Tag Archives: Comedy

Cars (2006)

25 Friday Jul 2014

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(Can be sung to “Life Is a Highway”)
 
A world of anthropomorphic cars
Is home to a cadre of racing stars.
Lightning McQueen is a young hotshot,
Who loves himself more than he ought.
 
For the Piston Cup, there’s a three-way tie,
And a rematch sends McQueen’s hopes awry.
A new west coast race will next week begin
For the world to see, of the three, who’ll win.
 
On his trip out west, McQueen somehow strays
Off the interstate to less traveled ways.
He ends up locked up in a town offbeat
For the damage done to the downtown street.
 
He is sentenced by the eccentric folk
To repair the road that he clearly broke,
And he cannot leave this abandoned place,
Though his whole career depends on that race.
 
Though he thinks it’s hell, he begins to grow
A few friendships here in this town so slow,
From Sally, a Porsche, who left speed behind,
To a sweet tow truck, who is unrefined.
 
There’s a car in town with a secret past;
Doc Hudson once was a racer fast.
When he crashed, he broke from the shallow sport
And has since been here in this dead resort.
 
In a race, he proves to the proud McQueen
That the young upstart is still plenty green.
On a trip nearby, Sally tells him too
Of Route 66 and the highway new.
 
Though the Interstate was a helpful deed,
All the tourists left for the sake of speed.
The forgotten town Radiator Springs
Just became one more of those bygone things.
 
When McQueen is done with the rebuilt road,
He feels more at home in this quaint abode,
But the paparazzi find him at last,
And he’s back to living his life so fast.
 
For the Piston Cup, the three racers race,
But his heart and mind’s in another place.
When his friends show up as his new pit crew,
They encourage him to know what to do.
 
An opponent races a bit too rough,
And McQueen then sees winning’s not enough.
With a sacrifice he’d have passed before,
He impresses all and earns so much more.
 
Though he did not win the desired crown,
More exposure helps to revive the town.
As a humbler, kinder, and wiser car,
It is clear McQueen’s happier by far.
_____________________
 

I hate to say it, but Cars is a rip-off. It plagiarizes the plot of Doc Hollywood so obviously that it’s a wonder lawsuits weren’t begun. (There actually was a lawsuit against the Cars franchise, but it had nothing to do with Doc Hollywood and was dismissed.) The story of a cool guy in the fast lane, who is stranded in a backwards town full of kooky characters, including a city girl who prefers the slower life, and who ends up choosing rural happiness over urban success, is undeniably familiar. Yet Cars has enough original ideas, such as its core concept of living vehicles, to still be worthy of the Pixar name, and with its great animation and lack of anything objectionable, I actually like it a little better than Doc Hollywood.

However retreaded the plot may be, it’s still an excellent one. After all, who doesn’t like to see an arrogant jerk shown the error of his ways? Owen Wilson is perfectly cast as the cool-and-he-knows-it Lightning McQueen, and Larry the Cable Guy is Mater. More than any other character, Mater has become the Cars franchise, for better or worse, and because his later appearances have been less than stellar, it’s easy to forget how entertaining his country bumpkin persona was in the original film. Paul Newman brings some very real experience to both the cast and the film overall, and Bonnie Hunt as Sally again proves that she has a voice meant for voice acting. All of the other citizens of Radiator Springs have just the right amount of characterization, from George Carlin as the hippie VW bus Fillmore to Tony Shalhoub as the Ferrari-loving Fiat Luigi. The rest of the voice cast includes Michael Keaton, Paul Dooley, Cheech Marin, and NASCAR champ Richard Petty. Plus, you’ve got to love the cameo from Click and Clack, the Tappet Brothers.

In addition to the ever-outstanding animation, the film also has that trademark Pixar heart. As intended from the start by director John Lasseter, Cars is like a love letter to the nostalgia of Route 66 and to all of the small towns that indeed were overlooked by the public’s desire for speed and convenience. Considering that it made me care for anthropomorphic automobiles, I’d say the film got its point across beautifully. While I continue to think that Lightning could have easily won the race and then gone back to help the King (he was only inches away after all), the lesson about winning isn’t everything is taught here better than any other film I’ve seen.

Cars may not be Pixar’s most popular film, and it spawned their only bad film to date, but it’s got enjoyable characters, a great soundtrack, plenty of car and animation in-jokes, and all the humor and heart of a classic.

Best line: (Sally, describing Route 66) “Well, the road didn’t cut through the land like that Interstate. It moved with the land, it rose, it fell, it curved. Cars didn’t drive on it to make great time. They drove on it to have a great time.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 4
Watchability: 8
 
TOTAL: 46 out of 60
 

Next: #167 – Extremely Loud and Incredibly Close

© 2014 S. G. Liput

164 Followers and Counting

 

Wreck-It Ralph (2012)

24 Thursday Jul 2014

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In Litwak’s Arcade, the games delight,
A quarter for a race or fight,
But kids and Litwak do not know
Where all game characters then go
When everyone is gone at night.
 
The characters treat every game
As just a job that earns them fame,
But Wreck-It Ralph wants to defy
His role as damaging bad guy
And thirty years of mud and shame.
 
Good guys, like Fix-It Felix, seem
To boast the highest self-esteem.
Ralph needs a hero’s medal now
To win some happiness somehow,
Despite how others scorn his dream.
 
He leaves his game to earn respect;
When gamers come, there’s nothing wrecked.
Their jobs and home are now in danger,
But Ralph’s off to someplace stranger,
Bent on medals to collect.
 
