Prime Time: Shortcut To Happiness (2007)

AKA The Devil And Daniel Webster.

Based on a story by Stephen Vincent Benet, which was subsequently adapted into a play, "Scratch", by Archibald Macleish, Shortcut To Happiness (known in some other territories as The Devil And Daniel Webster) shows how strange and mesmerising it can be when life imitates art. The production history of this film, which was due to premiere in 2001 before financial issues and investors being investigated for bank fraud delayed things by a number of years, and led to Alec Baldwin removing his name as the director of a film that he claims was taken away from him in post-production, is more interesting than anything onscreen. But considering the plot is all about someone who wants success, and then finds that getting what he wants doesn't really make him happy, it's hard to hear about the troubles of this feature and not think of it as the end result of someone slightly tempting fate.

Because it's clear that Baldwin wasn't ready to direct a feature. Look, to be fair, maybe there's a better version of this with the right money in place and the right editing of the footage, but it's hard to see it as anything other than a huge disappointment, only of note because of some of the supporting players. It adds nothing to a familiar Faustian tale, doesn't ever get the tone right, and has a lead character that is hard to root for.

Baldwin plays Jabez Stone, a writer who isn't having much luck. He continues to write, but has yet to make any progress when it comes to getting actual sales and readers. That looks set to change when he meets The Devil (played by Jennifer Love Hewitt, who at least has a twinkle in her eye missing from many others onscreen). As his success builds, other things fall by the wayside. Things like friendship, good company, and his reputation. Julius Jensen (Dan Aykroyd) is a fellow writer and friend, but The Devil decides he must take a fall in order for Jabez to climb higher. The same goes for Mike (Barry Miller), albeit in a different way. Molly (Amy Poehler) seems to remain quite neutral, but even she states that she isn't as big a fan of the new Jabez as she was of the old version. Can anything be done to make the deal with the devil null and void? If it can be done, Daniel Webster (Anthony Hopkins) is the man for the job. Considering he's not a complete stranger to The Devil. 

Pete Dexter and Nancy Cassaro may be unfamiliar writers to me, but I'm astonished that Bill Condon joined them for this project and was unable to salvage it. The whole thing is a messy mix of teenage-level philosophy conversations and utter smugness, livened up by the occasional scene that allows Hewitt to have fun. While some of the cast members can save individual moments, none of them can make up for the awfulness of Baldwin in the main role. Maybe he should stick to his strengths, considering how great he can be when he delivers cameo performances that allow him to almost steal entire movies away from featured cast members.

Aside from Baldwin, just bad, and Hewitt, who I wish was given this role in a far better movie, you have Aykroyd being a bit of a boor (which he does well enough), Miller being quite the downer (which HE does well enough), and Poehler being, well, barely present. Hopkins does a decent Hopkins turn, although it needed to be a bit MORE full-on Hopkins, not something I say often, and there's a disappointing waste of both Bobby Cannavale and Kim Cattrall.

There are times when everything about this seems designed to repel viewers, particularly an ending that presents the viewer with absolutely nothing worth mulling over as the credits roll. It's not clever, nor is it thought-provoking. It's just a final middle finger from a film that has already spent 106 minutes insulting anyone who continued to watch it in the hope that it would get any better.

3/10

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My Stepmother Is An Alien (1988)

Directed by Richard Benjamin, who also happened to act in a number of movies that I have enjoyed over the years, My Stepmother Is An Alien is one of those movies that I always wanted to check out one day. It was never a top priority though, because I assumed it wouldn't be very good. My assumption was correct. This isn't a very good film.

Dan Aykroyd plays Steven Mills, a physicist who manages to send a signal so far into space that it actually, unbeknownst to him, hits and disrupts a distant planet. Believing that this was a deliberate attack, the planet sends Celeste (Kim Basinger) to find Steven, steal his research, and eventually order the destruction of Earth. Celeste ends up becoming romantically involved with Steven, mistakenly thinking that is a good way to achieve her main objective. Steven's young daughter, Jessie (Alyson Hannigan), soon realises that there's something not right, especially when Celeste keeps talking to her bag (voiced by Ann Prentiss), and it looks like there won't be any happy ending for the main characters.

