Dasher111 Reviews

Richie Rich (1994)

Solid family film that follows the comics

[7/10 · 6 December 2021]

I was a Richie Rich fan as a kid, having read the comics and watched the animated series, so when this film came out I was obviously curious to see it. I think it is an entertaining family film that did a respectable job in adapting the source material on which it's based.

Culkin was OK as Richie, cast more for his star power and blonde hair than anything else. He would have worked better in the role if he was a few years younger. Jonathan Hyde was superb as Cadbury and anchors the film. While I missed Irona and wished Reggie had a larger role (since he was a frequent enemy of Richie's in the comics and cartoon), they did give nods to such characters as Bascomb the chauffeur.

The plot drew its inspiration from many of the stories in the comics and cartoon: Richie on an adventure that typically involved saving his family and/or his family's wealth, using his wits and Professor Keenbean's gadgets.

I haven't seen the direct-to-video sequel or the Netflix series, but I've showed this film to both of my children and they enjoyed it.

Soul (2020)

Soul glows (sometimes)

[6/10 · 28 December 2020]

On a first viewing, I thought the movie was okay, a step down from Pixar's other excursions into the metaphysical realm, "Coco" and "Inside Out," both of which I loved. For me, the high points of the film were: the voice acting, animation, music, the character of Joe, and the overall message. My biggest gripe was its conception of the soul world, the mechanics of which were tedious to sit through and frustrating to unpack. I had no interest in Tina Fey's abstraction-blob character of 22 - none whatsoever - and pleaded for the film to get back to the far more interesting atmosphere of Joe's life in New York City, richly textured in both style and substance here. I wish the film had taken place more, or entirely, in that setting, even if that meant reworking other aspects of the film.

The film has its merits, and I would be willing to give this another watch, but I still feel like this could have been better.

Falling Down (1993)

Superb examination of violence and aggression in America

[10/10 · 30 December 2004]

In Leonard Maltin's book, the entry for this film says, "What exactly is the point?" Well, Leonard, I'll tell you. FALLING DOWN is a critique of violence and aggression in America, particularly - but not limited to - white heterosexual males. The point of the movie is to demonstrate that America falsely celebrates itself as a "land of opportunity" and a "melting pot"; rather, it's a powder keg of selfishness, arrogance, and prejudice that can cause anyone to snap for any reason.

The movie suggests that this anger is learned at a young age through the media. Notice how the daughter of D-Fens (Michael Douglas) is playing with a water gun while watching violent cartoons. And of course, there is the boy who immediately assumes D-Fens is filming a movie because he has a bazooka. The boy then teaches him how to use the weapon because he saw it on TV.

But the film doesn't lay the blame entirely on the media. It also covers the psychological aspect of violence, namely the impact of a person's work and family life on their state of mind. The movie perfectly shows how one can affect the other, while both affect the whole person. D-Fens was divorced, unemployed, and raised by a weirdly obsessive-compulsive mother (Lois Smith). His life - empty and routine - turned him into "some kind of machine," as she put it. Meanwhile, Prendergast (Robert Duvall) had become a human punching bag at his job, picked on at work the same way he was picked on at home. It's only with the help of his sympathetic partner (Rachel Ticotin) that Prendergast is finally able to stand up to his co-workers and his wife. Sucker-punch notwithstanding, he used more appropriate forms of aggression than D-Fens did.

Overall, this is a brilliant film with a lot to say about the violent and angry times we live in. It should really be seen by everyone.

Willy Wonka & the Chocolate Factory (1971)

A classic

[1 August 2004]

Despite several changes which angered fans of the book (including author Roald Dahl), WILLY WONKA AND THE CHOCOLATE FACTORY is a film with almost universal appeal. Anyone can relate to this tale of wish fulfillment and human morality, the story of a poor boy who hits the jackpot by "staying the course" and avoiding many traps and temptations that are placed before him.

Sure, the production values are dated, and there was really no need to pepper the film with song-and-dance numbers (although a couple of them, such as "Pure Imagination" and the Oompa Loompa chant, have reached legendary status). Nevertheless, WILLY WONKA ranks among the best live-action family films of all time.

The Big Picture (1989)

Nick Chapman - an indie-film pioneer?

[3 April 2004]

THE BIG PICTURE is a breezy satire of the movie business from the mind of writer/director Christopher Guest (BEST IN SHOW, A MIGHTY WIND). It tells the story of Nick Chapman (Kevin Bacon), a young film director who gets put through the Hollywood wringer. Studio executives, agents, and starlets all prey on Nick's naivete and he eventually sells out, neglecting his girlfriend and best friend in the process.

