Is there really any other way?!

"Crazy Girls" lyrically reminds me of a country version of Cyndi Lauper's '80s pop smash "Girls Just Wanna Have Fun." It's about getting together with your girls, causing trouble, and just having a good time. "Crazy Girls" features Lindsey Lawler, who seems to be the Thelma to Tiffany's Louise, singing "bring the boys to their knees like Thelma and Louise."

"He Won't Miss Me" is arguably the most country song on the record. There's something about a steel guitar that just makes a song sound like the raw truth. The vocals are beautiful and the musicianship is most positively country.

Whether you're an '80s child wanting to reminisce on a voice of your childhood or just a country fan looking for some new tunes, check her out. "Rose Tattoo" is available now on iTunes, Amazon, and her official online store at www.tiffanytunes.com.

Kristi Olson
CMTT Music Contributor]]>
http://www.lunch.com/iblanktheeighties/reviews/musician/UserReview-Tiffany-823-1388401-207286-_80s_Pop_Star_Tiffany_Goes_Country.html http://www.lunch.com/iblanktheeighties/reviews/musician/UserReview-Tiffany-823-1388401-207286-_80s_Pop_Star_Tiffany_Goes_Country.html Thu, 12 May 2011 00:24:58 +0000
<![CDATA[ Hanks is first-rate, but he can't match the slobber production of Beasley, his co-star]]>  
Turner & Hooch is a low key, modest comedy crime caper with a heavy dose of light romance thrown in. Tom Hanks plays Detective Scott Turner, a young man who is far too neat for his own good. He's about to transfer from his small town of Cypress Beach to the big city when a friend, an old man played by that great character actor John McIntire, is murdered. Turner delays his move and pleads with his police chief to be given the case. He's sure the old man's dog, a big, slobbering French Mastiff named Hooch (Beasley) saw what happened and can help identify the killer. Turner agrees to have Hooch live with him while he's on the case. Not to cut the plot too short, Turner and Hooch solve the case, but not without wild car chases, tense shoot-outs, money laundering, veterinary examinations, furniture chewing, refrigerator raiding and a lot of slobber.
 
The movie's plot, of course, is just an excuse to allow two actors with great likability to do their stuff. Hanks had by now already proven how skilled a light comedy actor he was. More to the point, he had the sort of personality and goofy looks that create instant empathy with an audience. Beasley, however, was the surprise. A novice actor, he was an unknown without even off-Broadway experience. He carried out his role with the skill and subtlety of a pro. Just as some actors can cause real tears to run down their faces at the command of a director, Beasley was uncanny in his ability to generate, as needed, drool. His resourcefulness also has become legend. In one scene, the sight of Hanks prancing around his apartment wearing a pair of tighty-whities (black ones) threatened to derail Hollywood's gay fashion industry. Fortunately, Beasley suggested quietly to the director that some amusing antics on his part might distract the audience from the odd awfulness of Hank's appearance. He was right. Yet the scene where Hanks and Beasley are on the pier and Scott Turner must wrestle Hooch to the police car is a fine example of ensemble acting by two talented and unselfish actors, each totally into their characters and yet giving fully to the other.
 
At the end of the movie the murder has been solved, the mastermind unmasked and young Turner has become chief of police. He has a wife, the veterinarian Dr. Emily Carson (played winningly by Mare Winningham). They have a baby on the way. They will remember Hooch in many ways, and so will Emily's collie.
 
Wherever in that pantheon they reside, I'm sure Dean, Ledger and Mineo are working with Beasley, now all of them close friends, to perfect slobber on command.]]>
http://www.lunch.com/iblanktheeighties/reviews/d/UserReview-Turner_and_Hooch-823-1409204-201703-Hanks_is_first_rate_but_he_can_t_match_the.html http://www.lunch.com/iblanktheeighties/reviews/d/UserReview-Turner_and_Hooch-823-1409204-201703-Hanks_is_first_rate_but_he_can_t_match_the.html Fri, 18 Feb 2011 20:57:09 +0000
<![CDATA[ More.....More, More! MORE!!! No, too much!!!]]>
More action beats, fewer jokes that aren't that funny, more annoying characters instead of memorable ones and an Eddie Murphy turned up to 11 instead of the cool and collected one we saw in the first movie.

Since solving the crime in the first movie, Axel Foley has gone back to Detroit to continue his job as a cop and is in the middle of busting a major credit card scam ring.  Meanwhile in Beverly HIlls, the Police Dept has become a bureaucratic mess with Axel's friends Bogomil getting laid off while on a case with Taggart and Rosewood getting demoted by they're new asshole of a Police Commander.  Bogomil was hot on the case of an organized murder ring when he gets shot.  Axel hearing the news slips away to Beverly HIlls to find the would be killers since Bogomil helped Axel in the first movie.  Getting away from Detroit involves Axel pulling a fast one on his pitbull of a boss Todd and having his friend Jeffrey keep things cool while he's away.

