Tag Archives: #movies1987

Decades Blogathon — Empire of the Sun (1987)

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Welcome back around to another week in ‘Decades.’ Lucky Number Seven may be entering into its final stretch these next few days, but it bears worth mentioning again — it’s been another really fun event for me and my wonderful co-host Mark of Three Rows Back. There were so many things to choose from — evidenced by the fact that no one claimed perhaps the most obvious choice, a certain Star Wars episode. Yet we do have another ‘Empire’ title in the mix though, and it is brought to you by Rob of MovieRob, who is returning for his third straight blogathon. His contributions have been greatly appreciated, and please do check out his site after you’ve read his piece! 

“Learned a new word today. Atom bomb. It was like the God taking a photograph. ” – Jim

Number of Times Seen – Between 5-10 times (Theater in ’87, video, cable, 24 Aug 2008 and 17 May 2017)

Brief Synopsis – A young British boy living in pre-War Shanghai must learn to fend for himself when the Japanese occupy the city.

My Take on it – I’m sure that most people will be shocked to learn that this film was the debut of Christian Bale who played the small role of Batman in a little known trilogy by Christopher Nolan.

This film has always been a favorite of mine ever since I saw it in the theater in 1987 when I was 13.

Bale is actually three weeks younger than I am, so I always find it interesting to watch him on film because I can always imagine that the character he is portraying is my age too.

This is one of Steven Spielberg’s least appreciated film despite the fact that he did an amazing job filming this movie.

The way that the film is shot gives it such an epic feel and I loved the fact that there is actually one scene which depicts the main character wearing a red blazer walking through a crowd hundreds of people all dressed in white or gray is quite reminiscent of one of his best scenes from Schindler’s List (1993) which he would make 6 years later.

The idea to keep this film’s narrative wholly from the perspective of a child is a great one because it gives us a viewpoint not usually seen in films.

I really loved the way that the story unfolds around the main character and we get to see how the war affects him and how he changes over the course of the experiences depicted here during this very turbulent time in his life.

Besides Bale, the cast is pretty good and I liked seeing John Malkovich, Miranda Richardson, Joe Pantoliano and even spotting a young Ben Stiller as a prisoner in the POW Camp, but Bale is able to carry this whole film all by himself which shows us that even at such an early stage that big things were in store for this young actor.

My favorite part of this film tho is the music which was composed by John Williams which also helps give this film an epic feel.  In addition the song ‘Suo Gan’ is among my all time favorite musical pieces in a film.

Check them both out here:

http://www.youtube.com/watch?v=NY_v93S_Xfg

http://www.youtube.com/watch?v=TU0yI2ugvgA

Bottom Line – Excellent portrayal of the depiction of war from the perspective of a young child.  Loved the way that the story unfolds around the main character and how we get to see how he changes based on his experiences during this turbulent time of his life.  The cast is pretty good, but the fact that Christian Bale carries this film all by himself shows how much of a future he would have in the industry.  My favorite part of this film tho is the music which is spectacularly done by John Williams.  Spielberg does a great job giving this film the epic feel that it deserves.  Highly Recommended!

MovieRob’s Favorite Trivia – About almost halfway through the film, Jim is taken to Basie’s den in the internment camp and the window behind him looks suspiciously like the window the Emperor sat in front of in the Death Star (while watching the Rebel Alliance take down the shield generators on Endor) in Return of the Jedi. Basie is even seated in a chair on the left-side of the frame in one shot with Jim on the right side, lower, similar to the placement of the Emperor/Luke and Basie’s “guards” leave when Jim enters the room. Since Spielberg and Lucas are close friends, it seems evident this was a nod to Star Wars suggesting that Basie is the Emperor of the internment camp. (From IMDB)

Rating – Oscar Worthy (9/10)

Photo credits: http://www.pinterest.com

Decades Blogathon – The Lost Boys (1987)

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Here’s a reblog of Thoughts All Sorts’ review of The Lost Boys to wrap up Day 3 in the 2017 Decades Blogathon. You’ll find this review on my esteemed co-host’s site, Three Rows Back. Thanks everyone!

three rows back

We’re onto Day 3 of the Decades Blogathon – ‘7’ edition – hosted by myself and Tom from the brilliant blog Thomas J.The blogathon focuses on movies that were released in the seventh year of the decade. Tom and I are running a different entry each day (we’ll also reblog the other’s post) and for today we’re tracking back to a movie where the hair was biiiig and there was death by stereo in 1987’s horror comedy The Lost Boys, covered by Catherine from Thoughts All Sorts.

