I wouldn’t have thought that surfing would make an interesting topic for a documentary until I saw that this existed. Maybe that’s one of the functions of good documentary film, to highlight things about the world you wouldn’t have thought you’d be interested to learn about. Apparently the director made a series of several surfing docs over ten years, which seems a bit much, but this seems to be considered the best.
I’m hoping to see 95 minutes painting the picture on the poster, living in the world of the 60s surfing scene and memorializing how great it was.
I’m not a fan of fighting games. I don’t consider learning complicated button combinations to use against your opponent until all their health is drained to be all that fun, and the carnage Mortal Kombat offered as its selling point did not sweeten the deal.
I know so little about fighting game franchises I was thinking about Raul Julia camping it up when I selected this, but that’s Street Fighter. So all I have to go on for what to expect is mystic Orientalist action focused through a tournament. I’m not sure if it would be more fun for it to make sense or not make sense.
I don’t recall at the moment if this started as a direct remake/sequel to Fantastic Voyage, was merely inspired by it openly, or just has a similar concept, but I do know that I was first made aware of the existence of Innerspace when researching Voyage. I have dim recollections that it might be a “suggested by” treatment of the novel sequel to Voyage?
Anyway, I also just discovered it has Martin Short as the hapless fellow who doesn’t realize he’s got a tiny explorer inside him, which ramps up my interest in it. Also, the idea of cutting back to comedy sequences outside caused by what’s going on inside reminds me of Osmosis Jones, only with live action/VFX instead of cartoon animation.
I’m unclear whether the anti-Semitism the main character wants to expose is within a particular institution, or more broadly, within society at large, like the seminal Black Like Me, or less seminal White Chicks.
While there are people, perhaps even people who would not be considered eugenicists or race-nationalists, who consider “Jewish” a morphological race, the physical characteristics are very subtle, to the point where I’m not sure how a Gentile reporter would pose as a Jewish man other than introducing himself to people who don’t know him with a “hi, I’m Jewish, by the way!” A long game approach would probably be to get a new job somewhere and drop big hints, but that would point back to “within a single institution”. I feel like I got out of my depth three paragraphs ago and I should just let the movie tell its own story.
This seems strongly positioned as a guardian angel/Mary Poppins kind of movie, but I think that’s just metaphorical, and hopefully tongue in cheek. The movie I would really like this to be is Max Dugan dropping into his daughter’s life expecting to fix everything and be instantly forgiven and failing miserably on both accounts, then working to earn his way back into her family and in the process making things better. That’s the plot vibe I’m getting from this movie, and I hope the magical trappings are just because it’s the kind of art Neil Simon brings to a project, because if it’s as straightforward as it looks, that would easily become too simple and saccharine.
I think this is set contemporary (contemporarily set?), but it’s hard to tell. The most obvious difference in fashion between the 50s and 80s is in hairstyles, and a production could possibly overlook them.
This is listed as sci-fi, but it’s in that area of sci-fi that concerns such contemporary technology that I don’t really consider it so. The suspension of disbelief involved in “high school student steals plutonium from a shady lab and builds a nuclear bomb” has nothing to do with the technology so much as with the security procedures being circumvented. The Andromeda Strain is sci-fi so diamond-hard it plays as a pathological procedural, this is just a thriller.
On the surface, this looks like just as much fluff as State Fair, but the setup sounds rather dark. It’s a man’s one more day to get it right with his family after a fatal accident. Moreover, one summary I saw specifically calls him abusive, though that’s probably from subtext. Depressing themes in a musical? Not something one would expect before the late 60s.
But then it manifests as flowy dancing around a carnival, so it can’t be entirely bleak.