Tag: films (page 5 of 26)

IT CAME FROM NETFLIX! Airplane!

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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The year was 1980. It was a time when volcanos erupted, disco was dying, empires struck back and an actor became President of the United States. Comedy, satire and parody were nothing new to the people of this time, but when Airplane! premiered, it not only delivered the screwiest of screwball pictures to date, it also defined parody films for years to come, on the basis of being an absolute scream.

Courtesy Kentucky Fried Films

The airplane of the emphatic title is a jet liner traveling from San Francisco to New York, and tragedy lurks in the shadows of the plane. The meals available to the passengers are steak and fish, but the fish has gone bad and will poison several passengers and the entire flight crew. Unable to rely on the automatic pilot, Otto, for landing, stewardess Elaine must turn to a man she’s trying to leave behind, a man haunted by his time in battle, the only pilot left on the plane who can save all their lives: Ted Striker.

Stated so plainly, the plot might not sound like a premise for an absurd comedy. However, it does establish a solid basis for clear-eyed, lantern-jawed actors to deliver their lines with stony earnestness, while something absolutely hysterical is going on in the background. Following hot on the heels of Mel Brooks’ Blazing Saddles, Airplane! adds celebrity cameos, direct spoofing of disaster movies (Zero Hour! in particular, which this film actually remade) and brick joke setups to the mix. The result is a movie that is smart, well-paced and very, very funny.

Courtesy Kentucky Fried Films
Mr. Bridges would disagree; it’s totally a serious movie. Totally.

The comedy team of Zucker, Abrahams and Zucker (remember them?) first burst into film with this title, and it changed a lot of things. While comedy was nothing new on the silver screen, it classically involved actors with comedic backgrounds almost exclusively. Airplane! broke that mold wide open with some brilliant casting. Peter Graves, Lloyd Bridges, the aforementioned Leslie Neilsen and especially Robert Stack were known primarily for their dramatic or action-oriented roles. It shows in their delivery, the confidence they project and the way in which their presence inhabits the screen, even as we laugh hysterically at the antics unfolding around them.

Much like The Naked Gun and other films that would follow this one, Airplane! relies on audience attention, very rarely calling direct attention to a gag. Which isn’t to say they don’t; Johnny’s bit with the lights is a notable exception. The crux of the comedy lies in the ability of the actors to maintain straight faces, from Robert Hays’ Ted somberly referring to his ‘drinking problem’ to Captain Oveur’s rather odd questions to the young boy who comes up to the cockpit.

Courtesy Kentucky Fried Films
“Joey? Do you like movies about gladiators?”

To say more would surely spoil a great deal of the jokes. And they’re almost all winners, from the presence of NBA legend Kareem Abdul-Jabbar to the final screen performance of Ethel Merman, from June Cleaver speaking ‘jive’ to a gag Robert Stack pulls that could later be played backwards as a meme reference. It’s packed so full of humor that the disaster movie plot is nearly superfluous. That’s forgivable, however, when the humor is this funny and timeless. The movie might have come out in 1980, but the fact that we can, in 2011, still roll on the floor in reaction to the jokes is a testament to what good writing can do for a comedy. I know what you might be saying: “Surely, this is a glowing recommendation for this movie!”

Spoiler
Yes. It is.

And don’t call me Shirley.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

IT CAME FROM NETFLIX! The Naked Gun

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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The parody is hardly a new form of artistic expression. People have been making fun of things other people do since time immemorial. I’m sure there are some cave drawings that, in context, are downright hilarious. For a few years the premiere comedy team for cinematic parody were David Zucker, Jim Abrahams and Jerry Zucker. One of the finest examples of their work came about in the form of a series of films that have been mercilessly pursued, copied and mined for ideas. It all began with The Naked Gun.

