The Sure Thing (1985)

The Sure Thing is one of the early works of both director Rob Reiner and young teen star John Cusack and it proved to be a success for both parties. In the film Walter Gibson and his friend Lance are heading off to college. Gib is heading to a stuffy school on the East Coast while Lance is heading off to the sun-soaked southern California shores with the female prospects at an all time high. It doesn't help Gib who has recently been striking out with the opposite sex, because to put it bluntly they don't buy his astronomy inspired pick-up lines. He's just too much of a jerk.

And so the two friends go off to their separate spheres and for Gib things do not end up too bad. His school's not a bore, but he's not getting the kind of action Lance has, not yet. That is until his friend tells him about a "sure thing." The girl who is one out of a million and who is available just waiting for Gib in California. So as any red-blooded American college student would do, Gib begins the cross country trek over his Christmas Break.

The catch is this. He's forced to travel with an overly enthusiastic couple obsessed with singing show tunes and that's not the worst of it. His backseat companion is fellow classmate Alison Bradbury (Daphne Zuniga)who happens to be very attractive, but she also hates his guts.

She and Gib happen to be polar opposites and they did not get off to a good start at school. She already has a boyfriend. She is always on top of her academics and she never does anything outrageous. Gub is a showboat, prone to wildness that includes shotgunning beers and trying to pick up girls.

Their constant bickering and nagging finds them sitting on the roadside in the middle of nowhere trying to thumb their way to California. And so it looks like they will go their separate ways, but they end up traveling together, broke, wet, and starving. Somehow they get there and along the way they begin to genuinely appreciate each other. There does not have to be anything between them. Of course right before they get to their final destination a disagreement leaves them at odds. However, after spending so much time with someone like Alison, a sure thing just does not have the appeal it once did to Gib. He proves to himself that's he's not quite as shallow as he thought he was. If only Alison could know that.

The enjoyment of this film is not so much in discovering the result, because any Joe-Smo who has seen at least a handful of romantic comedies knows how the story is supposed to end. The true joy in the experience is how we arrive there with these two characters. In the back of our minds there is a kind of peace of mind because although they seem so far apart and at odds we know where they will end up. We can take a little bit of enjoyment out of every single moment they spend together mundane or not. In many ways the road movie feel of The Sure Thing brought to mind other similar story lines like Train, Plains, and Automobiles as well as It Happened One Night. I have to say I was pleasantly surprised by this Cusack vehicle an Daphne Zuniga was fun as well.

4/5 Stars

Body Heat (1981)

In his directorial debut Lawrence Kasdan (Screenwriter for Empire Strikes Back and Raiders) brought us a neo-noir burning with passion and positively dripping in sweat. Quite the combination indeed.

It opens with the seductively jazzy score courtesy of John Barry, dancing over the credits. It brings to mind cool afternoons with cool drink in hand. The first shot we are met with is a man driving in his convertible, top down and shades up. He's a cool and collected looking young man, but we know that there must be something lurking underneath all of this. This exterior is soon dropped and we are met with a reality that is heavy with humidity and sticky days.

Our protagonist is Ned Racine who is a struggling lawyer working in Florida during a especially sweltering Florida heat wave. One indelible evening he has his first encounter with a beautiful, cool blonde named Matty whose temperature runs a little hotter than most. He makes a pass or two even after finding she is married and she rejects his attempts at first. However, during a point of no return the two give into their cravings and spiral into a passionate tryst. Their affair is fairly easy to keep hidden from Mr. Walker (Richard Crenna), but an old high school friend of Matty's and Matty's niece unwittingly find them out one way or another.

They've had enough of secrecy and Racine resolves they must kill Walker so that Matty might be freed and so she might also get money due to his death. Not satisfied with that Matty wants to alter the will so she gets more. Racine is completely against that idea.

The night of the murder comes and they act it out with precision and Racine gets rid of the body.  He finds out only afterwards that Matty had a new will drawn up and he doesn't like it one bit, but he is forced to play along. The prosecutor and police detective involved on the case (Ted Danson and J.A. Preston) happen to be friends with Ned through work. They spend many a sweaty afternoon chatting it up at the local diner. That's what makes it hard when all the facts begin to pile up and slowly but surely Ned's involvement becomes more suspect. His alibi and the degree of his relationship with Ms. Walker is being questioned.

Meanwhile he and Matty must find a pair of glasses that might incriminate them. It becomes clear all too soon that things are not as they seem. Matty ultimately abandons Ned and he winds up behind bars, happier without her. In one final revelation he starts to put some of the pieces to together in prison. He's a hot mess.

It's difficult not to make comparisons between a film like this and classic noir such as Double Indemnity. In both films their is a man who seems fully committed to going through with a crime, but it is really the woman who has the most to gain from the situation. Furthermore, Ned as the Walter Neff character has his Barton Keyes in the form of Lowenstein and Oscar, who are friends but also the ones who must bring him to justice. However, Body Heat can get away with more, such as sexuality and allowing certain crimes to go unpunished. It's a rather surprising ending that is no less very interesting.

Body Heat also has the cigarette prevalence of a film-noir (which Ted Danson comically will not take part in). It's as if Lowenstein is the only character who realizes this habit is out of place in a world of 1980s sensibilities, not to mention a crime of passion.  It was odd seeing Ted Danson in a pre-Cheers role gulping down ice tea after ice tea. Kathleen Turner and William Hurt were a good fit as the gorgeous siren and her partner in crime. They are two attractive people and yet that  did not put them outside of the law as they would find out. Body Heat certainly wrenched up the heat a couple of notches and never let off. It positively burns with frenetic energy and unbridled passion.