You can tell one thing about the movie is that the production got ramped up to look and feel cooler.  The police dept sets in both cities look bigger and busier.  Axel dresses now like he doesn't have a cup in his hand with his old t shirt and sweatshirt from before and almost every scene looks like it was shot in a late afternoon cause sunny haze and shadows are almost in every shot creeping through doors and venetian blinds.  Seriously, look at the cover to this movie, all it's missing is actual light emanating off of it.

The movie does fail in a few places.  Murphy not once, twice but I think FOUR times, Murphy screams and hollers through situations where he calmly would just BS his way thorugh before in the first movie.  It gets REALLY old since it's NOT that funny.  One time, Murphy MUGS his way through a situation when he poses as a delivery man.  The big vehicle chase scene that started the first movie with plenty of wrecked cars amps up here with a cement truck and BOTH chases used a Pointer Sister's song.  Maybe that was a contract situation.  Big ungainly vehicle chases use a Pointers Sister's song.  Too bad that James Bond movies didn't all open with a song by Carly Simon or Paul McCartney in a similar vein.  Taggart and Rosewood's boss is so horribly unsympathetic and incompetant that he could only be in league with the villian or fired at the end of the film.  The final shootout is the epitome of Hollywood shootouts.  3 guys with shotguns and handguns taking on about 20 or 30 guys armed with machine guns.  Do the math and guess who wins.

The plot is badly overwritten.  Murphy's assignment undercover in Detroit only serves as something to give Jeffrey to do when Axel leaves for California and to turn up Foley's mischief meter by abandoning his job.  The villians motives of robbing big businesses is told in a complicated matter and can be hard to wrap your head around.  It really just gets in the way to take up space when the action or comedy isn't going on.

One final point, this movie has an issue with Sylvester Stallone.  For those who didn't know, the original Beverly Hills Cop was going to be a Stallone movie, and it got a rewrite and made into Stallone's movie Cobra.  Rosewood has a Cobra poster in his house.  Bridgette Nielson plays one of the head robbers and she WAS Stallone's wife around this time and after Rosewood destroys a villian's getaway truck with a rocket launcher, Taggart makes the remark Fu** Rambo!  Strange.

Beverly Hills Cop 2 in spite of all of these issues WAS entertaining and after being repelled by the weak third movie it was nice to see a movie that at least felt like the first Beverly Hills Cop movie even though this film had an obnoxious streak that pushed for too much and lost the first film's charm.  The biggest joke in the first movie is how the jet set crowd turns up they're nose to Axel when he's a step ahead of everyone.  This film had so many oppertunities to duplicate and improve upon those moments and blew almost all of them.  Maybe it's cause Murphy at this time had become a name in Hollywood and looking shabby and cracking wise at the establishment would have looked phony.  Kinda like how Michael Moore dresses slovenly, fights for the little man and lives in a New York high-rise........oh.]]>
http://www.lunch.com/iblanktheeighties/reviews/d/UserReview-Beverly_Hills_Cop_II-823-1690528-199615-More_More_More_MORE_No_too_much_.html http://www.lunch.com/iblanktheeighties/reviews/d/UserReview-Beverly_Hills_Cop_II-823-1690528-199615-More_More_More_MORE_No_too_much_.html Fri, 21 Jan 2011 08:34:22 +0000
<![CDATA[ The Breakfast Club]]> This movie was a lot better than I thought it would be. I know it was made by John Hughes, mastermind behind Pretty in Pink and Ferris Bueller's day off, but this seemed just like a normal cliched teen movie. However, this was pretty good, taking the title of John Hughes' second best film and one of the best teen movies ever made. What I like about John Hughes is that he shows that films don't need mindless action sequences or half-naked women to be good. All of his films were pretty low-budget and understated, and less is definitely more.

First of all, the film churns out some great performances. My personal favourite was Judd Nelson, even though his character was a total jackass. He was a total ass, but he was a likeable ass, who Hughes makes likeable by giving him dimensions and a back story as opposed to just making him a petty thug. Molly Ringwald was good too, and it's genuinely sad that she didn't have much of a career after the eighties. As for the rest, Emilio, Ally, and Anthony did well and it's also sad that they didn't really have much of careers after the eighties. In fact, none of these actors really had careers after the eighties, and it's a shame, because they're all pretty good actors.