What's interesting about THE BIG PICTURE is its grassroots portrayal of how Nick finally launches his Hollywood career - by starting small, doing his own thing, and involving his friends. Those are basically the tenets of independent film, which boomed in the decade following THE BIG PICTURE.

Nowadays, many of those indie directors - among them Steven Soderbergh, Robert Rodriguez, and Christopher Nolan - are getting hired to do big-budget studio pictures. In fact, Soderbergh's "sex, lies, and videotape" was released the same year as this movie.

Was Nick Chapman's "Pez People" video responsible for the indie film movement? Not likely, but THE BIG PICTURE was certainly an advocate of its principles.

Batman Returns (1992)

The Penguin for Governor of California!!! (SPOILERS)

[20 August 2003]

Yes, the Penguin has entered the gubernatorial race in California, joining a field of over 100 candidates - when asked why he threw his hat into the ring, he said something about not wanting Mr. Freeze to win...

Seriously, it's hard to believe that two recent news stories in America - a political recall and power problems - served as plot points in a Batman movie. But that's exactly what happened 11 years ago in "Batman Returns," the second of the Dark Knight's big-screen adventures.

Many people forget that the REAL villain of this movie is not the Penguin or Catwoman, but business tycoon Max Shreck (Christopher Walken). He not only causes the creation of Catwoman (Michelle Pfeiffer), but intends to build a power plant that would drain Gotham City of its energy supply. The film doesn't mention it, but this would probably cause rolling blackouts, similar to the outages that occurred in the Northeast and Canada on August 14, 2003. The Gray Davis-lookalike mayor (Michael Murphy) is staunchly opposed to the project, so Shreck orchestrates a recall, nominating the Penguin (Danny DeVito) as a mayoral candidate and using the Penguin's gang to create urban chaos. As if that weren't enough, Bruce Wayne, Alfred, Selina Kyle, Chip Shreck, Commissioner Gordon, the Organ Grinder, the Fat Clown, and the Ice Princess announce THEY'RE running for mayor of Gotham City. What a mess this recall is. :)

Wanna bet this is where Arnie got the idea to be a political candidate? He and DeVito are buddies and Batman villain alumni. I can just see DeVito calling him up, reminding him of the recall in this movie. But I digress.

Back to the movie: unfortunately, the screenplay doesn't do enough with Shreck's quest for power (both literal and figurative). Here's a plot hole: why did Shreck think the Penguin, as mayor, would let him build his power plant? After all, the Penguin extorted help from Shreck with knowledge of his corrupt businesses. So Shrek KNEW the Penguin was onto him. Moreover, there was never any connection established between the Penguin and the power plant. Ultimately, it doesn't matter, because this subplot is pushed aside in favor of more screen time for Catwoman, memorably played by Pfeiffer.

In spite of the cluttered storyline, "Batman Returns" has good action scenes, clever dialogue, rich performances, and nifty production design. At the very least, it gets credit for depicting political and electrical power as strange bedfellows.

Bend It Like Beckham (2002)

One of the best sports movies ever!

[1 June 2003]

"Bend It Like Beckham" is one of the best sports movies I've ever seen. The reason is because it focuses on a sport that has rarely been covered in film (women's soccer) and it does so in a way that is warm, affecting, and real. I have confirmation of this from a reliable source - my girlfriend was a star soccer player in high school and college. She said that all of the details in the film were completely spot-on - the feelings toward the male coach, the bonding and jealousy that the girls alternately feel toward one another, and the female emotions that play themselves out on the field.

She even said that one of her teammates had to attend a wedding the day of a game, similar to Jess! Also, just like the coach in the film, my girlfriend's soccer career ended with a knee injury.

Obviously, the film is a must-see for female athletes past, present, or future. But it isn't necessary to be a sports fan to appreciate it. What makes the film special is that we can all relate to a story of someone who is striving for their own independence and identity.

Spider-Man (2002)

Good origin, but little else original (SPOILERS)

[12 May 2002]

"Spider-Man" is a respectable adaptation of the comic-book superhero. This is the first film in a hoped-for series, meaning that it's an introduction to the character and his world. This is never really the most interesting type of story, in films or comics, but everything has to start somewhere.

