Movies on My Mind

A Modern Day "Good Night and Good Luck" Playing on You Tube

2006-10-21T20:56:00.000-07:00

Last year, George Clooney caused a stir with this black & white film Good Night and Good Luck, which dramatized Edward R. Murrow's series of broadcasted editorial attacks on Senator Joe McCarthy's blacklisting trials. Today, a modern version of that brave journalistic move is playing out on www.YouTube.com, as the supporters of Keith Olbermann's editorials on the Bush administration have been rebroadcasting the MSNBC anchor's pieces on the Internet for all to see. If you haven't already seen or heard these editorials (which will no doubt one day become historic), you should. No doubt, in years to come, a film will mark this moment as well and dramatize the words of Olbermann, just as Clooney did for Murrow.

World War III on Film: Coming Soon?

2006-10-20T20:54:00.000-07:00

In the 1980s, at the height of The Cold War, the images of a possible Third World War played across the big and small screen as cautionary tales of nuclear armageddon: Wargames, The Day After, Red Dawn, and Testament, to name a few. In all cases, the drama was drawn from tensions between the U.S. and the U.S.S.R. Well that scenario is a thing of the past (as is the U.S.S.R. for that matter). Many believe that the attack on 9/11 was the first battle in World War III. The current U.S. President has said as much. Presently, it's not inconceivable that within a few months as many as 13 nations could simultaneously be at war (The United States, Great Britain, Israel, Japan, South Korea, Lebanon, Syria, Palestine, North Korea, Iran, Iraq, Afghanistan, and China). How will cinema document these days? How will fiction dramatize them?

Movie Monsters: Classic vs Modern. Who would win?

2006-10-19T20:52:00.000-07:00

Halloween is just around the corner. It got me to thinking about some dream match-ups on screen of classic movie monsters vs modern day counterparts. So, I have assembled a number of scenarios.
Who do you think would win if:
Dracula faced Freddie?
Frankenstein's Monster fought Jason?
The Wolfman battled Leatherface?
The Mummy met The Shape?
Now THOSE are some monster movies to think about!

Is Feature Animation Crashing and Burning Already?

2006-10-18T21:49:00.000-07:00

Can it be that the glut of animated features (talked about on here some months ago), has led to a temporary backlash of these films? Boxoffice has not exactly been boffo lately for films such as, The Wild, The Ant Bully, Barnyard, and Open Season. Of course, that could be due to the fact that... NONE OF THESE FILMS ARE ORIGINAL! Enough with the talking animals. (And don't insult our intelligence with MALE cows!!!) We have seen this all before, in much better films. And while I'm at it, enough with a redux of the same stories which simply replace animals with some other novelty (like Robots or Cars, for example). It can truly be said of animated films (to borrow a statement from another field) that the efficiency of the practice has not yet equaled the efficiency of the principle. With the level of technology available today, we need complex scripts which will offer a challenge to produce them as animated features. Once again, enough with the talking animals (especially MALE cows), or cars or robots! Man, I long for the days of Beauty & the Beast, Aladdin, The Lion King and The Polar Express!

Why are We Becoming a Nation Proud to be Dumb?

2006-10-17T01:25:00.000-07:00

When I was growing up, I was always encouraged to do well in school; to learn more; to try to gain knowledge (or know where to find it); to develop wisdom. So why have we become a nation which now seems to embrace being dumb, or idiots, or jackasses? And why do we reward such insipid, sophomoric trash as Jackass: Number Two, or Dumb and Dumber with big box office returns? Why have we made bestsellers out of the "Idiot's Guide to..." and "....for Dummies" series of books? Why have we allowed this level of intelligence in all aspects of our lives? Since when did the desire to be smart become a bad thing? Why do more people watch Dancing with the Stars than care about the national and international crisis around us? Remakes reflect this as well. Almost 100 percent of the time, the original version of a film presumed greater intelligence in its audience than did the remake (The Out of Towners and Miracle on 34th Street are two great examples). There's an easy way to put a stop to films which appeal to our lowest sensibilities: don't pay to see them.

The Evolution of Casper the Friendly Ghost on Screen

2006-10-16T01:25:00.000-07:00

Casper's the friendly ghost, the friendliest ghost you'll know...so says the jingle that helped introduce a generation of animation/movie fans to a character that has found a rebirth (if you will) in the world of live action films and now computer animation 61 years after he first hit the big screen. Casper was created in the early-1940s by Seymour Reit and Joe Oriolo. The character was originally intended for a children's storybook, but there was little interest. Then, while Reit was away fighting WW II, Oriolo sold the rights to the character to Paramount Pictures' Famous Studios animation division. The Friendly Ghost (released by Paramount in 1945 as a Noveltoon), was the first animated short to feature Casper. He began, umm, life, as a cute, pudgy ghost-child, who prefers making friends with people instead of scaring them. This would become the theme of EVERY Casper film to follow. Casper appeared in two more Noveltoons before Paramount started a Casper the Friendly Ghost series in 1950. When the rights to Casper were sold to Harvey Entertainment, Casper was given a slight make-over, and slimed down a bit. It was at Harvey that he would experience his greatest success -- in cartoons, comics and beyond. In 1995, the live action film Casper (executive produced by Steven Spielberg) became a big screen success, introducing the character to a whole new generation of children. A bunch of direct-to-video sequels quickly followed, including Casper: A Spirited Beginning; Casper Meets Wendy (with a young Hillary Duff as Wendy the Good Little Witch!); and Casper's Haunted Christmas. This in turn renewed interest in the classic cartoons and made way for new computer animated versions as well. It's always interesting to me when a classic big screen character like Casper, or Popeye, or Felix the Cat (seemingly) rise from the dead to entertainment an entirely new generation of children.

Where the Heck is Maria Conchita Alonso?

2006-10-15T20:05:00.000-07:00

I was watching a little of the LA gang warfare film Colors -- (a film I first saw at the Ziegfeld Theater), starring Sean Penn and Robert Duvall, and directed by Dennis Hopper -- when I caught a glimpse of a young Maria Conchita Alonso. Then it occurred to me: "What the heck happened to her?" She was so hot in the 80s, starring opposite Hollywood's A-List: Penn in Colors, Michael Keaton in Touch & Go, Nicolas Cage in Vampire's Kiss, and even Arnold ("the governator") Schwarzenegger in The Running Man. While she has continued to act right up and into the 2000s, I haven't seemed to notice. Have you? Twenty years ago, she seemed everywhere. Today, she seems lost in the crowd.

The Cult of Scarface: Say Hello to My Little Friend!

2006-10-14T20:06:00.000-07:00

In 1983, Scarface, directed by Brian De Palma, written by Oliver Stone and starring Al Pacino, opened to luke warm reviews and protests from Cuban Americans (with cries of negative stereotyping). The film -- a loose remake of the 1932 Paul Muni version, which in turn was quasi-based on the life of Al Capone -- is laced with profanity, visually over-the-top, steeped in 80s style excess, riddled with hammy acting, and destined to be a cult classic! But who would have ever imagined to this extent? The film laid dormant for years until the emergence of Gangsta Rap embraced the film and its violent themes of upward mobility. Liking Scarface gave you street cred. Soon, t-shirts, posters, framed film stills and even figurines were everywhere. It seemed every new gangsta rapper wanted to be "Tony Montana." Songs were dedicated to the character and his violent lifestyle. Rappers' homes were decorated to imitate the gaudy opulence of the character in the film. And now, a new video game Scarface: The World is Yours, has emerged (one can presume based on the popularity of the recent Godfather video game). But all this has cemented the cult of Scarface, a cult that seems to be growing stronger and larger now, 23 years after the film's release! Film critic Joe Gayeski said it best when he wrote of Scarface, "The Baby Boomers created and hated it. Generation X discovered and embraced it on Home Video. Generation Y turned it into a merchandizing empire of epic proportions in American pop culture." So, what Scarface spinoff is next?

Friday the 13th, Part 12?

2006-10-13T08:11:00.000-07:00

What better day than Friday the 13th to speculate on another Friday the 13th movie? Although seemingly on hold, the current sequel has Joel Schumacher attached to direct. Wow. Has the series finally become trendy enough to attract an A-list director? Aside from the series founder (former Wes Craven partner) Sean S. Cunningham and two entries by Steve Miner, the series has pretty much been a training ground for lesser known directors to cut their teeth. (One other possible exception being the established horror director Tom McLoughlin). But no one close to Schumacher's marquee value as ever worked on the series (one of the most successful horror franchises in cinematic history). Lest you forget, when last we left Jason (the monster of the series) he was doing epic battle with another modern movie monster in Freddy vs Jason -- which actually picks up from Part 9, Jason Goes to Hell, forgetting all about the 10th entry Jason X - where Jason goes to....(what?)...Outer Space! As these series go, Friday the 13th has been a somewhat interesting string of films (if you like this sort of thing). Parts I, II, and II actually work together nicely as a trilogy, as do Parts IV, V and VI. Starting with Part VII, however, the series basically became an anthology series, with none of the episodes connecting. In (Part VII) The New Blood, Jason squares off against the telekenetic Tina (nice idea, well done). In Part VIII, Jason Takes Manhattan, he (eventually) makes it to the Big Apple, where he's done in by...New York sewage! (bad idea). As I said, Part IX sent him to Hell and Part X to Outer Space, and then there was an attempt to draw on Part IX to create 2003's Freddy vs Jason (one of the best in the series). That same year, a Friday the 13th short entitled Friday the 13th: Cold Heart of Crystal Lake, was written, produced, and directed by Joe Patnaud of Timberwolf Entertainment. So now what? Fans are already debating it at www.fridaythe13thforum.com. Will Schumacher actually stay on to direct? Although he's no stranger to the genre, I doubt it. Wouldn't Quentin Tarantino or Eli Roth make more sense? As a fan of the series myself (and after films such as Saw and Hostel have raised the bar on gore), I suggest a return to basics. Forget gimmicks like Outer Space, Manhattan, and Elm Street. As the series nears its logical conclusion (Friday the 13th Part 13?), to paraphrase from a well known song "they've got to get themselves back the forest!"

Deep South Documentary

2006-10-12T22:10:00.000-07:00

Imagine a filmmaker commissioned to produce a documentary on the culture that produced the fictional character of Joe Buck, the "Midnight Cowboy" of the film of the same name and you will understand the essence of Searching for the Wrong Eyed Jesus, a fascinating documentary look at the poverty stricken Pentecostal people of the deep deep South who either turn to God, or to a life of drugs, booze, and violence. There is no middle ground. Their daily lives are a constant struggle of good and evil, and the anticipation of salvation. Structured as a road trip, the film is an amazing, unflinching -- at times, frightening, at times sad -- journey into this culture. It may be difficult to believe such a community still exists in modern day America. A great documentary. See for yourself.

Legendary Illustrator Ed Benedict Dies at 94

2006-10-11T09:33:00.000-07:00

It was just announced today that Ed Benedict, the man who gave life to the characters of Fred & Wilma Fli ntstone, Barney & Betty Rubble, Yogi Bear, Boo Boo, Huckleberry Hound, Quickdraw McGraw, and many more, died earlier this year at the age of 94. "Benedict's designs are both simple — they needed to be to accommodate the strenuous demands of limited TV animation — and highly sophisticated, containing that indefinable drawing quality that gives a drawing charm and personality," Amid Amidi wrote in his book Cartoon Modern: Style and Design in Fifties Animation. I agree. There was that extra something in the simplicity of Benedict's style, a style which almost singlehandedly transformed the look of animation in the late 50s and early 60s, borne of sheer necessity, due in large part to the constraints of TV animation budgets. Benedict's designs became iconographic and would influence all television animation that was to follow it. The Flintstones alone have become a cottage industry that has lasted 46 years thus far.

Jerry Lewis on Law & Order

2006-10-10T20:37:00.000-07:00

Jerry Lewis fans: did you catch his wonderful performance on Law & Order: Special Victims Unit tonight? It was great to see Lewis, at 80, acting on the screen. In a rare foray into drama (The King of Comedy and Fight for Life being two others), Lewis offers a brilliant turn as a homeless man, confused, depressed, and perhaps the key to solving a brutal rape/murder case. What a wonderful piece to add to an already wonderful career. I would love to see Lewis take on more of these kinds of roles (especially on the big screen). This is the stuff Oscars are made of!

Superman II, Again?

2006-10-09T21:37:00.000-07:00

In hopes of being considered some long lost cinematic treasure, Richard Donner's version of Superman II -- a film he all but completed shooting before being fired and replaced by Richard Lester (can anyone say Exorcist: The Beginning?) -- is now being released on DVD. The question is: Why? Who really cares? (It's not like seeing footage of Back to the Future starring Eric Stolz instead of Michael J. Fox. Now THAT would be interesting!) Plus, if rumors swirling around this version are true, it might have been better if left buried. Not that the Lester film is a work of art. But I hear tell that Superman once again solves things in the new version by once again...yes...reversing time. That was the single worst aspect of the first film. To repeat it would be a disaster. Plus, there has been no heat off the newest entry to the series, Superman Returns. So why release this new version of Superman II now? Will I see it? As a curiosity, I think I will. But I expect very little. The Lester version is flawed. (It's filled will silly stuff which makes absolutely no sense, even in the Superman universe.) This Donner version sounds just as flawed (if not more). Is it possible to make a great Superman film? I don't think Donner's newly unearthed version of part II will answer that question affirmatively.

