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Sarah (7798 KP) rated Airplane! (1980) in Movies
Dec 8, 2020
Surely you can't be serious?
Film #6 on the 100 Movies Bucket List: Airplane!
Airplane! is a well known comedy classic, but for me I’m ashamed to admit that aside from the infamous “Don’t call me Shirley” line, I could barely remember a thing about this film. Airplane! is undoubtedly the mother, and master, of all comedy spoof films. Written and directed by Jim Abrahams and David and Jerry Zucker, this focuses Ted Striker (Robert Hays) who despite his fear of flying boards a plane to win back his girlfriend Elaine (Julie Hagerty), only to wind up having to ensure the plane lands safely when the pilots get sick.
The plot is definitely basic, but what it lacks in proper story it more than makes up for in laughs. I’ve never seen a film so chock full of jokes and gags, and in such a wide variety too. This features everything from subtle(ish) background jokes to witty and smart dialogue and obvious physical humour, and aside for a few misses, the majority of these jokes land perfectly. There’s the crude and hilarious auto pilot scene, to the incredibly funny and smart lines like when stewardess Elaine asks Doctor Rumack (Leslie Nielsen) about the onboard illness, “A hospital? What is it?”, to which he replies “It’s a big building with patients”. There’s something incredibly simple about the humour in this film that works so well, and yet aside from those few misses, it never resorts to crudeness that becomes disgusting and overbearing like most modern comedies do. These gags paired with the spoofing and sending up of disaster movies (plus many other genres) is a winning formula that has been emulated many times over by the likes of The Naked Gun and Hot Shots films since this was released in 1980. Admittedly there are some jokes that nowadays would be considered unacceptable and would never see the light of day, but fortunately these are a small minority and don’t spoil the overall enjoyment of the film, even now 40 years later.
The cast excel too in pulling off the over the top cheesiness you’d expect from a parody, and this is no mean feat. Whilst Julie Hagerty and Robert Hays do well as the main characters, it’s the smaller supporting roles that really stand out especially as they appear to have been given the best lines. You have Leslie Nielsen as the deadpan Doctor Rumack who delivers some hilarious dialogue with such a straight face, Lloyd Bridges as Steve McCroskey with his immortal lines beginning with “Looks like I picked the wrong week to stop…” and my absolute favourite background character Johnny (Stephen Stucker) who has some of the funniest moments you’ll ever see from such a minor character. And a notable mention has to go to Otto the automatic pilot, who even gets a feature in the credits.
Airplane! is a rightful comedy classic that could beat modern comedy films hands down, and it truly is a shame they don’t make spoofs like this anymore. It’s hilariously funny, right until the very end of the credits and an entirely unforgettable comedy experience.
Airplane! is a well known comedy classic, but for me I’m ashamed to admit that aside from the infamous “Don’t call me Shirley” line, I could barely remember a thing about this film. Airplane! is undoubtedly the mother, and master, of all comedy spoof films. Written and directed by Jim Abrahams and David and Jerry Zucker, this focuses Ted Striker (Robert Hays) who despite his fear of flying boards a plane to win back his girlfriend Elaine (Julie Hagerty), only to wind up having to ensure the plane lands safely when the pilots get sick.
The plot is definitely basic, but what it lacks in proper story it more than makes up for in laughs. I’ve never seen a film so chock full of jokes and gags, and in such a wide variety too. This features everything from subtle(ish) background jokes to witty and smart dialogue and obvious physical humour, and aside for a few misses, the majority of these jokes land perfectly. There’s the crude and hilarious auto pilot scene, to the incredibly funny and smart lines like when stewardess Elaine asks Doctor Rumack (Leslie Nielsen) about the onboard illness, “A hospital? What is it?”, to which he replies “It’s a big building with patients”. There’s something incredibly simple about the humour in this film that works so well, and yet aside from those few misses, it never resorts to crudeness that becomes disgusting and overbearing like most modern comedies do. These gags paired with the spoofing and sending up of disaster movies (plus many other genres) is a winning formula that has been emulated many times over by the likes of The Naked Gun and Hot Shots films since this was released in 1980. Admittedly there are some jokes that nowadays would be considered unacceptable and would never see the light of day, but fortunately these are a small minority and don’t spoil the overall enjoyment of the film, even now 40 years later.
The cast excel too in pulling off the over the top cheesiness you’d expect from a parody, and this is no mean feat. Whilst Julie Hagerty and Robert Hays do well as the main characters, it’s the smaller supporting roles that really stand out especially as they appear to have been given the best lines. You have Leslie Nielsen as the deadpan Doctor Rumack who delivers some hilarious dialogue with such a straight face, Lloyd Bridges as Steve McCroskey with his immortal lines beginning with “Looks like I picked the wrong week to stop…” and my absolute favourite background character Johnny (Stephen Stucker) who has some of the funniest moments you’ll ever see from such a minor character. And a notable mention has to go to Otto the automatic pilot, who even gets a feature in the credits.
