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post #361 of 374 Old 09-12-2016, 04:59 AM
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Star Trek IV: The Voyage Home (1986), directed by Leonard Nimoy.

Warning signs of a series going off the rails, with Star Trek IV as a case study:

  • Comedy: We are understandably suspicious when a series turns comic. I'm thinking of the Christopher Reeve Superman movies and some later episodes of Star Trek: The Next Generation. It's especially perilous for science fiction if we suspect the writers don't know the genre, don't respect it, or are just tired of the creation and want to goof it up.

    A defense in this case: the original series had comedy episodes. The plot does not alter the characters, but rather exercises the ensemble in ways that fans love. It helps that this is not a battle or villain story. The previous two films had been serious and violent, and it was time for a change of tone. You can't keep making the same film over and over.

    It helps that it is actually often funny. Among the good bits:

    • Spock's creative swearing.
    • Chekov asking passers-by: "Can you direct me to the nuclear wessels?"
    • (Kirk is unable to pay for dinner) Gillian: "Don't tell me you don't use money in the 23rd century?" Kirk: "We don't!"
    • His expression when she kisses him off at the end.
  • Time travel: often a cheap, overused plot device. In this case the comedy helps: their insouciant unconcern for changing history, the Prime Directive (does that even apply?), and taking a woman from the past into the future.
  • Message: too heavy, too much lecturing can be deadly. In this case the eco concerns and homage to Greenpeace are stressed, but the setup is so clever and treatment light enough that it can work. That might depend on your mood.

Catherine Hicks, last seen in The Razor's Edge (1984), is the scientist who loves her whales. Her role is important, as she represents the viewers, including those fans who would rather be in the Trek reality rather than in their own. She reaches a point where she has to believe the unbelievable and make that leap of faith to save her whales. So do we earnestly hope that the optimistic Trek future might actually come to pass.

On a more modest scale, we also hope that any one entry in the Trek cannon does not spoil the whole Enterprise.

Notes:

  • We have an original crew Trek film without the Enterprise, which is pretty amazing.
  • The space effects are only so-so (no budget) but I found the whale mock-ups to be rather good.
  • The surreal emergence from the timewarp is strange and I think endearing. How do you represent other dimensions where space, time and mind cross over and intersect in different ways?
  • Was some Higher Power applying the braking thrusters after both time jumps?
  • The hostile punk on the bus was their ILM liaison; he wrote and performed the music on the boom box.
  • They used a real plexiglas factory and a real nuclear powered aircraft carrier (although not the Enterprise).
  • Harve Bennett wrote the beginning and end, Nicholas Meyer wrote the San Francisco middle, revisiting his own earlier movie: Time After Time (1979).
  • Totally new score by Leonard Rosenman.
  • They say that there was never any studio planning for the movies, film to film. They'd make one, go to sleep for a year, then wake up and consider making another. So this trilogy was a happy accident.

Available on Blu-ray with two commentary tracks.

The first track is a happy rewatch with Leonard Nimoy and William Shatner. I don't remember ever hearing them together before, but they are obviously good pals. Nimoy talks more, but Shatner is more thoughtful than I expected. Both have serious eco-consciousness. They go silent sometimes.

The second is by two fans turned pro who worked on Star Trek (2009). They sometimes don't have a lot to say and have obvious gaps in Trek knowledge. They both think the "time travel by slingshot around the sun" was a new invention that needed to be explained. It was used twice in the original series, so I think you just accept it without explanation.



-Bill
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post #362 of 374 Old 09-12-2016, 09:39 AM
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[*]They used a real plexiglas factory and a real nuclear powered aircraft carrier (although not the Enterprise).
And a real aquarium - the gorgeous, then newly-minted Monterey Bay - for appropriate scenes. In the aerial shots, the whale pool was added to the structure using a matte painting or some other special effect technique. Right around the time of the movie's premiere, I visited the aquarium, where they were promoting the movie or at least the fact that portions of it had been filmed there.
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post #363 of 374 Old 09-16-2016, 11:43 AM
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I love that movie......... I have the original release on VHS (Actually I have all star trek movies (1-6))
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post #364 of 374 Old 10-03-2016, 11:47 AM
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Dead & Buried (1981), directed by Gary Sherman.

Ordinary folk of a fishing village -- equipped with an assortment of cameras -- are brutally murdering visitors who later come back to life (?) as contented locals. The sheriff is mighty puzzled. Further: he has reason to suspect his wife of... what? It is a "fear of morticians" story.

