Directed by Barry Sonnenfeld Written by Jim & John Thomas (story), S.S. Wilson & Brent Maddock and Jeffrey Price & Peter S. Seaman (screenplay) Cast: Will Smith, Kevin Kline, Kenneth Branagh, Salma Hayek, M. Emmet Walsh, Ted Levine, Frederique Van Der Wal, Musetta Vander, Sofia Eng, Bai Ling, Garcelle Beauvais, Buck Taylor, Derek Mears Soundtrack: Elmer Bernstein
(I mean, Steampunk is technically sci-fi, right?)
I’m not a Boomer, so I have no particular fealty to the Robert Conrad show of the 1960s, of which Wild Wild West is loosely inspired by (not unlike Mission: Impossible), but if the reason you don’t like this movie is because you feel it did the original show dirty, then there’s not much I can say to convince you otherwise (though I can definitely appreciate having passion for cherished properties).
On the contrary, I was a young lad at the time Wild Wild West was released, which I suppose put me at least on the outer edge of the target demographic (boy oh boy do I remember that song), although I did not see it theatrically (my mom’s a Robert Conrad fan, so she certainly had no impetus to take me). I’d catch bits and pieces here and there on cable, but I don’t think I fully sat down and watched it until a couple of years ago. Despite the film’s reputation as a bad movie, I have to say, I found it very entertaining, and seeing it on the big screen last year only affirmed my experience.
First of all, it’s directed by Barry Sonnenfeld (Men in Black), shot by Michael Ballhaus (Scorsese’s primary cinematographer from After Hours to The Departed), and has music by Elmer Bernstein (he scored a little movie called Ghost Busters), so, right off the bat, things can’t be all bad.
Secondly, I like the steampunk angle of it. Yes, not everything still holds up visually from 1999, and some things perhaps get a bit too silly, but, by and large, there are some really fun concepts that are well-executed, both large and smaller Q-gadget scale.
Third, I enjoy the playing around with history (after all, I was a history major). Admittedly, there are some uncomfortable tonal shifts (some may call them inconsistencies) in this area, but part of that is undoubtedly Sonnenfeld’s twisted sense of humor, which I’m mostly okay with. And, frankly, much of the subject matter is a little more relevant than some people may care to admit (dare I suggest, did Wild Wild West crawl so HBO’s Watchmen could sprint?).
Lastly, I actually like the performances. Obviously, Will Smith is Will Smith, you can take him or leave him, but Kevin Kline turns in a solid comedic performance, and, most importantly, Kenneth Branagh appropriately devours the scenery as the mustache-twirling Dr. Loveless. Overall, I get the impression that everyone knew they weren’t making high art, and allowed themselves to have fun with it, while still taking it seriously enough to not make it a farce.
It may not be a “great” movie. At the end of the day it may simply be big budget schlock (which I’m okay with), but more than anything else, Wild Wild West is fun, and that’s all I need it to be. I definitely recommend giving it another chance if it’s been a while since you’ve last seen it.
Full disclosure: I have not seen these three movies in theaters recently, but, per my own review principles, I have seen them theatrically at some point in the past few years (and all on 35mm film to boot). Anyway, since I’m basically still in corona-lockdown and theatrical viewings are at a premium, and since I’m back writing again, I thought it would be fun to do a “seafood stew” and put together a sort of First Responder triple pack (with more than a little wink as I say that). Enjoy.
Original Release Date: May 6, 1988
Written and Directed by James Glickenhaus Cast: Peter Weller, Sam Elliott, Patricia Charbonneau, Jude Ciccolella, Blanche Baker, Antonio Fargas, Richard Brooks, John C. McGinley, Henry Judd Baker, Larry Joshua, Vondie Curtis-Hall, William Prince, Anthony Crivello, Thomas G. Waites, Paul Bartel, Holt McCallany, Walter Flanagan Soundtrack: Jonathan Elias
Of the numerous films I’ve been introduced to at Alamo Drafthouse Yonkers over the years (I pray it re-opens at some point, any point), Shakedown by far left me with the biggest smile on my face.