4/5 Stars

Say Anything... (1989)

"How'd you get Diane Court to go out with you?"
"I called her up."
"But how come it worked? I mean, like, what are you?"
"I'm Lloyd Dobler."

She's a brain, he's not, sounds simple right? For such a basic premise Say Anything... has surprising depth. A lot of this is credit to the performances of John Cusack and Ione Skye along with the script by Cameron Crowe. The story is this: high school is over and the unknown future is what looms ahead. For Diane Court that means college, a fellowship in England and the like. For Lloyd Dobler we do not know and he doesn't either. For the moment he still has time and he wants to use that moment to pursue Diane the seemingly unreachable girl.

First of all you have to understand how insane that goal is for a guy like Lloyd. He is a lover of kick boxing, The Clash and  he is a average student who lives with his sister and little nephew. She is the class valedictorian, doted over by her loving father and she is a surprisingly sweet girl who dresses well and is a cut above. Not in a million years is he supposed to get her, but I said that already.

Anyways, Lloyd is a straightforward and to the point kind of guy so he simply calls her house to ask her out. She finally gives into to his requests and they go to a party to celebrate the end of their high school career. For him its their first date and she sees it just as a very nice evening. Diane leaves with a new found appreciation for Lloyd because he's not like other guys. He periodically checks on her during the party to make sure she is alright and points out broken glass on the pavement for her to avoid. He is a gentlemen in a trench coat, a strangely vulnerable figure.

Lloyd's only future plans are to hang out with Diane as much as possible and as far as career plans he is not really sure. When everyone else, even his high  school counselor, worry about the future, he always seems strangely, even naively, content.

Diane and Lloyd are slowly growing more and more connected and intimate. However, when Mr. Court goes under criminal investigation things begin to change. At first everything is the same with Lloyd teaching Diane how to drive stick shift and Diane growing more and more comfortable with him. And yet with the familial situation at hand she feels it necessary to break it off with him leaving him a pen to write her with. Lloyd is especially wounded, confessing to his sister over the phone, "I gave her my heart and she gave me a pen."

Soon enough Mr. Court's account is cut off and in some ways I felt strangely sorry for the man, but more so for Diane. One day Lloyd comes by with his boombox in tow standing outside her window in one last monumental act of devotion. Nothing happens right then. Diane is still struggling with her father who it turns out has swindling his elderly clients, but all for her future. She feels lied to and the only person she could run to is Lloyd, so she does and he takes her back.

Later on He sees her father in prison and shares that his plan is to go to England with her despite all the objections that come with it. The two jet setters are together again proving all the doubters wrong. They wait for the ding of the smoking sign signaling the beginning of the rest of their lives.

This is perhaps one of the greatest high school romances that I have ever seen because it is far from superficial. Lloyd Dobler is played so wonderfully by John Cusack. You cannot help love this lanky guy who is fearlessly straightforward and willing to take a chance. Ione Skye is a bit overshadowed but she is still convincingly sweet as the victim who finds the perfect guy. John Mahoney's character is a despicable man and yet it is a credit to him that he actually makes us feel a bit of pity, for an instant. Obviously, the boombox scene is iconic but I think it is the little things about Lloyd that make this film great. Every person could probably take a page out of his playbook by being honest, vulnerable and most definitely faithful.

4.5/5 Stars

Indiana Jones and The Temple of Doom (1984)

Directed by Steven Spielberg and starring Harrison Ford, this is the second installment in the popular series. The film opens in China where Indy is trying to acquire a rare jewel but he runs into problems and must struggle for his life. He escapes with the help of his little friend Short Round and an annoyed night club singer tags along for the ride.

They finally find their way to a remote village which is fearful of a great evil. The trio is then welcomed at a grand palace. After an initial attempt on Indy's life, they find a secret passage that leads to a temple where the Thuggee cult survives. They witness horrible tings and Indy attempts to recover the stone from the village. However, they are captured and Indy is turned into a mindless worshiper, while Short Round is forced to work and Willie is prepared for sacrifice. 

Thanks to Short Round's escape he is able to recover Indy as they fight to save Willie and get out alive. A harrowing mine car chase ends in another perilous situation for Indiana and his friends. In the final showdown he is able to prevail and as always there is a happy ending. 

This is certainly the weakest of the original trilogy in my mind and coincidentally also the darkest. This film did however help bring to pass the PG-13 rating. I am partial to Short Round and Indiana Jones is all we have come to expect. 

3.5/5 Stars

Amadeus (1984)

A common film would content itself with developing a biopic on one of the greatest composers of all time reaching the heights of the musical field in the musical capital of the world in Vienna. A typical film might paint on a canvas paying homage to a legend who revolutionized music with his genius.

This story opens as the long forgotten composer Antonio Salieri (F. Murray Abraham) attempts to kill himself. He gets laid up in a Psych ward where a man of the clothe visits him wishing to hear his story and so the old man obliges. It's a story that makes light and lacks reverence thanks to its title character.

