Basic Instinct

The beginning is a rough combination of intercourse, nudity, and violent ice pick damage as retired rock star Johnny Boz, played by Bill Cable, is murdered by a blonde woman. San Francisco Police Detective Nick Curran, played by Michael Douglas, gets the homicide investigation, which must be handled carefully, as Boz was a civic-minded sponsor to the mayor’s election fund. Curran immediately investigates the girlfriend, Catherine Tramell, played by Sharon Stone, who is cruelly sarcastic, tricky, charming, overconfident, and a professional at mind games and pulling strings. Mike Massie said in his review, “But Curran is determined to uncover her secrets, and he’s certain that his sauce-riddled, alcohol-fueled, accidental tourist-shooting, internal affairs-muckraked past won’t get in the way.”

Tramell soon becomes the only suspect, especially when they find out that she wrote a book the year before about a rock star who is murdered by his girlfriend…with an ice pick. Massie noted, “A simple ride from her house to the precinct for a routine interrogation reveals her incredible control over words, her psychological prowess with cat-and-mouse games, and her ability to beat a lie detector test. She’s cold, calculating, and mysterious; whether or not she’s a psychopathic obsessive or a vicious killer with the perfect alibi, all the clues point in her direction alone.” As nick works over his difficult past, his unstable relationship with departmental therapist Beth Garner, played by Jeanne Tripplehorn, and an increasing obsession with Catherine, he learns of her teaching at Berkeley and the death of a professor there who was, quite creepily, stabbed to death with an ice pick.

Massie mentions, “If it’s 1992, why does everyone have giant blocks of ice and picks in their homes? Michael Douglas turns in one of his finest performances as the bewitched detective, with convincing expressions, natural delivery, and a range of startling emotions. Stone is just as effective, despite appearing a touch contrived with her conspiratorial approach to allurement and fast-and-loose attitude towards her opponents. The main source of intrigue, however, comes from writer Joe Eszterhas’ tricky dialogue – a screenplay that was apparently written in just a few days and sold for an unheard-of $3 million. Jerry Goldsmith’s suspenseful, noirish score compliments every aspect just as sharply, and would pick up an Academy Award nomination for its significance.”

Everything in “Basic Instinct,” released in 1992, is a little much, from the blood-spilling violence to the revealing nudity (including the infamous scene of Stone uncrossing and crossing her legs, showing what was then assumed to be too risky for an R rating) and even to the romance. Obviously, this excessiveness is a trademark of director Paul Verhoeven. Massie mentioned, “Like the jagged surfaces of freshly cracked ice chunks, all of the details of the characters and their relationships are rough around the edges, muddied up to prevent anyone from being undesirably clean cut.”

Verhoeven is skillful at psychological thrillers with role reversals, mysterious camerawork duplicating previous shots, and tortuously complex plot twists. Massie said, “Even while he’s pushing buttons and stretching the boundaries of conventionality, he still incorporates artsy filmmaking techniques.” Changing from his previous two films, “Robocop” and “Total Recall,” both equally playing with the censors despite being very intelligent science-fiction films, this fearless director has created a huge controversial, huge erotic murder/mystery that has become an architype of the genre.

I remember years ago on YouTube; I saw WWE spoof the infamous interrogation scene for a promo to WrestleMania. I did see the actual scene on YouTube later, but never saw the film until years later when I was exercising. This is not what I was expecting from this film, but it is one that has to be seen to be believed. Currently, this is streaming on MGM+ and Paramount+, so you can see it on there, if you want to. If you want to see this, make sure that there are no children or your parents in the room, given how risky of a film this is. This film was going to be given an NC-17 rating, but because of some scenes that were removed due to the MPAA, it was given an R rating.

Next week, I will review a film that I remember seeing my brother watching when I was a kid, forgot about it, then looked up the film and saw it on YouTube, which is an emotional one that everyone should see, in “Sharon Stone Month.”

Total Recall

This month, I will be looking at all the films I have seen that have Sharon Stone in it. Let’s get started with the 1990 sci-fi classic, “Total Recall.”

There may be people who overlook Arnold Schwarzenegger’s performance in “Total Recall” – who think he isn’t really acting. However, the performance is one of the reasons the movie works perfectly. He isn’t a superhero this time, but he fights like one. He’s a confused and scared innocent, a man betrayed by what he thought was reality. Roger Ebert said in his review, “And in his vulnerability, he opens the way for “Total Recall” to be more than simply an action, violence and special effects extravaganza.”

There is a lot of action and violence in the movie, and almost every shot seems to represent some type of special effect. Eber noted, “This is one of the most complex and visually interesting science fiction movies in a long time.” However, the plot, based on a story by science fiction writer Phillip K. Dick, is about an exciting idea: What would happen if you could be supplied with memories? If your entire “past,” right until this very second, could be inserted in you, replacing the experiences you had lived through? That’s what seems to happen to Quaid, played by Schwarzenegger, however sometimes neither he nor we can be completely sure. We meet him in a future society where he lives in a comfortable apartment with his beautiful wife, and goes to work every day at a construction job. He life looks relaxing, but he keeps having dreams about Mars – dreams that finally inspire him to sign up with a weird travel agency that gives him the memory of a vacation instead of a real one.

Ebert notes, “What they do is, they strap you into a machine and beam the memories into your mind, so that it seems utterly convincing to you that you’ve been to Mars and done some dangerous spying there, and fallen in love with the brunet of your specifications (Quaid specifies she be “athletic, sleazy and demure”). Before long, sure enough, Quaid seems to be on Mars, involved in some secret-spy stuff, and in the arms of his custom-ordered brunet (Rachel Ticotin).”

Ebert continued, “But is this a packaged memory, or a real experience? The movie toys tantalizingly with the possibilities, especially in a scene where a convincing doctor and Quaid’s own wife (Sharon Stone) “appear” in his dream to try to talk him down from it. Meanwhile, the plot – dream or not – unfolds.” Mars is in the middle of a revolutionary war between the army of Cohaagen, a greedy captain of industry, played by Ronny Cox, and a small group of rebels. There is a mystery involving a giant reactor that was apparently built by aliens on Mars so long ago, and has been discovered during mining operations. On top of that, can the brunet trust Quaid – even though he doesn’t remember that they were once in a relationship? “Total Recall” goes back and forth between different versions and types of reality, while at the same time giving the runtime a future world with so much detail. Ebert said, “The red planet Mars is created in glorious visual splendor, and the inside of the Mars station looks like a cross between Times Square and a submarine.” Strange aliens appear, including mutants, a three-breasted lady (Lycia Naff), and a team of hitmen led by Richter (Michael Ironside), Cohaagen’s most ruthless lieutenant.

Ebert said, “The movie is wall-to-wall with violence, much of it augmented by special effects.” Even in this future realm, people haven’t been able to improve on the machine gun as a weapon of murder, despite people thinking that every type of firearm would be banned inside an airtight dome. There are actually so many scenes where characters are sucked outside when the air seal is broken, but that doesn’t stop the movie’s villains from demonstrating the one unavoidable fact of movie marksmanship: Villains never hit their target, and heroes never miss.

