Showing posts with label tom arnold. Show all posts
Showing posts with label tom arnold. Show all posts

Friday, 13 May 2022

Shriek If You Know What I Did Last Friday The 13th (2000)

I am not going to say that Shriek If You Know What I Did Last Friday The 13th (a title that will be referred to from now on, if at all, as SIYKWIDLFT13) is any kind of classic, but I still think it is the better of the two main horror movie parodies that ended up being released in the year 2000. Give me this over Scary Movie any day. If both Anna Faris and Regina Hall could have ended up in this film then we would have had the best of both worlds.

The plot, as slight as it is, mixes Scream with  I Know What You Did Last Summer, with the main characters being drawn from both. There's a new kid, Dawson (Harley Cross), there's desperate-to-lose-his-virginity Boner (Danny Strong), there's the beauty queen type, Barbara (Julie Benz), a slab of beef named . . . Slab O'Beef (Simon Rex), and a potential final girl in the shape of Martina (Majandra Delfino). Once it becomes known that there's a killer on the loose, you also have reporter Hagitha Utslay (Tiffani Thiessen) on the scene, and a security guard named Doughy (Tom Arnold) keeps trying to do his bit to ensure nobody else dies on his watch. It has to be said, however, that he fails spectacularly.

There aren't many other projects written by either Sue Bailey or Joe Nelms, which isn't really any kind of great blow to cinema, but they do a decent job here. The gags are silly, they're obvious, and they're often downright juvenile, but the same can be said of numerous, more successful, parodies from this time. There's certainly nothing here that feels as bad as the kind of stuff we would all have to suffer from Jason Friedberg and Aaron Seltzer, and it's hard not to laugh as so many scenes are crammed with amusing lines, sight gags, and subtle details underpinning the more obvious material. Like the best movie parodies, although it's not quite on the same level, this rewards repeat viewings. There's more to take in than just whatever is happening front and centre.

Director John Blanchard, perhaps unsurprisingly, has a body of work that includes a lot of comedy sketch shows (SCTV, The Kids In The Hall, MadTV, The Martin Short Show, and quite a few more) and he conveys a constant sense of being eager to please viewers. While some of the gags that don’t work REALLY don’t work, the scattershot approach, another trait common to parodies, provides many more hits than misses. Even a third act selection of “Pop Ups”, now a relic from a bygone era of MTV, provides some solid laughs.

Arnold is pretty good in his role, and works well alongside Thiessen, who is also well-suited to her character. Rex and Benz both deliver some of the best overt comedy with their characters, while Cross and Delfino make for enjoyable enough “leads” (it’s very much an ensemble cast though, any one of the seven main characters could be considered a lead). The weakest of the bunch is Strong, stuck with a character who is defined only by his constant, and frustrating, horniness. There are some familiar faces in supporting roles, including Artie Lange, Kim Greist, Shirley Jones, and Coolio, and the only major mis-step comes from the occasional use of someone just thrown onscreen to reference a horror movie character (I’m looking at you, Chucky).

I am not going to try to convince anyone that this is a misunderstood masterpiece. There is plenty here that many viewers will find unfunny. The soundtrack has some misguided attempts to emulate generic songs from the teen slasher sub-genre. I cannot help still finding it funny though. I liked it when I first saw it, I like it just as much today. It IS better than Scary Movie, and I would be delighted if I started to find more people agreeing with me.

7/10

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Wednesday, 25 March 2020

Prime Time: Dead Ant (2019)

AKA Giant Killer Ants.

There seems to be something about ants in movies. Modern films just don't seem to be able to make good use of them. While we had the likes of Them!, It Happened At Lakewood Manor (AKA Ants!), The Naked Jungle, Phase IV, and (one I have a soft spot for) Empire Of The Ants many decades ago, nothing in the 21st century seems to have managed to use our hard-working insectoid friends.

You can always find a selection of films to scare arachnophobes. But for the ants? I can only think of It Came From The Desert, The Hive, and this one. And The Hive is one I have yet to see. Maybe it's the best of the three. It's certainly unlikely to be the worst.

Dead Ant is a film about a rock group travelling to a festival to play a set. The group has their best days behind them, but this performance may give them a boost. Their manager (Tom Arnold) is certainly hoping for that result. But all of that pales into insignificance when there is some cursed peyote smoked that then leads to an assortment of pesky ants, growing larger in size every time one is killed.

Although writer-director Ron Carlson doesn't do a terrible job here, he doesn't do anything particularly great either. The script isn't as funny as it could be, the ant attacks aren't all that exciting, and the only highlights are some amusing gore gags in the third act (especially moments that show a character losing their hands).

Thankfully, the cast are all game, almost all of them giving more to the material than it deserves. Arnold is fine, if you don't mind his schtick, in the role of the manager who has made it his life's work to look after one band, and both Sean Astin and Jake Busey are very entertaining as band members, given fine support from everyone else onscreen, whether they are portraying temperamental musicians, disruptive girlfriends, or festival attendees.

I REALLY wanted to like Dead Ant, mainly because the cast take on their roles with such gusto (and it has an amusingly cheeky opening that shows a young woman discarding her clothing while being chased down by a giant beastie). But it never does enough to make it a decent entry in this particular subgenre of the creature feature realm. I just couldn't stop thinking about better movies, even when the film was supposedly working through an action-packed final act (that also left me cold).

Not enough laughs, no tension, not enough bloodshed, Dead Ant is disappointingly lifeless. Maybe the NEXT killer ant movie will buck the trend. I won't hold my breath though.

4/10

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Wednesday, 28 September 2011

Exit Wounds (2001)

Steven Seagal is a goodie but he’s the bad kind of goodie who always goes off on his own and busts heads before thinking of the repercussions. For example, saving the Vice President by throwing him into a river isn’t really what anyone wants to see in the newspapers. Which is why Seagal is sent to a different precinct, somewhere a bit rougher where he can go through the fun of being the new guy again. DMX is a baddie but he’s a good kind of baddie, perhaps. He doesn’t seem to want to kill anyone and just wants to be left to buy his drugs in peace. Perhaps. The two men find themselves in a situation that involves a LOT of heroin and a LOT of corrupt cops. Oh, and a lot of great supporting actors.

Exit Wounds is a lot of fun. The script has a lot of humour throughout and the action beats are numerous and consistently entertaining. Andrzej Bartkowiak directs with a great energy, grounding things so that each fight move packs a punch but also adding an occasional over the top move just to make things cool.

Seagal plays the same kind of character he plays in almost every movie, he’s a cop with an attitude who just wants to get the bad guys, but he also goes along with the humour and this puts him in a much better light than usual (especially in a scene where he’s sent along to an anger management group). DMX does okay onscreen but I can never seriously evaluate the acting of someone who has named themselves after some kind of computer cable (?!?!?). Elsewhere, we get treated to a fantastic and eclectic cast. Isaiah Washington, Michael Jai White, Anthony Anderson, Bill Duke, Jill Hennessy, Tom Arnold, Eva Mendes and the ever-brilliant Bruce McGill. Something to please everyone, surely.

With a lively soundtrack and some great exchanges between Seagal and whoever he deigns to share the screen with at the time, this film remains one of many simple pleasures. The plot throws in a few big twists that nobody should be shocked by but, first and foremost, it sets out to keep you entertained from beginning to end. And it absolutely succeeds.

7/10 

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