The Miracle Worker

2006-10-08T20:37:00.000-07:00

A wonderful example of a film that bridged the divide between old Hollywood and new Hollywood at the time, Arthur Penn's amazing black-and-white film The Miracle Worker, is a powerful work of art from start to finish. Its stark visualization stands in interesting contrast to the more conventional performances of the supporting cast. But it's the leads which carry the film to a level rarely seen at the time. Anne Bancroft and Patty Duke (as Annie Sullivan and a young Helen Keller, respectively) both received well-deserved Oscars for their efforts. The documentary-like, black and white feel of the film helps to strip, what could have easily been an overly sentimental approach, given the subject matter. The Miracle Worker is years ahead of its time (1962) and as a result still feels fresh today.

The Illusionist Works On Screen Magic

2006-10-07T21:38:00.000-07:00

A day after seeing the first great film of 2006 (The Departed) I saw another. The Illusionist, starring Edward Norton is a brilliantly woven tale of perception and reality, of politics and greed, of passion and belief, of deception and ethics. Much in the way The Departed deals with themes of the duality in human nature, so too here we are thrust into a tale that forces us to think on a number of levels and has us question not only the power of perception and manipulation, but leaves us with an uncertainty about who in fact to trust. (As with The Departed, a resonate theme these days). Artistically, every aspect of The Illusionist work in concert beautifully. Highly recommended. It's interesting to note, this is the first of two magician films this year: the other -- Christopher Nolan's The Prestige, also boasting a great cast, opens later in the year, following the second Capote film within a year as well. Hollywood really should have better communication. Regardless, this one deserves your attention and the attention of the Academy as well. The Fall film season just keeps getting better and better.

The Departed Lives Up to the Hype

2006-10-06T21:38:00.000-07:00

Martin Scorsese is back, just as "Movies on My Mind" predicted he was after seeing the trailer for his new film, The Departed. Seeing the film confirms it. This is material Scorsese knows better than any other living director. Plus he trusts cinema to tell a story. And what a cast! Jack Nicholson, Leonardo DiCaprio, Matt Damon, Mark Walhberg, Martin Sheen, Alec Baldwin -- all giving amazing (career leading) performances capable of disguising the fact that they are stars. This is the most passionate Scorsese has been in years. He's not over reaching as you can feel him do in Gangs of New York and The Aviator. This is his turf. And the stories of these people clearly resonate with Scorsese. He takes it seriously. It's the element that has made his great films great: Mean Streets. Taxi Driver. Raging Bull. Goodfellas. Casino. Sure, I admire when he tries a Last Temptation of Christ or an Age of Innocence. But this is what he does best. Better than anyone. And he's back. And on top! See it.

Will the Academy Raise the Flag?

2006-10-05T21:45:00.000-07:00

Of course, it's too soon to tell, but the early Best Picture Oscar buzz has been good for the upcoming Clint Eastwood directed epic Flags of Our Fathers. It's ridiculous to even talk about possible Best Picture nominees this early, especially before they've even been released. So why the buzz? Well it's partly based on journalists needing something to write and being too lazy to find legitimate news. It's also partly based on Eastwood's now impressive Oscar history. Two Oscars for directing, two for Best Picture (Unforgiven, Million Dollar Baby). It's partly based on a good looking trailer (which seems to have all the elements of an Oscar worthy film). Plus, the time is right for a film that comments on war and media in this country (even if the war used is metaphorical for the current war being fought). Of course, it is ironic if Eastwood is able to pull off film tat says more about the current war than films like Oliver Stone's World Trade Center were able to.

Interesting Strategy

2006-10-04T21:46:00.000-07:00

Today, I read a short interview with Martin Scorsese's current producer Graham King. In an article entitled "Counting on the Big Score-sese," King (who also produced The Aviator and Gangs of New York) says of the new Scorsese film The Departed, "We're going for commerciality on this one. Pure commerce. And if anything comes along with it, great. If it doesn't, that's fine, too." I say, "Nice strategy!" Most feel (myself included) that Scorsese's camp campaigned a little TOO hard for him to receive an Oscar for his last two films. Scorsese, the rebel filmmaker, had become Scorsese the elder statesman of cinema. Now, saying they don't care about Oscars for The Departed just might land him one! He's gone back to the kind of film he does better than any other living director. The "we aren't looking for awards" attitude of King might just work in getting them EXACTLY what they want, and something Scorsese has deserved for years!

St Francis on Film

2006-10-03T21:45:00.000-07:00

If you've never seen it, check out Brother Sun Sister Moon (Fratello sole, sorella luna), Franco Zeffirelli's bio pic of St. Francis of Assisi. Very much of its time, it even features songs by Donovan. Zeffirelli made this film right after his much acclaimed breakthrough adaptation of Romeo & Juliet and just before taking on the life of Christ in the brilliant Jesus of Nazareth. (Of note, in 1990, Zeffirelli also directed future Christ filmmaker Mel Gibson in the title role of Hamlet.)

What Happened to the Angel Craze?

2006-10-02T23:44:00.000-07:00

There was a time (the early 90s to be more precise), when almost every A-list actor wanted to play an angel on screen. We had Nicolas Cage in City of Angels, John Travolta in Michael, Christopher Walken in The Prophecy, Emma Thompson in Angels in America, and even Christopher Lloyd in the remake of Angels in the Outfield. Not only movies, but books upon books, magazines and TV shows featured the heavenly creatures. Angels were hot (then poof) they were not!

The Nights He Comes Home!

2006-10-01T16:57:00.000-07:00

Halloween fans take note: While we will have to wait a full year to see Rob Zombie's remake of John Carpenter's Halloween, (a production predicted here at "Movies on My Mind") the original Halloween is being re-released on the big screen in 125 theaters across the country on (when else?) October 30th and 31st. In addition, playing before the feature film will be an all-new 16-minute short called Halloween: The Shape of Horror. This short features exclusive interviews with the cast of the original horror classic and the filmmakers of the next Halloween, including director Rob Zombie. Also, the definitive documentary on the Halloween series, Halloween: 25 Years of Terror, featuring more than six hours of content, is now available on DVD.

Separated at Birth?

2006-09-30T00:03:00.000-07:00

You decide. Was "the Great One" and frequent "Movies on My Mind" contributor "Michael" actually separated at birth?

Indie Spotlight: Posters

2006-09-29T00:04:00.000-07:00

Check out the film posters of New York City-based graphic designer Fred Gates. In addition to movie posters, the Buffalo native also develops graphics and websites for a host of commercial advertising and marketing projects. You can check out more of his work at www.fredgatesdesign.com. His uncluttered style is definitely reminiscent of foreign film posters of the 60s. An Autumn Wind calls to mind poster art for the works of Truffaut and Kurosawa. Time Indefinite is more of a throw back to Harold Lloyd.

Hey Joe, Where You Goin' with that Gun in Your Hand?

2006-09-28T00:04:00.000-07:00

Travis Bickle and Archie Bunker can both find cinematic roots in the character of Joe Curran. Directed by John G. Alvidsen, six years before he brought Rocky to the screen, Joe tells the story of a racist factory worker who hates "hippies and niggers" (a raw and unforgettable performance by Peter Boyle), who teams up with a fellow bigot and goes on a shooting spree. Susan Sarandon (as a druggie who escapes from a mental institution), made her film debut in this film, which initially seems to offer an answer to the counter culture messages that filled the screens during the late 60s and early 70s, but ultimately demonstrates how the gun carrying, knee-jerk conservative views of the main characters in this film comes at a terrible price. This is the kind of film you simply don't expect to see in theaters any longer, as the film industry has become more homogeneous and corporatize. Fans of Alvidsen's work (in addition to Joe and Rocky, he also directed Jack Lemmon to an Oscar in Save the Tiger and the first two Karate Kid films); or anyone interested in seeing the early work of Susan Sarandon or Peter Boyle should rent this film.

The Cult of Napoleon Dynamite

2006-09-27T00:04:00.000-07:00

There's a new subculture developing - the cult of Napoleon Dynamite. If you understand why someone would say "Sweet!" instead of "Cool!"; if you get a "Vote for Pedro" reference; or advise someone that they need "skills" to attract a girlfriend; or know what the "dance sequence" is, then you are probably already part of the cult. If you don't, then viewing the film Napoleon Dynamite would be the first thing you would have to do. Why has this film, which is seemingly about very little, touched such a nerve in so many? Some have argued that it "takes you inside geek culture," which some deem a fascinating place. Ironically, as the film let's us know, in the world of Napoleon, he's actually cool (compared to his brother. his uncle and his friends). Advice from Pedro on getting a girlfriend: "Probably build her a cake, or sum-ding." Napoleon is not unlike the "Whatever I feel like I wanna do!" kind of person in all of us. He just says it outloud, and punctuates it with an exasperated "Gosh!" But the film is about taking great joy in the little things in life. Witness Napoleon's reaction to Pedro's bike: "Dang! You got shocks, pegs... Lucky! You ever take it off any sweet jumps?" At its core, film's overwhelming appeal is its theme of self esteem. Napoleon believes in himself in a way that teenagers who are hung up on status or the endorsement of others never can. Napoleon is definitely not "text book" cool, but he doesn't seem to give a shit about that - which in turn, of course, makes him cooler than Fonzie himself! (Cooler than The Fonz? Wow, does that show my age or what?) As one pundit put it (and I agree) "not caring is a liberating, even subversive, message...[it's] the ultimate rebuke to the conventions of cool." The film is about friendship and taking chances. But finally, Napoleon Dynamite is a film about optimism. Napoleon to Pedro before a key speech: "Just tell them that their wildest dreams will come true if they vote for you."

Five Reasons Why Rocky Balboa Will Do Huge Business

2006-09-26T00:19:00.000-07:00

5. Rocky fans, who made Part IV the most popular of the series, don't want Part V to be the last vision of their hero. The core audience will flock to Part VI. Why will they flock? Stallone has returned to the formula (which he abandoned in part V) and the formula works!
4. Children of Rocky fans (too young to even remember Part V in the theaters) will flock as well, just to say they saw a Rocky film in the theaters.
3. Adrienne is dead. Fans want to know how Stallone will deal with this.
2. Retro is always in. Rocky at 60? Even if it doesn't work (which it will) people are curious. What do you think made Return to Mayberry the number one TV movie the year it came out? People love "where are they now?" stories.
1. We need a hero. In these tense times, where there seems to be NO heroes on either side, America is ready to re-crown the one they once loved.

Inspired Remake

2006-09-25T20:55:00.000-07:00

I generally don't like remakes. But talking about Grace Kelly, in the last post, and, a little while back, about Christopher Reeve directing Everyone's Hero, got me to thinking about the remake of Rear Window. Now, clearly, the remake does not match the cinematic genius of Hitchcock's original, but casting Reeve (amazingly affective in his first post accident role) as the man helplessly trapped in a wheel chair while witness to murder, was a stroke of brilliance. (And there was a certain level a braveness on everyone's part for doing this.) From the moment I read about the film being in production, I could not wait to see it. It's probably the single greatest remake idea ever. Film lovers should have both versions side by side in their film library.

The Most Beautiful Actress Ever?

2006-09-24T21:19:00.000-07:00

What was it about Grace Kelly? Her entire film "career" was just a handful of films in the 1950s (before she left Hollywood to become a princess) but who can forget her? High Noon. The Country Girl. To Catch a Thief. Dial M for Murder. Has there ever been a more beautiful woman on screen than Kelly dressed in mint green in Hitchcock's Rear Window?

Two Must See Films With "The Great One"

2006-09-23T21:19:00.000-07:00

My Dad loved Jackie Gleason. My granmother would tell me stories about how, as a boy, he'd make her and my grandfather laugh by doing imitations of Gleason at the kitchen table. So, Gleason is on my mind. Here's my advice. Forget the silly Smokey and the Bandit films, The Sting II and The Toy. Film buffs curious about the reason Orson Welles dubbed Gleason "The Great One," should go out and rent two films that served as bookends in the spotty film career of this empathetically comedic genius: The Hustler, in which he stars as billiards great Minnesota Fats, alongside Paul Newman's Fast Eddie. (Newman later won the Oscar for playing the same character in the sequel, The Color of Money), and his last film, Nothing in Common, where he shared the screen with a then up-and-coming Tom Hanks as his son. Both films illustrate the depth and range of Gleason only hinted at (though brilliantly) on his TV shows. Check them out.