Written by Jerico Stone, Herschel Weingrod, and Timothy Harris, you'd be forgiven for expecting something decent here. Stone would later help to write Matinee, one of many superb Joe Dante movies, and Weingrod and Harris worked together on hits like Trading Places, Brewster's Millions, Twins, and Kindergarten Cop (although they also gave us the less enjoyable Pure Luck). This is not up there with their best work. Although there are a few small chuckles here and there, it is a poor comedy that makes the big mistake of trying to utilise Kim Basinger for both her looks and her comedic skills, the latter of which she simply doesn’t possess.

Benjamin directs with a strangely slapdash approach, hoping that the main premise will be enough to make viewers forget about anything else. Set-pieces are clumsily put together, occasional zingers are thrown into a laugh-sucking vacuum, and, perhaps strangest of all, nobody involved is really allowed to play to their strengths.

Basinger obviously looks beautiful here, and I do enjoy some of her acting work, but she is awful when it comes to trying to play up the comedy. Aykroyd fares better, but his character is so strangely oblivious to madness going on around him that it feels as if he is the punchline to an ongoing joke. The real joy comes from a fun turn from a young Hannigan, who has always been great, and a decent attempt  to keep delivering laughs from Jon Lovitz, playing the brother of the character played by Aykroyd. There is also some fun to had from Joseph Maher, as well as a teeny tiny Seth Green, only onscreen for a minute or so, but downright adorable.

It’s quite easy to see why this was given the green light, considering the concept and the people involved, and it is a shame to see very few people trying to do their best. From the cinematography to the Alan Silvestri score, everything around the central performances feels disappointingly lacklustre. Maybe it’s one to consider for a remake option, considering the massive room for improvement.

4/10

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The Great Outdoors (1988)

The third, and final, collaboration, between writer John Hughes and director Howard Deutch, this is also their weakest. It's good fun, with two leads doing excellent work, but it's just a bit strangely divided between the storyline for the adults and a storyline following a smitten teen.

John Candy is Chet Ripley, the husband/father keen to give his family a proper holiday experience in a lakeside cabin. The Ripley family is unexpectedly joined by Roman Craig (Dan Aykroyd), Kate Craig (Annette Bening), and their twin daughters. Kate is the sister of Chet's wife, Connie (Stephanie Faracy), and it is very clear from the earliest scenes that the Craigs have a very different outlook on life than the Ripleys. 

The Great Outdoors works as well as it does for two reasons. First, the interplay between Aykroyd and Candy. Written as very opposite characters, Aykroyd revels in being obnoxious and having no class while Hughes very quickly becomes tired of his nonsense. Second, there are some very entertaining set-pieces spread throughout the runtime. There's the tale of an angry bear that was made bald, a restaurant that has a challenging steak on the menu, some thrilling time spent water-skiing, and a group of cute raccoons that just want to enjoy picking through the trash.

Although Aykroyd and Candy are both doing top work here, they're nicely complemented by Faracy and Bening, playing two sisters who have gone on very different paths in life. This was the theatrical movie debut for Bening, and it's arguably one of her simplest roles, but she's a natural onscreen presence. Faracy does well to avoid just being stuck as "the boring, nice one", and both women feel well-suited alongside their partners. Chris Young is the older of the Ripley sons, and he does just fine in his own storyline that sees him falling for the charms of a local girl, Cammie (Lucy Deakins), but both of these youngsters suffer from the teen movie dialogue jarring against the rest of the movie, which enjoys building and building the friction between the adults. You also get a fun small turn from Robert Prosky, and the other child actors do everything asked of them.

Deutch directs as competently as he usually does, and he once again stays nicely in line with the tone that Hughes provides. Although predictable from start to finish, the set-pieces work really well, and are given just the right of time to let the laughter build without overstaying their welcome. Lessons are due to be learned, different views clash with one another, and some of the one-liners are hilarious, helped by the performers delivering them.

Despite the better qualities, I'd still end up placing The Great Outdoors somewhere around the halfway mark if ranking the movies written by John Hughes. It's a lot of fun, yet nowhere near his best.

6/10

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Dragnet (1987)

Although I wasn't aware of the character of Joe Friday, or the TV show Dragnet, by the time I saw this movie, it didn't really matter to me then, nor does it matter to me now. The main characters are established quickly enough (this isn't complicated material) and it's obvious that our lead is someone who still feels rooted in a past that has a slightly different kind of police officer dealing with a slightly different landscape of crimes.