Salieri was a court composer of prestige and great admiration, but even he knew Mozart was the true master and the first day they met was forever ingrained in his mind. For being such a genius Wolfgang Amadeus Mozart (Tom Hulce) is a jerk to put it bluntly. Spoiled, conceited, dirty-minded and armed with a cackling laugh, he is hardly the image of a musical mastermind. How could God bless this man with such talent? How could God taunt Salieri using such a man? He makes a mockery of art and yet he is the best there ever was. Salieri must have some kind of justice.

But all that lies under the surface. Mozart is brought on by his Majesty to develop a German libretto. Salieri's tolerance for God is lost and turns his back beginning his passive attack. He shames Mozart's wife (Elizabeth Beridge) and sends her off as he is looking to undermine his rival as discreetly as possible.

Mozart himself has little desire to take on pupils he deems a waste of time and instead busies himself with his most ambitious piece yet. His father comes to town and is not amused with his sons conduct or antics at a masquerade ball. He has none of the sensibilities of a man like Salieri, but what he does have is the talent and brilliance.

Always one to push the boundaries, Mozart's latest piece is based on the Marriage of Figaro which was expressly forbidden by His Majesty. But due to his skill Mozart is able to get by with bending the rules. Salieri acknowledges his genius. He knows brilliance when he sees it, but he becomes even more resolved to bring about the death of his nemesis.

After the death of his father, Mozart slowly spirals down into drunkenness and poverty. Salieri manipulates the situation even further to play on the man's emotions and the desperate Mozart becomes mad composing a funeral requiem requested by a specter of a man. The mysterious figure is of course a moonlighting Salieri who no longer sees his actions as justice against Mozart but against God himself and he wants to win.

In a horrible condition the bedridden Mozart constructs his last great piece with the help of an incredulous Salieri. But Constanze will have none of it and the manuscript remains unfinished, because she distrusts Salieri. Just like that Wolfgang Amadeus Mozart suddenly passes away. He's dead and Salieri can have no satisfaction, no piece of Mozart's brilliance. God would not give him the satisfaction, resigning him to be the so-called patron saint of mediocrity. God supposedly got the last laugh.

This is a film that makes me want to revise the noted statement to "Only the great die young" as the mediocre slowly fade into oblivion. Salieri faced a cruel demise of his own as Mozart instantly became solidified as a legend. That is the irony of life that is made clear no matter how accurate the facts are. Because in Amadeus the film, the facts are not the most important. Milos Forman gives us a spectacle that is as grand as Mozart's greatest masterpieces. But this is perhaps more importantly a film about human nature. Salieri is a man so ingrained with internal desires.

He wants to play God. He wants all things to play out as we see fit. His malevolence is focused on others. It is even focused on God. But in reality it reflects the pain of his own heart. Humanity has a desire for excellence to be fully actualized. That is a lofty goal and an impossible target. Because ultimately there will always be a hole left within us. It was so with Salieri

Mozart was one of the greatest and most well-known composers of a generation if not ever. He was not a good man (few are), and he met with death early. Salieri seemed moral and yet he himself was undermined by deep-seated avarice and covetousness. Despite still having life the world was essentially dead to him. He thought God was laughing at him. Neither man won.


4.5/5 Stars

The Breakfast Club (1985)

Here is a seminal high school coming of age film that has its moments although it is not altogether brilliant. The story takes place on a Saturday when the local school is empty and five very different characters are all thrown together. For an entire afternoon, apart from your typical adventures through the halls of the high school campus, they sit in a room.

The players are as follows: A brain, an athlete, a social queen, a basket case, and a criminal. Initially they all are annoyed that they have Saturday school and there is tension between them. Over the course of the afternoon they soon open up and realize they all have similarities and despite their differences they can be friends.

 There are other coming of age films that are probably better but it is certainly an interesting social commentary and a cult classic thanks in part to the song "Don't You (Forget About Me)." Lets just face it, the 1980s just would not be the same without John Hughes (Ferris Bueller, 16 Candles, Trains, Plains & Automobiles). He certainly is not the foremost of directors, but he will not by forgotten any time soon.

3.5/5 Stars

Airplane! (1980) - Updated

In the wake of Jaws came another film almost just as riveting in its intense drama paired with a passionate love affair. Let's here it for Airplane! Okay, well it may be the farthest thing from a real melodrama, but that does not take away from the good ol' fashioned fun of it all. It's quirky. It's goofy. And it has the prototypical ZAZ humor laden with sight gags and boatloads of puns with an accompanying score courtesy of everyone's favorite comic composer Elmer Bernstein.

The faux drama stems from former war pilot Ted Striker (Robert Hays) who has an aversion to flying due to his devastating experiences and a drinking problem to boot. Now all he does is drive a taxi and it has cost him his love, the airline stewardess Elaine (Julie Hagerty), who lost all faith in him because he lost confidence in himself. Things used to be so happy when they first met in the throes of romance and yet...

Who am I kidding? This film hardly has any plot but instead its one big excuse for often childish, sometimes innuendo-filled, off the wall antics. Seriously though, Airplane! rifts off a lot of things from gushy romances, to disaster films and old Hollywood serials. But this plane is only a vehicle for gags. There's a whole scene about a little girl who is deathly ill just so Captain Oveur (Peter Graves) can say over the telephone resolutely, "Give me ham on five hold the mayo."

Then there's co-pilot Kareem Abdul Jabbar moonlighting as Roger Murdoch. He eventually breaks out of character following the nagging of a little boy named Joey (you try dragging Walton and Lanier down the court)! Why is he even in this film? We don't know and it doesn't matter, because it's hilarious.

