Welcome back to Round 2 of 90’s Film Frenzy!! We went thru the Dope and Phat divisions a couple of weeks ago and I apologize for the delay. I won’t bore y’all with a long preamble because discussion of these great movies is lengthy enough, but let me take this opportunity to wish The Manoverse a delightful Labor Day Weekend. The catch-22 of this time of year is that summer is ending, which signifies colder weather & gloomier skies in the not-so-distant future, but it also means football is back and a few other fun things about autumn, so let us not despair. Have fun and enjoy life!!
Forrest Gump
Release: 7/6/94
Starring: Tom Hanks, Robin Wright, Sally Field, Gary Sinise
Directed By: Robert Zemeckis (Romancing the Stone, The Back to the Future Trilogy, Cast Away)
vs.
Presumed Innocent
Quotes
It is a practical impossibility to try two people for the same crime. Even if it wasn’t, I couldn’t take his mother from my son.
You understand what happened had to happen. It couldn’t have turned out any other way. A woman’s depressed…with herself, with life. With her husband, who had made life possible for her…until he was bewitched by another woman. A destroyer. Abandoned…like someone left for dead…she plans her suicide…until the dream begins. In the dream, the destroyer is destroyed. That’s a dream worth living for.
Odds & Ends
Before the book was published in August 1987 producer Sydney Pollack purchased the rights to the film for $1 million.
Harrison Ford’s hair was cut in such a way to make him look “wimpier” than his previous brave leading man roles.
Kevin Costner and Robert Redford turned down the role of Rusty Sabich.
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Tom Hanks followed his Oscar winning role in Philadelphia with Forrest Gump, for which he won a second consecutive Academy Award for Best Actor. Gump is based on a 1986 novel by Winston Groom. I’ve pondered the idea of reading the book because I am generally inclined to believe a book is usually better than the movie, but most of the time the film closely follows the original story and the reason the book is better is a matter of subplots & nuance that might have been cut from the movie. However, it is my understanding that Forrest Gump the film completely alters the tone and character development of Forrest Gump the book, so I have been hesitant to read it lest it diminish my affection for the movie. At any rate, the film essentially tells diverging stories of two childhood friends who grew up in 1950’s Alabama. The titular Forrest is what we might now call a “special needs student” or a “low IQ learner”, but he defies the odds by graduating from college, serving in Vietnam, becoming an international ping pong star, meeting multiple U.S. Presidents, and eventually co-founding a successful shrimping business. The love of his life…Jenny…isn’t so lucky. She is abused by her father at a young age, works as a stripper, gets involved with drugs, becomes a hippie, & eventually dies from a mysterious disease (likely either AIDS or hepatitis). Forrest Gump shows these two lives diverging & intersecting at various times, and is unique in its ability to make the viewer chuckle one moment and shed a tear two seconds later. It actually won six Academy Awards, including Best Director (Zemeckis), Best Adapted Screenplay, and Best Picture (beating out Pulp Fiction and The Shawshank Redemption). It was the #1 film at the box office in 1994 and holds a 72% rating on Rotten Tomatoes. The Boston Globe called it “a one-of-a-kind treat”. The NY Daily News had a really interesting take, observing that “what looks at first like a bright, bouncy, & sentimental 
trip through the baby-boom era turns out, on closer inspection, to be a dark and driven work, haunted by violence, cruelty, & a sense of the tragically absurd” but goes on to say that “where most American movies of the ’90s strike a single note over & over, Forrest Gump is a symphony” that is “an original and deeply moving experience”. People Magazine thought it a “plodding, heavy-handed parable”, while Rolling Stone called it a “heart-breaker of oddball wit & startling grace” and our old pal Ebert simply referred to it as “a magical movie”. Presumed Innocent got past Honeymoon in Vegas in Round 1 because an 87% Rotten Tomatoes score is pretty hard to overlook and I really loved the book back in the day. Harrison Ford is a tremendously talented actor that shouldn’t be pigeonholed as Han Solo, Jack Ryan, or Indiana Jones. Some of his best work has been in films that didn’t get any sequels.
The Verdict: Forrest Gump. Just a really tough draw for Presumed Innocent. Between books, TV, & movies the entertainment landscape is overflowing with legal dramas, and the public’s thirst for such stories has made “true crime” a powerful sub-genre. Amongst Forrest Gump’s many strengths is its distinctiveness…there aren’t many comparable stories, so this is sort of like lobster versus a gourmet hamburger…it may be perfectly cooked with loads of flavor, but at the end of the day it’s still a hamburger.
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The Fugitive
Release: 8/6/93
Starring: Harrison Ford, Tommy Lee Jones
Directed By: Andrew Davis (Above the Law, Under Seige)
vs.
Joe Versus the Volcano
Quotes
I don’t know what your situation is but I wanted you to know what mine is not just to explain some rude behavior, but because we’re on a little boat for a while and I’m soul sick…and you’re going to see that.
Do you think I feel good? Nobody feels good. After childhood, it’s a fact of life. I feel rotten. So what? I don’t let it bother me. I don’t let it interfere with my job.
90% of people are asleep, and those of who are awake look around us in wonder.
I have no interest in myself. I think about myself, I get bored out of my mind.
My father says almost the whole world’s asleep. Everybody you know, everybody you see, everybody you talk to. He says only a few people are awake. And they live in a state of constant, total amazement.
You have some life left. My advice to you is: live it well.
I ask myself, why have I put up with you? I can’t imagine, but now I know. Fear. Yellow freakin’ fear. I’ve been too chicken shit afraid to live my life so I sold it to you for 300 freakin’ dollars a week!
I don’t know who you are. I don’t want to know. It’s taken me my whole life to find out who I am, and I’m tired now.
There are certain times in your life when I guess you’re not supposed to have anybody. There are certain doors you have to go through alone.
If you have a choice between killing yourself and doing something you’re scared of doing, why not take the leap and do the thing you’re scared of doing?
Odds & Ends
The lamp that Joe brings into his office displays future events in the movie, including the yacht, a volcano, & a large full moon.
If one really pays attention you’ll notice several references to losing one’s soul.
The coordinates that Patricia gives… -10.1333, -150.3…places the island ten miles SSW of Caroline Island in the South Pacific.
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Hey…more Harrison Ford!! Back in the mid-60’s ABC aired four seasons of a drama about a doctor wrongly convicted of murdering his wife and his vagabond lifestyle as he eluded law enforcement while searching for the one-armed man that he claimed was the real killer. Dr. Richard Kimble would move from town to town under an assumed name, work at various menial jobs, and inevitably risk being caught to help someone in need. The 1967 series finale was the most watched television show in history until the 1980 episode of Dallas during which the answer to the question “Who shot J.R.??” is revealed. The Fugitive aired on television long before I was a gleam in my Daddy’s eye, but at some point in the 80’s one channel or another began showing reruns and I was hooked. The big screen adaptation condenses the time frame and changes a few minor details, but retains the spirit of the original premise. It was the third highest grossing film of 1993, has a stellar 96% rating on Rotten Tomatoes, and was nominated for seven Academy Awards, though the only one it took home was Best Supporting Actor for Tommy Lee Jones. Best Picture went to Schindler’s List, which is exactly the kind of thing one would expect from the Oscars, while Jones beat out Leonardo DiCaprio (What’s Eating Gilbert Grape?) and John Malkovich (In the Line of Fire) for his award. Joe Versus the Volcano benefitted from a total cop out from Yours Truly in Round 1, tying Hook and therefore moving 
forward in the competition. Here’s the thing about JVtV…if you watch it as if it is just a silly rom-com it’ll be slightly weird, mostly enjoyable, but ultimately forgettable. However, if you recognize the symbolism, value the metaphor, and truly grasp the existential subtext it will blow your freakin’ mind. I kinda sorta understood it on my own, but there is a video on YouTube that really explains everything that one might have missed about JVtV, and I highly recommend re-watching the movie thru that prism. I’ve seen it called “a near-masterpiece of cinema”. It is about life. It is about death. It is about morality & spirituality. It is about values. It is about heroism. It is about failure. It is about destiny. Everyone who has ever had a job they despised can appreciate the first twenty minutes of JVtV, and anyone who can get thru those depressing twenty minutes will thoroughly enjoy the rest of the journey.