Those ’80s. They were something weren’t they? I had a real good chuckle while watching The Lost Boys (1987) again. Had forgotten about the hairstyles, clothes and general ’80s feel. Remember those big Swatch wall watches?

The Lost Boys Poster

This is one that I probably watch more for nostalgic value than anything else. I clearly remember being allowed to rent two videos…

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Decades Blogathon — The Running Man (1987)

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Welcome to Day 2 in the third annual Decades Blogathon! If you missed out on the inaugural day’s activities, be sure to check the Recent Posts list here on this blog (right hand column) and on Three Rows Back! 

Once again, Mark and I are running an event in which bloggers discuss a film of their choice that was released in a year ending in a ‘7,’ as we are currently in 2017. Today I would like to introduce another Mark, the one and only Mark of Movie Man Jackson. He’s back again to discuss one of those ultra-Arnie violent movies from the 1980s, in this case, The Running Man. 

It’s 2017, and we are only two years away from this. 2017 has seen America become a terrible place. After an economic collapse, government has stepped up to suppress all individual rights and freedoms. Civilians are placated by a TV show that showcases convicted criminals fight for their lives in exchange for potential freedom. This show, known as The Running Man, is an ultraviolent hit and brings in massive ratings, spearheaded by its energetic host Damon Killian (Richard Dawson). But, those ratings have plateaued.

Now 2019, helicopter pilot Ben Richards (Arnold Schwarzenegger) is wrongly painted as a mass murderer during a food riot, and promptly sent to prison. Though able to escape, he is eventually arrested. He’s given two choices: Go back into prison, presumably for life, or fight for freedom on The Running Man. Reluctant, Ben chooses to fight, where he will have to deal with gladiatorial-esque stalkers with names like “Dynamo,” “Subzero,” “Buzzsaw,” and “Fireball.” Each is hell-bent on not letting a “runner” like Ben beat them at their own game.

There are a couple of things that immediately pop into my mind as I think about the 1980’s. Big hair is one of them. The epidemics of AIDS and crack cocaine is another. Movie-wise, I think of “The Governor.” Arnold Schwarzenegger and the 80’s go together like Montana/Rice and Crockett/Tubbs, appearing in Hollywood action staples that need no listing. One less popular one that peak Arnold starred in was 1987’s The Running Man, and it is a lesser movie when held in comparison to The Terminator, Commando, Conan the Barbarian, and Predator. But, as a relative 80’s popcorn actioner, it qualifies as solid entertainment, and a clear inspiration for future films like Battle Royale, The Condemned, and of course, The Hunger Games.

There’s a reason the word relative is used. The Running Man, loosely adapted from Richard Backman’s (aka Stephen King) novel, does touch on—maybe even foreshadowed—themes and ideas still relevant today. The oft brainless and shock reality television of 2017 isn’t all that far off from what’s depicted in director Paul Michael Glaser’s (Starsky in the famous television show) feature. An appetite for violence can be loosely paralleled to the football and MMA fighting that some fans view religiously. Perhaps the best implemented idea showcased by the movie is how editing can tell the story in a specific fashion. This isn’t a novel idea, especially in this digital day and age, but a person could see it being eye-opening during this movie’s release.

It’s nice stuff, but, The Running Man does feel like it wants to really be a film that a person truly gives deep deep thought towards when in actually it isn’t quite to that intellectual and thought provoking level. Most of these ideas are introduced in the first 30-40 minutes at a surface level, and never go beyond this. Maybe Arnie was on to something about Glaser being “…out of his depth…” Part of it is due to the presentation. Hard to be taken very seriously when villains are given names like Subzero, Fireball, Buzzsaw, and Dynamo, with the latter seemingly outfitted with dopey Lite Brite pegs and singing opera as he zaps people.

