True Lies

Roger Ebert started his review by saying, “There is a sequence near the end of “True Lies” in which Arnold Schwarzenegger is piloting a Harrier vertical-takeoff fighter plane, which hovers near a Miami high-rise while his teenage daughter (the attractive Eliza Dushku( clings precariously to the cockpit cover and a villain (Art Malik) dangles by his gunbelt from one of the wingmounted missiles. Arnold arms the missile and fires it, terrorist attached, straight through the high-rise, and it shoots down a helicopter carrying other terrorists. This takes place, I might add, shortly after a nuclear bomb has vaporized one of the Florida keys.”

These are the types of things we go to Arnold Schwarzenegger movies for, and “True Lies,” released in 1994, has a lot of it: Laugh-out-loud moments when the violence is so cartoonish, we don’t take it seriously, and yet are surprised at its creativity and bravery. Schwarzenegger has found himself in a lot of unlikely situations in his action-filled career, and “True Lies” seems determined to raise the stakes – to go over the top with unusual and excessive special effects scenes.

For example, look at a change scene near the beginning of the movie, where a villain on a motorcycle is chased by Arnold, on a horse, through a hotel lobby. Most movies would be satisfied with that. Not “True Lies,” which continues the chase on multistory elevators and ends up on the hotel roof, with Arnold telling the horse to try a free fall into a swimming pool.

Ebert said, “The plot is, of course, little more than a clothesline upon which to hang such set pieces.” Schwarzenegger plays Harry Tasker, a top U.S. spy, who has been married for 15 years to a sweet-tempered wife named Helen, played by Jamie Lee Curtis, who thinks he is a computer salesman. (He works for something called the Omega Force, which describes itself in its seal as “The Last Line of Defense.”) How he successfully attempts this dishonesty is one of the many questions the film does not stop to answer.

As the film starts, Harry and his partner Gib, played by Tom Arnold, are tasked in a James Bond-like attempt to intrude a rich arms dealer’s black-tie party in a Swiss winery. Ebert said, “To say security is tight would be an understatement; the guards have machine guns and attack dogs.” At the party, Harry meets the beautiful Juno Skinner, played by Tia Carrere, and tangos with her before accomplishing his mission and surviving a violent escape. (Ebert notes, “Schwarzenegger’s tangoing ability is reflected by the decision to film most of the dance as head-and-shoulders shots.”) Back at Washington, D.C., and Harry’s life of ordinary domestic calmness (his wife thinks he was out of town at a sales convention). However, then, when it looks like the dealer has sold four atomic weapons to a terrorist gang, it’s up to Harry and the surprisingly charming Gib to stop them.

However, in between the action filled first and third acts is a curious second act where Harry becomes convinced that his wife is cheating on him with a car salesman, played by Bill Paxton.

This leads to an elaborate simulation in a hotel room, where, for reasons that are too complicated to explain, Helen impersonates a prostitute and Harry impersonates her client. (We are supposed to believe she doesn’t recognize her husband because he has a light behind him.) Jamie Lee Curtis earns some laughs here, doing a scantily-clad dance. The physical humor is real, and she’s delightfully attractive and clumsy. (Note: the fall in the middle of the dance was considered and didn’t happen spontaneously during rehearsal or the actual shooting, as often claimed. That part drew some criticism for its supposed misogynistic content. James Cameron later said that Jamie Lee Curtis had heavy input in how the scene was made. Originally, Helen was to go completely nude, but in the dark so that only her silhouette would be seen. Curtis suggested to do it in full light while keeping her unmentionables on. Cameron noted that most of the criticism of the scene came from men, while most of the female reviewers praised it as an empowering and liberating scene for Helen.)

However, the whole scene doesn’t look right. If you step back from the movie and really think about what Harry is doing to Helen, it’s cruel and not funny. Also, it sidetracks the plot. The movie is 135 minutes long, and at 120, without some of the hotel room incident, it would be a lot better.