Here's the typically 1980s, buddy cop, take on the material anyway. Friday (Dan Aykroyd, playing the nephew of the famous TV show character) is given a new partner in the shape of Pep Streebek (Tom Hanks). The two of them could hardly be any more opposite in nature. Friday is meticulous, organised, and polite, Streebek is a fairly happy-go-lucky slob. While investigating a number of bizarre thefts, the two lawmen stumble on to a nefarious plan that involves ritual sacrifice, murder, chemical poisoning, and the virgin Connie Swail (Alexandra Paul).

Another film often forgotten by people who probably, and with some good reason, dismiss it as a lesser comedy outing from the decade, Dragnet is absolutely not some kind of classic that is due for rediscovery and reappraisal. It is, however, exactly what you may want when seeking out a simple and entertaining comedy, boosted by two talented leads who work well with one another.

Aykroyd does well as the fastidious and ever-polite main character, a role that restrains him in a way that works well for the laughs, and Hanks is in his peak careless manchild comedy phase. Harry Morgan makes the transition from the TV show (as Gannon, now promoted from officer to Captain) and there are fun performances from Christopher Plummer, Elizabeth Ashley, Dabney Coleman, Kathleen Freeman, as well as a number of other supporting players. Paul is appropriately demure as Connie Swail, although she's not given much to do beyond being the maiden in distress.

Director Tom Mankiewicz also co-wrote the movie with Aykroyd and Alan Zweibel, helping to get both the tone and look of the movie right. Despite the modern-day setting, it's very much a believable world in which someone like Friday could be working his beat. There are numerous nods to the show, the familiar soundbites you expect to hear are delivered, and the main theme tune is given a fun reworking by the Art Of Noise.

A perfectly valid choice for some easygoing entertainment when your work week is done, you want to enjoy some unhealthy food and beverages, put your feet up and exclaim "Thank God, it's Friday!"

And it also has this, which is absolutely a favourite '80s movie soundtrack bonus (no, I am not being sarcastic)

7/10

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Trading Places (1983)

John Landis is a great director. Well, he WAS. It's been a while since we saw him working at his prime, but Trading Places is one of his best movies. In fact, if Landis hadn't also given us a classic werewolf flick and The Blues Brothers then this could well have been his crowning achievement.

The story is quite simple. Two rich old men (the Duke brothers, played by Don Ameche and Ralph Bellamy) make a bet over the effects of nature vs. nurture. To test their theory, they take their shining employee Louis Winthorpe III (Dan Aykroyd) and ruin his life. Louis loses his job, his fiance, his money and most of his self-respect in a series of humiliating trials all set up by the Dukes. At the same time, Billy Ray Valentine (Eddie Murphy) is plucked from his hustling, hand-to-mouth lifestyle and offered almost everything that Louis had. The two have traded places, hence the title of the movie. Will Billy Ray become a success, or will he abuse his position to make even more money for himself? And will Louis turn to crime as misfortune piles upon misfortune?

Although it runs for almost 2 hours, with editing never being a strong point for Landis, this zips along at a cracking pace, with quality gags written into every scene, some subtle and some front and centre. This is partly thanks to the script, by Herschel Weingrod and Timothy Harris, but equally thanks to the performances from everyone involved.

Murphy is at his best, the early '80s was arguably the peak of his career, and he delivers almost every line with confidence and sass. Aykroyd just about avoids making you hate him during the opening scenes of the movie, although it's a close call, and it gets easier to enjoy his company as things unravel for him at greater and greater speed. Ameche and Bellamy are delightfully horrid schemers, playing brilliantly off one another from start to finish. Denholm Elliott also does well as the butler who starts off attending to Aykroyd and is then told to take care of Murphy instead, and Jamie Lee Curtis set many hearts a-flutter as Ophelia, the "hooker with a heart" who takes pity on Aykroyd and tries to help him out of his current jam. Paul Gleason is as good as he always is, James Belushi monkeys around in the third act, Kristin Holby is the fiance ashamed of Aykroyd's downward mobility, and there are a couple of cameos worth keeping your eyes peeled for (as usual with a John Landis movie).

For getting the best out of his cast, and treating the material so well, Landis has to be credited with doing a good job here. He certainly had a knack, at one point, of getting great scripts into the hands of the right people for the roles, which does half of his work for him, in my book. There's nothing spectacular here on the technical side, but it's all smooth and well put together. Most importantly, it's all constructed perfectly around the performances and the gags.