The story is pretty flimsy, but the flimsiness of the plot is made up for by the greatness of the actors. For those of you who don't know, SHAME ON YOU. Just kidding, but it's about five teenagers:

Brian (Anthony Michael Hall), the brain
Claire (Molly Ringwald), the princess
Bender (Judd Nelson), the criminal
Andrew (Emilio Estevez), the jock
and Allison (Ally Sheedy), the basket case

These five teens would normally have nothing to do with each other. But they are forced to tolerate each other during saturday detention, which they all acquired in various ways. Throughout the day, they go through tons of exposition and realize that they all have weird home lives and are deeper than their respective stereotypes. Normally exposition feels rushed or contrived, but it works just perfectly because it is stretched out along a whole hour-and-a-half movie, as opposed to a short time like normally. Needless to say, this story definitely makes a mountain out of a molehill and leaves a big impact with it's well told story and great performances.

Lastly, the film really blends serious heartfelt moments with more light-hearted funny moments just splendidly. Most of the humour comes from Judd Nelson's character and him being a jackass to Molly Ringwald, among other people. But I found it predictable, yet strange how they get together at the end. I mean, I was expecting them, but I definitely wasn't expecting Emilio Estevez and Ally Sheedy. They just seemed to only like eachother after her makeover, which looked horrible on her.

If you haven't seen this film, you really need to see it now, no matter your gender or taste in film. It truly is a classic and definitely makes a huge impression with what little it had in terms of plot. Great performances definitely carry this film, and make it definitely one of the best teen movies ever made. John Hughes truly is a wonderful director, and I'm not sure if he wrote this, but whoever did has a true gift and should be revered as a great writer/s. All in all, a classic that really is better than I thought it would be.]]>
http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Breakfast_Club_1985_movie_-823-1636467-197508-The_Breakfast_Club.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Breakfast_Club_1985_movie_-823-1636467-197508-The_Breakfast_Club.html Sun, 19 Dec 2010 21:44:11 +0000
<![CDATA[ Lost in the Shadows]]> **1.2 out of ****

Aside from the fact that it's all style and no substance, "The Lost Boys" still services well as a decent vampire flick. It's better than most vampire films set in the modern setting, and certainly surpasses one's typical expectations out of a teen vampire flick. The biggest problem here is the story, which could have served as the substance. The script simply doesn't have any of the style that the visuals have, and descends into near cheesy madness. It's full of the same Hollywood cliches that we know and hate, and they remain in the film consistently throughout. At least the style's there to help though, although it nearly becomes all there is to this flawed night at the movies. But as you can see, it is more than just a stylish film. It is entertaining and therefore watchable and never seems to have a relatively dull moment (despite the dullness of the plot, which surprisingly doesn't stop me from admiring the entertainment on display here). The film mixes good humor with vampire themes as well as some pretty solid performances throughout. And that reminds me, this film is also lacking the horror that it promises. Perhaps it isn't trying hard at all to be frightening, but if it is then it's doing a pretty lousy job. This is no "fright night at the movies", although it packs a decent thrill. And the grand finale (which is abundant with vampires and blood) could have been strong to the point where it made the film feel at least the slightest bit scarier. But alas, there's nothing much to think about intellectually when it's all said and done. It is simple minded yet entertaining, and that's exactly why it is dubbed a cult classic. I personally don't know if I'm in favor of calling it a "classic", although I do know that it's much better than some will say. Like most cult classics, it is not for everyone. But for the most part, it's fine with me. At least it's not trying to make a statement.

Sam and Michael are two brothers who move with their mother to the fictional California coastal town of Santa Carla. Adapting to this new home is hard enough, although the pair of siblings soon learn that there are greater forces at work. Michael follows a girl named Star and stumbles across a "biker gang" which she hangs around with often. After Michael is invited by David (the leader) to the gang's "lair", strange things begin to occur. David offers Michael a liquid which is thought to be wine, although it is really blood. This blood instantly turns Michael into a half-vampire, although he must make his first kill to become whole. In the mean time, the mother of the family is finding new love while the youngest son befriends two comic book store employees who have a lot on their minds. The gang of bikers is revealed to be vampires, and they want Michael to join in on their schemes. Sam is convinced by his new-found acquaintances that vampires roam the boardwalks of their new home, and he is determined to stop them at all costs. Michael, being a half-vampire, can easily control himself unless he has a sudden thirst for blood. If he has this "thirst", then he could easily kill his brother and of course come to senses afterwords. But he doesn't, because he and Sam have a plan. And it involves garlic, holy water, and the two guys from the comic book store. The story itself is simple minded and often times boring. None the less, the film itself is entertaining. It's never scary and/or haunting, although it has enough humor and wit to carry the fire for long enough. Long story short, it's a somewhat worthwhile experience for all those who feel that there is no hope left for the vampire genre. But beware. The film is a Hollywood cliche ready to happen. So expect an ending where there's a bunch of blood explosions and everyone dies and a character is revealed to be a head vampire. I've explained so much, yet I haven't spoiled anything. See what I did there?

