I clearly remember the promotion for this movie (it’s still a little strange to have films from about the time I started this blog that are old enough to show up here), but everything I saw indicated that Dave wasn’t a real person but a ship piloted by tiny people for some reason. One of the more intriguing Eddie Murphy vehicle concepts since the late 90s, but since so few of his projects have been well received since he got enough fame to make any movie he wanted, not that compelling. Also I seem to recall the little people were all played by Murphy, which seems to further underscore the artificiality while also playing into his enthusiasm for multiple roles (something I can’t begrudge him for, as when I was regularly making videos I kept writing stuff that let me act against myself too).
However, when I came across this opportunity now, the summary I saw described Dave like he’s a man hijacked in his own body by tiny aliens sabotaging his love life. Everything I assumed may be wrong and I’m now more interested in the story instead of just the concept.
I’m not sure I’d even heard of this movie before I was invited to watch it. It’s definitely something outside my normal tastes, but I should occasionally broaden my intakes in directions I’m not as eager about as well, and crime drama still has the potential to excite.
From the first time I heard about this movie, I was vaguely interested in the reality-hopping concept, but I wasn’t into martial arts movies and so I wasn’t all that attracted to it. What I know about the movie hasn’t really changed, I’m mostly just warmer to Kung fu films in general, and also I’m a little more aware of Jet Li’s work.
Apparently the movie was originally meant for Dwayne Johnson, who would’ve been very different, but I also would’ve been less familiar with 20 years ago.
I remember this being framed in the commercials like the invisible guy was the villain of a horror story, which I suppose could be from his slide into monstrous behavior without human consequences for his actions. I vaguely remember the movie coming up in an early explanation of Six Degrees of Kevin Bacon, though that’s probably more because it was recent than because it’s a particularly significant hub in Bacon’s connections with other actors.
I also remember it putting CGI effects that seemed completely novel front and center to do a more visually engaging telling of The Invisible Man than had been seen before. The League of Extraordinary Gentlemen came out not long after, but I don’t think they put as much effort into the Invisible Man effects because he was part of the ensemble, but also it wasn’t as new anymore.
This might be the first entry in this series from my time in college. It’s not quite from after the inception of this blog, but getting very close to it. It wasn’t long after when I saw this movie when I got my first opportunity to go back and catch up on movies I’d missed. But that wasn’t the way I saw this one.
I first saw Talladega Nights because it belonged to my my freshman roommate, who set up his TV, small movie collection, and mini fridge, told me I was welcome to use all of them, and then found friends outside the dorm to spend all his days and nights with, leaving me alone with the whole room pretty much all the time. I can’t recall whether this movie got played in one of the rare times he was there or if I put it on myself in a bolder move in using his stuff, as using somebody else’s movies without their direct permission still seems like a breach to me even if blanket permission has been given (it occurs to me that I don’t feel this way about the massive movie and game collection of another roommate I had in the early days of the blog, which was probably represented multiple times on here). I’m pretty sure that was the only time I saw it until now.
Born in the back of a speeding Chevelle, Ricky Bobby grew up not knowing his father, who left to race cars and do more shady things, which may have imparted his obsession with speed to him. Ricky only saw his father once in his childhood, making an unexpected and ignominious appearance at his class’s Career Day, but he left him with the dictum that “if you’re not first, you’re last”, a phrase Ricky went on to model his life on. Without many career prospects, Ricky found his way into the pit crew for Dennit Racing, finally getting his opportunity to enter a NASCAR race as a replacement for the driver who walked out in the middle of a race while in last place, and Ricky proves himself by finishing third, becoming a racing star. Backed up by his best friend Cal driving Dennit’s second car, who always gives him the assist to get to first, Ricky quickly achieves a life of fame and fortune, living in a mansion with Carley, the smoking hot fangirl he married, their two disgracefully disrespectful sons, and Carley’s father who impotently disapproves of how his grandkids are being raised. Ricky’s maverick driving style makes him a fan favorite, but costs him with the sponsors and the tournament judges, and therefore does him no favors with the new head of Dennit racing, Larry Jr., who hires openly gay Frenchman Jean Girard from the Formula One circuit to be his new, dependable lead driver with European precision. Ricky’s jealousy overwhelms him, causing him to crash and have a psychological breakdown that endangers his ability to ever be able to get behind the wheel of a car again.
