That is some mystical shit!

Mustering the reigns with a bellowing Ye-Haw! and an earth shattering whip-crack! We're blazing saddles onwards once more to the recent past of 2015! A year that not only saw mega titles battle it out on the silver screen but was undoubtedly the year of the spy, with Bond back in action for his 24th globe trotting adventure, Ethan Hunt and the IMF out against the Rogue Nation, the CIA promoting their newest super spy Susan Cooper, and the return of The Man from U.N.C.L.E. So what better way to celebrate the mystical art of ultra surveillance than continue on our Sandler-fest and hit the dusty trails of the old west in   The Ridiculous 6.

Before walking into this one I completed a little research just to get a general feel of what I should expect from a Sandler western, as not only is this a first for the comedy star but also a bold move by production company and mega video on demand corporation Netflix. I was hoping by the title it'd be a nice comedic rendition of The Magnificent Seven (1960), and WOW was I shocked by what I discovered.  Not only is the entire premise and plot of this supposedly sensational film based solely on spoofing what was seen in the first of The Hateful Eight (2015) trailers. It has also been both critically and regular joe-ly panned world wide and holds the honoured position of a 0% liked rating on rotten tomatoes, so I knew I was in for thrilling adventure.

Directed by non other than our favourite friend Frank Coraci, Ridiculous 6 brings all the Sandler regulars back together for a colourful romp playing cowboy, or in Sandler's case Apache Indian. The story as the title suggests is pretty ridiculous as we discover Sandler's long lost father has been kidnapped by a gang of outlaws who want 50,000 dollars he stole, returned. It's then up to White Knife (Sandler) to rescue him by mustering his courage and robbing every outlaw and crook he passes. Along the way White Knife builds up his own gang of colourful characters and discovers that each new member is also his half brother. 

For a film so hastily put together the western stereotypes really help the ensemble and Coraci really knows which of the Sander crew fits perfectly. Rob Schneider plays Ramon, the loveable Mexican whose infatuation with his burro steals every scene. Terry Crews is fabulous and flamboyant as Chico, a muscle-bound piano player who is not only able to tickle the ivory with his ebony, but gently informs the dimwitted bunch that he is actually black. Jorge Garcia is almost unrecognisable as Herm, the abandoned son of a hill-billy moon-shiner and more animal than man. Luke Wilson is pleasant eye candy as Danny the grief stricken ex-body guard of Abraham Lincoln. But it's Taylor Lautner as Lil' Pete that's the biggest surprise here, completely lampooning himself in this half wit role. With his various tales of making love to a rock-melon and an on screen scene of receiving a blow job from a donkey that will either have you in stitches or cringing the whole film through. 

One thing that really surprised me in this film is how incredible the costuming is. Each of the six is instantly recognisable in their full get ups with each revealing just what kind of man is wearing it. Whether it be White Knife's mix of Apache tasselled pants, leather holsters and broad-rimmed cowboy hat showing his mix identity of white and Indian. Or Roman's bandoleer clad poncho and sombrero, absolutely screaming Mexican and distinguishing him from the rest of the cast. Even guest cameos such as David Spade as General Custer and Vanilla Ice as Mark Twain are instantly recognisable in their respective outfits of full military regalia and shining white suit. Or course each ensemble is a complete stereotype of the character but because that's the premise of the whole film it just adds to the fun rather than being distracting and over the top.

Another stunning feature of Ridiculous 6 is its locations, filming primarily in Sante Fe, New Mexico, cinematographer Dean Semler really takes advantage of the stunning landscape and gorgeous blue skies creating a feeling of rough wilderness and plenty of wild blue yonder. The film also makes great use of its sets, using a mix of both Eaves movie ranch and Bonanza Creek movie ranch, made famous for films such as Cowboys and Aliens (2010), Gunsmoke (1993) Silverado (1985) and Easy Rider (1969), as well as more recently appearing in Seth Mcfarlane's comedy western A Million Ways to Die in the West (2014) and the reboot of The Lone Ranger (2013) starring Johnny Depp.  Eagle eyed fans may even spot a few reused locales such as the main Saloon and dentist office as well as the Alamo styled fort.

