Posts Tagged: Summer of '85
by Lauren Wissot on July 31st, 2010 at 4:30 pm in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
It's a shame I had to trek downtown to Tribeca to experience Pumping Iron II: The Women, which played as part of the 92YTribeca's "Outsider Sports" series (on a double bill with Afghan Muscles—kudos to the creative programmer!). Not that I have anything against attending a free screening of a 16mm print courtesy of the New York Public Library. It's just that George Butler's follow-up to his Schwarzenegger-starring Pumping Iron needs to be disseminated on DVD in a 25th-anniversary edition complete with all the bells and whistles. Yes, this semi-doc is a film geek's dream, one that leaves you thinking about things beyond its bodybuilding theme and hungering to learn more.
Arriving in theaters fresh on the heels of Flashdance fever, the film's nods to that cinematic time capsule are so transparent as to be laughable, ranging from its cheesy '80s pop soundtrack, to the competitors' Aqua Net heavy hairstyles and "Jane Fonda Workout" wear. But beneath the superficial knockoffs lie both filmmaking and a storyline rife with controversy. Pumping Iron II: The Women follows several muscle-bound females leading up to The Caesars World Cup in Las Vegas. Filling Schwarzenegger's shoes is Rachel McLish, a femme fatale, bodybuilding diva every bit the showboat as the future Governator. Australian Bev Francis, a former power-lifter turned bodybuilder whose masculine looks call into question the female bodybuilding ideal, is the outsider Lou Ferrigno character. Country girl Lori Bowen and brainy Carla Dunlap, the only black woman represented, fill lesser roles. Continue Reading »
Tags: Afghan Muscles, Bev Francis, Carla Dunlap, Charles Gaines, George Butler, Lori Bowen, Pumping Iron II: The Women, Rachel McLish, Summer of '85
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[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
I don't remember the summer of 1985 as a crucial moment in my filmic development. The previous year's glut of money-spinning classics had raised the bar so high that a letdown was inevitable: as I recall, there was a big dropoff in attendance and a series of titles that failed to define an era. The monster hits were all pretty tame: Back to the Future is a comic riff on Speilbergian awe rather than a traumatic dirge on childhood loss, Rambo II boilerplate Reaganism without variation, A View to a Kill a pathetically lazy James Bond clunker, Cocoon a space film by Ron Howard. Love them or hate them (and I seriously dug every one), they didn't incite long-term worship then and don't cry out for exegesis now.
For me, the meagre significance of '85 rests on its series of I-can't-believe-I'm-the-only-one-who-likes-this movies, stuff that would click with a few like-minded individuals without whipping the turnstiles into a blur (while snowballing into cults on cable and VHS). It was the summer of such offside items as Joe Dante's indefinable Explorers, Matthew Robbins' weird rebel riff The Legend of Billie Jean (still waiting for that DVD), Dan O'Bannon's sharply-written The Return of the Living Dead, Tobe Hooper's camp howler Lifeforce, Martha Coolidge's science prodigy exposé Real Genius and, of course, the immortal Better Off Dead, the mention of which still gets me more excited "oh yeah!" reactions than those of the year's foregone conclusions.
Weird Science is one of those "oh yeah!" movies, and captured my imagination for obvious, sunken-chested reasons: it was an unabashedly nerds-rule affair. Continue Reading »
Tags: Anthony Michael Hall, Bill Paxton, Britt Leach, Ilan Mitchell-Smith, John Hughes, Judie Aronson, Kelly LeBrock, Robert Downey Jr., Robert Rusler, Summer of '85, Suzanne Snyder, Weird Science
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[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
One part '70s rogue male action movie, another part innovative Hollywood blockbuster pushed all the way to "11", and totally responsible for changing action movie grammar—big silly war flicks were never the same after its May 1985 release—Rambo: First Blood Part II sits in between filmic worlds. Despite it being one of those movies everybody knows, it's a tough one to parse. Nevertheless, Brandon Soderberg and comics artist and illustrator Benjamin Marra chopped it up about Rambo: First Blood Part II, and tried to get to the center of its wizened, gummy politics but also talk about why it's just, well, awesome. Continue Reading »
Tags: Charles Napier, George P. Cosmatos, Rambo: First Blood Part II, Summer of '85, Sylvester Stallone
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by Matthew Cheney on June 29th, 2010 at 12:30 am in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
As I was heading off to my first day of elementary school, my father said, "If they ask you your religion, tell them you're a member of the Church of the Holy Gun."