Now, I know movies involving police are a tough sell right now, but hear me out, because this one actually cares about true justice.
I suppose Shakedown would qualify as a buddy cop film, it’s a somewhat debatable point, but it’s not one with two cops together (e.g. Lethal Weapon, Running Scared, etc.); it’s one of those with an odder pairing (e.g. 48 Hrs., Die Hard with a Vengeance, etc.). In fact, the protagonist of this story is actually a legal aid attorney, which bears out my notion that the heart of the movie is real justice. Sure, there’s some reel justice, too, as expected, but that’s a parallel strength of the movie (I’ll just say: Coney Island, whoa).
The only genuine weaknesses I’d say the movie has are, for one, a slight failing of budget at the very end, and there’s one scene in particular that just seems out of step with the rest of the film (it might’ve been okay as a dream sequence or something like that), but make no mistake, this is James Glickenhaus’s magnum opus. Earlier works like The Exterminator and The Soldier certainly have their entertainment value, but as far as I know nothing else he’s made is as tightly written as Shakedown, and the more times I watch it the more the quality becomes evident.
Anyway, I don’t know if Shakedown is the very last action film to shut down 42nd Street for major stunt sequences, but if it is, what a way to go out. Even more than “The Deuce” though, the movie is a treasure trove of a time capsule for pre-Giuliani New York, including the condemned West Side Elevated Highway (before it was finally torn down, obviously). Certainly a far cry from the Disneyfied city we see today.
Of course, what is a buddy cop movie without its buddies, and boy are these two a pair. Sam Elliot is just as you’d expect him, in the best way possible, but it’s still Peter Weller’s universe. In fact, I’ll go as far to say that Shakedown is PEAK Peter Weller; beyond RoboCop, and even beyond, dare I say, Buckaroo Banzai (much as I do love both those films). However, it would be unfair to not mention Patricia Charbonneau, as she turns in a strong supporting performance.
In the end though, what makes me love Shakedown is that it’s not just another buddy cop film, because it makes you think a little bit in addition to the thrills and chills. It may not be the best but it’s got a ton of personality and unique quirks, and with a budget somewhere under $10 million it punches far above its weight class. It’s under-seen and underrated and it deserves much more notoriety, especially compared to some other 80s “classics”.
Rating: ★★★★☆
Original Release Date: October 22, 1999
Directed by Martin Scorsese Written by Paul Schrader, based on the novel by Joe Connelly Cast: Nicolas Cage, Patricia Arquette, John Goodman, Ving Rhames, Tom Sizemore, Marc Anthony, Mary Beth Hurt, Cliff Curtis, Nestor Serrano, Aida Turturro, Sonja Sohn, Afemo Omilami, Judy Reyes, Cullen O. Johnson, Arthur J. Nascarella, Larry Fessenden, Michael Kenneth Williams, Queen Latifah Soundtrack: Elmer Bernstein
Now, I know what you’re thinking.
“A New York City film written by Paul Schrader, directed by Martin Scorsese, and it’s not Taxi Driver?”
Correct.
Unfortunately for poor Marty, Bringing Out the Dead was a box office bomb, which is probably why it’s never gotten a proper, loving home format release, even though it’s a film begging for a 4K Blu-ray restoration (though apparently this and Sleepy Hollow were the last films released on LaserDisc, so, that’s interesting). Frankly, it’s a shame that this movie is relegated to “hidden gem” status, because I think it’s among Scorsese’s better films; certainly better than most things he’s directed since (yeah, I’m looking at you, The Irishman).
The plot, is, well… I’d describe the whole movie as something of a fever dream. Nic Cage plays a paramedic who’s in a bad way. He’s insomnious to the point of hallucination, he’s on a cold streak of saving people, and it’s a bit of a Russian Roulette situation with who he’s paired up with on a given night. In the midst of this seemingly comes a ray of hope, when he appears to have saved a man’s life, and maybe strikes up a bit of a thing with his daughter, played by Patricia Arquette.