Outlandish, zany, and with a charm that just won't quit this film delivers on it's titles promise in spades and is honestly some of the best use of Sandler's ensemble guest cast since Grown Ups (2010). If you're a Sandler fan or just looking for some great fodder for Netflix and Chill, then fire up some popcorn, switch off your thinking caps and enjoy the silver screen panto that is The Ridiculous 6.   

Lately, your low self esteem is just common sense!

Continuing down the rabbit hole that is the films of Adam Sandler we're spiralling backwards through the vortex and into 2004! A year that saw Lindsay Lohan suddenly become very fetch, the Rock Walking Tall, and a fantastic trip around Europe all because Scotty didn't know. So let's hit the beach and head into a world of culture clash, humble chefs, and high antics with that formidable language barrier in James L. Brooks' Spanglish.

Coming from the relative low of Blended (2014) and hearing that this was one of Sandler's few attempts at a serious role I was intrigued to see what the actor had to offer. Though admittedly was secretly hoping this would put Sandler back on high as I've often been a fan of the comedian does drama genre with favourites such as Dan in Real Life (2007), Jeff, Who Lives at Home (2011) and of course The Truman Show (1998).

The first thing that really hit me about Spanglish was that this is really not an Adam Sandler vehicle no matter what the marketing would have you believe (Sandler is even the main focus of the films poster). There's no slapstick or comedic gross outs, and our starring man doesn't even don a sports related t-shirt throughout the entire film. Even more shocking is the fact that Sandler is actually the main love interest of our protagonist, with Brooks seeming to have conjured something other worldly with this everyday tale of a mother and daughter and their battle against the tidal-wave that is Americanisation.

The second big realisation about this film is it's amazing soundtrack, by non other than famous cinema virtuoso, the legendary Hans Zimmer. Yes one of only two men who could rival the majesty of the great John Williams, Zimmer has been practically scoring my cinematic education my entire life, with amazing work on Pirates of the Carribbean (2003) to White Fang (1991) to Gladiator (2000) and even The Dark Knight Rises (2012) and Man of Steel (2013). Small aside, Zimmer was the composer and music supervisor for Disney's The Lion King (1994) and won an Academy Award for his efforts.
True to form Zimmer's score in this film is a thing of beauty, delicate and soulful with hints of Spanish flair and sweeping grace it's everything a film score should be, and if listening to it doesn't make you want to run away with the love of your life chasing the sun forever, then you my friend need to watch Frozen (2013) more and just let it go.

Not only is the music of Spanglish astounding so is it's cast, with Paz Vega playing our leading lady Flor with style. Enthralling the audience to throw our support behind her efforts to provide for her daughter as well as navigating the outright crazy requests of employer Deborah (Tea Leoni), who also brings home an outlandish and masterful performance as a walking ball of insecurity. I was especially impressed by just how much Leoni can articulate whilst balling her eyes out, the make up department deserves an award for that scene alone. Even Sandler did not disappoint, pulling off the humble husband and father role with a level of quiet intensity I've yet to see him repeat in any other role to date.

Sadly as wonderful as this film is, the story much like Blended is just too much to be believed. Not only does Flor go from not speaking a word of English to almost fluid within a month even with self help videos it's still far flung. Deborah's behaviour is also just crazy, semi adopting Flor's daughter Cristina and purposefully manipulating her against her mother, with promises of a robust scholarship to a private school, gift necklaces and hair do's as well as sleepovers without asking for permission and all the while ignoring her own daughter based solely on her slight weight issue, it's just too much. Sandler's John is also conveniently America's best living chef and yet is repulsed by the idea of fame and somehow manages to retain being a likeable father and love interest whilst fully financially supporting a gated community mansion, separate beach house, an entire family (including mother in law), a live in maid with daughter, and yet still only works a few times a week.
Ultimately it's this level of absurd disconnection from the conceivable reality of its target audience as well as its over the top antics that really lets the film down. 