The casting for this film is in many senses "just right". While not everyone is particularly good, others are more than enough to suffice as satisfaction. I'll start with the good, I guess. Corey Haim (RIP) is pretty good as the younger of the two brothers, and Jason Patric is just as good as the eldest. Edward Herrmann is actually pretty solid for the little time that he's given (even if I would have preferred his character NOT to be a blood sucking bastard). Kiefer Sutherland is possibly the best actor out of all of the young talents on display. His performance is truly unique, and sinisterly endearing. Corey Feldman is also pretty darn funny as a so-called vampire hunter. Now for the "not so good". Dianne Wiest is as mediocre as ever and Barnard Hughes isn't as funny as he wants to be. And then there's everyone else. Need I really say everyone's name? Does it REALLY matter? No, I don't think it does.

"The Lost Boys" has style and grace, no questions asked. You cannot deny that the visual style is unique and interesting throughout. The cinematography is pretty good although never particularly unique. There's CGI in play here, but none of it is revolutionary. None the less, this film has nice vibes all around. The music sure as hell provides some effectiveness to the already stylish experience that is this film. The action sequences help the slightest bit, although I would have liked it better if the film tried harder to have a dramatic edge rather than one of horror. In that sense, I feel that the film is devoid of the scares that some say it apparently has. I disagree big time, although I walked away with only the thought of simply how "cool" some of the moments were. Otherwise, this is nothing special compared to other action/horror blending flicks, but it's better than the modern day vampire flick "Twilight". Essentially it's that movie with more edge in every direction (aside from a story).

"The Lost Boys" is PRETTY decent and entertaining aside from the terribly clichéd story. It drives me to near madness, although at last minute I can cope with such a decent film. It doesn't do the genre a lot of justice, although it doesn't by any means insult it either. Some of the vampires are slick and cool, although that's hardly enough to make this film awesome. I'm not going to prevent you from seeing it, although I can only recommend it for the style of it all. That's right, nothing else. The story is almost bogus and it's not scary. Simply put, it isn't a classic, but it's entertaining and one of Joel Schumacher's best works to date (considering he's a dud by all means). I can however appreciate the effort that he put into making "The Lost Boys" a potential cult classic, and by all means he probably succeeded. But the film ended and left me with nothing more than the feeling that I've seen that type of Hollywood ending before, and therefore I was somewhat unconvinced. But at least it wasn't bad (hell, it wasn't close to being "bad"), and it's got some good visuals and acting to go along with the mix of humor and blood. It might as well be what it is, and that is a decent vampire flick that successfully captures the feel of a genuinely classy 80's film. So kudos to you, Schumacher, for doing that. But I still hate you.]]>
http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Lost_Boys-823-1014534-195652-Lost_in_the_Shadows.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Lost_Boys-823-1014534-195652-Lost_in_the_Shadows.html Sun, 5 Dec 2010 19:10:42 +0000
<![CDATA[The Lost Boys Quick Tip by Count_Orlok_22]]> http://www.lunch.com/TheVampireHistorians/reviews/movie/UserReview-The_Lost_Boys-85-1014534-194501.html http://www.lunch.com/TheVampireHistorians/reviews/movie/UserReview-The_Lost_Boys-85-1014534-194501.html Mon, 29 Nov 2010 18:20:35 +0000 <![CDATA[ Sometimes you just gotta go where everyone wishes Diane Chambers was dead*]]>
Part "work-com" and growing more into a traditional "sitcom" later on with a great ensemble cast.  Cheers was about the misadventures at a bar in Boston MA.  Run by former baseball pitcher turned booze jockey Sam "Mayday" Malone, a recovering alcoholic who employs the snarky and meanspirited Carla and the ingratiatingly sweet and obnoxious Diane Chambers as waitresses and Ernie Pantusso, "the Coach" as assistant bartender.  The show would have barflys like no-nothing know it all Cliff Clavin and the bar's cornerstone Norm Peterson drop in for beers, strange stories, little known facts and more beer.

The show had a wonderful sense of camaraderie with all the cast members with jokes that piled up on top of other jokes and even when more characters were added later or left the replacements were great too.  Frasier Crane was introduced in this show with his pale and deadpan wife Lilith.  Woody would replace Coach and by comparison, Woody a new bartender made Coach look like Mr. Wizard on a rainy Saturday with his lack of smarts, Paul would be a new bar patron to mingle with Cliff and Norm and finally Rebbecca Howe would come along to get ownership of Cheers and later would become an item with Sam.  Sam's love affairs with bimbos were often a staple of episodes as were Cliff and Norm's non adventures in and out of the bar with best known examples of writing jokes for The Tonight Show and appearing on Jeopardy.

