Prime Time: Spaceballs (1987)

There was some recent news that put Spaceballs at the forefront of my mind. First of all, we're apparently getting a sequel. Second, Mel Brooks just turned 99 a few days ago. Both of these things reminded me that it had been too long since I last watched Spaceballs, despite owning it on both disc and digital form for some time.

Everyone should know about this by now. It's spoofing a very famous sci-fi franchise (hence the sequel, now there are so many other moments to mine comedy from). Bill Pullman is the reluctant hero, Lone Starr, travelling through space with his furry companion, Barf (John Candy). With a large debt hanging over their heads, the two end up incentivised to rescue Princess Vespa (Dapne Zuniga) and her metallic handmaid, Dot Matrix (voiced by Joan Rivers). That leads to them all trying to stay one step ahead from the powerful and dangerous Dark Helmet (Rick Moranis).

Directed by Brooks, who also co-wrote the thing with Thomas Meehan and Ronny Graham (the latter giving himself one of the best scenes in which he plays a minister), Spaceballs benefits from a great cast that includes those already mentioned, including Brooks himself in a couple of different roles, and Dick Van Patten, George Wyner (superb as Colonel Sandurz), Michael Winslow aka the human sound machine. There's also room for very brief turns from Stephen Tobolowsky, John Hurt, Rhonda Shear, Rick Ducommun, an unrecognisable Dom DeLuise as Pizza The Hutt, and a few other familiar names.

I still have a soft spot for Spaceballs, mainly thanks to Pullman and co. in the lead roles, but most people would admit that it's far from top-tier comedy from Brooks. It's time, however, to be a bit more honest about how far it is from his best work. Spaceballs isn't that good. The jokes are more miss than hit, although they work on an eye-rolling "dad joke" level, the thin plot feels exactly like what it is (an excuse for the gags), and some of the makeup and effects are absolutely awful. This is the start of Brooks spoofing something because it is popular, as opposed to the masterpieces he crafted when spoofing movies that he appeared to have genuine affection for.

There are good moments here and there (anything with Rick Moranis is usually good enough to make viewers smile, and the gags that reference Alien and Planet Of The Apes are nicely constructed), and I defy anyone to tell me that they wouldn't enjoy spending some time in the company of 1980s Pullman, Candy, Zuniga, and Rivers. It's just a shame that nobody seemed interested in making this the best that it could be. It's sporadically amusing, but it mainly feels lazy, and if I want to watch something lazy that will also make me laugh then I'll just spend time looking at my middle-aged spread in a mirror.

I'm not going to rate it like I hate it though, because I don't. That soft spot doesn't simply disappear because a rewatch has reminded me of so many negatives. It's sustained by small pleasures as simple as Candy wagging his tail in excitement or a literal display of radar being jammed.

6/10

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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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Ani-MAY-tion Month: Heavy Metal (1981)

An interesting, quirky, sci-fi anthology movie, Heavy Metal, with its gratuitous nudity, wish fulfilment moments and title-appropriate soundtrack, is pretty much designed for teenage boys. That's not to say that it's a bad film, but it does seem to fill many sequences by going for easy options and rather juvenile moments.

The stories in this movie are all connected by a deadly, glowing orb. The orb has intelligence, and also the ability to voice its thoughts, and the framing device of the movie is the orb relating some cautionary tales to a scared young girl. The stories all tend to show how the orb affects those it comes into contact with, for better or for worse, and violence occurs frequently.

Mostly based on material from a long-running magazine of the same name, Heavy Metal is easy to enjoy, even if it's not so easy to love. The stories often have a nice, old-fashioned feel to them, they're all pulp pleasures taking place in different environments, and sometimes developing interesting mythologies in the limited time they have. Screenwriters Daniel Goldber and Len Blum have a great selection of stories to work with, including some written by the great Dan O'Bannon, and they manage to keep the tone consistent while hopping from one story to the next, mainly by populating the tales with a mix of robots, space travellers and topless women.

Director Gerald Potterton keeps everything moving along nicely, helped by a voice cast that unexpectedly includes John Candy, Eugene Levy, John Vernon and Harold Ramis, among others, and it never quite outstays its welcome (running at just under 90 minutes), although it comes close during the last section.

