Waking Ned Devine (1998)

"The words that are spoken at a funeral are spoken too late for the man who is dead."

Director

Kirk Jones

Cast

Ian Bannen - Jackie O'Shea
David Kelly - Michael O'Sullivan
Fionnula Flanagan - Annie O'Shea
Susan Lynch - Maggie O'Toole

Robert Hickey - Maurice O'Toole
Paddy Ward - Brendy O'Toole
James Nesbitt - Finn
Adrian Robinson - Lotto Inspector
Maura O'Malley - Mrs. Kennedy
James Ryland - Dennis Fitzgerald
Fintan McKeown - Pat Mulligan
Eileen Dromey - Lizzy Quinn
Kitty Fitzgerald - Kitty
Dermot Kerrigan - Fr. Patrick
Jimmy Keogh - Ned Devine

There are some stories out there I wish I thought of first. "Waking Ned Devine" is one of them.

It's a simple story with a lot to ponder over. Above all, it's entertaining.

The story starts with lotto balls revealing to millions of ticket holders that they've lost. Meanwhile, within moments, those same lottery balls change one lucky shlub's life forever. 

News that the lotto winner lives in the small Irish town of Tullymore, which has a population of 52 people, reaches the ears of one of its residents, Jackie O'Shea (Ian Bannen). He and his long-time friend Michael O'Sullivan (David Kelly) try to figure out who among the villagers of Tullymore is the lucky millionaire. 

Along with Jackie's wife, Annie (Fionnula Flanagan), they come up with a scheme to find the winner by inviting the entire town over for a chicken dinner.

When the night ends, and no one seems to be gleaming like they'd expect millionaire would, Annie discovers she has one plate of chicken left. She counted the number of chickens herself. And with one left, that means someone didn't show up. That someone is Ned Devine. 

So, Jackie goes to Ned's house to take him his chicken dinner. 

Jackie finds the lights out, the TV on playing static, and Ned Devine stiff in his easy chair with a smile left on his face. In his hand is a lottery ticket with the winning numbers. The shock of winning millions ended his life.

David Kelly (left) and Ian Bannen in "Waking Ned Devine."

Jackie returns home to tell Annie what happened to Ned. Of course there isn't much they can do about poor Ned so late at night. 

Jackie has a dream that same night in which he's riding on a boat with Ned, who's heartily enjoying that chicken dinner he missed. In the dream, Ned offers Jackie some of his dinner as they sail on to the light. 

Jackie interprets his dream as Ned's way of saying he wants him and all of Tullymore to share in his lottery jackpot. "Share in the chicken dinner! Share in the winnings," Jackie concludes. 

Before the sun comes up, Jackie goes to get Michael, and together they return to Ned's house to gather his personal information. A new scheme is hatching. They're going to fool the Lottery Commission that Michael is really Ned Devine. 

The plot begins with Jackie calling the Lotto to make a claim. 

When a lotto inspector (Brendon Dempsey) arrives in town, Michael claims to be Ned. But the inspector needs to confirm it with the rest of the Tullymore residents before he can hand over the winnings. He also tells them the prize is near a total of IR£7 million. That's in pounds, by the way.
So, Michael and Jackie offer each villager an equal cut of the winnings if they identify Michael as Ned Devine when the inspector comes back around. And all are in agreement except one person - Lizzy Quinn (Eileen Dromey), the local grouchy cat lady. 

She threatens to blackmail Michael and Jackie by reporting their fraud to the lotto commission for ten-percent award unless they agree to give her £1 million of Ned's winnings. 

There are other subplots taking place as well.

The local pig farmer, Finn (James Nesbitt) is trying to win the affection of Maggie O'Toole (Susan Lynch) who has feelings for him. But she can't get past the stench of the pigs that linger around Finn. 

Despite his best efforts to hide the pig smell with various sweet scented soaps, Maggie still can't get past the smell. 

Finn is convinced he's the father of Maggie's son, Maurice (Robert Hickey). 

He's also up against Pat Mulligan (Fintan McKeown) who is trying to win Maggie's affection. 

Also, one of the villagers, Kitty (Kitty Fitzgerald), has a bit of a crush on old Michael. She's been trying to win his affection for a long time. When they ask her to tell the lotto man that Michael is really Ned, this opens an opportunity for her to have a date with Michael. She agrees to take part in the lie if he'll take her out. 