There's a kiss parodied straight out of From Here to Eternity, an appearance by the always loud-mouthed Ethel Merman and even a jab at incumbent president Ronald Reagan. And of course who else would know how to speak jive with the two African-American passengers but June Cleaver or Barbara Billingsley? I'm not sure which one is funnier.

What stands out most about this film is all of its old vets playing this insanely wacky film straight. From Peter Graves to Leslie Nielsen on the plane to Robert Stack and Lloyd Bridges down in the tower, their performances are priceless.

By the way what ever happened to that guy in the taxi? If I'm not mistaken the meter's still running.


"We have clearance Clarence."
"Roger, Roger. What's our vector Victor?"

Wings of Desire (1988)

Directed by Wim Wenders, this German film has almost a stream of consciousness feel. It opens over the skies of West Berlin where a couple angels watch over the humans as unseen and unheard guardians. They pay attention to the thoughts, desires, joys, and fears of a plethora of folks from all walks of life and act as unobserved comforters. These angels are immortals and although they are familiar with humanity they are not apart of it. 

Among others the angel Cassiel observes an old man named Homer who dreams of a world of peace. Damiel on his part finds himself infatuated with an utterly lonely circus trapeze performer and he also watches over the actor Peter Falk as he begins shooting his next film. Because of his newfound love, Damiel desires to feel what it is to be human. Aside from affection he yearns to be able to do the little things that go along with being mortal like drinking a hot cup of coffee. Finally determined Damiel does indeed shed his angel wings and immortality for a chance to be human. He knows what it is to breathe, to tell colors apart, and he finally does get his cup of coffee. 

Quite by chance he has an encounter with Falk who tells Damiel a secret and encourages him in his new life. Cassiel, still an angel, tries to stop a suicidal youth from jumping, but he is unsuccessful and it hits him hard. 

In the final moments of the film by fate Damiel meets his girl at a concert and they embrace as if they had known one another for an eternity and in a way they had. This film is beautifully photographed in a sepia tone that reflects the viewpoint of the angels. It is only the humans who see the world in all its glory, bursting with different colors. This film was quite fascinating and it is the type of film I would want to make that really gets up close and personal with some many people without actually focusing on them. Furthermore, Peter Falk was a wonderful addition to this film and he was a pleasure to watch, because he gave off the impression that he was simply being himself. And I think he was.

Next on my list to see from Wim Wenders is Paris, Texas, but I would also like to explore more of the New German Cinema from the likes of Rainer Werner Fassbinder and Werner Herzog. 

4.5/5 Stars

My Dinner with Andre (1981)

Directed by Louis Maille and starring Wallace Shawn and Andre Gregory playing characters named after themselves, this interesting film has a relatively simple, albeit, unique premise. A writer who lives in New York goes to a dinner engagement with a man who he used to know well. 

However, he approaches their meeting with some anxiety not knowing what to expect from a man who has no doubt changed. Andre greets Wally and pretty soon they are talking about this and that as they wait for their food. Andre initially talks about his experiences abroad in Poland, Findhorn Scotland, and even the Sahara. All the while Andre experimented with spiritual encounters, met unusual artists, and took part in performance art. During his time away he was made to contemplate humanity, life, death, and many other profound subjects. 

Wally for his part describes his own life in contrast and what he thinks about his more droll existence. It includes spending time with his girlfriend, reading an autobiography on Charlton Heston, sleeping with an electric blanket, and trying to write plays. Andre on his part believes there are problems with this lifestyle because it is more like a dream than reality. 

Both men leave the meeting content and Wally rides off in a taxi ready to tell his girlfriend about his dinner with Andre. Andre Gregory represents your philosophical existentialist who is discontent with the normalcy of life. Then, Wallace Shawn is your common everyman who lives his days simply, content with simple comforts and a normal existence. Maybe not your normal dinner conversation, but after all it is a movie. This film is certainly not for those with a short attention span and I myself find this film more intriguing in concept rather than in practice. However, there are many philosophical issues here so if you are ready to ponder and sit back so the conversation can flood over you, it can be an interesting film to take in.

3.5/5 Stars

A Room with a View (1986)

With direction by James Ivory and a cast including Helen Bonham Carter, Maggie Smith, and Daniel Day-Lewis, the film opens in Italy where a well to do English woman is on holiday with her significantly older cousin. While staying in Italy she falls in love with the country and comes to appreciate the many different people you come across there. 

It could be a commanding author, a pair of kindly old women, or a father and son with a more open way of thinking. In fact the Emerson’s reflect the change that is coming to England while Lucy and her cousin Charlotte reflect the old Victorian way of England. They are so caught up in manners and etiquette that they never give much thought to their actual desires and feelings. This becomes extremely important when Lucy returns home to her family and the snobbish but well-meaning young man she is to marry. She believes she is in love, but then the Emerson’s come to live nearby and Lucy is in conflict, especially after an incident in Italy. 

Lucy continues to follow the norms of what she is supposed to do, and it is only after much lying to others and herself that she truly confesses her feelings. Things are not turning out the way she had expected and thanks to kindly Mr. Emerson she finally leaves the pleasantries behind for love. She returns to Italy with her love and is met with another group of colorful individuals and she once again has a room with a view. This film is obviously very English and it is made by the characters like Mr. Beebe, Charlotte, and the Emersons who all make this a pleasant film to watch. 