The director, James Cameron, is skilled in the action genre (he worked with Schwarzenegger on “Terminator 2: Judgment Day”), and when he’s doing his work, no one does it better. That includes the third act of the movie, where a breathless Miami newscaster, played by Tom Isbell, reports on a multistory terrorist drama, and barely has time to give the information that an A-bomb has just blown up one of the Keys.

Ebert said, “Cameron is credited with the screenplay (which is “based on” a French screenplay by three others), and keeps a nice undertone of humor going. When we’re learning about one of the evil terrorists, for example, here’s the exchange: “They call him the Sand Spider.” “Why?” “Probably because it sounds scary.” One nice surprise is Tom Arnold, who has a major role – the equal of Curtis’ – and fills it nicely. He has an everyman quality about him, and an ability to deliver an irreverent aside, which make him a good foil for Schwarzenegger. And when he gives advice on divorce and marriage, which he does frequently, he sounds as if he speaks from experience.”

“True Lies” is as good as “Terminator 2” and “Total Recall” among Schwarzenegger’s action classics for a couple of reasons: The unconvincing break where Harry thinks Helen is cheating on him, and the obligatory feeling of the plot. Ebert ended his review by saying, “Both earlier titles had tighter, more absorbing stories. But on the basis of stunts, special effects and pure action, it delivers sensationally.”

We also have Charlton Heston playing Harry’s boss, who wears an eye patch, and you wouldn’t be able to recognize him. I have to admit, this movie is so enjoyable. With all the action, the one-liners, and even with the supposed affair scenario, everything in this film keeps you engaged as what will happen next. If you remember I had mentioned the other scantily clad scenes from the “National Lampoon” movies, I had previously known of that infamous Jamie Lee Curtis’ scene from a website that listed all of those scenes before I saw this. I don’t recommend the movie for that, but I do recommend it for those who love Schwarzenegger movies and the usual stuff people watch his movies for. This film will deliver on all of those traits that we see and enjoy watching his films. Check this one out and have an enjoyable time.

Next week, I will be looking at one of the final films Paxton starred in when we continue “Bill Paxton Month.”

Commando

For this month, I will be reviewing films that include the late Bill Paxton. Let’s get started with 1985 action classic, “Commando.”

When we look at Arnold Schwarzenegger’s long-acting career, after he had established himself in two “Conan” movies and impressed everyone in “The Terminator,” he released “Commando.” It was his first starring role (not including the documentary “Pumping Iron) that wasn’t science fiction or sword-and-sorcery. However, that doesn’t mean there wasn’t one bit of modern-day fantasy to it. Keith Garlington said in his review, “It was pure over-the-top 1980s popcorn action that audiences flocked to and that I still adore today.”

“Commando” was the biggest his for director Mark L. Lester. It was one of several for screenwriter Steven Edward de Souza whose famous action filmography also includes the first two “Die Hard” films, “The Running Man,” “Hudson Hawk,” and “48 Hrs.” Garlington said, “Together they took a story idea conceived by Jeph Loeb for Kiss bassist Gene Simmons (!!) and retailored it for Schwarzenegger’s obvious strengths.”

In 1985, Schwarzenegger was at his best physically, and Lester uses it to a near comical effect. From the beginning shots of Schwarzenegger quite literally carrying a tree, to him running onto the beach in a tiny Speedo. Schwarzenegger was the best man at the time for this role. Yet what really drew him to the role was the chance to play a father. Garlington noted, “Sure, he’s also a one-man killing machine who can fling an occupied phone booth and roll over sports cars with his bare hands.” However, the role let him to show a human side which he appreciated.

Schwarzenegger plays John Matrix, a retired Army colonel who has left his life in the Special Forces to raise his daughter Jenny, played by Alyssa Milano. Together they live a quiet and happy life in their remote country home in the mountains of upstate California. However, their peaceful and a little cheap existence is interrupted when Matrix is visited by his former commander, General Franklin Kirby, played by James Olson, who warns him that members of his former unit have been steadily murdered.

With Kirby barely gone, Matrix’s home is attacked by mercenaries who kidnap him and his daughter. The man behind everything is General Arius, played by Dan Hedaya, a former South American dictator who wants Matrix to kill his small country’s president so he can retake authority. With the help of Matrix’s crazy former squad-partner Bennett, played by Vernon Wells, Arius transports Jenny to his solitary island complex, using her as influence to keep Matrix in control.