Charming, beautifully acted, and miraculously scored, this one will have you watching with a mix of curiosity at its outlandish shenanigans, and with slight boredom as you realise it's been done before with better streamlining and passion e.g. The Fifth Element (1997). But if you're looking for a few well earned awes with a side study of the visual influence of American culture over that of its southern neighbour Mexico, than its hard to go wrong with Spanglish.

An avalanche! In our backyard!

Launching into ludicrous speed and hitting the hyper-jets hard we're U-turning full throttle back in time to a year that saw Godzilla destroying the Golden Gate bridge,  an army of apes riding horses on the Golden Gate bridge, and building block toy company LEGO stretching an ad out for an entire movie. Yes we've ventured back into the past to 2014! and the time has come for a legendary on-screen couple to start up their mini vans and round up the whole family for the romantic comedy that is Blended.

Starring one of my favourite on screen couples Adam Sandler and Drew Barrymore, my hopes were high going into Blended, as the two's chemistry in The Wedding Singer (1998) and 50 First Dates (2004) had knocked me for six with an astounding mix of comedy, music, and realistic attraction. But with over a decade gone by since the first time I fell in love with Robbie and Julia could lightning strike a third time?

From the get go Blended pulls out all the stops to make this ride as family enjoyable as possible with some classic tropes such as, the ugly girl really being beautiful all along e.g. Breakfast Club (1985), potential-parents bonding with kids e.g. Uncle Buck (1989), and plenty of good-old teen angst and embarrassment throw in. At this point Sandler and Barrymore have played these roles so often that they're basically muscle memory, with Sandler especially able to flip the loving but awkward dad switch thanks to his wealth of dad performances in Big Daddy (1999), Click (2006), Bed Time Stories (2008), and Grown Ups (2010). Making for some wonderful scenes with the child stars who really steal the show especially Alyvia Alyn Lind as seven year old Lou who manages to remain lovable yet serious without taking on too much Shirley Temple sweetness.

Whilst all this coupled with some beautiful Hollywood escapism with the film's primary destination filmed at the gorgeous African mega resort Sun City should make for a loveable romp, something ultimately falls flat. Returning Wedding Singer director Frank Coraci does his best to reign this outlandish story into a conceivable whole, mixing in just enough background to each family to add realistic weight and a great cameo from Joel McHale, Community (2009) as the cheating ex to Barrymore's brood. As well as some great stunts, one involving a bull riding challenge but on ostriches lends to a lot of laugh, but ultimately Blended is just too far fetched to continue the disbelief that these two families would somehow form the new Brady Bunch in just over a week on vacation.

Likewise the supporting cast of Terry Crews, Shaquille O'neal and Wendi McLendon-Covey add to some great world building both inside and outside the resort. With Crews delivering a genuinely  amusing performance as over the top family-moon host Nickens, complete with nine back-up singer entourage. But even this doesn't add enough to the film, as bad computer animation, lack lustre jokes, and too few scenes between our main love interests turn what could have been great into another run of the mill summer midweek filler.

It's sad to see so much talent behind this film churn out something so forgettably mediocre, not only did I end this film not really caring if the two leads got together, but wondering where it all went wrong for the star couple of my younger years. For a time Barrymore was a powerhouse performer delivering smarts, sass and sex with box office titans like Charlie's Angels (2000) and Whip It (2009) and Sandler almost nigh un-touchable, tickling the rib-cages of the world with hits like Happy Gilmore (1996) and Little Nicky (2000).
Now whilst still able to deliver heartfelt scenes and comedic moments when called for these fine actors come across as just phoning it in and going for an easy pay check.

With laughs hit and miss and a family story straight out of sitcom television Blended is a watch for the most die hard Sandler/Barrymore fans or for anyone needing a good sunday night on the couch. Otherwise leave just go back and watch 50 First Dates again and let the waves of calming nostalgia soothe you.  

Just when it can't get any worse, you run out of cigarettes

Six films in and we're taking a turn away from the action and science fiction scenes that have come before and barrelling towards the present. It's 2015, the year that broke cinema history as mega franchises roll out their biggest sequels yet and smash box office records around the globe with the likes of Jurassic World and Star Wars VII: The Force Awakens. But not all success has been found in the Hollywood machine as an independent has risen after 11 years of development to sweep accolades from some of the biggest award houses around. With a graceful look and remarkable 1950's feel get ready to delve into the steamy and forbidden world of Carol.

