Here’s a concept: The feds camping out in suburbia with annoying Chevy Chase and his annoying family trying to lay down surveillance on the murderous counterfeiter who lives next door. It’s as asinine as it sounds, and as much as I actively avoid Chase (the guy just isn’t and has never been anything close to funny), the film has two redeeming factors: Jack Palance as the cranky, chain smoking veteran agent in charge, and Robert Davi as the scary criminal who has a habit of killing anyone he does business with, and a few watermelons along the way. Palance and his junior agent shack up with Chase’s hapless blue collar simpleton, his wife (Dianne Wiest) and kids. The old grump couldn’t be unhappier about it either, especially when Chase takes it upon himself to do recon all his own, royally screwing up the operation and nearly blowing their cover at every turn. Palance is priceless as always, Davi is reliably menacing and even Wiest has a sunny naivety that’s almost winning… the problem is just Chase. The guy is neither funny nor engaging, and just looks like a thumb with hair sitting there trying every trick to make us laugh and failing. An above mediocre comedy that’s best viewed on cable as background noise.
Frank is joined with filmmaker and recurring Podcasting Them Softly co-host, Derek Wayne Johnson to discuss one of their favorite films, Tim Burton’s BATMAN. Derek also speaks on his current projects in post-production, STALLONE: FRANK THAT IS and his documentary on the original ROCKY.
Tim Burton’s Batman has to be of one of the most unique caped crusader films ever made. One villain, where in every other outing there’s a handful. A Prince soundtrack. The craziest gothic production design this side of Fritz Lang’s Metropolis. It’s one of my least favourite in the string of cinematic Batman films, probably falling somewhere under Nolan’s efforts and Burton’s superior sequel Returns, but that doesn’t mean much because on it’s own terms, it’s really something special. The aesthetic employed here is important not just in comic book films but in the realm of special effects in general. Burton carefully composes a world that reminisces on the grainy Hammer horror movies of the 50’s and infuses that with the stark trench coat noir from 30’s gangster flicks. He’s a director who has always understood that atmosphere is key above most other things in a production and it’s thick as a fog bank here. Then there’s the casting of Michael Keaton, a physically unassuming choice for Batman who seized the moody aspects of the character and took them to new introspective heights, barely uttering three words as both Bruce and Bats. The hook of this film was obviously meant to be Jack Nicholson’s rowdy, boisterous Joker, so much so that he got billing above Keaton. In a subdued, musty Gotham city, he’s the one splash of psychotic colour that stands out, a relentlessly cartoonish yet very scary ignoramus who cements the aforementioned old school gangster vibe, especially in an origin prologue where he’s just Jack Nicholson sans makeup and fanfare, which is when we see some of his best work of the film no less. Kim Basinger feeds off of Bruce’s sullenness as Vicki Vale, a news reporter and obligatory love interest, but Basinger dodges the cliche a bit and simmers underneath the sex appeal, especially when she falls into the Joker’s clutches and we see past trauma burning in her eyes, whether it’s Vicki’s or Kim’s, we’ll probably never know. Robert Wuhl, Billy Dee Williams as a pre Two Face Harvey Dent, Pat Hingle, and Michael Gough all make vivid appearances, but I especially enjoyed Jack Palance as a nastily corrupt kingpin/politician who’s partly responsible for Nicholson’s epic caterpillar into sociopathic butterfly metamorphosis. The real star of the show here though is Gotham City itself, seemingly conjured up from the darkest shared dreams of Count Dracula and James Cagney. It’s a monumental achievement in set design that has influenced countless other projects since and serves as one of the textbook urban hellholes in cinema. This may not be my favourite Batman flick as it is for some, there’s a few things that stand out. The celebratory score by Danny Elfman, although brilliant in it’s own right, seems to clash a bit with the dingy, cobwebbed vibe of Gotham and I’m always curious how the atmosphere would have been if they went with something a bit darker. A minor quibble in an overall picture that’s a stroke of genius though. From that baroque Batmobile catching air through a giant waterfall to the inky black and deep purple silhouettes of Bats and Joker atop a cathedral loft, this film has since been engraved into legend and stands as one of the most iconic comic book flicks.
It was owning a fast car that booked a young Michael Schroeder his first trip onto a film set. With Chief Dan George (The Outlaw Josey Wales) in the seat next to him, Michael was instructed to drive as fast as he could toward camera. He took this request literally.