It was a joke, of course. But not entirely.
I grew up in a gun shop in New Hampshire. Or, more accurately, I grew up in a house with a gun shop attached to it. I was never baptized, but I was given a life membership in the National Rifle Association when I was born. My first substantial birthday present was a .22 rifle my father built for me when I was three. Other kids always wanted to come over to my house to play Cowboys & Indians because we got to use real guns from my father's box of broken pistols and revolvers. By the summer of 1985, I was nine years old and my father had just gotten a license to sell machine guns.
Rambo: First Blood Part II (which I've always just called Rambo II) was one of the first R-rated movies I ever got to watch. I don't remember if my father took me to see it at our local movie theater or if I watched it when he rented the videotape later. I expect it was the latter, but it feels in my memory more like the former—going out to see a movie was a big event in my family, much like the sequence in The 400 Blows where Antoine and his parents go to see a movie and for the time they're under the spell of the celluloid dreamworld, it takes no effort to smile. Continue Reading »
Tags: Rambo: First Blood Part II, Richard Crenna, Steven Berkoff, Summer of '85, Sylvester Stallone
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[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
It's an age-old story: boy meets girl; boy sleazes on girl, then steals girl's brother's scooter and wrecks it; girl's brother reclaims the scooter and gets beaten up in the process; girl confronts boy with repair bill, which he refuses to pay; boy's father will pay, but only if girl lets him have sex with her, repeatedly; girl's brother accidentally shoots boy's father in the arm; girl, brother, and their friends go into hiding at an abandoned miniature-golf palace while Peter Coyote makes bewildered faces. You know…that age-old story.
Digging further into The Legend of Billie Jean raises many more questions than it answers, because as contrived and frail as the main "plot" sounds, it's got nothing on the various B plots. Everyone remembers that Billie Jean chops her long blonde hair off à la Joan of Arc—a tortured parallel the film refuses to drop—and becomes a folk hero. Nobody remembers the rest, but along the way, the eponymous Billie Jean (Helen Slater) and her scooter-crossed brother, Binx (Christian Slater, in his film debut), acquire a hostage in Lloyd (Keith Gordon), a bored rich boy who's eager to test his district-attorney father's love by not only letting the Billie Jean Kids kidnap him but in fact suggesting it himself—this, after they've broken into his house and eaten all the food in the fridge and Billie Jean has hit him in the nuts with a guitar. Continue Reading »
Tags: Christian Slater, Dean Stockwell, Helen Slater, Keith Gordon, Martha Gehman, Peter Coyote, Summer of '85, The Legend of Billie Jean, Yeardley Smith
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by Robert Cashill on June 21st, 2010 at 7:50 am in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
Roger Moore saved my evening once. I took a friend for a drink at Elaine's, near where I lived on the Upper East Side. My friend knew that celebrities congregated there, and refused to leave for our appointed dinner until we saw one. I sighted a New York character actor, but no go—it had to be a name-above-the-title star. For a seeming eternity, none came into our orbit. Then, when I could stand the waiting game no longer, who should enter but…Beau Maverick. Simon Templar. James Bond. There could be no argument: Roger Moore was the real deal. Dinner was served.