Joined by one of Arius’ henchmen, played by Charles Meshack, Matrix is put on a commercial plane heading to South America and his presidential target. However, he gives the villain the slip (cracking his neck) and hops off the plane just as it’s taking off. That leaves him with eleven hours until the plane lands and Arius is alerted that he isn’t onboard. Also, he will need every minute of those eleven hours to locate Arius’ complex and to make his way there to save his daughter.

Garlington said, “After its fast and violent setup, “Commando” settles into an interesting rhythm as Matrix begins piecing together a trail of clues that he hopes will lead him to Jenny.” It’s here that the supporting cast gets even better. Matrix finds a friend in a hesitant flight attendant named Cindy, played by Rae Dawn Chong, who adds some humor while still getting in way over her head. Garlington said, “We also get a couple of terrific heavies including the delightfully slimy Sully (David Patrick Kelly) and the intense and menacing Cooke (the great Bill Duke).” Bill Paxton has a minor role playing an Intercept Officer.

“Commando” is an action movie all over. However, Lester and de Souza leave so much room for laughs. Admittedly some are accidental and have even gotten appealing over the years. However, others can be naturally funny – none better than the handful one-liners. “He’s dead tired,” “I lied,” “I let him go.” Just some of the purposefully silly parts that remain memorable after all these years.

Garlington said, “But it all does come back to the action which we get in spades during the film’s final twenty minutes.” That’s when matrix and his backpack of machine guns, rocket launchers, grenades, shotguns, sawblades, pitchforks, and claymores rips through Arius’ army of feed to the audience’s enjoyment. It’s non-stop murder with a body count going up by the hundreds, yet it’s an amazingly satisfying finale for a movie that dos a good job building up to its eventual end.

“Commando” is certainly a movie of its time. Garlington said, “But is says something that it’s still revered by so many today. As I said, it’s pure popcorn entertainment that fans love for its artery-clogging cheese just as much as its wild over-the-top action.” Also, it was the perfect film for the relatively new Arnold Schwarzenegger who would immediately follow the film with hits like “Predator,” “The Running Man,” “Total Recall,” and so many others.

If you haven’t seen this film, why are you reading this review? You need to go out and see it. This is one of those enjoyable Schwarzenegger action films that everyone has to see. You will enjoy the film, even though it may be silly. I may think of this as a guilty pleasure, but I really enjoyed it when I saw it. The action scenes were engaging and Schwarzenegger’s one-liners were some of the best a memorable. I listed a few, but there are others that I won’t say because I make this blog swear free. I know that there were a few reviews that had swears from the quotes I picked out, but I went back and edited them. Check this film out and have an enjoyable time.

Next week, I will be looking at another classic Schwarzenegger film that has Bill Paxton in it in “Bill Paxton Month.” I think I was going to review these films a few months back, but I’m doing them now.

The Imaginarium of Doctor Parnassus

Roger Ebert started his review by saying, “The motto of Second City is “Something Wonderful Right Away,” and maybe Terry Gilliam has the words displayed on his mirror when he shaves every morning. He has never faltered. “The Imaginarium of Doctor Parnassus” could be seen as a sideshow version of his own life, with him playing the role of the pitchman who lures you into his fantasies. That they may seem extravagant and overheated, all smoke and mirrors, is, after all, in their very nature.”

The story in Gilliam’s excited 2009 film is all over the place, as usual, but this time there’s a reason. His crazy inventions in character, costumes, and CGI effects are described for by a plot that requires revolving worlds. Ebert noted, “Elements of this plot were made necessary by the death of Heath Ledger halfway into the filming, but the plot itself I think was in place from the first.”

It involves a strange, ragged traveling show that comes out of a broken old wagon in dilapidated areas of London consisted mostly of alcoholics and uglies. The show includes the ancient Parnassus (Christopher Plummer) sitting worryingly on a stool while his barker, Anton (Andrew Garfield), his daughter, Valentina (Lily Cole), and his angry little person, Percy (Mini Me from the “Austin Powers” trilogy, Verne Troyer), perform for a rowdy crowd of lager ruffians.