Not only a great cast but even recurring characters like conman Harry the Hat, or Nick Tortelli, Carlas slimy ex husband and even later on guys like John Allen Hill and Gary who are two guys you just want to strangle for they're smug snake attitudes.  More often then not, Sam would look like a loser by the end of these episodes but damn it we root for him just the same.

As the show progressed it obviously started to get harder for the show to stay fresh and at it's worst, Cheers started to look like a bad sitcom with it's contrived stories and jokes telegraphed a mile away.  This sitcoms worst years, are still better then a poor sitcoms best years.

*Did I mention I hate Diane?]]>
http://www.lunch.com/iblanktheeighties/reviews/tv_show/UserReview-Cheers_TV_show_-823-1010246-193343-Sometimes_you_just_gotta_go_where_everyone_wishes.html http://www.lunch.com/iblanktheeighties/reviews/tv_show/UserReview-Cheers_TV_show_-823-1010246-193343-Sometimes_you_just_gotta_go_where_everyone_wishes.html Mon, 8 Nov 2010 00:29:17 +0000
<![CDATA[Pretty in Pink Quick Tip by JenKnox]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-190104.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-190104.html Sat, 16 Oct 2010 00:31:52 +0000 <![CDATA[ " It doesn't feel pity, or remorse, it doesn't stop for coffee or check it's Twitter....."]]> The original Terminator.  The cold blooded killer from the future.  You could give him a date with Brazilian and Swedish supermodels, give him an Aston Martin full of gold Krugerrand, promise Peace in the Middle East or give him a whole Caribbean island to himself, and it wouldn't matter.  He has one job, he will find you and he will kill you.

In the near future, mankind was hit with a nuclear war by intelligent machines.  Humans were rounded up into death camps and things are really bleak.  The leader of the human resistence is John Connor and the machines see him as a threat, deciding to commit a little bit of "retroactive abortion" as is said by a character, they send a Terminator back in time before John was born to kill his mother.  The Terminator blends in flawlessly in society with real hair and skin, even body odor and bad breath it is said.  It's also very strong, learns how things work and unflinching in it's duty to kill it's target.

His target is Sarah Connor a young and happening woman with a crummy job but rather footloose and unburdened with the normal world around her, that is till the Terminator shows up.  The Terminator doesn't know what Sarah really looks like or where she lives, he just goes through the phone book, finds the addresses of Sarah Connors and guns them down.  Hearing this news freightens Sarah a little but what alarms her while out at a club is a man following her, unaware that he is in fact her savior, Kyle Reese.  He too is from the future and has fought the Terminator's before and knows that fighting one in the past is an uphill battle given the primitive weapons of the time.  Sarah thinks hes crazy at first but slowly comes to realize that Kyle may not be lying, especially after The Terminator slaughters a police station full of cops.  Kyle needs to keep Sarah safe and slowly but surely they fall in love, in the scope of danger and with a killer looming.

The Terminator wasn't JUST another action movie even though it is how it is best remembered.  It's elements of time travel and changing the future are definitely touched upon and explored.  I don't want to delve too deep into them but it is one of those things you think of as you watch.

DVD editions show again what I've said of James Cameron that he knows that people want deleted scenes but just not to integrate them into the movie forever and ever.  Some scenes include Traxler realizing that Kyle could be right about the Terminator but there are nice scenes that are left out and for a good reason.  One scene has Kyle almost ending up SHOOTING Sarah which REALLY derails the relationship they had started to form.  The final deleted scene shows something important and I'll leave it a surprise.  None of these scenes are cardinal to the movie but it is nice to see them.

While the sequel, Judgement Day painted a cleaner and shinier look to these characters.  This more modest film had a gritty look.  It's darker, moodier and scarier in many places.  The special effects were cruder and muddier but that served for the film's more ugly nature and it's violence which is also more ruthless.  Think of Kyles dream of the future in the movie and contrast that to the opening of the second and you can see what I mean.  When people say that this minimalist effort is a superior film, I can look at what this movie does have over it's sequel and see what they mean.