From the very first frame Director Todd Haynes had me hooked on Carol, instantly throwing me into the city streets of 1950's New York, with its moody and dramatic lighting echoing the film noir qualities of Michael Curtiz's Casablanca (1942) but with a slight Dark Deco twist similar to Eric Radomski's designs for Batman: The Animated Series (1992). Then completely flipping once we're inside and giving us the soft warms hues of 50's glamour, everything shining and opulant especially our object of desire Carol, played by Cate Blanchett, her hair brilliantly set and lit to entrance and entice, she is the quintessential essence of movie star.

I'm always amazed by how much proper use of lighting can alter an image, turning an everyday looking room into a palace hall or a corridor into a twisted and haunted void. It can set the tone of a scene, give off subtle clues to a characters motives and designs, and even transport us to other places and times. Which cinematographer Edward Lachman uses superbly here, as Frankenberg's department store's cold fluorescent lights flicker into life we're treated to a world of capitalist America in it's infancy and the almost robotic way in which its middle classes lived. A shocking contrast to the warm soft palette of our time later in Carol's house and the hotel rooms we share with her, as Lachman creates a physical effect of Carol lighting up every room she's in.

It's this attention to the almost unseen detail that Haynes deploys throughout the feature that makes the attraction of Rooney Mara's Therese to Carol so believable. For Therese, Carol emits an ethereal beauty, strange and seductive that passes the question of why and shows the two's desire for each other as something undeniably natural. A rare quality in a film depicting a lesbian relationship in this time as it is neither overly romanticised nor overly sexualised and in fact Carol contains only one sex scene between its title roles.

Coupled with such wonderful imagery is the film's outstanding soundtrack composed by Carter Burwell who weaves together a hauntingly beautiful main theme that rivals Dario Marianelli's Atonement (2007) and has already won him the academy award for best original score. Soft, playful and yet with a hint of a suppressed strength Carter's score really adds a whole other dimension of emotional weight to the film. And works hard to create an ever present sense of yearning throughout the piece that lifts you at exactly the right times, and has you tearing up the next, this piece will definitely have you humming along long after the credits have ceased.

With Carol, Hayes has created a truly wonderful adaptation of Patricia Highsmith's The price of salt, adding flair and empowerment to this delightfully tragic tale of women who lived through a time of oppression, secrecy and yet found something beautiful within each other.

Bustling with manly machismo, jaw dropping costumes, and plenty of chain smoking this story of girl meets girl, is just the take on the world of lesbian romance the world could use more of. If there's one film you see this summer/winter that gets to the heart of love, make sure it's Carol.

Let there be Light!

Spiralling out of control with no end in sight we're racing ahead through the vortex to a time when Bennie and the Jets are ripping up the charts, James Bond is shouting the gun is good, Nixon has quit the oval office in disgrace, and India is now a nuclear power. Watch out! for its 1974 and we're in for the long haul as our faithful friend John Carpenter has his cinematic debute with sci-fi cult classic Dark Star. 

From the get go it's easy to see Dark Star is not your average science fiction romp, with its low-fi effects more suited to 1970's Doctor Who, shoe string budget production design and completely synthesised soundtrack, it stirs up a essence of tale made far before its time. Which to many fans of science fiction Dark Star ultimately is, as co-writer Dan O'Bannon would go on to use ideas from this film, particularly his beach ball with claws to inspire another creature legend of cinema, the title Xenomorph in Alien (1979). British writer and producer Doug Naylor would also be inspired by this film when creating his short radio plays that eventually became the cult classic television phenomenon Red Dwarf (1988).

Dark Star also has another big piece of cinema history under its belt, as it contains the first on screen use of the superliminal velocity tunnel effect, otherwise know and hyperspace which as we all know would come to be used just a few years later in the cataclysmic Star Wars (1977).