Percy and Anton save the life of a man hanging from a bridge. They never explain why they can only perform this duty. The man on the rope is Tony, played by the late Heath Ledger in his final role. He joins the show, is shocked by its outdated form and suggests changes. The reason it’s stiff is because Parnassus has been around for centuries, having made a deal with Satan, played by Tom Waits, to live forever only if Satan can have Valentina when she turns 16. Ebert noted, “You have to admit Parnassus didn’t rush into reproduction. Of course he wants out of the deal. Satan frequently runs into credit payment risks.”

What is done is Tony can enter/suggest/control/create strange worlds on the other side of a looking glass on the rundown stage. In these worlds, anything goes, which is always what Gilliam does. CGI allows the director and his designers to go crazy, what they do so quickly, and some incredible visions are made.

Ebert mentioned, “I believe Ledger was intended to be the guide through all of these realms. But Gilliam apparently completed filming all the outer-world London scenes, Ledger returned to New York for R&R, and the rest is sad history.” Gilliam replaced him by casting Johnny Depp, Jude Law, and Colin Farrell as the Tonys of Imaginariums Nos. 1 through 3 and giving no other explanation, as you can see with Imaginariums, he isn’t required to do. Depp looks the most like Ledger, but it’s a sad fact that Farrell steals the role.

Ebert admitted, “My problem with Gilliam’s films is that they lack a discernible storyline. I don’t require A-B-C, Act 1-2-3, but I do rather appreciate having some notion of a film’s own rules. Gilliam indeed practices “Something Wonderful Right Away,” and you get the notion that if an idea pops into his head, he feels free to write it into his script under the Cole Porter Rule (“Anything Goes”). Knowing my history with Gilliam, who I always want to like more than I do, I attended the Cannes screening of “Doctor Parnassus” to be baffled, which I was, and then the Chicago press screening, where I had an idea what was coming and tried to reopen my mind. Gilliam is, you understand, a nice man, and has never committed the sin of failing to amaze.”

Ebert continued, “Now what I see are a group of experienced actors gamely trying to keep their heads while all about are losing theirs. Can it be easy to play one-third of a guide to one-third of an arbitrary world? You just have to plunge in.” Ledger himself, who makes Tony fairly grounded in the “real” world, must have been prepared to do the same and would have given the story more continuity. Still, this is an Imaginarium indeed. The best way is to sit back and let it happen to you. See it in the moment and not with remembering it for long, which is what Parnassus does. It keeps his mind off Satan’s plans for his daughter.

I saw this on Tubi and I enjoyed it. As the last film Ledger was in before he passed, I thought this was well done. See it if you haven’t. You can still see it on Tubi and I think you should see it to know what I mean. This isn’t a film to take seriously. You just need to sit back and let everything happen. Don’t bring logic into this film.

Alright, we have come to the end of “Terry Gilliam Month.” I hope everyone enjoyed it. Stay tuned next month to see what other excitement I have for everyone.

The Mandalorian and Grogu

Today, I went to the theaters to watch, “The Mandalorian and Grogu,” which came out four days ago. Being a diehard “Star Wars” fan, I couldn’t pass this one over, seeing how I have seen every “Star Wars” movie in the theaters, starting with the prequels, since I wasn’t around when the Original Trilogy was released. Especially since I loved “The Mandalorian” when I watched it on Disney+ and was surprised that they decided to make a movie instead of a fourth season. How is this new “Star Wars” film?

It has been seven years since a new “Star Wars” film was theatrically released. For fans of the franchise, it has been one long wait. However, there has been no shortage of new “Star Wars” content for fans to watch through streaming. Since the franchise’s last feature film was theatrically released, there has been ten live-action seasons and just as about as many animated shows on Disney+. Still, there’s nothing really like “Star Wars” on the big screen.

