I know pretty much nothing about this. I’d never heard of it before it languished in one of my streaming queues for years untouched, looking vaguely interesting, but not all that exciting. Looking closer now, I see it’s a story about a couple of boys who build an intergalactic spaceship in their backyard and have a fantastical coming of age adventure and… how did I not encounter this growing up? A kid-oriented sci-fi movie from square in the middle of the 80s, which produced such sci-fi-ish legends most of the best Star Trek movies, two-thirds of the original Star Wars trilogy, Back to the Future, Ghostbusters, and such childhood classics as Stand By Me, Labyrinth (I thought I reviewed that one?), The Never-Ending Story, and of course the most-known member of both categories, E.T.? This seems like it could have had the chance to have been my favorite movie at age nine, maybe as a companion to Flight of the Navigator if I’d known about that before my teens.
I think I’ve experienced movies too late before (see most classic slasher movies, which I was too scared of to watch when they wouldn’t have seemed cheesy to me), so I’m hoping that watching this movie as an entire adult won’t diminish the magic it looks like they’re trying to capture here too much.
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.
I just found out this movie existed. I know it’s a musical, but is it a jukebox musical (all preexisting songs), or is it new numbers and the somewhat-related song they got so they’d have a recognizable title? It’ll be interesting to find out.
I strongly suspect that the “Dance TV” alluded to in the summary is a stand-in for MTV.
It seems like the 80s were fascinated with the idea of genius kids getting mixed up with top-secret government projects, but maybe it was just the inevitable collision between teenaged geniuses and mistrust of the government that both have plenty of independent examples. This time it’s lasers and remote assassination plots.
I’ve already covered the 1945 version of this story, but I knew that eventually I’d come to this one. This is the 7th movie adaptation of the 1902 novel just in English, and at this point it’s surprising that it hasn’t been tried again. The reputation this version has is tepid, and it’s the version people think of when the name comes up (the last version with the same title was made 40 years previous), but it’s clearly a story with staying power, and within the next ten years, every memorable movie from the 80s is going to get remade if it hasn’t already.
I watched an episode of Pee-wee’s Playhouse once and I didn’t get it. I wasn’t repelled by it, it just didn’t make sense. Everything seemed random for the sake of being random, and it was like an educational children’s show without a lesson, a story, or a point.
So why am I getting ready to watch the Pee-wee Herman movie? Because it looks like it’s got a story and possibly a point. It’s a vehicle for Paul Reubens, and vehicles go places.
I’m not sure what year it was, but I know when it happened. My first grown up Christmas. The year of revised expectations. I think it was when I was in high school. All through the final build up to the day, something was wrong. Something was missing. Something wasn’t Christmas about that Christmas. I couldn’t put a finger on it, it just wasn’t working. Into that malaise, none of my gifts that year were anything that was particularly able to excite me. Maybe I was just burned out.
I was told that there was another present meant for me. A very major present. But it had vanished. It had even vanished from memory, for I could not be told was it was. I understood. I couldn’t blame anyone. It was just one more way that holiday wasn’t working out the way I’d come to expect. In my state of mind that year, it probably wouldn’t have saved Christmas for me anyway. However, in its absence, the most significant gift I received was a movie.
It was a Christmas movie, which was already a strike against it. As someone who likes to keep things compartmentalized, being a Christmas movie meant that it was going to be out of season the next day. I respected that that view may not be widely held, and tried to look past it. It stars Mary Steenburgen, whom I’d liked in Back to the Future 3. If I recall correctly, it has Wayne Robson in a major role, and I like him on The Red Green Show. The familiar cast should have helped me like it.
However, its plot was something like a modern take on It’s A Wonderful Life, with a whole heap of problems building to a crisis, followed by a magical second chance. It ended up being more depressing than enjoyable. But I wasn’t really enjoying anything that year. I still have no idea why, but there was no magic in my Christmas, and One Magic Christmas didn’t provide any.
