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Posts Tagged ‘John Candy’

Boris and Natasha

Monday, May 23rd, 2022

BORIS AND NATASHA, a.k.a. BORIS AND NATASHA: THE MOVIE, went straight to Showtime, but I’m counting it as a Weird Summer movie because it first aired on April 17, 1992, and presumably kept playing in subsequent months. And yes, it’s a live action movie centered on the villainous spy characters from The Rocky and Bullwinkle Show, which is a pretty weird idea.

That beloved Jay Ward cartoon was 30+ years in the past at the time, but still showing in reruns. I know I watched it in the ‘80s. I remember having a t-shirt with Rocky and Bullwinkle parodying the ENDLESS SUMMER poster, even though I didn’t know what that was. It was a great show, so I’m not complaining, but my parents’ generation gave us their nostalgia as hand-me-downs, and we took it. I had Gumby shirts too. I never got Showtime, though, so I never saw BORIS AND NATASHA: THE MOVIE, and couldn’t exactly picture how you’d make a movie about them.

Actually it’s not a terrible comedy premise: what if Boris and Natasha were given a mission where they had to pretend to defect to the U.S., but then they started to like being American? This isn’t as common anymore, but they used to make these movies based on old TV shows but with some high concept way to set it in the modern world. They did it for DRAGNET and after this THE BRADY BUNCH and FAT ALBERT and much later 21 JUMP STREET. CONEHEADS was another one that actually has a premise pretty similar to this one.

Wait – isn’t that kind of what The Americans is about too? Is The Americans a remake of BORIS AND NATASHA: THE MOVIE? (read the rest of this shit…)

Heavy Metal

Tuesday, March 2nd, 2021

Six months after AMERICAN POP we got another animated-feature-for-adults-with-a-rock-soundtrack. This entry in the ink, paint and rock ‘n roll mini-genre is not directly about the music, but heavily emphasizes its soundtrack, basing sequences around it not quite like FANTASIA, but not completely unlike it. And some of the visual subject matter definitely shares its DNA with the kind of stuff they put on the album covers for this kind of music.

HEAVY METAL was based on the comics anthology magazine Heavy Metal, which is an English translation of the French magazine Métal hurlant. If they had translated the title literally it would’ve been HOWLING METAL, so it would’ve sounded about fifteen to twenty times cooler, but I bet it wouldn’t have been turned into an animated feature with a soundtrack featuring Sammy Hagar, Nazareth and Black Sabbath. And Devo and Blue Öyster Cult and Cheap Trick and Journey and Grand Funk Railroad and Stevie Nicks. And Riggs? Not the same one we’re thinking of, I don’t think. I don’t know who Riggs is. But he has a song on this.

The movie originates from Canada, specifically producer Ivan Reitman, whose directorial work STRIPES came out the same summer. He’d also produced serious genre movies SHIVERS, THE HOUSE BY THE LAKE and RABID, so this movie being much more of a sci-fi/fantasy/horror type deal than a comedy is not completely out of the blue for him. He’d also produced NATIONAL LAMPOON’S ANIMAL HOUSE, making him a pioneer of cinematic adaptations of magazine brand names. I wonder if he ever tried to do HIGHLIGHTS’ GOOFUS AND GALLANT? If not they must not have Highlights in Canada, because that’s just a no-brainer. (read the rest of this shit…)

Volunteers

Monday, August 17th, 2020

August 16, 1985

VOLUNTEERS is a Summer of 1985 comedy that takes place in 1962 – about the same time Bobby Fontana died in THE HEAVENLY KID, when George and Lorraine McFly must’ve been a few years out of college. But it doesn’t really offer much commentary or even nostalgia for the era – the period detail is so understated (or half-assed) I thought for a bit that the JFK/Castro/Ed Sullivan/“Blue Moon” montage at the beginning was just a fun history leading up to the Peace Corps. I don’t know, maybe it was the ‘80s Tom Hanks hair that prevented me from being transported through time.

This is the fifth Hanks film, the fourth where he’s the star, and the second of the summer (I skipped THE MAN WITH ONE RED SHOE, released in July). It’s different from what we expect from him now, because he plays a total asshole. He’s Lawrence Bourne III, entitled rich jerk pursuing his hobby of high stakes gambling as he’s about to graduate from Yale. He’s introduced in a card game staring down five older Black men, meant to be scary in the same way as Steve James and friends in the Kandy Bar scene of WEIRD SCIENCE, but he’s not going to bond with them. (read the rest of this shit…)

Summer Rental

Friday, August 14th, 2020

August 9, 1985

I don’t review that many straight ahead comedies, but I admit sometimes there’s something kinda comforting about watching a mediocre one from when I was younger. I thought maybe I’d seen this one at the time, but if so it didn’t seem familiar. But it’s not the kind of movie you necessarily remember for 35 years.