I read the novelization of this back then but never saw the movie. Apparently no one else did, either. I had more refined tastes when I was young and figured it would be too cheezy. I missed a odd, moody little horror film, something of Roger Corman, maybe some John Carpenter, revive an old "Tales from the Crypt" comics genre plot, and add a cinematographer with a good eye.

Although in a contemporary setting, it has an old 1940s wartime ambiance, with those dark greens and browns and Doc's big band music. For all the terr-o-rama, it has a sad, poignant moment in the graveyard: "Bury me".

Some gruesome but amazing practical effects (big needle, eyeball) arranged by Stan Winston. Originally banned in the UK as a "video nasty". The project was owned by three sets of producers and the last crew insisted on editing and reshoots for less comedy, more gore. One really bad effect (acid up the nose) was done after Winston was gone.

About the only comedy remaining is from Jack Albertson's eccentric mortician/coroner. This was his last film and he died just after completing his voice work. He was ill and medicated during production but it doesn't show in his performance. He knew what was up and I wonder if this last project amused him?

Also with Melody Anderson who everyone thought would become a big star. Flash Gordon (1980) was done but not yet released and it flopped too.

Early views of Robert Englund, Barry Corbin, Lisa Blount and Glenn Morshower.

When Ronald Shusett and Dan O'Bannon met one had the first part of the Alien (1979) script and the other rights to Total Recall (1990) from a story by PK Dick. They helped each other with their stories. Alien (1979) (my favorite!) became a smash hit and "changed everything" for horror properties. Based on that they got to do this film and then (before it flopped) Total Recall (1990).

Everyone in the commentaries regrets the meddling of the "Third Entity" in reediting the movie. (They won't name names). The AVCO Embassy distributor thought the original cut was fine, but that's gone now.

Filmed in Mendocino CA.

Available Blu-ray from Blue Underground. I'm not seeing much high definition detail, but that would be difficult with this one. Much of it is filmed in the dark and uses all sorts of filtering and fog to give the town a soft fishing port look.

Three commentary tracks, and three extras featuring Stan Winston, Dan O'Bannon and Robert Englund.



-Bill
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post #365 of 374 Old 10-21-2016, 11:29 AM
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Manhunter (1986), directed by Michael Mann.

Quote:

Graham: I know that I'm not smarter than you.

Lecktor: Then how did you catch me?

Graham: You had disadvantages.

Lecktor: What disadvantages?

Graham: You're insane.

(Lecktor pauses, then changes the subject)
This first filming of a Hannibal Lecter story (spelled "Lecktor" this time) is a serial killer police procedural. We have an FBI profiler who can get into the mind of a psycho-killer (much to his own psychic distress) and, as a bonus resource, a bona-fide genius serial killer in captivity. Who can be useful if you can cope with his mind games.

Beware: Hannibal the Cannibal has made contact with the new killer and can use him as a weapon.

I hadn't seen this since it was new and remember being impressed with its tension, with how much horror they were able to summon with little blood or explicitness. The mythology has been so developed since and taken such a gruesome turn that this first installment almost doesn't seem like part of the series. It is more real-world than The Silence of the Lambs (1991), which ventures into fantasy-action territory.

The plot is spoken aloud which is usually bad writing both in films and in books, but a police procedural is all about the plot, the actual steps involved in solving a crime, so maybe it is justified this time. The story is elevated by Graham's race to protect his family and keep himself sane.

Is the cinematography a bit self-consciously posed?

For the score I thought some of it sounded like Tangerine Dream, who Mann used for Thief (1981) earlier, but I don't see any connection on the soundtrack listing. Then I thought "this sounds like Shriekback" and they have three credits for the film. The band was formed that same year.

Michael Mann also wrote the screenplay adaptation from the book Red Dragon, which was again filmed under that title in 2002. Same cinematographer.

Available on Blu-ray.



-Bill

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post #366 of 374 Old 10-21-2016, 03:56 PM
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^^^ Bill -- Tom Noonan played the dangerous but pitiful Francis Dolarhyde in that one. He was wonderful as were most of the rest of the film's cast. I saw Manhunter again on TV not long ago and enjoyed seeing it again.

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post #367 of 374 Old 10-21-2016, 05:35 PM
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Brian Cox is still my favorite Lektor. He said he thought that Lektor should charming and affable but calculating ... think English schoolboy crossbred with a demon. He said he thought of the notorious murderer Peter Manuel, also.

I also remember this being marketed as "from the producer of 'Miami Vice.'" Probably didn't help it.
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post #368 of 374 Old 11-08-2016, 08:57 AM
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The Hit (1984), directed by Stephen Frears.