If you haven't yet seen this movie then I implore you to get to it as soon as you can. It's an enduring comedy that hasn't lost any of its power in the past few decades. And it then provides you with an extra laugh whenever you get around to watching Coming To America.

9/10

http://www.amazon.com/Trading-Places-Blu-ray-Eddie-Murphy/dp/B00AEBB8EM/ref=sr_1_1_twi_2_twi_2?ie=UTF8&qid=1418340244&sr=8-1&keywords=trading+places

The Campaign (2012)

A political comedy starring Will Ferrell and Zach Galifianakis as two very different men running against one each other to see who will become the congressman for their hometown.  Ferrell is Cam Brady, the more experienced and ruthless of the two. He's been unopposed for a long time, able to get away with pretty much anything he likes (including some obvious infidelity and lewd behaviour). Galifianakis is Marty Huggins, a simple man who doesn't realised that he has only been picked because a couple of immoral businessmen (played by John Lithgow and Dan Aykroyd) think that he will do whatever they ask of him once he's in a position of power. When Marty first steps forward it seems like some kind of joke, but thanks to some help from Tim Wattley (Dylan McDermott) and the courage of his convictions, Marty soon turns things around to make Brady and his advisors more and more concerned.

While it may lack the big laughs of Tin Men or Used Cars, this is a film very much in that ilk. It may favour dumb fun over smarter gags, but that doesn't make it any less enjoyable. In fact, Ferrell and Galiafanakis both get a chance to play characters close to many that they have played before, with the former being an ass, with arrogance only matched by his stupidity, and the latter being mistakenly written off as nothing more than a dim-witted schlub. They're helped by a great supporting cast, including Brian Cox, Jason Sudeikis, Sarah Baker and Katherine LaNasa, as well as those already mentioned. Baker and McDermott are the standouts, in two very different performances, but everyone does a great job, and it was especially good to see Aykroyd in a role not a million miles away from that of the two conniving businessmen in Trading Places.

The script, by Chris Henchy and Shawn Harwell, laces all of the easy laughs with some salient points and observations, both in general terms when it comes to the world of politics and in relation to specifics that show up what uneasy bedfellows big businessmen and politicians make. It's no surprised to see that Adam McKay helped to come up with the story, considering what he and Henchy were able to come up with for The Other Guys.

Director Jay Roach has been helming comedies for a long time now. Even if he doesn't quite elevate this to comedy gold, it's clear that he knows what he's doing, and the end result is a film deserving of more fans. If you like either of the leads, or if you like comedies that remind viewers of just how childish things can get in the political arena, then this is definitely worth your time.

7/10

http://www.amazon.co.uk/Campaign-Blu-ray-Copy-Region-Free/dp/B0083SEZV6/ref=sr_1_2?ie=UTF8&qid=1388242910&sr=8-2&keywords=the+campaign

Sgt. Bilko (1996)

It's never a good idea to take a beloved comedy icon and try to put your own spin on it, but Steve Martin doesn't seem to care about the risks involved. In fact, some might say that he took an even bigger chance when he took over the role of Inspector Clouseau in The Pink Panther movies, but there's no denying that a LOT of people loved both the character of Sgt. Bilko and the actor who originally played him, Phil Silvers.

Master Sergeant Ernest G. Bilko (Martin) is a fast-talking, fast-thinking conman and gambler who has managed to spend years in the army without getting in trouble for any of his mad schemes and money-making operations. That looks as if it could change when he's assigned a new man to his company, Pfc. Wally Holbrook (Daryl Mitchell), just before the arrival of Major Colin Thorn (Phil Hartman) and the two people that he has brought along to perform an exhaustive audit of everything that Bilko is responsible for. If there is one item of stock missing, one dollar in the wrong place or one shred of evidence showing that he is up to mischief then Bilko will end up out on his ear, to put it mildly. He also needs to buck up his ideas and find time to marry his long-suffering fiance, Rita Robbins (Glenne Headly).

Full of ridiculous moments of near-farce, great dialogue and fun characters, Sgt. Bilko is a movie that I have always liked since first seeing it, and always felt that others didn't really give a chance. Martin is no Phil Silvers, but he's not trying to be. He's just mixing his own comedy persona with the character of Bilko, and it works.

