Raimi Watch: Darkman (1990)

I don't believe anyone in the movie actually calls the main character "Darkman", btw

What to say about Darkman (1990)?

It's hard to categorize as "good", and I think my affection for it is rooted in nostalgia and the electric current I got seeing this very, very strange movie when I was 15.  It came out just shortly after I'd moved to Spring, TX, where I'd live from grades 10-12.  I was vaguely aware of a movie called Evil Dead 2 that you were supposed to see, but I hadn't seen it yet, and I'd never heard of Sam Raimi.  I just took Darkman for what I thought it was and what I'm sure the studio brass also thought they had: a royalty-free superhero movie they could make cheaply and quickly to ride on the coattails of Batman (1989) and America's awakening interest in superhero movies about "dark" heroes.

90's Watch: Hackers (1995)

In February of 1919, some of the greats of the silent era - Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith - came together to found their own studio: United Artists.  The studio was formed in reaction to studio and artist friction over salaries and creative control.  One could say that the idea of an artist's ability to produce an independent vision is baked into the DNA of UA, and, over the years, that spirit has brought us new perspectives to the silver screen, bold proclamations of artists unhampered by the small minds of businessmen, free from the the penny-pinching dream killers of accounting.

So, it should come as no surprise that, some 76 years later, UA would bring us a truly unique dream of the 90's, a clarion call to a generation, a mirror held up to reality showing us truths about ourselves in only the way we can truly get from a masterpiece like Hackers (1995).

This is maybe one of the worst movies I've seen in the last ten years.

Dog Watch: Air Bud (1997)

I really have no explanation for why I watched about 90% of Air Bud (1997) on Saturday night.  I was supposed to be at a baseball game for our local minor league team, The Round Rock Express, but I was taking my 86 year old uncle, and once its tarted drizzling, we just went and grabbed dinner instead.

Well, that meant I was home by 8:15, because 86 year olds like to eat dinner kinda early.

So, I walked in the door and Air Bud was on TV, and I started watching it ironically, but, you know, I kinda liked it.  It's not that hard to believe it got watered down into the movies we eventually got and spun off into the Buddies series.  But, yeah, it was okay.  And it was generally better in execution than most low-budgety stuff made for kids.

I really thought I'd seen it before, but I think I caught maybe the last five minutes.  I really hadn't seen it.

It's a movie about a sad kid living with his mom and baby sister in a new town who meets a dog that can shoot baskets.  Like, there was a real dog that could do that, and they filmed him and we had a movie about a kid overcoming some minor obstacles, the meaning of teamwork, friendship, bad coaching, sports dads being jerks, responsible pet ownership, the evil of clowns and how cool it really is when you train a Golden Retriever to shoot baskets.

It wasn't going to win any Oscars, but it wasn't totally stupid.

Weirdly, I still haven't watched my BluRay of Star Wars: The Force Awakens yet.  Toonight, maybe?

Slam Evil Watch: The Phantom (1996)

In 1989, Michael Keaton put on a terrible-looking rubber cowl with ears, got dropped onto fantastic looking sets with Jacks Palance and Nicholson, Jerry Hall and Kim Basinger, and the world went bat-shit.  Warner Bros. made a ton of money off not just the movie, but the merchandising.  Batman, overnight, became America's favorite superhero.

All the studios scrambled to see what else that looked like a comic books that they could exploit, but without spending a ton of money (this was a pre-CGI era).  And for about 10 years, man, there was a lot of stuff coming out.  A lot of stuff of varying quality.

I'm actually a fan of The Shadow from 1994 or so, and I love Disney's The Rocketeer.  Both super fun movies, even if The Shadow kinda hams up, then softens up the whole concept.  Marvel, for their part, laid some eggs in their straight to video Captain America and Punisher films, circa 1990.

During this era, a vision in purple spandex strode onto screens across America.  And, for reasons I cannot put into words, felt compelled to see this movie then and a few times since.  The Phantom (1996)!!!

Harvey Watch: Blue in the Face (1995)

After Teen Witch, I needed to cleanse the pallet, and the first thing that popped up in my years-old Netflix queue was the 1995 kind-of-odd movie, Blue in the Face.

If you've never seen it, it's a sort of sequel to the 1995 drama, Smoke, which I haven't seen in forever, but which I highly recommend.  It's 90's indie film making at its purest and best and stars Harvey Keitel and William Hurt, too of my favorite guys from that era.

When the movie wrapped, they had the location and - as has never happened before in the history of film, extra budget - and apparently Harvey Keitel was around, anyway, so they made up an entirely secondary movie on the spot.  Director Wayne Wang and Paul Auster - who wrote the novel upon which Smoke was based, thought up some scenarios, put out a call, and, like, tons of folks showed up to be in the movie.

Space Watch: Apollo 13 (1995)

Here's the thing.  I don't think Ron Howard is much of a director.

When I watch his movies, I can almost feel the focus groups and studio notes taken as wisdom.  I shouldn't be able to pause in your movie and say "this scene was written this way because they think I'm a moron".  But, in a Ron Howard movie, that's generally my take away.  He wants to make movies that will be both semi critic-pleasing and still sell a boat load of tickets, and that's a tough balancing act, but one he's made work for years.

Merchant Ivory Watch: The Remains of the Day (1993)

When this movie ended, I said something along the lines of "Well, that was exactly what I expected" and "I think there's a reason that they don't make movies like this much anymore".  But I didn't really mean either comment as a dig, and neither comment was entirely accurate.

Back in the 1980's, UK film concern Merchant Ivory began exporting films to the US with a small burst of success here stateside.  Really, I think the breakaway hit was A Room With a View (1985) - which I've never seen to my recollection - exploded with the one-two punch of Howards End (1992) - which I did see in the the theater during its initial run - and The Remains of the Day (1993) - which I did not, though I do remember it coming out.  If you ask American cinephiles if they like Merchant Ivory pictures, I think they'll say yes, but aside from these three movies, I don't know if any others really got any traction stateside, and by the turn of the Millennium, Merchant Ivory pictures had largely disappeared from the conversation.

Tarantino Watch: Pulp Fiction (1994)

By Fall of 1994, I was in my second year at the University of Texas.  Back in the 80's and 90's, Austin was a much smaller town, but the avid film scene for both film production and film fans, which would become fertile territory for the Alamo Drafthouse to take hold and grow.  You're welcome, America.  Our 90's love of beer and movies is now our gift to you.

For reasons upon which I am unclear, Quentin Tarantino was well aware he had a particularly vocal fanbase in Austin.  I suspect screenings of Reservoir Dogs at either The Dobie (a small "art house" theater on the edge of campus) or the Village (a larger, equally dumpy art house theater a few miles north of downtown) might have gone well for the director, but I was living in North Houston from 90-93, and missed that window.  

Anyway, Tarantino booked a screening of his new film, Pulp Fiction (1994), on campus at UT Austin about two months before the film's broad release.  I've written before about the experience*, but it was pretty amazing.  Hogg Auditorium, an old-style movie and performance house, was filled to capacity.  The place was rowdy as hell.  People were dressed in black suits and ties.  In sports parlance, this was a hometown crowd.

So, it should come as no surprise that when Amanda Plummer's character took the screen, shouted spittle our direction and then the credits appeared, the crowd went monkey-shit.  Standing en masse, cheering, clapping, roaring really.  And not for the last time.  The adrenaline shot didn't just get the crowd on its feet, if there'd been a police cruiser to turn over and set ablaze, it would have happened.  We were up and down in our seats throughout the screening, and I guess at that point Mr. Tarantino had a good idea there was an audience for his movie.