"KEEP BUSTIN'."

Posts Tagged ‘Summer of 1991’

Double Impact (30th Anniversary Review)

Monday, August 9th, 2021

“All right, you want some real action, tough guys? Let’s do it.”

August 9, 1991

While the summer was dominated by the expensive studio action spectacles TERMINATOR 2 and POINT BREAK, there were plenty of solid action movies made with a little less money and a different type of star power. Case in point: Jean-Claude Van Damme was in the process of rising from the new Cannon Films guy to household name. By this point he had starred in BLOODSPORT, CYBORG, KICKBOXER, LIONHEART and DEATH WARRANT. The latter two had been his largest, with budgets of about $6 million each. This one jumped up to $15 million.

It was worth paying more for this gimmick: Van Damme plays twins. Originally conceived as an adaptation Alexandre Dumas’ The Corsican Brothers, it’s a story about brothers separated at six months old and reuniting at 25 to avenge the murder of their parents. (read the rest of this shit…)

Body Parts

Thursday, August 5th, 2021

“Fuck you and all your bullshit! I WANT THIS FUCKING ARM OFF!”

August 2, 1991

BODY PARTS is an Eric Red horror joint that is much better than I thought I remembered, though it has become more macabre in retrospect due to things that have happened in real life.

Red is the guy who came to fame by writing THE HITCHER. By ’91 he and Kathryn Bigelow had written NEAR DARK, BLUE STEEL and UNDERTOW together (though the latter wasn’t produced until 1996) and on his own he had written and directed the not-well-received COHEN & TATE. While Bigelow was basking in the California sun for POINT BREAK, Red still had some affairs to attend to in the gloomy underside of humanity.

But it doesn’t go as dark as it could, and it has an enjoyably chaotic spirit to it, a world that pretends to be pretty down to earth and then leaps into absurd sci-fi concepts. I like these movies where there’s absolute insanity lurking around in your peripheral vision that you just don’t notice until it comes for you. (read the rest of this shit…)

Doc Hollywood

Wednesday, August 4th, 2021

August 2, 1991

Don’t get me wrong, I didn’t hate watching DOC HOLLYWOOD 30 years later. But jesus christ, this type of movie. Michael J. Fox (CLASS OF 1984) stars as Dr. Benjamin Stone, an arrogant Washington D.C. emergency room doctor who gives it all up to become a plastic surgeon on the other coast. “Okay, question: Beverly Hills, beautiful women and plastic surgery – what do these three things have in common? Me, in less than a week,” he says to another doctor, clearly convinced this is a fuckin cool thing to say. And then he puts on his LEON-style round glasses, gets a bunch of gum and toothpicks to chew on, and hops in his red ’56 Porsche Speedster to head for the 90210.

But on his cross country drive (during which he laughs at how fucking awesome he is when he drives on a shoulder to pass a bunch of traffic) he crashes literally into a white picket fence and is forced to to do community service at a small country hospital in “the Squash capital of the south” on “the buckle of the Bible Belt.” Seems like a pain in the ass at first, but then he Learns a Valuable Life Lesson and/or Discovers What He Really Wants Out of Life. (This story was later remade as Pixar’s CARS and Vanilla Ice’s COOL AS ICE.) (read the rest of this shit…)

The Dark Backward

Monday, August 2nd, 2021

Before I start one of these retrospectives I research the movies that came out during that summer and put together a schedule. But in the course of doing 1991 I keep stumbling across movies that seem worthy of looking at that I missed because they were limited releases, TV movies or DTV and didn’t show up on any of the release date lists I looked at. So when I realized Adam Rifkin’s THE DARK BACKWARD played on one screen starting July 26, 1991 I thought I should backtrack a little to cover it.