Not that it makes any little difference, but the science in this movie is laughable all around. For example, so much is made of a scene where characters finds themselves outside on Mars, and immediately begin to expand, their eyes popping and their faces swelling. Ebert noted, “As Arthur C. Clarke has written in an essay about his 2001, a man would not explode even in the total vacuum of deep space.”

(What’s even more unlikely is that after the alien reactors are started and quickly give Mars with an atmosphere, the endangered characters are secure from explosion.) Ebert said, “Such quibbles – and pages could be filled with them – are largely irrelevant to “Total Recall,” which is a marriage between swashbuckling space opera and the ideas of the original Phillip Dick story. The movie was directed by Paul Verhoeven, whose credits range from “The Fourth Man” to “RoboCop,” and he is skilled at creating sympathy for characters even within the overwhelming hardware of a story like this.” That’s where Schwarzenegger is such a help. He could have followed and frowned through this movie and become a figure of fun, but instead, by allowing himself to look confused and vulnerable, he gives a sympathetic center for every high-tech display.

This is one of those Schwarzenegger movies that hold up very well today. You should see it if you haven’t because I think everyone will enjoy this and have a good laugh. There are many memorable moments, like when Schwarzenegger ripped the tracking device from his nose, and some of his lines that are the most quotable. Check it out and have a fun time.

However, I cannot be done with this review without talking about the 2012 remake. The two biggest differences between the remake and the 1990 original are that no scenes are set on Mars, and it stars Colin Farrell instead of Arnold Schwarzenegger. Ebert said, “Mars we can do without, I suppose, although I loved the special effects creating the human outpost there.” This movie has its own reason you can’t go outside and breathe the air.

However, Schwarzenegger, now, is another matter. He’s replaced as the protagonist Quaid by Colin Farrell, who you could say is probably the better actor. However, Schwarzenegger is more of a movie presence and better fitted for the role of a wounded man going around in the realm of his memories. Ebert said, “The story involves a man who is involved without his knowledge (or recollection) in a conflict between a totalitarian regime and a resistance movement.” Both films open with him happy and cluelessly married (Sharon Stone in the original, Kate Beckinsale in the remake). In both, he is unhappy with his life. In both, he finds out that everything he thinks he knows about himself is fictitious, and all of his memories have been inserted.

Ebert said, “The enormity of this discovery is better reflected by Schwarzenegger, who seems more wounded, more baffled, more betrayed — and therefore more desperate.” In Farrell’s performance, there’s more of a sense that the character is being taken along with the events.

The originality of the plot, inspired by a Philip K. Dick story, is handled well in the remake, directed by Len Wiseman, and in Paul Verhoeven’s 1990 version. In both, there are parts where Quaid has no idea what to believe and must decide which of different characters can be trusted. Ebert said, “Both films are top-heavy with non-stop action, but there’s more humanity in the earlier one, and I think we care more about the hero. A film that really took this premise seriously would probably play more like Christopher Nolan’s “Memento,” following a man adrift in his own timeline.”

However, enough about 1990. Ebert noted, “In the new film, Earth is uninhabitable because of chemical warfare, except for two areas: a federation centered on the British isles and a colony on the former Australia. Workers from the colony provide factory labor for the federation, which sidesteps the commute time by linking them in what looks to be a tunnel straight through the Earth. That’s a lot of effort to go to in order to get cheap labor; Quaid’s factory job involves tightening two screws on the breastplates of robot soldiers being manufactured by the federation. These robots have a neat design, are sleek and shiny black and white, but are apparently doofuses. I can’t remember a single robot doing much more than marching in step and getting itself destroyed.”

Ebert continued, “The film does a detailed job of creating its cities, which in the federation is a towering futuristic marvel, and the colony seems to be countless small hovels endlessly stacked on top of one another, like the dwellings you can see clinging to the sides of other buildings in Hong Kong. Quaid gets involved in chases in both places, which require the ability to jump from great heights without breaking his ankles, or (it seems to me) his legs.” One smart chase sequence involves his character and a resistance member named Melina, played by Jessica Biel, jumping onto and off a maze of vertical and horizontal elevators. It’s somewhat an action version of 3-D chess.

“Total Recall” is well-made, high energy sci-fi. Like all stories inspired by Philip K. Dick, it deals with interesting ideas. Ebert said, “It never touched me emotionally, though, the way the 1990 film did, and strictly speaking, isn’t necessary.”

This is one of those remakes that is actually nice. You can check this out, but I prefer the original. I don’t know how many people will think the same thing, but my opinion aside, this is one remake that I recommend everyone seeing. Check it out and see which version you like.

Next week, we will be looking at another Verhoeven movie that is very controversial but is still one to see.

Karate Kid: Legends

Today, my sister and I went to the theaters to see “Karate Kid: Legends,” which came out four days ago. She was really eager to see this movie, especially since “Cobra Kai” was an amazing show. However, since we got this sequel after much years of talk, how is it compared to the last few sequels? Is it any better than the last few sequels or does it deserve the negative reception a lot of critics have been giving it?

Will this current release of nostalgic movies, with the live-action Disney remakes and other sequels, going strong, bring in the large box office numbers for this latest “Karate Kid” sequel? Maybe.

The film has the only pizza shop in New York City’s Chinatown (the film was mainly shot in Montreal) where the manager is a former boxer who owes money to the mob. Beginning in the Beijing dojo of Shifu Han (Jackie Chan), where student Li Fong (Ben Wang) trains against the orders of his mother, Dr. Fong (Ming-Na Wen), and is suddenly told that she has accepted a job in New York City. James Verniere said in his review, “Living in an oak wood adorned spacious Chinatown apartment, Li, who speaks fluent, accent-free English, is dubbed “Stuffed Crust” by the former boxer pizza shop owner Victor Lipani (Joshua Jackson) and becomes interested in his daughter Mia (Sadie Stanley), who is also Vic’s sharp-tongued, pizza shop coworker.”

Directed by Jonathan Entwistle and written by Rob Lieber based on the original 1984 underdog film’s screenplay by Robert Mark Kamen, “Karate Kid: Legends” is another sequel no one asked for. Everyone from the 1980s knows the original film’s plot points and lines of dialogue and has shared them with everyone. There have been three “Karate Kid” sequels, a 2010 remake, and a Netflix series “Cobra Kai,” which can from 2018 to 2025. The original “Karate Kid” was directed by “Rocky” director, John G. Avildsen, and had an animated series along with a lot of merchandise.

Verniere noted, “Although likable at times, especially for its cast, this new film reeks of cost-cutting and formula at every turn. Li is introduced to a Chinatown fighting school, where the film’s one-note, single-expression villain, Conor Day (Aramis Knight), knocks out all his sparring partners with a leg sweep to the head.” Li shares how his older brother, played by Yankie Ge, taught him a move called “the dragon kick” before he was stabbed one night after winning a tournament. Verniere admitted, “After that scene, I felt like I knew exactly how the film was going to end (I did).” As the respected Mr. Han, Chan is the film’s replacement for the late Pat Morita, who was nominated for an Academy Award for his cleverly funny and memorable performance as Mr. Miyagi in the original film (if you remember in my review, I noted how Miyagi was very similar to Burgess Meredith’s grouchy boxing trainer Mickey in “Rocky”).