Though the movie was made in the late Nineties, it’s set in the drug-addled days of pre-Giuliani NYC, and the film is not afraid to comment on a number of serious issues.
What really makes it for me though is the cast and the music. Though it’s heavy at times, just about everybody seems to be reveling in their performances, and that comes through the screen; and the soundtrack (both the wonderful Elmer Bernstein score and the licensed songs) just amplifies it all.
Off the beaten path, but well worth it.
Rating: ★★★★☆
Original Release Date: December 25, 1992
Directed by Walter Hill Written by Bob Gale & Robert Zemeckis Cast: Bill Paxton, Ice-T, William Sadler, Ice Cube, Art Evans, De’voreaux White, Bruce A. Young, Glenn Plummer, Stoney Jackson, T.E. Russell, Tommy ‘Tiny’ Lister, John Toles-Bey, Byron Minns, Tico Wells, Hal Landon Jr., James Pickens Jr., L. Warren Young Soundtrack: Ry Cooder
Oh, you thought were we done with the heavy hitters?
Think again.
That’s right, from the creators of Back to the Future and the director of 48 Hrs. comes a tale of treasure sought, and all the pitfalls that come with it.
Now, admittedly, Trespass is the most tenuously connected film in my First Responder trilogy here, as our nominal protagonists are indeed fire fighters, but outside of one introductory scene there’s no real firefighting to be found; but, hey, this is my seafood stew.
Trespass is one of those movies that’s limited in scope, scale, and cast, but manages to be just as captivating as many a bigger film.
While fighting a fire in Fort Smith, Arkansas, our two nominal protagonists (played by Paxton and Sadler) are gifted a map to treasure in a now abandoned factory in East Saint Louis, Illinois. Unfortunately for them, the day they go to investigate happens to be the same day that a local gang (led by Ice-T and Ice Cube) happens to be executing someone on the same grounds.
You can imagine where it goes from there. Lots of tension, intrigue, criss-crosses; in fact, now that I think about it, it kind of reminds me of Green Room, except Trespass takes place in the daylight, which makes it feel more hopeless at times, though I wouldn’t say Trespass borders on horror territory like Green Room does.
In the end, it’s a nice, tight, entertaining little thriller. Not the best, but unique and different.
Original Release Date: June 8, 1984 Directed by Ivan Reitman
Written by Dan Aykroyd and Harold Ramis Cast: Bill Murray, Dan Aykroyd, Sigourney Weaver, Harold Ramis, Rick Moranis, Annie Potts, William Atherton, Ernie Hudson, David Margulies, Michael Ensign, Steven Tash (bit part), Timothy Carhart (bit part), Reginald VelJohnson (bit part) Soundtrack: Elmer Bernstein
So, we’ve got a bit of a terminology problem here, don’t we?
Thanks to yet another needless remake, in the tradition of ‘Clash of the Titans‘ and ‘RoboCop‘, we now have to clarify which movie we’re talking about when we say ‘Ghostbusters’.
This appears to be an indefinite issue in terms of spoken language, but I think I’ve found a decent work-around for the written form, and that is to revert to the original title of ‘Ghost Busters’ when referring to the 1984 classic. Don’t believe me? Go watch it again; the title card clearly displays two words.
Now that that’s cleared up, let’s talk about one of the best films of all time (because we likely won’t ever be talking about the new one, so there).
This quote from Mike Stoklasa of Red Letter Media, though somewhat facetious, speaks directly to my heart and my mind, because it’s a true statement.
Of all the lightning ever caught in any bottles, perhaps no film in history (other than one) caught more lightning in one bottle than ‘Ghost Busters’. The amount of zeitgeist it generated at the time and still generates to this day leads me to describe it as the ‘Star Wars‘ of comedy. Where one wrong element could have scuttled it, everything went right for ‘Ghost Busters’: the script (after some major overhauls), the cast and their performances, the visual effects, the production design, the props, the editing, the pacing, and the music all work together in perfect harmony.