The Verdict: The Fugitive. I feel really guilty about this one. JVtV deserves a better outcome. But I have to be honest, and the truth is that anytime The Fugitive is on I will stop and watch. Ford & Jones have never been better. The film’s tense moments are so well done, and frivolous action & violence are minimal. The strength of Joe Versus the Volcano is also its weakness. If one chooses to simply enjoy it as just another silly rom-com it gets lost in the shuffle amidst movies that are funnier and more romantic, charming, & quotable. But if one makes the correct choice to recognize the imagery & meaning behind it all then it ceases to become the kind of breezy & watchable escapism that a good movie should be. It is a film best reserved for those rare moments of philosophical self-reflection.
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Billy Madison
Release: 2/10/95
Starring: Adam Sandler
Directed By: Tamra Davis (Half Baked)
vs.
The American President
Quotes
Being President of this country is entirely about character. America isn’t easy. America is advanced citizenship. You’ve gotta want it bad.
You cannot address crime prevention without getting rid of assault weapons and hand guns. I consider them a threat to national security, and I will go door-to-door if I have to, but I’m gonna convince Americans that I’m right, and I’m gonna get the guns.
The American people have a funny way of deciding on their own what is and what is not their business.
Somewhere in Libya right now a janitor’s working the night shift at Libyan intelligence headquarters. He’s going about doing his job because he has no idea that in about an hour he’s going to die in a massive explosion. He has no idea that about an hour ago I gave an order to have him killed. You’ve just seen me do the least Presidential thing I do.
Perhaps I didn’t properly explain the fundamentals of the slowdown plan.
People want leadership, Mr. President, and in the absence of genuine leadership, they’ll listen to anyone who steps up to the microphone. They want leadership. They’re so thirsty for it they’ll crawl through the desert toward a mirage, and when they discover there’s no water, they’ll drink the sand.
Odds & Ends
The telephone number President Shepherd gives Sydney to call him back (456-1414) is in fact the number to the White House (area code 202).
Robert Redford was originally cast in the lead role, but was replaced with Michael Douglas after a falling out with Rob Reiner.
Early versions of the script depicted President Andrew Shepherd as a military veteran and former Special Ops Agent. Rob Reiner discussed the lead role with Bruce Willis and Steven Seagal before Aaron Sorkin’s re-writes transitioned Shepherd to a more academic character.
The screenplay for the film inspired many aspects of Sorkin’s later television drama The West Wing. The two productions follow the staff of a largely idealized White House, and like many of Sorkin’s projects, share ideologies. Even the set of the Oval Office in The American President was later used in The West Wing. Sorkin has indicated that much of the first season of The West Wing was actually taken from material he edited out of the first draft of The American President script.
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Adam Sandler was a cast member on Saturday Night Live for the first half of the 1990s. He had bit parts in barely notable films like Shakes the Clown, Airheads, & Mixed Nuts while he was also doing SNL, but immediately following his departure from television he hit the ground running with Billy Madison, the story of a lazy & dim-witted 20-something coasting thru life in a state of arrested development and living off of his father’s hard earned wealth. When dear old Dad decides that one of his staff members would be more equipped to take over his business someday Billy objects, only to find out that the reason he made it thru grade school, middle school, & high school was because his father bribed teachers to pass him. Billy convinces his father to change his plan of succession on the condition that the young man complete twelve grades of school within six months. Hilarity ensues. Yes it is a bizarre & inane premise. Yes the critics hated it (46% on Rotten Tomatoes). Your 75 year old father probably doesn’t get it, and most teenagers won’t either, 
because Billy Madison is a very specific film for a smallish target audience. But more than two decades later those of us that got a chuckle out of Sandler’s antics back then are still watching Billy Madison now. It was the 65th highest grossing film of 1995, but a lot of movies that made more money that year…Major Payne, Rob Roy, Judge Dredd, Man of the House, The Net, Sabrina, Outbreak…have been forgotten, while television continues to air Billy Madison and people continue to watch. The American President slipped past Boogie Nights in Round 1 because I just can’t wrap my mind around a drama about the porn industry, and because it eventually sparked a greater legacy called The West Wing, one of the finest television shows of the past quarter century. Michael Douglas is an underrated actor and Annette Bening can be compelling in the right role. They both shine in lighthearted fare that allows them to smile & laugh.
The Verdict: Billy Madison. Aaron Sorkin should consider The American President a beta test for what eventually became his best creation. I don’t know if it was him or someone else, but somebody somewhere figured out that an idealistic rendition of The White House with a charming President, dogmatic & loyal staffers, and snappy dialogue would make a much better TV show than a movie. Adam Sandler isn’t everyone’s cup o’ tea and no one is saying that he’s ever made a great film, but Billy Madison is harmless fun that has weathered the sands of time.
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Grumpy Old Men
Release: 12/25/93
Starring: Jack Lemmon, Walter Matthau, Ann Margret
Directed By: Donald Petrie (Mystic Pizza, Miss Congeniality)
vs.
Mr. Saturday Night
Quotes
For me, my family was like, uh, Dances With Jews. Oh sure, we had names for our relatives like they had in that movie. We had “Eats With His Hands,” “Spits When He Talks,” “Makes Noise When He Bends,” “Sweats Like a Pig,” “Whines In a Cab,” “Never Buys Retail,” “Shaves His Back.”
Buddy, my whole life I listened to ya’ bellyache about your luck. Well, you are where you are because of who you are.
Odds & Ends
Marisa Tomei auditioned for the part of Buddy’s wife, Elaine, but was deemed too young for the role. Tomei later played Billy Crystal’s daughter in 2012’s Parental Guidance.
Billy Crystal’s directorial debut.
The film is based on a SNL Weekend Update sketch in which Billy Crystal plays Buddy Young Jr. reviewing a restaurant.
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Jack Lemmon & Walter Matthau starred in eleven movies together, the most famous of which is probably 1968’s The Odd Couple, an adaptation of Neil Simon’s stage play from a few years earlier. The play & film would eventually find its way to television in a series starring Tony Randall & Jack Klugman that ran thru the first half of the 1970s. Nearly three decades after their greatest success together the pair reunited in this charming comedy about two old geezers fighting over a woman. John Gustafson & Max Goldman are next door neighbors in the frozen tundra of Wabasha, MN. They spend their days fishing, drinking beer, watching TV, and insulting one other. We learn that they’ve known each other all of their lives but battled it out over a woman named Mae decades ago. Mae apparently chose John, but was unfaithful and eventually divorced him. Max ended up with a better woman (now deceased), but still harbors resentment over the one that got away. When a new lady moves in across the street…beautiful, slightly younger, & full of the spirit that Max & John lost long ago…the old rivalry finds new life. Grumpy Old Men was the 14th highest grossing film of 1993, ahead of Cool Runnings and Demolition Man but behind Free Willy and The Pelican Brief. Rotten Tomatoes gives it a score of 62%, with the NY Times cautioning “don’t expect their bickering to be on the level of Neil Simon and you won’t be disappointed”, Ebert calling it “too pat and practiced to really be convincing”, the Washington Post advising that “if you poke through the cheap sentimentality you’ll find a worthy picture somewhere”, and Entertainment Weekly observing that “the shallow pratfalls hide richly funny observations”. Mr. Saturday Night upset 
Scream in the first round because horror movies just don’t frost my cupcake. If Billy Crystal were an employee at an average 9-5 business his boss would describe him as solid, dependable, trustworthy, & proficient. In Hollywood terms that means that he’s rarely brought up in discussions about the biggest, hottest, most talented top box office stars, but he has carved out a nice career that’s lasted several decades and produced some quality entertainment. Mr. Saturday Night is unlikely to appeal to anyone younger than 35, which obviously has a negative impact on the kinds of numbers that Hollywood deems important. If it were made today instead of 25 years ago it might be direct-to-video or more likely an original production of Netflix or Hulu, which would be fine. That’s the world we live in, right?? As a writer I recognize the movie’s flaws but also have to give kudos to some outstanding performances. Crystal is known to be a big baseball fan, and in that sport’s parlance I’ll call this movie a single stretched into a double thru good base running, but there is no one on base, two outs, and the next batter strikes out, rendering the previous play somewhat futile.
The Verdict: Grumpy Old Men. I still love you Billy Crystal!!