In this new film, Li is coached by both kung-fu master Mr. Han and karate champion Daniel LaRusso, reprised by Ralph Macchio, an old friend of the late Mr. Miyagi, and asks for his help with this training. Chan and Macchio have some fun arguing about their different fighting styles. While Li and Mia share a difficult romance, Victor trains with Li for a boxing comeback match, setting up the third-act tournament between Li and Conor. I guess everyone can predict how everything will end.

Verniere ended his review by saying, “As Li’s eccentric SAT tutor Alan, who plays the Backstreet Boys’ millennial hit “I Want It That Way” on guitar, Wyatt Oleff (TV’s “I Am Not Okay with This”) is a refreshing relief from the film’s dull formula. Mia amusingly refers to Li as the “Chinese Peter Parker.” Why couldn’t they fit in a flirtation between forty-somethings Wen and Jackson, whose characters are both notably single and attractive? It’s a real lost opportunity given how much we like these actors. Chan is effortlessly charming as Mr. Han, although the iconic Morita is a hard act to follow. Li exudes good guy vibes as the film’s torn protagonist. But the corn is high and commands the view. Cue the (corny) freeze frame ending.”

I don’t agree with anything the critics are saying about this film. This is not a corny sequel with a dull or boring formula. I think there are some things that are similar to the previous films, but it does not copy it beat for beat like the 2010 remake did. Sure, I can understand some problems, like Macchio and Chan not having enough screentime together, the training montages not including everything familiar that we love, and not knowing about the villains in the film. Still, I think this was an enjoyable sequel that was funny and kept you engaged. I never felt bored or annoyed when watching the film. Check it out in the theaters and have an enjoyable time watching it, especially if you’re a “Karate Kid” fan.

Thank you for reading this blog tonight. Stay tuned this Friday to see what I will review this month.

Percy Jackson: Sea of Monsters

“Percy Jackson: Sea of Monsters,” released in 2013, is the second in a planned trilogy based on the novel franchise by Rick Riordan.

Robert Roten said in his review, “The story concept is very similar to the Harry Potter films and the “Buffy the Vampire Slayer” TV series.” Like those stories, here is a youthful hero born with great power and great responsibility. You also have a magical world which is combined with the world we know and is kept secret from the non-magic people. Anthony Head from “Buffy the Vampire Slayer” is in this film as Chiron the centaur.

Percy Jackson, reprised by Logan Lerman, saved everyone in the first film but he can’t get any respect from the other demigods at the training grounds. He is often made fun of by the daughter of Ares, Clarisse La Rue, played by Leven Rambin. His friends are a satyr, Gover Underwood (Brandon T Jackon), and the daughter of Athena, Annabeth Chase (Alexandra Daddario).

In this sequel, Percy finds out he has a half-brother, previously unknown to him, a Cyclops named Tyson, played by Douglas Smith. Percy, Tyson, Clarisse, and Grover go on a quest for the golden fleece, located in the Bermuda Triangle. They go on a scary ride in a magical taxi which might remind you of the Knight Bus in Harry Potter. They also make a stop at a UPS headquarters run by Hermes, played by Nathan Fillion. There, they get information and magical material to help them on their journey. Roten noted, “Fillion has a funny show business joke here referring to a cancelled series that he starred in, “Firefly,” which later became the basis for the movie “Serenity.””

The golden fleece is needed to save a magical tree, but it is also being found by Hermes’ son, Luke Castellan, played by Jake Abel, whose evil plan is to release Kronos and destroy Olympus. Not just wanting to stop Luke from getting the Golden Fleece, the movie goes for the epic finale between Percy and Kronos, voiced by Robert Knepper. As you think, there are a lot of interesting special effects here.

There is plenty of action, the acting is good, and the story is good enough to watch. Roten noted, “As Logan Lerman aptly demonstrated in “The Perks of Being a Wallflower” his acting ability is far greater than is required for this role.” It is not a bad film, but might be just like the first film. There was supposed to be a third film, but that was scrapped.

Still, I found myself enjoying this film just the same as the first one. I think I got this film from the library and my sister and I saw this. I remember we both enjoyed it and I think everyone should give it a watch on Disney+. If you don’t like it, I get it, but at least give it a chance and judge it based on your own opinion. I hear the show is a lot better and I might check it out one day.

Alright, we have reached the end of “Greek Mythology Month.” I hope everyone liked this and hopefully everyone will check out every film I reviewed, especially if their a Greek Myth fan, like myself. Stay tuned next month to see what I will review next.

Captain America: Brave New World

Tonight, on Disney+, I watched “Captain America: Brave New World,” which was released in theaters on Valentine’s Day and today was released on Disney+. Now, I will let everyone know what I thought of this latest installment in the MCU.

Jeffrey M. Anderson started his review by saying, “After some thirty-odd movies and more TV shows than I can remember, we finally have our third MCU movie directed by a person of color and starring a person of color. And yet, in this bizarro Trumpian world, rather than being celebrated, Captain America: Brave New World is being trounced (much like Kendrick Lamar's spellbinding Super Bowl Halftime show). Certainly this new movie is no Black Panther. It has its flaws. It tries a little too hard to get things moving in the first act, and it does feel fairly slight overall, a Minor Marvel.” However, for the majority of its runtime, it flies, mostly thanks to Anthony Mackie’s strong presence.

Following “The Falcon and the Winter Soldier,” Sam Wilson, reprised by Mackie, has made the difficult decision to become the next Captain America. (Anderson noted, “The series explored complex issues of Blackness and racism that are largely ignored here.”) However, it was a good choice. Watching him attack villains using his wings and shield as graceful arsenal is always amazing. Unlike Steve Rogers, Sam doesn’t have any superpowers, and his humanity is part of his charm.

Sam has been sent on a mission to retrieve a mysterious canister, which he does, however something about the mission doesn’t seem right. After that, he’s invited to the White House, where President Ross, played by Harrison Ford (taking over the role of “Thunderbolt” from the late William Hurt), is going to make an announcement. (Ford returns to the White House for the first time since “Air Force One.”) Same brings his new partner, the supposed next Falcon Joaquin Torres (Danny Ramirez), and their tough super-soldier trainer, Isaiah Bradley (Carl Lumbly). Isaiah has a rancor after having been imprisoned and experimented on for decades, and has no love for Ross, but goes anyway (Anderson described, “the movie's most irritating first-act nitpick”).

Suddenly, Isaiah tries to shoot the president, but after a chase, seems to have no memory of what he did. He goes to prison Sam promises to find out what happened. There are several other incidents of being mind-control, as President Ross tries to dispute a treaty with Japan and several other countries, and the talks – which had previously been going well – begin to break down.

The diverse cast also includes the fascinating, lovely Shira Haas as the president’s security advisor, and an awesome Black Widow. Xosha Roquemore plays a Black, female Secret Service agent. Giancarlo Esposito plays a sneaky, evil person called Sidewinder (Anderson said, “who, I suspect, we might see again someday”). Finally, Takehiro Hira plays the Japanese Prime Minister. The movie keeps the Big Bad a secret for a while, who is played by Tim Blake Nelson.

Anderson said, “The director is Nigerian-born Julius Onah, whose previous features The Cloverfield Paradox and Luce wouldn't suggest an artist ready for the Marvel Universe, especially given that the former was a muddled mess and the latter was talky and static.” However, he steps it up, giving “Captain America: Brave New World” with a beautiful flexibility, especially in the flying scenes. The Red Hulk parts, while short, is gripping and intense, especially when a damaged Sam is helped out from under a pile of rubble and finds the being still standing. He knows he has nothing left.