Airplane! is a rightful comedy classic that could beat modern comedy films hands down, and it truly is a shame they don’t make spoofs like this anymore. It’s hilariously funny, right until the very end of the credits and an entirely unforgettable comedy experience.
Andy K (10821 KP) rated Poltergeist (1982) in Movies
Oct 25, 2019
The TV People!
When the Freeling family moved into their suburban California home, little did they know what they were getting themselves into! Minor oddities began showing themselves like chairs stacking in the kitchen lights flashing or even being pulled across the kitchen floor. It felt like a "tickle". The situation quickly grows more severe as a tree outside the children's room plunges inside and tries to ingest son, Robbie. Simultaneously, a gateway of sorts opens in the children's room eventually pulling the entire contents into its closet vortex including youngest daughter, Carol Anne.
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! 😜
Parents Steve and Diane have little option but to accept "professional" help. The Ghostbusters were not available since that film was not released until 2 years later. Instead, they convince a doctor and paranormal scientists to enter there home to record some of these events and provide some answers if they can. Eventually, the Dr. summons a spiritual medium who says someone must enter the void and rescue Carol Anne from the evil which surrounds her. After apparent success, the house is considered "clean".
I wonder if it will stay that way?
Over the years lots of interesting facts about the film and production have emerged including the Poltergeist "curse" since a prominent cast member passed away after each film was completed. Tragically, oldest daughter, Dana, played by actress Dominique Dunne, was strangled by her boyfriend and pronounced brain dead a few days later.
Spielberg was hot off Raiders of the Lost Ark at the time so was busy with one production after another. Immediately following the wrap of filming of Poltergeist he filmed E. T. The Extra Terrestrial, but was still heavily involved in post production. It has been widely speculated Spielberg even directed some of Poltergieist due to having control issues or maybe not liking what credited director Tobe Hooper was doing.
Drew Barrymore auditioned for Carol Ann, but didn't get the role. Obviously, she was remembered and given her breakout role in E.T. when it was also released in 1982.
So much of the movie is still remembered including the menacing tree, the clown scene with Robbie and a rich, interesting screenplay Spielberg himself wrote. The line "They're Here" is listed on the AFI's 100 YEARS...100 MOVIE QUOTES list at #69. As with a lot of Spielberg's early work, the affect of slowing building tension and the starting out "normal" and moving toward higher tension gradually is a staple and works amazingly well here.
I will admit some of the optical effects used now look a bit dated by today's standards of film perfection; however, does not diminish the scares, creeps or overall feel of this horror classic one bit. The score by Jerry Goldsmith is haunting, foreboding and captures the magic of the Freeling household perfectly.
I love the production design in the house especially the children's bedroom. There must have been some inside joke between Spielberg and George Lucas who had just collaborated on Raiders of the Lost Ark as their room is filled with Star Wars licensing of every type (so was mine as a kid) including action figures, bedding, movie posters and even clothing. I do draw the line at the Alien poster on the wall, through, as I don't think a 5 and 8 year old would have seen that film so young.
One other funny thing which us older folk take for granted is a network actually going off the air and showing just snow. This fact happened every day before the days of the 24 television cycle and would be completely foreign to the younger generation. Oh how things have changed.
I revisit this film often and is one of my Halloween traditions every few years. I should probably upgrade my 20 years old DVD copy for a fresh Blu Ray. Add it to the list! 😜
Bob Mann (459 KP) rated Free Fire (2017) in Movies
Sep 29, 2021
A movie with more than a whiff of cordite about it
As I write this, I’m really struggling to evaluate whether the latest film of Ben Wheatley (“High Rise”) is a masterpiece or just pulp trash. It’s certainly a brave and highly distinctive venture, with that you can’t argue.
Set in Boston in 1978, an arms deal is going down in a deserted warehouse. Brokered by Justine (Brie Larson, “Room”) an IRA team headed by Frank (Michael Smiley, “The World’s End“) with his business guy Chris (Cillian Murphy, “Inception”, “Batman Begins”) are on the buying side. As ‘roadies’ they’ve brought with them a couple of crack-head friends Stevo (Sam Riley, “Brighton Rock”, “Maleficent“) and Bernie (Enzo Cilenti, “The Martian“) who are far from stable.
On the selling side is South African dealer and “international asshole” Vern (Sharlto Copley, “Elysium“), his suave and wisecracking protector Ord (Armie Hammer, “The Man From Uncle”) and Vern’s right hand man Martin (Babou Ceesay, “Eye in the Sky“). What connects all of these individuals is that no-one likes or trusts anyone else.
Unfortunately, one of Vern’s van drivers is John Denver-lover Harry (the excellent Jack Treynor, “Sing Street”) who has very recent personal history with Stevo. The fuse is lit, and when the two meet chaos ensues: in the words of Anchorman’s Ron Burgundy, “That escalated quickly”!
And, for a 90 minute film, that’s basically it. If you think after viewing the trailer “there must be more to the film than this”…. you’re wrong!