Karmically speaking he did me a good turn, given how thoroughly he had ruined another evening of mine in May of 1985. I was 19 years old, the film critic for the Daily Northwestern, and eager to convert another friend into Bond-age. (I was a fan since my dad took me to see a double feature of Diamonds Are Forever and Live and Let Die in 1974 or thereabouts.) Things were looking up: 1983's Octopussy, with Moore, was divertingly silly, and Never Say Never Again later that year was a more-or-less satisfying one-off for the returning Sean Connery. A View to a Kill, which we were seeing at a preview screening at the Esquire Theater in Chicago, should have clinched it, and brought another fan into the fold. Continue Reading »
Tags: A View to a Kill, Christopher Walken, Grace Jones, John Glen, Lois Maxwell, Patrick Macnee, Roger Moore, Summer of '85, Tanya Roberts
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by Jesse Miksic on June 20th, 2010 at 1:21 pm in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
Day of the Dead, unleashed in July of 1985, was the third in George Romero's Dead trilogy (not to be confused with Sam Raimi's Evil Dead trilogy), which has created a foundation for a whole horror subgenre and its attendant culture of obsessives. It wasn't as blithely satirical as its predecessor, Dawn of the Dead, and it was far more technically sophisticated than either of its forerunners. Owing to these improvements, Day of the Dead is the most direct reference point for all subsequent "serious" treatments of the zombie archetype. Despite its landmark status, it's accorded far less acclaim than Dawn of the Dead, which is often heralded as the pinnacle of the trilogy. This is unfair to Day of the Dead, which seems to have gotten lost in the shuffle, so much so that its iconic contribution to the genre has been overlooked.
After the carousing and confusion of Dawn of the Dead, Day of the Dead shows us a world where humans have gone from being entirely reactionary—desperate, safety-seeking, and ineffectively attempting to maintain their institutions—to being proactive, fortifying their positions, rebuilding society, and assessing the wider situation. The underground bunker of Day of the Dead is a society struggling to find a political form, with a fascistic military element vying with a cadre of scientists, working against all odds toward some sort of utopian solution. This distills into a conflict between hopeless rumination and hopeless impulse…and between short-term tactics and long-term strategy. Continue Reading »
Tags: Day of the Dead, George A. Romero, Jarlath Conroy, Joe Pilato, John Amplas, Lori Cardille, Richard Liberty, Sherman Howard, Summer of '85, Terry Alexander
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[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!.]
After an opening that is every bit as kinetic and engaging as The Road Warrior, and promises more of the same, Mad Max Beyond Thunderdome turns into a busier and more densely populated film than either of George Miller's first two pared-down, souped-up, post-apocalyptic road epics. Where Mad Max and The Road Warrior were near-minimalist, Mad Max III is baroque, larded, even cluttered, with incidental detail, and verging on the surreal. The grotesquerie is so common and abundant that it no longer carries the jolt that it did in The Road Warrior, and the bizarre comedy that was the occasional time-out in The Road Warrior threatens to become the dominant tone by the time Mad Max Beyond Thunderdome gets to its climax. Emblematic of this is that, while energy is still the heart of the matter, as it was in the first two Mad Max films, in this one it's not the preciousness and scarcity of gasoline that drives the plot, but rather a man who makes methane out of pigshit.
Mad Max Beyond Thunderdome has a very long (half the film) first act and very short second and third acts. That long first act, set in a bustling outback trade center called Bartertown, is the culmination of the junkyard futurism of such films as Soylent Green, A Boy and his Dog, The Ultimate Warrior and Escape from New York—a genre that was itself spawned by the famous final moment of Planet of the Apes. Continue Reading »
Tags: George Miller, Mad Max Beyond Thunderdome, Mel Gibson, Summer of '85, Tina Turner
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[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Due to a very strong response, we'll be publishing these retrospective pieces on films released during the dog days of 1985 past the original June 19th end date. We're still accepting submissions, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
As the shamed bearer of an adolescent crush on C. Thomas Howell, I saw most of his movies multiple times—including not only Soul Man but the execrable volleyball roman à clef Side Out (yes, you read that last clause correctly).
Somehow, though, I managed to miss Secret Admirer when it came out. In fact, I have absolutely no contemporaneous memory of the film at all, which is a shame, because it's relatively good. Of course, "relatively good" in the mid-'80s teen-movie genre often means "not unwatchable," and Secret Admirer doesn't quite qualify as fresh or unpredictable.
