Real Genius (1985)

Val Kilmer plays Chris Knight, a genius student who is working on a project that he doesn't realise wants to make a laser usable in a sophisticated and dangerous weapon. Chris is tasked with taking young Mitch Taylor (Gabe Jarret) under his wing. He wants to help academically, but also wants to remind everyone to not take everything so seriously. Chris has seen how stress and obsession can affect people, and he wants to help people maintain a good balance. That doesn't always work for Professor Jerry Hathaway (William Atherton) though. It also doesn't work for the prime douchebag, Kent (Robert Prescott).

Directed by Martha Coolidge, who has a filmography full of interesting movies that I have always been meaning to check out, Real Genius is an enjoyable '80s teen comedy that has the expected mix of fun characters, archetypes, and dialogue without the usual obsession over girls and nudity. You get some early moments with Val Kilmer wearing deely-boppers to highlight just how much he doesn't want to take life seriously, you get some pranks, and you get a final act that allows plot strands to be tied up, set-ups to be paid off, and the slightly serious stuff to be dealt with in a way that intertwines the humour with some serious stakes for those involved. 

Writers Neal Israel, Pat Proft, and Peter Torokvei know what is expected, and they provide some standard moments and gags wrapped in the clothing of these onscreen geniuses. Whether it's the battle of wits between the new kid and the bully, the potential blossoming romance between a couple of main characters, or the strange loner who sees things that nobody else does . . . Real Genius entertains on a trope-filled, teen comedy level, yet adds a layer of smarts that allows it to stand out from the crowd.

Kilmer is a force to be reckoned with, superbly charming and charismatic. Although Jarret is playing the main character, and the way for viewers to meet this cast, it's Kilmer who is the lead. Jarret does well though, he's likeable enough and happy to let others around him shine. Atherton gives another one of his great turns, smiling at his students until things look to be no longer going his way, and Jon Gries is very amusing as the strange loner named Lazlo. Kent may be the character you're supposed to boo and hiss at, but Robert Prescott does well in that role. And then you have Michelle Meyrink, playing Jordan, a young woman with plenty of brains who lacks confidence in herself, and also lacks confidence in her social skills.

It's quirky and clever, but not too quirky and clever for its own good. Having seen this listed by many people over the years as a favourite comedy from this decade, I'm glad I finally checked it off the list. And even more glad that it was as good as many told me it was.

9/10

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Look Who's Talking Too (1990)

I knew there had to be a reason for me having never seen any of the sequels to Look Who's Talking before now. That would be because they may be awful (the verdict on the next one is due next week). Where the first film had the novelty of allowing viewers hear what a baby may be thinking as they make sense of the world around them, this sequel decides to . . . ummmm . . . actually, it decides to just keep doing that more. In a way that is much less entertaining.

James (John Travolta) and Mollie (Kirstie Alley) are now an item. There's another baby on the way. It's a girl. So Mikey (still voiced by Bruce Willis) has to figure out what is required of him in his new role of big brother to Julie (voiced by Roseanne Barr). Meanwhile, things start to become strained between James and Mollie, a situation not helped by the arrival of Mollie's brother, Stuart (Elias Koteas).

With Amy Heckerling returning to the director's chair, this time co-writing the script with Neal Israel, you would hope that she had an idea good enough to help her recapture the magic of the first film. That's not the case. Look Who's Talking Too isn't without very occasional moments of fun (one being the unexpected treat of watching Gilbert Gottfried dancing alongside Travolta), but it generally tries to rework elements of the first film with less wit and smarts. That's what many sequels do, of course, but it's harder to enjoy something that feels a lot lazier and poorly handled.

The adults don't do a bad job. Travolta and Alley still work well together, and I am always happy to see Koteas have some screentime. The aforementioned Gottfried cameo is as bewildering as it is highly amusing. If the film somehow managed to sideline the kids and stay focused on the adults then it could have been an okay, if unspectacular, comedy about parents dealing with the various issues that life throws at them. But this is a film trying to focus on the kids, and it's the kids who do the worst work. To be fair, they're not exactly to blame. Remember when Mikey seemed a bit too old by the end of Look Who's Talking to continue communicating with the inner monologue of Bruce Willis and not his own words? Yeah, that's a much bigger problem here, what with him being an older character, and the child seemingly unable to stop wanting to babytalk to anyone close enough to him in every scene. Although Julie is younger, it also feels as if she has already gone beyond the point of just having an inner voice. Willis and Barr deliver their lines in a fairly perfunctory manner, which also doesn't help, but there are a couple of fun voice cameos from Damon Wayans and Mel Brooks, with the latter portraying a bizarre "talking" toilet.

It's a shame that they didn't decide to either do away with the inner voice gimmick, or perhaps mix that inner voice with whatever the kids might have been able to say in person, because this could have been more bearable if that hadn't been the focus. As it is, you will end up smiling far too infrequently, rolling your eyes at the contrived finale, and being glad when it's all over.

3/10

You can buy this set here.
Americans can also buy that, or get this set here.