In Hero’s Duty, thus Ralph tries
To stay alive and win his prize,
But killer Cy-Bugs plague his route,
And one of them, alas, gets out.
It sneaks away and grows in size.
 
Their crash site is in Sugar Rush,
A racing game that’s sweet and plush.
Ralph’s medal’s taken when he meets
The brat Vanellope von Schweetz,
A hated glitch who’s kept hush-hush.
 
She purchases her right to race,
But Ralph arrives to trash the place.
When he sees how she’s shunned apart,
He helps her build her own go-cart,
But King Kandy stays on her case.
 
King Kandy sows doubt in Ralph’s mind
On whether he should be inclined
To help her win or if he should
Prevent the girl for her own good.
He breaks her heart by being kind.
 
Ralph goes back home, unsatisfied,
But learns the sneaky King had lied.
Ralph helps Vanellope come back
And race at last, but bugs attack!
King Kandy shows his evil side.
 
Vanellope can’t leave the game
Since she’s a glitch; the King’s to blame.
So Ralph attempts a sacrifice
To save the insects at a price
And wipes them out with cola flame.
 
He’s saved and is content to see
Success come to Vanellope.
Embracing duties he once hated,
Ralph’s at last appreciated,
The good “bad guy” he’s meant to be.
___________________
 

Wreck-It Ralph is an oddity among Disney movies, not a fairy tale or a traditional love story, but rather an original hero quest that creates an astonishingly detailed environment to rival the world-building prowess of Pixar. My VC considers it fluff, and at first glance a film about video game characters may seem to be just that, but Wreck-It Ralph greatly exceeded my expectations with its imaginative plot and abundant eye candy (pun intended).

In many ways, Wreck-It Ralph is an example of potential pitfalls done right. It brilliantly combines real video game characters from Pac-Man, Q*Bert, Street Fighter, Sonic the Hedgehog, Tapper, Altered Beast, and many more, similar to how Who Framed Roger Rabbit? mingled classic cartoon characters from various studios into something totally unique. Unlike the more adult-leaning Roger Rabbit, which I appreciate more than I like, Wreck-It Ralph allows these characters their cameos for the hard-core gamers to scrutinize, while making them mere accessories to the main plot of original characters, all while maintaining a (mostly) family-friendly tone.

In addition, the unsatisfying, out-of-nowhere reveal of Prince Hans in Frozen was handled so much better in this earlier film. King Kandy is already treacherous from the start; we just don’t know the extent of his villainy. The big reveal was clearly set up but still came as a surprise to me because the filmmakers deftly toyed with the possibility that the King, rather than Vanellope, was just misunderstood. The writers knew what they were doing. There are even some insightful remarks, such as Vanellope’s despised glitch being analogous to a birth defect and Ralph questioning why video games have become so violent of late.

All this doesn’t even mention the stunning animation, the astounding amount of world-building, and how the filmmakers utilized their own rules to ingenious effect. From the limitations and advantages of glitches to the behaviors of the Cy-Bugs, the imagination just keeps flowing. There’s also a plethora of sweet-themed puns in the world of Sugar Rush, a candy kingdom reminiscent of that in Adventure Time.

Plus, there’s some excellent voice work from John C. Reilly as the conflicted Ralph, Sarah Silverman as the bratty but lovable Vanellope, Jack McBrayer as the goody two-shoes Fix-It Felix, Jane Lynch as the intense Sgt. Calhoun of Hero’s Duty, and Alan Tudyk as the duplicitous King Kandy. Again, my VC doesn’t like how Ralph’s “villainy” is seen as good, but his villainhood is depicted as just a job and clearly not true evil. Thus, his position as both protagonist and “bad guy” is must less subversive than, say, The Nightmare before Christmas or Wicked. If anything, his realization that filling his necessary role is better than selfishly seeking his own glory makes the film even more unique.

Wreck-It Ralph may not have quite the same character development as other Disney films, but it’s an inventive thrill ride with a jam-packed plot that begs for repeated viewing. It also boasts not one, not two, but three songs worthy of my End Credits Song Hall of Fame, the “Sugar Rush” and “Wreck-It, Wreck-It Ralph” theme songs and Owl City’s utterly catchy “When Can I See You Again?” Many of the video game references probably flew over my head, but whether you’re a gaming fan or not, this film is just plain fun.

Best line: (Sgt. Calhoun, after seeing Felix’s fixing hammer at work) “Your face is still red; you might want to hit it with your hammer again.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 9
Visual Effects: 9
Originality: 9
Watchability: 9
Other (I like other films better): -3
 
TOTAL: 46 out of 60
 

Next: #168 – Cars

© 2014 S. G. Liput

160 Followers and Counting

 

#170 – Foul Play (1978)

23 Wednesday Jul 2014

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Since Gloria Mundy, a fair divorcée
And mousy librarian, won’t often stray
And take any risks, all her friends feel it’s known
She’ll not embrace chances but end up alone.
 
While driving one day, she picks up a hitchhiker
In need of a ride, and this Scott seems to like her.
He gives her his smokes (plus a film classified)
And says he will date her that night for the ride.
 
That night at the theater where they would meet,
He warns of a dwarf and then dies in his seat,
But Gloria’s shocked when he just disappears
And tells landlord Hennessy of all her fears.
 