All in all, everything flows smoothly. The humor is genuine and so natural. Nothing is outlandish or off-the-wall. It's all lighthearted, but with an edge. Greed!

Despite the charming elements in this movie, I have slightly mixed feelings about it. 

Primarily, the ending is off-putting for me. In fact, the entire scenario with Maggie and her son, who is 11 or 12-years-old is off-putting. She clearly slept around Tullymore while leading Finn by a string as he wondered for all that time if he was Maurice's father or not.

At the end, she tells Jackie who Maurice's father actually is. There's nothing charming about that subplot which adds nothing to the movie except that Maggie is despicable, and so is Ned. 

As for the rest, the characters are certainly likeable and memorable. Maybe that's their Irish charm shining through? Very likely! The actors are clearly having fun in their performances as they appear at ease and in their element. This is especially true for David Kelly and Ian Bannen. Their chemistry is underrated. 

Jackie is driven by greed which he strives to justify. Michael, on the other hand, is a follower who works on doing what Jackie wants him to do. And once he realizes that he's doing a great job at fooling the lottery man, his self-confidence spikes a bit.  

The story gets more and more complex but somehow manages to work itself out as though fate is on the side of everyone in Tullymore, except Lizzie. And how she gets her comeuppance! It's human nature up against mega bucks at its best.

The shots of Ireland are amazing and truly well executed. The soundtrack is entertaining and catchy. It's obvious what's going to happen in the end. The fun of watching this small Irish village getting to that point is what makes the movie a comedy I wish I had come with myself, save for the whole thing going on with Maggie.

Chaplin (1992)

"Easy, when you know how." 

Director
Richard Attenborough

Cast
Robert Downey Jr. - Charlie Chaplin

Paul Rhys - Sydney Chaplin
Geraldine Chaplin - Hannah Chaplin
Moira Kelly - Hetty Kelly/ Oona O'Neill

John Thaw - Fred Karno
Anthony Hopkins - George Hayden
Kevin Kline - Douglas Fairbanks

Dan Aykroyd - Mack Sennett
Penelope Ann Miller - Edna Purviance
Marisa Tomei - Mabel Normand
Maria Pitillo - Mary Pickford
Milla Jovovich - Mildred Harris
Kevin Dunn - J. Edgar Hoover

Deborah Moore - Lita Grey
Diane Lane - Paulette Goddard
Nancy Travis - Joan Barry

In my mid to late elementary school days between 1993 to 1995 and after, I discovered something relatable in Charlie Chaplin's character often referred to as "the Little Fellow."
I wasn't the popular kid in the class, nor did I desire to be. I wasn't bullied, but I was an easy target for the occasional ribbing. Of course, I did my own share of ribbing. Turnabout is fair play. I was a short, thin kid with glasses, and my hair was always combed. 
I wasn't chased after by girls, but I sure did a little chasing of my own, always hopeful of romance. My efforts were pretty much met with setback and heartache.

Nothing has really changed much since then except my weight, my age, my hair loss, prescription changes, and my wedding band. 

Back then, while I took interest in some of what my peers took interest in, I also took interest in other pop culture media that my friends didn't care anything about. 
I watched a lot of black and white comedies, listened to old radio programs, played older music, and I appreciated the golden age of entertainment thanks in large part to my dad who had some old movies on VHS.
I loved, and still love, the Marx Brothers, and Laurel and Hardy, and Buster Keaton, and above all, Charlie Chaplin.

Chaplin captivated me even though our life spans never crossed our respective years. 

His character "the little Tramp" is a man on the sidelines. He sometimes wins the affection of a love interest, but not often. He has hopes, dreams, and purpose. He's a "little fellow" and a hero. He's on the sidelines, and yet stands out among a crowd. Chaplin, the comedian, is the king of tragedy.
Once you notice him, you don't forget his image.
In my youth, I saw how the past only changes in appearance as it reflects human nature that never changes. 
With Chaplin, no matter how bittersweet and disappointing life is, he'll wake up the next morning and start again.
These interests I considered my own. They were unique to me and made me distinct from my peers. 

I love the 1992 biopic "Chaplin" starring Robert Downey, Jr., and directed by Richard Attenborough. I'm also disappointed by it. 