And then there's the soundtrack, which caused the film to be unavailable for a number of years due to problems with the music licensing, apparently. The bands/artists getting to invade your ears include the following: Blue Oyster Cult, Stevie Nicks, Journey, Cheap Trick, Nazareth, Black Sabbath, and more. Okay, none of the songs will appear on any greatest hits album, but they're an extra part of the appeal to the target demographic.

It's not a great film, and the love that some people have for it surprises me, but it's enjoyable enough. And has plenty of those robots, space travellers, and topless women to keep me happy. Which may just be yet another sign of my struggle to keep wearing the disguise of a mature adult.

6/10

http://www.amazon.com/Heavy-Metal-Collectors-Richard-Romanus/dp/0767836316/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1400860259&sr=1-2&keywords=heavy+metal

Little Shop Of Horrors (1986)

Based on a stage musical that was based on the original 1960 film, Little Shop Of Horrors (a Roger Corman movie most famous for being shot in only two days), this black comedy features a great cast belting out some great tunes in between some memorable set-pieces.

Rick Moranis plays Seymour Krelborn, a young man working in a flower shop owned by the needy and greedy Mr. Mushnik (Vincent Gardenia). The fortunes of both the store and Seymour start to look better when he discovers a new type of plant, a plant that he names Audrey II, after the woman he works alongside (played by Ellen Greene). Unfortunately, the upturn in fortune comes at a price. Audrey II (voiced by Levi Stubbs, of The Four Tops) doesn't grow or flourish unless it's given a very specific diet. A diet of blood.

Directed by Frank Oz, with a screenplay by Howard Ashman (who also worked on creating the songs with Alan Menken), Little Shop Of Horrors is a near-perfect package of comedy, thrills and genuinely enjoyable songs to sing along to. Like almost any musical, there are some that are better than others, but songs like "Skid Row", "Da-Doo", "Grow For Me", "Some Fun Now", "Dentist" (which remains my personal favourite), "Feed Me (Git It)" and "Mean Green Mother From Outer Space" are so strong that they make up for any of the slightly weaker numbers. Unlike most musicals, however, there isn't one song that I would consider bad. That's as much thanks to the execution of the material as it is thanks to the lyrics and musicality of each number.

Moranis is as good as he usually is in the main role, no stranger to playing a kind-hearted chump, and Gardenia and Greene are both perfect for their characters, with the latter especially enjoyable as a sweet blonde bombshell stuck in an abusive relationship with her dentist boyfriend (Steve Martin, almost stealing the entire movie with his hilarious scenes). Levi Stubbs has a superb voice to use for Audrey II and the plant at the centre of all the attention is brilliantly made real, thanks to the audio mixed with some superb practical effects work. You'll buy into it the scenario very quickly, despite the artificiality and ridiculousness of the whole thing.

John Candy, Billl Murray, Christopher Guest and James Belushi all turn up in very enjoyable cameo roles, and it would be remiss of me not to mention Crystal (Tichina Arnold), Ronette (Michelle Weeks) and Chiffon (Tisha Campbell) - the three women, named after classic girl groups from the '50s and '60s, who provide a number of the main songs and most of the backing vocals.

People who have already seen the movie will already be fans (I haven't met anyone yet who has seen it and disliked it) while anyone who hasn't seen it yet . . . . . . . . . . . . . . needs to change that ASAP.

9/10

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Planes, Trains & Automobiles (1987)

Written and directed by the fairly prolific John Hughes (he only directed about 8 movies, but wrote over 30), this road trip comedy marks a career high for the much-loved John Candy, while also providing a number of great moments for Steve Martin. Martin is, essentially, the straight man here but he's on top, tightly wound, form and works so well alongside Candy that the two individuals become one great, eminently watchable, duo.

Martin is Neal Page, a man desperately trying to get home to his wife and kids in time for Thanksgiving dinner. Unfortunately, he keeps finding his progress impeded, accidentally, by Del Griffith (Candy). When the two men eventually meet face to face, and introductions are made, things don't get any better. Del talks a lot, he has a number of annoying habits, and he seems to be a bit of a disaster at times. He also has a big heart, however, and does his best to help Neal get home. Neal, for his part, continues to get more and more irritated by Del, though it's hard to stay angry at the guy. But, despite flight delays and rental car problems and hotel rooms with only one bed, the objective remains the same - get home.