For those not familiar with it, it’s a forcefully weird and uncomfortable comedy that was a favorite of mine in the ‘90s, one of those movies I rented on VHS and made a dub of to show to people who had never heard of it, which was most people. It was Rifkin’s first script ever, written at age 19 after moving to L.A. to try to become a director, made when he was in his mid 20s, and it’s a sense of humor and world view that admittedly appealed to me more when I was closer to that age. But it’s such a distinct and unadulterated vision I can’t help but still kinda love it. (read the rest of this shit…)

Hot Shots! / Life Stinks

Wednesday, July 28th, 2021

July 31, 1991

HOT SHOTS! is the story of one Topper Harley (Charlie Sheen, THE ROOKIE, NEVER ON TUESDAY), legendary former jet pilot for The Navy. When Lieutenant Commander Block (Kevin Dunn, BLUE STEEL, MARKED FOR DEATH) tracks down Harley living in a teepee and breathing helium through a pipe, he agrees to return to the S.S. Essess aircraft carrier and join a team for Operation Sleeping Weasel, a mission to blow up a nuclear power plant. But he’ll have to contend with sabotage from high up and his own PTSD about his father causing a crash that resulted in a deadly hunting accident.

Of course not one second of this is done with sincerity, because it’s AIRPLANE! co-director Jim Abrahams doing a parody and/or spoof of the popular IRON EAGLE ripoff TOP GUN with co-writer Pat Proft (POLICE ACADEMY, REAL GENIUS). Abrahams was a writer and executive producer on the first NAKED GUN and then producer on the sequel released earlier in the summer. (Both were co-written by Proft.) This was Abrahams’ followup to WELCOME HOME, ROXY CARMICHAEL, which I don’t think I ever knew was directed by him, and that makes me more curious about that largely forgotten movie seen and thought to be pretty decent by all people of a certain age who felt a certain way about Winona Ryder. (read the rest of this shit…)

V.I. Warshawski

Tuesday, July 27th, 2021

July 26, 1991

Kathleen Turner is… V.I. WARSHAWSKI, a Chicago private detective who falls into a case when an ex hockey player she picks up at a bar dies in a suspicious explosion during an inheritance squabble. The movie was a notorious flop, making back less than half its $24 million budget, and Rotten Tomatoes calculates its reviews at 21% (though Roger Ebert and Janet Maslin liked it). But I’ve wanted to see it for a long time, at least since realizing it was a character from a series of novels. I haven’t read the books, but maybe that helps, because movies never seem to be able to capture these characters the way fans want them to (see: Parker, Jack Reacher, Matthew Scudder… I guess people like Jason Bourne and Lisbeth Salander?) and yet, when you don’t know any better, they make for fun movie material.

The novels are by author Sara Paretsky – the movie credits the whole series as its basis, but apparently it’s mainly from the second one, Deadlock. Though the author and character are noted feminists, Hollywood Pictures got three dudes to write the screenplay – Edward Taylor (no other movie credits), David Aaron Cohen (POINT OF VIEW starring John Savage) and Nick Thiel (Eight Is Enough, The Fall Guy, Magnum P.I., THE EXPERTS, FIREBIRDS, WHITE FANG). Actually, director Jeff Kanew says on the commentary track of the blu-ray and dvd from Kino-Lorber that he never met Thiel and didn’t use any of his work but that another guy who wasn’t credited did to a bunch of work. Anyway he’s a dude also, the one who did EDDIE MACON’S RUN, GOTCHA!, REVENGE OF THE NERDS, TOUGH GUYS and TROOP BEVERLY HILLS. They have one of those “hey, check this out” boxes around his name on the movie poster, so I guess that resume held some cachet in ’91. (read the rest of this shit…)

Mobsters

Monday, July 26th, 2021

July 26, 1991

MOBSTERS. Guys who are in mobs. Young ones. Famous ones. Doing mob stuff. What more do you need? According to rookie director Michael Karbelnikoff, story provider Michael Mahern and screenwriter Nicholas Kazan (FRANCES, AT CLOSE RANGE, PATTY HEARST, REVERSAL OF FORTUNE), “What? What do you mean?”

I have to tell you, I really struggled to get through this one, and considered turning it off and not reviewing it. Keep in mind that I already made it through MANNEQUIN: ON THE MOVE, SUBURBAN COMMANDO and PROBLEM CHILD 1 & 2 for this series. This is a much classier production than any of those, with all the period costumes and nice cinematography by Lajos Koltai (István Szabó’s MEPHISTO, WHITE PALACE) – there are some nice looking, atmospheric scenes, like an eerie outdoor shootout in the fog. But it’s empty and soul-less and boring as shit and not in an interesting way at all. (read the rest of this shit…)

Bill & Ted’s Excellent Adventure / Bill & Ted’s Bogus Journey

Wednesday, July 21st, 2021

BILL & TED’S EXCELLENT ADVENTURE (1989) is one of those beloved comedies you take for granted. I hadn’t seen it in 20+ years, so I was kinda afraid it might not hold up. It’s kind of hard to put your finger on why it works so well, and it would be hard to explain why it’s funny if somebody asked. I’m not sure if you had to be there or not.