As a lifelong “Star Wars” fan, Jon Favreau’s “The Mandalorian” is still among the best of the live-action streaming series. Keith Garlington said in his review, “Spanning 24 episodes over three seasons, the show plays like a space western set during a turbulent time on the Star Wars timeline. The first season was a terrific table-setter and the second season was an equally impressive follow-up. And while the third season dove more into Mandalorian lore than some wanted, it was still a worthwhile continuation.”

The show’s story began five years after “Return of the Jedi” and followed a solo Mandalorian bounty hunter named Din Djarin, reprised by Pedro Pascal, who becomes the protector and father-figure to a Force-learning being named Grogu (Baby Yoda). The series was rightly placed in the “Star Wars” galaxy, yet it’s the relationship that Din and Grogu made that created the heart of its story. Now their adventure continues on the big screen with “The Mandalorian and Grogu.”

Favreau directs from a script he co-wrote with Dave Filoni and Noah Kloor. Garlington said, “Together they have created a pulpy throwback space adventure that entertains with its bigger, grander spectacle yet flows naturally from the intimacy of its small screen predecessor. Even more, while it’s nicely rooted in Star Wars canon, “The Mandalorian and Grogu” doesn’t require a degree in Star Wars-ology to know what’s going on.” Obviously, it will be more to veteran fans, but anyone can watch, catch up, and enjoy.

Garlington said, “Predictably, “The Mandalorian and Grogu” has already faced negativity from many of the usual naysayers. But for those able to toss aside unreasonable expectations and trendy disillusionment, Favreau and company have delivered a rip-roaring Star Wars adventure reminiscent of the old space serials that inspired George Lucas nearly 50 years ago. It tells an incredibly fun and mostly self-contained story that really gets to the heart of what so many of us love about the eponymous duo.”

After the fall of the Galactic Empire, a leftover of supporters threaten the stability of the galaxy. Garlington said, “A shadow council made up of ex-Imperial warlords operate in the lawless Outer Rim, secretly plotting to rebuild the Empire. To quell their efforts, the fledgling New Republic enlist Din (a returning Pascal) and his young apprentice Grogu to hunt them down one by one.” It’s dangerous work, but it’s something Din knows and does right.

After taking out a victim in an exciting action-packed opening, Din returns to base where he meets with Colonel Ward, played by Sigourney Weaver, a top pilot during the Rebellion now serving as a commanding officer for the New Republic. She assigns him to a new mission – detain Imperial warlord Janu Coin, played by Jonny Coyne. However, to find his location, Din will have to do a job for the Hutt twins, the leaders of the crime organization once ran by their late sibling, Jabba the Hutt.

The twins want Din to rescue Rotta the Hutt, voiced by Jeremy Allen White, the only surviving heir of Jabba who is being held prisoner on the planet Shakari. However, Din and Grogu learn the hard way that there is more to their mission than they can see. Garlington said, “And when things get “messy”, our heroes find themselves at odds with the Hutt twins who have their own shady self-interests and ulterior movies in play.”

From the beginning, “The Mandalorian and Grogu” makes everything very clear. This is every bit of a “Star Wars” movie, with its dangerous worlds, its variety of cool creatures, and so much details that fans will recognize through the runtime. Garlington said, “At the same time, the story is more about the personal stakes rather than galaxy-wide peril. Much like the show, it keeps Din and Grogu’s relationship front and center which adds plenty of heart to the pulse-pounding action.”

With the visuals, Favreau puts together so many eye-pleasing practical sets, digital effects, and amazing puppetry in bringing his story on screen. Garlington said, “It’s especially impressive on the big screen, whether it’s massive Imperial walkers, ferocious arena fights, or the scene-stealing Anzellan droidsmiths. And it’s all accompanied by the lavishly scored music of Oscar-winning composer Ludwig Göransson.” He turns out to be one of the film’s largest standouts.

Garlington said, “Again, throw aside the absurd expectations, the exaggerated doomsdaying, and the ‘hate for clicks’ online noise and you’ll find a movie that’s not as far removed from George Lucas’ original vision as you may think. Some have harshly judged the film as “inconsequential”. But Favreau is clearly aiming for something more intimate, with situations that are never “inconsequential” for the characters. And Star Wars has already shown that not every story needs to be on a galactic scale. It’s true that your mileage may vary depending on your affection for the two lead characters.” However, anyone can join in, watch, and enjoy this equally exciting and loving old-school space adventure.