One night at her workplace, an albino fella
Attacks her but gets a taste of her umbrella.
With help from a pervert with love on the brain,
She gets away, wondering if she’s insane.
 
A man with a scar then attacks and upsets,
Demanding the package of Scott’s cigarettes.
The albino kills him; when cops have arrived,
The scene is all clean, and her tale seems contrived.
 
Though cop Tony Carlson likes the fruitcake,
They leave, and she’s caught. When again she’s awake,
She flees from her captors, and, jumpy as heck,
Proves to a dwarf she’s a pain in the neck.
 
At last, Tony finds evidence of her tale
And acts as her guard, and their romance sets sail.
When Gloria goes out, again she is caught,
And Tony uncovers a sinister plot.
 
The villains involved have a blackhearted hope:
They’re planning to murder the visiting Pope.
Both Tony and Hennessy rescue the lass,
But this evil purpose may still come to pass.
 
Both Tony and Gloria race across town
To reach the opera ere the curtain comes down.
Despite challenges, they arrive just in time
To stop the albino, preventing the crime.
Then up on the stage, with the pontiff safe now,
The lovers embrace, and they all take a bow.
_______________________
 

Inspired by Alfred Hitchcock thrillers, Foul Play is a near-perfect blend of action, suspense, and comedy. There’s a wine cellar scene (Notorious), a shower curtain scene (Psycho), and an abortive strangulation scene (Dial M for Murder), plus other familiar tropes, like an unsuspecting bystander drawn into a murderous conspiracy (take your pick). Most of the film actually works as a straight-faced mystery, but much humor is derived from two-sided conversations in which both people have an entirely different understanding of what’s going on. The clever script also tows the line between serious dialogue and funny one-liners.

Goldie Hawn as Gloria is hilariously scattered in her confusion of how she ended up in this mess, and Chevy Chase as Tony actually proves he had potential as a romantic lead back in the day. Burgess Meredith gets more physical than most of his other roles as a former anthropologist/black belt/ landlord. But the funniest role goes to Dudley Moore as nervous weirdo Stanley Tibbets, whose extended cameo often steals the show. This was his first introduction to American audiences and gained him the popularity that led to 10 and Arthur.

There are several memorable encounters, such as the albino’s library ambush and the cruel yet humorous dwarf attack. By the end, the comedy ratchets up to some long, over-the-top sequences, like an elderly martial arts match and a thrilling, opera-laced race through the streets of LA (it’s technically not a car chase). The part with the Japanese couple in the back seat of the taxi ranks among the best comedic scenes ever.

It’s not quite perfect. The score is sometimes overly dramatic, probably to imitate a Hitchcock film, and the seemingly important film coveted by the bad guys is just ignored by the end, again most likely an intentional irony. Some unnecessary scenes could also have been cut, such as a totally pointless Scrabble game using obscenities. The labyrinthine plot contains a hole or two as well, such as why the albino didn’t kill Gloria when he repeatedly had the chance; plus, the final showdown with the albino is a tad underwhelming.

Nevertheless, Foul Play is a good film with splashes of greatness along the way. I love genre mashes as long as they’re not overly obscene, and Foul Play succeeds as both an homage and a great mystery in its own right.

Best line: (Japanese couple, near the end) “Kojak, bang, bang!” (you just have to see it)

 
Artistry: 6
Characters/Actors: 8
Entertainment: 9
Visual Effects: 7
Originality: 7
Watchability: 9
Other (language): -1
 
TOTAL: 45 out of 60
 

Next: #169 – Wreck-It Ralph

© 2014 S. G. Liput

160 Followers and Counting

 

Bill and Ted’s Excellent Adventure (1989)

21 Monday Jul 2014

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Bill and Ted are valley guys
Who dream of fame but aren’t too wise.
They think their Wyld Stallyns band
Will be “triumphant” once it’s planned.
Their grades are low without a doubt,
And history may flunk them out.
Then someone “excellent” comes through
The night before reports are due.
 
A man named Rufus gives the youths
A rarity among phone booths:
A booth that travels through the years
To wow their teachers and their peers.
They visit France, from which they’re lent
Napoleon by accident.
This gives them an idea for free,
To gather names from history.
 
Billy the Kid first joins their booth,
Then Socrates they lure with truth.
Medieval England has princesses
But gets them in the worst of messes.
Though nearly meeting both their ends,
They’re saved by their historic friends.
They then go on to gather more
To make their presentation soar.
 
From Genghis Khan to Joan of Arc
To Sigmund Freud, they disembark
Just long enough to grab a name,
Like Beethoven, that’s garnered fame.
Once Lincoln joins their crowded stall,
They take them to San Dimas’ mall,
Where most take full advantage of
Strange modern things they come to love.
 
Once Bill and Ted find Bonaparte
At Waterloo, a water park,
They find their other VIPs
Have been arrested by police.
They spring their characters from jail
With Ted’s cop dad hot on their trail.
The duo blow their school away
And gain ovation and an A.
 
Once everyone’s back in their time,
Old Rufus comes with news sublime.
Their Wyld Stallyns band will birth
A calm “excellent” future earth.
He brings the princesses they met
To make their band a sweet quartet.
Although they cannot play right now,
“They do get better,” well, somehow.
___________________
 

I’ll be honest; Bill and Ted’s Excellent Adventure has two of the stupidest main characters around, but it’s a testament to the fact that stupidity (when done right) can be hilarious. From mispronouncing historical names to thinking a torture device is a metal band, Bill and Ted romp through history with abandon, only meeting actual danger a couple times. Their plan to gather historical figures for a living history presentation is both ridiculous and brilliant, and it’s certainly entertaining to watch.