Courtesy Kentucky Fried Films

Okay, I lie. It all began with Police Squad!, a television show aimed at taking the piss out of the hard-bitten noir detective shows like Dragnet. The Naked Gun is the full-length film that grew out of that show, starring Leslie Neilsen as Detective Lieutenant Frank Drebin. Drebin’s a decent cop in a bad town, narrating the particulars of the case at hand and his feelings for Jane, a beautiful woman who seems to keep getting mixed up with slick corporate villains. With this somewhat loose outline of a plot, the writers worry less about the drama inherent to noir crime yarns and more about the right timing of a sight gag, the best snappy comeback and the most over-the-top way in which they can tackle a pop culture target.

When Leslie Neilsen passed away I was among those who mourned. His sense of comedic timing and elastic facial expressions were coupled with a fine form of gravitas which allowed him to deliver punchlines with the sort of straight-faced stoniness that’d put the detectives on Law & Order to shame. I consider the Naked Gun films to be among his finest work, though he also really shined in Airplane! to the point that “Don’t call me Shirley” creeped into the common parlance of anybody fashioning themselves as a top-tier wiseass.

Courtesy Kentucky Fried Films
I dare you not to laugh at this great man.

There are two reasons I feel the comedy in these movies work as well as it does. First, the characters aren’t in on the joke. While the actions that take place and the circumstances in which these people find themselves might be ridiculous, the characters themselves very rarely nudge or even wink at the audience to make sure they get the punchline. The things that are clearly ludicrous to us as observers is unlikely to be commented upon by the characters in the scene, as if they’re oblivious to things like odd chalk outlines or the particular detail given by sculptors to the genitals of the statues outside the high floor of an apartment building. The characters might not comment on these things, but there they are, for the audience to behold and laugh at.

Which leads me to the other reason the Naked Gun movies are rightfully considered go-to examples of well-done parodies. The movie assumes the audience is observant, if not smart. Instead of inserting pregnant pauses, obvious musical stings or other shallow means of calling attention to a moment the writers fell all over themselves laughing, the gags and bits play out in a very smooth, almost breakneck manner in terms of pace and execution. You might be wondering what the difference is between The Naked Gun and, say, one of those Scary Movie sequels.

Courtesy Kentucky Fried Films
There’s a joke about the Wayans Brothers in here somewhere…

It seems to me the many of those sequels and spin-off movies act a bit like carbon copies of The Naked Gun. While the content has been dutifully duplicated and updated with even more pop culture references and gross bodily humor, the intelligence behind that humor, the ability of the actors to play their scenes straight and the assumption that the audience doesn’t need their metaphorical hands held to know when to laugh are all absent. Due to this, the humor suffers, and if the comedy in your comedy movie isn’t funny, you haven’t got much left, have you?

That said, comedy is largely a subjective thing. It’s a case of one man’s meat being another man’s poison. I mean, there are people out there who find Grandma’s Boy or Trapped in Paradise hilarious, I’m sure. Still, I’m going to go out on a limb here, and say that The Naked Gun and its sequels have a sort of timeless, universal appeal. They can find a place on just about any Netflix queue. I mean my wife, who typically isn’t a fan of comedies, found them to be pretty funny. And this is the reason I’m tackling these films, you see, because this day, the 18th of March, is her birthday. She recently retooled her blog and there’s lots of content to come there, so why don’t you swing by and check her out? Let it not be said I forget my loved ones on their birthday, even if the only day-of present I can provide is a shameless plug.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Where Camp Belongs

Courtesy DEG

There exists a type of stage play that’s so absurdly over the top as to defy belief. I’m speaking of the pantomime. Burlesque is another one that comes to mind. The subject matter of these productions could be anything, from teenage romantic angst to the Holocaust, and goes so completely across the line of good taste that they circumnavigate our imaginations and strive come out the other side where things are so ridiculous they’re awesome again. It can be a very tricky thing to do, and it doesn’t always work.

In a similar vein, we have an unspoken sub-genre of films called ‘camp’. The degree to which a film tends to be considered camp is directly proportional to the degree to which it takes itself seriously. If it tries one time too many to make a legitimate point or be more than camp, it’s going to fail and the campier bits will just seem silly. Let it take the piss, however, and the overall effect is one of a fun if meaningless romp.

