Former First Lady Nancy Reagan Merges With The Infinite

Former First Lady, 80's fixture, anti-drug advocate, Mr. T snuggler, astrology enthusiast and spouse to President Ronald Reagan - Nancy Reagan - has passed at the age of 94.

The kids will never understand what it was like having Nancy Reagan as First Lady in the White House.  We haven't since had a First Lady who demanded the same sort of attention and her piece of the spotlight as Nancy, in a sort of WASPy, 20th Century social-rules, imperious sort of way.  The Ronald and Nancy Reagan relationship was one of true mutual adoration, but you sort of got the feeling President Reagan was more than happy to let Nancy dress him and tell him how to cut his hair, and it worked out well for both of them.

Bowie Watch: Labyrinth (1986)

We watched this one for obvious reasons.  It's been a while, and I was surprised how well I actually liked the movie.  I don't really remember how I felt about it upon release, and as it's essentially a long allegory for a young woman learning important life lessons about the transition from childhood to young adulthood - maybe being 11 was not the right time to be getting some perspective.  But I remember liking Bowie in the movie.

Of course I've seen it since.  Heck, we own a copy (seems like a Jamie purchase if ever there was one), but we haven't seen it in years.

A bit sad, of course.  Henson passed decades ago.  Bowie has gone into the cosmos.  But for the kids who want to see some amazing visual effects, practical FX and how it was done in a pre-CGI era, this is a heck of a movie.  Yeah, yeah.  The owl is CGI in the opening.  I know.  But you know what I mean.  And, hey, Bowie looks like he's having good fun with his pals.

Future-Noir Watch: Blade Runner (1982)

I'm now old enough that the dates casually thrown around in the sci-fi of my youth are starting to show up on my wall-calendar at work.  Already we've passed the dates of Back to The Future 2, and - as was impossible to avoid online yesterday - the inception date of Roy Batty, the antagonist (I refuse to call him a villain) of the famed Ridley Scott sci-fi noir android movie, Blade Runner (1982).   While January 8th, 2016 is a few years prior to the events of the movie, it's also impossible not to note that in 1982, the idea that we'd have off-world colonies for the wealthy and healthy looking to get away from this back-water rock of a planet didn't seem that far-off.  Or that genetic engineering would advance to a degree that we'd be on a Nexus 6 version of artificial life-forms.

We do have some pretty good videogame systems, Google can find stuff for your computer and we can take pictures with our pocket computers, so I'm calling it a wash, technology-wise.

I was about thirteen the first time I saw Blade Runner.  I was aware of the movie prior to this time, and, rightfully so, it was considered a bit adult for me to check out and I self-selected against renting it until then.  Frankly, I wasn't expecting much, more of a Tom Selleck in Runaway or even a RoboCop sort of "we've sorta dressed up the present, put weird ties on people and called it the future" sort of movie.  And there's nothing wrong with that, but, much like Star Wars, part of what makes the thing greater than the sum of its parts is the fully immersive experience.  From retro-fitted buildings to flying cars sensibly limited to police prowlers, to overpopulated streets, class-based fashion and architecture, and the monolithic structures - the soaring hubris of progress and wealth.  All of it alien, all of it recognizable.  That was the work of the artists working on movies in this era, the Syd Meads, David Snyder, Lawrence Paull, Michael Kaplan and just countless others.

And don't forget that score by Vangelis.

Hunter Watch: Broadcast News (1987)

Who doesn't like Holly Hunter?  You?  To hell with you, then.

What a strange artifact of a movie.  This thing wouldn't make a ping on the cultural radar in 2015, but in 1987 it made, like, $50+ million, which was nothing to sneeze at back then and was lauded and honored.  It was nominated for, like, 10 Academy Awards, but seemingly won none of them.  You know what did win?  Harry and the Hendersons for make-up, and Innerspace for visual effects.  Makes you think.

And the entire credits last, like, 45 seconds because we didn't used to need 800 people making CGI coffee cups and digitally removing that one fly-away on Holly Hunters hair in one scene.

The 1980's were a weird time for movies.  I'm not sure if the kids today properly understand a world in which people's parents owned John Updike books whether they read them or not, divorce was a genteel activity for upper middle class white folks, people drank white wine un-selfconsciously, and there was a huge market for movies aimed at your parents to go see without their children, usually about people who read John Updike, drank white wine and got divorced in terribly civilized tones.