The movie covers Chaplin's entire life as told by an older Chaplin (Robert Downey, Jr.) as he reminisces about his life to a fictional autobiography editor, George Hayden (Anthony Hopkins). 

The film starts with five-year old Charlie in London's Victorian era East End as he watches his mother, Hannah Chaplin (Charlie's daughter, Geraldine Chaplin, plays her own grandmother) lose her voice

Robert Downey Jr. as Charlie Chaplin in "Chaplin."

while singing on stage in Vaudeville. It's the last time she ever sings again. Already living in poverty, Hannah can no longer pay rent. Both Charlie and his older half-brother, Sydney, are taken away to a workhouse as a result. 

Hannah develops psychosis and a teenage Charlie is forced to admit her into a mental hospital. 

Later, Charlie and Sydney work for variety producer and impresario, Fred Karno (John Thaw) and enter his pantomime group. 

Charlie becomes well known among the U.K., particularly for his role as a disruptive drunk which he portrays between acts on stage.

He meets a young show girl named Hetty Kelly (Moira Kelly) who becomes his first love. 

Charlie quickly proposes to her, but she says no as she's too young. 

As Charlie is heading to America to take up a job offer with famous comedy film producer, Mack Sennett (Dan Aykroyd) in the movies, he promises Hetty that he'll return successful. 

While working for Sennett, Charlie comes up with the famous "Tramp" figure and his fame quickly spreads worldwide.

However, Sennett's girlfriend, Mabel Normand (Marisa Tomei) has directorial methods that Charlie doesn't like. So, he asks Sennett if he'll let him direct the next movie, which Sennett reluctantly agrees to.  

This eventually leads Charlie away from Sennett so he can continue directing his own movies. 

With loads of success, Charlie opens his own studio in 1917. 

He manages to stir up some controversy with a picture called, "The Immigrant" in which Charlie kicks an immigration officer in the backside. How dare this foreigner mock the U.S. Immigration system!

Also, during this period, Charlie meets Edna Purviance (Penelope Ann Miller) who would be his leading lady for a few years. 

After a few years go by, Charlie attends a suave party thrown by his friend and fellow actor, Douglas Fairbanks (Kevin Kline) also attended by J. Edgar Hoover (Kevin Dunn). Charlie disputes Hoover's comments about the role of movies, actors and propaganda. This sparks a 40-year grudge against Charlie. 

He starts dating 16-year old actress, Mildred Harris (Milla Jovovich). He later tells Fairbanks that he has to marry Harris because she's pregnant. Fortunately, her pregnancy turns out to be false.

But the two marry only to end up getting a divorce. 

Charlie is in the middle of working on his 1921 film "The Kid" while this is going on. Harris's divorce lawyers claim "The Kid" is an asset and try to confiscate it. But Charlie, Sydney and the production crew sneak off to Salt Lake City with the movie to finish it in a hotel room. 

They sneak back to Los Angeles with the completed film after narrowly getting caught. 

Upon the premiere of "The Kid," Chaplin heads back to the U.K. for the premiere and has hopes to be reunited with Hetty. 

Sadly, no one has told him Hetty succumbed to influenza and died two years prior. 

Back in the U.K. while a lot of people are happy to see Chaplin, some of the working-class English are less than thrilled as Charlie didn't enlist in the British armed forces during World War I. 

Hoover continues digging into Charlie's life, trying to find anything that will support his claims that Charlie is a communist sympathizer.

On top of this, Sydney tries to encourage Charlie to switch over to talking pictures. But Charlie doesn't want the Tramp to talk. Doing so will diminish the Tramp. 

Instead, he makes two more silent movies in the early rise of talking pictures - "City Lights" and "Modern Times." 

Robert Downey Jr. and Anthony Hopkins in "Chaplin."

Before that, he makes "The Gold Rush" in 1925. He also marries his second wife, the young actress Lita Grey (Deborah Moore). After Charlie and Lita go splitsville, he marries actress Paulette Goddard (Diane Lane).  

Charlie is deep in his work on "Modern Times" which causes Goddard to feel ignored and like she's second place in his life. So, that marriage ends in divorce. 

He finally meets Oona O'Neill (Moira Kelly) who resembles his first love, Hetty Kelly. She's the daughter of American playwright, Eugene O'Neill. 