The problem with this film is that unlike "Superman" (which only told the hero's origin) or "Batman" (which did it for the villain), "Spider-Man" gives both the hero AND the villain's origin - and forgets to come up with a plot for the two of them.

The first section of the film explains how Spider-Man came to be. With the exception of some contemporary changes, it matches the comic-book origin almost scene for scene. We learn how nerdy teenager Peter Parker (Tobey Maguire) gains arachnid abilities after an ill-timed spider bite. After a brief stint in wrestling, a personal tragedy convinces him to fight crime. This material is faithfully handled by director Sam Raimi and screenwriter David Koepp. It's a testament to the power of the Stan Lee/Steve Ditko tale that the filmmakers kept so much of Spider-Man's origin intact.

Meanwhile, Spidey's first nemesis is born - defense contractor Norman Osborn (Willem Dafoe) tests a "performance enhancer" serum on himself and develops an evil alter ego. He steals his company's flight suit and rocket-powered glider, and takes to the skies as the Green Goblin.

The film starts to unravel after Spider-Man and the Goblin meet at the World Unity Festival (the film's best action sequence). A wimpy scene has the Goblin proposing to Spidey that they join forces...but to do what, exactly? And why would the Goblin do this after seeing Spidey rescue people? Wouldn't he know what side he was on? It doesn't make sense.

There is never a clear motivation for what the Goblin wants - and, therefore, never a good reason for him to go after Spider-Man. Once the two origins were told, the script needed a larger-than-life plot to keep things interesting. In "Superman," it was Luthor trying to destroy California and make millions in real estate. "Batman" had the Joker's product tampering. In "X-Men," it was Magneto's campaign to turn world leaders into mutants. "Spider-Man" just never raises the stakes to these levels.

Still, the film is enjoyable and it gets the job done, laying the groundwork for future sequels. 3 stars out of 4

Sleeping in a Dream (2000)

Staten Island "Swingers"

[6 February 2002]

"Sleeping in a Dream" is a comedy about a wanna-be actor who hangs out with his buddies, drinking and playing sports, but has trouble meeting women. Eventually, he does find a steady girlfriend and a regular job, but feels that he is being held back from pursuing his dream.

Any of this sound familiar? In his writing and directing debut, Jerry O'Donnell (who also stars in the lead role) has crafted a story that is basically a Staten Island version of "Swingers." He even borrows from Adam Sandler's "Big Daddy," casting a Sandler lookalike (Robert Douglas Marko) who, like Sandler's character, is a loser supporting a child.

One problem is that except for O'Donnell, none of the male characters really stand out. They are all one-dimensional and indistinguishable from each other. The girlfriend role (Diana Marquis) also isn't well-developed or played.

However, the film does have some genuinely funny comedic moments (the Twinkie scene is a definite highlight). O'Donnell makes good use of the Staten Island color, giving the film a refreshingly honest and unapologetic tone. But the script tends to meander, and really could have benefited from tighter editing or a stronger narrative.

Overall, this isn't a bad film, but it certainly doesn't break any new ground.

Lean on Me (1989)

Great acting, so-so script

[30 April 2001]

Morgan Freeman's performance is the real reason to see this film. He's helped by a solid supporting cast, leading to some truly memorable scenes as principal Joe Clark (Freeman) battles teachers, parents, and administrators who are outraged by his controversial methods.

But this film deserved a grittier treatment than what it was given. The script is an awkward blend of inner-city drama with feel-good heroics. The subplot about the basic skills test should have been scrapped. First of all, it never happened in real life. But more importantly, it changed the entire tone of the film. Clark's story was about how he disciplined a school, not how he educated it. The softened approach leaves LEAN ON ME at odds with itself - it tries to be like STAND AND DELIVER, when it should have been like THE PRINCIPAL.

Ghostbusters II (1989)

A cutesy and cuddly sequel (SPOILERS)

[7 April 2001]

Ghostbusters II is an okay sequel to a classic comedy. Some of it is funny, but the quantity and quality of the jokes do not come close to matching the original.

One of the criticisms of the first film was that the characters were too cold and mechanical. This sequel makes the characters more likable and well-rounded, but in so doing, the attitude of the film has been diluted. A lot of the original film's New York sarcasm and cynicism has been toned down.

Another problem is that the script recycles far too much material from the first film. Once again, bureaucrats want to shut down the Ghostbusters. Once again, the Ghostbusters plead their case to the mayor. Once again, they are incarcerated while ghost activity hits a frenzy. Once again, there is another big thing that lumbers down the streets of Manhattan.

