Doc Watch: Electric Boogaloo - The Wild, Untold Story of Cannon Films (2014)

I started watching this doc thinking I'd make it maybe 15 minutes in, get bored, and move on with my life.  But, really, my primary complaint about the film is that it seems like it could have run an additional 30 minutes or so, delving into more of the impact of Cannon Films on popular culture and where the movies found their audiences, and not ever felt like it was running long.

Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014) is exactly what you see in the title.  It's a doc about the rise and fall of the independent movie studio responsible for an ungodly amount of the types of movies suburban kids consumed by the truckload back in the 1980's - particularly when our folks were off doing other things and not paying much attention to what we were watching.  Cannon was responsible for just a tremendous number of movies of all genres, and for a kid back in the 1980's, it was pretty typical to go rent a movie, come home, throw it in the VCR and see the Cannon logo scroll out before you.

The basic hook of the movie is that Cannon was fast, cheap and out of control.  They were making movies fast and furious, producing what they assumed was crowd-pleasing stuff, leaving decorum, taste and craftsmanship behind as they raced to give us an endless supply of films loaded with violence, nudity, ridiculous plots and a way to kill a couple of hours on a Saturday night.  They gave us everything from Breakin' parts 1 and 2 to The Last American Virgin to American Ninja to Bolero to Invasion USA to Masters of the Universe to Over the Top, and dozens and dozens of movies in between.  If you're over the age of 35 or so, it's highly likely you raised yourself on a steady diet of their output running on cable or from the local Mom & Pop video rental shop.

Raimi Watch: Darkman (1990)

I don't believe anyone in the movie actually calls the main character "Darkman", btw

What to say about Darkman (1990)?

It's hard to categorize as "good", and I think my affection for it is rooted in nostalgia and the electric current I got seeing this very, very strange movie when I was 15.  It came out just shortly after I'd moved to Spring, TX, where I'd live from grades 10-12.  I was vaguely aware of a movie called Evil Dead 2 that you were supposed to see, but I hadn't seen it yet, and I'd never heard of Sam Raimi.  I just took Darkman for what I thought it was and what I'm sure the studio brass also thought they had: a royalty-free superhero movie they could make cheaply and quickly to ride on the coattails of Batman (1989) and America's awakening interest in superhero movies about "dark" heroes.

400 Years Since We Lost Billy Shakespeare

Purveyor of dirty jokes for more than 400 years

April 23rd (yesterday) marked the 400th anniversary of the death of William Shakespeare.

What an absolutely strange relationship we have with Shakespeare.  And by "we", I mean everyone dwelling the planet who has to wrangle with the English language, and, therefore felt the impact of the man that people in tweed jackets call "The Bard".

What other writer can you say "I got my Masters in X", and people simply nod in understanding?   Who else did every one of us start reading in middle school and carry on reading after college?  What other 17th Century playwrights have you seen lately?  Who else coined more phrases and uses of phrase than Billy Shakes?

Why Did I Do This? Watch: Can't Stop the Music (1980)

"I can't believe you haven't seen this movie," my boss said to me.  "It's terrible."
And, me, never one to shirk from a challenge, saw that it was, indeed, free on Amazon Prime.
Sigh.
Hubris is always punished, my friends.

To complain about a movie that convinced a group of people to found The Razzies is a somewhat pointless endeavor.  But, yeah, you can absolutely see how this movie would have convinced someone to make sure the ineptitude of the filmmaking got its own special notice.  It's a movie so bad, you kind of feel like maybe you'd go crazy if forced to watch it two or three times in a row - a designation I reserve for a very few films of the Manos: The Hands of Fate variety.

In some ways, it feels like a 1940's Mickey Rooney/ Judy Garland film, as a songwriter (Steve f-ing Guttenberg) and former model (Valerie Perrine) put together an act and put on a show, recruiting their upstairs neighbor (who happens to always dress as a a Native American stereotype) and some guys they know from the disco (a portion of what is to become The Village People).  The old-timey tone may make sense when you find out it was directed by Rosie, the Bounty Towel pitch-lady/ Rhoda's mom/ comedienne who appeared with Mickey Rooney in films, Nancy Walker.