Unlike ‘Star Wars’, however, none of the major players on ‘Ghost Busters’ exactly came out of nowhere. Ivan Reitman, Harold Ramis, and Bill Murray (and Elmer Bernstein) all had a hit with ‘Stripes‘ a few years earlier; Dan Aykroyd was well-established from his SNL days, in addition to successful turns in ‘The Blues Brothers‘ and ‘Trading Places‘; and Sigourney Weaver was firmly planted in the public consciousness as “Ripley” from ‘Alien‘. All that said, I’m not sure there was any evidence before 1984 to suggest that any of these folks could pull of something this massive, but they did.
One primary reason why ‘Ghost Busters’ works so well is that the movie is largely played straight, with the humor being dry and usually situational. Really, the only character within the world of the film who’s saying and doing things to be funny is Peter Venkman (Bill Murray) and everyone else, even a “silly” character like Louis Tully (Rick Moranis), is meant to be serious. This is, of course, enhanced by the fact that outside of the main cast, almost every other performer in the movie is just a regular working New York or L.A. actor; there aren’t dozens of recognizable comedians making cameos at every turn.
Another incredibly strong thread in the ‘Ghost Busters’ fabric is the world-building and the establishment of its own mythology. The movie begins as a classic going-into-business story: our heroes start out at Columbia University, get thrown out, find money to go into business (by mortgaging one of their family homes), purchase a building and a car, hire a secretary, and put an advertisement on local television. From there, so many wonderful details come into play to make the insanity that follows at least somewhat believable: Spates Catalog, Tobin’s Spirit Guide, “Don’t cross the streams,” Zuul, Gozer, Vinz Clortho, Ivo Shandor, Stay Puft Marshmallows, Camp Waconda; all of these are mentioned as casually as Coca-Cola or McDonalds. The point is, they’re all real to the characters, so, in turn, they feel real for the audience.
Now, let’s get into the really fun stuff. I suspect that even if ‘Ghost Busters’ was just average as a movie, it still would have had a fairly significant cultural impact, because proton packs, ECTO-1, ghost traps, flight suits, utility belts, Ecto Goggles, radios, and P.K.E. meters are all ridiculously awesome, and make every kid want to be a Ghostbuster. Whoever came up with the designs for all of the costumes and props must have been some kind of genius. I know I still wish I could be a Ghostbuster; who wouldn’t want to run around catching ghosts with an unlicensed nuclear accelerator strapped to your back? Of course, the proton packs, along with the ghosts, are made even more amazing by the accompanying sound design and totally non-CGI visual effects (led by Richard Edlund, who worked on the original ‘Star Wars’ trilogy and ‘Raiders of the Lost Ark’, among other big hits).
Lastly, what helps to make ‘Ghost Busters’ both a great movie and a pop culture icon is the music. Yes, I mean the Ray Parker, Jr. theme song, but I’m also referring to the other licensed songs (“Cleanin’ Up the Town“, “Savin’ the Day“, “Magic“) and I’m especially referring to the underappreciated Elmer Bernstein score. Every single last musical cue in the movie is perfect in setting the tone for the scene at hand, whether light-hearted and funny, or dark and scary, or righteously triumphant.
Maybe I’m wrong about this, but I think what ultimately makes ‘Ghost Busters’ so wonderful is that there was a genuine effort from those involved to make the best movie they possibly could, and all of the elements fell into place naturally, as opposed to the film being a work of corporate cynicism, trying to shove in as many items as possible to appeal to kids and sell t-shirts. Not that there wasn’t merchandising, of course there was merchandising, but that came about because the movie was worthy of it. ‘Ghost Busters’ is a rare film that was clearly made for adults to enjoy, but also perfectly fit into the imagination of children; off the top of my head, I can’t think of too many other examples where that’s the case, certainly not to this degree.
Anyway, I’ve gushed for long enough. If for some reason you’ve never seen ‘Ghost Busters’ in your life, I don’t know what you’re waiting for. Get on it!