Whilst definitely other worldly with its story and design, one of the biggest draws of this crazy little film is its characters. A rag tag bunch of spaced out astronauts who after twenty years hurtling around the galaxy blowing up planets in a tin can of a ship, have all gone a little loopy. Some have forgotten their names, another thinks he's really another person accidentally shoved on board, and another spends each waking moment starring at the stars and dreaming about a a group of strange glowing asteroids that circumference the universe every few trillion years. But the real stand out amongst this bizarre crew has to be officer Pinback (played by O'Bannon himself) whose over the top antics such as adopting an alien as the ships mascot and uptightedness about his fellow shipmates lack of decorum, really shows just how mad twenty years in space will actually make you.

As his first time gig Carpenter really plays around with this film, with no straight forward plot to the piece the story meanders here and there as the crew drift from place to place and attempt to fill in their time with crazy shenanigans. There's a few great scenes such as Pinback attempting to round up his alien which leads to an exciting moment of hanging from the underside of an ascending elevator. As well as makeshift leader Lt. Doolittle attempting to convince an smart aleck intelligent bomb not to explode by teaching it Phenomenology only to actually teach it Cartesian doubt. Which reminds of Douglas Adams' Hitchhikers Guide to the Galaxy (1974) so hard it's amazing to not think scene was written by the man himself. But overall the story feels to loose for a feature length production with scenes feeling out of pace and some over extended, though this is most likely due to the film having an extra 15 minutes commissioned to it by distributors to bring it up to feature length rather than through any fault of its creators.

For such an influential film in the world of science fiction cinema I had expected Dark Star to feel rather more adventurous, possibly along the lines of Flash Gordon 1980 or Silent Running 1972. However this philosophical voyage through the galaxy with some of the universes biggest space bums really flipped those expectations upside down and by the end I was eager to drift along pondering the universe with Lt. Doolittle and Talby and just experience the ride as we surfed the cosmic waves.

With a story that's just about as nuts as its protagonist's, this dip into one of the bedrocks of science fiction cinema is not one for your average friday night flick. But as an adventure into just how strange, bizzare and yet oddly familiar sci-fi can be, Dark Star is a definite for lovers of the genre and a great opportunity for some drink-along nerdiness.

We deal in lead, friend.

Hitting the retro's with a noise like thunder we're heading back, back to a time when everyone goes by Spartacus, Marilyn Monroe is making love and Hitchcock is terrifying the public with his breakout thriller Psycho. Yes it's 1960 and it's time to get down and dirty with the craziest bunch of flea ridden, gun twirling, no-good, good guys the western has ever seen, in John Sturges' master-class The Magnificent Seven. 

Kicking off with one of cinema's most memorable music themes by music legend Elmer Bernstein, Magnificent Seven instantly has that essential western spirit with a sweeping jostling score that throws you right in the saddle and gets you mustering across the rolling plains. Coupled with Charles Lang's beautiful cinematography of dusty villages and hoarding banditos there's no doubt why this score has earned it's place amongst the great Western themes such as Ennio Morricone's ghostly whistling from The Good, The Bad, and The Ugly (1966) and Gioachino Rossini's William Tell Overture now unanimous with The Lone Ranger (1933).

As a side note not only is Bernstein considered the "John Williams" of his time, Williams was actually the piano player in the orchestra under Bernstein when the hit theme was scored. And with combined talent like that it's no wonder this iconic theme has been used throughout the age's from ads for Marlborough cigarettes to featuring in the James Bond 1979 flick Moonranker and even parodied by Aussie beer brewer Victoria Bitter.

Whilst slower paced than today's westerns the likes of Quinton Tarantino's The Hateful Eight (2015) or John Hillcoat's The Proposition (2005) Sturges keeps the audience griped to the screen with a mix of gunfights, character moments and the occasional laugh. Though the later was most likely brought about by the escalating competition between main co-stars Yul Brynner and Steve McQueen, and quickly spread amongst the rest of the cast as they endlessly attempted to draw attention away from each other during takes with over the top gestures and mannerisms. Overall it is this quick witted banter within the seven that make them so unique as soldiers-of-fortune turned hero's and separates them from Akira Kurosawa's Seven Samurai (1954) from which this film was adapted.