While no one was injured, and though this early encounter did not go exactly according to plan, the crew assembled in cowboy hats and shorts seemed to be having a lot more fun than the group of aging lawyers with whom Schroeder had spent this previous evening. So he quit trying to be become a lawyer and ran of to join the movie business.
He began his professional career as an assistant director working on such films as Revenge of the Ninja, Lambada, Highlander 2 and Guests of the Emperor. In 1988 he would take the director’s chair on Mortuary Academy. Fourteen features would follow, among them Dead On: Relentless 2, Angelina Jolie’s debut Cyborg 2: Glass Shadow, Cyborg 3(apparently Schroeder’s most lamentable experience) and his career high and passion project, the wonderful Man in the Chair.
He is a talented director who came to movies late – but he has since established himself as a consummate artiste of the motion picture. He was a font of great stories, optimism, on top of being an eloquent gentleman.
It is my privilege to present to you this interview.
There really isn’t too much to say about this gem from 1994. Move over, PULP FICTION, Michael Ritchie directed Chevy Chase, Jack Palance, Diane Wiess, and Robert Davi in this glorious National Lampoons knock-off, COPS AND THE ROBBERSONS. Enjoy this ten minute chat of giggling.
The fact that Cyborg 2: Glass Shadow has almost nothing to do with the first Cyborg is probably a good thing. I’ve seen both, and the first one is an ugly, grimy early starring vehicle for Jean Claude Van Damme that plays like an episode of American Gladiators on PCP. This sequel, however, is a scrappy little sci fi delight. It takes plays in a futuristic B-Movie realm where maniacal corporations wage war on each other for the control of lucrative artificial intelligence, cyborgs who can be programmed to be slaves, soldiers or whatever you want. Angelina Jolie is Casella ‘Cash’ Reese, a gorgeous warrior Cyborg held under the watchful eye of the Pinwheel corporation, ruled by a hammy Allen Garfield. Her trainer, a mercenary named Colton Hicks (Elias Koteas) starts to fall in love with her. In this particular B movie universe, it’s implied that there are fragments of what may resemble a soul that begin to grow inside the cyborgs, and gradually Cash falls for him as well. They plan their escape, and embark into a delightfully cheap looking metropolis of the future, seeking an oasis far away that’s basically a non extradition zone for robots. Pinwheel sends some dangerous bounty hunters after them. There’s fighting. And running. And shooting. And Cyborg sex including a 17 year old Angelina going fully topless, which makes me wonder how the filmmakers ducked the authorities on that one. Not that I’m complaining. Aside from baring her chesticles, she makes a pretty solid action heroine at that age, and even before making a name for herself she carries the film pretty well. Koteas is pretty much capable of anything as far as acting goes, breezing through this one in his sleep whilst still keeping one eye open to give Hicks a vulnerability and desperation that the film hardly deserves. Character actor Billy Drago gives a scene stealing performance of sheer unbridled lunacy as Danny Bench, a terrifyingly unhinged contract killer who pursues the pair and has an absolute smackdown of a fight sequence with Koteas. That old salty dog Jack Palance even shows up for an amusing, warmhearted supporting role as a mysterious hacker who helps the duo out and in turn gets his own retribution. Get one thing straight right now: this a B movie. If you go into one of these with your critic’s brain shoveling coal into the fires of cynicism, you’re gonna have a bad time. These films are overtly cheap, chock full of deliberate plot holes and speckled with acting that could wilt flowers. But I love them anyway. I grew up watching an endless stream of direct to video horror, sci fi and thriller flicks that maybe ten people on planet earth besides me have seen. I love them, they are amazing and they exist in a realm far, far outside film ‘criticism’. It’s best to gear your brain into fun mode before hitting play, then just relax and enjoy. If you’re the type of person that can do that, you’ll love this kind of stuff. If not, steer well clear. Cyborg 2 is the perfect example of a B movie done right, and I’ll be the first to admit that there’s plenty that are made with the kind of lifeless ineptitude that doesn’t even deserve a place in the genre. This one’s cheaply made, doesn’t have much of a budget to its name, yet admirably creates it’s own little world with what it has, spinning a story of action, romance, robots and Angelina Jolie. Honestly, who can say no to those things? You, that’s who.