MovieBob mentioned camp in his review of Red Riding Hood, and cited two examples that I feel serve as great ‘bookends’ for camp. On the one hand, we have Batman & Robin. Now more than once, this little flick tries to harken back to the campy days of the Adam West television series, but more than one serious story point, complete with straight-faced sincerity and somewhat bland delivery, is tied to the absurdity the way a concrete block is tied to the ankle of someone who disappointed the boss. I’m not saying Batman & Robin would have been saved if you’d taken out the subplots involving Alfred & Mister Freeze’s wife, but it’s definitely one of the movie’s many problems.

On the other end of the scale is Flash Gordon. It in no way takes itself seriously. Horny evil overlords, impromptu football games and breathing in space are all handwaved in the name of having a good time. The color palette is vibrant, the actors larger than life (especially in the case of BRIAN BLESSED) and the whole thing is powered by the music of Queen. I can’t think of a campier movie that still manages to be enough fun to not overstay its welcome and make the audience feel like they spent their time well.

There are a plethora of films in between these two. Some will try to tap the same vein and not quite get it right, like Masters of the Universe. Others will keep the special effects, music and sensibilities modern while keeping the level of seriousness quite low, like Stephen Sommers’ The Mummy. From Independence Day to Moulin Rouge, there’s plenty of camp out there, and it isn’t all bad.

Sometimes you want to crack open that doorstopper and take in some serious long-form fiction, and sometimes you reach for a comic book. Camp is that comic book, and there’s nothing wrong with it. It has its place in our libraries, a space where it belongs, where our need for escapism exceeds our desire to remain in the real world. And it can work very well, unless you try to take it too seriously or otherwise muck it up.

I’m looking at you, Schumaker.

IT CAME FROM NETFLIX! RoboCop

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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Capitalism is, in its current form, a very Darwinian way of life. Only the wealthy survive, and if you want to make it you need to cleave yourself to someone with pockets much deeper than yours in exchange for the means to keep on living. Lately the cleaving has been to large corporations instead of individuals. This is why you’ll see public sports arenas bearing the names of dispassionate banks and energy companies instead of the luminaries of the sport. This is called privatization, and it’s the basis for Paul Verhoeven’s Robocop.

Oh, and there’s a robot. Who’s a cop.

Courtesy Orion Pictures

In a near-future vision born of the 80s and bearing a sharp, cynical edge, the police of Detroit have become owned and operated by Omni Consumer Products, a military subcontractor looking to bulldoze a crime-ridden part of the city to build an ultra-modern business district. When the old guard’s robotic answer goes awry during a demonstration, a young turk puts forth his own idea, involving the use of ‘some poor schmuck’. That schmuck is Murphy, a hard-working well-meaning cop transfered into the most violent precinct in the city just in time to killed in the line of duty. OCP scrapes him off of the operating room table, drops him into a robotic body and wires him with primary directives: Serve the public trust, protect the innocent, uphold the law. This is RoboCop, their hottest product ever, but inside the titanium and kevlar, does Murphy still exist?

RoboCop’s one of those movies I grew up with. When I first saw it, I was too young to understand a lot of the underlying themes of the work, but I understood the basics of the plot in and of themselves, and hey, badass robots! Seeing it again, I can appreciate it more on levels beyond mere spectacle and distraction. In fact, watching RoboCop as an adult, it’s hard to shake the notion that Verhoeven might as well be saying “This is what happens when people with money run everything” in big, bright letters.

Courtesy Orion Pictures
Your move, creep.

That said, this is a Verhoeven entry much more in line with Starship Troopers than Black Book. Even more so than the theme of military pseudo-fascism, privatization is something that has remained a pertinent and very real possibility in our modern day and age. There are some of the classic Verhoeven tounge-in-cheek touches, like the stock tickers above the urinals in the OCP executive longue and the 8.2 MPG automobile called the 6000 SUX being hailed as “an American tradition”. These moments of levity not only serve as bridges between the visceral violence but also drive home the point our director is making.