It all seems so impossible right now.

Halloween Watch: Elvira - Mistress of the Dark (1988)

I'm a firm believer that the 1988 film Elvira: Mistress of the Dark is both underrated and was ahead of its time.  Fortunately, in the ensuing 20-something years, the movie found its audience on VHS, cable and DVD.

While certainly there were female-centric comedies in the 1980's (see: the career of Goldie Hawn), Elvira's persona was considered something more to gawk at during her first wave of popularity when seen through the filter of media like The Tonight Show than it was seen for its own merits or as something folks were bothering to pay attention to.  Sure, she had genuine fans out there, and the oddly specific nature of Elvira translated surprisingly well to beer ads, etc...

Halloween Watch: An American Werewolf in London (1981)

As An American Werewolf in London (1981) concludes, the screen goes dark, and then the following appears on screen:

Lycanthrope films limited wishes to extend its heartfelt congratulations to Lady Diana Spencer and His Royal Highness the Prince of Wales on the occasion of their marriage - July 29th 1981

It's one of the oddest moments in an incredibly odd horror film, one that was part of the 1980's deconstruction of media tropes as the generation of film and media students got jobs in the world and Marshall McLuhan's ideas trickled into the zeitgeist.

The internet suggests that the tag regarding the marriage of Prince Charles is there as a sort of pre-emptive apology to Charles for hurling a homophobic slur at him in the course of a scene where our lead character is trying to get arrested, but it's also part of the undercurrent of the alien nature of an American in England, werewolf or not, that's part of the movie.  With England's somewhat stricter censorship rules of the time, perhaps that bit might have required an edit for a UK release.  I don't know.  But it's just one more bit of an American trying to behave himself in England and making a mess of it, as something that can't possibly be taken as anything less than an eye-rolling apology to propriety.  Frankly, I don't know how any American would meet such a congratulatory message with anything but a groan or chuckle at the end of a brutal werewolf rampage and Creedence blasting from the Dolby sound system.

You know, this is the same filmmaker who brought us Animal House just a few years before.

We didn't necessarily need to meet any particular criteria for what a horror movie was, anymore, Landis was saying.  We can be genuinely funny.  We can be snarky and a but subversive.  And we can be absurd.  But none of that, he seemed to be saying, really makes a good werewolf rampage any less horrific.  Just, you know, bizarre.

Monster Watch: The Monster Squad (1987)

When I was about twelve, one of the signs that The Admiral was secretly listening to me, and not just thinking up new and interesting fatherly pearls of wisdom to dole out, was when he took the afternoon off from work to take me to see The Monster Squad (1987).  I'd wanted to see the movie, no one else did (except for him, I guess), and so one day he took the afternoon off in the middle of the week - I guess it was summertime - and we hit the Showplace 6, ate some popcorn and watched Wolfman take one in the crotch.

I recall we both liked it, it was darker than I expected, maybe even a little grittier, and Dracula was straight up frightening in my twelve year old eyes.  And, as anything you consider to be not-dinner-table-conversation occurred, I sort of cringed at having to let my dad know I knew what a virgin was outside of the Christmas story.

The prior year, he'd also taken me to see Little Shop of Horrors when no one else wanted to go, so apparently The Admiral was into taking me to see movies that would bomb at the theater, but gain a following on home video.  But he also got really jazzed at the opportunity to watch old sci-fi movies like War of the Worlds with me, and was always up for a trip to see something like The Last Starfighter or The Untouchables.  Way to go, man.

But, man, it really seemed like nobody else but The Old Man and myself had seen this movie until the last fifteen years.  Although, eventually friends did see it on VHS or cable, as did I.

At some point, maybe in 2008, pal JackBart and I caught a screening at The Alamo Drafthouse with a good chunk of the cast, director Fred Dekker and screenwriter Shane Black in attendance.  The place was packed, the Q&A was great, and the cast and crew pretty forthcoming with details.  I was one of five people who let out a loud whoop when Black mentioned he was working on Doc Savage.

One thing that really stuck with me from that screening was the honest recollection of studio compromise, of what was originally envisioned, and a script that the director felt had been very watered down to serve studio hopes for a Goonies-type film leading to franchise dreams, rather than a movie about adolescents growing up when you know, Dracula shows up.  I'd love to read that original script some day.