Anderson said, “Frankly, it's Mackie that makes all this work for me.” He’s an incredibly adaptable actor, tough but funny and very helpless when it counts. He plays well with his cast member, creating a great camaraderie when it’s right, but also tension when it matters. Anderson said, “He ranks near Paul Rudd's Ant-Man as perhaps one of the most lovable of the Marvel heroes, guys who are more or less reliant on a suit and their wits. Maybe it's appropriate that Mackie's first Cap movie is a bit jerry-rigged and imperfect.” While the shield itself may be perfectly made and balanced, the same can’t really be said for this movie, but it’s messy and human and it has a big heart, perfect for Valentine’s Day.

Spoiler alert: the post-credits scene shows Sam visiting the protagonist in his maximum-security cell who warns Sam about another threat approaching.

I know that this film is not one of the best MCU movies, but I still think it is one of the good ones. We have Sebastain Stan and Liv Tyler make quick cameos, and I found myself getting into this film. There were some edge-of-your-seat, gripping moments, and some dramatic moments that make you want to know what might happen. I liked the action, of course, and Mackie really does amazing in this role. Ford does a good job as the replacement for Ross. Check this out on Disney+ and see if you agree with this review or not. As always, judge it based on your own thoughts.

Thank you for reading this blog tonight. Stay tuned this Friday for the finale of “Greek Mythology Month.”

Percy Jackson and The Lightning Thief

When the Harry Potter film series was almost done, another novel adaptation was introduced, which I didn’t know about until a second cousin had told me about it when I visited him. In 2010 came “Percy Jackson and The Lightning Thief,” the first adaptation in the children’s book series by Rick Riordan, which sees it protagonist finding out he’s actually half God, half human. With about five books in the series, and the possibility for a long-running franchise, can Percy Jackson live up to the standards that Harry Potter made? I believe it did. Lara Martin said in her review, “From the opening scenes of a 30-foot Greek God emerging from the sea in New York, to the nordic looking battle grounds of Camp Half Blood, to the fiery colour and terror of the Underworld, Percy Jackson sucks you in as the classic Greek myths are retold for the modern world.”

Percy, played by Logan Lerman, is an average kid living in New York City. He doesn’t try too hard at school, deals with dyslexia and ADHD and doesn’t have the best home life since his mother (Catherine Keener) remarried a bum (Joe Pantoliano). However, when he is on a field trip to the museum, his life is changed forever when Mrs. Dobbs, played by Maria Olsen, turns into Alecto and demands Percy to return a stolen lightning bolt. Before he knows it, a confused Percy is being sent to a secret camp for his own protection, where he finds out that his wheelchair-bound tutor Mr. Brunner (Pierce Brosnan) is actually a centaur and his crutches-using best friend Grover (Brandon T. Jackson) is a Satyr who were sent to protect him.

Percy finds out that he is actually the son of Sea God, Poseidon, played by Kevin McKidd, making him a very powerful demigod. Unfortunately, Poseidon’s brother Zeus, played by Sean Bean, thinks that Percy has stolen his lightning rod, which has the possibility to start a war between the Gods. To make the situation worse, the God of the Underworld, Hades, played by Steve Coogan, kidnaps Percy’s mother and demands the lightning bolt. The only problem. Percy doesn’t have the bold and doesn’t know where it is. Still, he decides to go on this risky journey to the Underworld so he can save his mother, before trying to convince Zues that he is telling the truth.

Despite the parts of the surprisingly violent Camp Half Blood, where Percy learns how to control his powers, drag on too long, his journey across the country along with Grover and Annabeth (Alexandra Daddario), the warrior daughter of Athena (Melina Kanakaredes), are enjoyable. Their journey takes them from the botanical garden of Medusa, played by Uma Thurman, to the pleasure-seeking casino in Las Vegas, and the glory of the Parthenon in Nashville as they race against the time to rescue Percy’s mother, while learning different Greek history lessons on the way. Martin said, “The brief detour to the Underworld is one of the movie's biggest highlights, with a campy Coogan draped in metallics and leather as Hades, while Rosario Dawson oozes sex appeal as the lustful and trapped Persephone. Big names like Brosnan, Bean and Thurman add plenty of gravitas to proceedings, while relative newcomer Logan Lerman shows he is definitely one to watch as he transforms Percy from bratty schoolkid to brave hero, shining in his battle sequences and displaying a knack for comedy.”

Yes, there are plot holes, and so many loose ends, including how no one even thinks about the destruction of the Empire State Building, Parthenon, and so on, but that aside, the film manages to make Greek mythology both fun and exciting and is sure to attract its key demographic. With Chris Columbus, the director of the first two Harry Potter movies, directing this one, we get exactly what we would expect. Beneath all of the explosions, violence, and awe-inspiring special effects, is a nice story about a boy wanting to save his mother and the importance of friends, which could give Harry Potter a run for his money.

As a person who never read the books, I found myself enjoying this film, being a huge Greek Myths fan. My sister got this from Netflix back when they had DVD rentals and we watched this one night. I believe we both liked this and if you have a Disney+ account, you should see this. Give it a chance, but if you don’t like it, I understand. Just judge it based on your own thoughts.

Next week, we will finish off “Greek Mythology Month” with the sequel to this film. Sorry for the last posting. I fell asleep after coming back from work.

Troy

Rob Gonsalves started his review by saying, “Like Gladiator four summers ago, Troy starts the warm-weather season off with a manly, retro, sword-clanging bang. But that’s where the similarity ends. Gladiator, which unaccountably won a Best Picture Oscar, was a numbing and derivative revenge fantasy recast for swords and sandals. Troy takes off from sturdier origins — Homer’s great war poem The Iliad, which seems constructed to show war in all its aspects, its exultant splendor and its terrible cruelty.” David Denby, in his review of classic literature Great Books, cites an Iliad passage describing a spear stabbing a soldier “beside the nipple of the right chest, and the bronze spearhead drove clean through the shoulder.” Homer’s treatment of violent is both near-adult and exhilarating in its attention to the physical.

Gonsalves noted, “Director Wolfgang Petersen is aboard Troy, and after a few hit-and-miss blockbusters (his last movie was the waterlogged The Perfect Storm), he has made his most robust yet complex film since Das Boot, the U-boat drama that launched him internationally.” There are so many grand-scale battle scenes in “Troy,” released in 2004, and Petersen films them easily yet with an emphasis on the insanity of the moment. We see individual one-on-one fights within the larger brawl, small fights where we can see that this man delights because of speed over strength, while that man wins because of sheer dumb luck. Other fights, like the one between the Trojan warrior hero Hector, played by Eric Bana, and a massive Greek enemy, are amazingly choreographed dances of rage and honor.