 

]]>
http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Terminator-823-1020834-184974-_It_doesn_t_feel_pity_or_remorse_it_doesn_t.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Terminator-823-1020834-184974-_It_doesn_t_feel_pity_or_remorse_it_doesn_t.html Mon, 11 Oct 2010 01:44:01 +0000
<![CDATA[Commando Quick Tip by TheJohn]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Commando-13-1014529-184832.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Commando-13-1014529-184832.html Sun, 10 Oct 2010 20:16:33 +0000 <![CDATA[Nintendo Entertainment System (NES) Quick Tip by TheJohn]]> http://www.lunch.com/consolegames/reviews/video_game/UserReview-Nintendo_Entertainment_System_NES_-27-1469264-166461.html http://www.lunch.com/consolegames/reviews/video_game/UserReview-Nintendo_Entertainment_System_NES_-27-1469264-166461.html Sun, 26 Sep 2010 06:00:36 +0000 <![CDATA[Sega Master System Quick Tip by TheJohn]]> http://www.lunch.com/consolegames/reviews/video_game_console/UserReview-Sega_Master_System-27-1334614-166437.html http://www.lunch.com/consolegames/reviews/video_game_console/UserReview-Sega_Master_System-27-1334614-166437.html Sun, 26 Sep 2010 05:29:35 +0000 <![CDATA[Atari 5200 Quick Tip by TheJohn]]> http://www.lunch.com/consolegames/reviews/video_game_console/UserReview-Atari_5200-27-1334600-166430.html http://www.lunch.com/consolegames/reviews/video_game_console/UserReview-Atari_5200-27-1334600-166430.html Sun, 26 Sep 2010 05:24:30 +0000 <![CDATA[The Goonies Quick Tip by TheJohn]]> http://www.lunch.com/Awesomeness/reviews/movie/UserReview-The_Goonies-163-1009997-166325.html http://www.lunch.com/Awesomeness/reviews/movie/UserReview-The_Goonies-163-1009997-166325.html Sat, 25 Sep 2010 18:23:10 +0000 <![CDATA[Atari 2600 Quick Tip by TheJohn]]> http://www.lunch.com/Awesomeness/reviews/video_game/UserReview-Atari_2600-163-1334598-166301.html http://www.lunch.com/Awesomeness/reviews/video_game/UserReview-Atari_2600-163-1334598-166301.html Sat, 25 Sep 2010 17:53:53 +0000 <![CDATA[Ronald Reagan Quick Tip by TheJohn]]> http://www.lunch.com/thatsbeat/reviews/actor/UserReview-Ronald_Reagan-138-1066007-165855.html http://www.lunch.com/thatsbeat/reviews/actor/UserReview-Ronald_Reagan-138-1066007-165855.html Sat, 25 Sep 2010 03:08:16 +0000 <![CDATA[George H. W. Bush Quick Tip by TheJohn]]> http://www.lunch.com/thatsbeat/reviews/d/UserReview-George_H_W_Bush-138-1334126-165854.html http://www.lunch.com/thatsbeat/reviews/d/UserReview-George_H_W_Bush-138-1334126-165854.html Sat, 25 Sep 2010 03:07:25 +0000 <![CDATA[The Goonies Quick Tip by kfontenot]]> http://www.lunch.com/The_dreams/reviews/movie/UserReview-The_Goonies-263-1009997-156360.html http://www.lunch.com/The_dreams/reviews/movie/UserReview-The_Goonies-263-1009997-156360.html Tue, 14 Sep 2010 15:31:54 +0000 <![CDATA[Raw Deal Quick Tip by TheJohn]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Raw_Deal-13-1433385-153967.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Raw_Deal-13-1433385-153967.html Sun, 12 Sep 2010 04:56:47 +0000 <![CDATA[ Captain EO Starring Michael Jackson Returns To Epcot]]> Captain EO Returns To Epcot

 


Captain EO starring Michael Jackson has returned to the Imagination Pavilion in Epcot after a 16 year absense.

Captain EO was a landmark, Sci-Fi musical 17-minute 3-D film experience created for the Disney Parks. It debuted in 1986 when Michael Jackson was at the height of his popularity.

Jackson was not the only star associated with Captain EO. George Lucas was the executive producer. Francis Ford Coppola was the director, and Oscar Winning actress Anjelica Huston starred as the Supreme Commander.

At the time it was created this was the most expensive movie per minute of film ever made. It was created on the heels of Michael Jackson's very successful Thriller video and ran in Epcot from 9/12/86-7/6/94.

Captain EO 2010
Recently I had the chance to see Captain EO in Epcot.  The interior of the Imagination Pavilion has been redone to remove references to the Imagination Institute and the "Honey I Shrunk The Audience" show.  It is now adorned with Michael Jackson and Captain EO posters and signage.

The preshow video is a behind the scenes look at how Captain EO was made.  It includes a lot of footage of George Lucas and Francis Ford Coppola collaborating as some of the scenes are going through rehearsals.  This gave a great view of 1986 fashion for those not old enough to remember. 
 
I thought the preshow was very interesting and set the stage in telling that Captain EO is something created almost 25 years ago.
 
Once inside the main theater you are told that the movie will be shown in its 70 mm original form.  The 3-D technique used in the film that was developed by Kodak was cutting edge at the time and still looks good now.