All the King's Horses and All the King's Men, Couldn't Put This Movie Together Again

2006-09-22T22:42:00.001-07:00

Thud. That's the sound the remake of All the King's Men -- starring Sean Penn and directed by Steve Zaillian -- will make this weekend. How far the mighty have fallen. Just last year, this was the movie Sony was pinning its Oscar hopes on, its huge holiday release. Then it was pulled and rescheduled for earlier this year and pulled again. Now it quietly opens this weekend amidst critics (from the Toronto Film Festival, where it previewed earlier this month) saying it's a mess. Why remake this classic anyway?

Aquaman Doesn't Swim

2006-09-21T21:18:00.000-07:00

An attempt to take a serious stab at the legend of the lesser known DC Comics superhero Aquaman apparently did not make the cut at the CW Network. But thanks to www.filmthreat.com, you can view the trailer for this promising TV pilot and at least have a glimpse at what filmmakers were thinking of doing with the character. Having seen it, I say, it looked pretty damned interesting. Certainly better than TV attempts at Spider-man and The Justice League of America (which Film Threat also references, and "Movies on My Mind" wrote about a couple of months back). TV has created some superhero winners -- The Adventures of Superman, Lois & Clark, Smallville, The Incredible Hulk and Wonder Woman among them. And I have a sentimental spot in my heart for the live action TV versions of Shazam!, Isis, and of course the 1960s Batman. Aquaman has never been given the same chance and, it seems, won't again. The pilot is making the rounds on the Internet and, no doubt, will quickly obtain cult status, if it is in fact never aired again.

King/Roth

2006-09-20T20:55:00.000-07:00

In answer to my question about Stephen King, I recently discovered that Eli Roth (director of Hostel) is attached to direct King's latest, Cell. Forget what I said earlier about the killer cell phone. All of a sudden I'm excited about what the collaboration might produce. I haven't been this interested in seeing a Stephen King film since the golden days I mentioned earlier in "Movies on My Mind" when directors such as DePalma, Carpenter, Cronenberg, Hooper, Romero and Kubrick brought King's work to life. No director has impacted the horror genre in recent years more than Roth. Two masters collide. I can't wait.

A Herschell Gordon Lewis Revival?

2006-09-19T20:56:00.000-07:00

Kindly put, Herschell Gordon Lewis, the father of exploitation horror is responsible for some of the worse films ever made. His debut Blood Feast is barely tolerable. The Gore Gore Girls doesn't even register on the radar of low-budget camp. Along the way, along side such works as The Wizard of Gore and Color Me Blood Red, Lewis made a film called 2000 Maniacs (not to be mistaken with musical group 10,000 Maniacs). The frame work of the film is simply an excuse for scenes depicting some of the most depraved ways to kill humans. So, it was not surprising to discover that Eli Roth (director of the similarly themed Hostel) produced a modern sequel/remake of 2000 Maniacs called 2001 Maniacs. Lovers of exploitation horror films should definitely check it out. Tongue is firmly in cheek here; the sex factor is ratcheted up, and the effects are better than in 1964. And it doesn't hurt that "Freddy" himself, Robert Englund stars. However, the weak-of-stomach should stay away. Could this spur a H.G. Lewis revival? With Roth behind it, who knows? This is exactly the kind of cinema trash that filmmakers like Quentin Tarantino have attempted to elevate to cinema treasures.

The Stephen King Drought

2006-09-18T20:57:00.000-07:00

In the beginning, Stephen King material on film was treated with tremendous respect. Some of the greatest directors of the genre lined up to interpret his vision on screen: Brian DePalma (Carrie), Stanley Kubrick (The Shining), John Carpenter (Christine), David Cronenberg (The Dead Zone), George A. Romero (Creepshow), Tobe Hooper (Salem's Lot). Then it became a free-for all. There were more films than we knew what to do with. And most of them were horrible: The Mangler. Maximum Overdrive. Children of the Corn. The Lawnmower Man. But from this came a few gems. Two directors elevated King's work to great cinema: Rob Reiner and Frank Darabont. Reiner gave us Stand By Me and Misery. Darabont contributed The Shawshank Redemption and The Green Mile (the only King films ever to be nominated for Best Picture Oscars). Then King struck a deal with ABC to do a string of miniseries. Most sucked. (It, The Tommyknockers, The Langoliers, the remake of The Shining, the remake of Carrie. But from theses came the brilliant telling of King's The Stand and the excellent Storm of the Century (perhaps his best miniseries ever and certainly one of the best of his works on screen). Now, we have The Dead Zone TV series. and King is writing about killer cell phones?!? Is there anything left? Has the King well finally run dry?

Punching up the Superman Franchise

2006-09-17T20:57:00.000-07:00

Superman vs Batman may not have materialized, but what was evident from Superman Returns, the most recent installment in the Superman franchise, is that Superman has a boring storyline. And moreover, he has boring villains. Enough with Lex Luthor already! While Superman vs Batman may never come to the screen, I would like to suggest three other possible team-ups that could ad spice to the Superman film series. Each of these ideas already played out in comic books years ago, with great success.
Superman vs The Amazing Spiderman: This one is a no-brainer. For comic book fans in the 70s (like me) this was the holy grail of comics, the first time a character from Marvel ever met a character from DC Comics. Perhaps the greatest of all the comic book team-ups, this one would be a huge success on screen, but the red tape involved in making it happen would probably prevent it from ever seeing the light of day.
Superman vs Muhammad Ali: The world's greatest superhero vs the greatest of all time? It was a natural at the time, when Ali was known as the "black" Superman. Perhaps Will Smith can return as Ali to do this one!
Superman vs Shazam!: The Man of Steel vs The World's Mightiest Mortal. Sounds like a match Don King would drool over. True, Captain Marvel does have the cache he once did, but if done right, this could wake up a sleepy series. And both characters are from DC! That should ease things a bit.

My Son's Super Birthday Party

2006-09-16T20:58:00.000-07:00

I had a birthday party for my son today. His birthday was actually last week, but, when you're a divorced Dad, sometimes, you need to shoot for the closest weekend. Anyway, I asked him what he wanted the theme of his party to be and he said, "The Super Friends." I had introduced him to the 70s animated series that I had enjoyed as a child via DVD several months ago. As part of a very long list of specific decorations (let me tell you, Super Friends decorations are not easy to find), types of foods (a chocolate birthday cake, with chocolate mousse icing, chocolate ice cream in the middle, and chocolate sprinkles on top) and people to invite, he also made sure to tell me we needed to have a Super Friends movie to watch at the party. Well, you must know by now that this item made me smile. I've pointed out on here numerous times before how great it makes me feel that movies -- which have always been a source of enjoyment for me -- are now a fun part of my children's lives as well. I made sure there was a Super Friends DVD for viewing, and he had a ball, as did his little guests! (Ok, me too, and some of my friends as well!)

The Greater of Two Evils?

2006-09-15T21:00:00.000-07:00

The talk of this year's Toronto Film Festival, Death of a President, a British film written, produced and directed by Gabriel Range, gained infamous notoriety for digitally altering documentary footage to fictionally "recount" the assassination of President George W. Bush. While on the surface, this may simply seem to be more "Bush Bashing," a closer read on this film actually reveals that the filmmakers clearly feel there is something far worse than a President Bush and that's a President Cheney, who, in the film, further encroaches on the civil liberties of U.S. citizens with the passage of Patriot Act III, and conflagrates the war in the Middle East. So, in a weird sort of way, the film is actually supportive of the idea that President Bush should remain in office.

Two Christmas Movies I'm Looking Forward To

2006-09-14T20:58:00.000-07:00

As frequent "Movies On My Mind" contributor Silberg pointed out to me in a photo he sent me from Amsterdam, it's just a little more than 150 days until Christmas. And the trailers for two Christmas movies have already been making the rounds in theaters. I am looking forward to both of them. The first is The Nativity Story, a film which relates the struggles of Mary and Joseph in the days leading up to the birth of Jesus, and the events that follow. Mary is played by 16-year-old, Oscar-nominated actress Keisha Castle-Hughes (of Whale Rider). What will be interesting for me to see is whether the same crowd that flocked to theaters to watch Jesus tortured and killed (in The Passion of the Christ) will be interested in this big screen telling of his birth. The trailer I saw just showed silhouettes on screen, and my son, who was with me blurted out, "That's Jesus!" The other film is The Santa Clause 3: The Escape Clause. This one pits Santa against Jack Frost for the control of Christmas. I like the concept for a few reasons. It will be interesting to see if Will this film comment on the cultural battle that has been going on in this country over the holiday of Christmas? (By the looks of the trailer, it seems it will. Jack Frost plans to rename Christmas, "Frostmas.") I didn't hold out much hope for the first Santa Clause sequel, but in many ways, it worked better than the original film, so I'm willing to give this one the benefit of the doubt. Tim Allen is wonderful as St Nick and this time there's Martin Short as Frost. Let the sleigh bells ring! I'm ready!

We Were Off to See the Wizard

2006-09-13T22:05:00.000-07:00

I recently rented 1939's The Wizard of Oz to watch with my children. (It was the first time my son had seen it. My daughter was much younger the first time she watched it with me.) A few things struck me. First, how in an age of superior special effects and shorter attention spans, this simply told story of Dorothy and her friends over the rainbow can still command my children's attention. Seeing the film now, as an adult, the psychological sophistication with which the story unfolds also impresses me. A good witch and a bad witch? The wizard is just a man? Hmmm. Our hero literally starts small (in Munchkin City), and is threatened by drugs ("Poppies will make them sleep," and "snow" wakes them up) as she (and we) undergo a rite of passage from childhood to adulthood, a journey of self discovery that leads Dorothy (and us) right back where she/we started, but (hopefully) with greater wisdom. The film doesn't want us to believe that Dorothy should never leave home, but rather that the things see seeks "out in the world" are actually found in herself -- common sense, a good heart, and courage. She can't discover her ability to return home (and thus find herself) until she develops these, in the external personifications of the Scarecrow, the Tin Man and the Cowardly Lion. It was a joy to experience the film with my children. This journey is teaming with adult subtext that may pass in and out of your mind as a child, but allow you to truly appreciate a deeper understanding during a repeat viewing with your children.

Everyone's Hero Directed by a Hero

2006-09-12T22:04:00.000-07:00

Am I the only one surprised to discover that the new animated baseball fantasy film Everyone's Hero -- about a boy who rescues Babe Ruth's talking bat (voiced by Whoopi Goldberg), with the help of a talking baseball (voiced by Rob Reiner) -- was the last film to be directed by Christopher Reeve, who died two years ago? I was further surprised to discover that he and his wife Dana Reeve -- who died earlier this year -- also co-produced the film, and that she was one of the voice talents. It makes sense that this film, which encourages children to "never stop swinging," was directed by a man who lived by those words.

9/11 Movies to Date

2006-09-11T23:02:00.000-07:00

To date, five years now after the event itself, there have been only four 9/11 features produced (not counting documentaries): The Guys (bravely leading the way in 2002) and three this year, the TV movie Flight 93, United 93 (originally titled Flight 93) and Oliver Stone's World Trade Center. So, where do we go from here? There are millions of stories to tell, and talented filmmakers waiting to tell them. The question is, will boxoffice returns support further films? None of the films to date have been blockbusters. Some might argue that not enough time has passed, but I dismiss that argument. Plenty of time has passed. No event in recent history has galvanized the country like 9/11. It's time to filter that day through the lens of some of our great filmmakers and let the human emotion spill out on screen. Politics aside, 9/11, if nothing else, is a day filled with personal stories, stories that are tailor-made for the screen. There are many more to tell, just as WWII and Vietnam supplied some of the greatest films ever made, so to will 9/11, when filmmakers and studios stop worrying about whether it's too early and start getting down to creating great drama.

The Heat is Back for Scorsese!

2006-09-10T00:49:00.000-07:00

Reclaiming the genre which made him a modern film master, Martin Scorsese returns to form with The Departed. Amazing trailer. Jack Nicholson and Leonardo DiCaprio are in peak form. While this is the first time Nicholson has acted for Scorsese, the two both cut their cinematic teeth around the same time at Roger Corman's studios. Eschewing the epic scope of his last two films, Gangs of New York and The Aviator, Scorsese has gotten back to business with a genre no one does better than he does. Like Fast Eddie said at the end of The Color of Money, the Scorsese-directed sequel to The Hustler, "I'm back!" The same is true for this cinematic master. It's good to see him doing what he does best. With The Aviator, fans wanted to see Scorsese win because of his career. With The Departed, I believe we may see him win because he deserves to win for this film!

The Best Movie Studio Logos

2006-09-09T00:32:00.000-07:00

I've spent 20 years in the communications industry, covering the entertainment industry and one of things I have always loved is the continuity of the brand logos associated with the major movie studios. By the time I got around to working in this field, many of the classic movie studio logos and brands had existed for decades. Many draw on mythic imagery and in doing so have become somewhat mythic themselves. So here my favorites in ascending order.
4. Universal
3. Columbia
2. 20th Century Fox
1. MGM

Stallone Has a Winner!