It's got byzantine plotting down cold, though. Toni (an enjoyably sarcastic Lori Loughlin) is in love with her best friend, Michael (Howell), and slips an unsigned letter into his locker to testify to that fact. Michael is inspired by the letter to write a mash note to the joy of his desiring, Deborah Ann Fimple (Kelly Preston), whose interests include shopping, dating fratty college boys, and pulling her hair to the side in unflattering styles. Toni, who is disappointed but supportive, intercepts Michael's letter to Debbie and, when she realizes how pedestrian it is, rewrites it for him without his knowledge. Continue Reading »
Tags: C. Thomas Howell, Casey Siemaszko, Cliff De Young, Corey Haim, David Greenwalt, Dee Wallace-Stone, Fred Ward, Jan Hammer, Jeffrey Stone, Kelly Preston, Leigh Taylor-Young, Lori Loughlin, Scott McGinnis, Secret Admirer, Summer of '85
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by D.W. Gardner on June 15th, 2010 at 10:00 pm in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
One could almost see it as a celebration. By 1985, the original audience for the children's educational show Sesame Street were just beginning to graduate high school and move into adulthood, and the show was still as successful as ever. This success stemmed from its ability to encompass the average preschooler's life experience and compress it into a microcosm, with the creatures of their wild imaginations and supportive adults coexisting and teaching together. Also, Cookie Monster was pretty goofy.
Sesame Street was a safe, warm place for a child to be, but like real life, serious issues would crop up at random. The most famous of these incidents was the death of elderly storekeeper Mr. Hooper in 1983. As in real life, these issues could not simply be swept under the rug—they affected everyone. Death, serious injury, the loss of a home. In August of 1985, Sesame Street took a gamble and not only released their first theatrical film, but decided to make it on a more specific issue than they were used to, namely child protection services and biracial families. Cookie Monster was still pretty goofy, though. Continue Reading »
Tags: Caroll Spinney, Dave Thomas, Follow That Bird, Joe Flaherty, Loretta Long, Sesame Street, Sonia Manzano, Summer of '85
1 Comment »
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
Long awaited and heavily hyped, Silverado sought to revive the feel of the big, colorful western epics of the '50s in the way that, a few years before, writer-director Lawrence Kasdan had helped Lucas and Spielberg revive the pulp adventures of the '30s in Raiders of the Lost Ark. You know the kind of western we're talking about—not the timeless, mythic, character-centered westerns of Ford, Hawks, Mann, and Boetticher, but movies of the kind that always seemed to come "thundering onto the screen," starring more big-name actors than the entire cast of your average Budd Boetticher/Randolph Scott film. The kind of western that hasn't really lasted so well. Continue Reading »
Tags: Kevin Costner, Kevin Kline, Lawrence Kasdan, Silverado, Summer of '85
2 Comments »
by Simon Abrams on June 14th, 2010 at 6:00 am in Film
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
It boggles the mind to think that within the span of a mere three months of the summer of 1985, two new and very different films penned by Alien scribe Dan O'Bannon were released. The first film was Lifeforce, an abysmal cheapy Cannon scifi exploitation flick whose incompetence has long been excused as a product of its troubled production history. The second film is The Return of the Living Dead, a cynical, canny and very hip parody of George Romero's seminal Night of the Living Dead. The former film is directed by super-hack Tobe Hooper, most famous for directing the influentially grody Texas Chainsaw Massacre and for nominally helming Poltergeist; the latter was directed by O'Bannon himself, who had no prior experience directing a film and would only direct one afterwards and with good reason (his 1992 Lovecraftian horror flick, The Resurrected, is almost as chintzy as Lifeforce but not nearly as preposterous). Continue Reading »
Tags: Clu Gulager, Dan O'Bannon, James Karen, Lifeforce, Patrick Stewart, Peter Firth, Steve Railsback, Summer of '85, The Return of the Living Dead, Thom Matthews
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[Editor's Note: This is the latest entry, which originally appeared in slightly different form here, in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
Back in 1985, before GoodFellas and The Sopranos really mixed mob stories with jet black comedy, the great director John Huston, in his second-to-last film, brought to the screen an adaptation of Richard Condon's Mafia satire Prizzi's Honor, complete with great performances and some of the most memorable lines ever collected in a single film. Huston may have been in the twilight of his days, but his filmmaking prowess was as strong as ever.
