Category: Netflix (page 11 of 27)

IT CAME FROM NETFLIX! Airplane!

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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The year was 1980. It was a time when volcanos erupted, disco was dying, empires struck back and an actor became President of the United States. Comedy, satire and parody were nothing new to the people of this time, but when Airplane! premiered, it not only delivered the screwiest of screwball pictures to date, it also defined parody films for years to come, on the basis of being an absolute scream.

Courtesy Kentucky Fried Films

The airplane of the emphatic title is a jet liner traveling from San Francisco to New York, and tragedy lurks in the shadows of the plane. The meals available to the passengers are steak and fish, but the fish has gone bad and will poison several passengers and the entire flight crew. Unable to rely on the automatic pilot, Otto, for landing, stewardess Elaine must turn to a man she’s trying to leave behind, a man haunted by his time in battle, the only pilot left on the plane who can save all their lives: Ted Striker.

Stated so plainly, the plot might not sound like a premise for an absurd comedy. However, it does establish a solid basis for clear-eyed, lantern-jawed actors to deliver their lines with stony earnestness, while something absolutely hysterical is going on in the background. Following hot on the heels of Mel Brooks’ Blazing Saddles, Airplane! adds celebrity cameos, direct spoofing of disaster movies (Zero Hour! in particular, which this film actually remade) and brick joke setups to the mix. The result is a movie that is smart, well-paced and very, very funny.

Courtesy Kentucky Fried Films
Mr. Bridges would disagree; it’s totally a serious movie. Totally.

The comedy team of Zucker, Abrahams and Zucker (remember them?) first burst into film with this title, and it changed a lot of things. While comedy was nothing new on the silver screen, it classically involved actors with comedic backgrounds almost exclusively. Airplane! broke that mold wide open with some brilliant casting. Peter Graves, Lloyd Bridges, the aforementioned Leslie Neilsen and especially Robert Stack were known primarily for their dramatic or action-oriented roles. It shows in their delivery, the confidence they project and the way in which their presence inhabits the screen, even as we laugh hysterically at the antics unfolding around them.

Much like The Naked Gun and other films that would follow this one, Airplane! relies on audience attention, very rarely calling direct attention to a gag. Which isn’t to say they don’t; Johnny’s bit with the lights is a notable exception. The crux of the comedy lies in the ability of the actors to maintain straight faces, from Robert Hays’ Ted somberly referring to his ‘drinking problem’ to Captain Oveur’s rather odd questions to the young boy who comes up to the cockpit.

Courtesy Kentucky Fried Films
“Joey? Do you like movies about gladiators?”

To say more would surely spoil a great deal of the jokes. And they’re almost all winners, from the presence of NBA legend Kareem Abdul-Jabbar to the final screen performance of Ethel Merman, from June Cleaver speaking ‘jive’ to a gag Robert Stack pulls that could later be played backwards as a meme reference. It’s packed so full of humor that the disaster movie plot is nearly superfluous. That’s forgivable, however, when the humor is this funny and timeless. The movie might have come out in 1980, but the fact that we can, in 2011, still roll on the floor in reaction to the jokes is a testament to what good writing can do for a comedy. I know what you might be saying: “Surely, this is a glowing recommendation for this movie!”

Spoiler
Yes. It is.

And don’t call me Shirley.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

IT CAME FROM NETFLIX! The Naked Gun

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/naked_gun.mp3]

The parody is hardly a new form of artistic expression. People have been making fun of things other people do since time immemorial. I’m sure there are some cave drawings that, in context, are downright hilarious. For a few years the premiere comedy team for cinematic parody were David Zucker, Jim Abrahams and Jerry Zucker. One of the finest examples of their work came about in the form of a series of films that have been mercilessly pursued, copied and mined for ideas. It all began with The Naked Gun.

Courtesy Kentucky Fried Films

Okay, I lie. It all began with Police Squad!, a television show aimed at taking the piss out of the hard-bitten noir detective shows like Dragnet. The Naked Gun is the full-length film that grew out of that show, starring Leslie Neilsen as Detective Lieutenant Frank Drebin. Drebin’s a decent cop in a bad town, narrating the particulars of the case at hand and his feelings for Jane, a beautiful woman who seems to keep getting mixed up with slick corporate villains. With this somewhat loose outline of a plot, the writers worry less about the drama inherent to noir crime yarns and more about the right timing of a sight gag, the best snappy comeback and the most over-the-top way in which they can tackle a pop culture target.