2006-09-08T00:11:00.000-07:00

"It ain't over til it's over." Effectively erasing the memory of the dismal Rocky V (the weakest installment in the Rocky series), Sylvester Stallone has gone back to the roots of what made the Rocky films work so well and, I predict, will deliver a knock out punch this Christmas at the boxoffice when his latest installment Rocky Balboa hits theaters. This one's a winner! I just viewed the latest trailer for the new film, and all I can say is I will be first on line to see it. It's all there. The music. The pacing. The humor. The pathos. The training. Everything fans of the series have come to love about Rocky movies. Based on the trailer, Stallone has pulled it off. Fifteen years after the last installment, he's been able to once again dig deep into the soul of his most famous creation and literally resurrect a dead series. The film is due out this December, just in time to celebrate the 30th anniversary of the first Rocky (a move predicted by Rocky psychic Paul Icolari). As previously mentioned here, Adrienne does not survive to this installment. But Paulie and Duke are back, and once again in Rocky's corner. (As are millions of Rocky fans who "ain't' heard no bell" and are more than ready for "one more round!") As the trailer says, "The greatest underdog story of our time is back for one final round!" I say, "Go for it!"

The $1 Billion Club

2006-09-07T00:02:00.000-07:00

Walt Disney's Pirates of the Caribbean: Dead Man's Chest (already the largest grossing film in the studio's history) continues to do the unthinkable as today, it enters an exclusive club of films that have grossed more than $1 billion in worldwide boxoffice. Reportedly, only two other films have preceded Pirates of the Caribbean: Dead Man's Chest into the club, Titanic, which made $1.83 billion, and The Lord of the Rings: The Return of the King, which grossed $1.13 billion. To date, Pirates has racked up more than $414 million in the US, putting it at number six on the all time chart, and giving it the further distinction of being the film to knock The Passion of the Christ off the all time top ten list! Good news for Orlando Bloom, who was in two of the films. Great news for Johnny Depp, who continues to move from art house fav to boxoffice "king of the world" without losing an ounce of his quirkiness. But why do we give a "Yo Ho Ho" about it?

The Late, Great Bruno Kirby

2006-09-06T00:52:00.000-07:00

The great character actor Bruno Kirby died on August 14, at the age of 57 (while this column was on hiatus). Born Bruno Giovanni Quidaciolu Jr., his role as Harry's friend Jess in ...When Harry Met Sally is simply one of the best supporting performances ever recorded on film. If you watch the film, you will realize that the rhythm between Kirby an Billy Crystal is acting perfection. He never misses a beat. And is very funny! In The Super, he played the son of Richard Castellano, who just the year before had played Clemenza in The Godfather. Kirby went on to play the young Clemenza the very next year in The Godfather Part II. He teamed once again with Billy Crystal in the fish-out-of-water comedy, City Slickers. There is no question his talent will be missed.

Here We Go!

2006-09-05T22:47:00.000-07:00

For as long as I can remember, when the previews (and, these days, commercials) are over in a movie theater and the lights go completely dark, as the screen flickers to life, I find myself saying (usually out loud, but in a soft whisper) sometimes to myself, sometimes to the person with me: "Here we go..." I'm not sure how I started this little ritual of three words before each movie. I may have heard my father say it once or twice. But it makes perfect sense to me that I do it. That's how I feel about movies. They take me on a journey. And I'm always willing to go. Sometimes the trip is eh. Sometimes it's unforgettable. But at the beginning of each trip, I'm ready to go. I feel the same way with the new year of "Movies on My Mind." I'm excited to see where the year will take us. Will this be the year of a great new director? Of an unforgettable film? Of the beginning of a new trend? The return of an old one? Who will leave us? Who will rise to fame? I'm excited. Films excite me. They still do. I know there aren't as many good ones these days. But wow, when I find one no one knows about and it's great? It's like finding buried treasure. So far, 2006 has been kind of a flat year. I started "Movies on My Mind" last year by wondering who Oscar might recognize from the early part of the year. It was easy to come up with a few titles and one of them -- Crash -- actually won! But this year, I can't think of any. Not yet. (Even the 9/11 movies haven't caused much of a stir.) But I am excited about what's to come. The new one from Darren Aronofsky. The new one from Martin Scorcese. Then there's Hollywoodland and The Black Dahlia (from Brian DePalma). And Clint Eastwood's Flags of our Fathers epic. So I will be there, as I have always been, waiting for the lights to go dark, and the screen to flicker to life, and willing to take the journey, again. "Here we go..."

In Voluptate Mors

2006-09-04T23:32:00.000-07:00

A month ago, I wrote a piece for "Movies on My Mind" entitled "The Lost Art of Movie Posters." In it I said, "the most inventive poster I have seen in years is for the film The Descent. It's the story of a group of women on a caving expedition that goes horribly wrong. The poster uses the body forms of these women to create a glowing skull. If you don't check out the movie, you should at least check out this poster. It's really a work of art." Turns out, it was based on a work of art -- a 1951 colloboration between artist Salvador Dali and photographer Philippe Halsman entitled "In Voluptate Mors (The Skull)," to be exact. This wonderful little treasure of information was pointed out to me by "Movies on My Mind" regular Silberg, who happened upon the original photo and sent it to me. Check it out.

SUMMER BREAK IS OVER!

2006-09-03T20:33:00.000-07:00

I launched "Movies on My Mind" this Sunday last year (only then, the date was Sept 4). After my August 7, 2006 entry on How to Eat Fried Worms, I took a hiatus from the column to beat the drum for my new magazine Forest Hills Celebrity & Entertainment and to spend vacation time with my son and daughter. I'm back. And, what better day to start year two of "Movies on My Mind" than the day it began? I want to thank all who participated in year one of this column -- especially regular commentators Ohio Girl, Silberg and Michael -- making it the forum I hoped it would be. I look forward to more of your comments, tips and insights in year two. Here we go...

Fried Worms Comes to the Big Screen

2006-08-07T22:15:00.000-07:00

Every October, I venture to southern Vermont (in the Bennington, Arlington, Manchester range) for a couple of days to commune with nature: I watch the leaves turn colors; breathe deeply the fresh mountain air; do some hiking, antique hunting, and never fail to visit the Norman Rockwell exhibit (located in an old church on historic Route 7A in Arlington). At this point, I know the exhibit like the back of my hand, I've seen it so many times. It's always a thrill to meet actual Norman Rockwell models from the town. Of particular interest is a small showcase -- tucked away in one of the rooms at the back of the old church -- focusing on the work of Rockwell's children. There, behind the glass is a copy of How to Eat Fried Worms by Thomas Rockwell. While, perhaps, not as famous as his father's Saturday Evening Post covers (many for which he served as a model), this book for young readers has become a classic in its own right. Now, more than 30 years after it was first published, the book has finally been adapted into a live action feature. (It was first filmed in 1985 as an animated TV movie.) It will be interesting to see how the filmmakers have chosen to update the story and the attitudes of its characters. At the time it was published, the book was credited with attracting many unwilling young readers (especially boys) due to its obvious gross out factor. One wonders, after all these years, if the thought of eating worms is still enough of a curiosity for younger audiences to flock to the film. My guess is...yes.

Not "Home Alone" Anymore

2006-08-06T22:48:00.000-07:00

In 1990, at the age of 10, Macaulay Culkin became the number one child star in the world, acting in the Christmas themed, smash hit slapstick comedy Home Alone. That movie led to roles in Uncle Buck, Richie Rich, My Girl, The Pagemaster, The Nutcracker and The Good Son. Now, at 26, and after a short break from filmmaking, Culkin has made a reputation of seeking out semi-controversial independent projects such as Party Monster and Saved! It's a smart move on his part, to shed his child star persona by embracing these non-commercial projects. (A similar strategy also revived the careers of John Travolta and Bruce Willis. Can anyone say Pulp Fiction?) Even though, it's been 16 years since Home Alone, I'm sure Culkin's latest announcement will still have some of his older fans slapping their cheeks and yelling "AAAAhhh!" Sex and Breakfast focuses on a couple struggling with their sex life, who -- on the advise of their therapist -- indulge in group sex. I can't wait! I like what Culkin is quoted in Variety as saying about the film: "It's really about the pressure that leads them to experiment, the anticipation leading up to the event, and then the fallout." Or, in other words, "Be careful what you wish for. You just may get it." (Director Stanley Kubrick attempted, less than successfully, to explore similar themes in his final film Eyes Wide Shut,) If Sex and Breakfast is able to capture this often unspoken emotional aspect of male and female relationships, in an honest manner, it should make for a very interesting film indeed. I agree with what Culkin said in the interview. The power of this film will come from being able to capture what a couple thinks it wants and needs versus what it really wants and needs.

Attention Mr. Gibson: Rob Schneider Doesn't Like You, But Hollywood Billboard Owners Seem To

2006-08-05T15:12:00.000-07:00

Look out! Deuce Bigalow: Male Gigolo himself, Rob Schneider has lobbed the first public attack on Mel Gibson for his drunken tirade against Jews. Rob Schneider? Is Gibson supposed to be shaking in his boots here? Schneider is the first actor to publicly announce he will never work with Mel Gibson. Hmmm? I'm wondering. Was this ever going to be an issue anyway? Not only did the actor say he would never act in a Mel Gibson-directed film, he also said he would never cast Gibson in any films he directs (unless his financial backers feel differently, he added). Again, was this something that would ever happen? The open letter, which Schneider advertised in the Hollywood trade paper Variety does seem a bit tongue-in-cheek. It says, in part, "I, Rob Schneider, a 1/2 Jew, pledge from this day forth to never work with Mel Gibson-actor-director-producer-and anti-Semite." Schneider's letter goes on to say, even if he were offered the lead role in Passion of The Christ 2, or a "juicy voice-over role in [Gibson's] new flick Apocalypto and spoke ancient Mayan," he would still turn them down. Okay. Schneider has spoken. Mel Gibson take heed. Meanwhile, Gibson, may appear to have more supporters in Hollywood than some realized. Apparently, an anti-Gibson billboard campaign has not been successful in getting off the ground. Reportedly, once the owners of the outdoor media space being sought realize the content of the billboard, they turn it down. If this is the best Hollywood has to offer in response to Gibson's remarks, I'm gonna stick to my initial prediction that Gibson's near-future fortunes will rise or fall on the merits of Apocalypto and not his drunken statements.

The Lost Art of Movie Posters

2006-08-04T12:00:00.000-07:00

As I have said before, I love movie poster art, of all types. In so many cases (often in horror and fantasy genres), these images have become as iconographic and recognizable as the films they represented. E.T. the Extraterrestrial, Jaws, and Halloween come immediately to mind. And while it may descend quickly from the boxoffice charts, I must say that the most inventive poster I have seen in years is for the film The Descent. It's the story of a group of women on a caving expedition that goes horribly wrong. The poster uses the body forms of these women to create a glowing skull. If you don't check out the movie, you should at least check out this poster. It's really a work of art.

Left and Right

2006-08-03T12:01:00.000-07:00

Here's an interesting item brought to my attention by regular "Movies on My Mind" reader/commentator "Silberg." It seems that after having been accepted into Michael Moore's fledgling Michigan-based Traverse City Film Festival Film Festival, Magnolia Films, the distributors of the Tribeca darling Jesus Camp, a documentary about Christian camps, wanted the film pulled from the festival for fear that any association with the Oscar-winning documentarian would cause the core audience for Jesus Camp to reject it. Wow! Doesn't sound like Magnolia Films has much faith in its Christian target audience! So, I guess what I am to conclude from this is the fact that a "Left" leaning festival accepting a straightforward "Right" leaning film is a bad thing? That's ironic, because I would think it was a good thing given that, perhaps, people with a particular view might be willing to at least consider a different point of view. Isn't that called tolerance? But Magnolia Films does not seem interested in tolerance, or for that matter, it would seem, a broader audience. Does Magnolia Films believe that polarizing an audience is the way to big dollars? Wouldn't the film, in fact, make more money if it could reach Muslims and Jews who were also interested (even if simply out of mere curiosity) in seeing it? What about lapsed Christians? (There's a huge audience not being tapped.) Was the investment in this film made on the basis that it would play to core audiences only, make back its money, and be done? I didn't realize Christians hated Michael Moore. But I guess the larger question here is not WWJD? but rather WWTCAJCD? (What would the campers at Jesus Camp do?)

And a Child Shall Save Them...