It’s the story of Jack Chester (John Candy, THE SILENT PARTNER), an overworked air traffic controller – pushing tin, you know – who has a bad day on the job and is compelled by his boss to use the five weeks of vacation he has saved up. So he packs up the family – his wife Sandy (Karen Austin, S.O.B.), teenage daughter Jennifer (Kerri Green, who had only been in THE GOONIES), younger son Bobby (Joey Lawrence, Gimme a Break!) and toddler Laurie (Aubrey Jene, didn’t take up acting) – and heads for the beach town of Citrus Grove, Florida.

(read the rest of this shit…)

Follow That Bird

Friday, July 31st, 2020

August 2, 1985

THE MUPPET MOVIE (1979) is a one-of-a-kind American family film masterpiece, followed by several enjoyable sequels. FOLLOW THAT BIRD (a.k.a. SESAME STREET PRESENTS FOLLOW THAT BIRD) is sort of the younger kids’ version of that, and it never quite caught on the same, but it’s worthy of sitting on the same shelf. It depicts Sesame Street (the street) on film, in cinematic terms, and takes some of its Muppet inhabitants out into the real world for adventures both goofy and heartfelt, with guest appearances by a few Canadian comedy stars.

It all happens because of a well-meaning but clueless all-bird organization called The Society of Feathered Friends, whose mission is “to place stray birds with nice bird families.” Somehow they receive a dossier about Big Bird living on a vacant lot with no bird friends, and decide to “help.” As they discuss how sad he looks in a photo an owl comments, “That’s funny, he looks happy to me,” causing outrage, because, according to Miss Finch (voice of Sally Kellerman, M*A*S*H), “We all know he can’t be happy. He needs to be with his own kind. A bird family.” (read the rest of this shit…)

Brewster’s Millions

Tuesday, May 26th, 2020

May 22, 1985

On the same Wednesday that RAMBO: FIRST BLOOD PART II was released, Walter Hill followed up HARD TIMES, THE DRIVER, THE WARRIORS, THE LONG RIDERS, SOUTHERN COMFORT, 48 HRS. and STREETS OF FIRE with a new movie produced by Lawrence Gordon (ROLLING THUNDER, PREDATOR, DIE HARD) and Joel Silver (COMMANDO, LETHAL WEAPON, ROAD HOUSE) and starring the great Richard Pryor (THE MACK, HIT!). But it was a pretty dumb PG-rated comedy that doesn’t really take full advantage of either of their skills, other than Pryor’s general likability.

Pryor plays Monty Brewster, pitcher for the minor league baseball team the Hackensack Bulls. He and his best friend/catcher Spike Nolan (John Candy, THE SILENT PARTNER) try to be big fish in a small pond, hitting on baseball groupies at a bar after the game, but even there they’re medium-sized, overshadowed by a manlier player from the away team (Grand L. Bush, DIE HARD, LICENCE TO KILL, STREET FIGHTER). Which leads to a bar brawl, the most Walter Hill part of the movie. (read the rest of this shit…)

1941

Thursday, January 5th, 2012

spielbergtn_1941This movie has a reputation as kind of a mess. Admittedly it is a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor. In my opinion a 2 1/2 hour broad comedy about paranoia right after the bombing of Pearl Harbor was not necessarily one of the top two or three things the world hoped for as Steven Spielberg’s followup to CLOSE ENCOUNTERS OF THE THIRD KIND. But fuck ’em. It’s what they got and they oughta fuckin appreciate it. (read the rest of this shit…)

The Silent Partner

Thursday, December 23rd, 2010

tn_silentpartnerTHE SILENT PARTNER is a Christmas-time bank robbery thriller directed by one Daryl Duke and written by Curtis Hanson (director of L.A. CONFIDENTIAL and 8 MILE, writer of WHITE DOG). Elliott Gould – who I wouldn’t think would be that into Christmas, go figure – plays Miles, a Toronto teller at a bank inside one of those indoor shopping malls. (This was 1978.)

I think Miles sees himself as pretty cool, not a loser, even though he’s not having the success he’d like in wooing his co-worker Julie (Susannah York), and is later revealed to own a Superman lunchbox. Maybe having a cool name like Miles balances that out, I’m not sure. He also has a passion for rare fish, which he keeps in his aquarium, that’s what he spends his extra money on.
(read the rest of this shit…)