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Father of the Bride
Release: 12/20/91
Starring: Steve Martin, Kimberly Williams, Diane Keaton, Martin Short
Directed By: Charles Shyer (Private Benjamin, Baby Boom)
vs.
City Slickers
Quotes
Value this time in your life kids, because this is the time in your life when you still have your choices, and it goes by so quickly. When you’re a teenager you think you can do anything, and you do. Your twenties are a blur. Your thirties, you raise your family, you make a little money and you think to yourself, “What happened to my twenties?” Your forties, you grow a little pot belly you grow another chin. The music starts to get too loud and one of your old girlfriends from high school becomes a grandmother. Your fifties you have a minor surgery. You’ll call it a procedure, but it’s a surgery. Your sixties you have a major surgery, the music is still loud but it doesn’t matter because you can’t hear it anyway. Seventies, you and the wife retire to Fort Lauderdale, you start eating dinner at two, lunch around ten, breakfast the night before. And you spend most of your time wandering around malls looking for the ultimate in soft yogurt and muttering “how come the kids don’t call?” By your eighties, you’ve had a major stroke, and you end up babbling to some Jamaican nurse who your wife can’t stand but who you call mama. Any questions?
Women need a reason to have sex, men just need a place.
Have you ever had that feeling that this is the best I’m ever gonna do, this is the best I’m ever gonna feel… and it ain’t that great?
We’re black and we’re dentists. Let’s not make an issue out of it.
We had different needs. I needed him to treat me decently and get a job, and he needed to empty my bank account and leave.
Ed, have you noticed that the older you get, the younger your girlfriends get? Soon you’ll be dating sperm.
Odds & Ends
The story that Billy Crystal tells about his “best day” of going to a Yankee game with his father is a true story from his childhood. He notes at one point that, “I still have the program.” Not only does he really still have it, but he got Mickey Mantle to autograph it twice: once at the game that day and once again some 20 years later on a talk show they were both guests on.
This was Jake Gyllenhaal’s film debut.
Billy Crystal is a diehard New York Yankees fan but wears a New York Mets cap in the film because the Mets made a major contribution to Comic Relief.
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See, I told you!! Billy Crystal is still in it to win it dawg!! City Slickers got past Hocus Pocus in Round 1 because who can deny the trifecta of an Academy Award, Crystal, and a 90% score from the critics?? Comedy is tricky. We like to divide everything into categories and stack things into neat little piles, but there are so many different kinds of comedy. When it comes to movies there are some that are just a jumbled mess that can’t decide what they are or the idea they are trying to convey. To my understanding the reason for that is oftentimes because so many writers, producers, directors, actors, & suits have tampered with the product in pre-production that by the time we see it on the big screen it’s like consuming a dish that dozens of cooks have had a hand in making without really communicating with one another, to the point that no one knows what the hell we’re eating. Conversely, great films have been infused with different flavors that are expertly blended, resulting in a pleasurable outcome. City Slickers is a cut above so many of the idiotic comedies that seem to find their way to our local cineplex in the 21st century. It actually has a point, with well-written characters that develop thru the story. None of the actors are the kind of popular hot commodities that seem to be in a different movie every other month, but the performances are tremendous and the cast gels together nicely. A sequel…called City Slickers II: The Legend of Curly’s Gold…was made a few years later, but the magic was gone, and it didn’t help that Jon Lovitz joined the cast. Lovitz ruins everything. Father of the Bride is a remake of a 1950 film starring Spencer Tracy and Elizabeth Taylor. Steve Martin plays the beleaguered father of a 20-something daughter who has just announced her engagement. Despite 
Dad’s dreams of a simple backyard BBQ wedding the bride-to-be and her mother have a different idea and hire a hilariously weird wedding planner. Dad’s a cheapskate who isn’t emotionally ready to let his little girl go, so the whole process is torturous & expensive for him, but everything works out just fine in the end. FotB was 9th highest grossing film of 1991 and has a solid 71% score on Rotten Tomatoes. In comparing the remake to the original the NY Times said “the material has been successfully refurbished with new jokes and new attitudes”. Ebert called it “a movie with heart” with “little moments in it when Martin is deeply moved”. Entertainment Weekly liked the “feel-good finale’, but wasn’t overly impressed by “the pat, amiable, and rather dawdling farce that preceded it”.
The Verdict: Father of the Bride. I suppose one might consider it a slight upset. Most critics would probably say that City Slickers is clearly the better movie. For me it is largely about repeat viewings. As good as many seem to think it is, City Slickers just hasn’t popped up on television all that much in the past 27 years, and as such it is kind of easily forgotten. Father of the Bride, on the other hand, seems to be on an awful lot, and at some point in the past couple of decades I have developed a deep affection for it.
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Office Space
Release: 2/19/99
Starring: Ron Livingston, Stephen Root, Gary Cole, Jennifer Aniston
Directed By: Mike Judge (Beavis & Butt-Head Do America, Idiocracy)
vs.
Hook
Quotes
Oh, I hate being disappointed, Smee. And I hate living in this flawed body. And I hate living in Neverland. And I hate, I hate, I hate Peter Pan!
The stories are true! I swear to you! I swear to you on everything I hold dear! And now he’s come back to seek his revenge. The fight isn’t over for Captain James Hook. He wants you back. He knows that you’ll follow Jack and Maggie to the ends of the earth and beyond. And by heavens, you must find a way. Only you can save your children. Somehow, you must go back. You must make yourself remember.
Your children love you, they want to play with you. How long do you think that lasts? Just a few years, and it’s over. And you are not being careful. And you are missing it.
You know you’re not really Peter Pan, don’t you? This is only a dream. When you wake up, you’ll just be Peter Banning…a cold, selfish man who drinks too much, is obsessed with success, and runs & hides from his wife & children.
That is the same window and this is the same room where we made up bedtime stories telling about Peter, Neverland, and scary old Captain Hook. But did you know that Mr. Barrie… well, Sir James, our neighbor, he loved our stories so much that he wrote them all down in a book… oh dear me… eighty years ago.
Odds & Ends
The kissing couple who begin to float when some fairy dust lands on them are actually George Lucas and Carrie Fisher in a cameo.
Williams & Spielberg became close friends after making this film. Reportedly, after Williams’s death, Spielberg decided to watch this film out of remembrance but couldn’t finish it because he couldn’t stop crying for hours.
Maggie Smith, being only 56 years old at the time of filming, was aged up by makeup to play 92-year-old Granny Wendy.
Julia Roberts was nicknamed “Tinkerhell” because she was difficult to deal with, a reaction to her working conditions of solitude & a green screen.
Dustin Hoffman’s former co-star, Jon Voight, asked him if he could bring his children, James Haven and Angelina Jolie, to the set because they were “dying to meet Captain Hook.” Hoffman agreed to meet them while in costume. Jolie was 16 years old, and Hoffman described her as a “tall, thin, gawky-looking girl with a mouth full of braces.” After Jolie told Hoffman she was going to be an actress, Hoffman went home to his wife and said, “I don’t think this kid has any idea what a tough road she’s got.”
Steven Spielberg admitted to being disappointed with final result of the movie. He had such a hard time working with the rebellious crew of young actors that he later said, only somewhat kiddingly, that the experience made him wonder if he wanted to have any more kids. He also felt guilty that he wasn’t able to find an economical method to filming the many complex human-flight sequences in the film.
Gwyneth Paltrow appears briefly as the teenage Wendy.
Dustin Hoffman based the voice of Captain Hook on that of the columnist William F. Buckley.
Glenn Close, Phil Collins, Steven Spielberg, David Crosby, & Jimmy Buffett all make cameos.