Bradd Pitt may take a few critical catapults and arrows just for having been cast as Achilles, the arrogant warrior and great hope of Greece, but he’s got the moves. Gonsalves noted, “Pitt has perfected a highly photogenic maneuver: he runs past an enemy, hops up with his heavy legs swinging, and jabs his opponent fatally above the shoulderblade — whap!” However, Pitt brings more to it. His Achilles is a great warrior who feels used by the greedy king Agamemnon, played by Brian Cox (having a great time) and has grown disapproving of the very forces that set him in motion towards glory in war – which means dislike of glory itself. (In Homer, Achilles rejects the heroic code, saying, “We are all held in a single honor, the brave with the weaklings.”) By contrast, Hector, as underplayed effectively by Eric Bana, is a strong warrior who would rather not fight – he’s seen enough fighting to appreciate any other sensible but honorable alternative.

This great war poem, hilariously, has a soap-opera energy: Hector’s brother Paris (Orlando Bloom) runs off with Helen (Diane Kruger), the wife of Agamemnon’s brother Menelaus (Brendan Gleeson). In the movie, Agamemnon uses his brother’s rage as a reason to start a war with Troy but really couldn’t care less about Menelaus’ pride. Gonsalves said, “The weak link of The Iliad turns out to be the weak link of Troy, especially since Orlando Bloom and Diane Kruger, twin pretty flowers, barely suggest the transgressive passion that incinerated a great city. Nevertheless, the story was always meant to focus on the men pitted against each other over such a trifling matter.” The fight between Achilles and Hector is amazingly realized, all the more hurtful because we can precisely read each mean’s emotions going into the fight (despite Achilles’ rage is silenced in the movie because he is now avenging his cousin, not his “friend”).

Gonsalves said, “If mesmerizing panoramas of mass carnage don’t pull you in, Troy has a major old warhorse in its ranks: Peter O’Toole, seldom seen onscreen lately, enters the movie humbly as King Priam, father of Hector and Paris, and commands the screen effortlessly.” When Priam meets Helen, O’Toole compliments her beauty, then delivers a single word, “Welcome,” and devotes those two syllables with an entire movie’s worth of meaning. You can hear the suggestion of Priam’s frustrations with his son, understanding of why Paris fell so hard for Helen, and acceptance of whatever this illegal love might bring to his nation. “He was born to end lives,” someone says of Achilles, and O’Toole was born to kick movies up another notch.

I remember when this film was coming out, I saw trailers for it online. However, since I was not old enough to see it, I had to wait some time before watching it. Even though my brother said he was going to take me, we never went. I think I was well into my adulthood when I saw the film as a rental from the library. As someone who is a Greek Myth fan, I think this film was enjoyable. Especially with Sean Bean playing Odysseus. See this movie if you haven’t because I give it a recommendation.

Next week, I will be looking at a novel adaptation in “Greek Mythology Month.” Sorry for the late posting, I took a nap.

Clash of the Titans (1981)

Whether it is a film you have heard of because of being a fan of Ray Harryhausen, or you have made a place for it on your movie shelf, or you found out about it because of the highly loathed 2010 remake with Sam Worthington, the original “Clash of the Titans” is one of the most celebrated 1981 fantasy films of all time. Just like all films that are considered a classic, does it still hold up today?

We see Perseus (Harry Hamlin) living a poor life when he sees he is destined to be amongst the Gods, led by his father Zeus (Laurence Olivier). He is arranged to marry Princess Andromeda, the heir to the city of Joppa (Judi Bowker), who is always promised to the villain Calibos (Neil McCarthy – made ugly by Zeus because he killed every flying horses except Pegasus). Here, his journey begins, meeting up with witches, gorgons, and the Kraken (these are a few classic Harryhausen creations!), and helped by Pegasus, gentle poet Ammon (the late Burgess Meredith), and the mechanical owl Bubo, we follow Perseus to his final fight with Calibos and the accomplishment of his life mission.

Nick Blackshaw said in his review, “Clash of the Titans is and always will be a thoroughly entertaining film and has been cleaned up well for the Blu-Ray edition.” It is a classic for a generation of actors like Laurence Olivier, Ursula Andress, Burgess Meredith, Pat Roach, Claire Bloom, and Maggie Smith, and shows a great time in filmmaking (films like “Star Wars,” “Tron,” and “Alien” were innovative with the way films were made. Blackshaw said, “Clash of the Titans was the last hurrah for old-school film-making and was Ray Harryhausen’s final film prior to retirement). Of course, expectations and tastes in films have changed and whilst some of the plot of Clash of the Titans is purely a vehicle for Harryhausen’s wonderful stop-motion creations, it shows the lack of heart that a lot of the big summer blockbusters of today have.”

I believe I had first heard about this film and “Jason and the Argonauts” from James Rolfe. Being a huge Greek Myth fan since Middle School, I had to see this film. I can safely say that this film stands the test the time and holds up very well today. The stop-motion effects are just amazing that you will love it when you see them. The story is also one you can get into. Even though this film doesn’t follow the myth of Perseus completely and makes up some stuff along the way, that is not something to nitpick. Check it out and see how great of a film you have been missing out on.

Next week I will be looking at a film that my brother said he was going to take me to but I ended up watching it much later as a rental from the library in “Greek Mythology Month.”

Jason and the Argonauts

For this month, I thought of reviewing some films that are based on Greek Mythology, since I minored in that in college. Being a huge fan, I had to see certain films based on the famous myths, and I will start with the 1963 classic and one of my all-time favorite films, “Jason and the Argonauts.”

Dennis Schwartz started his review by saying, “Fun-loving classic Greek mythological adventure tale geared for the kiddies, that’s too bumpy to be a smooth ride but its tongue-in-cheek storytelling and its visually spectacular rendering of its mythological setting leave it many golden moments.” It mostly comes alive through the masterful special effects by Ray Harryhausen, the king of stop-motion animation. Schwartz credited, “Harryhausen’s superb special effects, perhaps his best ever, include the building of a fine replica of the mythical ship the Argo, a lifelike version of the titan metal god Talos, the fluttery screeching bat-winged battling Harpies that plague the blind prophet Phineas (Patrick Troughton), the ‘crashing rocks’ through which the hero’s ship must cross, a menacing seven-headed Hydra that the hero must fight and the centerpiece sword fight with the hero and an army of skeletons who emerge out of the teeth of Hydra.” Director Don Chaffey keeps a tight grasp on routing it through so many great action scenes with its dull hero as the focus. It’s based on the poem The Argonautica by Apollonious Rhodios and the screenplay is done by Beverly Cross and Jan Read.

On Mt. Olympus, the Greek god Zeus (Niall MacGinnis) and goddess Hera (Honor Blackman) see the killing of King Aeson of Thessaly by his determined and cruel half-brother Pelias (Douglas Wilmer), who then kills his victim’s two baby daughters but his baby son Jason escapes. Jason, played by Todd Armstrong, is raised by his father’s loyal subjects and reaches the age to return to Thessaly as a skilled fighter to take back his rightful throne. After Jason saves Pelias from drowning, who he doesn’t recognize, he’s sent by the evil Pelias on a quest to bring back the Golden Fleece (sheep’s wool made of gold) so that the people will accept him knowing the gods favor him. Pelia believes that Jason will never return alive from this impossible journey.