The basic story is simple enough to follow with a small Mexican town under threat of the raiding horde of Eli Wallace's moustache twirling Calvera, and so hire a band of misfits to defend themselves. The seven consisting of Chris, Vin, Chico, Bernado, Brit, Harry, and Lee, (played by Robert Vaughn who many will recognise as Baxter for BASEketball) are your average kind of ruffians with the usual tropes of the leader, the thief, the knife man, the kid and so on all being present, a modern example of this tale can be easily seen in Pixar's 1998 film A Bug's Life. Never the less the seven hit their marks with style with some truly inspiring choreography such as Britt's knife dual, and Lee's fastest in the west last stand. Unfortunately there's no real final show down between Chris and Calvera which audiences have come to expect from the genre, but rather a big piece gunfight between the seven and the whole horde. Which whilst exciting and chocked full of moments for our heroes to shine, leaves the conclusion of the story feeling slightly underwhelming as the heroes and villagers go on as if this happens every other day.

As a sucker for a good western and all the hard as nails campiness it can offer such as the likes of Back to the Future Part III (1990), Gunsmoke (1955), True Grit (1969) and The Adventures of Brisco County Jr (1993), it was fantastic to see what the genre could do when put in the hands who knows it inside and out. And Sturges doesn't disappoint masterfully utilising the beautiful landscape of his Cuernavaca and Durango locations within Magnificent Seven, to create a vision of striking mountains, flowing streams and golden fields, bringing the Mexican wilderness to life and making it a character in its own right.

With a killer soundtrack, brilliant stunt choreography and an ensemble cast of some the best in the business, this world of dusty cowboys, helpless villagers and evil villains, jumps off the screen and makes The Magnificent Seven an instant classic.

Drink deep, or taste not, the plasma spring!

Shooting forth through the vortex for another big hit of pure 80's right to the veins, it's 1986!  The world is partying all the time with Eddie Murphy, Conner McLeod has become the only One, and Ferris Beuller is taking a day off.  But deep in the hearts of movie theatres and picture houses across the land a film has emerged to teach us to Be afraid, Be very afraid.

After a brief hiatus from the silver screen and an aborted attempt to create what would become the Arnie fuelled sci-fi smash hit Total Recall (1990) body horror legend David Cronenberg has emerged from his twisted dimension to make your flesh crawl once more with The Fly.

David Cronenberg has always been a favourite director of mine since my mind was melted for the very first time watching Videodrome (1983). His out of this world style and obsession with blurring the lines between man and machine is one that provides a truly visceral experience for any film-goer. Not to mention the sheer thrill of watching how his stories warp and twist the idea of self identity through the manipulation of the body, attracting and repulsing all at once.  With an art style that emulates and encapsulates the writing prose of William S. Burroughs it's no small wonder it's one that's been reference wildly in popular culture, from 90's sitcom The Simpsons in Treehouse of Horror VIII, to Rick and Morty (2014) and their Cronenberg world.

Going in I wasn't sure what to expect from The Fly, as apart from the general knowledge of science experiment goes wrong I had no real prep as to what I'd be experiencing, but wow was I amazed by what I saw. Not only is star Jeff Goldblum in top form as the overly enthused yet slightly off beat scientist, a role he'd later revise when starring in Jurassic Park less than a decade later. He has fantastic chemistry with co-star Geena Davis with the two really making you believe that this twisted romance between mad genius and intrepid reporter is one of true romance, despite the horrific events that unfold. It certainly helps the film that the two leads were dating at the time and so could bring their natural attraction into the roles.

Geena Davis also holds her own with a powerful performance as a self made woman torn between intellectual curiosity, true love, and sheer horror. As Veronica Quaife, journalist for particle magazine she fights hard for herself and her stories, she stands up to harrassment and put's her ex boyfriend (and boss) in his place with a kickass line asserting her rights as a free woman and as an individual.  Which ultimately only makes her final confrontation with Seth (Jeff Goldblum) all the more heartbreaking, as she is not only put in a position of power over how the tale ends. But through choosing to be free of the man she loved she must also give up the story of her career.