I was very impressed by the "4-D" effects that were used.  As I understand it, some of the original 4-D effects were reused (dormant for 16 years) and some of the ones for "Honey I Shrunk The Audience" were repurposed and seemlessly integrated.  You will experience water sprays, air blasts, and seat movements.  They were well done and it really added to the film.

As someone who remembers the 1980's Thriller/Billy Jean Era Michael Jackson, Captain EO brought back fond memories of when Michael was at his very best.  The film was silly, but the music and dance moves were all classic Michael Jackson.

Half Full Theater
Even in the middle of July and only about a week after the July 2nd re-debut the crowds for Captain EO appeared to be very light.  If you don't already know what Captain EO is, it isn't well advertised until you get into the theater.

Part of this may be the effect of people being used to skipping the Imagination Pavilion and the Imagination Theater on their tour of Epcot.

Skipping Captain EO would be a mistake.  Even though the movie is 25 years old and some of the effects are dated now, it is still entertaining and enjoyable.


Michael Jackson - Captain EO Sovenirs
There is a cart outside of the theater that is stocked with Captain EO sovenirs, including the Rainbow T-shirt that Michael wears during the film.

For the Captain EO fan there is plenty to choose from.


Must See Epcot Attraction
It may not rank ahead of Soarin', but Captain EO should be on your must see list of Epcot Attractions.  It is worth your time to either re-visit or see Captain EO for the first time.


 

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<![CDATA[ Hows this for a Raw Deal, watching an Arnie movie thats awful when nothing better is on?]]> Channel surfing with OnDemand one day I came across a Schwarzenegger movie I hadn't seen, Raw Deal.  I heard of it, never saw it and never heard anything good about it.  Man, there is a reason why some movies stay obscure even when one of the most famous men on the planet is in them.

Arnie is a small town Sheriff who got run out of the big city by the mob and his old FBI boss wants Arnie to go undercover in the Mafia and ruin it from the inside.  The first thing I thought of while watching was License to Kill where James Bond gets on the villians good side and gambles in his casinos, whoos the villains girlfriend and ultimately brings everything down from the inside.  For what is seen as one of the weaker Bond movies by many, it's a superior movie to this Arnold movie in almost everyway, say for Arnie over Timothy Dalton, but at least Tim didn't look out of place watching and commenting on the casino games, smoking a cigar and acting debonair.  Arnold isn't debonair, he shoots guns, spits out one liners and destroys everything in sight.  He does do that at the end of this movie in a scene thats meant to emulate the far superior Commando where it's 60 to 1 against Arnie and Arnie wins, even when standing in the wide open.

I was bored by this, it wasn't anything Arnold hadn't done better before and while Arnold's movies are: corny, silly, stretching belief, they shouldn't be dull.  At least his action movies.  Even his later and less popular movies like Last Action Hero and Collateral Damage had their moments.

This movie had the no hype for me since I never heard anything great about it.  It's a mundane Arnold movie that doesn't have quite the action it should save for a decent car chase into a construction yard and it was all seen before in again other, better movies.  I saw the trailer for this and you better believe that this is hyped up.  This was two years after The Terminator and a year following Commando no way did they NOT try to hype this.

For an Arnold movie, it's a little obscure but it's not to say that it wasn't big when it came out.  Sandwiched in between Terminator, Commando and later Predator, no way did this movie stand a chance when up against those other movies.

I'm scoring this a -1.  It's not a BAD movie but as I watched with Arnold getting his lines in, Arnold shooting bad guys and not getting shot and Arnold hamming it up, I realized I could be watching Arnold do this in Commando or something else he's done.  Why am I watching this inferior movie?  Maybe to remind me of why the good stuff is good, so that when I go back to Commando and watch him fist fight with Bill Duke and Vernon Wells, I can say "damn this is awesome!"

The best way to reccomend this movie is to an 80's action film fan.  It's not BAD, I must reiterate that but it's best watched as your first Arnold movie before you see his other, better movies.

You might have noted that I keep calling Arnold's character, well Arnold in this review, thats because in almost all of his movies, Arnold is a larger then life guy who you could say is being himself, its how some people make that distinction between a movie actor or the movie star with Arnold being the star, you watch them on screen being themselves.  Arnold on screen in this movie is supposed to act like someone else and being a spy and trying to blend into his surroundings like a big wheeler and dealer which he does a couple of times here doesn't work cause I have a hard time believeing that Arnold is anyone else but a scene chewing man of action and gusto.  A different star would have been the best thing here to make this character work better.  It's kinda why Arnolds The 6th Day movie got a pan, it's cause Arnold is trying to be an all around normal guy and it's the last thing we think of when he's on screen.  Maybe he can leap off the screen and get in a better movie.