Disney Watch: The Jungle Book (2016)

As kids, most of us caught Disney's post-Walt release of The Jungle Book, based upon the works of famed British writer Rudyard Kipling.  When it comes to Kipling, I have no real opinions.  After all, I've never Kippled.

But thanks to a love for Disney animation and Jamie's deep fondness for the movie, I've seen the 1967 cartoon a number of times.  It's not my favorite Disney animation, and my appreciation for the movie swings between adoration and annoyance, depending upon the sequence.  Balloo = Yes.  Kaa = irritation.

It does have one of the strongest sing-along soundtracks of any of the movies, and is up there with the best when it comes to "Bear Necessities" and "I Want To be Like You", even if the latter is in a portion of the movie I found just kind of confusing as a kid.

But it's also got an underrated villain in Shere Khan.

I've also seen the 1990's Jason Scott Lee version of the movie (but don't remember it in the slightest), and a good portion of a 1942 release, which is much better than you'd guess.

I wanted to be skeptical of this version, but Jon Favreau's name was attached as director.  As goofy and normal as Favreau comes off in his roles and in interviews, he's a smart guy and already turned into as solid a director as you were going to find way back when he put out Elf, and then two Iron Man movies in a row that I quite liked (yes, I like Iron Man 2.  Shut up.).

But, man, that's some tough source material, and these days, when it comes to family entertainment, the forces at work seem to be a mix of risk-averse accountants, shrieking parents groups terrified their kids might find out how things work outside their carefully helicoptered environs and a fear of being seen as anything less than a perfect exemplar of safety first.  The idea of a story taking place in a world ruled by tooth and claw seems like it would catapult this kind of story into the same PG-13 arena as the Marvel superheroes.

The first trailer made me more skeptical than excited, but a very recent trailer that came out maybe a week or two before the film's release turned me around a bit, and, of course, I was cheered by a very positive Rotten Tomatoes score (floating around the mid-90's last I checked).

I'll be honest, I loved this movie.

Today Marks the 81st Anniversary of the Release of "The Bride of Frankenstein"

I've already written plenty about Bride of Frankenstein, but - let's get real - it's one of my favorite movies of all time.  I'm going to talk about it whether anyone cares or not.

The movie was released on April 22nd, 1935.  I've now seen it, probably 16 or 17 times, and every time I watch, like all great movies, I don't just enjoy it, I get something new out of it.  In short, I can't recommend it enough.  And, if you do watch it and don't like it, or if you don't see what I like about it, I'm always happy to chat on the topic.

Yes, the movie is supposed to be funny, so you may feel okay about laughing.  If you ever see Una O'Conner show up in anything, it's okay to laugh.  Yes, the film is supposed to be weird in both the modern and classic sense of the word, and it's generally the uncanny atmosphere of the movie I relish more than anything resembling a scare.  But, yes, it's mildly scary, sometimes, I guess.  And sad.  Only Dr. Pretorius here is having any fun.  Both Frankenstein the Doctor and Being are caught up in a world that torments them despite their better intentions and honest desires.

A complete story in only 80 minutes or so, even if I think you're selling yourself a disservice not watching Frankenstein and Bride of Frankenstein back-to-back for a good 3 hour movie.

Below are some posters for the picture - not the Mondo posters, many of which I quite like, but the original posters.  And, then, some of photography from stills and the film itself - one of the best visually imagined of the Universal Horror movies - or any movie in any year.

Prince Merges With The Infinite

According to media reports, legendary musician and iconoclast, Prince, is dead at 57.

Oh, man.

Purple Rain hit the radio and movie theaters when I was still in elementary school.  We were Top 40 listeners, and I have firm memories of sitting in the back seat of my Mom's 1983 Honda Accord and listening to Prince on the radio.  In particular, I remember my mind being blown by my first listen to "Let's Go Crazy" as we were headed to take my brother for allergy shots.  Not exactly what Prince had in mind for reaching an audience, but there it is.