At a time where the future seemed like a far off place where genetic splicing and bio-mechanics would be an everyday occurance, Cronenberg explores some wonderful concepts of science and philosophy within The Fly. Reflecting on ideas of how the mental self can go through a metamorphosis as the physical self does, and what that means to the person experiencing it. Whether it's succumbing to a disease and the changing limitations that imposes or the development of a fetus and the living sensory knowledge of being simultaneously two life forms and one. His exploration of these themes through the deterioration of Seth and the characters own fascination of scientifically exploring his own crisis as he transitions from identifying as Seth Brundle to BrundleFly is something that really fascinates and makes this movie shine. 

With a superb cast of three and some award winner creature and make effects, Cronenberg's take on 1958's The Fly starring Vincent Price is one hell of a trip. If you like your creatures gory, your science fantastical, and your Jeff Goldblum naked. Then The Fly a must!

It's a real Cinderella story.

Our second film in and the 80's vibe is hitting hard with this viewing pleasure travelling back through the vortex just a fraction to the dawn of a new decade. The world is reeling from the revelation of Luke Skywalker's parentage in Empire Strikes Back, and stocks in winter cabin time-shares are dropping faster than an avalanche thanks to Jack Nicholson's stand out performance in The Shining.

It's 1980 and a legend of comedy has taken the screen, but wait, what's that on the green? it looks like some kind of gopher! Yes it's two time Ghostbuster Harold Ramis's directorial début Caddyshack!

Sporting legends of Saturday Night Live, Chevy Chase and Bill Murray as well as everyone's favourite schmoozer, Rodney Dangerfield, if this comedy dream team wasn't enough to turn this rather average story into box office gold then I don't know what would, perhaps an oddly amusing dancing puppet. 

Whilst much like the previous post's Escape from New York, Caddyshack didn't quite live up the mega hype that 35 years of cinema glory has bestowed on it with a story that slices all over the place and is constantly jumping from character to character. Without ever fully establishing whether the plot should be focused around Danny (Michael O'keefe) and his search for a future and subsequent sexual escapades, Ty's (Chevy Chase) continuing reluctance to join golfing high society, Judge Smails (Ted Knight) descent into madness at the antics of property tycoon Al Czervik (Rodney Dangerfield), or greens keeper Carl's (Bill Murray) escalating war with the gopher.

However for what Ramis loses in direction he certainly makes up for in casting, as improvisation is abound and the cast's general good humour on set really shines through on screen. Whether this is due to comedic raw talent or the all night partying many of the cast took part in, it can't ever be clear. But one thing's for sure, it's the chemistry of this cast that really makes this suburban class war a reality. A theme Ramis subtly manages to weave throughout this essentially extended sketch show, through Al's nouveau riche attitudes, Maggie's (Sarah Holcomb) rejection of a traditional relationship, and Carl's beautifully epitomised Cinderella story.

Ramis also delivers on the laughs with some beautifully set up gags based right out of real life experiences of the cast and crew. Such as the caddys descending on the club pool and turning it into a wild scene of mayhem and debauchery, Al steamrollering his way across a heavily populated lake in a large yacht, and Smails taking a stray ball to the groin. As well as a highly entertaining scene of Smails discovering Danny in bed with his niece and smashing through a bathroom door that's clearly spoofing The Shining.   



Over the top performances and wobbly storyline aside I honestly haven't laughed this hard at the world of golf since watching Happy Gilmore for the first time and with plenty of zany characters, terrific one liners, and a pool scene that's up there with Jaws it's hard not to see why so many generations have fallen for the loveable antics of Caddyshack.

I heard you were dead.

It's 1981, horror and adventure are dominating the American movie landscape with hit's such as Raiders of the Lost Ark, Evil Dead, and Mad Max II The Road Warrior thrilling and chilling teens and adults alike. But as the nights heat up and the drive-ins begin to bustle, John Carpenter throws audiences into the jungle, the urban jungle that is, with soon to be cult classic Escape from New York.

Starring carpenter's leading man Kurt Russell Escape dives deep into the future dystopian world of New York 1997. Showing us Manhattan Island as a maximum security prison for America's overwhelming crime surge and setting up a scenario trope copied through various media ever since, from smash hit video game Batman Arkham City to Paul W S Anderson's Resident Evil film series.