Jason gets Argo to build him a ship and he hires a crew of the best fighters in Thessaly by having a competition and Hera, who received the prayers of one of Jason’s sisters before she was murdered, as an exchange for that act of faith will be Jason’s protector for only five times and clues him in that he can find the Golden Fleece on the other side of the planet on the island of Colchis. The hero is fearless as he travels through a series of adventures to reach his destination and must also overcome Acastus, played by Gary Raymond, a spy Pelias sent on the journey to make sure that Jason’s mission is a failure. When Jason and the Argonauts finally reach Colchis, they must fight the opposition of King Aeetes, played by Jack Gwillim, to accomplish their mission of removing the Golden Fleece. Fortunately for Jason, the high-priestess Media, played by Nancy Kovack, falls in love with him and goes against her kingdom to free him from prison so he can successfully get the famous Golden Fleece – an object of worship that has healing power and can bring peace.

Schwartz ended his review by admitting, “The film also comes with a rousing score by Bernard Herrmann, that evidently pleased many but didn’t do much for me.”

I can’t do this film justice by reviewing it. This is one of those that has to be seen to be believed. Currently this is streaming on Tubi, so check it out on there. Whether you’re a fan of Greek Mythology or not, you have to see it. The stop-motion special effects are one of the best ever seen. You will appreciate everything about the film, given the time period it was made.

Next week, we will be looking at the original “Clash of the Titans” in the continuation of “Greek Mythology Month.”

Barbie

Tonight, on Max, I finished watching the 2023 “Barbie” movie while exercising. There might be those out there thinking why a male like myself would be watching this movie, but I heard it was a funny movie and the one of the best of 2023, so I decided to see it.

At its best, “Barbie” is a visual display with nice performances, catchy music and some practicality social commentary. That’s not always the case with “Barbie,” which has the once in a while mistake and pacing issue, but overall, it’s one of 2023’s most thoughtful and fun films.

Helen Mirren narrates the prehistoric life of Barbie and the revolution that lit after her arrival. Jeffrey Lyles said in his review, “Right from this opening sequence director/co-screenwriter Greta Gerwig (Lady Bird) shows an ideal blend of scorching satire and a genuine appreciation for all things Barbie.  That’s a tricky balancing act, but Gerwig and co-screenwriter Noah Baumbach navigate it smoothly.”

Stereotypical Barbie, played by Margot Robbie, is living her usual perfect life. She’s enjoying all the luxuries of life in Barbieland – her Dream House, car, and a day on the beach. She enjoys being with the other Barbies like President Barbie (Issa Rae), Physicist Barbie (Emma Mackey), Mermaid Barbie (Dua Lupa), and Writer Barbie (Alexandra Shipp).

Not having any attention until the Barbies look at them are the various Kens including Kingsley Ben-Adir, Simu Liu, and Scott Evans. The one who actually has a crush on Barbie is Stereotypical Ken, played by Ryan Gosling, who is in a “rivalry” with Liu for Barbie’s attention. Lyles said, ‘In Barbieland there’s no coupling, which is an interesting decision from Gerwig and Baumbach.”

Lyles continued, “Beyonce would be proud of Barbieland as the Barbie girls Run the World. The Kens may as well be another accessory.”

Stereotypical Barbie starts to feel different emotions that don’t feel right with her everything is perfect reality of Barbieland. To fix the problems, she goes to Weird Barbie, played by Kate McKinnon, to journey into the Real World and find the girl whose depressed thinking is affecting her.

Desperate to win her over, Ken goes along for the ride and the two have completely different experiences in the Real World. Lyles said, “Barbie doesn’t know what to make of the catcalls and being derided for her cheery attitude and sensational wardrobe.” Ken finds a realm where men are treated with respect and have “the power.”

Barbie and Ken’s Real-World experiences are the best parts of the film. Lyles said, “It’s where Gerwig and Baumbach can launch a variety of smart salvos at the modern status quo and how different it is from Barbieland.”

Robbie is excellent as the good-natured, immature Barbie facing the severity of the real world. Gosling is equally fun with Ken’s revelations. Lyles noted, “No, Barbie isn’t the standard Oscar fare — it’s too cheery, good-natured and funny to be a typical contender — but it’d be disappointing if both Robbie and Gosling don’t receive acting nominations. Their committed, all-in performances take the film to another level.”

Barbie going around in the Real World isn’t the best thing for brand distributor Mattel, with Will Ferrell as the boss. One of the film’s best jokes is the makeup of the board room making decisions on Barbie. As always, Ferrell has some unusual comedy despite it needing more Ferrell/McKinnon interaction.

Eventually, Barbie meets the reason for her troubles – Gloria (America Ferrera) and her teen feminist bashing daughter (Ariana Greenblatt). This doesn’t go the way Barbie wanted, but she hopes going back to Barbieland will help them.

Lyles said, “Unfortunately, Ken’s taken the lessons from the Real World to Barbieland and effectively staged a coup with the dudes now running the place.” To restore everything back, Barbie and her new friends will have to gather the other Barbies and take back the realm from the Kens.

After a long time, Michael Cera returns to film with the role of Allen, someone everyone doesn’t pay attention to. We also have a very heartwarming performance from Rhea Perlman. You should see this movie on Max because I think everyone will enjoy it. This isn’t a movie that is meant for the women who grew up playing with Barbies, but it is more of a spoof on the products. You could say they pull an “Enchanted” on us, but you should still see it to know what I mean.

Thank you for joining in on this review tonight. Stay tuned tomorrow to see what I will review this month.

Tropic Thunder

The documentary “Hearts of Darkness” is about the difficulties of filming the famous Vietnam war movie “Apocalypse Now.” Ben Stiller’s 2008 “Tropic Thunder” is like that doc’s nightmare. A group of actors, with the idea they’re making a Vietnam war movie, travel dangerously in the jungle and is captured by a gang of druglords who think the actors are decoys.

Roger Ebert said in his review, “The movie is a send-up of Hollywood, actors, acting, agents, directors, writers, rappers, trailers and egos, much enhanced by several cameo roles, the best of which I will not even mention.” You’ll know the one, however you may have to wait for the credits to know for sure.

The highlight of the film, Robert Downey Jr. is not just funny but also very good and sometimes even indirect as Kirk Lazarus, an Australian actor who has won five Oscars and has surgically dyed his skin to change himself into a black man. He is very committed to this role that he stays in character all the time, looking convinced that he is actually black.

This irritates his fellow actor Alpa Chino, played by comedian Brandon T. Jackson, a rapper who was born black and snaps Lazarus out of his fantasy. Alpa Chino (say it out loud) like many rappers and promotes his own merchandise, famously Booty Sweat, an energy drink that keeps him going in the jungle. If Chino doesn’t buy the Lazarus character, Lazarus is critical of Tugg Speedman, played by Stiller, who also starred in “Simple Jack,” a movie about a mentally challenged farmer who thinks animals can understand him.

Ironically, it is that role that saves their lives when they’re taken prisoner. The bored druglords have only one video, an old “Simple Jack” tape, and think Speedman is Jack himself. Ebert said, “In a brilliant comic riff by Downey, Lazarus critiques Speedman’s work as over the top: The really big stars, he observes, “never go full retard” when playing such roles.”

The movie starts with trailers setting up three of the characters – not only Lazarus and Speedman, but Jeff Portnoy, played by Jack Black, whose famous for fart jokes. Ebert said, “Portnoy is a heroin addict who is in withdrawal for much of the trek through the jungle, and has a funny scene after he begs to be tied to a tree and then begs to be set loose.”