When Leslie Neilsen passed away I was among those who mourned. His sense of comedic timing and elastic facial expressions were coupled with a fine form of gravitas which allowed him to deliver punchlines with the sort of straight-faced stoniness that’d put the detectives on Law & Order to shame. I consider the Naked Gun films to be among his finest work, though he also really shined in Airplane! to the point that “Don’t call me Shirley” creeped into the common parlance of anybody fashioning themselves as a top-tier wiseass.

Courtesy Kentucky Fried Films
I dare you not to laugh at this great man.

There are two reasons I feel the comedy in these movies work as well as it does. First, the characters aren’t in on the joke. While the actions that take place and the circumstances in which these people find themselves might be ridiculous, the characters themselves very rarely nudge or even wink at the audience to make sure they get the punchline. The things that are clearly ludicrous to us as observers is unlikely to be commented upon by the characters in the scene, as if they’re oblivious to things like odd chalk outlines or the particular detail given by sculptors to the genitals of the statues outside the high floor of an apartment building. The characters might not comment on these things, but there they are, for the audience to behold and laugh at.

Which leads me to the other reason the Naked Gun movies are rightfully considered go-to examples of well-done parodies. The movie assumes the audience is observant, if not smart. Instead of inserting pregnant pauses, obvious musical stings or other shallow means of calling attention to a moment the writers fell all over themselves laughing, the gags and bits play out in a very smooth, almost breakneck manner in terms of pace and execution. You might be wondering what the difference is between The Naked Gun and, say, one of those Scary Movie sequels.

Courtesy Kentucky Fried Films
There’s a joke about the Wayans Brothers in here somewhere…

It seems to me the many of those sequels and spin-off movies act a bit like carbon copies of The Naked Gun. While the content has been dutifully duplicated and updated with even more pop culture references and gross bodily humor, the intelligence behind that humor, the ability of the actors to play their scenes straight and the assumption that the audience doesn’t need their metaphorical hands held to know when to laugh are all absent. Due to this, the humor suffers, and if the comedy in your comedy movie isn’t funny, you haven’t got much left, have you?

That said, comedy is largely a subjective thing. It’s a case of one man’s meat being another man’s poison. I mean, there are people out there who find Grandma’s Boy or Trapped in Paradise hilarious, I’m sure. Still, I’m going to go out on a limb here, and say that The Naked Gun and its sequels have a sort of timeless, universal appeal. They can find a place on just about any Netflix queue. I mean my wife, who typically isn’t a fan of comedies, found them to be pretty funny. And this is the reason I’m tackling these films, you see, because this day, the 18th of March, is her birthday. She recently retooled her blog and there’s lots of content to come there, so why don’t you swing by and check her out? Let it not be said I forget my loved ones on their birthday, even if the only day-of present I can provide is a shameless plug.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

IT CAME FROM NETFLIX! RoboCop

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

{Audio pending}

Capitalism is, in its current form, a very Darwinian way of life. Only the wealthy survive, and if you want to make it you need to cleave yourself to someone with pockets much deeper than yours in exchange for the means to keep on living. Lately the cleaving has been to large corporations instead of individuals. This is why you’ll see public sports arenas bearing the names of dispassionate banks and energy companies instead of the luminaries of the sport. This is called privatization, and it’s the basis for Paul Verhoeven’s Robocop.

Oh, and there’s a robot. Who’s a cop.

Courtesy Orion Pictures

In a near-future vision born of the 80s and bearing a sharp, cynical edge, the police of Detroit have become owned and operated by Omni Consumer Products, a military subcontractor looking to bulldoze a crime-ridden part of the city to build an ultra-modern business district. When the old guard’s robotic answer goes awry during a demonstration, a young turk puts forth his own idea, involving the use of ‘some poor schmuck’. That schmuck is Murphy, a hard-working well-meaning cop transfered into the most violent precinct in the city just in time to killed in the line of duty. OCP scrapes him off of the operating room table, drops him into a robotic body and wires him with primary directives: Serve the public trust, protect the innocent, uphold the law. This is RoboCop, their hottest product ever, but inside the titanium and kevlar, does Murphy still exist?