Don’t get me wrong – there’s a pretty straight forward comical premise: what if a couple of dumb guys got a hold of a time machine and recruited actual historical figures to help with their history test? But for the most part that’s not really what’s funny about it. It’s the particular personalities of the dumb guys, and the reasons they have access to time travel.

Bill S. Preston Esquire (Alex Winter, DEATH WISH 3) and Ted “Theodore” Logan (Keanu Reeves, THE NIGHT BEFORE) are a Californian version of what we used to call “rockers” and some regions called “heshers” – guys whose lives center around heavy metal and/or hard rock. In the wild you’d expect them to have longer hair and leather jackets, smoke lots of pot and drink lots of beer, but Bill and Ted mostly just idolize Van Halen, talk about “babes,” and laugh at the number 69. They have a band called Wyld Stallyns, which features only the two of them on guitar, an instrument neither of them knows how to play. Still, their worst fear os for the band to be broken up if Ted fails his history test, in which case his dad (Hal Landon Jr., ERASERHEAD), who is a police captain and wears an NRA jacket while off duty, will ship him off to Oats Military Academy in Alaska. (read the rest of this shit…)

Problem Child / Problem Child 2

Tuesday, July 20th, 2021

On the 4th of July weekend in 1991, a whole lot of people went to see part 2s. #1 at the box office was the brand new game-changing action masterpiece TERMINATOR 2: JUDGMENT DAY. #2 was the previous week’s big new release, NAKED GUN 2 1/2: THE SMELL OF FEAR. And then down a couple slots at #5 was the only movie released against T2, Universal’s PG-13 rated kiddy comedy sequel PROBLEM CHILD 2.

P2 would go on to gross an okay $25 million and be #54 at the year’s box office, above such part 2s as FX2, HOUSE PARTY 2, THE NEVERENDING STORY II: THE NEXT CHAPTER, AN AMERICAN TAIL: FIEVEL GOES WEST, HIGHLANDER II: THE QUICKENING, MANNEQUIN: ON THE MOVE, KICKBOXER 2: THE ROAD BACK and BEASTMASTER 2: THROUGH THE PORTAL OF TIME. If there’s one movie on that list that’s worse than PROBLEM CHILD 2 it’s MANNEQUIN: ON THE MOVE, and I’m not so sure about that. (read the rest of this shit…)

Alligator II: The Mutation

Friday, July 16th, 2021

July 5, 1991

ALLIGATOR II: THE MUTATION is a surprisingly decent sequel – especially considering it was made for TV! It didn’t register as that when I was watching it (and there does seem to have been some sort of limited theatrical release), but an article that I found in my Fangoria collection while researching T2 quotes director Jon Hess (THE LAWLESS LAND, WATCHERS) as saying “more or less, it was made for ABC-TV.” Fangoria’s David Szulkin speculates that may be because “despite its nonperformance at the boxoffice, ALLIGATOR placed in the top 20 for network airings of theatrical films the year it first aired, outdoing such broadcast premieres as CLOSE ENCOUNTERS OF THE THIRD KIND.” But Hess maintained that returning producer Brandon Chase (THE SWORD AND THE SORCERER) was “a really strong independent producer, so ABC wasn’t looking over our shoulder, examining all the dailes. We shot on a very tight schedule with a feature sensibility, but at the same time, we knew we were going to hand the film in to ABC.”

Now that I think about it there’s not as much gore or especially sex as you would normally get in a ‘90s horror sequel, but like SOMETIMES THEY COME BACK earlier in the summer it has enough severed limbs to throw you off the TV movie scent. More importantly it has a real Larry Cohen sort of indie horror feel to the type of actors and characters that show up, giving it a personality that’s at least in the spirit of the original. (read the rest of this shit…)