They fall in live and marry. They stay married up to Chaplin's death in 1977. 

After their marriage, Charlie is accused of fathering a child with former lover, Joan Berry (Nancy Travis) which plunges him into a highly publicized scandal. 

Though blood tests prove it's not Charlie's baby, a court still determines he must pay child support. 

Also, Charlie decides to finally make a talking picture as the Tramp called "The Great Dictator" which satirizes Nazism and Adolf Hitler. It's his last movie as his famous character, but not his last movie all together. 

Hoover sees "The Great Dictator" as anti-American propaganda. Chaplin doesn't make another movie for seven years until his film "Limelight" is produced. 

The McCarthy hearings are taking place when Chaplin takes Oona and his family to visit the U.K. 

They have barely left New York City when the U.S. Attorney General revokes his re-entry permit leaving Charlie barred from the U.S. 

He resides in Switzerland for the rest of his life, feeling betrayed and resentful towards the country that made him successful, and whom he made laugh in return. 

Charlie does return to the U.S. 1972 to receive an honorary Academy Award. There, he receives a long standing ovation. 

To make a movie of someone's entire life is bold. It's especially bold when that someone is immortal like Charlie. 

Nobody before or sense has ever captured human tragedy so simply, and still make audiences laugh. 

I think this movie tries to depict that, and Downey's performance tries to replicate it with every gleam of his talent. It's a monumental effort. 

Despite Charlie's rise from pauperdom to prestige, this movie is a long string of melancholy emotion and sadness throughout, which is heard especially in the soundtrack. There's some triumph, some comedy, and a lot of sorrow. 

It brings deeper insight into Chaplin's creative genius and remarkable talent as a comedian, writer, actor, composer, director and producer. The scene where Charlie wracks his creative brain to figure out a way how to make the blind flower girl in his movie "City Lights" mistake the Tramp for a rich man. 

All things considered, the movie "Chaplin" fails to focus enough on where it matters - Charlie's creativity. It goes back and forth between that, and his interest in younger women, and all the other stuff that doesn't contribute to his greatness and legacy. 

Granted, that all makes him the human he is. But everyone has weaknesses and shortcomings. The movie's tagline reads, "Everyone has a wild side, even a legend." As depicted in this movie, Chaplin

Geraldine Chaplin as her grandmother, Hannah Chaplin.

didn't do much to rise above his "wild side." This part of him didn't make him "Charlie Chaplin" as the world knows him. I don't know what the audience is supposed to take away from this "wild side" of Charlie Chaplin. 

One major pet peeve I have with "Chaplin" is how it depicts Chaplin's first appearance in a movie. 

The movie shows him first appearing before a camera in a fictional scene with Chaplin dressed as the Tramp crashing a wedding party, and then being chased around the room by wedding guests. 

In reality, Chaplin's first movie was "Making a Living" (1914). It was his second movie, "Kid Auto Races at Venice" (1914) where he first appeared as the "Little Tramp" with bowler hat, bamboo cane, toothbrush mustache, tight coat and baggy pants. This movie couldn't get that right? Why couldn't they depict either of those movies as his first picture, or first picture as his famous persona? 

Chaplin also got a bit too politically preachy around World War II as seen in "The Great Dictator" which, if what "Chaplin" depicts is accurate, wasn't really appreciated by audiences back in the 1940s. Nothing has changed since then. Too many actors still act preachy. Movie audiences didn't like to be lectured to by Hollywood elites back then, and they still don't. Hollywood didn't get the clue back then, and still hasn't.

I understand this biopic is trying to depict Chaplin as the product of his upbringing and experiences. It might have been better to focus on one particular aspect of Chaplin's life so as to give the audience clearer picture of how his talents made him so remarkable, highly respected and renowned. 

Who cares if he had a wild side? Who cares that a rich celebrity loved women? Who cares if women loved him? 

Yet, the amazing acting, talented cast of stars who are in this together to pay homage to the comedian of all comedians, the set design, and the respect this movie contains is well done. To depict Chaplin's entire life is a bold feat. The effort alone deserves appreciation. 