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Office Space is the very definition of a cult classic. No one paid attention to it in theaters. It ranked 121st at the box office in 1999. 121st!! Something called The Adventures of Elmo in Grouchland made more money. I knew nothing about it until 3 or 4 years later when a co-worker kept quoting it and told me how awesome it is. At the time he & I both worked at a place strikingly similar to the business depicted in the film. Actually I think anyone who has ever worked in any kind of office can see similarities between their reality and what we see onscreen, which is a huge reason Office Space became such a big hit on home video. The cast is filled with character actors that have never done much beyond supporting roles on both television & film, with the lone exception being Jennifer Aniston. In 1999 she was halfway thru her run as Rachel on Friends, and I guess she was supposed to help Office Space make money, but her role is smallish and not at all why people love the movie. Rotten Tomatoes gives it a 79% score, though most of those reviews were done in hindsight, long after it had gained traction and gained popularity. I’m going to go out on a limb and assume that very few critics even bothered to watch it or write a review back in 1999. The Washington Post called it “a knowing, somewhat slight, often hilarious sendup of cubicle culture” that “exploits the yuks in the chronic misery of those routinely exposed to the monotonous gray of corporate minds and company décor”. Variety said it is “frequently uproarious”, Ebert observed that “movie’s dialogue is smart”, and the Village Voice dubbed it “a surprisingly good-natured comedy about the suppressed rage and paranoia of 
unappreciated employees”. As a perpetually underappreciated employee I must agree. Hook benefitted from a first round cop-out tie from me, though with a cast that includes Robin Williams, Dustin Hoffman, & Julia Roberts, all directed by Steven Spielberg, one would think it shouldn’t have to rely on such benevolence. I’ve told this story before, but I fondly recall seeing Hook in an old historic theater in downtown Huntington, WV. I was with a few of my fraternity brothers and we were the only people there, which began my lifelong affection for an essentially empty theater versus being in a crowded one. At any rate, that memorable viewing experience combined with my fondness for Williams has combined to elevate Hook a bit higher in my heart & mind than it probably deserves.
The Verdict: Office Space. If I’m being honest I have to admit that Hook has its flaws. Julia Roberts as Tinkerbell was a huge mistake. The whole “Peter Pan grew up to be an uptight Type A neglectful workaholic that ignores his family” thing is a premise that probably sounded really cool in the early 90’s, but in retrospect a straight retelling of the Peter Pan story might have been a better choice. Spielberg is indisputably brilliant, but he could have benefitted from the kind of CGI and technological movie magic that probably wasn’t available in the 90’s. Office Space is more proof that when a story really works, the script is well written, and the jokes are funny a big budget and top shelf actors aren’t necessary. It further illustrates the difference between a movie that’ll make a splash on the big screen for a few weeks but quickly evaporate into the pop culture ether versus something that is built to last and make a long term impact.
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The Wedding Singer
Release: 2/13/98
Starring: Adam Sandler, Drew Barrymore
Directed By: Frank Coraci (The Waterboy, Blended)
vs.
Edward Scissorhands
Quotes
It’s not heaven he’s from! It’s straight from the stinking flames of hell! The power of Satan is in him; I can feel it. Can’t you? Have you poor sheep strayed so far from the path? He has been sent first to tempt you. But it’s not too late. You must push him from you, expel him! Trample down the perversion of nature!
Sweetheart, you can’t buy the necessities of life with cookies.
The years spent in isolation have not equipped him with the tools necessary to judge right from wrong. He’s had no context. He’s been completely without guidance.
You see, before he came down here, it never snowed. And afterwards, it did. If he weren’t up there now, I don’t think it would be snowing. Sometimes you can still catch me dancing in it.
Odds & Ends
The idea for the movie was inspired by a drawing Tim Burton had done when he was a teenager,The drawing depicted a thin, solemn man with long, sharp blades for fingers. Burton stated that he was often alone and had trouble retaining friendships. “I get the feeling people just got this urge to want to leave me alone for some reason, I don’t know exactly why.”
Winona Ryder dropped out of The Godfather: Part III to appear in this film. Reportedly, it was Johnny Depp who actually convinced her to do so.
Vincent Price’s role was intended to be larger, but the veteran actor was very ill with emphysema and Parkinson’s disease, so his scenes were cut to a minimum.
The houses used in the film were a real community in Florida, completely unchanged, except for their garish exterior paint.
Some of the topiary that Edward makes in the movie can be seen permanently at the New York City restaurant Tavern On the Green.
Viewers are left to decide whether they think Kim is telling a fairy tale to her granddaughter or relating a story about something that really happened to her.
Burton and screenwriter Caroline Thompson cite various monster stories like The Hunchback of Notre Dame, The Phantom of the Opera, Frankenstein, King Kong, and Creature from the Black Lagoon as an influential to the film.
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When did I become old enough that the 1980’s could be deemed proper fodder for nostalgia?? Apparently the answer to that question is 1998. Sandler followed-up his successful hits Billy Madison and Happy Gilmore with a story about Robbie Hart, an aspiring musician who lives with his sister & her family in New Jersey. Robbie’s dreams of becoming a rock star seem to have faded as he has settled into an apathetic existence as the leader of a cover band that performs at weddings, birthday parties, & bar mitzvahs. His girlfriend has grown weary of this lack of vision & ambition and ditches him at the altar on their wedding day. Robbie has a hilarious yet pitiful breakdown, but the clouds begin to lift when he meets Julia, a waitress at the catering hall where he often performs. If rom-coms were sports teams Sandler & Barrymore would be great backups coming off the bench behind starters Tom Hanks & Meg Ryan. They’ve done three movies together and this first collaboration is the best. It was the 24th highest grossing film of 1998 (behind Shakespeare in Love but ahead of Halloween: H2O) and holds a 68% score on Rotten Tomatoes. The L.A. Times glowingly called it “a sparkling romantic comedy…the kind that glides by so gracefully & unpretentiously that it’s only upon reflection that you realize how much skill, caring, and good judgment had to have gone into its making”, while Ebert opined that “one of the sad byproducts of the dumbing-down of America is that we’re now forced to witness the goofy plots of the 1930s played sincerely, as if they were really deep”. I’m not really sure exactly what that means, but it makes me wonder what Roger Ebert…who died in 
2013…would think of some of the absolute crapfests that besmirch theaters these days, because The Wedding Singer is Citizen Kane in comparison to many of them. Edward Scissorhands got past Mallrats in Round 1 because I just don’t understand what the big deal is about Kevin Smith. It’s hard to categorize Edward Scissorhands, but I think that’s part of its charm. It appeals to different people for various reasons, and all of those perspectives are valid. The film is visually stunning, with the fascinating contrast between Edward’s gothic existence and the colorful 50’s vibe of the human neighborhood he is brought to, and as a person with a disability who has oftentimes found it challenging to fit into “normal” society I appreciate that theme. Burton squashed the idea of a sequel a few years ago, and one can only hope he doesn’t ever let anyone do a stupid remake.
The Verdict: The Wedding Singer. This one comes down to repeat viewings for me, and I can’t remember the last time I watched Edward Scissorhands. Burton is a weird dude who’s made some strange movies. Some of them aren’t bad, but personally I have to be in the right kind of mood to enjoy his stuff. The Wedding Singer has wider appeal, and especially speaks to an 80’s kid like myself.
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Die Hard: With A Vengeance
Release: 5/19/95
Starring: Bruce Willis, Samuel L. Jackson, Jeremy Irons
Directed By: John McTiernan (Predator, The Hunt for Red October. The Last Action Hero)
vs.
Goodfellas
Release: 9/19/90
Starring: Ray Liotta, Robert DeNiro, Joe Pesci
Directed By: Martin Scorsese (Taxi Driver, Raging Bull, The Last Temptation of Christ)
vs.
Twister
Quotes
When you told me you used to chase tornados I always thought it was a metaphor!
It’s the Fujita Scale. It measures the intensity of a tornado by how much it eats.
He’s a nightcrawler. We all started out working in the same lab, but Jonas went out and got some corporate sponsors. He’s in it for the money not the science. He has a lot of high tech gadgets, but he doesn’t have any instinct.
Odds & Ends
Filming in Oklahoma was briefly delayed due to the bombing of the Alfred P. Murrah Federal Building in Oklahoma City on April 19, 1995. Much of the crew went to the site to help with recovery efforts.
A recording of a camel’s moan was slowed down and used as the sound of the tornado.
The characters are alarmed when TV screens go blank, showing only static, before the tornado hits. In the days before digital TV, it was discovered that tornadoes generate a signal that will override and blank channel 2 on TV sets. Digital TVs do not react that way.
In the town of Wakita, the building the actors used to get ready for filming was turned into a museum for the movie where they have “Dorothy” on display as well as many other items from the movie.
As one of the characters looks at the screen of their weather computer, he screams “That’s no moon, it’s a space station!” That’s Obi-Wan Kenobi’s line when he, Luke, Han, and Chewbacca first discover the Death Star.