4/5 Stars

Die Hard (1988)

Starring a cast including Bruce Willis and Alan Rickman, the film opens during the Christmas season with cop John McClaine arriving in L.A. to be with his estranged wife and kids. He goes to an office party to meet his wife and that is when terrorists strike. John gets away unnoticed and he must wage a one man war against the criminal mastermind Hans Gruber, and his henchmen. First the police, then the FBI get involved but they can do little to remedy the situation from the outside. It comes down to the grit and determination of McClaine to take on his adversary all throughout the skyscraper. Fittingly, it all culminates with a showdown with the man behind it all. This film is definitely full of action and excitement. Several of the characters are enjoyable to watch and a handful are quite irritating.

4.5/5 Stars

Cinema Paradiso (1988)

To the casual viewer Cinema Paradiso can seem like a plodding film, but this pacing is almost necessary since it reflects the passing of the years for one individual. It has been 30 years since Toto left his home town as a young man never to return. Now he gets a call from the mother he never talks to with the message that Alfredo has passed away.

The memories become coming back to when he was a young boy in the post-war years. He had a knack for getting into trouble, falling asleep as an altar boy and getting into trouble with his mother. She was especially displeased with his obsession with the movies played at the local theater called Cinema Paradiso. It is there where Toto has his first encounters with the great legends of film, but also perhaps more importantly the projectionist Alfredo. Initially the middle aged man finds the boy a nuisance but slowly a close bond forms between the two. Alfredo teaches little Toto the tricks of the trade and the movie hall flourishes with packed houses all the time. You see it was the age when movies were a family affair and the whole town showed up to be entertained. They were the perfect escape from a disillusioned post-war year. However, there still is a local priest who censors all kissing in film because after all that's highly racy.

One such night a near fatal accident occurs when the projector overheats then burns the film setting the whole projection room ablaze. Toto barely pulls out Alfredo alive and he is permanently left without sight. From that day on his young prodigy takes over the job but never forgets his mentor and friend. The boy is soon turning into a man and it means young love and a stint in the army and still Alfredo is around for him. He is always ready to give a bit of homespun wisdom from a movie or do a simple favor. However, finally on the advice of his old friend Toto left town and never returned in order to make something of his life. 

Now he finally returns to pay his respects and the old has passed away. Some familiar faces still inhabit the town but the Cinema Paradiso is about to be demolished and an end of an era has arrived. The days of cinema halls is waning as videos and the like grow bigger. As a gift to his friend Alfredo left Toto (now Salvatore Di Vita) one last reel of film containing a montage of big screen kisses. It is less a lesson in Italian and American classics and more of a lesson in life. Our relationships matter. More on that later. 

 Cinema Paradiso made me crave watching films with a big audience because that is something modern moviegoers often do not experience. Movies were initially meant for the masses (ie. Sullivan's Travels) and they were meant to be enjoyed in community with one another. That's part of their magic I suppose. 

This is also a highly sentimental, highly nostalgic look at film, but as I alluded to before, it is less about film and more about the people. I tried to recognize actors and films while I saw bits and pieces of old black and white footage, but then I realized it was arbitrary because the audience members are what really mattered. As Alfredo points out in one of his last chats with Toto, "Life isn't like in the movies. Life...is much harder." However, the reward of living life is great despite the risk involved and so it is necessary to leave the movie theater, television or your laptop behind at times. Life and the relationships that fill it are the most paramount of all and although nostalgia is wonderful there is something to be said for living in the present. That is some of what Cinema Paradiso teaches us and it is a message to take to heart.

4.5/5 Stars

Planes, Trains and Automobiles (1987)

This film should really be called Planes, Train, Automobiles, buses, trucks, burnt-out cars and ...well you get the idea. This John Hughes comedy is set during the Thanksgiving holiday and it has a plot foretelling Home Alone although acted out in reverse. Let me explain.

Instead of being stuck at home, home is instead the unreachable destination that Neal Page struggles to get to on a return trip from work in New York. As with many Americans, he is excited for time with his wife and kids over a thanksgiving dinner in Chicago. But Chicago is very far away and from the beginning everything goes wrong. He struggles to hail a cab, his flight gets delayed and he must share a hotel room with a friendly but annoying shower curtain ring salesman named Del Griffith.

Their relationship is strained from the start as Del is the man who unknowingly takes Neal's cab. They get fed up with each other, accuse each other of stealing and in general take a strong disliking for each other at one point or another. Del's genial nature is initially a major turn off for the more reserved Neal who just wants to be home.

There comes a point where so much has gone wrong it does not matter anymore and, despite all the grief, they must either go crazy or laugh it off and become friends. Ultimately they choose the latter and it ends up working out. Neal heads home thankful that Del was able to finagle his passage across country and then in a moment of charity he goes back for his new found friend. The truth comes out and Neal brings one more guest to his Thanksgiving dinner. Once more they carry Del's hulking case together, this time up the front steps. He may have combated freezing snow, fire and much more general discomfort, but most importantly Neal learns a little bit about himself. So its a travel comedy with a moral at the end.

Although my travel experiences certainly have not been this outrageous I did relate to bits and pieces which made the film that much better. Furthermore, Steve Martin and John Candy are wonderfully cast alongside each other as complete polar opposites. There is a lot of fun slapstick and yet the characters never lose their humanity and so to the end we can still appreciate them despite their flaws. However, I sincerely hope my thanksgiving is better than theirs. No promises though.