The Little Mermaid (2023) - My Thoughts Relatively Quick

When Disney announced the production of a live action remake of their 1989 animated classic, "The Little Mermaid," which audiences knew would end up in the bargain bin with the rest of their remakes, I didn't really care. There was no reason to. All their other live action remakes have been terrible. To be fair, some were less terrible than others. Otherwise, none of these remakes have been anything better than "o.k." For the most part, they're often dull and uninspired.  

Last year's "The Little Mermaid" is no different. 

The original movie certainly was a major help in hoisting Disney out of the dark and drab slump they found themselves in during the 1980s. So, modern Disney did what it does best and crapped over their own saving movie by producing a poor version of it to appease a particular faction. 

I had put complete trust in the film's trailers which looked uninspiring and bored. So, that's what I expected. A boring and uninspiring movie. And I wasn't disappointed...but yet, I was. 

This movie is a dull insult to classic Disney - courtesy of modern Disney. And it shows, beginning with the acting. 

Like most of the other live action Disney remakes of their own classic animated movies, "The Little Mermaid" is basically a shot for shot remake severely lacking emotion. King Triton (Javier Bardem) has no emotion. Eric (Jonah Hauer-King) has no emotion, especially when he breaks into his song.

The acting all around deserves to be drowned in the depths of the sea. It's terrible. No one has any convincing emotions. They all go through the motions, repeating the lines audiences loved in the animated movie, and sing a few new songs which are forgettable. 

While Jenna McCarthy's appearance as Ursula isn't bad, her performance is a passible impression of Pat Carrol's performance of the animated Ursula, right down to her voice fluctuation. 

And Awkwafina's lines for Ariel's friend Scuttle the northern gannet bird (he was a seagull in the cartoon) are awkward, random and sound scripted. Her voice stands out like a raspy ragged fowl rather than a song bird. Her singing would surely make Walt Disney himself scratch his head as if to say "did that come outta you" before issuing some job terminations. 

Halle Bailey's performance as Ariel isn't any better. She goes through all the actions like she's waiting for it all to end because there's a paycheck at the end of the job. She is just unconvincing and lacking emotion. 

All around, "The Little Mermaid" is a dull cash grab of an older property that relies so much on the animated movie. Why even bother with this? 

The original movie pops with color and life. This one doesn't! 

The producers worked too hard to make this all too realistic. "The Little Mermaid" isn't meant to be this realistic. 

The sea creatures aren't meant to look as real as they are. It makes them forgettable and hurts what little (if any) unique characteristics they might possess. 

And by the way, how does Triton have daughters of different nationalities? How did that come about? Maybe I don't want to know. 

Halle Bailey as 'Ariel' in Disney's "The Little Mermaid."

Batman (1989) - Comic to Movie #22

"I made you; you made me first."

Director

Tim Burton

Cast

Michael Keaton - Bruce Wayne/ Batman

Jack Nicholson - Jack Napier/ Joker
Kim Basinger - Vicki Vale
Robert Wuhl - Alexander Knox
Pat Hingle - Commissioner Gordon
Billy Dee Williams - Harvey Dent
Michael Gough - Alfred Pennyworth
Jack Palance - Carl Grissom

I reviewed the 1992 movie "Batman Returns" - the sequel to Tim Burton's 1989 movie "Batman" - back in 2022. Well, after hearing some negative comments on the '89 Batman, I felt compelled to comment. I wanted to write something up about this movie after seeing Michael Keaton return as Batman in "The Flash." So, I'm just now getting to this.
I was a month short of being nine-years old when I saw Burton's "Batman" in the theater. That theater was the Grand Lake Theater in Oakland, California and it was one of the most intense movie experiences I've had.
I still remember the parts where the audience laughed.
I still remember the entire theater cheering at the scene when the Batwing flies above the cloud cover to juxtapose against the moon to create the bat emblem before soaring full-speed back down to Gotham City to take out the Joker.
Above all, I recall the Bat-hype this movie caused back in 1989. It got a hold of me, too. My nine-year old self grew obsessed with Batman thanks to this movie. Of course, it has subsided quite a bit since then.
Even so, after all this time, I have a special place in my heart for the 1989 "Batman."
In this movie, the masked vigilante, Batman, is just beginning to grace the dark crime-ridden streets of Gotham City.
News reporter, Alexander Knox (Robert Wuhl) is covering Batman sightings around Gotham, with little to no cooperation from Commissioner Jim Gordon (Pat Hingle), Harvey Dent (Billy Dee Williams) and Mayor Borg (Lee Wallace).
Photojournalist Vicki Vale (Kim Basinger) wants to work with Knox in covering the Batman.
They both attend a fundraiser at Wayne Manor hosted by billionaire Bruce Wayne (Michael Keaton) as Gordon, Borg, and Dent will be in attendance. 