The film itself is a fairly basic escapist story, with our anti-hero Snake Plissken sent into the mad house under duress, in order to rescue the President after Air Force One is hijacked and crashed into the city. The catch, Snake only has 22 hrs to find his man and get out before micro-explosives implanted in his carotid arteries turn him into mince meat.

Snake himself is your typical hard as nails 80's bad-ass, with special forces training, chain smoking habit and cobra belly tattoo to prove it. Even after being cross-bowed in the leg he still manages to climb up and down 50 floors of stairs without losing his breath, and even smashes in the skull of a wrestler thrice his size with only a spiked bat. Yes Snake truly is a dude not to be messed with and there's no doubt as to why he's the basis for Hideo Kojima's Solid Snake from the Metal Gear series and has been parodied in both The Simpson's and American Dad.

With such a strong character for some great 80's machismo idolisation, I was ultimately surprised by the sheer lack of ass kicking action I had expected from the film's poster and over 30 years of cult status. Whilst there was plenty of scenery smashing and the climatic final car chase was explosive, overall the few fight scenes ended far too swiftly and for a highly trained ex soldier Snake's body count is relatively low. Whether this is to add emphasis to his precision abilities or simply due to the films ambling pace I'm not sure, either way it feels like Snake should be a one man army but ultimately falls short and survives by chance.

It's pretty easy to see Carpenter has some big ideas at play here, questioning the capitalist establishment of the then (and now) government, with subtle references to its increasingly overbearing military control of daily life, the erasure of civilian identity, and the ease at which official's such as Donald Pleasence's "President" can dismiss the lives or ordinary people. However his stylistic approach sharpened by horror films such as Halloween (1978) and The Fog (1980) leads the film to be constantly building suspense which never really pays off. There's no surprise twist or boss fight with Issac Hayes "The Duke", and even as Snake walks off into the night he seems fairly undeterred by what has just taken place.

Eerily enough much of the film takes place in or around the World Trade Center, with Snake even landing a small glider on the roof of one tower in order to infiltrate the city as well as the President's plane forcibly crashed into a building near by. The sense of how dominating these buildings were on the New York skyline and how there deterioration represents a change in American attitudes to a police state is certainly not lost on modern day audiences.

What really stands out and what I personally think gave Escape from New York its cult status is its production design and locations. Everywhere you look this world is coming alive before you, from the gritty streets to the run down houses, this prison is a place of no hope or order. A design that would be a huge influence on Arnold Schwarzenegger's dystopian sci-fi The Running Man just a few years later.  Even the futuristic wire-frame animation of the gliders night cameras looks real. Though in the latter's case it is real as CGI effects were far too expensive at the time and so a black light model of New York was built and filmed. There's some fantastic costuming riffing off 1979's The Warrior's and with out a doubt Snake's combat rogue look is one that routinely graces the halls of Comic Con. 



Whilst not entirely living up to my expectations, Escape from New York was a great romp through the beginnings of John Carpenter's illustrious career and with a music track that scream's 80's I believe its a great starting point to this crazy adventure.

3... 2... 1... Lift off!

Boldly leaping where no inter-dimensional being has gone before, it's the ADVENTURES OF A CINENAUT!

The one stop cinematic experience at the end of the universe where I travel through time to visit the weird and wacky films of the past and present. In order to become worlds greatest Poke.. I mean Cinema Explorer.

Launching off last years impressive feat of 160 films, it's time for this movie buff to take on an even mightier challenge.

The Mission: to watch 183 films throughout the year, THAT I'VE NEVER SEEN BEFORE!
Now you may be thinking to yourself "Any friendly neighborhood Spiderman can do that!" Well think again, as this Cinenaut was born in the film reels of panavision, learned to run with velociraptors, swing with Tarzan, dance with Cuban Pete, and never eat after midnight! Celluloid is my life's blood and prime lenses my eyes, so come with me on an journey outta this world as I share 
thoughts, factoids, and random location visits through 183 films in 2016. It's going to be tough, but you gotta work those film muscles if you wanna get Buff.

Lights! Camera! Action!