80's Watch: Valley Girl (1983)

I was 11-ish when Valley Girl (1983) hit cinemas, and didn't wind up seeing the movie until circa early 1995 on VHS.  I have almost no memory of that 90's-era viewing, and it wasn't just the case of "Red Dog"we were going through.

Unfortunately, its safe to say that Valley Girl is not a movie for me.  That's fine.  It was never aimed at me as an 11 year old, a 20 year old dude of the 90's nor was it ever supposed to be watched by a 40-something me.

I mostly see the movie as an interesting artifact of the era, but it's not like the movie was reflective of much more than a very regionally specific view into kind of dull high-schoolers with an after-school-special obsession with popularity.  I don't like to use the term "shallow", but if I had difficulty remembering the film, perhaps it's because it's hard to get past the notion that both the main characters and A Plot of the movie wouldn't even really get your shoes particularly wet were you to wade through them.

In 2015, the movie is remembered for three things:

80's Watch: Repo Man (1984)

I've said it before, and I'll say it again:  Repo Man (1984) may be the best time capsule for a 1980's that's been mostly lost to time.   Co-opted and reprocessed into mall fashion (eat hot death, Hot Topic), and generally been intentionally run over and run into the ground since, the subculture of disaffected, aimless youth of the 1980's has no real footprint remaining aside from the occasional nod to The Circle Jerks somewhere on a music website.  We've sort of made up the 1980's in the image of John Hughes movies and a Reagan's America that doesn't include the nuclear annihilation threat or the stagnant economy.

80's Watch: Blue Thunder (1983)

We'd bid some friends good-evening and I was following my usual post-cocktails routine of drinking a couple of glasses of water and eating something when 1983's helicopter actioner, Blue Thunder, came on our local UHF-channel/ CW affiliate.  Then, somehow, it was suddenly 2:00 AM and I'd watched the entirety of Blue Thunder again.

It happens.

No one is going to confuse Blue Thunder with a good movie, and, cut for TV, it's an even less good movie.  But when it's midnight and you're a few drinks in, Blue Thunder is, apparently, exactly what's needed.

In the cold light of day, I think I remember the plot.  It's been at least fifteen, maybe twenty years since I last watched Blue Thunder, but it goes something like this:

80's Watch: UHF (1989)

In the glorious summer before my Freshman year of high school, I saw UHF (1989) in the theater.  Twice.  I admit, once was at the dollar theater, but still.  In fact, one of those dates would have been right around now as my ritual was to go see a movie the night before school started, and that year, our movie of choice was UHF.  For a dollar.

You're welcome, Weird Al.

"Weird" Al Yankovic was an extremely well known figure by 1989, having broken through with his 1984 album "Weird Al" Yankovic in 3D and - much to my delight and surprise - he's still going strong in 2015.  He just played two nights in Austin.  His last album actually hit #1 on the Billboard charts.  Not bad for a song parody man who has managed to outlast and/ or outlive about 90% of the acts he's spoofed.

The movie has a razor-thin plot and is more or less an excuse for Al to move his talents for translating rock songs into jokes about processed foods into the more visual realm of pretty spot on spoofs of TV and movies.  And, really, he sort of very casually takes on the culture of TV in the 1980's in general.

80's Watch: Tapeheads (1988) - Let's get into trouble, baby

Tapeheads (1988) is most certainly a cult movie, but it's a sort of under-the-radar cult movie that feels like it should be one of those movies people talk about a LOT more than they do.  If people have seen it, it's one of the movies they saw 20 years ago, but probably not a lot since, and maybe not that many times.

80's Watch: Real Genius (1985)

I like this movie.  I still like this movie.

I saw it on VHS as a kid, and it was in heavy rotation at our house.  Highly quotable.  I remember being at a kid's birthday party in 6th grade-ish, and found out upon my arrival that this was what we were going to watch, and he got all sad I'd already seen it (why that mattered, I don't know), and I reassured him "man, I love this movie.  No problem." and all was well.

Let me get my problems with the movie out of the way, and then we'll all kumbaya around what I like.

