Arachnophobia

Arachnophobia. Amblin Entertainment 1990.
Arachnophobia. Amblin Entertainment 1990.

Before watching the movie:

I always had the impression that this movie was a horror/monster film, but actually looking at the promotional material, it seems more like a disaster drama in the style of Outbreak, where the disease is more of a force than a monster. In this movie, it appears people are dying of bites from a rare spider, and the experts have to contain the spider. It doesn’t even seem to be an uncanny spider (which would make it more monsterish), just an exotic one.

Jeff Daniels headlines this movie, and I continue to realize how broad his filmography is. At one time, I knew him exclusively as a comedy actor (though I was young enough to confuse him with Dave Coulier), and I think he’s still best known for Dumb and Dumber, but at this point I think I’ve seen him in more serious roles. But maybe I’m assuming too much with this movie.

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Sliding Doors

Sliding Doors. Paramount Pictures 1998.
Sliding Doors. Mirage Enterprises 1998.

Before watching the movie:

Exploring parallel outcomes of a small change in one’s life is hardly a unique source of plot, especially since Many Worlds Theory entered popular consciousness. Malcolm in the Middle did an episode on what would happen depending on which parent chaperoned an outing, one of Community‘s most popular episodes traces seven different continuities, Mister Nobody follows a mind-bending number of possibilities, and Constellations recently began a Broadway engagement, just to name a few, and completely ignoring the countless examples involving time travel. However, there are two films that are always held up as the chief examples of the concept: the German film Run Lola Run, and Sliding Doors, both of which, interestingly, released in the same year. Perhaps that’s a part of why they both resonate so strongly.

I encountered Run Lola Run first, so I’ve always seen this as the English-language derivative. I expect it to be less experimental in technique and so more accessible, but that’s dangerously close to snobbishness. This is still an experiment in stepping outside traditional linear story, and highly regarded as such, for reasons I’ll now get to experience.

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Soapdish

Soapdish. Paramount Pictures 1991.
Soapdish. Paramount Pictures 1991.

Before watching the movie:

There is so much star power in this movie I hadn’t heard of. I know Robert Downey Jr. was popular when he was young before he had to take a break to get clean and rebuild his reputation, but I think he’s still a bigger hit now than he ever was before. I always enjoy Kevin Kline, but while he’s gotten a lot of great comedy leads and supporting roles, I don’t think he ever got the comedy superstar status he may deserve. And of course, the movie is led by Sally Field and has Whoopi Goldberg in a role that might have 30 seconds of screen time for all I can tell with how prominent her name is versus how big she was in the 90s.

It occurs to me that I really enjoy spoofs of soap operas, though I don’t really seek them out. I saw several episodes of Soap some years ago but never continued after we finished the first disc or two, maybe because it was too much actual soapiness vs. mocking soapiness. Or perhaps I like the spoofs in concentrated bursts. Even Saturday Night Live’s “The Californians” was funny the first time. But what really draws me to this is that the story is about the drama going on off-camera, which makes me expect something like if Noises Off collided with Days of Our Lives.

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A Simple Wish

A Simple Wish. Sheinberg Productions 1997.
A Simple Wish. Bubble Factory 1997.

Before watching the movie:

I’m not sure if Matilda is intentionally being invoked by the posters, or if it’s more of a coincidence of starring Mara Wilson and having a 90s “whimsical fantasy” aesthetic. The story isn’t much like Matilda at all really.

Anyway, the poster design wouldn’t have gotten me interested (I think I liked Matilda, but if I wanted to see it again I could just see it again. Actually, I ought to see it again), but it’s again in the big, cheap collection of movies I recently got, and the description on IMDB shows potential. But what really got me interested was the tagline. “Anabel made a wish. Murray made a mess.” That’s almost certainly an oversimplification, but it suggests a fun, haphazard style of accidental magic.

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Ed

Ed. Longview Entertainment/Universal Pictures 1996.
Ed. Longview Entertainment/Universal Pictures 1996.