2006-08-02T20:54:00.000-07:00

The soon-to-open Zoom is the latest example of "children as superhero" films that seem to have exploded in popularity ever since the success of Robert Rodriguez's Spy Kids in 2001. Of course the concept of the smarter-than-their-age, resourceful youngsters is not a new concept. The Little Rascals were having adventures as far back as the 20s. The Goonies did the same in the 80s. But those children, while resourceful, were not, per se, superheroes. Starting with Spy Kids in 2001 and evidenced, not only in the Spy Kids sequels Island of Lost Souls (2002) and Game Over (2003), but also in Agent Cody Banks (2003), SuperBabies: Baby Geniuses 2 (2004), Thunderbirds (2004), The Incredibles (2004), The Adventures of Shark Boy & Lava Girl (2005), Sky High (2005), and now Zoom -- in movies these days, children are simply saving the world! But why now? Well, for one thing, movies on the whole appeal to younger and younger audiences. Plus a generation has grown up on being able to play the kinds of video games where you become the hero. When I was growing up, we had pinball and Blip! Children are also more media savvy these days. Part of the appeal of Spider-Man when he was first created was that HE was a teenager himself, a point made in Spider-Man 2 when the people he rescues on a runaway train see how young he is, as his mask is lost in the rescue. We have an eternal optimism about children. They will make the world better than we left it for them, is the hope. These movies reflect that hope. The audience for many traditional superheroes have grown older. Today, movies encourage children to look no further than the mirror to see the next superhero -- see it in themselves.

Batman Begins (Again)

2006-08-01T19:13:00.000-07:00

Essentially confirming that Christopher Nolan's take on the Batman legend, Batman Begins, has truly started the film franchise anew, it was just announced that Oscar-nominated actor Heath Ledger (of Brokeback Mountain fame) has been cast to play The Joker, opposite Christian Bale's Batman in what will be a remake of the original Tim Burton film entitled The Dark Knight. The Burton film was to have taken its cues from the Frank Miller graphic novel back in 1989, but instead went off in the direction of its quirky director. Nolan has claimed the Batman franchise as his own, after Joel Schumacher's attempts at the legend nearly finished off the series. Although Ledger, like Jack Nicholson and Caesar Romero before him, does not seem The Joker type physically, I have no doubt, in the hands of Nolan, The Dark Knight will deliver the goods.

Pirates Top Nemo to be All Time Disney Champ!

2006-07-31T20:52:00.000-07:00

I will say it again. Who would have expected this from a movie that was based on an amusement park ride? Having grossed $358.4 million thus far (and with no end in sight), Pirates of the Caribbean: Dead Men's Chest is now the all time Disney champ, surpassing Finding Nemo. Mind you, this is the movie studio that has produced The Lion King, Beauty & the Beast, Aladdin, Cinderella, Bambi, Snow White and the Seven Dwarfs, hell even, Pretty Woman! And the sequel to a movie based on an amusement park ride now holds the distinction of topping them all. Interesting comment on the state of affairs in Hollywood, don't you think?

In Vino Veritas

2006-07-30T20:53:00.000-07:00

The latin phrase means: "In wine there is truth." Or more specifically, if you drink too much alcohol, you may end up saying something like "The fucking Jews are responsible for all the wars in the world." Such a drunken rant alledgedly spewed forth from the mouth of Mel Gibson, the Oscar winning director of Braveheart and The Passion of the Christ, after being pulled over for reportedly driving 80 miles an hour while under the influence of alcohol. The statement would seem to support ongoing claims that Gibson is anti-semitic. Admittedly, it does seem like an odd thing to say after being pulled over for driving drunk. More to the point, Gibson, who apologized for his statements, is an admitted alcoholic and is seeking treatment once again for his addiction. In a cult of personality, that is Hollywood, will this be the statement that undoes Gibson's career? I doubt it. Even if a vocal group of protestors attempts to boycott his upcoming films, Gibson's statements will not be his downfall. (The quality of his films -- ummm, Apocalypto? -- are a whole other issue.) Remember, Jane Fonda survived similar boycotts for her views of the Vietnam War.

Free Family Film Festival

2006-07-29T20:53:00.000-07:00

Once again (and I just think this is the greatest idea), Regal Entertainment Group is offering -- as a summer gift to families -- the Free Family Film Festival (co-sponsored by Animal Planet and Rice Krispies). What this means is, every Tuesday and Wednesday at 10 AM, families are welcomed to come to participating Regal and United Artists theaters around the country to see a G or PG rated film for free. That's it. No catch. You may even get some free cereal! Admittance is on a first come first serve basis. For more information about the theaters in your area participating in this festival, you can go to www.regmovies.com. Enjoy this with your children.

Way Back in the 80s

2006-07-28T20:54:00.000-07:00

It's kinda scary that I remember Miami Vice, which opens today, as both a contemporary TV show, and now, a retro theatrical film. Interesting to me is the fact that this may be the first and only time that the creator of a TV program (in this case Michael Mann) also ended up directing the film adaptation of that program. Having mined most of the campy TV fare from the 60s and the goofy shows from the 70s, it seems as we get closer and closer to 2010, the 80s has now become the dacade of choice for film adaptations. By 2010, the 80s will officially be 30 years old!! If Miami Vice scores, will we be seeing Hill Street Blues: The Movie or St Elsewhere coming to the big screen as well? Anyone for a big screen reunion of Cheers, The Wonder Years or The Cosby Show?

My Son's Directorial Debut

2006-07-27T11:48:00.000-07:00

My six (soon-to-be seven) year old son has been talking about wanting to make a movie. It thrills me to think that he is this interested in film at his age. I asked him to explain his movie to me. While it still doesn't have much of a plot, he knows that it opens on a swamp in outer space. He's cast me as a Super Dad who works at a buffet. And he has a role planned for himself as well. Somewhere along the line, Elmo (from Sesame Street) and Billy Joel show up. Quite avant garde, I realize. But the fact that he's thinking of fimmaking at all has me beaming. Clearly, my love for film has begun to rub off on him. Upon hearing my son's plans, my daughter, who published a book in her class last year, would like to see her book adapted to film as well! My children and I have a summer vacation coming up. Perhaps we will attempt to begin to make these movies then.

Overindulgent Lady

2006-07-26T20:54:00.000-07:00

I knew Lady in the Water, the latest effort from director M. Night Shyamalan (The Sixth Sense, Unbreakable, Signs, The Village) was off to a bad start when a short animated pre-title sequence (using stick figures to explain the backstory of this fable) was utterly confusing. Once the live action begins, it doesn't get much better. This is Shyamalan's most indulgent film to date, underscored by the extended role he himself plays as a writer who is told that his work will change the world! (Shyamalan has, a la Hitchcock, always cast himself in cameo roles in his films. Never has he had so much screen time.) Perhaps he should have called this film The Lady in the Water, the Wolves in the Grass and the Monkeys in the Trees, as these creatures are talked about endlessly throughout the film, with no satisfying payoff. The characters here just seem to be going through the paces as well, and the film itself isn't sure if it wants to be self-referential comedy (like Scream) or a serious parable on the nature of man and the universe. The result is kinda a mess.

Sequel-mania Part II

2006-07-25T20:53:00.000-07:00

Ok, so I have sequels on my mind again. A handful of sequels (those I mentioned not long ago) are actually brilliant and improve upon or augment in some way the original film it follows. Some sequels are simply throw-aways. Meaningless. Not harmful, but not memorable either. Then there are the sequels that might actually insult the sensibilities of an audience, simply for the fact that it follows a film which might be deemed "untouchable" in the collective memory of moviegoers. While it's clear to see why filmmakers might be eager to create them, these sequels never had a chance, and probably should never have been produced. These five spring to mind.
5. The Godfather Part III. (sequel to The Godfather and The Godfather Part II) It's not as bad as some think, but it is terribly derivative of the first two and completely unnecessary. Plus, the casting Sophia Coppola is a huge mistake.
4. Direct-to-video sequels to all the Disney masterpieces. Cinderella II. Bambi II. Lady & the Tramp II. The Lion King II. Etc. When then end with happily everafter, that should be enough.
3. Psycho II (sequel to Psycho). Sure I understand the temptation to make it. But Hitchcock was dead, and this project should have remained dead as well.
2.Return to Oz (sequel to The Wizard of Oz). Why wait so long to make a non-musical follow-up to a film that is among the most beloved of all time and then not include the Tin Man, the Scarecrow, or the Cowardly Lion (until animated cameos at the end)?
1. Scarlett (sequel to Gone With the Wind). What were they thinking? No film has ever sold more tickets than Gone With the Wind, thus making it, truly, the most popular film of all time. Without Clark Gable or Vivian Leigh, why even bother, especially with material not based on Margaret Mitchell's work?

The All Time Greatest "Summer" Film

2006-07-24T20:53:00.000-07:00

Well, here we are, smack dab in the middle of summer, and it's got me thinking about "summer" movies. For me, no film more embodies what it means to be a "summer" movie than Steven Spielberg's 1975 classic thriller Jaws. Everything about it screams "summer" movie. The film's story, about a small beach community threatened by the sudden and unexplained appearance of a great white shark, is all about summer. (Who can ever forget the opening scene? Or for that matter, any scene that follows.) Furthermore, it's based on a novel (by Peter Benchley) that was designed to be a "summer" read. And perhaps, most significantly, it was the first summer "blockbuster," ushering in the era of blockbuster films and forever changing the way Hollywood viewed that season.

Drive-In Memories

2006-07-23T20:52:00.000-07:00

Few cinematic experiments hold greater lore in the minds of movie lovers (or at least this movie lover) than the Drive-In Movie Theater. Sure, 3-D Movies were fun (sometimes). Double features made for some great memories too. But neither top the experience of the Drive-In. The very nature of it speaks to a simpler time, of warm Saturday nights in the heart of middle America. The Drive-In has since faded away in my neck of the woods. The last one, within any driving distance, was in Westbury, NY. But that has since been turned into (surprise) a multiplex. I only had the opportunity to experience a Drive-In twice, once in Westbury (just before it closed) and one other time, just outside Cincinnati. Watching a movie at a Drive-In is sort of like watching a movie in an airplane (not the most conducive to enjoyable viewing) still, I wouldn't trade the experience for anything. In fact, if I could, I would see a film at a Drive-In again. Do you have any great Drive-In memories? Some great websites on drive-ins can be found at www.drive-ins.com, www.americandrivein.com, www.driveinmovies.com and www.driveintheaters.com.

The Queen of Art Houses

2006-07-22T20:52:00.000-07:00

The Angelika Film Center in New York City, remains one of the few places in the country were truly independent films, European imports, and art house favs can still find a home. Often, films playing at the Angelika are playing nowhere else in the city. I pass the theater regularly on my way out to see my children every week, and I am often amazed at the obscurity of the titles playing there. Seeing the posters advertised outside the theater gives me hope that a small film can still find an audience in a theater, and not have to be regulated to DVD or cable. I'm encouraged that the Angelika still survives in this time of broad corporate control, where even the greatest of filmmakers (ie Scorsese, Coppola) must make films by committee. Ironically, the New York location is one of three Angelikas currently operated by a subsidiary of Citadel Holding Corporation, a real estate and entertainment company, whose shares are traded on AMEX. Still, for film to truly remain an art form, there must always be an Angelika-type theater championing the little guy, the unknown, the slighted and the ugly. All these have a place in the world of cinema as well.

The Lost Screenplay of Cesar J. Cruz

2006-07-21T20:51:00.000-07:00

I have lost touch with my friend Cesar Cruz. He was one of the funniest people I knew. Last I heard, he was headed down to Florida to be with a woman who captured his heart while on a cruise. I think of my friend often, and hope he's doing well. One day, when both of us were just out of college, on my doorstep, I found an envelope and a note from Cesar. Turns out, he had been working on a screenplay and wanted me to read it. The note read, in part: "Hello old friend. No, I'm not dead. I would've called earlier, but I got a part-time job in the French Foreign Legion, serving in Samoa. (Cute girl, that Samoa. Frankly, I don't know how she managed all of us.) Enclosed, please find my child. This creation took me about a year to get it to this rough first draft. Please read it with care." The screenplay was called The Crusaders. It was clearly ahead of its time. In it, Cesar had recast the apostles of Jesus Christ as a spiritual band of Superfriends -- a universal Justice League, fighting the evil of Satan around the globe. It was filled with battles and razzle dazzle. The reluctant group leader, Peter, unaware of his mission, pieces it together bit-by-bit, as he's called into service. Given the current resurgence in superheroes and the overwhelming interest in all things Christian, this screenplay would be sure to be produced today. I hope Cesar still has a copy. I hope somehow he reads this. And I hope he makes a killing!

Sequel-mania!

2006-07-20T20:51:00.000-07:00

Speaking of sequels. They have now become a way of life in Hollywood. But there was a time when good sequels were a rare breed. In ascending order (of course), here's my list of the 10 Best Sequels of All Time: 10. The Lord of the Rings: Return of the King 9. Rocky IV 8. Superman II 7. The Bells of St. Mary 6. Batman Begins 5. Aliens 4. The Empire Strikes Back 3. Before Sunset 2. The Bride of Frankenstein 1. The Godfather Part II

Calling All Jackasses

2006-07-19T20:56:00.000-07:00

A sequel to Jackass: The Movie called Number Two? What a sad statement on filmgoers and our society as a whole if this films makes any money at all. We already have the Idiots Guide... and For Dummies series of how to books. Do we really need a series of films for Jackasses?