It benefits science fictions films to be sometimes looked at in a vacuum with the absence of superior effects that today’s cinema world has. However, many older sci-fi films have more or less stood the test of time. The Running Man, from a technical standpoint, isn’t one of those films, with the animations and major special effects looking on par with, if not worse than, an average 90’s cartoon. And for being set in the future, most everything lacks from a creativity perspective; the technology especially isn’t that much different from what was being used in the decade. At least Harold Faltermeyer is there to provide the 80’s signature synth sounds in the score.

So, some of The Running Man is shoddy. But, it still has the charisma of “Ahnold” to bank on. His inherent likability and action prowess is used to make Richards a person to root for, even while spouting one-liners that are hit-and-miss and super corny. To paraphrase a random elderly lady in the movie, “[Ben Richards] is one mean motherf***er.” Opposing him is none other than Richard Dawson, the original Family Feud host who parodies his old persona here, doing a complete 180 as Damon Killian. He’s a real gem throughout. Everyone else is pretty forgettable, from the two Arnold sidekicks in Marvin J. McIntyre and Yaphet Kotto, to the eye candy and obvious love interest in Maria Conchita Alonso. Brief hammy roles are present by WWE legend Jesse Ventura and NFL legend Jim Brown. They’re as 80’s as one can imagine.

On the strength of Schwarzenegger, Dawson, and a unique (for the time) if not particularly thorough story, The Running Man is cheesy fun worth catching on a rerun.

Photo credits: http://www.craveonline.com, http://www.imdb.com, http://www.joblo.com, and http://www.top10films.co.uk

TBT: Planes, Trains and Automobiles (1987)

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new tbt logo

If you’ve been following along with this segment, you might be aware I’ve spent the last several installments picking titles at random — and in a slight panic, with several of them being decided upon (or even watched) at the very last possible second — so it’ll be nice to reintroduce some semblance of consistency here again, in the form of Holiday Cheer movies. Granted, the next several posts should be fairly predictable. Let’s just say that I’ve graduated from scrambling for random film titles to scrambling to find an appropriate monthly theme. 😉 With all that said, I know this entry today revolves around Thanksgiving rather than Christmas but you know what, I’m prepared to take the flak. You want to hurt me? Go right ahead if it makes you feel any better. I’m an easy target. 

Today’s food for thought: Planes, Trains and Automobiles.

Planes Trains and Automobiles movie poster

Being victimized by public transportation services since: November 25, 1987

[Netflix]

I can’t believe I’ve only now sat down to watch for the first time Steve Martin interact with the comedic genius that was (is?) John Candy. Now the real question: is that something I should have admitted?

I suppose it doesn’t matter as I can say with Del Griffith-like confidence that John Hughes’ classic fits snugly into the brand of comedy I cherish more than any other. That’s not to say, however, that Planes, Trains and Automobiles is the kind of story you can’t find reproduced elsewhere. It’s a tried-and-true road trip adventure featuring two distinct personalities who, despite all odds, wind up growing on one another having endured several days’ worth of mishaps that border on the (amusingly) catastrophic. Replete with sight gags and punchlines that, by comparison to today’s standards, feel sophisticated and novel, Planes is of course capped off with a happy and wholly satisfying ending that epitomizes the feel-good spirit of the holiday season.

The film explores the dichotomy of the psychological effects the hectic holiday season has on people. Ignoring the isolated incidents that seem to occur on Black Friday, the day where everyone seems to take pleasure in being their worst selves, the days and weeks leading up to Christmas have potential to be some of the most stressful all year. It’s that reality that Hughes taps into using Martin, who plays an uptight and rather uncharitable marketing executive named Neal Page, and his polar opposite in Candy’s happy-go-lucky, perpetually cheerful shower curtain ring salesman Del. While it might be more comforting — beneficial, even — to assign personalities and dispositions to a spectrum ranging from very negative to positive, there’s no denying the stereotype is alive and well during the holiday shopping season.