Alex Winter and Keanu Reeves (Neo?!) spout adjectives left and right, from “triumphant” to “bogus” and beyond. They’re utterly goofy and silly in that classic ‘80s kind of way, yet they tow the line and don’t fall into complete puerility. George Carlin acts as the futuristic straight man Rufus, not getting many jokes but playing an integral part in moving the plot and balancing all the wackiness. Other roles are mostly cameos, such as the Go-Go’s Jane Wiedlin as the energetic Joan of Arc and Springsteen sax player Clarence Clemons as a dignified leader of the future.

While the characters are imbeciles, it’s obvious that the filmmakers have plenty of intelligence and creativity. Spanning centuries and nations, they combine Napoleon, Billy the Kid, Socrates, Genghis Khan, and friends with a modern setting and let the hilarious chaos flow for all to enjoy. The scenes in the mall prove that historical figures can handle the stresses of time travel surprisingly well and that Genghis Khan should stay away from sporting equipment.

Speaking of time travel, the century-bridging phone booth the boys receive may be an obvious rip-off of Doctor Who’s TARDIS, but unlike the famous police box, the phone booth is not bigger on the inside than on the outside, allowing for further laughs. By the end, the filmmakers even exhibit some Back to the Future-style mind-bending by stretching time travel plausibility to provide Bill and Ted with deus ex machina rescues.

Overall, Bill and Ted’s Excellent Adventure is a thoroughly fun voyage through time that exceeds the sum of its parts, despite some crudities. Time travel is one of my favorite science fiction sub-genres, and when it’s this enjoyably ridiculous, I can only say, “Excellent!”

Best line:  (Bill, reading upon arriving in ancient Greece) “So-crates – ‘The only true wisdom consists in knowing that you know nothing.’”   (Ted) “That’s us, dude.”

 
Artistry: 3
Characters/Actors: 7
Entertainment: 10
Visual Effects: 6
Originality: 10
Watchability: 9
 
TOTAL: 45 out of 60
 

Next: #171 – Pocahontas

© 2014 S. G. Liput

159 Followers and Counting

 

Mulan (1998)

19 Saturday Jul 2014

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(Best sung to the tune of “A Girl Worth Fighting For”)
 
When the Huns invade and China is in peril
From the dark Shan-Yu who’s merciless and feral,
The threat’s appraised; an army’s raised
And every man must serve,
But a lone girl reports and proves her nerve.
 
Though Fa Mulan is quite the awkward beauty,
She won’t let her father lose his life for duty.
She impersonates the manly traits
And gallops off to war,
Hoping to save the man she’s fighting for.
 
Her ancestors send out a guarding spirit,
But who she gets is frankly nowhere near it:
The small Mushu, a dragon who
Just wants his honored shelf
And has arrived to help her prove herself.
 
The Captain Shang is tough on all the rookies
And teaches things unknown in fortune cookies.
He trains them hard as China’s guard,
And when he’s satisfied,
Mushu ensures they’ll fight to turn the tide.
 
While marching through a mountain pass while singing,
The army sees the death the Huns are bringing.
They are ambushed and nearly pushed
Right off the mountainside,
But by Mulan the victory’s supplied.
 
An avalanche destroys the Huns while riding,
But Shang soon learns the truth that Mulan’s hiding.
The laws apply, and she must die,
But Shang won’t kill Mulan.
They leave her there, her family honor gone.
 
She sees Shan-Yu and others are still living
And warns her friends, but Shang is not forgiving.
The Huns attack and plan payback
Upon the Emperor.
When Mulan calls him, Shang then follows her.
 
With female charm, they fight into the palace
And save the Emperor from Shan-Yu’s malice.
Up on the roof, the fiend goes POOF
When Mushu’s rockets shoot,
And fireworks eliminate the brute.
 
With China saved and Shan-Yu now a goner,
The Emperor grants Fa Mulan much honor.
Back home they ride with newfound pride,
And Dad and Shang agree
This lovely girl is just as she should be.
______________________
 

Ignoring the earlier-reviewed Hercules, here begins the Disney Renaissance on my list in earnest. Mulan was yet another feather in the cap of Disney’s animation department, with memorable characters, enjoyable music, and impressive animation. Inspired by the ancient Chinese poem Hua Mulan, who fought in the army in her father’s stead, the animation style emulates aspects of Chinese art, much like Hercules reflected Greek art. The filmmakers also pioneered some CGI elements to produce huge crowd scenes, such as the amazing mountain charge of the Huns.

Of the voice cast, Ming Na Wen as Mulan and Eddie Murphy as Mushu are the standouts, and James Hong and Harvey Fierstein also lend their distinctive voices to the film. (I still think of Donkey from Shrek when I hear Murphy’s voice, even though Mulan came first.) The songs are not as plentiful as in other Disney films, but they’re still outstanding. “Reflection” is beautiful (and helped start Christina Aguilera’s career), and “I’ll Make a Man Out of You” is just perfect, ranking among the best of Disney’s musical numbers.

Though the film wasn’t as successful in China, Mulan is a marvelous Disney classic that exceeds the silliness of Kung Fu Panda. With a strong female role model and humor and fun to spare, Mulan may not be my favorite of the Disney Renaissance, but it easily surpasses most of today’s animated films.