Movies Based on Teachers

2006-07-18T20:55:00.000-07:00

Following in the tradition of films such as Lean on Me, Stand & Deliver, and Take the Lead, add The Ron Clark Story (due out on TNT in August) to the list of movies based on the work of inspirational teachers. Directed by Randa Haines (Children of a Lesser God), The Ron Clark Story focuses on the work of the 2000 Disney Teacher of the Year award winner. While these stories seem like worthy candidates for films, unfortunately, they all seem to follow the same formula. A group of (usually underprivileged) school children are introduced to a new teacher/principal in their lives. At first they resist, act tough, and refuse to cooperate, but eventually they come around and the teacher/principal (usually critisized by his colleagues) becomes a hero. The end. Don't get me wrong, I think it's great to capture on film the inspirational work of great teachers, but dramatizing it, usually gets caught up in the contrived plot line I just described. My suggestion: Produce a documentary on the teacher instead. The result is bound to be much more powerful, honest and real!

On a TV Screen Long Long Ago...

2006-07-17T20:50:00.000-07:00

My children recently discovered the fun of 1970s Saturday morning animation series, The Superfriends, when I bought a DVD of episodes from a season called Challenge of The Superfriends. My son asks to watch it over and over, and it got me to thinking about a rare live action primetime TV movie that Hanna-Barbera produced as a tie in to this popular series. The film, which aired in 1979, was called The Legends of the Superheroes. The 1970s was the decade of live action superhero films and TV shows. Superman was taking off on the big screen with Christopher Reeve. On TV, Spiderman, The Incredible Hulk, Wonder Woman (and even Shazam! and Isis, on Saturday mornings) were all popular live action shows. In fact, the producers of The Legends of the Superheroes were unable to use the characters of Superman and Wonder Woman (who are of course featured in the original animated Superfriends) because Superman had just been launched into a film franchise, and Wonder Woman had her own series on another network. Anyway, I doubt many people remember The Legends of the Superheroes. It was a campy sort of film (the kind you wouldn't see anymore), distinguished only by the fact that (a slightly older) Adam West and Burt Ward returned to reprise their roles as Batman and Robin (along with Frank Gorshin as The Riddler) from the campy 1960s live action series Batman. The film is broken into two parts, the first involving The Justice League battling their arch enemies; the second half focusing on The Superfriends gathering to give a Friar's Club type roast to Batman (I'm not kidding).

Is This the Future of Hollywood (Based on this Year's Trends)?

2006-07-16T20:49:00.000-07:00

A mega-budgeted Christian-themed cartoon that opens in churches before it goes wide to a record number of theaters on Memorial Day weekend, with the hopes of shattering boxoffice records! If current trends hold...that will be the golden ring every studio will be reaching for very soon. After nearly a year of observing the machination of the industry from a trench POV, "Movies on My Mind" has identified the following three trends which seem to have taken hold of Hollywood (at least for now) until three more replace them down the line.
3- The Animation Explosion. There are more feature length animated films being produced with more A-list talent than ever in the history of cinema. And there's no end in sight. Many of these films routinely finish in the top ten of the year. (Although given the sheer volume of them now, some do flop.) However, studios count on the audience drawing power of these films more than ever. It's no longer just a kid's genre.
2- Tent Pole Films (Without the Tent). Hollywood used to make movies. Lots of movies. Then, in the age of the blockbuster, it still made lots of films, but focused much of its money on the select few that would "open" the summer season or the Thanksgiving weekend. Now, it seems to have forgotten about the rest and ONLY focuses on the so called "tent pole" films (think Pirates of the Caribbean, Superman Returns, King Kong) but the tent is gone. (Witness Disney's recent move to streamline its staff and future slate of films to focus exclusively on huge brand name product. Effectively what Disney would like to do, it seems,h is just make three Pirates-sized hits a year!) But remember, when an exposed pole flops, it flops BIG!!
1- Christians. The number one trend n Hollywood is Christians? Yes. Studios are marketing to the faithful more than ever. Films play churches before they hit theaters. Christian themes are popping up in tons of films. Christian production companies are forming to create more and more film product. Ironically, Hollywood, once the very embodiment of a modern day Sodom & Gomorrah for this group of believers, has now become their revival meeting place of choice!
So, that said, don't be surprised if next year on Memorial Day weekend you are waiting in line to see The Passion of the Mice: Mickey Goes Messiah! battle it out with Donuts: The Last Temptation of Homer Simpson.

Searching for an Oh! in Ohio

2006-07-15T23:50:00.000-07:00

Move over Pink Flamingos, this film has all the ear marks of a future cult classic. The Oh in Ohio, is the last film you'd expect to see playing at the local movie house in Ohio. All about the big Oh (and no, in this case, I don't mean Overstock.com), the film follows the journey of frustrated wife Priscilla (played by Parker Posey) who, after having had sex with her husband thousands of times, has never had an orgasm. And so, Priscilla begins a quest to discover the ellusive Oh! Along the way, she runs into an eager lesbian (played by Heather Graham), a widowed swimming pool builder (Danny DeVito) and takes a course in masturabtion taught by...Liza Minnelli! It sounds like The Wizard of Oz through the lens of Russ Meyers! (Only in this case, if you pulled the curtain, er...skirt, aside, you'd find a cell phone -- on vibrate of course -- stuck in a pair of panties!) Too bad the glory days of midnight showings are a thing of the past. This one would be a natural!

Brad Pitt Gives Angelina Jolie a Pearl

2006-07-14T23:48:00.000-07:00

Well, I guess one way to keep Jennifer Aniston out of more films is to have an affair with her husband Brad Pitt; cause a divorce; marry him; and then option a role (originally intended for Aniston), in a film Pitt retained the rights to after the divorce! Sound crazy? Well, that's just what happened when it was announced, by Pitt, that Angelina Jolie will play the role of Mariane Pearl, the wife of slain Wall Street Journal reporter Daniel Pearl, in the film adaptation of the book A Mighty Heart, Mariane Pearl's account of her husbands kidnapping and broadcast execution by Pakistani militants. Aniston was originally slated to play the part when she, and her then husband Brad Pitt, bought the rights to the book for their since dissolved film production company Plan B. To the victor go the spoils (again).

Sayonara Red!

2006-07-13T23:42:00.000-07:00

Whenever I thought of Red Buttons, for some reason I also thought of fellow comedian Red Skelton, a contemporary of his. I can't be the only person to do that, right? Buttons, who survived Skelton by almost a decade, just died at age 87. His professional life had a couple of interesting points of irony. In 1941, actor Jose Ferrer had selected Buttons -- who up to that time was working as a Borscht Belt comedian and doing standup at Minsky's Burlesque -- to appear in the Broadway show The Admiral Had a Wife. A farce set in Pearl Harbor, the show was due to open on December 8, 1941. It never did. (In later years, Buttons would joke that the Japanese only attacked Pearl Harbor to keep him off of Broadway.) In a category which often awards comedic roles, Buttons won an Oscar for the 1957 film Sayonara as Best Supporting Actor, for one of his few dramatic turns!

"Hitchcock Actress" Dies

2006-07-12T12:32:00.000-07:00

Interestingly, many reports of Kasey Rogers' death identified her as a "Hitchcock Actress." While she did act in director Alfred Hitchcock's great film Strangers on a Train, Rogers -- who in her mature years was also a regular on the television show Bewitched -- is not who you might think of when you think "Hitchcock actress." Grace Kelly immediately springs to mind. Eva Marie Saint. Kim Novac. Janet Leigh. Even Tippi Hedren. But not Kasey Rogers (who used the screen name Laura Elliott when she appeared in Strangers on a Train). The "Hitchcock actress" had a certain look (statuesque blonde) and attitude (no nonsense). Still, Rogers remains one of the most memorable victims in a Hitchcock film. Perhaps it was her wholesome 1950s look. Perhaps it was the fact that she was at a carnival when she's strangled in the film. Regardless, as Farley Granger's estranged wife, Miriam, who is murdered by a psychotic man Granger meets while riding a train, Rogers brought an immediate empathy to her character. Ironically, like the type of mystery Hitchcock put on screen, fans of the actress wondered about the sudden disappearance of "Laura Elliott" when Rogers started using her given name instead. She was 80.

Is Big River Destined for the Big Screen?

2006-07-11T16:59:00.000-07:00

With Hollywood's decades long love affair with the Mark Twain characters Tom Sawyer and Huckleberry Finn (films have been made about one, the other, or both in 1930, 1931, 1938, 1939, 1973, 1974 1975 and 1995), and its recent willingness to revive the big screen musical as a genre, can Big River -- the 80s Broadway musical hit (by King of the Road songwriter Roger Miller) about Tom Sawyer and Huck Finn -- be long for the big screen? I guess that will depend on the success of the musicals currently in the pipeline, most especially Dreamgirls. If that Broadway oldie makes a splash, then watch for Big River to sail up stream to a movie theater near you.

Burger King: The Movie?

2006-07-10T16:59:00.000-07:00

Well, McDonalds (Mac and Me); White Castle (Harold and Kumar go to White Castle); and Starbucks (Akeelah and the Bee) have all thrown their hats into the cinematic ring at one point or a another, so why not Burger King? But really, how desperate does Hollywood have to be to develop a project like this? According to a report in Advertising Age magazine, the advertisement agency Crispin Porter & Bogusky (the firm behind the creepiest Burger King TV commercials I have ever seen) is developing a film -- the firm says will take place in an apartment above a Burger King -- and actually describes it as a cross between Napoleon Dynamite, Garden State, Raising Victor Vargas and What's Eating Gilbert Grape?. Any other films they'd like to throw into the mix? There apparently is a partially written script, but no director, no cast and no studio attached as of yet. The budget is set at under $10 million and (note to Tom Hank's agent) the movie reportedly will not feature any name stars.

Movie vs Book

2006-07-09T16:58:00.000-07:00

In the early years of cinema, getting anything on screen that moved was a miracle in and of itself. So when filmmakers started looking to literary sources for inspiration, liberal license was taken in adapting these books to the screen. As filmmaking and film acting matured, adaptations got closer to the source. Still, sometimes for no apparent reason, (and sometimes for very good ones), filmmakers would still change things along the way from book to screen. Take for example Frankenstein. The James Whale/Boris Karloff version was not the first attempt to bring this book to screen (Thomas Edison did that), nor was it certainly the last, but it is the best known version, although the film takes great liberties with the book -- including changing the name of Dr. Frankenstein himself, from Victor to Henry! More recently, when Coppola, Branagh and DeNiro tried to be more faithful to Mary Shelly's text, the film was a horrible dud. Probably one of the more famous examples of a book vs its movie adaptation is Stephen King's The Shining. The masterful director Stanley Kubrick made needed changes to bring King's more visceral work to the screen as a cerebral horror classic. Still, King hated it. And when he had the clout, he remade it, more faithful to his work, and it was a horrible dud. Clearly, film and books are different. What you can get away with in one, you can't in the other, and vice versa. Some authors, like Michael Crichton for example, write books as if they were movies. His books read like movies. And still, despite landmark special effects, Steven Spielberg's version of Jurassic Park was not as good as Crichton's original text. (The same holds true for the screen version of Crichton's Rising Sun. Great book. Bad film.) The debate will go on. Book or movie? Which was better? The answer can be "They both were great!" when a talented filmmaker is allowed to "adapt" the text to the new medium and a writer realizes that change is sometimes (but not always) good.

Betting the Ship!

2006-07-08T16:58:00.000-07:00

It was an unlikely concept to begin with -- the latest in a growing list of movies based on rides! But when Pirates of the Caribbean: Curse of the Black Pearl opened it not only became a boxoffice phenomenon, it earned Johnny Depp an Oscar nomination (for his creation of Captain Jack Sparrow), and the stage for a highly anticipated sequel. Now, Pirates of the Caribbean: Dead Man's Chest makes no bones about it. It EXPECTS to be a hit. And not only a hit, but a blockbuster. The film doesn't conclude so much as it stops (which reminded me of The Empire Strikes Back.) The third Pirates of the Caribbean movie was filmed concurrently with part two. Having just set a new record for opening weekend boxoffice -- an astounding $132 million in three days -- and no slow down in sight, Dead Man's Chest could easily make it all the way to the top ten of all time! Depp has always been a great actor, Pirates has now made him a superstar! Who would have expected all this from a movie based on a ride?

Stranger Than Fiction

2006-07-07T16:57:00.000-07:00

Here's a movie idea I'm surprised some low budget film producer never thought of doing. In September 1996, while I was doing press relations for IBM, I was waiting for a reporter to show up and an article in USA Today caught my eye. A family and friends visiting the spot where Susan Smith drowned her two little boys in John D. Long Lake, in Union, South Carolina, met with tragedy themselves when their vehicle rolled into the same lake! Three adults and four children drowned. Here's the facts: A group of 10 had driven out to the lake and parked next to the ramp with their Chevrolet Suburban's headlights shining on two memorials erected to the Smith boys, 3-year-old Michael and 14-month-old Alex. Five of the group had gotten out of the vehicle when it started to roll toward the water with four children and an adult inside. It passed between the memorial markers, knocked over a young tree planted in the Smith boys' memory and slid down the embankment into about 15 feet of water. Two adults - parents of three of the children - dived into the lake to help, and drowned with the others. What a great idea for a movie, I thought! Based on a true story! Death Lake! Blood Lake! The Lake Where Evil Dwells! The plot line seemed like an exploitation natural!The lake is cursed, drawing people to their death. And we discover the source of the curse is the fact that years earlier, innocent victims were drowned in the very same lake! To date, no one seems to have made this film. But I guarantee, especially with the current resurgence in horror films, if someone did, this one would be a money maker!