The direction from Jonathan Lynn is unspectacular, but that's something that can be said for pretty much every film that he's ever helmed. He's competent with comedy material, and has been in charge of a couple that I really like, but the strength usually lies in the scripts that he's working from. Luckily, this one (written by Andy Breckman) is a goodie, full of energy and laugh out loud moments.

As well as Martin shining in the lead role, the likes of Headly and Hartman put in some wonderful work. Dan Aykroyd is particularly enjoyable as the Colonel who always suspects Bilko of being up to something but also likes just having him around. Daryl Mitchell may not have the best role, but he's enjoyable enough as the wide-eyed newbie learning all of Bilko's tricks from his first moment in the company. Chris Rock and Cathy Silvers are good fun as the auditors, and Max Casella, Eric Edwards (most memorable as Pvt. Doberman) and Pamela Segall are all worthy folk to be in cahoots with their scheming leader.

It would be wrong of me to assume that lots of people disliked Sgt. Bilko because it wasn't exactly as they wanted it to be and it wasn't the old Bilko, but I can't help feeling that there was certainly a bit of a cloud over this movie as soon as it was announced. And I get it, especially when a TV show or movie is updating an old, much-loved slice of classic TV. I also get that good things can come out of such developments. Some people think that in an ideal world we'd have no remakes or sequels proving the law of diminishing returns, but that ideal world would also see us missing out on some GREAT (in fact, I'll say it, CLASSIC) movies. Sgt. Bilko isn't a classic, but it's a cracking comedy for those who like the cast and enjoy their comedy with funny lines flying thick and fast through every scene.

7/10

http://www.amazon.co.uk/Steve-Martin-Collection-DVD/dp/B000QJMSFA/ref=sr_1_1?s=dvd&ie=UTF8&qid=1374361378&sr=1-1&keywords=steve+martin

Christmas With The Kranks (2004)

Tim Allen and Jamie Lee Curtis star as the Kranks in this enjoyable Christmas comedy from director Joe Roth that is adapted, surprisingly, from a novel by John Grisham entitled Skipping Christmas.

After waving their daughter, Blair (Julie Gonzalo), off at the airport the Kranks head home and start a new chapter in their lives. It's not long until Luther Krank has what he thinks is a brilliant idea. Instead of spending the $6000+ that they spent on Christmas last year he wants to go on a Caribbean cruise and just . . . . . skip Christmas. His wife, Nora, is tempted and agrees only after Luther promises that he'll match the main charity donations that they included in their Christmas spending the previous year. When Luther informs his colleagues of his plan to skip Christmas he is labelled a Scrooge and sense no small amount of resentment but that's nothing compared to the feelings of his neighbours, who are marshalled by do-gooder Vic Frohmeyer (Dan Aykroyd). It's not long until the Kranks have upset many of their friends, their neighbours, the Christmas tree salesman, their local priest and even a couple of police officers who raise money each year by selling their own calendar. Can the Kranks actually skip Christmas or is there no escaping the festivities?

Everything you associate with a Christmas movie is here (the tree, the decorations, the songs, the need for certain foods, the monetary cost and stress, the life lesson about the real meaning of Christmas) but it's nicely inverted for a good 2/3 of the film. The Cranks do only have themselves to blame as the pressure and pressure builds for them to join in with the fun but they also get some sympathy due to the fact that Christmas should be up to what any individual wants to make it.

Director Joe Roth keeps things moving along nicely and the script from Chris Columbus only really starts descending into his usual mawkishness during the last 10 minutes or so. Everything before then is coated with cynicism and the feeling of an ongoing war so that makes it more digestible than many other, overly sweet, Christmas movies you could take a look at.

I've been a fan of Tim Allen for a long time and he does his usual schtick here. I like it, some folks don't. If you don't like him then, obviously, you're not going to enjoy the movie as much as I did. Jamie Lee Curtis is a lot of fun as the wife struggling to keep her resolve in the face of mounting festive pressure and the supporting cast is full of many great stars: Dan Aykroyd, Austin Pendleton, M. Emmet Walsh, Elizabeth Franz, Cheech Marin, Jake Busey and even young Erik Per Sullivan (who is probably best remembered from Malcolm In The Middle).

Christmas With The Kranks is a lot of fun and does, deliberately or not, make some of the usual points about the yuletide season. It's not all about the materialism and the money spent but it's also not a time to skimp on anything that may put a smile on the faces of others.