In Planes, Neal faces one setback after another in his attempts to get back to his family for Thanksgiving dinner, starting with missing a taxi to the airport that almost causes him to miss his flight home to Chicago from New York. This is where he first bumps into Del, who would later laugh about how amusing it was that Neal tried to steal *his* cab. Wouldn’t you know it, the two end up sitting next to each other on the flight, one that ultimately ends up having to land in Wichita due to a terrible snowstorm in Chicago. Del is quick to remind Neal once on the ground that given the circumstances it will be next-to-impossible to book a hotel room anywhere, and the two end up taking a room at some seedy motel miles away, which sets up the iconic “I don’t judge you, so why do you judge me” speech.

Things only get worse from there, as Neal is faced with the prospect of continuing to travel with Del as he seems to be the only way he’s going to get out of this crummy town. They board a train that later breaks down and end up having to cram into a city bus that threatens to fall apart at any moment. Much to our amusement the quality of transit vehicles only adds to Neal’s mounting frustrations. It all culminates in a literally explosive car ride that sees the pair brought to their knees at yet another cheap-o hotel, where the question finally must be asked: “is it me, or is it just everyone else around me that’s crazy?”

Existential rumination aside, Hughes’ judgment of character development couldn’t have been more satisfying. There are so many instances throughout the course of this escapade where we think there’s no way Del can screw things up any more than they already are; there’s no way Neal can possibly be any more unpleasant than he was trying to rent a car. And yet developments belie expectations, but only to a point. There’s a wonderful scene at another rundown motel in which the pair are confronted by their own consciences. It’s not like the humbling process isn’t unexpected. Even if you’re unfamiliar with Hughes’ filmography, it should come as no surprise the slide into relative despair can’t be sustained; this is a road trip comedy after all. Yet it’s the aesthetics of the scene that really impact. There’s something about the faux-wooden interior of this particular room that resonates warmly.

In the end, Planes‘ episodic nature epitomizes the oft-exaggerated emotions and experiences of the holiday season. Whether it’s finding the ideal gift for a loved one, putting together a master shopping list for the big dinner or simply attempting to shoulder the responsibilities of throwing a seasonal party, this time of year presents stress in many forms. Hughes is keenly aware of that reality, and he has a field day with it thanks to the interplay between these comedic greats.

Planes Trains Automobiles Martin Candy Fire

Recommendation: Planes, Trains and Automobiles satisfies on many levels with its diverse and highly effective collection of comedic situations and running jokes. It’s another one of those entries that makes one sorely nostalgic for the days of quality comedy. Thanks to great turns from Steve Martin and John Candy this is a film that fans can re-watch over and again.

Rated: R

Running Time: 92 mins.

TBTrivia: Perspectives are a funny thing. John Candy and Steve Martin have both named this film as their favorite films of their own. Ask other crew members who worked on the film and they’ll describe the shoot as “hellish,” as they were obligated to drive back and forth between locations on the East Coast and the Midwest since each time they arrived at one place the snow they were hoping to find melted too quickly. According to some crew members, John Hughes was in a terrible mood for much of the process as he was enduring difficult times in his personal life.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.filmschoolrejects.com; http://www.haphazard-stuff.blogspot.com 

TBT: Fatal Attraction (1987)

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As we enter the month of October I’d like to remind everyone that I am not the most passionate of horror film fans so if you’re looking to this month of TBTs for some revisitations of classic horror, you might be disappointed. I may throw in a surprise somewhere, though, so who knows. Plus, well. No. Never mind. I have nothing else to add. This concludes a pretty pointless intro for

Today’s food for thought: Fatal Attraction.

Stalking viewers since: September 18, 1987

[Netflix]

Betray Cruella de Vil and you pay a certain price, I’m afraid. Michael Douglas learns this the hard way in Adrian Lyne’s cold-blooded romantic thriller.

