I’ve heard this movie referenced a fair bit, and surprisingly a lot of references to the title of the sequel, “The Legend of Curly’s Gold”, even though it doesn’t seem to have the kind of memetic power that “Electric Boogaloo” does.
But the extent of what filtered through was “Billy Crystal and a friend or two are city folk completely out of their depth in a western.” Daniel Stern is a headliner and how many people now can name what he’s done outside of Home Alone if they even recognize the name at all?
I was imagining something like Wagons East!, but on a cursory overview it looks like this is a modern-day movie; contemporary characters on a modern cattle drive, the closest you can get to dropping folks off the street into the Old West without invoking any time travel. So there’s likely going to be a little less city mouse/country mouse and a little more new school/old school.
I don’t often talk about them anymore, but the original release poster shown here looks incredible. I understand that art like this is expensive and that’s a big part of why they don’t do it like that anymore, this is so much better than the slapped-together photo collage they promote it with now, and it already exists. Why not use it?
I’ll be honest, a screencap with Colm Meaney was what attracted my attention, though it looks like he has a pretty minor role. And really, an Irish movie in the 90s would be remiss not to include him in some way.
The actual point of this movie seems to be a bunch of wannabe musicians being put together in a band by a wannabe manager. Which could go several different ways, and since it’s billed as a dramedy, probably goes many of them.
Kevin Costner is on the poster, but I’m not going to talk about him right now. I’m sure I’ll have plenty to say after the fact.
I’m not sure if I heard the news late at night or in the morning. Last Thursday, and on into the weekend, the internet was filled with euologies for Alan Rickman. It was too late to cover last week.
But more than ever before, I had a sense that people weren’t mourning an actor, they were mourning his roles. Nobody was eulogizing Alan Rickman, they were eulogizing Severus Snape, Hans Gruber, Metatron, and Alex Dane/Dr. Lazarus. And I simply felt that nobody had a sense of what Rickman was really like, since nobody would accuse him of actually being like an abusive professor, terrorist, aut al. I sure didn’t know what he was like, but I try to believe the best about people, and that’s been borne out by some statements from people who knew him personally.
And so, here I am reviewing one of his more popular movies, where he plays another villain. Well, I can’t review him narrating a viral video for charity. This was a movie that came up a lot in a way that didn’t seem to focus too much on the character, and of the two that came up that I hadn’t seen, this one seemed a better choice. It’s also the version most directly spoofed by Robin Hood: Men In Tights.
From what I can tell from summaries, this movie covers several years of John Candy sneaking a relationship/engagement behind his mother’s back. The length of time that seems to be involved is throwing me off so I have no idea what to expect from the plot.
It’s not even readily apparent why his character has to hide his lover from his mother, but from some minor things on IMDB I glean that there’s a strong Irish-American element, so my guess is that O’Hara’s character is a very traditional Irish mother and Sheedy’s is not Irish enough or Catholic enough or something for her.
I expect good things from a movie written and directed by Chris Columbus and produced by John Hughes.They both have a strong track record on earnest portrayals of life and family.
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.
One more Michael J. Fox movie from the set I found years ago, which I believe completes it. I previously covered For Love Or Money and Greedy, and now, finally, this one. Possibly the one I was most interested in, if I recall correctly.
Here we have a slick Hollywood actor shadowing a tough cop to research a role, much to the annoyance of said cop, who is played by James Woods. I’m not sure I’ve seen anything Woods has done in live action, but I’m quite fond of some of his voice performances, and I’m looking forward to getting to know him on camera. Continue reading →
Neurotic characters are a staple of comedy. So is the Double Act. Offhand, I’m not sure how a neurotic man butting in on his therapist’s vacation could go far wrong. It occurs to me though that while I’ve seen Bill Murray play several odd characters, I’m not sure I’ve seen him do neurotic and dependent.
While I was disappointed by the selection I found this week, I’m excited to write about this movie. More excited to write than to watch. Supposedly, this is a “great comedy,” the seminal film in Steve Martin’s career. Reading the box though, it looks like the sappiest kind of romantic comedy. I’m expecting boredom, diabetes, and scenic Los Angeles vistas, and to like it better than I expect.