Willie has not just turned against his crime gang, he is a supergrass whose testimony brings down the entire organization. Ominously, they sing "We'll Meet Again" to him in court (which happened in real life), this against an early 70s assault on the eyes of loud flared trousers and shag haircuts.

Ten years later he is enjoying a new witness protection identity in a remote part of Spain. He's become a reader and seems a gentle man with many local friends.

You know that can't last. The mob will find him and send specialists to fetch him back. It won't end well.

Nobody does working-class cops and crooks movies like the Brits. It becomes a buddy road-trip movie, which is curious because two of the four in the car are supposed to die.

Excellent cast:

  • Terence Stamp is the witness in hiding, now at the end of the line. Is he planning a cunning escape, or has he become reconciled to his end? A person might be resolved to die well, but still panic when the moment comes. Stamp's character is much like the one in The Limey (1999). Tough, cold on the outside, but in his heart... who can say?
  • John Hurt is the professional hit-man. How is his career going? Why have "they" given him a trainee assistant who is little better than a street brawler? He comes to like and admire Willie, but still -- the job is the job. That kit he brings out at the end: was he planning the final scene all along? He doesn't kill someone he should, which seals his fate. Is it love?
  • Tim Roth, age 23, is the new guy who can't follow orders and lets his emotions interfere with his work. Roth said he became an actor "by accident". He had never been out of the country before, never on a plane, and had never sat next to a woman as hot as the photogenic Laura del Sol, professional flamenco dancer.

Spot young Jim Broadbent as a barrister, giving this film a Harry Potter count of 2.

Roger Waters and Eric Clapton provide the title music. The rest is Spanish guitar.

Criterion DVD. The edited gang commentary track has many good stories.



-Bill

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post #369 of 374 Old 12-30-2016, 05:05 AM
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Star Trek V: The Final Frontier (1989), directed by William Shatner.

Interrupting shore leave at Yosemite Park (North America, Earth) our crew take the not-quite-ready Enterprise NCC-1701A on a mission to rescue diplomats kidnapped by a charismatic Vulcan madman. It turns out to be a quest to the center of the galaxy to find one of those Trek super-beings pretending to be a deity.

Most importantly: Uhura lets her hair go gray and reveals a surprise crush on Scotty.

This is the least-liked of the original crew movies, the only one directed by Shatner. The budget constraints are obvious and they steal shamelessly from the desert and cantina scenes of Star Wars (1977). From the commentary tracks we learn of severe time pressure, a pace that Shatner said made TV production schedules look like vacation. That the crew is so easily seduced by some mesmeric force -- and so quickly revived -- is hard to take. The humor tries too hard. We've had excess super-beings and Rodenberry's disdain for religion is a broken record.

And yet... the bond between Kirk, Spock and McCoy is real and true to the vision. Nimoy, especially, has worked out Spock in a way that gives him great poise and a type of peace. He is no longer warring between his Vulcan and human halves, but accepts both. We may not notice this remarkable interpretation because it just seems natural.

I have a strange sensation when watching this, as if we have crossed some boundary and returned to a TV-series reality. No one episode is very important because it will never end. It's as if they've died and gone to mythology Valhalla. Or maybe these are Kirk's dreams inside the energy orb of Star Trek: Generations (1994). They mention more than once: "life is but a dream".

Kirk's best line: "I miss my old chair".

One of Shatner's daughters has a small part as a Yeoman.

Jerry Goldsmith returns with his hearty, adventurous seafaring score.

Available on Blu-ray with two commentary tracks. The first is a light treatment by Shatner and another daughter who wrote a making-of book. They don't criticize the picture except for low budget and time constraints.

The second is by four Trek pros who know many production details. Of the original crew movies they think this is closest in tone to the original series, and that the characterization and chemistry of the three leads is good.



-Bill
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post #370 of 374 Old 12-30-2016, 09:20 AM
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Star Trek V: The Final Frontier (1989), directed by William Shatner.

Interrupting shore leave at Yosemite Park (North America, Earth) our crew take the not-quite-ready Enterprise NCC-1701A on a mission to rescue diplomats kidnapped by a charismatic Vulcan madman. It turns out to be a quest to the center of the galaxy to find one of those Trek super-beings pretending to be a deity.

Most importantly: Uhura lets her hair go gray and reveals a surprise crush on Scotty.

This is the least-liked of the original crew movies, the only one directed by Shatner. The budget constraints are obvious and they steal shamelessly from the desert and cantina scenes of Star Wars (1977). From the commentary tracks we learn of severe time pressure, a pace that Shatner said made TV production schedules look like vacation. That the crew is so easily seduced by some mesmeric force -- and so quickly revived -- is hard to take. The humor tries too hard. We've had excess super-beings and Rodenberry's disdain for religion is a broken record.