Some have said that the sequel was aimed at a younger audience, since the "Ghostbusters" cartoon began airing in the five-year period between films. Still, I felt there was enough potential for the series to continue. If a third installment ever gets made (unlikely at this point), it would probably get a major overhaul, with new actors and a new location (the Ghostbusters go international, perhaps?).

Cobra (1986)

You'll hiss at this Cobra

[18 March 2001]

At the height of his popularity in the mid-1980s, Stallone tried to create another icon to add to his Rocky and Rambo characters. COBRA is said to be Sly's version of BEVERLY HILLS COP, a project he was once attached to star in.

The film casts Stallone as Cobretti, a cop who takes over on cases that nobody else wants. He chews a match, eats cold pizza, drives a fast car....and tries to protect a beautiful model from a gang of killers.

Despite cardboard characters, laughable acting, ridiculous plotting, and stupid dialogue, the film's action scenes are fairly well done. There are also a couple of interesting ideas (a Darwinist cult, a critique of the criminal justice system) which are touched upon but barely developed.

Following "Rocky IV," this was Stallone's second straight film to feature Brigitte Nielsen, flashy montages, and robots. That's right, robots. You can see them in the background of the scene where Brigitte is modeling. Any movie with that combination can't be good.

The Twilight Zone (1959–1964)

Hollywood loves the Twilight Zone!

[10 March 2001]

The original "Twilight Zone" is, without a doubt, the greatest television show of all time. Ever since it went off the air, it has been a reference point (and in some cases, the blueprint) for stories in almost every genre.

With originality at a premium in Hollywood, writers and producers continue to mine old TZ episodes for script ideas. A doll that comes to life with evil intentions? Before there was Chucky in CHILD'S PLAY, there was Talking Tina in the TZ episode "Living Doll." A little boy who communicates with the dead? Billy Mumy did it in "Long Distance Call," long before Haley Joel Osment's SIXTH SENSE. How about a man who can read other people's minds? Forty years before Mel Gibson learned WHAT WOMEN WANT, Dick York had "A Penny For Your Thoughts." Hell, even the awful comedy MANNEQUIN borrowed from the episode "The After Hours" for its basic premise. And I haven't even mentioned THE TRUMAN SHOW, POLTERGEIST, CLOSE ENCOUNTERS OF THE THIRD KIND, and other titles that are basically feature-film versions of TZ episodes.

The next time a "Twilight Zone" marathon comes on the Sci-Fi Channel, treat yourself to a viewing. You'll be amazed at how much it has inspired the Hollywood filmmakers of today.

Black Sunday (1977)

Slow build, rewarding payoff

[25 January 2001]

For a film of this genre, "Black Sunday" is unique because it fleshes out the characters of the terrorists (Bruce Dern and Marthe Keller). These are not just cardboard bad guys; they have real emotions and motivations. We spend a lot of time with them as they account for every detail of their Super Bowl attack. To me, this was fascinating because it's so rarely done anymore. Imagine a film that showed Hans Gruber planning the building heist in "Die Hard"....that's what this is like.

Of course, all of this would go for naught if the climax fell flat. Fortunately, director John Frankenheimer is up to the task. The last 30-40 minutes of this film are tremendously exciting, thanks to crackerjack editing and a suspenseful John Williams score. The producers also got permission to use the Goodyear blimp and actual Super Bowl game footage, adding some much-needed realism to the film.

Soon, Paramount Pictures will begin production on "The Sum of All Fears," based on the Tom Clancy book about a terrorist plot to nuke the Super Bowl. It will be interesting to see how that measures up to "Black Sunday."

What Women Want (2000)

"The Twilight Zone" did it better

[20 December 2000]

I thought this movie was okay. The first hour sails along, and is actually quite enjoyable. But the filmmakers don't do enough with Mel's mind powers. Eventually, this hilarious premise gets lost amid a sea of characters and subplots that add length where none is needed. In fact, the last 30 minutes feel like warmed-over leftovers from another Helen Hunt flick, "As Good As It Gets".

Actually, this same idea was done in 22 minutes and 40 years ago. I'm referring to the Twilight Zone episode "A Penny For Your Thoughts," which starred Dick York as a bank clerk who is suddenly able to read minds. Look for it sometime on the Sci-Fi Channel; it's better (and shorter) than WWW.