RoboCop’s one of those movies I grew up with. When I first saw it, I was too young to understand a lot of the underlying themes of the work, but I understood the basics of the plot in and of themselves, and hey, badass robots! Seeing it again, I can appreciate it more on levels beyond mere spectacle and distraction. In fact, watching RoboCop as an adult, it’s hard to shake the notion that Verhoeven might as well be saying “This is what happens when people with money run everything” in big, bright letters.

Courtesy Orion Pictures
Your move, creep.

That said, this is a Verhoeven entry much more in line with Starship Troopers than Black Book. Even more so than the theme of military pseudo-fascism, privatization is something that has remained a pertinent and very real possibility in our modern day and age. There are some of the classic Verhoeven tounge-in-cheek touches, like the stock tickers above the urinals in the OCP executive longue and the 8.2 MPG automobile called the 6000 SUX being hailed as “an American tradition”. These moments of levity not only serve as bridges between the visceral violence but also drive home the point our director is making.

Which isn’t to say that RoboCop is all cerebral anti-privatization rhetoric. There’s plenty of action to be had. From the gunfight in the coke factory to the showdown with ED-209, you’re certainly not going to be bored. It’s hard to shake the notion that the film’s age is starting to show in places, and some of the deeply-seated nuclear fears of the age seem a touch laughable, but the film has the good sense to laugh right along with us. However, it’s also hard to shake the feeling that some of the trends we see in the film – the beleagured, underfunded civil servants, the thriving corporations with rhetoric and iconography disturbingly close to a certain regime from the 1940s, the apathy of the public, the sensationalist news media – came to life all too vividly.

Courtesy Orion Pictures
Say hello to Dick’s little friend.

On top of everything else, Peter Weller does a fine job in the lead role. As Murphy, he’s a nice guy in a bad town, wanting to do the right thing and impress his son while not being a very good shot and making a couple mistakes that lead to his demise. As RoboCop, it’s clear OCP has done all it can to strip him of his humanity, giving him an improved form and more accurate function while watering down all that made him who he was. The struggle he undertakes to regain what he lost, even in some small sense, inhabits this movie with some real heart that, while a touch melodramatic at times, nonetheless makes for a perfect final element to round out a great film.

I was afraid that the years had been unkind to RoboCop. While I did laugh at some of the stop-motion that chilled my blood as a child, I noticed a lot more now that I’ve grown. And everything I noticed just makes the movie better. If you’ve never seen RoboCop, be it because you were too young or you wished to avoid Verhoeven’s signature ultra-violence, do yourself a favor and queue it up on Netflix. Be it blazing action, darkly comedic satire or an intereting twist on a Frankensteinian character, there’s appeal for most within its runtime. It’s well worth your time.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

IT CAME FROM NETFLIX! Law Abiding Citizen

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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As a generally enlightened culture, we are fascinated by the concepts and procedures of justice. We debate what is in society’s best interest, study those who act against that interest and determine ways in which those parties can be dealt with. It’s the reason Law & Order is one of the longest-running shows on television. However, the lament of many an individual with a mind geared towards justice and perhaps even honor is that the system established by our culture is fraught with loopholes, caveats and legal prestedigitation that allows criminals to escape what might be considered their just rewards. Enter righteously motivated and occasionally unhinged vigilantes, from Batman to the Punisher, from Paul Benjamin to the Boondock Saints. While most of these heroes operate outside of the system, Law Abiding Citizen goes a step further by taking on the system itself.

Courtesy Overture Entertainment & Doctor Popcorn

Clyde Shelton is a tinkerer. He’s making a quiet living with a few inventions with his wife and daughter when his home is invaded. Stabbed and forced to watch his family murdered, Clyde then sees months of time and millions of dollars trickle away as his lawyer, hotshot Nick Rice, brokers a deal with more vicious of the two attackers, Doyle, that sends the partner to Death Row while Doyle himself gets a slap on the wrist. Clyde is a little upset about this turn of events. Ten years later, a series of gruesome but highly coordinated events begin to take place, and it soon becomes clear that Clyde has a bone to pick with not just his attackers, but the system that let one of them walk away. It slowly becomes apparent just how dangerous Clyde really is, and Nick is the only person capable of figuring out Clyde’s next move, provided Clyde isn’t actually three moves ahead.

