Fright Night

Fright Night. Vistar Films 1985.

Before watching the movie:

I somehow got the sense that there’s a whole blend of spooky stuff going on in this movie to the point that it might be an anthology movie or at least have an episodic progression. Turns out it’s just “there’s a vampire next door”. I guess the broad title comes from the horror show that the main character likes to watch that he eventually recruits the host from after nobody else believes him.

I’ve also gotten the impression this is really campy in just the right way, but it doesn’t seem to actually be considered a comedy, so I think I probably know what kind of tone to expect, but I thought this was a completely different movie until earlier today.

After watching the movie:

Charley Brewster is obsessed with two things: the late night horror movie show Fright Night, hosted by Peter Vincent the former star of cheesy vampire movies, and getting his girlfriend of over a year Amy to do more than kiss with him. He notices a coffin being carried into the basement of the house next door, and the next day sees a woman entering that house, and later sees the neighbor in the window brandish fangs and begin to bite her. Charley sees her appear on the news the next day as the second killing in town that week. After a failed attempt to get the police to intervene, Charley realizes he’s tipped his hand and now the vampire, “Jerry”, will be coming for him. Charley tries to solicit Peter Vincent’s help, but Vincent dismisses him too. Concerned with Charley’s obsession, Amy and their friend “Evil” Ed pay Vincent to help them prove to Charley that Jerry isn’t a vampire, but Vincent gets spooked off when, after Jerry passes the staged tests, Vincent sees that Jerry has no reflection in a mirror.

The first half of the movie seems very disconnected from the title, since Vincent only appears on TV and Charley is completely alone in his knowledge of Jerry’s secret. Even though this isn’t much more than 90 minutes, it felt like it was an hour of Charley alone and then an hour of Charley with his friends and Vincent. Eventually it comes to the point where it feels like it’s been building to make the title meaningful, but for a long time, it seemed like an afterthought title.

When I read that the horror host’s name was “Peter Vincent”, my immediate thought was that he would be a legally distinct echo of Vincent Price, but Roddy McDowall completely removed any impression of Price from my mind. He has an entirely different take on playing a former B-horror hero.

Jerry Dandridge seems to be an early step in modernizing vampire depictions. There’s a visible line running from him to the characters in Interview with The Vampire to the Twilight vampires. He’s aggressively normal, at least until his illusion slips. Charismatic in a modern sensibility. And they do take advantage of the R rating to demonstrate his seductive abilities. But I don’t think there’s any name that strikes less of a “vampire” chord than “Jerry Dandridge”.

This is just a little short of the true classic quality, but I can definitely see its merit as a cult classic, and it’s not surprising there’s an extensive franchise underneath it. The charm is there, there’s an inventiveness (or reinventiveness) to it, but it doesn’t quite have the polish it could have.

The Haunted Mansion

The Haunted Mansion.
Walt Disney Pictures 2003.

Before watching the movie:

I’m pretty sure this was greenlit on the success of the first Pirates of the Caribbean” movie. That there were no sequels or further “movies based on Disneyland attractions” projects (until Tomorrowland much much later) to my knowledge suggests it did not do as well as they hoped.

I didn’t even realize that Wallace Shawn is in this. I just knew there’s Eddie Murphy, and a house full of ghosts. Presumably there are some important ghosts.

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The Creation of the Humanoids

The Creation of the Humanoids.
Genie Productions 1962.

Before watching the movie:

The log line that I read said something about robots putting humans in immortal synthetic bodies so they don’t go extinct, which sounds nice of them and I don’t see how this gets spun as a horror movie.

A little more in-depth description refers to humans getting entirely too dependent on the robots and factions trying to keep the robots from becoming “too human” and taking over, which sounds like the kind of allegory that robots as a science fiction concept were invented from.

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Funny Money

Funny Money. Thinkfactory Media 2006.

Before watching the movie:

I had an impression that Chevy Chase completely disappeared from whenever he left the Vacation movies in the 90s until the late 00s, when he suddenly resurfaced in Zoom, a Tim Allen vehicle about a retired superhero, and on Community. Apparently what he was actually doing at the time was starring in German/Romanian adaptations of British plays. An American company was also involved, but I sure don’t recall any significant American release.

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From Noon Till Three

From Noon Till Three.
United Artists 1976.

Before watching the movie:

I’ve probably seen Charles Bronson in things before, but I don’t really recall him, and I don’t seem to have a tag for him. He is playing very against type in this movie, but I don’t really have a bearing on what that is other than “macho”.

I’m also not really clear on what this is about, since every summary I’ve seen seems to pick a different thread to focus on. There’s a bank robber who leaves his gang, there’s a widow whose story becomes a famous book, and it all starts with a life-changing three hours they spend together, and this is in some way a comedy. I hope I can keep my synopsis coherent.