With an ending as sappy and manipulative as it is sweet and moving, John Hughes walks a fine line here between the great laughs and the emotional core that he gives the material. Thankfully, the central pairing of Martin and Candy make the material work a lot better than it would have in lesser hands. Martin oozes cynicism and, at times, loathing. Candy is a big ball of positivity, even as he bumbles his way forward while leaving a big mess in his wake. Hughes, however, writes great moments for both, treating both characters with equal favour. Candy may get a number of great lines and sweet moments, but Martin raises big laughs when his temper explodes on at least two occasions - one leading to him emphasising that not everything is an anecdote and the other leading to a classic, profanity-laden exchange with a car rental agent, played by Edie McClurg.

The cast also includes Laila Robins (playing the concerned Mrs. Page), Michael McKean in a small role as a traffic cop, Kevin Bacon in a cameo as a commuter racing for a taxi and Dylan Baker, in his first cinema feature role, as a hick with one of the most memorable lines in the entire movie.

Everything is topped off by a decent soundtrack, I've always particularly enjoyed the use of "Red River Rock" here, and paced perfectly for the 93 minute runtime. There are flaws, with the heavy-handed ending being the major one, but it's a hard movie to dislike. Especially around Thanksgiving time.

8/10

http://www.amazon.co.uk/Planes-Trains-Automobiles-Blu-ray-Region/dp/B005DS0W8O/ref=sr_1_2?ie=UTF8&qid=1374360302&sr=8-2&keywords=planes%2C+trains+and+automobiles

Uncle Buck (1989)

Written and directed by John Hughes, this is a typical . . . . . . . John Hughes movie. But despite so many people having fond memories of it, thanks to the presence of the wonderful John Candy, it's not his best.

Candy plays the titular uncle, a man called upon to look after his nieces and nephew when his brother finds himself in a bind and with nobody else to turn to. Uncle Buck proceeds to cause a small amount of mayhem while doing his best to look after the kids, finding himself particularly messing up in his dealings with moody teenager Tia (Jean Louisa Kelly). This leads him to consider just where he is in his own life and just how he has been dealing with his own relationship (with Chanice, played by Amy Madigan).

Clocking in at just over an hour and a half, full of lively soundtrack moments and conversations that you would never really hear outside of John Hughes movies, this is an easy movie to enjoy. In fact, I've only ever met one person who couldn't stand it and that person is my wife (who is weird anyway . . . . . . . hence the fact that I was able to get her to marry me).

Candy is great in the main role, Jean Louisa Kelly does fine as the moody teenager causing him so much strife, Macaulay Culkin is very funny in one of his first major roles and so is Gaby Hoffmann. Amy Madigan does well as the woman who despairs of Buck while remaining in love with him, Laurie Metcalf steals a couple of scenes and Jay Underwood gets to be the young man, named "Bug", spending far too much time with Tia in an attempt to move the relationship along as quickly as possible (as Buck well knows).

There are many moments here that I enjoy - Candy being quizzed by Culkin, the killer line delivered to a shocked Suzanne Shepherd (playing a teacher trying to instil better behaviour in her young charges), every time Candy is unsubtly warning off Underwood - but, for some reason, the film just doesn't come together for me in a way that it does for many others. I can watch it from start to finish without being bored, but it's one I don't have to rush to ever watch again.

6/10

http://www.amazon.co.uk/Double-Brewsters-Millions-Uncle-Buck/dp/B0058OABSY/ref=sr_1_4?ie=UTF8&qid=1370954757&sr=8-4&keywords=uncle+buck

The Silent Partner (1978)

I couldn't remember every person who recommended me every different Christmas-related movie for me to consider watching but I do remember that this particular title was mentioned to me by my highly talented friend, Christianne (the quality of her writing and art . . . . it's just sickeningly good almost all of the time and makes me want to give it all up - anyway, here is her blog).

Sometimes all you want for Christmas is a good caper and The Silent Partner is a damn good caper. It stars Elliott Gould as Miles Cullen, a bank teller who, by a stroke of luck, finds out when his bank is about to be robbed by a man dressed as Santa Claus (Harry Reikle, played by Christopher Plummer). Trust me, it makes sense when you see the movie and everything falls into place rather neatly. Anyway, knowing that he is about to be robbed gives Gould an idea - he puts some money aside for himself and then just has to come up with a way of keeping it safe until he can move it and be a very rich man. Of course, the robber isn't best pleased when he hears on the news just how much he has supposedly gotten away with and so begins a game of cat and mouse between one smart bank teller and one vicious, and pissed off, career criminal.