Where Did Helen Slater Fly Off To?

2006-07-06T16:56:00.000-07:00

With the return of Superman, I got to thinking about the actress Helen Slater, who was picked from virtual anonymity to a play perfect looking Supergirl in the abysmal 1984 film of the same name -- produced, at the time, to cash in on the waning popularity of the Christopher Reeve Superman series. I first saw Slater in 1982 (as did, obviously, the casting director of Supergirl) in an Afterschool Special entitled Amy and the Angel (a teen riff on the classic It's a Wonderful Life theme). That performance hooked me and I followed her career through Supergirl into such films as The Legend of Billie Jean (best remembered for the Pat Benatar song "Love is a Battlefield"), Ruthless People (a modern remake of O. Henry's Ransom of Red Chief and vehicle for Bette Midler and Danny DeVito), The Secret of My Success (with Michael J. Fox), and City Slickers (in which Slater was overshadowed by Billy Crystal, Jack Palance, and the gang). Slater has acted consistently since then, but much of her time is now spent in guest roles on TV programs and in TV movies. I'd love to see her back on the silver screen.

Super Cameos

2006-07-05T20:29:00.000-07:00

It's clear that Superman Returns holds the Superman legend in high regard. Likewise, it also attempts to pay homage to the well-liked The Adventures of Superman TV series from the 1950s, which starred George Reeves as the Man of Steel. Noel Neill, who played Lois Lane in the TV series, and Jack Larson, who played Jimmy Olsen, both have cameos in the new film. Neill -- who also had a clever cameo in 1978's Superman: The Movie as Lois Lane's mother on a train ride through Smallville -- appears at the front of the new film as Lex Luthor's dying wife, Gertrude Vanderworth, who signs her fortune over to him then expires. Although appearing in a number of films before the Superman TV series, Neill has pretty much been trading off her Lois Lane persona (both on screen and off) ever since. Larson shows up a bit deeper into the film as Bo the Bartender. I'm certain had Christopher Reeve been alive, the filmmakers would have found a small role for him as well. As it is, they used digital technology to resurrect Marlon Brando from the grave for a small cameo, and more extensive voiceover, as well.

Born on the Fourth of July

2006-07-04T01:25:00.000-07:00

I wasn't thinking of the compelling Oliver Stone film, of the same name, starring Tom Cruise (although that would be a great film to rent and watch on this holiday, along with James Cagney's Oscar-winning performance in Yankee Doodle Dandy). Rather, I was thinking of a trio of beautiful and influential actresses, all born on this date: Gloria Stuart, who starred in a pair of films by director James Whale -- The Invisible Man and The Old Dark House -- and returned to fame, decades later, in her Oscar-nominated role in James Cameron's Titanic, turns 96. Eva Marie Saint, who won her Oscar for On the Waterfront; is unforgettable alongside Cary Grant in Alfred Hitchcock's North by Northwest; and is currently starring as Superman's surrogate mom in Superman Returns, is 82. And Gina Lollobrigida -- who along with Sophia Loren (Two Women) and Anna Magnani (The Rose Tattoo) -- helped redefine beauty, and usher in a late 1950s love affair between American moviegoers and earthy Italian women, turns 79. Nice to see that all three women are still active (and acting) in the industry.

Give Me Liberty or Give Me Death

2006-07-03T23:15:00.000-07:00

The Village Voice called it "easily one of the most important political films of the era!" Fangoria magazine said "as pointed, clever and blackly amusing as anything the genre has seen in ages, a perfect example of horror's ability to address subjects too touchy to deal with in other genres." The Twilight Zone creator Rod Serling understood the power of sci-fi and horror genres to make a political statement. (Remember the episode "The Monsters Arrive on Maple Street?") Well, just in time for the Fourth of July, Homecoming, an anti-war/horror film from director Joe Dante (The Howling, Gremlins), aimed squarely at the Bush administration, hits the DVD shelves. Adapted from the short story "Death and Suffrage" by Dale Bailey, Dante's second contribution to the superb "Masters of Horror" series is a great concept: Just a few weeks before the 2008 Presidential election, an unpopular war, based on lies, is still raging overseas. (Sound familiar?) When the Republican administraton publicly announces that it wishes the dead troops could return to tell America how proud they were to serve their country, (look out) veterans begin to rise from their flag-draped coffins (you know, the ones the media, and the current administration, won't let us see) to...vote! Even as the administration tries to devise a spin in time to steal the re-election, the undead army of men and women, who were killed for a lie, are on a new mission -- to show the country that war is hell. Powerful stuff without being preachy.

The Influence of Ebert

2006-07-02T06:25:00.000-07:00

Chicago Sun Times film critic Roger Ebert -- who holds the distinction of being the first film critic to ever win the Pulitzer Prize (he won it in 1975) -- is perhaps the best know film journalist (with the possible exception of Leonard Maltin) in the world. Starting in 1978, Ebert, along with his partner Gene Siskel (who died in 1999), through national TV exposure -- first on PBS's Sneak Previews, then the syndicated At the Movies, and finally Siskel & Ebert & the Movies) was responsible for a significant rise in the film critic's influence on the general moviegoing audience. Before Ebert, no film critic had the national exposure to reach so many moviegoers. Ironically though, his TV brand of quick and simplistic "Thumbs up, Thumbs down" reviewing -- which made it easy for viewers to immediately know where he stood on a film -- also dumbed down the process which once won him that Pulitzer. Feeding on this were studio marketing directors who realized they could include the easy-to-understand "Thumbs up" review in print advertising for their movies. So, while embodying the intelligent and knowledgeable criticism that characterized the 1970s, Ebert also singlehandedly brought it down to the USA Today brand of "blurb reviews" that marked the 1980s and beyond. However, what I have always admired about Ebert's approach to criticism (which was markedly different from that of Siskel) is the fact that he is willing to review a film relative to its objective. For example, he would never rate a film like Hellboy in comparison to Mystic River, but rather to say Spider-man or Superman. With the rise of the Internet, and a plethora of Ebert wannabes, Ebert's influence has waned of late. He also continues an ongoing battle with cancer, which has once again put him in the hospital. But no doubt, when the history of cinematic critique in the 20th Century is written, Ebert will hold a place as one of the major influencers, thinkers and lovers of film.

Is It Real or Is It...Kids?

2006-07-01T20:15:00.000-07:00

It's been just over ten years since Larry Clark's impressive debut film Kids (1995) stunned the movie industry with its all-too-realistic portrayal of a group of street kids living in the age of AIDS. When I first saw this film (on video) I watched it twice. I couldn't believe it was a work of fiction. I remember remarking then that either these were the best young actors ever, or it had to be a documentary. I still don't know how director Clark was able to maneuver his camera throughout this action so unobtrusively, and still manage to garner such believable, honest, and understated performances from such young actors (including a then-unknown Chloe Sevigny). If you haven't seen the film, I urge you to watch it. Its power comes from the lines it blurs right in front of your eyes.

Holy Super Icon, Part II

2006-06-30T00:57:00.000-07:00

Regardless of what frequent "Movies on My Mind" commentator "Silberg" may think, there is no doubt, not one single shred of doubt, that the writers of Superman Returns intended to retell the story of Jesus Christ. I just came back from seeing the film with my children, and the parallels are unmistakable. Anyone familiar with the story of Jesus will not miss them. Another frequent "Movies on My Mind" contributor, "Ohio Girl" kindly provided a link to an article from The New York Times which alludes to the similarities (http://movies2.nytimes.com/2006/06/27/movies/27supe.html?8mu). And, in the current film market, why not solidify the comparisons to Christ? As I have said before, in a post-Passion film world -- where overtly Christian stories such as The Lion, the Witch and the Wardrobe reap big bucks -- let's face it....Jesus sells! Sony, who owns more movie studio brands than any other corporation worldwide (Columbia Pictures, MGM, United Artists, Sony Picture Classics, Screen Gems, etc) has even set up an entire division to market to the Christian crowd. For the record, here's a list of 10 comparisons between Jesus of Nazareth and the current incarnation of Superman in Superman Returns:
1) Superman comes to earth from the Heavens, sent by his father to live among humans, and in his father's words, "to be a light to the world." In the Gospel of John, Jesus comes to earth from Heaven, sent by his father to live among humans and says, "while I am in the world, I am the light of the world."
2) In Superman Returns, Superman goes about helping humans with "powers far beyond those of mortal man," and at one point literally carries the weight of the world on his shoulders. Jesus goes about helping human "with powers far beyond those of mortal man," and takes on his shoulders "the sins of the world."
3) Superman takes Lois Lane into the sky and asks what she hears. She says,"Nothing." He says, "I hear everybody." He tells Lois that she's wrong about the world not needing a savior and that he in fact is that savior.
4) The voice of Superman's father tells him that the world will come to know him, through the works of his son. Jesus says in the gospels, "The world does not know the Father because they have not recognized the Son."
5) Superman is beaten and mocked by his enemies and ultimately pierced in the side (by Lex Luthor) with a sharp shard of Kryptonite. Jesus is beaten and mocked by his enemies and pierced in the side with a spear (by a Roman soldier).
6) Superman literally gives his life to save the world from the evil of Lex Luthor and falls to his death, arms spread apart. Jesus, the Catholic church believes, gave his life to save the world from sin and the Lucifer, by spreading his arms on the cross.
7) When a female nurse visits the room where they have laid the body of Superman, she is shocked to find it empty and the police guarding the room immediately come to search it. When the women visit the tomb where they have laid the body of Jesus, they are shocked to find it empty, and Roman soldiers, guarding the tomb, immediately come to search it.
8) When Superman returns to life, the first person he visits is the woman he loves, Lois Lane. When Jesus returns to life, the first person he visits is the woman he loves, Mary Magdalene.
9) Lois asks the resurrected Superman, "Will we see you again?" And Superman says, "I will always be around." The apostles ask the resurrected Jesus to stay with them, and he says, "Don't be afraid, I am with you everyday, until the end of the world."
10) At the end of the film Superman ascends back into the heavens. At the end of the gospels, Jesus ascends back to Heaven.

Knock Knock, Anybody Home?

2006-06-29T22:24:00.000-07:00

The other day, "Movies on My Mind" received an excited correspondence from a film publicist who has contacted me several times in the past. I won't mention a name. It's not the intention of this piece to put this person on the spot (although I do think her lack of follow up in the past has left alot to be desired). However, I would like to make a larger point. The correspondence I received indicated that the publicist read a piece I wrote for "Movies on My Mind" which referred to Michael Moore as the most important filmmaker working today. So, she wrote, since she was covering Morgan Spurlock's new project, 30 Days, she wondered if I would be interested in participating in a promotion for that project. First off, I immediately presumed while she may have enjoyed my piece on Moore she clearly hadn't read the "Movies on My Mind" piece which said Morgan Spurlock is a Supersized Jerk. Secondly, beyond the fact that both Moore and Spurlock are considered to be left leaning documentarians, what does one have to do with the other? I guess what I'm saying here is this publicist didn't take the time to see if I had written anything on Spurlock (which I did). Nor did she bother to find out if what I wrote was negative (it was, due to remarks he made during a speech to school children). She simply felt that since I had written about Moore, I would naturally be interested in Spurlock. So, what accounts for this? Is it that she may have been reared on the kind of "in the moment" journalism which doesn't seem to care (or know) what happened last week? Could it be that what passes for journalism these days just clumps everyone with similar leanings into one big fat category? (You need to listen not further than Randi Rhodes or Sean Hannity, to see what I mean.) Afterall, even our black-and-white President made it clear, "Either you are with us or you are with the terrorists." So, does this mean, if I am "with" Michael Moore, it would only logically follow that I am also "with" Morgan Spurlock? The world, regardless of what today's vapid media, and our President, would like to have you believe, is just not that simple. I mean, afterall, we should also remember -- Moore's most recent film took on President George W. Bush, while Spurlock's film took on a clown... Umm. Wait. Hmmm. Ok, so that's a bad example. But anyway, the world still isn't that simple. Does anyone do homework anymore?