Best line: (Mushu, after roasting the Huns’ falcon) “Now, that’s what I call Mongolian barbeque.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #173 – Rudy

© 2014 S. G. Liput

158 Followers and Counting

 

The Terminal (2004)

15 Tuesday Jul 2014

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Poor Viktor Navorski is nationless,
No visa, no passport, no funds.
His country Krakozhia suffered a coup,
Abandoning traveling sons.
 
Frank Dixon, the customs official,
Tells Viktor his country’s deposed.
He can’t let him into New York with no visa;
The U.S., for Viktor, is closed.
 
His only choice now is to wait there,
To wait with no ending in sight,
Surviving off crackers and bathing in sinks
And sleeping on benches at night.
 
He teaches himself better English
To fit in where he will reside.
Yet Dixon just wants Viktor out of his hair
And goads him to just sneak outside.
 
But Viktor is clever and honest.
He figures out ways to buy food,
But Dixon endeavors to sabotage him
As part of a one-sided feud.
 
Navorski runs into Amelia,
A flight attendant passing through.
She’s dating a married man but deserts him
In favor of Viktor, who’s true.
 
He also befriends those who work in the airport,
And finds his own job in construction.
When one of his confidants wants to propose,
He helps with long-distance seduction.
 
When Dixon reveals to Amelia the truth
That Viktor lives in the airport,
She asks Viktor why, and he pulls out a can
Of papers he’s there to escort.
 
His father got signatures of the jazz greats,
Except Benny Golson on sax.
He came there fulfilling a promise he made
Until he then fell through the cracks.
 
The war in Krakozhia soon comes to an end.
Amelia gives Viktor a pass
To leave for one day, which she got from her beau
For coming back to him with class.
 
Yet Dixon then blackmails Navorski
To get him to just fly away
Till one of his comrades delays Viktor’s flight,
And gives him his requisite day.
 
So Viktor Navorski departs for the doors,
With all the employees’ support,
And even security won’t arrest him
When he at last leaves the airport.
 
He goes to the hotel where Golson is playing
And gets him to sign when he’s asked.
His promise fulfilled, Viktor gets in a taxi
To leave for Krakozhia at last.
___________________
 

It’s hard to believe that someone could live like this in an airport, but The Terminal is reportedly based off Mehran Karimi Nasseri, an Iranian refugee who lived in a Paris airport for seventeen years. I didn’t much care for The Terminal the first time I saw it. I thought it was entertaining enough, but that the whole reason behind Viktor’s stay at the airport was weak. For him to go through so much inconvenience for the sake of a jazz musician’s autograph just didn’t seem worth it to me and was somewhat underwhelming, especially since his relationship with Amelia didn’t endure for long either.

But, mainly due to my VC’s further viewing, I gave it another shot and recognized many things to appreciate, despite the lackluster ending. Tom Hanks turns in yet another masterful acting job, speaking Bulgarian and displaying the same innocence and unlikely luck as Forrest Gump. His pathetic scenes early on, such as making a sandwich out of saltines and ketchup, instill sympathy for the character and his plight, and the clever ways he deals with the situation may be improbable but make him even more likable. Stanley Tucci is also skillful as the by-the-book jerk who tries to both get Viktor out and keep him in, and Catherine Zeta-Jones is lovely as Amelia, though her character’s arc isn’t really satisfying.

Viktor’s daily interactions with the airport employees make it reminiscent of a “meet ‘em and move on” film, and Zoe Saldana plays an unrealistically wedded Trekkie, unintentionally foreshadowing her involvement in the Star Trek reboot. Steven Spielberg lets the story flow effortlessly, and John Williams’s score is one of his under-appreciated gems. Borders may have gone out of business, but its signs and the plentitude of other product placement make the airport feel quite realistic.

The film may have several scenes that don’t quite pull off the drama they’re attempting (the “goat” medicine standoff, Gupta’s sacrifice), but it skillfully exhibits some of the ridiculous regulations of bureaucracy. Also, even if the signatures in the can may seem trivial to me, the promise to his father certainly meant a lot to Viktor so I’d say the end is more effective than I had first thought. Overall, The Terminal is a lesser Tom Hanks treasure that excels in its characterization and makes living in an airport an admirable thing.

Best line: (Viktor, to Enrique, after being unable to pronounce the word “cheat”) “She’s a nice… nice girl; she won’t take your chitting.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 9
Watchability: 9
 
TOTAL: 44 out of 60
 

Next: #177 – Castle in the Sky

© 2014 S. G. Liput

157 Followers and Counting

 

Funny Girl (1968)

11 Friday Jul 2014

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(Best sung to “Don’t Rain on My Parade”)
 
When Fanny Brice was just a show-biz starter,
She couldn’t be a chorus girl, but smarter;
She had the voice to make the audience acclaim.
Though like a bagel compassed by bialys,
She was a starlet in the Ziegfeld Follies.
She made the people laugh and earned the highest fame.
 
Quite early on, she meets a handsome mister.
This Nicky Arnstein just wants to assist her,
But over time their love inevitably grows.
When he must leave to catch a ship and gamble,
She follows him and dumps her show to ramble
With him, the man who’s glad to see her and propose.
 
They’re glad together for a time, but Nicky
Runs out of luck, and earning money’s tricky.
Yet Fanny’s still the star of Ziegfeld’s latest show.
Increasingly, he can’t provide the bacon;
He feels his confidence and pride are shaken;
And he will not accept the help she can bestow.
 