The set-up involves the actors, director Damien Cockburn (Steve Coogan) and burnt-out screenwriter Four Leaf Tayback (Nick Nolte) in the jungle with a huge crew (including Jay Baruchel) and explosives expert Cody (Danny McBride). Ebert said, “When one of the explosions goes off prematurely (think the opening of “The Party”), Speedman, acting as producer, fires the crew and announces he will direct the movie himself.” He explains that hidden cameras have been placed in the jungle and will record everything that happens. Is that possible, especially when they get lost? Ebert said, “These actors, even the five-time Oscar winner, almost seem to believe so, a tribute to their self-centered indifference to technical details.”

Alternate with the jungle scenes are Holly scenes with an agent (Matthew McConaughey and Bill Hader) and a studio executive (Tom Cruise). The movie, written by Justin Theroux, Stiller, and Etan Cohen, is familiar with the trials of filmmaking and location work, and refines it into crazy exaggerated scenes that have a hint of accuracy. Especially interested is the way the director, Damien Cockburn, leaves the film, which perhaps reflects the way some actors feel about some directors.

Ebert said, “The movie is, may I say, considerably better than Stiller’s previous film, “Zoolander” (2001). It’s the kind of summer comedy that rolls in, makes a lot of people laugh and rolls on to video. It’s been a good summer for that; look at “Pineapple Express.”” When it’s over, you’ll probably remember Robert Downey Jr. the most. 2008 was a good year for him, since “Tropic Thunder” came after “Iron Man.” After that year, he was back big time.

As I stated last week, this is my all-time favorite comedy. I just loved how much this film parodies different types of films and actors, especially the genre the actors think they are filming. The best parts are the camaraderie between Downey, Black, and Stiller. Those three work well off of one another and the comedy they have with the rest of the actors is just great. This is another film where Cruise does not play his usual role and was different, especially seeing McConaughy in something different rather than a romantic comedy, which he was known for. Check this film out and have an enjoyable time laughing at it from beginning to end. Currently, this is streaming on Paramount+.

Thank you for joining in on “Nick Nolte Month.” I hope everyone enjoyed it and have seen the films I recommended. Stay tuned next month to see what I will review next.

Plankton: The Movie

Last Thursday, I saw “Plankton: The Movie,” released on Netflix last month. How’s this spin-off compared to the last one?

Less than a year after the release of “Saving Bikini Bottom: The Sandy Cheeks Movie,” the SpongeBob SquarePants franchise releases another spin-off with “Plankton: The Movie.” Brian Orndorf said in his review, “It’s a sudden SpongeBobbing that’s a little disorienting, as someone, somewhere is determined to increase media ubiquity of the franchise and its cast of characters. “Sandy Cheeks” wasn’t entirely successful, but it remained an entertaining cartoon event, handling the presentation of a supporting player as she’s granted a starring role. “Plankton: The Movie” does away with heroism, electing to extend screen time with a villain, albeit one who never seems to have much success when disrupting daily life in Bikini Bottom. Thankfully, Plankton is an amusing irritant to follow, and while the production still maintains trouble with final acts, the offering is spirited and humorous, gifting co-writer/star Mr. Lawrence an opportunity to shine.”

Plankton (Mr. Lawrence) stays determined to want control of Bikini Bottom, wanting to steal the secret Krabby Patty formula from Mr. Krabs (Clancy Brown). Launching “Operation Success,” Plankton prepares for victory, but his “computer wife” Karen, voiced by Jill Talley, is losing interest in this fight, wanting to bring Plankton back to normal with her idea of a Chum Bucket renovation. When Plankton refuses to give up his desire, Karen goes haywire, launching a giant magnet that pulls Bikini Bottom up from the depths, helping to create a giant metal machine that’s run by this once nice computer, who’s now split into three evil personalities. Now afraid, Plankton hurries to stop this destruction, only to end up with SpongeBob, voiced by Tom Kenny, who uses his therapy methods to find where the villain started this behavior and look back at when Karen was invented. Orndorf said, “Plankton returns to his past to combat his gigantic spouse, attempting to fight fire with fire while Bikini Bottom residents hope to introduce the scheming little cyclops copepod to a concept alien to his existence: empathy.”

“Plankton: The Movie” doesn’t waste time getting to the villain, catching up with the puny green man and his pet, Spot, as they finish up “Operation Success,” which is meant to finally bring Mr. Krabs’s secret recipe in Plankton’s hands, letting him begin his mission to take over the world. We’ve seen this before, and the screenplay (by Mr. Lawrence, Kaz, and Chris Viscardi) acknowledges this tiring situation, especially with Karen, who’s programmed to support Plankton, but is prepared to show him a happier life in a renovated Chum Bucket, bringing better food and a warmer atmosphere to paying customers. “Plankton: The Movie” gets some laughs out of the protagonist’s inability to think of the possibility of business, and it introduces the first of many songs (including I’m a Jerky Jerk), turning the film into a musical with the help from songwriters Bret McKenzie, Bob and Mark Mothersbaugh, and Linda Perry.

Orndorf said, “Karen and Plankton eventually split over their disagreement, but it’s no everyday marital spat, as the computer turns evil, creating different personalities while destroying Bikini Bottom with a giant magnet (which allows for plenty of sight gags). A journey of realization is created for Plankton, who needs SpongeBob’s help to access the past, transforming the yellow lunatic into a Freud-like analyst capable of hypnotizing his patient, and “Plankton: The Movie” returns to Karen’s origin, initially manufactured from a calculator, a roller skate, and a potato. Director Dave Needham has fun playing with different animation styles to explore these moments of mental time travel, and the writing tries to develop the relationship between Plankton and Karen. The past puts the eponymous character on an odyssey to save the future, taking the creatures on a side trip to Bikini State University, returning Plankton to his happiest days.”

Orndorf continued, ““Plankton: The Movie” is most entertaining during these examinations of personal history, and development of the main madman’s world is welcome, extending to a trip into his “basement of failures.”” Supporting characters eventually join the journey, including Sandy and her “gal pals,” who make the mistake of introducing SpongeBob to coffee. Orndorf ended his review by saying, “Community sequences shine here, but there seems to be some type of studio order that all of these features need to climax with chaos, and “Plankton: The Movie” is no different, mixing the promising storytelling journey of empathy with plenty of large-scale cartoon violence. It’s more of the same, but Needham gets something out of this spin-off, and Mr. Lawrence’s gloriously unhinged voice work as Plankton is always good for laughs, now provided with extra dramatic substance to help add fresh details to the tyrannical character.”

I thought this was an entertaining, enjoyable film to watch. If you have been a fan of this franchise and seen all of the past films, than don’t miss the chance to see this one on Netflix. Check it out and have an enjoyable time laughing at this film.

Thank you for joining in on this review tonight. Stay tuned this Friday for the conclusion of “Nick Nolte Month.”

The Prince of Tides

By directing one good film, you show that you had a movie inside of you. By directing two, you show you are a real director, and that is what Barbra Streisand proved with “The Prince of Tides,” a confident and very serious 1991 love story that allows neither humor nor romance to get in the way of its deeper and darker topic.