3.5/5 Stars

Broadcast News (1987)

I didn't laugh at James L. Brook's Broadcast News like I would your typical comedy (This is no Anchorman). However, I did find myself chuckling in spite of myself because these characters are humans and as humans they are screw ups, petty people and have errors in judgment. The humor comes in the everyday occurrences of working with a news station. There is constant chaos paired with egos butting heads and somehow the news still  gets reported.

At such a news station there are three seemingly ever day people who form a triangle of sorts. First off there is Tom Grunick (William Hurt), a handsome anchorman who is often sincere but lacking in the smarts and experience of others. Then, you have Aaron Altman (Albert Brooks), an experienced reporter with a gift for writing and a dream to be an anchorman as well. Finally caught between the two fellows is manic producer Jane Craig (Holly Hunter) who excels in her career. 

Aaron is a longtime friend and partner of Jane who secretly loves her. Tom comes into the picture as the inexperienced one and it looks like he won't be going anywhere. However, he gets his chance with a special report and thanks to Jane he hits it out of the park. It so exhilarating and all of a sudden he feels a lot closer too. That's what Broadcast News does to these people. It makes them feel that much closer and it begins to make it difficult to filter their feelings. That's how Jane finds herself caught between two men who both seem to love her. 

It takes a major lay off to shake up the status quo and it reveals a bit more of the pettiness that exists within the industry (reflected some by Jack Nicholson's evening anchor). Aaron quits his job, Tom gets promoted to a post in London and Jane gets the position of her old boss who receives the boot. Aaron is jealous of Tom and his goodbye to Jane is a rather sour one. Jane on the other hand has some choice words for Tom when she finds out how he manipulated one of his news reports. That's the way life is. It might be set up like a perfect love triangle intially, but then no one seems to win in the end.

We come back to the three individuals a few years down the road and they have all moved on with their careers and personal lives. Not everything is patched up and they hardly have much in common anymore, but they can still talk and continue living their lives as before.

This film did not strike me as laugh out loud funny or remarkably spellbinding, but it was a truthful look at life at a news station. That in itself is a compliment to the film even if it is not altogether extraordinary, because it seems genuine. I will certainly always be a fan of two of Brook's other creations for the small screen, The Mary Tyler Moore Show and Taxi. He has a great breadth of work to be proud of.

3.5/5 Stars

The Naked Gun: From the Files of Police Squad! (1988)

When you hear the names Zucker, Abrahams and Zucker (Airplane!, Top Secret) you automatically know there are boatloads of zany sight gags, puns and parodies to be had. Although weaker than the previous films, thanks to another bang up job by Leslie Nielsen, this police drama parody is still a lot of fun.

After single handedly beating up on the United States biggest enemies, Lieutenant Frank Drebin (Nielsen) returns to the L.A. precinct to investigate the case of a heroin ring and the brutal injury of his colleague Nordberg (O.J. Simpson). Drebin gets the obligatory briefing from his superior (George Kennedy) and the necessary gadgets for the mission. The case brings our hero in contact with the villainous Vincent Ludwig (Richardo Montalban) as well as his alluring assistant (Priscilla Presley). Drebin and Ms. Spencer's relationship soon becomes sappily romantic (cue I'm Into Something Good) with hot dogs, movies and jaunts on the beach.

The rest of the case involves car chases, fires, incriminating documents, the arrival of the Queen and of course California Angels Baseball. That's right. The Queen is to be assassinated and what better location than a baseball game? It is Drebin's responsibility to stop the attempt at all costs and he makes quite a mess of the game (like he did with everything else), but he does get the job done. His methods are far from orthodox to be sure but he gets the girl and the bad guy pays for his misdeeds. Nordberg certainly is lucky to have such a loyal partner, maybe.

This comic trio pushes the wackiness as far as it can possibly go, oftentimes with mock seriousness and overdone tropes that get made fun of. For instance Drebin gives us voice-over narration, Spencer is very much a femme fatale at first and the story is your not so typical procedural format. Unexpected cameos by Weird Al, Jay Johnstone, Reggie Jackson and a whole host of professional announcers are certainly memorable. Furthermore the uproarious baseball sequences with "I Love L.A." playing were certainly a hit.  This is a comedy classic from the files of the police squad and I cannot help but enjoy it.

3.5/5 Stars

Blade Runner (1982) - Final Cut - Updated

"Too bad she won't live but then again who does?"

It's the year 2019 in Los Angeles but this is a far cry from the world we are used to as you will soon see. Blade Runner is a hybrid neo-noir, dystopian and sci-fi film. The Tyrell Corporation has successfully created humanoids called replicants that are near perfect copies of humans except at one point some went rogue and special policemen called Blade Runners were called in. Their services are still required to get rid of a few remnants

Unlike your typical Noir, the film is not in black and white but it still is faded, dank and dreary. It's a world weary L.A. that doesn't see the light of day anymore. The sterile environment is filled with unnaturally blueish light, old technology and space ships coupled with neon lights. The 1980s aesthetic actually adds to the atmosphere which fills all the more dilapidated and old by modern standards. It is weirdly sci-fi while also being time worn. On the ground it has the appearance of a Chinatown where it is perpetually raining. There is a melding of clutures, time and place. The ultimate melting pot.

This is the strangely foreign earth that four replicants escape to. One of the fugitives soon blows away a Blade Runner and thus, the best man for the job is brought in: Rick Deckard (Harrison Ford). Finding 4 so called "Skin jobs" is like finding needles in the proverbial haystack. But Deckard has the experience.