I didn’t feel the runtime, although people might have complained about this film being too long. There was not a moment that I felt bored or antsy and wanted to leave. I think this went by fast enough, but that might have been because I got into this and didn’t feel any slow moment. This is better than the third season, and it was good. While watching this, I could see where this could have been broken up into a fourth season, but as a film, I’m glad I saw it. Check it out in the theaters and see for yourself. I’m sure a lot of people will love this film.

Thank you for joining in on this review tonight. Stay tuned this Friday for the finale of “Terry Gilliam Month.”

The Brothers Grimm

Terry Gilliam’s “The Brothers Grimm,” released in 2005, is a work of countless invention, but it is invention without pattern, chasing itself around the screen without finding a plot. Watching it is a little tiring. If the images in the movie had been put to the duty of a story we could get engaged to, he might have had something. However, the movie looks like a style searching for a purpose.

He starts with the Brothers Grimm, whose fairy tales impress those lucky children whose parents still read to them. There is a scary quality to the Grimm stories that’s lacking in their Hollywood versions. Roger Ebert said in his review, “no modern version of Little Red Riding Hood approaches the scariness of the original story, where the Big Bad Wolf was generated not by computers but by my quaking imagination.”

However, Gilliam’s purpose is not to tell the fairy tales, however some of them have cameos in his movie. He makes the Brothers Grimm into traveling con artists, around 1796, who travel from village to village in Germany, making insincere magic and claiming it is real. Wilhelm Grimm, played by Matt Damon, is the operator of the duo, a greedy pessimist. His brother, Jacob, played by the late Heath Ledger, somewhat believes in magic. This is how it has been since “Jake” and “Will” were children, and Jacob sold the family cow for a handful of magic beans.

The con artists are revealed by Delatombe, played by Jonathan Pryce, Napoleon’s man in Germany. However, instead of punishing them, he releases the duo to the village of Marbaden, where children are missing and it appears that in the haunted forest “the trees themselves set upon them. Delatombe’s strange harasser Cavaldi, played by Peter Stormare, is sent along to be sure the Grimms deliver what they’re supposed to. Ebert noted, “they are apparently supposed to be 18th century ghostbusters, or maybe the equivalents of the Amazing Randi, unmasking fraud.”

The problem is, the forest really is magical. A local huntswoman named Angelika, played by Lena Headey, knows it is and tries to convince the brothers, who become convinced only that they love her. There is another romantic trouble when the evil 500-year-old Mirror Queen, played by Monica Bellucci, casts a spell over events. When the Grimms try to enter her castle and break the spell, they’re going against the real deal: A kiss from her can murder. Jacob is tempted. Ebert admitted, “Jacob is tempted. Considering that she is 500 years old, I am reminded of Mark Twain’s first words after being shown an ancient Egyptian mummy: “Is he, ah — is he dead?””

Ebert continued, “A great deal more happens in “The Brothers Grimm,” and none of it is as easy to follow as I have made it sound.” The film is built of traits that may look like a great idea in themselves but have not been made into a narrative we can follow and care about. There is also the problem of who, exactly, Gilliam thinks the Brothers Grimm are. Sometimes they look like romantic heroes, sometimes like clowns, sometimes like fraud magicians, sometimes like real ones. Ebert said, “Their own fairy tales had the virtue of being tightly focused and implacable in their sense of justice: Misbehavior was cruelly punished as often as virtue was rewarded. Their strict code is lacking in the movie, which is based on shifting moral sands. At times the Grimms are liars and charlatans, at times brave and true.” Those times appear selected at the convenience of the movie.

