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Although the story is as old as the hills, this film somehow manages to suck you in by offering a slightly newer approach. Jeff and Beau Bridges play the title characters, piano playing brothers whose lives are changed when they add a sexy singer (Michelle Pfeiffer) to their lounge act. She adds a certain quality that was lacking in the brothers cheezy musical performances of the past. Jeff ultimately falls in love with her, but still has to deal with the on-off rivalry with his brother Beau. One of the problems is that Beau seems to be quite content with doing the same boring numbers, night after night, while Jeff wishes to go for something with more fire. When Jeff falls in love with Pfeiffer, it's sort of the last straw.I'm not sure how the filmakers pulled it off, but a trio of good performances by both Bridges and Pfeiffer (who make a fine trio), and a funny, occasionally street-smart screenplay by writer-director Steve Kloves make this old-fashioned story seem completely new. One of the best scenes involves Pfeiffer's rendition of Makin' Whoopee on top of a piano. The movie is already considered a classic, though perhaps for that one scene alone. Still, I'd like to think it would be remembered for its likable story, and characters, who start out unlikable, but begin to grow on you. By film's end, you'll be pleased to find a smile on your face.
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This movie seems like a bad episode of a Fox sitcom, that didn't even last a season. A family of lecherous money-grubbers can hardly wait for their aging uncle (Kirk Douglas) to die. But because it looks like the old man is going to leave the money to his attractive young nurse (Olivia d'Abo), the family decides to call for Douglas' nephew (Michael J. Fox), in hopes that he will assure that the money will be given to the family instead. Fox has not seen his uncle in many years, but because they used to be real close, he decides to give the idea of becoming friends with him again a chance. Problem is Fox eventually starts to fall towards the same greedy path as his relatives.Why is it that when someone makes a comedy film, they think that it's logical to comprise your humor of mostly dumb slapstick and not humorous dialogue? That's the problem with this film. The most clever thing about this picture involves the in-joke gag of the family name, McTeague (which is taking a shot at Erich Von Stroheim's silent classic, Greed). The performances are woefully unfunny and talk-heavy. The story also seems to have a dreadfully serious air around it, for a film that claims to be a comedy. Douglas is the only one who'll get any laughs whatsoever. When he's on screen, it's a real joy. When he's not, it's the other performers who try to hold the limp story together. It's not a pretty sight.
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A movie that is a real treat, stars Rick Moranis in this film version of the off-Broadway musical, which is in turn based on the 1960 low-budget classic by schlock-meister Roger Corman. Moranis stars as Seymour, a nebbish who is growing a very "strange and interesting" plant, Audrey II (voiced by The Four Tops' Levi Stubbs). As the plant grows to monstrous proportions, its appetite for meat grows to dangerous lengths. In the meantime, Moranis is attempting to impress the squeaky-voiced clerk Audrey (Ellen Greene), who's going out with a macho, sadist dentist (Steve Martin).A hilarious film, with great songs by acclaimed songwriting team Alan Menken and Howard Ashman, offbeat performances by Moranis, Greene, Martin and Bill Murray (who's a riot in a role originated by Jack Nicholson in the 1960 film version), some delicious black humor and ingenious special effects that bring Audrey II to life. Stubbs lovely baritone voice, used in such songs as "Feed Me" and "Mean Green Mother from Outer Space", is a welcome addition to an amazing creature such as Audrey II. A couple of complaints however. Some of the special effects tend to overshadow the scenes that are good without such effects. Also, the film tends to get a little out of control near the end. Still, this is one of those films that remains an exciting experience, no matter how many times you see it.
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This is a fascinating documentary that follows rock superstar Madonna on her 1990 Blond Ambition world tour. The bulk of the film is devoted to uncovering the underside phenomenon of Madonna's famous essence. In turn, Madonna allows the filmakers to shoot some particularly dynamic backstage sequences and private moments in Madonna's life, which involve her relationship with her family; her discussions with then-beau Warren Beatty (which provide some very funny moments); trouble with the Canadian police at one of her stage shows in Canada; Kevin Costner coming backstage to tell her that her show was "neat" (what she does after Costner leaves is priceless); and an interesting round of Truth or Dare with her dancers-comrades.The film is important in the way that it shows celebrities, not as superhumans or subhumans, but people who eat, shit and breath just like the rest of us. It's true, Madonna is not what you'd call a typical person and she is at times very shallow, but this film at least shows that she is a hardworking human being, compared to the way much of the press portrays her (which appears to be a vision of a sex gargoyle from the outer limits). Some touching moments involve a visit to Madonna's mother's grave, and when an old friend goes backstage to ask Madonna if she'd be the Godmother of her child. This is an entertaining and irresistible documentary, in the mold of such "rockumentaries" as Gimme Shelter, Woodstock and Stop Making Sense.
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A cult hit spoof of exploitation flicks, which involves the transformation of a 90-pound weakling into a hulking, crime- fighting monster. He goes around mashing bad guys heads, while romancing a blind girl who he saved from death. Of course, not everyone wants "Toxie" to be around, considering him a menace to society. So it's time to cause more chaos than the monster has ever done before in his life.Despite the incredibly gross effects and sight gags, this remains a strangely enjoyable experience. It features some funny pot-shots at exploitation features of the past, the health craze of the 1980's and even such highly praised features as The Elephant Man. Nothing is left unscathed. That helps make this the best film ever produced by the low-budget production company, Troma.
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This repellent gross sequel to the surprise 1985 hit. This time we follow "Toxie" as he tries to save his hometown from being turned into a toxic waste dump, by a truly evil conglomerate. Some of the sight gags are funny, but the filmakers try much too hard this time. Instead of surprising us with a joke we never saw coming, they hammer in dumb humor and dialogue continuously, without giving us room to laugh. In other words, the stuff that isn't supposed to be funny ends up being unintentionally funny, while the stuff that's meant to be funny is well...you get the picture. It is good on the "So-bad-it's-good" level and it's perfect for lovers of bad movies. Others should probably beware.
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Like the recent film version of Romeo and Juliet, Shakespeare's classic historical play is updated to 20th-century settings. It appears to be the era of WWII, as tanks, machine guns and bombers wreak havoc on the battlefield. The hunchbacked Richard (Ian McKellen) is as thirsty for power as ever, killing his brother Clarence (Nigel Hawthorne), his in-law Rivers (Robert Downey Jr.), his nephews and just about every other character in the story. Especially the ones in line for the throne!The great language is still here, but the story has been chopped up and drastically shortened. The film itself is hurried along too quick, with some of the best scenes beginning and ending in a matter of seconds. Of the performances, McKellen is towering in the title role and recent Academy-award nominee Kirsten Scott-Thomas as Lady Anne is lovely, but the others are rather dull and miscast. American actors Downey and Annette Bening (as the Queen Elizabeth) give truly awful performances, which stick out like sore thumbs. See the 1956 film version of the play, which is far superior to this one.
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