Which isn’t to say that RoboCop is all cerebral anti-privatization rhetoric. There’s plenty of action to be had. From the gunfight in the coke factory to the showdown with ED-209, you’re certainly not going to be bored. It’s hard to shake the notion that the film’s age is starting to show in places, and some of the deeply-seated nuclear fears of the age seem a touch laughable, but the film has the good sense to laugh right along with us. However, it’s also hard to shake the feeling that some of the trends we see in the film – the beleagured, underfunded civil servants, the thriving corporations with rhetoric and iconography disturbingly close to a certain regime from the 1940s, the apathy of the public, the sensationalist news media – came to life all too vividly.

Courtesy Orion Pictures
Say hello to Dick’s little friend.

On top of everything else, Peter Weller does a fine job in the lead role. As Murphy, he’s a nice guy in a bad town, wanting to do the right thing and impress his son while not being a very good shot and making a couple mistakes that lead to his demise. As RoboCop, it’s clear OCP has done all it can to strip him of his humanity, giving him an improved form and more accurate function while watering down all that made him who he was. The struggle he undertakes to regain what he lost, even in some small sense, inhabits this movie with some real heart that, while a touch melodramatic at times, nonetheless makes for a perfect final element to round out a great film.

I was afraid that the years had been unkind to RoboCop. While I did laugh at some of the stop-motion that chilled my blood as a child, I noticed a lot more now that I’ve grown. And everything I noticed just makes the movie better. If you’ve never seen RoboCop, be it because you were too young or you wished to avoid Verhoeven’s signature ultra-violence, do yourself a favor and queue it up on Netflix. Be it blazing action, darkly comedic satire or an intereting twist on a Frankensteinian character, there’s appeal for most within its runtime. It’s well worth your time.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Arc Trails

Courtesy Scott Free Films
Not historically accurate, but Balian’s got a good arc, too.

The hero is introduced to us in a relatable fashion. He may be flawed, but his heart or his mind is in the right place for the journey about to take place. It begins when he is presented with a dramatic question. His journey takes him through the wilds unknown both without and within, and in pursuit of the answer to the dramatic question he will learn something about himself. By story’s end, he has not only answered the dramatic question, he has changed, grown or even evolved.

This is your standard character arc, the sort of thing Campbell explores in detail and tale after tale emulates. The protagonist can be male or female, young or old, initially naive or villainous, but an arc like this keeps the character from stagnating. It takes the reader as well as the character from beginning to end without making things too boring.

This is remarkable to us, I think, because it’s rare for us to have this sort of coherency in our own lives.

Stories begin and end around us every day. If all of these starts presented the sort of dramatic questions we remember from our favorite tales, Seth Godin wouldn’t have needed to write Poke the Box[1]. Unfortunately, not every day or situation launches a clear arc that leads to significant change, be it in ourselves or the world around us. When those changes do come, it’s only in retrospect that we trace the journey and know in full what we’ve learned and how to use that knowledge in the future.

Campbellian arcs show us the potential of the human spirit. Take a look at Luke Skywalker, or Harry Potter, or Frodo Baggins, or John McClaine, or Marty McFly… quite a few of the heroes we enjoy reading about or watching follow these patterns. In each instance, the characters grow beyond their origins to achieve something greater, either for themselves or beyond themselves. It’s a tried, true and oft repeated pattern because not only does it work, but it also inspire.

This doesn’t mean that said arcs can’t be played with. Relating this sort of growth to modern characters can be difficult and can require modification or outright subversion, e.g. the characters in Clerks. Plots can also twist and play with our expectations – see Memento or The Sixth Sense. Finally, a writer might take a character on this arc and push them in another direction, throwing their journey into conflict with itself, the way Scott Pilgrim must confront his immature behavior to overcome the obstacles before him.

I know I just threw a lot of examples at you, but I’m sure you can come up with more. That’s what the comments are for, folks. Fill ’em up.


1. Yes, I know, I harp on this a lot, but it’s a really good book if you’ve got a creative mind and want to make a living with what that mind provides you. Read my Amazon review here.

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