This streak of bad luck—Nick cannot crack it,
So he decides to join a bond scheme racket.
He goes to jail for eighteen months, and they both part.
Though Fanny still may love her former wooer,
They both decide to start their lives the newer
By separating, but Miss Brice still sings her heart.
______________________
 

Funny Girl was Barbra Streisand’s first film, based off the Tony-nominated Broadway show she headlined, and it’s the film that won her the Academy Award for Best Actress (albeit tied with Katharine Hepburn for The Lion in Winter). The role of Fanny Brice suits her just as much as that of Dolly Levi, both strong Jewish women (at least as played by Streisand), and, though it entails her being self-conscious about her looks, her comedic and vocal talents are given great opportunity to shine.

Omar Sharif is also as “gorgeous” as ever as the charming gambler Nick Arnstein, who helps Fanny early in her career. Sharif certainly sells the character, but Arnstein is an unfortunate example of pride gone awry. Ignoring the fact that he seduces Fanny and only marries her at her suggestion, the way he handles his poor luck is frustrating to me. It’s usually admirable when some poor movie father says he won’t accept charity but will rather earn his own money, but I think most such fathers would take the contribution before turning to illegal activities. Nick was given a chance to finally have a somewhat stable career, and he turned it down because his wife was helping to finance it. That’s not even charity; it’s simple sharing! For him to knowingly commit a crime and desire divorce is perhaps not as fatal as the actions of Norman Maine in A Star Is Born, but it does show that his own pride trumped his love for Fanny. But I digress….

While the unsatisfying end and the rather long running time detract somewhat, the music makes up for it. Many songs were omitted from the stage production, but several show-stopping numbers just had to be included. Of course, Streisand’s rendition of “People” is quite popular, but “His Love Makes Me Beautiful” is a hoot. I actually prefer the more upbeat songs “I’m the Greatest Star” and “Don’t Rain on My Parade.” The lyrics are all clever, and the final notes are awe-inspiring.

Like Hello, Dolly, Funny Girl is not my favorite musical, but it’s a great mixture of drama, comedy, and music that meshes beautifully, mainly due to Streisand’s performance. While the last song “My Man” may finish it on a high note, I do wish the film overall ended more happily.

Best line: (Fanny, speaking of Nick) “I see him as he is. I love him as he is!”   (her mother Rose) “Fanny, love him a little less. Help him a little more.”

VC’s best line: (Fanny, explaining how she’s different) “I’m a bagel on a plate full of onion rolls!”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 8
Visual Effects: N/A
Originality: 8
Watchability: 7
Other (great music and singing): +3
 
TOTAL: 43 out of 60
 

Next: #181 – Something the Lord Made

© 2014 S. G. Liput

153 Followers and Counting

 

Spaceballs (1987)

08 Tuesday Jul 2014

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When Planet Spaceball needs some air,
Its leader Skroob intends to dare
To steal it from the Druids’ planet.
It can’t get more absurd, now can it?
Wait, it can, a Druish bride
Named Princess Vespa can’t abide
Her sleepy groom; she’s unafraid
To leave with Dot Matrix, her maid.
 
Her father calls the rogue Lone Starr,
To save her (and her nice space-car)
From Dark Helmet and Spaceball One,
A ship that they cannot outrun.
Lone Starr, along with friendly mutt,
Is in debt to Pizza the Hutt,
So for a price, Lone Starr agrees
And rescues her, which sparks unease.
 
When Dark Helmet goes way too fast,
He goes to plaid and whizzes past.
But Lone Starr’s gas runs out too soon,
And they crash on a desert moon.
Though bride and rogue despised each other,
They start to flirt till Dot plays mother.
They meet old Yogurt, who purports
To know the power of the Schwartz.
 
He shares with Lone Starr much advice,
Such as his plans for merchandise.
With help from Spaceballs’ VHS,
Dark Helmet searches with success.
He kidnaps Vespa, using her
To force her daddy to defer
And give his world’s defensive code
To save the nose job he’d bestowed.
 
Then Spaceball One (to serve the plot)
Transforms into a maid. Why not?
The Druids lack time to prepare
As those Spaceballs suck up their air,
But Lone Starr rescues Vespa’s head
And makes the sucker blow instead.
He journeys through the Mega Maid
And finds the self-destruct (clichéd).
 
He fights Dark Helmet comically,
But wins and then is quick to flee.
The maid explodes (well, most of it),
And Vespa’s back to wed a twit.
But after dinner and a show,
Lone Starr is told he’s royal so
He interrupts to wed the bride,
And they fly off in his sweet ride.
_________________
 

One of the best parody films ever, Spaceballs was Mel Brooks’ response to Star Wars, Alien, Star Trek, Planet of the Apes, The Wizard of Oz, the 1986 animated Transformers: The Movie, and any other science fiction film you can think of. Almost every line of dialogue is a joke, and almost every one is funny. Add that to some hilarious cameos, such as Mel Brooks himself as Skroob and the noise-production guru Michael Winslow (who reportedly saved Brooks money on sound effects), and you’ve got a cult classic in the making.

The acting isn’t the best, nor are the visual effects, but I bet that was intentional to heighten the humor. Bill Pullman came to prominence through his starring role as Lone Starr (he wasn’t even promoted on the film poster), and other roles are hilariously filled by John Candy, Daphne Zuniga, Joan Rivers, Dick Van Patten, and the ever-funny Rick Moranis as Dark Helmet. The funniest scene in the whole movie for me is the Alien spoof near the end, which is made more amusing by the presence of John Hurt, who had previously been involved with Brooks in History of the World, Part I and The Elephant Man.