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Bruce Willis has now made five Die Hard films, with one final swan song allegedly on the way (reportedly a prequel). I don’t think it’s possible to surpass the first one, but Vengeance gives it a heck of a try. Seven years after the dramatic Christmas party at Nakatomi Plaza and five years after another memorable yuletide at an airport Detective John McClane is again estranged from his wife, suspended from the NYPD, and apparently an alcoholic. But then a terrorist threatens to blow up a school and specifically requests McClane’s involvement in the case, which involves a cat & mouse game of solving riddles throughout The Big Apple. McClane’s impromptu partner this time is a Harlem store owner named Zeus, who inadvertently gets pulled into the action. The criminal turns out to be the brother of the bad guy from the first film, and there is a similar twist as far as what his motives are. Jackson was a welcome addition to the franchise and breathes a lot of life into the story. Vengeance was the tenth highest grossing film of 1995 but holds an unimpressive 52% rating on Rotten Tomatoes. Variety said that it “degenerates into an improbable & confusing series of chases and an overly involved heist that takes far too long to set up”, Rolling Stone called it “a tense, terrifically funny action dazzler”, Ebert referred to it as “a wind-up action toy…cleverly made and delivered with high energy”, and 
Entertainment Weekly thought it was “a more racially charged Lethal Weapon”, opining that the mad bomber “toys with McClane like a villain on the old Batman TV series”. Twister easily beat Very Bad Things in Round 1 but now faces a stiffer challenge. Time Magazine harshly observed that “you know a movie is in trouble when a cow provides its only moment of authentic human interest”. Variety said that the movie “conveys the overwhelming impression of a mechanical entertainment, a very high concept in which the characters and their problems seem like utterly arbitrary creations”. The NY Times thought that “science aside… it works as escapism even if you do know enough to come in out of the rain”. Goodfellas is a mob movie far different from anything we saw in The Godfather films. Based on the story of real life mobster Henry Hill, Goodfellas is a grittier and less cinematic story than The Godfather, but I suspect that it’s a more accurate portrayal of mob life. The cast is first rate, and the movie was nominated for a half dozen Academy Awards, including Best Picture and Best Director. However, the only Oscar it took home was Best Supporting 
Actor for Pesci. Goodfellas was the 26th highest grossing film of 1990, behind Problem Child, Days of Thunder, and the much maligned Godfather Part III, but ahead of Rocky V, Predator 2, and Ernest Goes to Jail. It has a near perfect Rotten Tomatoes score of 96%. The NY Daily News said that “Scorsese succeeds in smashing all the foolishly romantic myths about the mob with this shocking, vigorously honest portrait”, Rolling Stone observed that it “bristles with violent passion, howitzer wit, and virtuoso style”, and Variety dissented from the majority by calling it “colorful but dramatically unsatisfying”. Our buddy Ebert didn’t hold back when he said that “no finer film has ever been made about organized crime…not even The Godfather”, which is where I have to draw the line. I have no doubt that Goodfellas is more authentic, but Variety hit the nail on the head by calling it dramatically unsatisfying. The old saying is that truth is stranger than fiction…but is it more entertaining?? I don’t think so.
The Verdict: Die Hard: With a Vengeance. With all due respect, I must defend The Godfather. It may be more realistic, but Goodfellas is NOT a better movie…not in any universe I’d ever want to inhabit. That’s just crazy talk. I’m not really into violence, and Goodfellas is a much more vicious film than The Godfather, while none of its characters are as well written or performed with the exception of Pesci’s Tommy DeVito. Twister is a decent disaster flick, but gets lost in the shuffle amongst much better movies of that genre. Vengeance isn’t as good as the original Die Hard, but it’s certainly better than any of the other sequels, and it’s one of my favorite Samuel L. Jackson performances.
You have likely noticed that I consistently use two metrics in my evaluation…box office and critic reviews. I utilize 
If there is one film in this competition that might qualify as “quintessential 90’s” I think Reality Bites fits the bill. It’s right there in the title…Reality Bites. Angst-ridden twenty-somethings try to find their footing in the post-graduate jungle that is life. That’s pretty much the idea. The cast is impressive, and the soundtrack is representative of its era, with songs from Crowded House, Lenny Kravitz, Julianna Hatfield, & The Posies. Not exactly mainstream, right?? I feel like the most enduring legacy of Reality Bites 
is the hit song Stay by quirky Lisa Loeb. This movie came out right after I graduated college and had entered the workforce, but at the time I was also still clinging to the old college life…hanging out with my friends and patronizing familiar watering holes ‘til 3am. Stay was in heavy rotation on the jukebox, and I have a vague recollection of a female acquaintance of mine dancing to the song and stripping down to her unmentionables right in the middle of the bar. Ghost was nominated for five Academy Awards and won two of them. When a banker is shot & killed by a mugger his ghost enlists the help of a shady psychic to warn his grieving girlfriend of impending danger. The enduring legacy of Ghost includes the zenith of Patrick Swayze’s solid career, Whoopi Goldberg when she was still funny and not a political hack, one of Demi Moore’s best performances, a renewed appreciation for The Righteous Brothers’ hit Unchained Melody, & a sudden interest in learning more about pottery.
Just glancing at the cast of Glengarry Glen Ross elicits such high expectations that it’d be almost impossible for a film to live up to them. Based on a 1984 Pulitzer Prize winning play by David Mamet, the story shows us two days in the lives of aging real estate salesmen desperate to keep their jobs. The corporate office has announced that half of them will be fired in a week, so they must do whatever necessary to get the numbers needed to impress the boss. Lemmon, Arkin, Harris, & Pacino are powerful performers on an individual basis, and as an ensemble they are unmatched. Throw Spacey and a brief but memorable appearance by Baldwin into the mix and what you have is a movie in which the plot is secondary to the performances. In the hands of lesser actors it might be a total yawner, but what we end up with is a masterclass in how to make relatively mundane subject matter absolutely riveting. Bruce Willis was already a big movie star by 1993, with two Die Hards, two Look Who’s Talking films, & less appreciated fare like The Bonfire of the Vanities, 
Hudson Hawk, & The Last Boy Scout on his resume. Striking Distance tells the story of a disgraced Pittsburgh homicide detective relegated to river rescue duty after opining that a serial killer might be a rogue cop. When someone begins stalking him the game is afoot and the only person he can trust is his fetching female partner…or so he thinks. Striking Distance isn’t fondly recalled as one of Willis’ best, but with a cast that includes Parker, Mahoney, & Farina and a Pittsburgh backdrop familiar to this West Virginian I believe it is better than many may recall.
Ol’ William Shakespeare is still inspiring people 400 years after he left this mortal coil, and a big Hollywood trend the past few decades is to take the basic theme of a Shakespeare play and set it in modern times with young & hip movie stars. Ten Things I Hate About You turns Shakespeare’s Taming of the Shrew into a romantic dramedy about high school students. Stiles, Ledger, Gordon-Leavitt, & Oleynik star as two sisters and the guys attempting to woo them, and the cast also includes Andrew Keegan, David Krumholtz, Gabrielle Union, & Allison Janney. It was the 53rd highest grossing film of 1999 and has a Rotten Tomatoes score of 62%, with Variety observing that it “doesn’t even seem certain which decade it’s set in”, the San Francisco Chronicle opining that the movie “wimped out by blanding down the story and the characters to the point where she isn’t really a shrew and he isn’t really a maniac”, and Ebert chiming in that high school films are “running out of new ideas and have taken to recycling classic literature”. The Big Lebowski has grown in stature & popularity in the two decades since its release when it was the 96th highest grossing movie of the year, behind 
immense competition like Half Baked, Simon Birch, & Bulworth. It is the very definition of a cult film, although with a Rotten Tomatoes score of 82% it seems like critics recognized its greatness long before the masses caught up. Jeffrey Lebowski is known by his friends and refers to himself simply as The Dude. He is the quintessential slacker who enjoys sitting around in his bathrobe, drinking white Russians, and bowling with his pals Walter & Donny. When two thugs assault him in his house demanding money that is owed to their boss it becomes clear that they have the wrong guy…they’re after the other Jeffrey Lebowski – an old, handicapped millionaire. The thugs leave The Dude in peace but take a wiz on his area rug first, which offends him tremendously because the rug “really tied the room together”. When The Dude seeks out the other Lebowski for recompense he ends up getting caught in a complex plot involving kidnapping, ransom, a porn magnate, & a high school kid named Larry. The Cincinnati Enquirer called The Big Lebowski “loopy, unfathomable, profane, & very funny”, while Ebert simply framed it as “weirdly engaging”. There is actually an annual event in Louisville, KY called Lewbowski Fest which, since 2002, has celebrated the film with bowling, trivia, & costume contests, and a “religion” called Dudeism that advocates & encourages “going with the flow”, “being cool headed”, and “taking it easy” in the face of life’s difficulties, which does sound kind of awesome.