From the standpoint of composition and flow of story, there’s really nothing objectionable about Law Abiding Citizen with one noteable exception. Kurt Wimmer, creator of the exceptional Equilibrium, is good at this sort of intelligent, vengeance-minded scripting. F Gary Gray’s got good directing chops that give us clean scenes and realistic framing. None of the actors seemed to be phoning it in or gnawing overmuch on the scenery. There’s nothing earth-shattering in any of these elements, but neither are any of them bad enough to warrant a mention. It’s a character-driven movie, rather than being fueled by explosions and cleavage, so it was already winning points on that basis alone as it ran.

Courtesy Overture Entertainment & Poptower
A little something for the ladies.

One thing of note, and a big part of the appeal of the story, is just how insanely prepared Clyde seems to be for most of the movie. Take this as your obligatory spoiler warning before I actually get to discussing the end, but from the start of the film up until about the 90th minute, Clyde comes off as a diabolical mix of Hannibal Lecter and Hannibal Smith. He’s intelligent, well-spoken, resourceful and very angry, yet he’s polite when he needs to be and is careful to never tip his hand. It’s like in handing the unrepentant Doyle a plea bargain, Nick Rice accidentally created a supervillain that Lex Luthor would love to have on his payroll if he wasn’t worried about Clyde taking over the business. The extent and execution of his actions reaches that level of impressive deviousness.

The other thing that stood out from the very beginning is this movie’s setting. Call me sentimental but I’m kind of in love with Philadelphia. Considering most of the tension comes from in and around City Hall, which is an exquisite stone building in the heart of a bustling modern metropolis, it was all sorts of eye candy for me. In addition, the prison scenes were shot in the old Eastern State Penitentary, commonly noted as a haunted attraction in these parts. Though I have to wonder what William Penn, the Quaker atop City Hall’s clock tower looking down at most of the city’s buildings, would make of all the explosions in his town.

Courtesy 49th Parallel
“Damn kids these days…”

Okay, last call for those wishing a spoiler-free experience to get out. I’m going to talk about the ending, now, and in retrospect it’s kind of pissing me off. So for most of the movie, Clyde is the sort frighteningly prepared and thorough villain that you can’t help but admire because the guy’s thought of everything. Then he seems to forget things. Like for example, when he sets the bomb for the mayor and Philly’s other top brass, why did he not include a motion sensor at the bottom of the case, activated after he leaves, so that it’d go off if it was moved? And why was his lair unprotected? When Nick and Chief O’Brien (yes, he had another name, and no, I don’t feel like looking it up) break into the place, they flick switches, pull covers off of equipment, so on and so forth. There isn’t one mine, no traps, not a single remote security measure, not even a tripwire! I was throwing up my hands in disgust! I mean, it’s one thing for the villain protagonist to be so smug he gets hoisted by his own pitard, but this was just downright stupid!

In the end, Law Abiding Citizen kind of let me down. I was along for the ride and enjoying it, wondering who was going to die next and how. The realism of its setting and execution pulled me in, but when the ending took a turn for the idiotic it hurled me back out again. What started out as an interesting and entertaining introduction to the origins of a truly menacing and intelligent character became a major disappointment. I’m inclined to say queue it up but shut it off after the first hour and a half. You may be saying, “But I won’t know how it ends!” My response is: Badly. Very, very, very badly. I don’t mean in terms of what happens to the characters, I mean in terms of the last dozen pages of the script getting fed to an angry badger before the scenes get shot. It’s mangled, abused, completely out of sync with the rest of the movie, kind of damp from drool and boy does it smell funny.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

IT CAME FROM NETFLIX! Predators

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

{No audio this week. We apologize for the inconvenience.}

The nice thing about not being an official or professional movie critic is I can be surprised by things. I’ll read, watch and listen to other reviews and keep an eye and ear on the upcoming stuff hitting cinemas, but for the most part when I fire up the DVD player or pick an Instant selection, I can do so free of outside influences and deadlines, other than the polls. I’ve been trying to do that more since a couple people seem to think I need to have more thoughts of my own. In any event, I’m happy to say Predators surprised me. And it surprised me by being more than halfway decent in a really cool way.

