In the 60s and 70s, Disney’s live action movies department came up with some pretty outlandish ideas. Some of them are cartoon ideas, but done in live action, some are just… did they throw darts at a board or something?
This is an adventure about an extraterrestrial cat. There’s some humans trying to help the stranded alien cat get home and some other humans trying to steal the cat’s technology, and I don’t really know much more than that, which I learned only minutes ago.
As I grew up, I eventually discovered my parents’ music collection, and among it, my father’s Weird Al CDs (and eventually the Doctor Demento cassettes and tape recordings of Weird Al vinyl albums). I considered myself a fan of Al Yankovic, but eventually I learned that there was a lot more than just the self-titled album, Even Worse, and Alapalooza. But I think I was in high school before I found UHF.
While I usually came to these kinds of things through library catalog raids, I distinctly remember my favorite high school teacher showing this movie on a slack day, and a lot of the most iconic parts of the movie were definitely new to me at the time, so except for possibly passing some of the more random elements while channel surfing and not knowing what it was, I’m confident in saying that my teacher playing it in class was the first time I saw this movie, although I don’t think we finished it then (a common theme among movies played at school, considering a class period is a little less than an hour and a movie is at least 75 minutes). I eventually saw it on DVD, the menus of which are how I first encountered Al’s updated (hair down, no mustache, no glasses) look that was probably old, old news by then.
As recall, the plot is probably the most forgettable part of the movie, though it’s clearly constructed as a means to let Al’s comedic ideas and abilities (and those of his writing partner) play. Al’s character George comes into control of a tiny local TV station and builds it into the area’s most must-watch TV through just having weird ideas nobody in the TV industry would have, a sure threat to the big network that wants him out of competition for their ratings.
There’s more story and fewer sketches than I remember. Stanley is shown at the beginning to be a daydreamer, but that’s not carried through most of the movie. The cutaways are almost entirely station ads once the story gets going until the big Rambo parody daydream at the end. The Beverly Hillbillies music video could be argued to be continuing his flights of fantasy, but it’s framed as a dream instead of a daydream, and it’s so different from the imagination sequences that it just seems awkwardly shoved in.
I’m not sure if RJ Reynolds seems like a parody of someone specific in broadcasting or if Kevin McCarthy is just that much of a presence in his own right. He feels like the most noteworthy actor in a movie with Weird Al, Kramer, and The Nanny despite the fact that I had to look up his name. He seems like a Leslie Nielson type whose serious appearance is usually played for comedy.
It’s unfortunate that this movie didn’t do well enough to let Al continue to make movies in the 90s. He’s only in the last few years been able to take the time to pursue comic acting alongside his music career as he reached the end of his album contract. This is at least as good as a classic National Lampoon or Airplane!-type movie, and he seems like he could’ve done more. I should probably look up AlTV, which sounds somewhere between talk show parody and actual talk show, but more in this vein would have been on another level.
Men caring for children and being overwhelmed! That’s funny, right? Because men can’t handle kids? Or because men aren’t prepared for childcare and face a steeper learning curve? Eddie Murphy and his friend who’s not a big enough name to be billed above the title or featured on the poster at all will find out, I guess.
I thought this movie had both Eddie Murphy and Steve Martin, but I’m pretty sure I’m just confused because Steve Martin appeared in Cheaper By The Dozen the same year, and they are both movies about Too Many Kids.
I remember this movie positively, so I’m surprised how negative my review sounds. My topics still might not necessarily flow into each other, but I try to be coherent on at least the level of paragraphs. I’m pretty sure my original review is more jumbled than the movie seemed to me at the time.
While Thor is still a random character to be enamored with for the 80s, his film appearances in the last decade have certainly raised his relevancy now. In 2009, if I even knew that Marvel Studios was making a Thor movie, I was aghast and perplexed that someone thought he was a movie superhero. His first two solo movies didn’t do much to change my mind, but as an ensemble player and in Ragnarok, I enjoy him a lot now.
Chris’s boyfriend cancels on their anniversary dinner at the last minute, and Chris ends up agreeing to babysit Thor fan Sara and her older brother Brad, who has a freshman crush on Chris. When Chris’s friend Brenda spends all her money running away to the bus station downtown, Chris takes her charges into the city, along with Brad’s lecherous friend Daryl. A fast succession of misadventures soon causes them to be targeted by a murderous gang of car thieves.
It’s a lot easier to complain about movies than to discuss what’s good or analyze them. I still think Daryl’s initial portrayal is way over the top, but that comes from a combination of him being a kid who doesn’t know or care what’s not okay in a time when they didn’t know as well what wasn’t okay. Everyone’s characterizations as they’re introduced are a little heavy-handed, it’s just that Daryl’s really hasn’t aged well.
For a city as diverse as Chicago, it seems a little odd that the three different music venues visited are all into rhythm and blues. It’s good music, and the Babysitting Blues is a highlight of a scene, but I think it reveals where someone’s taste in music lay.
I think Sara’s love of Thor might be meant to draw a parallel between comic book adventures and the gang’s series of travails. Every time they get themselves out of trouble, they quickly land in a new kind of it. Also Thor may a bit of an odd choice, but he definitely is one of the easiest comic book superheroes to accidentally cosplay as, which leads to the most important Sara scene.
Looking back at what I was writing ten years ago, I think it’s easy to see how much I’ve grown into this. I don’t always feel like my writing makes sense, but I’ve developed a sensibility that I don’t think would let something that disjointed get published now. A good movie deserves better than a pile of disconnected complaints.
I don’t really have enough time for a review this week, so here’s a collection of my favorite Movies of My Yesterdays posts. One might say they’re Movies of My Yesterdays Of Yesterday, but one would be reaching dangerous amounts of meta.
In looking back on these posts, I realized that when I began, I used an introduction that I forgot about by the third entry:
Movies of my Yesterdays is an irregular series where instead of writing about a movie I’ve never seen, I choose a movie important to my past and discuss why that is.
Galaxy Quest: a love letter to fandom, or a love letter to a love letter to fandom?
This always seemed a strange choice for Disney, even considering the weird live action movies they made in the 60s, 70s, and 80s. The trailer I dimly remember seeing for it on some tape seemed dark and scary and serious, not the kind of fanciful family outing that most Disney live action movies try to be. I’ve heard there are fun comic relief robots for the kids, but this always seemed to be positioned as “Disney does Star Wars” (which took about three and a half decades to actually happen).
The synopses I’ve seen are not much help for shaking this notion. It seems like Alien meets 2001: A Space Odyssey. A deep space mission with a sense of foreboding encounters a mystery that ultimately takes them beyond anything the reality we know prepared them for. You know, for kids!