The main reason Spaceballs isn’t higher on the list is its frequent language and crudities. From phallic jokes to insults used as names, these gags are funny in some ways, but they detract from the film’s appeal. Kids probably wouldn’t even get most of the clever references to other films, but Brooks ensured that it wasn’t appropriate for them in the first place.

Still, barring the double entendres, Spaceballs is a must-see for science fiction fans, especially those of Star Wars. There are too many sight gags, puns, and fun antics to spoil them all, and I don’t want to try. I dare you not to laugh.

Best line: (Dark Helmet) “Before you die, there is something you should know about us, Lone Starr.”
(Lone Starr) “What?”
(Dark Helmet) “I am your father’s brother’s nephew’s cousin’s former roommate.”
(Lone Starr) “What’s that make us?”
(Dark Helmet) “Absolutely nothing! Which is what you are about to become.”

 

Artistry: 5
Characters/Actors: 7
Entertainment: 10
Visual Effects: 7
Originality: 8
Watchability: 10
Other (language and crude jokes): -4
 
TOTAL: 43 out of 60
 

Next: #184 – The Ultimate Gift

© 2014 S. G. Liput

150 Followers and Counting!

 

#190: Hello, Dolly (1969)

03 Thursday Jul 2014

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Back in 1890 Yonkers,
Dolly Levi always conquers
Any obstacle she sees.
Love and money have compelled her
To seek Horace Vandergelder,
Who’ll be hers, she guarantees.
 
Though he is a cross curmudgeon,
He just needs a little nudge on
Choosing her above the rest.
As a mover and a shaker
And New York’s most loved matchmaker,
She’s not easily suppressed.
 
After Horace tears to pieces
A beloved of his niece’s,
He intends to look for joy.
With the cash at his disposal,
He is planning a proposal
To New York’s Irene Malloy.
 
Since his feed store must stay open,
He puts his reluctant hope in
His two unfulfilled young clerks.
Once he’s gone, Cornelius Hackl
And pal Barnaby then tackle
Life at large and all its perks.
 
Dolly tells the two assistants
Of the heaven-sent existence
Of two women meant for them.
So they journey with elation
To Irene Malloy’s location,
Thinking they’ll each find a gem.
 
While Irene and gal pal Minnie
Like the pair, naïve and skinny,
Both employees quickly hide
When their boss arrives to proffer
Miss Malloy a marriage offer,
Till he learns of men inside.
 
Dolly then begins preparing
For a date night they’ll be sharing,
Though the poor clerks are afraid.
She ties off her latest scheming
As the city streets are teeming
For the 14th Street Parade.
 
By the time that night is falling,
All the characters are calling
On the restaurant that she chose.
Both the clerks cannot afford to
Spend a lot, though they’re implored to,
And their bluffing frankly shows.
 
Dolly’s welcomed with much fanfare;
Horace is her chosen man there,
Though she causes him much stress.
Dolly has arranged a chance for
His niece and her beau to dance for
Contest money to impress.
 
Mr. Hackl starts confessing
With Irene and Minnie’s blessing,
For they knew it all along.
They then try to be the winner
Of the dance to pay for dinner,
But then everything goes wrong.
 
Horace sees his niece cavorting
With the man he’d banned from courting,
And he quickly goes berserk.
What a messy picture this is!
Both his workers he dismisses
When he sees they’re not at work.
 
During this confused occasion,
There’s some stealthy pay evasion,
As two couples sneak away.
Hackl and Irene now know that
They’re in love, and both then show that
In a song to end the day.
 
Dolly then leaves Vandergelder,
Who regrets he ever smelled her,
But that changes very soon.
Back in Yonkers, he’s unmarried,
With no workers to be harried,
Just a lonely rich tycoon.
 
Dolly and the rest come calling,
And he sees no point in stalling,
So he asks her in his life.
She suggests that he be smarter
And take Hackl as a partner,
And she’s glad to be his wife.
_________________
 

Coming just a year after her rise to stardom in 1968’s Funny Girl, Hello, Dolly gave Barbra Streisand yet another enduring musical role that seems perfect for her. Many criticized the fact that she was only 27 years old at the time, perhaps too young for the role of a pushy widow seeking a husband. Yet she makes the role her own and fills it with such fast-talking chutzpah that I can’t see anyone else playing Dolly Levi. Carol Channing may have been the immortal Dolly on Broadway, but in my opinion (and my VC’s) Streisand blows her away, in both the strength and the mellifluence of her voice.

Walter Matthau sings for the first and only time in his career (that I’m aware of) as the bossy and crotchety storeowner Horace Vandergelder. Michael Crawford also does a fine job as Cornelius Hackl and is so lovably nerdy that it’s hard to believe he’s the original Tony-winning Phantom of the Opera. All the other roles are filled ideally, and Louis Armstrong’s cameo during the title song is classic as all get-out.

The music itself is wonderful stuff. From Mr. Vandergelder’s humorously selfish “It Takes a Woman” to the charming, street-walking “Elegance,” the songs clearly have just the right balance of humor, clever lyrics, and hummable tunes. “Hello, Dolly” is another great number, and the entire part in the Harmonia Gardens Restaurant is filled with energetic physical comedy and Michael Kidd’s impressive choreography. And of course, there are the two songs made even more timeless by their inclusion in the Pixar film WALL-E, those being “Put on Your Sunday Clothes” and “It Only Takes a Moment.” A few of the unnecessary songs like “Love Is Only Love” slow the film down a bit, but showstoppers like “Before the Parade Passes By” truly make the film (Streisand’s long end note is awe-inspiring). My personal favorite, though, is the opening song “Just Leave Everything to Me,” which was written specifically for the film and Barbra Streisand.