Courtesy Troublemaker Studios

A guy in military kit with a wicked automatic shotgun gets dropped – literally – into a rainforest he doesn’t recognize. He soon encounters other folk with similar gear and just as much memory as him regarding how they got here, which is to say none. It soon becomes apparent that this ragtag group of strangers have been plucked from wherever they happened to be and have been brought to an alien world for a purpose. Like stocking a fishing pond with trout, these unfortunate folks have been put into this place just so they can be hunted by the eponymous Predators. Not all is what it seems, however, and the longer some of them survive, the more they learn about this world and the nature of their captors. Other than their wickedly advanced technology and that whole spine-ripping thing.

There’s always been something of an undercurrent of disappointment with sequels to the original Predator up until this point. Instead of increasing the scale of the action in what seems logical to those of us familiar with the success of Aliens as compared to Alien, the immediate sequel to Predator simply changed the setting to a humid LA landscape just slightly reminiscent of Robocop‘s privatized Detroit. From there the Predators got coupled with the aforementioned xenomorphs in some lackluster AVP entries that were nowhere near as awesome as the original graphic novel cross-over. They vanished from movies for a bit to appear in a couple video games, until one of those half-mad genius visionaries decided to give them one more chance at kicking some ass: Robert Rodriguez.

Courtesy Troublemaker Studios
From left: Heavy Weapons Guy, Surprise I Don’t Die First, That’s Mister Brody To You, Totally Not Ziva From NCIS, Badass Silent Yakuza Hitman

I covered his exploits as a director extensively last week, one or two factual hiccups aside, but this guy is actually to the production side of movies what “triple-threats” like Gene Kelly and Justin Timberlake are to the acting side. Not only is he a visionary director and a bold if somewhat tongue-in-cheek screenwriter, he’s also a no-nonsense producer. He’s backed almost as many films as he’s directed, and while some of them have been his own work, Predators is a project he’s thrown himself behind with obvious positive results. Nimród Antal had shown his directoral chops with small entries like Vacancy and Armored, and here Rodriguez has pointed his aesthetic sense directly at this long-awaited ‘genuine’ follow-up to that much-beloved if somewhat flaming 80s action classic.

Now, this isn’t exactly the next Inception, here. Don’t misunderstand. As much as I was having fun watching a genre-saavy Adrien Brody and several other notable character actors tromp through the jungle and wondering when and how the Predators were going to start picking them off, I couldn’t quite shake the feeling that half the reason this movie got made was almost as an apology to long-suffering Predator fans who’d felt cheated out of a proper sequel for decades. It’s a B-movie, and makes no apologies about being a B-movie, so viewers interested in keeping their eyeballs unsullied by B-movies will want to give this one a pass. Finally, Predators tries to stand on its own to the degree of more than a few expository scenes filling time with back-and-forth with the characters about where they are and what’s going on as opposed to who they are.

Courtesy Troublemaker Studios
“Go ahead. Make fun of The Pianist again. Did you forget I’m an Oscar-winner, bitch?”

Then again, that might be part of the appeal of this sort of movie. The composition of the protagonist team is just diverse enough in personality as well as nationality to give us a snapshot of the kind of people the Predators feel ‘worthy’ of their attentions, and as much as this is not exactly a script that makes the ancient farts at the Academy salivate into their porridge, none of the actors seem to be phoning it in. There’s just enough sincerity to make the audience generally interested in what happens to these people, and just enough tongue-in-cheek callbacks to the original, reaching back over years of lackluster abuse of the IP, to give it a much-needed injection of awesomeness.

Fans of Predator, your years of disappointment are at an end. Fans of science-fiction action, this one’s right up your alley. Fans of Adrien Brody… well, he looks pretty cut and he’s actually got some decent one-liners, so yeah, give it a shot, but it’s not for the squeamish. It’s waiting for you on Netflix, but minor spoiler alert, folks: there are no helicopters in Predators. So, if you were hoping Adrien or perhaps Danny Trejo would have the opportunity to yell “GET TO DA CHOPPAH!!!”… sorry to disappoint.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

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