7/10

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Ghostbusters II (1989)

When Ghostbusters II was released in 1989 it did solid business at the box office. You wouldn't think that nowadays, with the way many people deride it and claim that it's a completely unworthy sequel to the classic first movie. Well, the first movie is a classic. I completely agree with that and already praised it here. What I don't agree with is the opinion that this sequel is completely unworthy. It's not as good as the first movie but few films are. It is, however, a very enjoyable film that picks up some years after the events of the first movie and allows viewers to find out just what the main characters have been up to since their big battle with Gozer.

And just what have the Ghostbusters been up to since saving New York City and, indeed, the world? Well, they were sued by a number of city and state agencies and the brand became worthless. Ray (Dan Aykroyd) and Winston (Ernie Hudson) are trying to keep the Ghostbusters name out there by entertaining ungrateful children at birthday parties, Egon (Harold Ramis) is conducting scientific studies with his usual, detached demeanour and Venkman (Bill Murray) is hosting a paranormal chat show. Dana Barrett (Sigourney Weaver) has a son and is enjoying the time that she spends helping to restore paintings under the watchful eye of Dr. Janosz Poha (Peter MacNicol). There's one painting in particular, of a nasty man called Vigo (Wilhelm Von Homburg) that starts to cause no small amount of trouble and so the gang need to get back together and get back to doing what they do best.

The baddie may not be as memorable this time around and there's no denying that the movie doesn't feel as fresh as the first film (but sequels rarely do, by definition) but there's a hell of a lot here to enjoy and anyone dismissing this movie completely is, I'd say, being very harsh.

Murray, Aykroyd, Ramis and Hudson are all still great in their ghostbusting roles, Weaver plays off them all very well once again and Annie Potts and Rick Moranis return to reprise their memorable characters. Peter MacNicol is also good fun and Wilhelm Von Homburg keeps his mean face on throughout. Kurt Fuller may not be able to replace the great William Atherton as the main jerk of the movie but he tries his best. David Margulies returns to play the Mayor of New York and Harris Yulin has a small, fun role as a very strict judge who ends up seeing the Ghostbusters on trial in his court.

With Aykroyd and Ramis also returning to their writing duties and Ivan Reitman once again directing the action, this is very much the kind of sequel that feels like audiences are getting to catch up with some old friends. Because that's exactly what it is. I will watch Ghostbusters any number of times and never tire of it but this second outing is almost as rewatchable and has a smattering of great lines in almost every scene. The ending is a bit of a letdown but I think that any ending would have been slightly underwhelming compared to the brilliance of that big finale of the first movie featuring Gozer and The Traveller.

Oh, okay, there's also a pretty lame soundtrack compared to the complete '80s greatness of the first movie but that's the only other major complaint I have.

If you haven't seen it in a while then do give it a go and you might just find that the Ghostbusters are still the guys to call when you want some ectoplasmic entertainment.

7/10

http://www.amazon.co.uk/Ghostbusters-2-DVD-Bill-Murray/dp/B001G61178/ref=sr_1_1?ie=UTF8&qid=1351446146&sr=8-1

Ghostbusters (1984)

The 1980s is a strange time. It's easy to look back and point and laugh at a decade that had so much excess. The big shoulder pads, the clouds of hairspray, lots of clothing in nigh-on luminous colours. But when it comes to movies it was almost a golden age. Before you stop me and tell me off for letting nostalgia overrule my critical faculties let me just make one thing clear. EVERY year has a fair share of great movies and stinkers. Every year. I am well aware that we can look back with fondness at certain times simply because the rubbish has been forgotten and, boy, did the eighties have a lot of rubbish. But it was also, in a way, the perfect mix of cinema made with the latest technology that still relied mainly on practical effects. Of course, there WAS CGI but it was still a bit of a novelty. The best films, the ones that we remember with such fondness, from that decade are, in my view, so fondly remembered because they took us all on an incredible journey and they did it in a way that felt more realistic, despite the outlandishness of the plots. I'm thinking of the likes of The Goonies, Gremlins, Back To The Future, Labyrinth, The Thing, An American Werewolf In London, Die Hard, The Terminator, The Lost Boys and quite a few others. Of course, nostalgia does contribute something (especially in the case of The Lost Boys) but I don't think that any of these movies would be remembered as fondly today if they were full of dated CGI. Just look at An American Werewolf In Paris compared to its predecessor. Actually, don't do that. You don't want to lose your eyesight.