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<![CDATA[ An post-apocalyptic tale about the war between good and evil.]]> From there the story follows several characters, Sister Creep (a bag lady with a history of mental problems), an independent pro wrestler and former footbal player nicknamed The Black Frankenstein, young Swan (a girl with the gift of life), teenage Roland (a kid who loves his role playing game The King's Knight), Col. Macklin (an aged war hero and former POW) and a mysterious man who loves Death and suffering.

I really enjoyed reading this book.  The characters are very fleshed out and are never flat or one note.  Author Robert R. McCammon did a real stellar job in making such a tome an addictive read.  He makes you care for the characters and the action and drama seems to come alive off of the pages.  I know that many people like to compare this to The Stand but I might get flamed for saying this but I like the book a lot more than The Stand.  Until I read this book, The Stand was my favorite post-apocalyptic novel.  Swan Song has more action, better characters, an addictive storyline and not as much religious overtones as The Stand and it doesn't really heavily on older novels (i.e. Earth Abides, The Scarlet Plague).  If you enjoy reading post-apocalyptic fiction or if you like The Stand then I suggest you check this one out.

Highly recommended.]]>
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<![CDATA[Ronald Reagan Quick Tip by MNeulander]]> http://www.lunch.com/reviews/actor/UserReview-Ronald_Reagan-1066007-111943.html http://www.lunch.com/reviews/actor/UserReview-Ronald_Reagan-1066007-111943.html Sun, 15 Aug 2010 12:50:40 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by gotmilk]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-86517.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-86517.html Thu, 5 Aug 2010 18:00:42 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by Brithepie]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-82436.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-82436.html Tue, 3 Aug 2010 22:11:14 +0000 <![CDATA[ So 80s]]> http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Teen_Witch-823-1521163-81823-So_80s.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Teen_Witch-823-1521163-81823-So_80s.html Tue, 3 Aug 2010 04:14:56 +0000 <![CDATA[ So 80s]]> http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Teen_Witch-823-1521163-194917-So_80s.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-Teen_Witch-823-1521163-194917-So_80s.html Mon, 2 Aug 2010 12:00:00 +0000 <![CDATA[The Terminator Quick Tip by TheJohn]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Terminator-13-1020834-81722.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Terminator-13-1020834-81722.html Sun, 1 Aug 2010 06:54:05 +0000 <![CDATA[ I'll Be Back]]> http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Terminator-823-1020834-73558-I_ll_Be_Back.html http://www.lunch.com/iblanktheeighties/reviews/movie/UserReview-The_Terminator-823-1020834-73558-I_ll_Be_Back.html Thu, 29 Jul 2010 01:33:00 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by bmcintire4]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-72967.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-72967.html Tue, 27 Jul 2010 18:50:35 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by amberlani2334]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-67313.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-67313.html Wed, 21 Jul 2010 01:57:21 +0000 <![CDATA[Pretty in Pink Quick Tip by amberlani2334]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-67303.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-67303.html Wed, 21 Jul 2010 01:43:26 +0000 <![CDATA[The Outsiders (movie) Quick Tip by JaseSea]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Outsiders_movie_-13-1004443-67277.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Outsiders_movie_-13-1004443-67277.html Tue, 20 Jul 2010 22:44:48 +0000 <![CDATA[The Outsiders (movie) Quick Tip by GiovanniSodi]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Outsiders_movie_-13-1004443-66993.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Outsiders_movie_-13-1004443-66993.html Mon, 19 Jul 2010 04:02:04 +0000 <![CDATA[The Terminator Quick Tip by Momtrying2makeit]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Terminator-13-1020834-66731.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-The_Terminator-13-1020834-66731.html Sat, 17 Jul 2010 06:08:30 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by Momtrying2makeit]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-66727.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-66727.html Sat, 17 Jul 2010 06:05:53 +0000 <![CDATA[Pretty in Pink Quick Tip by Momtrying2makeit]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-66726.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-Pretty_in_Pink-13-1003977-66726.html Sat, 17 Jul 2010 06:05:23 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by cruzer79]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-65680.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-65680.html Mon, 12 Jul 2010 22:01:07 +0000 <![CDATA[E.T. the Extra-Terrestrial Quick Tip by djchloey]]> http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-63724.html http://www.lunch.com/MovieHype/reviews/movie/UserReview-E_T_the_Extra_Terrestrial-13-1022045-63724.html Fri, 2 Jul 2010 22:24:30 +0000 <![CDATA[Metallica Quick Tip by simbaraves]]> http://www.lunch.com/MusicMatters/reviews/musician/UserReview-Metallica-450-1393896-63717.html http://www.lunch.com/MusicMatters/reviews/musician/UserReview-Metallica-450-1393896-63717.html Fri, 2 Jul 2010 22:20:21 +0000