Hugh Grant first became a thing in the early 90’s mainly because of Four Weddings & A Funeral. The plot is pretty simple, as it follows a small group of people whose lives keep intersecting at various social engagements, specifically…you guessed it…four weddings and a funeral. Andi MacDowell is a charming actress who has been in a few films that I’ve really enjoyed but she mostly flies under the radar. I vaguely recall seeing Four Weddings & A Funeral back in college, and what I remember most is a cover of an old 60’s song Love Is All Around that would be co-opted again a decade later for the British Christmas rom-com Love Actually. I think others enjoyed the movie more than me, as Four Weddings & A Funeral was nominated for Best Picture and Best Original Screenplay at the Academy Awards, holds a 95% Rotten Tomatoes score, & was the 21st highest grossing film of 1994. Gene Siskel observed that it “couldn’t be more psychologically astute in its portrait of a man who defines himself by his bachelorhood”, while Entertainment Weekly raved that its “infectious charm and sunny goodwill can immediately buoy a soul”. Fellow West Virginian Homer Hickam is the subject of October Sky, which is based on his memoir 
Rocket Boys. We meet Homer as a high school student living amongst the economically and otherwise depressed coal fields of southern West Virginia in the 1950s. Homer and his pals dream of a better live outside of Appalachia, and the launch of Soviet satellite Sputnik into space inspires an interest in building rockets. Unfortunately dreams of success, happiness, & achievement are met with resistance from the redneck masses, and it’s up to the young lads to blaze their own trail and prove everyone wrong. The only person who seems to be in their corner is a kindhearted science teacher, but that’s enough. Homer Hickam went on to become a NASA engineer for nearly thirty years. October Sky was the 63rd highest grossing film of 1999 and holds a 90% rating on Rotten Tomatoes. Ebert complimented the movie’s “deep values”, while CNN called it “a sensational character-driven story with a strong narrative and great visual style”.
Jim Carrey is a mixed bag for me. His shtick gets old really quick, and I tired of it fifteen years ago. However, between 1994 & 2003 he starred in a handful of memorable films, and Liar Liar might deserve a spot at the top of the list. Carrey plays a hotshot attorney whose focus on his career and deceitful ways have already ended his marriage and are on the verge of costing him his young son Max, who makes a wish on his birthday that his Dad not be able to lie at all for just one day. Max’s wish comes true and hilarity ensues. Liar Liar was the fourth highest grossing film of 1997 and has a Rotten Tomatoes rating of 81%. Variety called it “close to an ideal jumping-off point for Carrey”, the Hollywood Reporter opined that “Carrey has never been better, funnier, or more controlled”, and Ebert expressed trepidation that “I am gradually developing a suspicion that Jim Carrey is growing on me”. Doc Hollywood marked Michael J. Fox’s emergence from the Back to the Future niche that he’d been in for over five years, and the results aren’t too shabby. He plays a 
hotshot Washington DC doctor on his way to Los Angeles to make bank as a plastic surgeon. But when he crashes his classic Porsche in a rural South Carolina town he finds himself marooned for awhile and forced to serve as the local physician for a quirky group of townsfolk. Gradually he starts to mellow and grow fond of his new neighbors, and of course there is a fetching young lady with which he becomes smitten. Doc Hollywood is kind of predictable, but enchantingly so, with a great cast and fun characters. It was the 24th highest grossing movie of 1991, ahead of Bugsy, Thelma & Louise, and Point Break. Rotten Tomatoes scores it at 71%, with Newsweek saying that it “oversells its whimsy and fits its quirkiness into a sitcom formula”, while Ebert called it “a sweetheart of a movie”.
Fans of the Lethal Weapon series have been anxiously awaiting a fifth installment for twenty years, and though I’m usually a “never say never” kind of guy I believe at this point that it’s too little too late and I’m okay with that. The fourth & final Lethal Weapon finds Riggs reluctant to marry his very pregnant girlfriend Lorna, Murtaugh dealing with the pregnancy of his eldest daughter by a mystery man, and the long in the tooth duo investigating an illegal Chinese immigrant smuggling situation. Rock joins the cast as an overzealous detective who is more than he lets on, and of course Pesci is back as fast talking ex-con Leo. Lethal Weapon 4 was the 11th highest grossing film of 1998, though it was also the most expensive of the four films to produce. It holds a 52% score on Rotten Tomatoes, with Time referring to it as “mindless, sadistic violence juxtaposed with rote sentimentality”, while the New York Times generously pronouncing that it “turns out to be one of the nicer blow-’em-ups around”. Can’t Hardly Wait is another 
Hindsight Film, full of young actors who have stuck around long enough to be known for other things. It is also a classic high school film, set at a conventional graduation party and deconstructing all of the requisite high school archetypes. It was the 74th highest grossing movie of the year, ahead of Rushmore and A Simple Plan but behind Bride of Chucky and A Night at the Roxbury. It holds a 40% Rotten Tomatoes rating, with Entertainment Weekly calling it “a high-spirited, synthetically raucous house-party comedy” and Ebert saying that it “lumbers ungracefully from romantic showdowns to deep conversations to bathroom humor”.
Every uniformed profession…policemen, the military, doctors, lawyers (hey…a three piece suit is kind of a uniform)…seems to get their own movie or TV series eventually. After all, life or death situations provide plenty of theatre. Backdraft is an ode to firefighters that tells the story of a wave of suspicious fires in Chicago, with a little family drama, political intrigue, & romance thrown into the mix. Ron Howard is a terrific director and the all-star cast is impressive, helping to make it the 14th highest grossing film of 1991, just behind Fried Green Tomatoes and Teenage Mutant Ninja Turtles II but ahead of JFK and The Prince of Tides, and has a solid 74% Rotten Tomatoes score. Gene Siskel called it “a spectacle worth observing”, Ebert feebly praised it by saying “the scenes involving fire are so good they make me recommend the movie anyway, despite its brain-damaged screenplay”, and the Washington Post said “Backdraft is sure to do for fire what The Poseidon Adventure did for water”, which may have been meant as a compliment…
possibly. That Thing You Do was written & directed by Hanks and tells the story of a small town band that quickly rises to fame in the early 60’s on the popularity of an infectious pop hit. Hanks plays a supporting role, while the real stars are the band along with a fetching young female groupie. As with many actual bands egos & personal agendas quickly get in the way and torpedo the group’s success, making the movie a more insightful than expected examination of why one hit wonders are what they are. It was the 60th highest grossing film of 1996 (better than Fargo and Sling Blade) and has a stellar 93% Rotten Tomatoes score. Variety calls it “a sweet, likeable tale”, the New York Times dubbed it “rock-and-roll nostalgia presented as pure fizz”, & Rolling Stone framed it as “a brightly entertaining blend of humor and heartbreak”.