And yet... the bond between Kirk, Spock and McCoy is real and true to the vision. Nimoy, especially, has worked out Spock in a way that gives him great poise and a type of peace. He is no longer warring between his Vulcan and human halves, but accepts both. We may not notice this remarkable interpretation because it just seems natural.

I have a strange sensation when watching this, as if we have crossed some boundary and returned to a TV-series reality. No one episode is very important because it will never end. It's as if they've died and gone to mythology Valhalla. Or maybe these are Kirk's dreams inside the energy orb of Star Trek: Generations (1994). They mention more than once: "life is but a dream".

Kirk's best line: "I miss my old chair".

One of Shatner's daughters has a small part as a Yeoman.

Jerry Goldsmith returns with his hearty, adventurous seafaring score.

Available on Blu-ray with two commentary tracks. The first is a light treatment by Shatner and another daughter who wrote a making-of book. They don't criticize the picture except for low budget and time constraints.

The second is by four Trek pros who know many production details. Of the original crew movies they think this is closest in tone to the original series, and that the characterization and chemistry of the three leads is good.



-Bill
Spot on. For a movie, this feels a bit like a third-season episode to me. The only other aspects I'd comment on would be Laurence Luckinbill gives a good performance in a poorly written role, and the flashbacks with McCoy and Spock (with their respective fathers) were touching.

Oh, and venerable character actor George Murdock plays "God".
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post #371 of 374 Old 12-30-2016, 11:09 PM
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Review films of the 1980s here!

I remember thinking that about it while leaving the theater. Not the greatest film, but certainly as much fun as the TV episodes.

Btw, those backlit plastic thingies in the elevator shaft? Retail sunglass display racks.

You could argue over the best lines. My vote is for, "God, I liked him better before he died..."

“We need more heart in motion pictures. We're all expecting great things.”
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post #372 of 374 Old 01-24-2017, 08:18 AM
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Bad Timing (1980), directed by Nicolas Roeg.

It starts with the aftermath of an attempted suicide and the efforts in the ambulance and in the hospital to save her. From this recurring frame we:

  • Flash back to the love story with a research psychiatrist and his obsessive jealously.
  • Flash forward to the police investigation while she is still unconscious; something suspicious going on.
  • Forward again to a final scene a few years later.

Reviews on this vary from "a masterpiece" to "a sick film made by sick people for sick people" (that from a studio exec).

I'm somewhere in between. I mostly fascinated by Nicolas Roeg and his work with Theresa Russell, age 23 here. This is where they met; later they married, had two kids, made several films, then split up.

I can see how the drama of obsessive sexuality would appeal to some, particularly to women who feel smothered by men too much in love in the wrong way. It builds to an unexpected shock: a sex crime on the semi-conscious, overdosed woman. This is why the police are spending so much time with the guilty shrink.

Also: intercutting sex and the intimacy of surgery always makes me queasy. I must be thinking of serial killers.

Semi-pro actor Art Garfunkel is a curious choice for male lead. I shouldn't complain when directors make unconventional choices, and he's competent, but it would be a better film with any of a number of other leads.

Harvey Keitel is an Austrian police detective, no accent. Also with Denholm Elliott, German accent included.

Diverse score: Tom Waits, The Who, Keith Jarrett.

Criterion DVD. A region B Blu-ray is available on the Network label in the UK. My thumbnails are from the DVD.



-Bill

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post #373 of 374 Old Today, 03:09 PM
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Stardust Memories (1980), written and directed by Woody Allen.

Allen's homage to Fellini's 8½ (1963), or something like it. It is more broadly comic, less intimately autobiographical than the original. Fellini's situations and characters are actually pretty "natural" in their fantasy, where Allen's are a more exaggerated display.

Hard to review because anything you might say has already been satirized in the film. I remember irritation from critics at being preemptively lampooned, to which I say: get a sense of humor. This is probably my favorite Allen film.

Some of this is obviously taken from his life, as when everyone raves about his "earlier funny films", but I wouldn't otherwise presume he is enacting himself here. Always putting himself with beautiful women: he knows it's funny, but neither can he stop.

The women:


Photographed by Gordon Willis. Rich old-time jazz score.

Available on Blu-ray from Twilight Time, although it doesn't have their logo or usual extras, so I think they must just distribute this title.



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post #374 of 374 Old Today, 03:27 PM
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Available on Blu-ray from Twilight Time, although it doesn't have their logo or usual extras, so I think they must just distribute this title.
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