80's Watch: Stripes (1981)

I didn't see Stripes in 1981 when I was six.  I know I was in middle school, and I'm pretty sure I watched this one sometime after my dad figured out I could watch an rated-R movie with him without blowing our cover when it came to the content of whatever it was we were watching.  After all, both of us knew The KareBear could be a little sensitive about language, violence and nudity in movies, and Stripes provides a bit of all of the above.

The movie is from an era in Hollywood when they were trying out these SNL alums as movie comedians and releasing the Second City performers into the wild.  It was also the era when female nudity made its way into movies in a big way, with a seeming prerequisite for many a comedy to include unnecessary shower scenes.

So, hats off to us, Dad, for silently agreeing to not discuss the many topless scenes in this movie with Mom.

80's Watch: Weird Science (1985)

Ah. John Hughes.  What exactly happened to you in high school, man?

What's weirdest, Mr. Hughes, is that it's the filter through which you experienced your formative years, applied to a very small handful of films, either created or so reflected a vision so all-consuming that its seemed to rewrite reality for your audience, leading decades of suburban kids to believe your movies have something, anything, to do with reality, and rewriting how movies and TV would portray high school, and allow all of us to cast ourselves as the outcast and the geek.  Hell, we all knew we were Cameron, not Ferris.  And that was the point.

Pretty clearly, Mr. Hughes, your perspective is that of a highly privileged suburban Chicagoan, something that is both incredibly specific and still enough part of fly-over country and enough a part of the generic American public school experience that we can't help but recognize the surroundings and relate a little when we see a gym with kids in PE dress-out uniforms* or the lockers along the hallway.  Even if the same public missed the point during those test screenings of Pretty in Pink and insisted on the wrong happy ending (which I imagine must have killed you inside, Mr. Hughes).   

Maybe in middle-school we believed it, but even by high school, we knew it was never as simple as the jock, the nerd, the princess, the criminal and the freak.

Comedy Subterfuge Watch: Spies Like Us (1985) and Top Secret! (1984)

I dunno.  Do I really have to talk about these movies?  I'm tired.

Yeah.  I'm not going to write about these movies.  I like Top Secret! much, much more than Spies Like Us.  How's that?

Bloom County Returns

Kids today will never understand a world with 3 TV networks, 1 or 2 newspapers and you all kind of know what's going on with those media outlets at all times.  Up to and including newspaper comic strips.

I was a kid who got up every morning to make enough extra time to read the funnies in their entirety.  I followed Mary Worth for years and will never understand any appeal to that strip that wasn't entirely ironic, but read it every day in order to not miss the one or two days per year where something actually happened.*  Like every other kid of the early 1980's, I liked Garfield first, and spread out to the rest of the comics page thanks to, first, stuff like Peanuts and Tumbleweeds, and later The Far Side and, of course, Calvin and Hobbes.

Back then, syndicated comic strips were big, big business.  Because strips appeared in the paper, you bought collections, the cartoonists would sell dolls, t-shirts, etc...  Maybe even cartoons, like Peanuts.  But if you did well, you could become a household name.

I don't remember exactly when I first noticed Bloom County, but I do remember my brother purchasing the first collection somewhere along the line.  He kept reading, bursting into laughter, then showing me the strip, so we wound up sitting on the floor reading it together, laughing so hard we cried.

SW Watches: Predator (1987)

I love the 1987 Arnold Schwarzenegger vehicle, Predator, with the kind of unironic enthusiasm you never really recapture after the age of 13, when we rented this flick during the golden era of action movies with a hard R-rating.  And this is not a movie that earned its hard R from gratuitous nudity of the era (in fact, nary a boob is seen that isn't an oiled pectoral muscle).  It's just straight up Reagan-era ultraviolence from Carl Weathers, Jesse Ventura, Shane Black, Bill Duke and more.

And, of course, The Predator, one of the groundbreaking action movie concepts that no one has still really improved upon almost 30 years later.

I watched the movie for three reasons:

• I was recently gifted a Predator-themed shirt by CanadianSimon, and so I wanted to watch the movie in his honor
• Last summer I heard rumors that screen-writer/ actor Shane Black (who is in this movie) would be rebooting the franchise - and I'm kind of looking forward to seeing what he does.  I wouldn't trust too many other folks to take this on, but Shane Black is the right person for the job
• I was more than half-way into a bottle of Malbec and watching Predator suddenly seemed absolutely necessary*