In 1999 The Internet was still in its infancy and “going viral” was a new concept. Social media wasn’t a thing yet, but that worked out well for The Blair Witch Project. The movie was highly anticipated before it even hit theaters because of its ingenuous marketing campaign. Reality television wasn’t on anyone’s radar yet either, so many folks were easily duped into believing that the movie was actual lost footage of a student documentary gone terribly awry. One kind of longs for those halcyon days when we weren’t so jaded & cynical. The movie itself follows three student filmmakers investigating an urban legend called The Blair Witch. I’m not a horror film aficionado, but I recall thinking that the movie isn’t really that scary, that it is more fascinating as an examination of the trio’s descent into madness. It was the tenth highest grossing film of 1999, earning more than The Green Mile, Oscar winning Best Picture American Beauty, and the first American Pie movie. That feat is even more impressive when you know that The Blair Witch Project had a budget of only $60k and earned almost $250 million. It has a Rotten Tomatoes score of 87%, with the Associated Press pointing out that “the thought that it might just might be real makes it much scarier”, the Minneapolis Star-Tribune calling it “a no-excuses horror show with an emotional wallop like falling headlong into a bear trap”, and the Washington Post saying it is “not the goriest, the grossest, the weirdest, the eeriest, the sickest, the creepiest, or the slimiest movie…just flat out the scariest”. A Time to Kill might be John Grisham’s best book…even better than The Firm…maybe. The movie takes a few liberties in telling the 
story of a Mississippi lawyer attempting to defend a black man who murdered two white men that raped & beat his young daughter. McConaughey is superb as the stressed out attorney, and Jackson gives one of his most nuanced performances as the distraught & vengeful father. The main issue I have is that the part of the female law student helping the defense team is beefed up considerably from the book because Sandra Bullock was cast in the part, but I realize that probably only bothers fans of the novel. A Time to Kill was the tenth highest grossing film of 1996, ahead of Scream but behind The Nutty Professor. It has a 65% rating on Rotten Tomatoes. Rolling Stone called McConaughey “dynamite in a performance of smarts, sexiness, scrappy humor, and unmistakable star sizzle”, while Ebert thought the movie “a skillfully constructed morality play that pushes all the right buttons and arrives at all the right conclusions”.
Let me take this opportunity to reiterate something that I have mentioned a couple of times in the past. One thing that you will not see in this competition are trilogies. No Austin Powers. No Toy Story. No Back to the Future or Godfather (both Part 3s were released in 1990). It is my belief that most movie trilogies are essentially three parts of the same film…a beginning, middle, & end. While it is possible to evaluate each film on its own individual merits the fact is that most of us think of them as a single entity. In some cases that may be unfair, but I believe it necessary to apply the rule across the board. Now once a fourth movie is made all bets are off. Some film series have 4 or 5 parts, while others have so many sequels they become kind of a joke. In those cases I think it is appropriate to weigh the value of each film separately rather than as a collective unit. That’s my two cents anyway…feel free to disagree. For now though, let us continue with the present discourse.
Disaster flicks have been a Hollywood staple for decades. Earthquakes, volcanoes, rogue waves, Earth destroying asteroids, plane crashes, raging fires, landslides, blizzards, nuclear holocaust, alien invasions, killer mutant animals, population decimating viruses…it’s all been done numerous times with varying degrees of success. Twister follows two storm chasers in the midst of a divorce who find themselves reunited in pursuit of one final tornado. There are subplots and an entire team of quirky characters, all of which are mildly interesting, but let’s be honest…the disaster itself is the main focus of such movies, and with modern CGI technology they are generally much more impressive than similar films made back in the old days. The cast here is above average, and the effects are more than adequate. Very Bad Things is a film that most probably missed during its time at the local cineplex, and even now it isn’t something that you’ll catch on television much despite a really 
impressive cast. The story follows a group of buddies, one of which is about to get married. They gather in Vegas for the bachelor party and after a freak accident find themselves with a dead stripper on their hands. As is the norm in such stories the folks involved in the situation don’t do the right thing by reporting the accident and trusting the justice system to understand that they did nothing wrong. Instead they create a cover-up, which inevitably leaves a trail of lies & dead bodies that’d make the hairs on the back of Shakespeare’s neck stand up.
Tim Burton is…different. He definitely has a unique style and his movies aren’t like anything else out there. Whether or not one considers that a good thing is a matter of taste. For me Burton’s filmography is a mixed bag, but most would agree that one of his best is Edward Scissorhands, a fantasy/horror/sci-fi tale about an aging inventor who creates a human-like creature but dies before the project is completed. Edward is left with hands that are kind of like a Swiss Army knife, which are occasionally useful but quite frightening to others. After The Inventor passes Edward lives a life of solitude in an old mansion that most believe to be abandoned until a kind Avon sales lady comes calling and finds him. She graciously invites Edward into her home where he quickly falls in love with her daughter. He is a gentle soul and the neighborhood takes a liking to him, allowing him to use his “hands” to trim hedges, groom dogs, & style hair. Unfortunately the daughter’s jealous boyfriend succeeds in turning the neighborhood against Edward and a confrontation ensues in which the boyfriend is accidentally killed. The daughter lies to the police, making everyone believe that Edward is dead, and at the end of the story we find out that all of this took place many years ago and Edward is probably still alive in the old “abandoned” mansion. Edward Scissorhands has elements of Beauty & the Beast, Frankenstein, & Pinocchio. The movie received numerous accolades for visual effects, makeup, & costume design, composer Danny Elfman got a Grammy nomination, and Depp was nominated for a Golden Globe. Mallrats was Kevin Smith’s follow-up to Clerks and ostensibly takes place within the same 
“universe”. The story follows two college-aged guys as they fritter away a day at the local mall, engaging in hijinks and dealing with various issues along the way. I actually like Mallrats better than Clerks, and its cast…Affleck, Doherty, Lee, Adams, London, Forlani…is definitely better. Critics are lukewarm about it given the Rotten Tomatoes rating of 55%. Our old pal Ebert loved Clerks but didn’t like Mallrats in comparison, saying “Clerks spoke with the sure, clear voice of an original filmmaker. In Mallrats the voice is muffled.” With all due respect to Roger Ebert (may he rest in peace), film critics love to say stuff like that. While I’m not a huge fan of either movie atleast Mallrats has a plot and some measure of energy.
Once upon a time it seemed as if attorney/writer Scott Turow was poised to challenge John Grisham as the top dog in the legal thriller genre. His first two books were turned into films, but after that nothing else really emerged as part of the pop culture zeitgeist of the 1990s. Presumed Innocent was Turow’s inaugural novel and his best one. It follows prosecutor Rusty Sabich as he first investigates the murder of a co-worker before eventually being accused of being the killer himself after it is discovered that he’d once had an affair with the victim. As is almost always the case the book is so much better than the movie, but kudos to Ford, Bedelia, Raul Julia, & Brian Dennehy for really bringing the characters to life. The ending is epic, to the point that I highly recommend the book and/or the movie almost entirely based on its conclusion. Honeymoon in Vegas is a goofy comedy about a 
guy who loses his fiancée in a poker game and his epic adventures in getting her back. I’m a sucker for anything with a Las Vegas backdrop, and it doesn’t hurt that the cast is charming. The soundtrack is pretty good too, comprised mostly of Elvis Presley covers from the likes of Billy Joel, Bruce Springsteen, Willie Nelson, John Cougar Cougar Mellencamp Mellencamp, Trisha Yearwood, Travis Tritt, & Bono, along with songs sung by Elvis himself.
Tom Hanks vs. Robin Williams. It is precisely the kind of nightmare matchup that I knew was inevitable when I conceived this idea. I have dreaded it simply because I am such a big fan of both men and hate to choose one over the other, but fortunately they both have multiple entries in the competition, and I have a feeling that the movies themselves more than the leading men will make the decisions fairly straightforward. Hook is a very 1990’s retelling of the Peter Pan story. It opens with Peter as a middle-aged attorney who is so focused on his career that he is somewhat neglectful of his wife & kids. He has completely forgotten who he once was, but his wife’s grandmother hasn’t because she is Wendy…yes, THAT Wendy. When the family travels to London to visit Wendy it is the perfect opportunity for vengeful Captain Hook to swoop in and kidnap the children, forcing Wendy to reveal the truth to Peter, At first he doesn’t believe it, but then Tinkerbell shows up and whisks him off to Neverland, where The Lost Boys help him remember his epic past and prepare him for a showdown with Hook in order to rescue his progeny. The film is directed by Spielberg and has a first rate cast. On paper it doesn’t get much better. Joe Versus the Volcano is the first of three movies that Hanks & Ryan did together, but it is probably the most overlooked film of both of their careers. Joe Banks is a depressed hypochondriac sleepwalking thru a dreary life in which he works at a tedious job at a gloomy medical supplies factory. He is diagnosed with “brain 
cloud” and told by a doctor that he only has a few months to live, so he tells his boss to take the job & shove it and finally gets the courage to ask a lovely co-worker out on a date. Then an eccentric & wealthy businessman shows up and offers him a blank check if he’ll do something kind of crazy in return. The billionaire needs some sort of rare mineral to manufacture one of his products, and this mineral can only be found on a remote Pacific island. However, the inhabitants of the island won’t let him mine the mineral unless he provides a human sacrifice to appease a volcano that erupts every century…or something. I don’t know…it’s weird. Anyway, with nothing to lose Joe accepts the offer, and with the financial means to do so he treats himself to quite the shopping spree. He seems happier & healthier than ever after leaving his miserable job, accepting his fate, & deciding to live life to the fullest before he hurls himself into an active volcano. The businessman’s daughter is assigned the task of escorting Joe to the island, and along the way they fall for each other. I won’t spoil the ending, but it’ll put a smile on your face.