Huston still had one more great one in him too (The Dead, which he always intended to be his swan song, came out in 1987). Still, of his late work, Prizzi's Honor is the one nearest to my heart. There was such synchronicity in Huston directing his father to a supporting actor Oscar back in 1948 for The Treasure of the Sierra Madre and then doing the same for his daughter Anjelica in 1985 for Prizzi's Honor. The downside: Huston didn't get a directing Oscar for Prizzi's Honor and you could read the disappointment on his face when he lost. What a clusterfuck the 1985 directing Oscar race was. First, as Steven Spielberg tried to make his first "grownup" movie with The Color Purple, they gave that film 11 nominations but none for Spielberg. Then on top of Huston's much-deserved nomination, they also named the master Akira Kurosawa for Ran, but the Academy gave the directing prize to Sydney Pollack's uninspired work in the equally uninspired Out of Africa. Continue Reading »
Tags: Anjelica Huston, Jack Nicholson, John Huston, John Randolph, Kathleen Turner, Lee Richardson, Prizzi's Honor, Richard Condon, Robert Loggia, Summer of '85, William Hickey
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[Editor's Note: This is the latest entry, which originally appeared in slightly different form here, in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
Some long overdue appreciation is due for the best American example of a cinematic tale of the undead from the 1980s. No, not Joel Schumacher's bore The Lost Boys. Not even Kathryn Bigelow's overpraised Near Dark. No, for my money the best vampire tale of the 1980s belongs to the Class of 1985: Tom Holland's scary and funny Fright Night. Thanks in no small part to two great performances, Chris Sarandon as Jerry Dandridge, the vampire next door, and an Oscar-worthy turn by Roddy McDowall as a ham B-movie actor reduced to hosting horror flicks on a local TV station who finds himself having to fight vampires. For real.
Fright Night is that era's vampire film that's worth inviting into your home. (I'm not joking about McDowall and Oscar either. Klaus Maria Brandauer in Out of Africa and William Hickey in Prizzi's Honor earned their supporting actor nominations, but McDowall deserved recognition over Don Ameche in Cocoon, Robert Loggia in Jagged Edge and Eric Roberts in Runaway Train.) Continue Reading »
Tags: Amanda Bearse, Chris Sarandon, Fright Night, Jonathan Stark, Roddy McDowall, Stephen Geoffreys, Summer of '85, Tom Holland, William Ragsdale
3 Comments »
[Editor's Note: This is the latest entry in our annual "Summer of…" series, copresented by Aaron Aradillas of Blog Talk Radio's Back By Midnight and Jamey DuVall and Jerry Dennis of Blog Talk Radio's Movie Geeks United!. Until June 19th, we'll be publishing retrospective pieces on films released during the dog days of 1985. We're accepting submissions all the way up until close date, so get in touch (keithuhlich@gmail.com) if you'd like to contribute. And keep checking in with Aaron, Jamey and Jerry's shows for 1985-themed tribute episodes.]
John Boorman's The Emerald Forest may seem to today's green-conscious audience to be a comparatively obvious message movie about how industrial and economic progress are at odds with the interests of the environment. But we live in an age in which environmentalism has become a P.R. bandwagon, with everyone from the smallest individual to the biggest corporation allying in efforts to "save the planet." In truth, the planet is not what's in need of saving. It was around long before us, and will be around long after we have either obliterated ourselves or transformed our species into something unrecognizable. Sometimes more habitable, sometimes less, sometimes not at all, the planet has nevertheless endured, pursuing its relentless course of entropy in time and space. We can't stop, reverse, or even slow that entropy; and we cannot presume to "save" nature, for in everything we do, we are inexorably a part of it. It is in our nature to discover, invent, build, and destroy, and it is not a question of whether we can save the planet but whether we can save ourselves.
For Boorman, the motif of environmental spoliation was never the message but the metaphoric medium for his continuing vision of the human being—a curious sort of animal that has forgotten it is an animal, linked inescapably to its own nature as well as to the natures of the other creatures that surround it. The same tension between contemporary civilized men and the elemental nature they have forgotten is evident in Boorman's Deliverance (1972), where the same metaphor was used: a dam is being created that will divert the flow of a once mighty river, simultaneously submerging a vast forest. That wilderness is what we have forgotten we are part of. Continue Reading »
Tags: John Boorman, Powers Boothe, Summer of '85, The Emerald Forest
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