Fahrenheit 9/11 Marine Dies in Iraq

2006-06-28T22:09:00.000-07:00

Michael Moore's Fahrenheit 9/11 has become the seminal film of our generation. Now, as one soldier is very publicly suing Moore for what he terms a misrepresentation of his comments in the film, another Marine -- and one-time recruiter -- who appeared in documentary willingly, has died in a roadside bombing in Iraq. Staff Sgt. Raymond J. Plouhar, 30, died Monday of wounds he suffered while conducting combat operations in Iraq. After donating one of his kidneys to his uncle, Plouhar took four years off from active duty to serve as a recruiter for the Marines in Michael Moore's hometown of Flint, Michigan. In Fahrenheit 9/11, he's seen approaching prospective recruits in a mall parking lot in Flint, saying, "It's better to get them when they're in ones and twos and work on them that way." Plouhar leaves behind a wife, and two children, ages five and nine.

The Nickelodeon Movie Empire

2006-06-27T22:11:00.000-07:00

What movie studio could ask for anything more? Nickelodeon has it made! A high recognition brand venue to develop its film projects (as TV shows first) right in front of its target audience, and the same venue to market its films, once the TV show (upon which it's based) is a hit. Forget the days when the network for best known for its game shows of green slime. Now, it's a well-oiled factory of TV shows-to-movies. Hit after hit. The Rugrats: The Movie. The Rugrats in Paris. The Rugrats Go Wild. Hey, Arnold: The Movie. The Wild Thornberrys Movie. Jimmy Neutron: Boy Genius (which was even nominated for an Oscar!). And when the network develops an original movie, such as Nacho Libre (with Jack Black), again it again has the built-in venue to market it to the hilt. Built in give-aways. Built-in contests. Built-in interview opportunities. The Nickelodeon movie empire harkens back to the vertical days of the studio system, when the majors owned the equipment, the talent, the production lots, and the movie theaters.

Whatever Happened to Lucinda Dickey?

2006-06-26T22:10:00.000-07:00

Although 15 minutes of fame may have come and gone in the short film career of Lucinda Dickey, one-time Solid Gold dancer-turned actress, had enough enthusiasm, charm, and girl-next-door beauty to stand out in the kind of grade-Z movies being churned out by Cannon Films in the 1980s. A trained dancer, and with a bit role in Grease 2 to her credit, Dickey was all over the screen in 1984 starring alongside Shabba-Doo and Boogaloo Shrimp in (Canon's poor-man answer to Flashdance), Breakin' and its same-year sequel, Breakin' 2: Electric Boogaloo, as well as Cannon's Ninja III: The Domination. At the time, on Siskel & Ebert, film critic Gene Siskel went out of his way to praise Dickey's performance in Breakin' 2 and Ninja III. It seemed as though she might graduate to bigger things. But that was it until 1987, when she appeared in the schlocky film Cheerleader Camp (also known as Bloody Pompoms). She has since married Survivor co-executive producer Craig Piligian, and has two children. A new breakdance movie with Dickey is rumored for 2007.

You Must Have Been a Monstrous Baby, Cause Baby Look at You Now!

2006-06-25T22:10:00.000-07:00

Remember when Saturday morning cartoons ran out of ideas, and someone thought it would be smart to take classic characters and explore their early years? What we got was The Flintstone Kids and A Pup Named Scooby Doo. Not the greatest move in the world. Well, before the producers of the Halloween series scrapped plans to delve into Michael Myers' childhood (in favor of greenlighting a remake of the original), that film was going to join the soon-to-be- released prequel The Texas Chainsaw Massacre: The Beginning as the latest horror franchise to "explain it all." Psycho did it. So did The Exorcist. But most great horror filmmakers know -- things are simply scarier the less they are explained. Do we really need to revisit the beginning? Absolutely not! If you saw Leatherface walking down a dark alley wearing other people's skin for a mask, would you ask him about his troubled childhood? I don't think so. We don't need to know. The mask made of skin and a chainsaw is scary enough. Part of the brilliance of the original film is the fact that Leatherface just appears -- suddenly and violently. We don't need to see, The True Hollywood Story: A Boy And His Chainsaw. In fact, we don't need anymore Chainsaw Massacre films period.

Rob Zombie's Halloween

2006-06-24T13:04:00.000-07:00

Well folks, Movies on My Mind kinda predicted this (see: Remaking John Carpenter Films, 9/20/2005). In the wake of long time Halloween producer Moustapha Akkad's sudden death (due to a terrorist bombing), the producers of the long running horror series have decided to scrap the idea of exploring the early years of Michael Myers in exchange for handing musician/director Rob Zombie an opportunity to REMAKE the original. That's right, following remakes of (George A. Romero's) Dawn of the Dead, (Tobe Hooper's) The Texas Chainsaw Massacre, and (Wes Craven's) The Hills Have Eyes, the producers of the Halloween series have finally decided to remake the original story. Zombie is not saying much about the film at this point (due out in 2007) other than it will bring back the characters of Laurie Strode and Dr. Loomis, take place in 1978, and add some original elements to the mix.

Producer Aaron Spelling Dies at 83

2006-06-23T23:39:00.000-07:00

Legendary producer Aaron Spelling, who ruled primetime television in the 1970s, and had a popularity resurgence in the 1990s, died today from a stroke at the age of 83. There was a time when Spelling could do no wrong for the ABC network, producing hit after hit, including The Mod Squad, Starsky & Hutch, Charlie's Angels, Hart to Hart, The Love Boat, Fantasy Island and Dynasty. Although he produced a handful of TV movies and theatrical films himself -- Boy in the Plastic Bubble, Mr. Mom, 'night Mother, and Soapdish, among them -- he was better known, of late, for the big screen remakes of his earlier hits -- most successfully Charlie's Angels. No doubt his TV hits will continued to provide fodder for big screen redos.

Gross is the Word

2006-06-22T11:37:00.000-07:00

I realize that a legion of movie lovers have built a cult around the kitsch 1970s musical Grease, but I recently watched just a couple of minutes of it on TV the other day and I have to say -- people in their 30s, running around pretending to be teenagers is just plain...creepy. Clearly, there are times in film when this can work. The Graduate for example. Dustin Hoffman, as recent college graduate Benjamin Braddock, in real life was 30, only five years younger than Anne Bancroft, who played the "older" Mrs. Robinson in the film. Michael J. Fox did a good job at playing a teenager in the TV show Family Ties and the Back to the Future films. Now, I know the popularity of Grease proves me wrong here, but there was simply something immediately jarring about these older actors pretending to be high school students. Not that Olivia Newton-John, or even John Travolta for that matter, are difficult to look at, but all of a sudden, the film struck me as some over produced 50s night at the local Elk's Club with old married couples dressing up and trying to recapture their youth. If this film is ever remade, here's a novel idea -- cast teenagers as the teenagers.

Holy Super Icon

2006-06-21T23:55:00.000-07:00

His name means "the voice of God." He was sent to earth by his father -- for whom he was the only son -- as a savior, and according to his father, "to be a light to the human race." His mission was to overcome evil. Yet, he kept this messianic mission a secret, eventually revealing it to only his closest friends, among them a woman he loved. He performed miracles, and displayed powers far beyond those of mortal man. Ultimately, he was killed. But, he returned from the dead, in a new form. Is this a synopsis of the Gospel According to John? No. It's the story of Superman. The iconic nature of the Superman character and story is steeped in Christ imagery, an archetypical device used in other films (most famous among them, E.T. the Extraterrestrial) and also in literature (Stranger in a Strange Land, Catch-22, Slaughterhouse Five). As Superman Returns opens in just a few days, the story of Krypton's last surviving son has once again raised debate as to the symbolism of the Man of Steel. I remember watching Superman II on TV many years ago with my grandfather in the room. And as the trio of super-villains from the planet Krypton, led by General Zod, force the President of the United States to kneel before them in submission. The President says, "What I do now, I do for the people of the planet. But there is one man, who will never kneel before you." And Zod says, "Where is this man?" And the President responds, "I wish I knew." And my grandfather, watching this scene, instinctively said, "Jesus." But of course the answer was Superman. So, is Superman, in fact, Jesus? (Anyone remember that Jesus wears a Superman t-shirt in the film Godspell?) Or, since he was created by two Jewish men at a time when Adolf Hitler was slaughtering Jews, did they unconsciously mean to reflect the story of Moses, who also saved his people from slavery and death? Just this week, the gay media has even offered that Superman (who must live his life "in the closet") actually parallels the life of a homosexual. Ironically, the film's director Bryan Singer -- who is gay -- stated that Superman is the most heterosexual character in any film he's directed. Regardless. What is clear is the character is so iconographic, he transcends a particular time period or pigeon hole, thus accounting for his enduring popularity for nearly a century (or is it 20 centuries?).

Sunday Afternoons With Abbott & Costello

2006-06-20T22:46:00.000-07:00

I've mentioned before, how, growing up, television played a strong role in my early exposure to (and education of) films. The 4:30 Movie theme weeks... The Late Movie...The Late Late Movie...all exposed me to films I might have otherwise never known. Looking back -- in the pre-VHS, pre-Pay-Per-View days -- I think the fact that we were (in a sense) forced to watch what television programmers programmed was, in a way, a great thing in that it exposed us to a plethora of film genres, acting styles, and director's works, we might not have chosen for ourselves at the local Blockbuster, given the choice. Perhaps my most fond memory of "films I first saw on TV" are the Sunday afternoon Bud Abbott & Lou Costello films on Channel 11, in New York. These films were as much a part of my Sunday experience as Grandma's homemade tomato sauce, listening to Italian music, and going to mass. Abbott & Costello films on Sundays were a constant -- something I counted on. And each week, I was glued to Bud and Lou's film (mis)adventures -- watching time and again as the duo ran through their famous (and always funny) "Who's on First?" routine, or simply ran -- from the Mummy, Frankenstein, Dracula, the Wolfman, the Invisible Man, or Boris Karloff himself! I watched them become Buck Privates (in two films which also exposed me to the "Boogie Woogie" singing style of the Andrew Sisters). I even watched Bud and Lou go to Venus (though the title said they were going to Mars). Point is, these Sunday afternoon programming decisions by local station WPIX in New York, turned into a multi-year, crash course on the films of Abbott & Costello for me. I know these films now as well as I know anything in my life. They're part of my make-up, and certainly an early reason for my love of film.

Jerry Lewis: Love Him or Hate Him

2006-06-19T19:31:00.000-07:00

Jerry Lewis, it seems, has always been a "love him or hate him" kind of performer. He's been called painfully unfunny and a comic genius; a self-centered egotist, and a warm-hearted philanthropist. Lewis' recent health scare (a mild heart attack) at age 80, made me think of the reasons I love this man's work. Lewis will act as silly as possible just to make someone laugh. So what's wrong with that? Plus, his perseverance with his life-long charitable work for the Muscular Dystrophy Association (regardless of bypass surgery, prostate cancer, pulmonary fibrosis, and an addiction to the medicine prednisone - which, for a time, blew up his face and body like a balloon) earns my respect. Now, some may say that it's just his egotism driving his desire to put himself out there -- to elicit sympathy for himself. Lewis is a performer (at one time the most popular film star in the country), and all performers have strong egos and a desire to be liked. What else would drive The Rolling Stones to still tour in their 60s, or George Burns to entertain until he was 100? I tend to think of the films Lewis has given us -- The Nutty Professor, Cinderfella, Who's Minding the Store?, The Bellboy, The Errand Boy, The Disorderly Orderly, The Geisha Boy, The Ladies Man, Three on a Couch, The King of Comedy, and even his "comeback" film Hardly Working, high among them. These films make me laugh. When Lewis acts like a goofball, I laugh. It's that simple. So I ask again, what's so wrong with that? Sure he's silly, and no, his shtick doesn't always work, but he always goes down swinging. So, I'm happy to hear Lewis is on the mend and that he not only plans to once again host his annual telethon, but also direct a musical version of his film The Nutty Professor for Broadway. I saw Lewis on the Broadway stage in 1995 when he performed in Damned Yankees. He was magnificent. If you've never seen a Jerry Lewis film and have stayed away because others have said he's not funny, do yourself a favor and rent a few. Decide for yourself. Selecting from the list above might be a good start. If you watch them and decide for yourself he's not funny, that's okay too. Like I said, Jerry Lewis tends to be a "love him or hate him" kind of guy. And I love him.

Garfield's Fun Pop References

2006-06-18T05:06:00.000-07:00

On this Father's Day, I took my son and daughter to see the Garfield sequel A Tail of Two Kitties. I enjoyed the first film, with Bill Murray (who returns here) as the "too-cool-for-you" voice of Garfield. The sequel -- written by Joel Cohen (who also wrote the original, as well as the brilliant Toy Story) and not to be mistaken for Joel Coen of Coen brothers fame -- has some fun pop references. The title alone, is a play on the classic Charles Dickens novel A Tale of Two Cities. The plot -- in which Garfield is mistaken for a wealthy lookalike in London named "Prince" -- is a clear nod to the plot of the Mark Twain novel The Prince and the Pauper. And along the way, the filmmakers are even able to fit in a tribute to the classic Harpo Marx "mirror scene" from the classic Marx Brothers movie, Duck Soup. Now, any film (in this day and age) that even remembers Charles Dickens, Mark Twain the and the Marx Brothers even existed is ok in my book!