I liked Michael Jackson.  I loved Michael Jackson, but Michael was talking to me where I lived as a suburban kid.  Prince was a streetwise ladies man talking about being a complicated man in a complicated world.

John Williams Appreciation Post: Close Encounters of the Third Kind (Finale)

You're gonna need to block out fifteen minutes for this one.  Sorry.

A few years ago The Alamo Drafthouse was running a series based on a local radio show, "Film Score Focus", where the host of the show came, talked a bit about the score for the movie you were about to see, and I think maybe again afterwards.  The screening we attended was for Close Encounters of the Third Kind.

It's a fascinating score, one that saves a movie that could have been terrifying and turns it into a work of wonder.  After all, it's a movie about communicating with beings from another world/ plane/ what-have-you, via the power of music.  We may not have a similar written or spoken language, or other form of communication, but we can peacefully share notes back and forth to show our good intentions.

Host of Film Score Focus, Brian Satterwhite, rightfully pointed out that - if one listens - the score is constantly blending a few things.  Yes, that child-like piano riff we all think of with Close Encounters, but also Disney's "When You Wish Upon a Star", which makes itself heard fully at around the 10:50 mark of this clip.

It's a nice bit of work, that.

It's all about The Harriets: Harriet Tubman replaces Andrew Jackson on the Twenty Dollar Bill

Late Edit:  A more full story in the NYT tells me some of what you see below isn't entirely correct.  Looks like MLK, Sojourner Truth, Susie B. and Eleanor Roosevelt all made the cut in their own way.

Though the changes seem to take place infrequently, the US Currency does, in fact, change over time.  Bills don't look the same way they did when I was in college, and I couldn't tell you what's on the back of a quarter, because I don't think they've printed two alike in 10 years as they've been featuring imagery connected with all 50 states.

A couple of years ago, someone noticed that US currency, when it carried a depiction of a human, was adorned almost entirely with the images of old, dead white men.  That's the way its been my whole life, and - as a white guy, I hadn't thought about it a tremendous amount, or any more than I think about why they use yellow in the middle of a road or why Wendy's Hamburgers are square.  That's just a thing that was that way when I showed up.  The only real challenge to this notion has been the Susan B. Anthony dollar coin and the not-much-used Sacagawea coin, which I only get as change from vending machines.  But on our paper currency?  White dudes.  Just like movies starred white dudes and looking at most of Congress?  White.  Dudes.

Now We Are Six - The Sixth Anniversary Post

JimD has alerted me that this date marked the final post at the first blog I ran, League of Melbotis.  That statement is semi-correct.  It is the final post one would see, I suppose, if they visited the site, but I shut down the blog back in in December of 2009 with 3420 posts.  That site had a start date of about April 6th, 2003.

The post on April 20th, 2010 at League of Melbotis was part of my return to blogging, redirecting folks over to this site.

On April 20th, 2010, a "to review" post went up on this site and covered what we had been on about at League of Melbotis.  On April 23rd, I dipped my toe back into the blogging waters.  You can see the posts that week as we returned to greatness.  

By the time I launched this blog in 2010, blogging was on its way out, replaced with Instagrams, tweets and Snapchats.  People refer to their feeds on Tumblr as "blogs", but, let's get real... that isn't a web log.  That's re-posting stuff.  It's a terrible forum for long-form posting.

League of Melbotis was a bit more of what people kept back then insofar as a "personality" blog.   I considered it my sandbox and clubhouse, a place where other folks would drop by.  It was far more unpredictable in nature than the media-review heavy form of this site, and the readership felt like a little social circle.  We had little focus.  We might talk Elvira in one post and the Iraq war in another, what I had for breakfast in the next.  That sort of thing was passe in 2010, and I've not really ever thought about going back to that format.  Keep it simple-ish.  Talk about the news when it's unavoidable.