Of course, Glenn Close isn’t hoarding puppies for their fur this time, she’s after something arguably worse. A man’s sanity and domestic bliss. Her Alex Forrest could do with liberal doses of both in this heart-poundingly sexy yet ultimately disturbing tale of a one-night stand gone terribly wrong.

Fatal Attraction isn’t exactly revelatory filmmaking, in fact it could be passed off as another of those romantic dramas Douglas found himself typecast in during the late ’80s and into the ’90s (Disclosure, Basic Instinct, A Perfect Murder all striving to satiate a particular obsession, all variations on the theme of fidelity and sexuality). Despite its familiarity Lyne’s film benefits from the excellent work from its cast, Close in particular. She epitomizes the Stage 5 Clinger, making Vince Vaughn’s concerns over the feisty little redhead he met at the wedding (that he was supposed to crash) seem quaint and childlike.

Douglas plays Dan Gallagher, a respected New York lawyer and loving husband to Beth (Anne Archer) and father to Ellen (Ellen Hamilton Latzen). One weekend Beth takes Ellen to the countryside for a getaway and to take a look at a house they are considering moving to. Over the same weekend Dan comes across Alex at a party and ends up having an affair. When he stays with her a second unplanned night, Dan becomes adamant that the relationship is not to extend beyond these two nights, insisting he is content with his family. Alex questions his intentions, suggesting with a hint of madness already lurking in her eyes that he can’t be completely content if he allowed himself to do something like this.

Over the ensuing days Alex begins pursuing Dan, showing up unexpectedly at his office and even at his Manhattan apartment, posing as a potential buyer. Feeling scorned, she becomes motivated enough to stalk the family at their new country home, where the mere sight of the Gallagher’s collective happiness — observed from just outside the living room window — makes Alex physically sick to her stomach. The standoff between the two of course extends beyond this, but for anyone who has yet to see the film these details are better ignored for now.

Fatal Attraction perpetuates a sense of dread around every corner, and that’s largely due to Close’s mesmerizing work as the psychotic Alex. Her frizzy blonde hair suggests much about her fraying mentality. When the two first meet she tells Dan about her job as an editor for a publishing company. She’s no vagrant, appearing at first cultured, lucid, stable. Little about her screams unhinged, except maybe the fiercely intense way she makes love. Elevator sex tends to say a lot about a person, and it’s clear Alex gets off on this kind of reckless abandon. But Lyne stylizes the scene so that it comes across initially as merely the second part of an impassioned two-night stand. In retrospect, it’s a pivotal moment and Dan should have recognized it.

But isn’t that part of the fun in watching these films? Not simply the clandestinity of the affair but the fact we get to see specifically how the betrayed are being betrayed? That may sound callous but it’s one of the simple, gnawing truths of Fatal Attraction. Dan didn’t just cheat on his wife, he cheated twice, once in a dirty elevator. Credit Douglas for remaining a fairly likable guy even after his actions threaten to tear his family apart. It’s a bit of a cliché writing him as a successful lawyer (lawyers clearly aren’t infallible, but his chosen career so sharply veers from his unscrupulousness it’s a bit ridiculous). He has made a career-threatening mistake but partially redeems himself. Credit that to screenwriter James Dearden who developed his short film into this full-length feature.

The film is loaded with intensity, sizzling with sex appeal and identifies one of Glenn Close’s most powerful and unhinged performances. Fatal Attraction doesn’t do much to stand apart from similar entries into the scorned lover subgenre, but suffice it to say this is one of the best. A hell of a thrill ride.

Recommendation: Fans of Glenn Close need apply, she puts in a great performance as an entirely unhinged woman whose initial appearance as a career-driven woman could not belie her true character any further. It’s a great character and one to thoroughly loathe when we finally realize the significance of Dan’s mistake of betraying his loving wife is nothing compared to the mistake he makes trying to ignore his scorned lover. 

Rated: R

Running Time: 119 mins.

TBTrivia: According to Glenn Close, people still come up to her to tell her “thanks, you saved my marriage!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.thegenealogyofstyle.wordpress.com; http://www.thedailybeast.com