Before watching the movie:

I’m not sure if I bought the set this movie is in before or after I heard it come up in a conversation as an example of an awful career blunder for Matt LeBlanc, but I’d never heard of it before as far as I know. Looking at the description, I can kind of see why, because it makes no sense. A minor league baseball player has to room with the team mascot for some reason, and the mascot is a real live chimp for some reason, and this improves his career and life for some reason? I’m missing too much information here. I can’t really say how bad or enjoyable I expect this to be because I have no idea from the facts at hand where it could really go. It seems like it just needs to be experienced to be understood.

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YesterMovies Rewind: Simon Birch

rewind

Five years ago this month, Yesterday’s Movies officially began. To celebrate half a decade of movie reviews, I’m rewatching some of the highlights and giving them second-look reviews. I’m closing out this series with the very first movie reviewed here, Simon Birch.

I know I originally chose this one because I’d just read the book it was based on, A Prayer for Owen Meany, and I recall it ended up not having much to do with the book.

I also think I remember Christmas being a major part of the movie, being a major episode somewhere in the middle of a story told over about a year or so. I’m not sure if I said something about it in the original review, but I’m recalling a feeling very similar to The Best Christmas Pageant Ever. oddly. That and the bus scene are all I really remember.

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YesterMovies Rewind: L.A. Story

L.A. Story. Carolco Pictures, 1991.
L.A. Story. Carolco Pictures, 1991.

Five years ago, on December 4, 2009, Yesterday’s Movies officially began. To celebrate half a decade of movie reviews, I’m rewatching some of the highlights and giving them second-look reviews. I’m kicking it off with a look back at the best reviewing experience I had, L.A. Story.

As I recall, I’d heard the film spoken of glowingly, but never expected it to be much more than one more copy-paste romantic comedy. I didn’t expect the amount of fun, warmth, and satire, and I certainly didn’t expect the element of fantasy. At this point the main thing I remember about the plot is that Steve Martin falls in love with a woman he probably shouldn’t. Also there’s a cameo with Patrick Stewart.

I’m concerned that it won’t be as good as I remember, simply because so much of my impression was born from the gulf between what I expected and what I actually saw.

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The World is Not Enough

The World Is Not Enough. Metro-Goldwyn-Mayer 1999.
The World Is Not Enough. Metro-Goldwyn-Mayer 1999.

Before watching the movie:

In some families, Christmas starts the moment the Thanksgiving desserts are cleared away, or sooner. However, I prefer to give it a few days before slowly creeping into the season. So here’s an action spy flick starring James Bond and notable Bond girl Dr…. ah.

I don’t think there’s a movie out there so tenuously linked to Christmas, but if this doesn’t count, the honor would probably go to Die Hard.

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Random Hearts

Random Hearts. Rastar Pictures 1999.
Random Hearts. Rastar Pictures 1999.

Before watching the movie:

I first heard of this movie in In The Can, a book about Hollywood missteps. When I selected it, I didn’t remember what the book had to say about it (I may have confused it with another entry), but I was fairly certain it had been in the book. I have a particular interest in movies that had potential but made a critical error, and in this case it sounds like a minor problem rippling outward: according to the book, Harrison Ford’s fame took too much focus that could have been spent on more interesting characters. Now I can decide for myself if that’s the case.

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The Cable Guy

The Cable Guy Columbia Pictures 1996.
The Cable Guy. Columbia Pictures 1996.

Before watching the movie:

The poster shown here is overwhelmingly the image associated with this movie, but for the longest time I took it at face value, as if it was telling me Carrey’s character is really a sinister, murderous psycho. However, in light of the descriptions usually attached, I think this is a joke that’s lost its context. From the descriptions, I think I see a story about a needy character who has more of an exasperating effect than a worrying one. Less Fatal Attraction, more What About Bob? But then looking at IMDB just now I’m thinking I’ve underestimated the darkness again.

I expect good things from Matthew Broderick in a beleaguered straight man role, and Jim Carrey’s proved himself in pretty much any kind of role.

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