The film stars Nick Nolte, in an Oscar-worthy performance, as an unemployed, lost, and miserably married football coach from the South, who travels north to New York City after his twin sister, a poet, tries to commit suicide. This is not her first attempt, and as we find out more about Nolte’s character, we begin to understand why he has special reason to care for her. They both had a traumatizing childhood.

In New York, Nolte meets his sister’s psychiatrist, played by Streisand, who is also not happily married, and their conversations change from therapeutic to personal, as both characters begin to feel that the other is lonely and drawn away from the normal human cheer. Roger Ebert said in his review, ‘We are familiar with the general profile of such relationships from many other movies, but “The Prince of Tides” is not about anything so banal as the ways that opposites attract. It is about two people whose affection offers a cure for each other – if they have the courage.”

Streisand has a son, played by Jason Gould, who is poor at sports, and Nolte agrees to throw a football around with him, getting to like the boy in the process. Streisand also has a husband, played by Jeroen Krabbe, who is a famous violinist and evil snob, who, as Ebert said, “gets one-upped by Nolte in a scene so funny and impeccably written that it is a crime, a violent crime against the cinema, that the surprise is spoiled in the movie’s trailers and publicity clips.”

Nolte was once happily married to Blythe Danner, but there is no more love in their marriage, maybe because of the pains he has deep in him. There is a distance between himself and his children. He loves his sister, played by Melinda Dillon, but feels hopeless to help her.

His emotional life still is around his mother, played by Kate Nelligan (Ebert noted, “playing both young and old, in her second great supporting performance in 1991, after “Frankie and Johnnie”)”. She was once really poor, married to a violent alcoholic who abused her and her children. Then, she married a local rich man whose evil was more superior. Her son hates her, but cannot free himself of her.

Ebert mentioned, ““The Prince of Tides” is based on a novel by Pat Conroy, who also wrote The Lords of Discipline, another novel in which the lives of young men are scarred by the weaknesses of their elders.” However, this time the movie is not quite that easy. These are complicated people who have lived difficult lives, and a quick romance or some feelgood therapy is not going to heal their pain. What Streisand shows, with likeable patience as both a director and writer here, is that the people can heal best by learning to build and trust relationships.

Ebert noted, “The movie is not all grimness and pain, of course. A dinner party scene provides a big liberating laugh, and the chemistry between Nolte and Streisand – such different people – is exciting because their minds, as well as their bodies, touch and are soothed.”

Ebert ended his review by saying, “In “Yentl” and again here, Streisand shows herself as a director who likes emotional stories – but doesn’t simplify them, and pays attention to the human quirks and strangeness of her characters.”

The late George Carlin plays Nolte’s gay neighbor in here. This is a very emotional movie. Currently, you can stream this on Pluto TV, and I do recommend this film. You should definitely give this a watch and see for yourself what type of an emotional roller coaster ride of a film this is. Once you see it, it will leave a lasting impression with you. Check it out and see for yourself.

Look out next week when I finish “Nick Nolte Month” with my absolute favorite comedy of all time.

Another 48 Hrs.

Roger Ebert started his review by asking, “You know how sometimes, in a dream, you’ll see these familiar scenes and faces floating in and out of focus, but you’re not sure how they connect?” “Another 48 Hrs.,” is a 1990 movie that feels the same way. The basic idea is familiar from the original “48 Hrs.” and the villains and cops are all basic movie stereotypes. However, what exactly is going on? Everybody seems to be looking for the Iceman, who is a criminal genius in control of all drug traffic in the San Francisco Bay area. A cop named Cates has been trying to find him for years – but every time he gets close, the Iceman slips away. Meanwhile, a convict named Hammond is about to be released from prison. Maybe he knows who the Iceman is. Maybe he can help Cates. On the other hand, maybe he can’t. He sure doesn’t want to.

Ebert said, “Watching the movie, I was trying to remember the details of the 1982 film.” In the first film, Nolte was trying to find some cop killers and he got Hammond out of prison for 48 hours to help him out. They became quite a duo – the hung-over white cop and the confident young black man, both suspicious of each other, both learning to be friends.

The movie had the scene that made Murphy into a star, a scene where he walked into a redneck bar, impersonated a police officer, and intimidated everyone with just the amount of his personality.

In the sequel, years have passed. Cates has stopped drinking (and apparently lost his long-suffering girlfriend). Hammond is back in prison, but Cates is holding $475,000 for him when he gets out. Meanwhile, in a shoot-out during a motorcycle race, Cates kills a man who fired at him. However, the other guy’s gun disappears, and with no evidence besides Cates’ troublesome personnel record, his badge is lifted and he’s charged with manslaughter.

Ebert noted, “Meanwhile, there is a bunch of long-haired, leather-jacketed, tattooed motorcycle gang members who cruise the desert blowing people away. They apparently work for someone who works for the Iceman. They want Hammond dead – so badly that they try to kill him by opening fire on the prison bus that’s returning him to civilization. You might ask why the bus driver couldn’t simply push them off the road during the high-speed chase, but that would be too logical a question for this movie, which specializes in confusing and endless action scenes.”

There’s one crucial difference between this movie and the original: We never get any idea of the friendship and camaraderie between Hammond and Cates. Their idea of friendship comes down to hitting each other as hard as they can, “to even the score.” They have no dialogue scenes together of any depth. The plot they’re in is so confusing that at one point they simply go back to the prison and ask one long-time inmate, played by Bernie Casey, to identify the guy they’re after. He gives them the man’s name and address. How does he know all of this information? Don’t ask.

Ebert pointed out, “Meanwhile, back at police headquarters, the cop plot is recycled from dozens of other movies. How often do we have to sit through that scene where the Internal Affairs guy makes the hero hand over his badge and gun. Leaving all the other movies out of it, this is the second time in a few months that Nike Nolte has personally had to go through that scene (after “Q & A”).” When the big secret of the Iceman’s identity finally is revealed, you ask: Would the drug kingpin of the entire Bay Area really need to keep the daytime job? Ebert said, ““Another 48 HRS” was directed by Walter Hill, who also did the previous movie, and who knows how to shoot violence so it looks convincing, although here he stages a scene that sets some kind of indoor record for the amount of glass that is broken. Hill and his writers, John Fasano, Jeb Stuart and Larry Gross, have not exactly extended themselves to create a new and original story for this movie, and the big set-piece once again involves Murphy and Nolte inside a redneck bar. It’s an aimless scene with a lot of loose ends, a reminder of how well the earlier scene worked.”

What holds the movie together to some degree is the simple presence of Murphy and Nolte, who are not given great dialogue or much of a story, but who have a certain charisma that’s interesting to watch. Ebert said, “Murphy in particular needed this movie, I think, as a corrective after his unfortunate “Harlem Nights” – a movie that was seen by a great many people, many of whom didn’t enjoy it all that much.”

If it does nothing else, “Another 48 Hrs.” reminds us that Murphy is a huge, genuine talent. Now it’s time for him to make a good movie.

I guess people can guess, this is not a good sequel. I don’t understand what could have happened that made this sequel bad. Because this could have potentially launched a franchise, but this film killed the idea. If you liked the first movie, don’t see the sequel. This is going to shame you for seeing it and you will regret putting this on.

Next week, we’re going to look at another classic film in “Nick Nolte Month.”