Billy Crystal is a national treasure, whether he is acting in funny movies or hosting awards shows. He’s just one of those guys that it is virtually impossible not to like. Crystal was on a roll in 1991, having starred in The Princess Bride, Throw Momma from the Train, & When Harry Met Sally all in the last few years of the 1980’s. City Slickers stars Crystal as a NY City ad executive going thru a midlife crisis. His two best buddies gift him with a two week dude ranch excursion, during which the three men join several other regular folks like themselves in a kind of cowboy fantasy while driving cattle from New Mexico to Colorado. Lessons are learned, attitudes are adjusted, & lives are altered during the cattle drive, all under the watchful eye of intimidating trail boss Curly, a role that won Jack Palance an Oscar for Best Supporting Actor. Hocus Pocus didn’t make much of an impact when it first 
landed in theaters, but in the ensuing years repeat viewings on TV have made it a family friendly Halloween tradition. The story follows three kids in Salem, MA who inadvertently resurrect a trio of witches who had been hanged three centuries earlier. Halloween hijinks ensue, but not the kind that one might see in a slasher flick. If you enjoy the spooky atmosphere of the holiday but aren’t all that enamored with blood n’ guts or psychotic serial killers then Hocus Pocus is the film for you.
After two successful films Michael Keaton stepped away from the cape & cowl and studio suits gently pushed Tim Burton out of the director’s chair. Schumacher’s “Bat-vision” is a little more colorful & chaotic than Burton’s dark & brooding style, but few seemed to mind as it relates to Batman Forever (detractors saved their wrath for the next film). Kilmer’s turn as The Caped Crusader is unobjectionable but totally forgettable. I’m not a huge Nicole Kidman fan, and her role here just doesn’t work for me. “The Boy Wonder” Robin joins the fun this time, but O’Donnell is about as interesting as staring blankly into space. Batman movies are all about the villains though, right?? The Riddler is probably my favorite Bat-villain of them all, and if the powers-that-be would have stuck to their original plan of casting Robin Williams this movie might have been brilliant. Carrey isn’t a bad choice…he’s just not my cup o’ tea. Tommy Lee Jones is a excellent actor, but he is woefully miscast as Two Face. I think a lot of mistakes were made in the production of this film, and I can’t help but wonder what might have been had Burton & Keaton returned and Williams had starred as the one & only villain. Sister Act finds Whoopi 
Goldberg as a lounge singer who sees a mob hit and is forced into the witness protection program. She goes into hiding as Sister Mary Clarence, staying at a San Francisco convent where she revitalizes the choir. The group becomes so popular that the Pope himself wants to see them perform, but unfortunately the gangsters Sister Mary Clarence is hiding from discover her location and kidnap her, with her new nun friends jumping into help the rescue effort. This was Goldberg’s follow-up to her Oscar winning performance in Ghost, and the film did well enough to get a sequel just a year later.
The porn industry wouldn’t seem to be proper fodder for a critically acclaimed, Oscar nominated drama, but here we are. An all-star cast traces the rise (pun unavoidable) of high school dropout Eddie as he escapes an abusive family situation and becomes well-known adult film star Dirk Diggler. There is lots of drug use, violence, and…of course…sex, but the film is rather well-written and the cast is superb. The material in less talented hands probably would have been a joke, but as presented is an unexpectedly interesting movie despite its subject matter. The American President is essentially a love letter to Bill Clinton, 
which isn’t surprising given the people involved. The titular Commander in Chief is a widowed father whose relationship with an environmental lobbyist creates all sorts of issues. The cast is undeniably terrific, and the movie itself heavily influenced the creation of the TV show The West Wing just five years later.
I’ve never been a big fan of horror films in general, but when that particular mood does strike the old Universal films of the 1930’s & 40’s (Bela Lugosi’s Dracula, Boris Karloff’s Frankenstein, Lon Chaney Jr.’s The Wolf Man) are more my speed. I’m an 80’s kid, so the Friday the 13th and Nightmare on Elm Street franchises were a thing when I was growing up, but they never really piqued my interest. Scream is given credit for breathing new life into the genre. It tells the story of high school student Sidney Prescott, whose mother was murdered a year before. Now someone is stalking Sidney & her friends, with local sheriff’s deputy Dewey and TV reporter Gale joining in the hunt for the killer. Scream is well-regarded for its whip smart & perceptive approach, sharp writing, & subversion of accepted horror film expectations. At the time Drew Barrymore was the biggest star in the cast, and her character is killed in the first five minutes, which was a pretty big surprise to audiences. Rotten Tomatoes gives it a score of 79%, with the L.A. Times calling it “a bravura, provocative sendup of horror pictures that’s also scary and gruesome yet too swift-moving to lapse into morbidity”, while Ebert said that he “liked the in-jokes and the self-aware characters” but was also “aware of the incredible level of gore in this film”. Scream was the 13th highest grossing film of 1996, behind Independence Day and A Time to Kill but ahead of The English Patient and Jingle All the Way. Mr. Saturday Night is a sneaky good biopic of a fictional Borscht Belt comedian who rises to prominence in the 1940’s and eventually scores his own television show in the 50’s, only to lose it all because of his own arrogance & self-destructive tendencies. Thirty
years later he is performing at nursing homes and doing commercials for adult incontinence products, but might have one more shot at stardom…if he doesn’t blow it again. By Buddy’s side throughout his roller coaster career is his long suffering wife and loyal brother, who also doubles as his manager. Character actor David Paymer received an Oscar nomination for his supporting role as the perpetually unappreciated brother. Mr. Saturday Night was the 82nd highest grossing film of 1992, which was atleast good enough to beat out Chaplin and Glengarry Glen Ross, both highly acclaimed movies. Rotten Tomatoes gives it a tepid 56% rating, with Entertainment Weekly calling it “a perverse labor of love” and “gimmicky but enjoyable”, while Ebert observes that the movie “has a real poignancy” but “what doesn’t really work is the change of heart, which is obligatory in all showbiz films” because “anyone who has been a SOB until the age of 70 is unlikely to reform, and so the happy ending is unhappy because it’s not convincing”.
just not a big fan. I prefer to laugh rather than do the whole blood and guts thing. But Saving Private Ryan is so powerful, so raw, so realistic in its portrayal of the World War II D-Day Invasion that it simply cannot be overlooked. The cast is stunning…..Hanks, Matt Damon, Ed Burns, Tom Sizemore, Vin Diesel (showing that he has legit acting chops), and Adam Golberg star, and small cameos are made by Ted Danson, Dennis Farina, Paul Giamatti, and Bryan Cranston. And oh, by the way, the film is directed by Steven Spielberg. The opening scene hits you like a sledgehammer to the nether region, and things don’t really let up after that. The conclusion is so potently memorable and emotional that it takes the movie to another level. Irrespective of the war motif, Saving Private Ryan forces a self evaluation of one’s life, making a person really examine if they’ve made a difference and earned the right to take up space on this planet.
win at the end of the second was a brilliant idea. I’m not privy to inside information, but I suspect that unlike how things work today, back in 1979 a sequel was not assumed or planned. So one can make an educated guess that the whole moral victory angle was Stallone’s original intent. After the enormous success of the first movie a sequel was demanded, and there’s no way on earth the audience would have stood for the underdog losing again. It is somewhat surprising that this foregone conclusion does not diminish Rocky II’s quality, which I suppose can be attributed to the fine writing and performances. Unlike The Godfather films I do not believe a third (or 4th, 5th, & 6th) movie was necessary to elaborate on Rocky Balboa’s saga. I would have been okay with forever remembering him as the imaginary World Heavyweight Champion and skip seeing him lose everything, fight the Russians, and not-so-gracefully grow old. I suppose we can blame George Foreman for the last two sequels and the Cold War for one of its predecessors. I can think of no logical reason why anyone thought Rocky III was a good idea.
The Manofesto 