Initally he pays a visit to replicant mastermind Dr. Elden Tyrell and does a test on the woman Rachael (who appears to be a replicant but without any knowledge of it). Deckard proves his skill to Tyrell and heads off on his investigation. Meanwhile two of the replicants Roy Batty and Leon interrogate a replicant eye manufacturer (James Hong) who points them to one J. F. Sebastian. Another replicant Pris pays a visit to the hapless man named Sebastian and he invites her into his home.

Deckard's search leads him to snake scales and his first target. He gets to Zhora by putting on an act as a dweeby member from the American Federation of Variety Artists (reminiscent of Bogart in The Big Sleep). She has none of his pitiful guise but he soon pops her. One down. But Leon sees what happens and is ready to make Deckard pay for his deeds. Luckily the Blade Runner gets some much needed help. Two down. Two to go.

The leader of the replicants, Roy Batty goes with Sebastian to the lair of Tyrell. Batty meets his maker literally and they trade some choice words. In a strangely horrifying instance he gives his father a kiss before proceeding to cave his head in. A modern reincarnation of Frankenstein and his creature. Except Batty cannot take his life yet.

Deckard finds his third replicant and barely notches his third kill. Now its only Roy and Rick left to duel it out. What ensues is a game of cat and mouse where a frantic Deckard is playfully stalked by a seemingly deranged Batty. At times both men seem inhuman (I thought you were supposed to be good. Aren't you the "good" man?), but it is ultimately Batty who remains the unfeeling one. That's what makes his quiet death all that surprising. Deckard is left looking on bewildered as Batty's dripping head hangs limp. Four down.

Deckard returns one last time for Rachael. He has fallen for a replicant, but he could care less. Then, again she might not be the only one left. If Gaff's origami unicorn and Deckard's dream mean anything at all. The identity of Deckard is one of the many ambiguities that is left for the audience to mull over. That is the beauty of Blade Runner, because with the many different versions, there are various interpretations that can be made. You be the judge of which one is correct. I still say they should have kept the name "Do Androids Dream of Electric Sheep," but then again what do I know. Blade Runner will continue to befuddle me as well as others and that's probably a good thing. If all movie mysteries were solved and tied up nicely with a big bow they would undoubtedly lose their allure. Not so with this one.

4.5/5 Stars

Good Morning Vietnam (1987)

Goooooooood Mooooooorning Viiieeetnammm! I'm a little late to the party I know, but I wanted to take a look at a film that in many ways personifies Robin Williams. In the last months I have gotten to read a lot on William's as a comic and as an actor. When I watch this film which showcases his many skills, I am especially drawn to what I call his bipolar comedy. Let me explain. On the surface he seems like a pleasant-faced average Joe with a little twinkle in his eye. Maybe there are even moments of emotion or sadness that make their way out. Then, bing pow! The lights go on, the sirens sound and all chaos breaks loose.

Adrian Cronauer is the perfect embodiment of William's quick wit and off the wall antics. He has a constant supply of new voices and old reliable ones, not to mention cultural and political jokes. It all gets thrown in so fast you hardly get to bat an eye and he does it all with that rye smile and one defiant attitude.

This is yet another nostalgic 1980s classic directed by Barry Levinson. The story begins in 1965 with the jockey getting shipped in from Crete and soon he is the hero of all the underlings especially his young compatriot Private Garlick (Forrest Whitaker). Immediately the power dynamic is rather odd. The General overseeing everything loves his zany sometimes crass take on comedy. His two immediate superiors are less than pleased with his early showings of insubordination. If the General is any indication, Cronauer's mix of humor, (censored) news updates and groovy rock n' roll prove insanely popular.

In his spare time Cronauer pursues a young Vietnamese girl while teaching an English class to locals. They soon enjoy his more slang-based approach to English and he befriends a boy named Tuan. He also has some time to start a brawl at a local hangout and eventually see it blown to smithereens. It's after this one occasion where he gets fed up with the censors controlling what he says, because it doesn't seem/ right. It seems to regular army, and he is certainly not that. Cronauer is suspended but during his hiatus he gains a new found zeal performing for the boys in the field.

Due to popular demand he gets reinstated but his superior who has always had it in for him connects him with a wanted South Vietnamese terrorist and Cronauer soon gets the boot with a honorable discharge. The former disc jockey realizes Tuan lied to him all along, but after confronting the boy he fulfills one last commitment with his English class. Cronauer flies off into the wild blue yonder, but not without leaving a gift with Garlick for all the boys. Gooooodbyeeee Vietnaaaam!

This was a grade A performance by Robin Williams and the soundtrack was absolutely superb full of big and small hits alike. Louis Armstrong's What a Wonderful World was especially impactful due to the images that were juxtaposed with it. Furthermore, just as much of what Cronauer was lost to his students, I feel like many of his cultural quips might get lost to newer generations. I sincerely hope they do not and his political commentary will always swirl around like any of the controversy surrounding Vietnam. The magic of the character is his ability to make men laugh despite their circumstances. The magic of Robin Williams is that he was a man who made us laugh in all circumstances.

4/5 Stars

Ferris Bueller's Day Off (1986) - Updated

What's the dream of every high school student? A school day on the town with their friends of course. In other words the fantasy is Ferris Bueller's Day Off. It's utterly ludicrous but that's part of the charm, because it is such a fun romp that we forgive it for any flaws it may have.