With the movie fresh in my mind now, I think the two main parts of the problem were that it’s a much more pure drama than anything I would have ever expected, and I wasn’t in a frame of mind to be receptive to what it actually does. Ginny’s life is already miserable, and in order to find the Christmas Spirit, she has to reach a much lower point than that, so that she essentially has nothing left but faith in Christmas magic. It’s like if It’s A Wonderful Life spent two thirds of its runtime on the day Uncle Billy lost the money. The moments of relief from the depression are subtle, and not something I was originally able to notice, let alone appreciate. The payoff of the unrelenting hardship is the catharsis of how her experience has changed her, and maybe it is arbitrary, and the magic involved confusing, but now it feels good anyway. Over ten years later, when if anything I’m more of a pragmatic adult like Ginny, I can let the movie’s magic in.
I’m not sure if this will work, but I’m going to experiment with something different. I’ve gotten into foreign movies a little bit before, but this is much more out what I’m familiar with than the others. I haven’t even seen a Godzilla movie before. So I’m not sure how well this will connect with me. I’m going ahead anyway, because I want to spend a while escaping from ideologies, dictators, monsters, and country-destroyers with a propaganda movie produced by a dictator about a monster destroying a country.
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.
I clearly remember that the first time I saw this movie, it was on a New Year’s Eve at home. It was one of the rare movies we had on hand that wasn’t made for children, didn’t even look like it was for kids, and wasn’t Star Trek (The only other one that comes to mind is Trading Places, which is very not for kids.) I don’t remember how old I was at the time, but I must have been in middle school or close to it, because I was staying up for midnight and my parents put this on for us. It must have been on the basis of how much I enjoyed the movie that first time, because I remember nothing else about that particular New Year’s, but watching the movie was so formative for me that I recall it every New Year’s Eve, and I’m always pleased when I have a chance to include the movie or the game in a New Year’s now.
A few months or years later I developed an obsession with Back to the Future, and the fact that Christopher Lloyd has a prominent role here deepened my appreciation of this movie. I also think this is most of the reason Martin Mull makes me happy whenever I see him pop up in something. Tim Curry is of course, simply a legend. I can probably make a list of all the movies he makes better, but that would be a needless digression (and it’s probably “everything he’s been in except Rocky Horror” anyway).
As anyone who’s seen the movie probably knows, what makes Clue particularly unique is the multiple-choice ending. I never got to experience the buzz when it was released, where different theaters got different endings and I don’t think it was announced there would be differences, but home releases on tape include all three endings and releases on disc have the option to play one at random. I do have a favorite, but I find it interesting that the linear version declares only one of them to be “the real one”. I think I’ve heard that it’s the only one that actually lines up with all the details, but I’m not sure if that’s true. There are too many subtle moments to keep track of. Regardless, it’s a fascinatingly unorthodox approach to storytelling.
I’m not sure if I’ve played this movie since college, but it’s never been one I got tired of. By now I can recognize that, in concert with the amazing wit in the dialogue, one of the biggest strengths on display is that the script supports a large ensemble with fantastic characterization for everyone involved without giving too much focus to any one of them. It’s like an English high society detective novel without the high society or the detective, just a bunch of people being nasty to each other while trying to solve a puzzle. Lovely mansion though.
Over thirty years later, this continues to be the paragon of game to film adaptations. Clue is a fairly simple game but with a lot of data points, and while every single one of them are included here, none of them feel forced. There are even half a dozen extra characters added (mostly as cannon fodder) and it still somehow doesn’t feel unwieldy. I don’t think this movie will ever get old.
This is clearly a cash-in on the Indiana Jones franchise, but it’s a response to a pulp adventure pastiche with one of the original pulp adventurers. I don’t know much of anything about Allan Quatermain (I’m discounting everything I might remember from League of Extraordinary Gentlemen because it’s a bouillabaisse of literary big names with little regard for detail) other than that he’s the inspiration for a lot of more recent adventure throwbacks.
I guess I saw him in The Three Musketeers, but I don’t really have a very strong impression of Richard Chamberlain yet. I have a hard time keeping the Musketeers that aren’t D’artagnan straight.