Hello, Dolly isn’t my favorite musical, even though I love most of the songs. Perhaps I don’t care for Dolly’s overly pushy manner. I mean, Mr. Vandergelder was an overbearing, self-centered boor, but by the end, I almost sympathized with his exasperation. His turnaround and marriage proposal are rather sudden, yet it shows Dolly knew just the right buttons to push to get the desired outcome. Despite Dolly’s busybody personality, Streisand sells it for the most part, and she and Crawford are perfectly cast. My VC loves the film even more than I, and though other musicals and Barbra Streisand films are higher on my list, this one stands out as a Broadway-style gem.

Best line: (Vandergelder, to his niece’s beloved Ambrose) “You are a seven-foot-tall nincompoop!”   (Ambrose) “That’s an insult!”   (Vandergelder) “All the facts about you are insults!”

VC’s best line: (Vandergelder, while being shaved) “Eighty percent of the people in the world are fools, and the rest of us are in danger of contamination.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 8
 
TOTAL: 42 out of 60
 

Next: #189 – Rocky III

© 2014 S. G. Liput

146 Followers and Counting

 

Doc Hollywood (1991)

25 Wednesday Jun 2014

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A cool young surgeon named Ben Stone
Is headed for L.A.,
But lands in Grady, little-known,
Where he is forced to stay.
 
He trashed a fence, which trashed his ride,
And must do doctor duty.
The townsfolk welcome him with pride,
Except one country beauty.
 
Because Vialula/Lou’s been burned
By city boys before,
She leaves the flirting doctor spurned,
Though he tries even more.
 
The townspeople are full of quirks,
Like squash fan Mayor Nick,
And Melvin the mechanic works
On Ben’s car, none too quick.
 
There’s also Hank, who can foresee
Insurance aspirations,
And mayor’s daughter Nancy Lee,
Who dreams of long vacations.
 
As Ben cares for the populace,
In simple, closer ways,
He starts to feel that he will miss
This town, despite the raise,
 
Especially when Lou soon starts
To soften up to Ben.
Yet he can’t bear to break their hearts,
Since he’ll soon leave again.
 
When Ben rescues the stodgy doc
Named Hogue, who thinks him rude.,
The judge allows Ben Stone to walk;
Ben feels oddly subdued.
 
He tries to sneak away at night,
But moms he can’t ignore.
While he assists one pregnant plight,
His car is wrecked once more.
 
The town gives him a one-way flight
To L.A., and he goes,
But as he lives his dream all right,
He rues the path he chose.
 
When Hank and Nancy Lee appear,
Ben craves more than success.
He chooses Lou above career
And finds his happiness.
_________________
 

Doc Hollywood is one of Michael J. Fox’s most entertaining movies, presenting a kooky but affectionate glimpse of cinematic small town life. It doesn’t present them as backwards or stupid but rather eccentric and focused more on life’s simple pleasures: squash festivals, nice-looking pigs, and fishing—with dynamite. It’s impressive how many memorable characters they pulled off, from David Ogden Stiers as Mayor Nicholson; Bridget Fonda as his eager-to-leave daughter Nancy Lee; Woody Harrelson as Haymitch—I mean Hank Gordon; Barnard Hughes as the crotchety country doctor Aurelius Hogue; Frances Sternhagen as the deadpan diner waitress Miss Lillian, who can only make Hungry Man dinners; and the lovely Julie Warner as love interest Vialula; not to mention the two quirky mechanics, the stern Nurse Packer, and the family who come to the doctor’s office just to have their mail read. By the time Ben leaves and has to say goodbye to all these faces, the audience bears the same feeling of loss, of leaving “Shangri La” as the mayor calls Grady, South Carolina.

Sadly, the film is not completely wholesome, featuring some language and a scene with Lou completely nude that could easily have been cut since it adds nothing to the picture. Plus, a scene involving urination was rather uncomfortable and weird and again unnecessary.

Aside from this, the wistfully scored film is a hilarious romantic comedy that surprisingly bucks Hollywood convention by not having the two leads sleep together, though they’re tempted. It’s one of the few such scenes I’ve ever viewed that laudably eschews the “romance” of a one-night stand. Overall, Doc Hollywood could be a family movie with the appropriate cuts and one that my family watches whenever it’s on (such is my definition for a Watchability of 10).

Best line: (a woman in the background, as her grill is clearly on fire) “Mayor Nicholson, can you help check these ribs and tell me if they’re done?”

VC’s best line: (Nancy Lee, in L.A.) “Is that a star?” (Hank, played by Woody of Cheers fame) “No, that’s Ted Danson.”

Other best line: (Melvin the mechanic, looking at Ben’s totaled car) “I think I can fix that.”

 
Artistry: 7
Characters/Actors: 9
Entertainment: 10
Visual Effects: N/A (except for two brief car crashes)
Originality: 8
Watchability: 10
Other (nudity, language): -2
 
TOTAL: 42 out of 60
 

Next: #197 – The Great Escape

© 2014 S. G. Liput

140 Followers and Counting