Gilliam has always been a director who fills the screen with vast visual delight. Ebert noted, “In “Brazil” and “12 Monkeys” and “The Adventures of Baron Munchausen,” in the past and in the future, his world is always hallucinatory in its richness of detail.” Here the haunted forest is actually very impressive, but to what end? In a movie like Tim Burton’s “Sleepy Hollow,” the night and shadows hold real danger. Here the trees look more like an idea than a danger. Also, the movie, for all of its fantastic endeavoring, stays on the screen and fails to occupy our imagination.

I knew of this movie from the trailers when it was being released in theaters, but I never saw it. I was always thinking about seeing this, so a few months back, I saw this on Paramount+. I have to admit, there isn’t anything that really makes it memorable. If you watch it, you might forget about it easily since it doesn’t sit with you for very long. If you want to see it, it is currently streaming on Pluto TV, but I don’t know if I should recommend it.

Next week, we’ll be ending “Terry Gilliam Month” with the last film Heath Ledger starred in before he passed.

The Fisher King

The story of the Holy Grail goes back to the twelfth century, yet it clearly speaks to the current generation. In “The Fisher King,” released in 1991, screenplay writer Richard LaGravenese reworks this medieval legend by setting it in modern day New York City. Director Terry Gilliam originally goes into the handful of moods and settings of the city.

Frederic and Mary Ann Brussat said in their review, “Jack Lucas (Jeff Bridges) is a cold, calculating shock radio disc jockey in New York City whose greed and egotism have cut him off from the rest of humanity. When a deranged man murders seven people in a bar after hearing one of his on-air tirades against yuppies, the seemingly unperturbable celebrity plunges into a dark pit of alcoholism and depression.”

Jack is calm with Anne, played by Mercedes Ruehl, a strong woman who runs a video store. However, his guilt is always with him until he meets Parry, played by the late Robin Williams. He is a former medieval history professor who became delusional after his wife was murdered in the bar shooting.

Brussat said, “At first, Jack doesn't know what to think of this half madman/half fool who claims he is a knight on a quest and is being pursued by a Red Knight only he can see. Then Jack realizes that if he can restore Parry to his former life, he might be able to assuage his own guilt.”

Part of this restoration mission involves setting Parry up with Lydia, played by Amanda Plummer, a shy accountant he becomes enamored with from a distance. The stake is raised when another disaster happens to Parry and Jack when they must recover what his friend claims to be the Holy Grail from a millionaire’s mansion on Fifth Avenue.

Jeff Bridges and Robin Williams are convincing as two rebellious men who meet when they are both sunken deep in their depression. Like the Fisher Kind, they are damaged and suffering. Then through caring and a few good works, they change each other.

Brussat noted, “The performances by Bridges and Williams are high-wire triumphs where each actor contributes to the other's dazzling leaps and somersaults.” In supporting roles, Mercedes Ruehl is lovable as Jack’s girlfriend Anne and Amanda Plummer is extraordinary as someone Parry is infatuated with: the oddball Lydia.

Brussat claims, “The Fisher King bears witness to the universal search for wholeness. It also speaks forcefully to the longing for spirituality afoot in our land. We all carry wounds as deep and unyielding as Jack's guilt and Parry's grief.” Through the good deeds done, we too can be recovered from our own suffering.

This is a good movie that everyone to see. I think a lot of people can relate to the issues Bridges and Williams’ characters are going through since so many people have fallen deep after the passing of a loved one. However, this film gives you hope that even though you are at this point in your health, there is always a guiding light to help you out of any issue you are dealing with. There’s one funny scene where at the climax of the movie, Williams’ character gets nude in Central Park. Williams admitted it was a cold night when he made the nude scene. However, the effects of this movie still look good and they are scary, especially when you see what is going on in Parry’s mind. This is one of those films that have to been seen in order to be believed. I recommend it.

Next week, I will look at another movie that is based on scary story writers in “Terry Gilliam Month.”

Tetris

Today, while exercising, I finished watching “Tetris,” released in 2025, on Apple TV. Tonight, I will let everyone know what I thought about it.

Richard Roeper started his review by saying, “You’ve probably heard something about a movie that goes back to the 1980s to tell the incredible but true story of a smart, scrappy, energetic wheeler-dealer who went to great lengths to woo a genius and secure the rights to a phenomenon that to this day is a globally famous and wildly successful brand name.”