I wouldn't blame anyone watching this movie for not having heard of director Daryl Duke. He certainly hasn't appeared on my radar before now but he does a perfectly acceptable job here. What's more interesting in the opening credits is seeing that the movie was adapted from the Anders Bodelsen novel by a writer named Curtis Hanson. Yes, Curtis "L.A. Confidential" Hanson. The source material may be strong and good enough in its own right but the script by Hanson certainly doesn't put a foot wrong, it's smart and playful for much of the runtime before moving into darker territory during the third act.

Gould was the epitome of cool in the '70s and this has him exactly as he should be. Miles is not unflappable but he's always ready with an answer and always planning one or two steps ahead. Unfortunately, so is Harry but he does so using threats and violence as opposed to intelligence. From my limited exposure to Christopher Plummer's filmography, this is a bit of an unusually dark role for him but he's never unconvincing and makes for a very good villain. Susannah York plays Julie Carver, a pretty work colleague alongside Gould and she's fine in her role even if it's the poorest written of all the main roles. Celine Lomez does much better with her role, a woman named Elaine who gets friendly with Miles and may be genuinely wanting to cosy up to him or may be up to no good. John Candy fans may not want to rush to see this one just to make sure that they see everything he's ever done but he has a small role here playing someone surprisingly sweet and sad (I say surprisingly because the way he is treated by others is shown at times but never overstated).

The Silent Partner is, overall, an excellent thriller that deserves to be known by more people. I'd never heard of it when it was recommended to me and I now hope to recommend it to others. The only negatives I can think of are a) Susannah York's character and b) the fact that the first half of the movie feels a bit too carefree and light when considering the danger that the main character is in. Those are minor niggles but they're enough to take the movie down from classic to great.

8/10

http://www.amazon.com/The-Silent-Partner-Elliott-Gould/dp/B000MMMTCS/ref=sr_1_1?ie=UTF8&qid=1355722079&sr=8-1&keywords=the+silent+partner

Speed Zone (1989)

AKA Cannonball Run III. Or not.

Originally devised as a third Cannonball Run movie, Speed Zone has to settle for being a very poor distant relative to the first two movies. Thankfully, it has a role for the very likeable John Candy and that saves it from being completely unwatchable. That's not to say that, for some reason, those involved don't keep trying to make as many bad choices as possible.

The plot is as slim as it was in the previous Cannonball Run movies (that this isn't actually a sequel to but we all know that it is, really). A race across the USA allows drivers to drive various cars at illegally high speeds and everyone involved really wants to win. End of central premise. Of course, people have different motivating factors and skillsets. Matt Frewer, for example, plays a man who keeps trying to win by using his wiles as well as his driving skills. John Candy is just a nice, steady guy who reflects that in his driving style, with the lovely Donna Dixon overacting badly as his passenger. Eugene Levy may not actually drive in the race but his double-decker hairdo deserves at least some kind of consolation prize.

Directed by Jim Drake, and written by Michael Short, there just isn't enough of anything here to please fans of, well, anything. The cast includes those already mentioned plus Peter Boyle, The Smothers Brothers (two men I took an immediate dislike to, I'm afraid), Melody Anderson, Shari Belafonte, Tim Matheson, Art Hindle, Brian George, Joe Flaherty and then cameo roles for Jamie Farr, Brooke Shields, Michael Spinks, Alyssa Milano, Carl Lewis, Lee Van Cleef and some others. The automobile action isn't all that exciting, although one or two stunts do stand out as high points. Then we have the comedy content, which isn't all that great in terms of quantity and quality.

I suppose the biggest failing with Speed Zone in comparison to the Cannonball Run movies is summed up thus: The first two movies featured stars of yesteryear having a lot of fun together with one or two new faces joining in with the fun. This movie features a number of relatively "new" faces having fun with one or two stars of yesteryear joining in. That shouldn't be enough to make this such a bad movie but it is. It highlights just how much great chemistry, charisma and goodwill was thrown onscreen during the first two movies.

If you're an obsessive completist then you'll still want to get a hold of this but I don't recommend it (and I'm the guy who bought Jaws: The Revenge on DVD because I had the preceding three movies).

4/10

http://www.amazon.co.uk/Cannonball-Candy-Brooke-Shields-Region/dp/B003JNTCP4/ref=sr_1_1?s=dvd&ie=UTF8&qid=1336394781&sr=1-1