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Delta Farce

Delta Farce. Lionsgate 2007.

Before watching the movie:

I recall being disinterested in this movie when it came out, and not really seeing anything to change my mind. I’ve since had my fill of the Blue Collar Comedy guys in general, and I seem to recall seeing this have a poor reputation.

So why am I watching it now? I’ve come around to morbid curiosity. Tropic Thunder is probably a better movie, but most people agree on that. Now I want to see how badly Delta Force missed the mark.

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Some Kind of Hero

Some Kind of Hero.
Paramount Pictures 1982.

Before watching the movie:

The first brief summations I read for this just say that the character is a veteran having a hard time coming home and getting into “trouble”. Which also describes First Blood. A slightly more involved summary mentioned that he ends up in a criminal heist for the mob, which I can certainly see being played for laughs or drama, and in fact, the book this is based on was a serious drama, but this is a dramedy because the studio insisted that Richard Pryor do comedic scenes. I think it will be interesting to see Pryor do as much drama as the suits will allow him to.

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Camp Nowhere

Camp Nowhere.
Hollywood Pictures 1994.

Before watching the movie:

Despite having gone through a phase in my early teens when I got obsessed with and went through the filmographies of many actors including Christopher Lloyd, it seems I can still be surprised. I don’t recall knowing about this movie’s existence until immediately before deciding to review it. I was trying to find something weightier since it’s been a while since I’ve done good drama, but as soon as I saw Christopher Lloyd, my decision was made.

It seems this concerns a no-rules retreat camp created by teens who don’t want to be sent away to the camps chosen by their parents. I’m not sure how much my impression that the poster wants me to think it’s “Animal House, but with teens” comes entirely from the fact that Lloyd’s character is wearing a toga. Also the girl in the swimsuit seems a bit shoehorned in I guess.

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Movies of My Yesterdays: George of the Jungle

One thing I recall about the circumstances of the George of the Jungle release was that it seemed to come out at about the same time as Disney’s Tarzan, but apparently this actually predates it by two years. Given what I know about animation production schedules, Tarzan was probably already in the works when they started on this, but just came out later. I now recall that it wasn’t until the direct to video sequel that they were able to reference Tarzan.

However, this was definitely part of a wave of Jay Ward cartoon adaptations made in the late 90s. As much as I like 2000’s The Adventures of Rocky and Bullwinkle (so much so that I did a redub of a sequence for college mainly because I thought there was a bad music decision that I wanted to fix. How did it go? Okay enough.) and Dudley Do-Right, I think this was the best of the bunch. Though it’s possible that’s just because I never saw any of the George of the Jungle cartoon, so I don’t know how badly it was changed. That didn’t stop me from loving the Inspector Gadget movie though.

George of the Jungle.
Mandeville Films 1997.

Fabulously wealthy San Francisco heiress Ursula Stanhope has come to Burundi to explore the jungle, but is surprised when her equally rich but pompous fiance Lyle Van De Groot tracks her down and joins her expedition, insisting they should return home as soon as possible for the wedding. Lyle has been accompanied by two poachers who are after the White Ape, a legend of the Burundi jungle that could get them a fortune. In reality, the White Ape is actually George, a human who was lost in the jungle as a baby and raised by apes, and now is the King of the Jungle. When Lyle and Ursula are attacked by a lion, Lyle tries to abandon Ursula and run away, and George swings in to save her, bringing her back to his treehouse to help her recover from the shock. When Lyle and the poachers find Ursula and George’s treehouse, there’s an altercation that leads to Lyle accidentally shooting George, leading Ursula to bring him back to San Francisco for medical care. Having seen Lyle for the selfish coward that he is, next to the humble and gorgeous hero George, Ursula now finds herself with questions about her future, much to her status-obsessed parents’ chagrin.

Maybe this is again because I’m not familiar with the source material, but it still feels like this movie more naturally adapted to modern styles than the other cartoon movies I named above. It’s a cartoonish slapstick farce with a lot of self-aware commentary, sometimes even not delivered through the narrator, but it meshes with the 90s writing aesthetic somehow. George is a timeless klutzy hero, but Dudley is a relic of a different era, and Rocky and Bullwinkle spend their entire movie commenting on how they’re 30 years behind. The narration is really the only anachronism I can find in this movie, and the Narrator is a comic character in his own right.

There were things I was expecting in this movie that I guess I was remembering from the sequel. This is entirely in the jungle and in San Francisco (because the Americans won’t be interested if we don’t take the hero to America), except for a tag with Ape in Las Vegas, and I think I was remembering more scenes in other locations that are probably from the plot of that movie.

I still like this movie as much as I did then. The naked product placement was more noticeable now, but it didn’t bother me because it was often the joke. This is my favorite Brendan Fraser movie, and he did some great work in the 90s and 00s. George of the Jungle is a friend to you and me.