However, what there is of it is enormously entertaining. Played ostensibly for laughs, with very very black humour and an F-word and a gunshot in every other sentence, some of the characters – notably those played by Sharlto Copley, Arnie Hammer and Brie Larson – have some hilarious dialogue. The star turn for me though was Jack Treynor who was just so impressive as the ‘lost at sea’ brother in the delightful “Sing Street” and here delivers a stand-out performance as another brother on a mission… this time a mission of vengeance. You are waiting throughout the film for the inevitable showdown between Harry and Stevo – – and when it comes it is both bloody and memorable.
A cracking 70’ soundtrack, put together by the Portishead duo of Geoff Barrow and Ben Salisbury, involves 70’s classics by Credence Clearwater Revival, John Denver and The Real Kids and it’s hammered out at top volume over the action. The downside of this effect is that – for my old ears at least – it sometimes make some of the dialogue hard to follow.
As a policing exercise, the film clearly has merit. In the same manner as Schwarzenegger’s “Running Man” put criminals in an arena to cull them, so this must have reduced the crime rates in both Boston and Belfast no end! While some may not approve of the levels of violence on show, it is all done in a highly cartoonish way: like a “Tom and Jerry” cartoon, or “Home Alone”, everyone seems to get shot multiple times and yet (in the main) is still active and mobile. All of this makes criticism of the performances something of a waste of time, but I would comment that some of the acting is of the “over the top” variety: surprisingly, I found some of Oscar winner Brie Larson’s scenes falling into this category and snapping me out of the narrative at times.
But overall, my evaluation is now done and I am rooting on the side of it being a brash and exhilarating minor masterpiece. Yes, it’s one-dimensional. Yes, it is virtually impossible to feel any empathy with any of the characters, as they are all universally loathsome. But it’s a movie whose flaws are forgivable based on the characterisation and the cracking good script by long-term collaborators Ben Wheatley and Amy Jump.
Tight as it is within its 90 minute running time, I very much doubt you will be bored.
Set in Boston in 1978, an arms deal is going down in a deserted warehouse. Brokered by Justine (Brie Larson, “Room”) an IRA team headed by Frank (Michael Smiley, “The World’s End“) with his business guy Chris (Cillian Murphy, “Inception”, “Batman Begins”) are on the buying side. As ‘roadies’ they’ve brought with them a couple of crack-head friends Stevo (Sam Riley, “Brighton Rock”, “Maleficent“) and Bernie (Enzo Cilenti, “The Martian“) who are far from stable.
On the selling side is South African dealer and “international asshole” Vern (Sharlto Copley, “Elysium“), his suave and wisecracking protector Ord (Armie Hammer, “The Man From Uncle”) and Vern’s right hand man Martin (Babou Ceesay, “Eye in the Sky“). What connects all of these individuals is that no-one likes or trusts anyone else.
Unfortunately, one of Vern’s van drivers is John Denver-lover Harry (the excellent Jack Treynor, “Sing Street”) who has very recent personal history with Stevo. The fuse is lit, and when the two meet chaos ensues: in the words of Anchorman’s Ron Burgundy, “That escalated quickly”!
And, for a 90 minute film, that’s basically it. If you think after viewing the trailer “there must be more to the film than this”…. you’re wrong!
However, what there is of it is enormously entertaining. Played ostensibly for laughs, with very very black humour and an F-word and a gunshot in every other sentence, some of the characters – notably those played by Sharlto Copley, Arnie Hammer and Brie Larson – have some hilarious dialogue. The star turn for me though was Jack Treynor who was just so impressive as the ‘lost at sea’ brother in the delightful “Sing Street” and here delivers a stand-out performance as another brother on a mission… this time a mission of vengeance. You are waiting throughout the film for the inevitable showdown between Harry and Stevo – – and when it comes it is both bloody and memorable.
A cracking 70’ soundtrack, put together by the Portishead duo of Geoff Barrow and Ben Salisbury, involves 70’s classics by Credence Clearwater Revival, John Denver and The Real Kids and it’s hammered out at top volume over the action. The downside of this effect is that – for my old ears at least – it sometimes make some of the dialogue hard to follow.
As a policing exercise, the film clearly has merit. In the same manner as Schwarzenegger’s “Running Man” put criminals in an arena to cull them, so this must have reduced the crime rates in both Boston and Belfast no end! While some may not approve of the levels of violence on show, it is all done in a highly cartoonish way: like a “Tom and Jerry” cartoon, or “Home Alone”, everyone seems to get shot multiple times and yet (in the main) is still active and mobile. All of this makes criticism of the performances something of a waste of time, but I would comment that some of the acting is of the “over the top” variety: surprisingly, I found some of Oscar winner Brie Larson’s scenes falling into this category and snapping me out of the narrative at times.
But overall, my evaluation is now done and I am rooting on the side of it being a brash and exhilarating minor masterpiece. Yes, it’s one-dimensional. Yes, it is virtually impossible to feel any empathy with any of the characters, as they are all universally loathsome. But it’s a movie whose flaws are forgivable based on the characterisation and the cracking good script by long-term collaborators Ben Wheatley and Amy Jump.
Tight as it is within its 90 minute running time, I very much doubt you will be bored.