This felt really raunchy at the time, but while it’s still kind of raunchy, it doesn’t feel like that’s an exceptional thing. I think the raunchiness largely comes from how it’s both a parody of the contemporary machismo but also kind of an earnest celebration of it. It feels entirely a product of its time, but no moreso than in the jokes about Girard being gay. This is tempered by Girard being revealed to be an honorable guy looking for an equal on the track and definitely a much more rational person than Ricky, but the jokes still significantly Other him. It occurs to me now that by being gay and European, Girard is specifically designed to be the antithesis of the NASCAR stereotype and the American nationalist cultural moment that NASCAR was a significant component of at the time. His being French is probably targeted at the specific distaste for the French after the country refused to support the US in doing some post-9/11 lashing out.
While the extreme farce style can easily get out of hand in a bad way, there were still plenty of laugh out loud moments. Its extremely contemporary nature probably keeps it from being as timeless as Anchorman, but it’s still a lot of fun. It’s not something I would come back to a lot, but I can see occasionally revisiting it to get my expectations exceeded again.
I vaguely recall the publicity for this movie at the time, and it didn’t particularly interest me then. The concept of extraterrestrials reacting to an astronaut from Earth as an alien invasion plot turned inside out was moderately intriguing, but it didn’t particularly call out to me at the time. Animation outside of Disney and Pixar (and sometimes them as well) at the time struck a tone that didn’t really connect with me, and still doesn’t. But as that tone was almost obligatory for the market of the day, it was probably exaggerated in the advertisements and this has the potential to be more in line with what does appeal to me.
I didn’t even know that the astronaut is played by Dwayne Johnson. The character design even looks a little bit like a redheaded reimagining of Johnson, how his appearance (and race) would have to change to fit the classic image of space race NASA astronauts. Or I may just be very bad with faces.
I didn’t know this movie existed before I watched it, so all I had to go on was that a lot of it is in Spanish, it’s about border crossing for family and Eugenio Derbez is in it. And I seriously can’t come up with more to say about it.
I was always a little intrigued by this movie, so I’m not sure why I never got around to it. Maybe it was because I was only a little intrigued. A married couple get turned against each other by the realization that they’re assassins for rival organizations, not a hundred percent my thing. Spy comedies are fun, but I’m not sure how much this is spy or how much it’s comedy. The actors don’t especially grab me either. I never had strong feelings either way about Pitt or Jolie, and I’ve got no idea who else is in it. I guess the most lasting cultural impact of this movie wasn’t the movie itself but the debut of Pitt and Jolie’s real-world tabloid relationship, and I could not care in the slightest about celebrity relationships.
It sure looks like an expensive house they end up shooting to pieces though. That’s something nice to look at.
I think the main reason I was never especially drawn to this movie was because I’m not that into fashion, but then movies can be themed around anything without requiring intimate knowledge of them. And maybe it was also something that didn’t appeal to me because it’s a women-oriented movie and I wasn’t as interested in those in 2006.
I do vaguely recall it being among the movies that I first got a real glimpse of what’s interesting about it at the Academy Awards that year, but like most other movies that I never really considered until the Oscars showed me more than any trailer did, I never really followed up.
I’m not versed on the lore of Doom, but I think it’s pretty simple. There’s some kind of complex infested by demons, and one guy with a lot of guns takes them out. This movie is about a team fighting aliens. So already not the most faithful.
Later games probably built up the story, but I’m pretty sure it’s always essentially a lone guy fighting demons. But lone guys are hard to write movies for. I’m sure the change to aliens was something like embarrassment, but I completely get making it a team, even if it was probably not the best possible decision.