That’s right, we’re talking about “Tetris,” the movie!

Roeper said, “This Apple TV+ original film, directed by Jon S. Baird, doesn’t attempt to replicate the entertainingly addictive block-stacking puzzle game because I don’t know how you’d make a movie out of that; it’s a fictionalized and creatively stylized origins story that plays like a Cold War thriller version of “The Social Network.””

Coming off of the famous Apple TV+ limited series “Black Bird,” the Welsh actor Taron Egerton sets his standing as one of our most useful talents as he once again disappears into a role, as he did with “Rocketman” a few years prior. Wearing a classic 80s mustache and filling the screen with energy and charisma, Egerton is great as Henk Rogers, a Dutch-Indonesian video game designer, entrepreneur and dealmaker who lives in Japan with his wife (Ayane Nagabuchi) and child (Kanon Narumi) but is almost constantly going, flying around the world to sell video games to everyone from skeptical bankers to the late and shamed billionaire media tycoon Robert Maxwell (Roger Allam) to different Soviet Union officials and KGB types to the inventor of Tetris himself.

With director Baird and his production team occasionally using 1980s-sytle video game graphics and 8-bit retro-style visuals to showcase Henk’s flights and a car chase, “Tetris” has a great look, but sometimes gets stuck in the middle. Even Henk expresses his frustration at how often meetings are interrupted and rescheduled. Roeper said, “ On balance, though, this is a nifty, breezy gem filled with wonderful performances from a stellar cast that includes the great Toby Jones as Henk’s chief competitor for the various rights to Tetris (PC, handheld, arcade); Roger Allam, doing a wonderfully booming and suitably pompous take on Maxwell; Anthony Boyle as Maxwell’s son, Kevin, who insists that everyone call him “Mr. Maxwell” even as almost no one truly respects the little bleep, and Togo Igawa as Nintendo president Hiroshi Yamauchi.”

“Tetris” is as much about the moods of Cold War politics in the declining years of the Soviet Union as it is about the fight for Tetris rights. Henk goes in and out of Russia trying to secure the licensing to the game, which had been invented in 1984 by Soviet government employee Alexey Pajitnov, played by Nikita Efremov) and distributed underground through floppy disks. With a local named Sasha (Sofia Lebedeva) acting as his interpreter and his tour guide through the streets and the politics of the Soviet Union, Henk runs into all types of problems (so to speak) as he learns the rights may have already been secured by Andromeda Software’s Robert Stein (Toby Jones), who has made a licensing deal with the Maxwells – or has he? Roeper said, “It’s beyond complicated, and there are times when we get lost in the weeds, but that’s OK, because Henk is nearly as lost as we are from time to time.”

There’s also a nice little buddy movie inside “Tetris,” as Henk wins over the at first skeptical Alexey, eventually working his way into Alexey’s good graces, mainly because they’re both devoted family men who would do anything to protect their closed ones. As it becomes more apparent that the licensing rights to Tetris will not only be just a few million, but tens or even hundreds of millions of dollars, the fight for ownership rights becomes even more difficult, with Alexey’s boss (Oleg Stefan) and an evil and corrupt KGB officer (Igor Grabuzov) trying to get their hands on those rights. As you’d guess, “Tetris” ends with one of the credit scenes that tells us what happened to all the main real-life people in this story – set perfectly to Opportunities (Let’s Make Lots of Money) by the Pet Shop Boys – and it’s pretty great that just about everybody got what they deserved.

While I was scrolling through Apple TV+, I saw this and was curious about what was it about. When I read the description, I was curious to know about Tetris, since I’m not familiar with video game history, but I know about this game, so I thought of seeing it. After I saw it, I can safely say that if anyone knows about video game history or not and are just fans of Tetris, like everyone should be, you should see this if you have Apple TV+. You will be at the edge of your seat to know who will get their hands on the licensing rights of the game. Check it out and see how we got one of the most famous games in history.

Thank you for joining in on this review. Stay tuned this Friday for the continuation of “Terry Gilliam Month.”