Ferris is a charismatic and clever slacker who constantly breaks the fourth wall while hatching elaborate plots to get out of school and pull one over on his parents. He's continuously pulling fast ones the whole day long and loving every minute of it. Including fake symptoms, dummys, voice recordings and sound effects. A school wide collection for the Save Ferris Campaign is passed around due to his illness.

In case you did not catch on yet this is a caricature of the high school life, far from reality, but that does not make it any less enjoyable. In John Hughes high school world there are stuffy and monotone teachers, a sadistic principal bent on catching Ferris red-handed and a squeaky voiced secretary a little behind the times. Most importantly of all Ferris seems to have the world on a string, and his best friend and girl are right beside him to enjoy it all. Not even his sister or Mr. Rooney can thwart his fun no matter how hard they may try.

Cameron has a knack for the authoritative voices, sports a Red Wings Hockey jersey and gets pulled into every one of Bueller's schemes. He takes a lot of grief. Going so far as letting Ferris take out his father's precious red Ferari. As it turns out he has a very loud scream as well. Ferris does however help him gain a little self respect. Sloan is the cool brunette who readily takes part in the day. She's future wife material but that's a topic for a different time. On his part Mr. Rooney spends the afternoon getting berated, pummeled, ticketed and chased all over the neighborhood. All in the name of catching Ferris Bueller in his lie.

The epic day off in the Windy City includes all of the above:
A trek to the observation deck of the formerly named Sears Tower (The tallest building in the world at the time). A pit stop at a ritzy restaurant for one Abe Froman followed by a Cubs game at Wrigley Field. Art History lovers will be ogling and drooling during a montage where Cameron famously stares intently at Seurat's work in pointilism. Then of course there is the Von Steuben's Day Parade with perhaps the most famous lip-sync of all time. How I love Twist and Shout.

It's not all great however with Cameron running into problems with his dad's car and it must all come to an end eventually. Ferris shares one last parting kiss with Sloan and the race is on to get back home before he is found out. That's when a little more luck comes into play. Not to mention a superhuman leap and some sisterly love.

Don't think less of me but I am not a big fan of The Breakfast Club or Fast Times at Ridgemont High, two 80s teen classics. However, I cannot help but like a Day Off. Matthew Broderick is tremendously memorable and the sequences in Chicago make for an equally memorable ride. This might not be a great film, but it certainly has many returning for a second helping and maybe thirds and fourths. Who wouldn't with a day like that? It's like a sightseeing tour for the viewer with a little comedy and good old fashioned friendship sprinkled in.

4/5 Stars

The Dead Poets Society (1989)

Starring Robin Williams in a career defining role, the film opens with the commencement of a prestigious all boys school. There the boys say tearful goodbyes to their parents and get reacquainted with their chums. The strict and disciplined class regiment soon starts and everything is business as usual for these driven boys. 

However, their new English professor John Keating (Robin Williams) was a former student of Welton and his teaching style is far from ordinary. His pupils first find him strange and then come to admire his methods. He instills them with the phrase "carpe diem," has them rip out the stuffy introduction to their poetry textbooks, gets them to see the world from on top of their desks, and encourages them to call him “O Captain, My Captain.” Above all he leads his students to seize the day and think for themselves in the process.

 A group of his students re-launch the illegal Dead Poets Society that Keating himself had been a part of as a lad. There they share their thoughts, feelings, and ideas freely in defiance of the school. Charlie (Gale Hanson) for one puts an illicit article in the paper only to follow it by an audacious act that receives retribution from the Headmaster. Knox (Josh Charles) somewhat accidentally meets a girl who he immediately falls head over heals for. However, she already has a boyfriend, but the undaunted Knox will not be deterred and he keeps seeing her. Against his father’s wishes, Neil (Robert Sean Leonard) takes up acting in a play only to receive his father’s immense disapproval later on. The outcome of this is tragic and it ultimately leads to an investigation of Keating. Everything seems bleak for the boys as they either rat on Keating or risk expulsion. 

Keating is released and English returns to the same monotony. However, Keating’s impact cannot be destroyed that easily and in one last act of the defiance the boys stand up for their Captain led by the formely timid Todd (Ethan Hawke). I must say that although the film’s ending was inspiring it left me wondering what the consequences were. Also, I did not really understand the point of the Dead Poets Society, the title would seem to be more aptly Carpe Diem. Putting that aside there were some good performances here and Robin Williams was truly enjoyable to watch. He could be my English teacher any day. There are some good lessons to be learned here too. Take note boys. 

4/5 Stars

Back to the Future (1985)

Starring Michael J. Fox and Christopher Lloyd, the movie follows Marty McFly as he befriends the quirky Doc Brown. McFly witnesses the assassination of his friend by terrorists and unwittingly finds himself leaving his peculiar family and pretty girlfriend. He takes Doc's DeLorean time machine back to 1955 and finds himself in a practically different world . Soon Marty is caught up in his own history when he messes with the first meeting between his teenage mom and dad. On the advice of a much younger Doc Brown, Marty tries to repair their relationship while the Doc gets ready to send Marty Back to the Future. Although he alters the past, Marty finds life even better back in 1985. The Doc turns out okay and his family is drastically different, in a good way. This film is great fun, full of sci-fi adventure, entertaining sequences, and enjoyable characters. If you ever want to catch the stars in some great TV shows watch Taxi and Family Ties.

4.5/5 Stars