Ghostbusters is one of those movies and that's why I stopped listening a long time ago when the talk of a third movie kept going round and round and round for years (who knows, if you're reading this some time in the future then maybe the damn thing finally got made). A third movie just won't have the heart that this movie has. It won't have the same texture. The second movie isn't all that beloved (though I like it) so why not let sleeping dogs lie. Or sleeping ghosts rest in ecto-containment units, or something.

Directed by Ivan Reitman, and written by Dan Aykroyd and Harold Ramis (with some uncredited work from Rick Moranis too), Ghostbusters is all about three men (Aykroyd, Ramis and Bill Murray) who become . . . . . . . . ghostbusters. They end up doing great business, so great that they have to hire an extra member of staff (Ernie Hudson) but the increase in paranormal activity also leads them to believe that something big is happening. Maybe that something is linked to whatever is happening in the apartment of Dana Barrett (Sigourney Weaver). Whatever it is, the guys try to stay ready for action even while weaselly Walter Peck (William Atherton) tries to make big trouble for them.

I don't even know why I wrote that last paragraph. You already KNOW Ghostbusters. Or know OF it. If you don't, stop reading now and go and watch it. Now. Seriously.

It's a great supernatural comedy, it's one of the best outright comedies of the decade, if not THE best, it features brilliant performances from everyone involved (and I'd better mention the superb turns from Annie Potts as Janine Melnitz and Rick Moranis as Louis Tully, two absolutely classic supporting roles) and if you don't think that every line is worth quoting then you'd be hard pushed to deny that every other line is worth quoting.

It's one of my favourite movies of all time and I can't really think of anything worthwhile to convince you to see it if you haven't already done so. There's that great theme song, the pace and editing are both pretty perfect, every single main character is memorable for a different reason and it features the best use of marshmallow I've ever seen outside the world of adult entertainment (don't ask!).

On a more personal note, I have since been relieved to discover that I wasn't the only one to think that the big villain named Gozer (Slavitza Jovan) was a bit sexy while also being really, really evil. On a less embarrassing personal note, I will always have an added fondness for this film because of the cinema that I saw it in - I can't recall if it was The Dominion here in Edinburgh or The Odeon that has long since closed down but whoever put little "ghosts" over all of the side lights deserves good karma forever. You, sir or madam, helped this movie to leave a smile on my soul that has not waned in over a quarter of a century.

10/10

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Spies Like Us (1985)

When Spies Like Us first came out I remember that I rented it numerous times, running home with that chunky VHS box in my pre-teen hands and looking forward each time to the antics of Dan Aykroyd and Chevy Chase sparking off each other onscreen. And then I was always disappointed by the slow build-up and the flat patches in between the decent moments of comedy, even at that early age.

So it's no surprise to learn that the film turns out to be just the same nowadays as it seemed way back then. The story is a simple one. Chevy Chase and Dan Aykroyd are two government employees who think that they're being given a chance to be spies when, in actual fact, they're nothing more than decoys while the valued spies get on with their duties. This leads to numerous situations in which our inept leads find themselves way out of their depth and with their lives on the line.

Based on a screenplay by Dan Aykroyd, Lowell Ganz and Babaloo Mandel, Spies Like Us is clearly inspired by the Bing Crosby/Bob Hope "Road" movies and works well as a tribute. Chevy Chase is the fast-talking, bumbling half of the duo while Aykroyd is actually pretty smart and simply unequipped for a mission which the two men have not been expected to complete in any event.

Director John Landis paces things almost exactly as he paced Trading Places, except this time around there are less big laughs in the comedic moments and so the movie feels slower and "flabbier" despite a runtime of just over 100 minutes. Highlights include a selection of scenes showing our duo going through intense training, a sequence in which the two try to pass themselves off as doctors and a finale that features the funktastic sound of "Soul Finger".

Chevy Chase and Dan Aykroyd play to their strengths, you'll know already if you love or hate them, and the rest of the cast includes such luminaries as Steve Forrest, Donna Dixon, Bruce Davison, Bernie Casey, Frank Oz and, as this is a Landis movie, a number of cameos from the likes of Terry Gilliam, Ray Harryhausen, Joel Coen, Sam Raimi and many others.

Oh, and to end on a little bit of trivia, the "see you next Wednesday" that was a Landis trademark in many of his movies is seen on an army-related poster in the office of Colonel Rhumbus (played by Casey). 

6/10.

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