Knox and Vale hope to find out what the police and city hall know about "the bat." And Vale wants to meet with Wayne, whom she's never seen.
When they finally meet, Wayne becomes infatuated with Vale. 

Michael Keaton and Jack Nicholson in "Batman."

Meanwhile, mob leader Carl Grissom (Jack Palance) sends his psychopathic top henchman, Jack Napier (Jack Nicholson) to raid the Axis Chemical Factory and steal incriminating evidence. What Napier doesn't initially realize is that Grissom is setting him up for murder by police in retaliation for sleeping with his mistress, Alicia (Jerry Hall).
Grissom has corrupt Lieutenant Max Eckhardt (William Hootkins), whom he has in his back pocket, to conduct an unauthorized police raid in order to shoot and kill Napier.
However, Commissioner Gordon receives an anonymous tip about what's going on and shows up to take over.
Batman also shows up as he eavesdropped on Gordon receiving that anonymous tip during the fundraiser.
During a confrontation at Axis Chemicals, Napier's life changes forever when an encounter with Batman leaves him horribly disfigured and transformed into the Joker.
While Grissom thinks Napier is dead, Jack surprises him, reveals what some plastic surgery can do, followed by a shower of bullets. 

Now, calling himself "Joker," he immediately pays Grissom a visit, kills him and takes over his operations.
Joker unleashes a wave of terror over Gotham City when he takes over the Axis Chemical Factory.
He starts manufacturing beauty and hygiene products at the chemical factory with chemical agents that, when different products are used together, create a lethal gas called Smylex. This causes victims to laugh uncontrollably until they die, leaving a permanent grin on their faces just like Joker's.
Joker also takes an interest in Vicki Vale, trying to lure her to his side.
However, once Batman breaks the Joker's deadly plans and hands his findings over to Vicki to be printed in the newspaper leaving Gotham to wonder if this Batman is a friend or foe, the Joker unleashes his fury on all of Gotham.
As the mayor postpones Gotham's 200th anniversary celebration parade, the Joker decides to hold his own parade.
He lures Gotham residents to the downtown area by promising to dump $20 million in cash during his parade. And, of course, the people come.
What they don't know is that the Joker's parade balloons are actually filled with Smylex which he begins releasing into the crowd since his plans with his cosmetic products didn't work out.
But Batman doesn't waste time in fighting for Gotham City and taking out the joker.
This movie is entertaining right from the credits. The opening soundtrack by Danny Elfman couldn't fit the movie any better.
The dialogue and entire production quality design is amazingly unique and unforgettable. 

The time of the movie's release is worth mentioning.
As the popularity of the "Superman" movies waned after "Superman II" - the worst of the Superman movies being "Superman IV: The Quest for Peace" followed closely by "Superman III" - a Batman movie must have been a major risk.

Kim Basinger as Vicki Vale in "Batman."

While comic book enthusiasts might have been very familiar with dark Batman stories as seen in Frank Miller's "The Dark Knight Returns" (1986) and "Batman: The Killing Joke" (1988) by Alan Moore, the general public were much more familiar with the campy television series "Batman" the theme song of which was written by Neal Hefti, who also wrote the theme to "The Odd Couple."   

The show ran from 1966 to 1969, and starred Adam West and Burt Ward as the dynamic duo. The show was anything but dark. So, coming up with a dark Batman was certainly ambitious.
And Tim Burton's "Batman" sure has a lot of ambitious decisions behind it beginning with Michael Keaton as Batman/ Bruce Wayne, as mentioned millions of times before. 

Putting Tim Burton in the director's chair was another decision that could be called such. Before "Batman," Burton was known for directing the comedies, "Beetlejuice" and "Pee-Wee's Big Adventure."  And making Batman a complete revision, again for general audiences whose idea of Batman is what they watched on T.V., was a big one. How would audiences take to such a reimagining of their beloved Batman?
It's dark and dank, but with a little splash of color which adds to the contrast between the shadow tone of Batman and the vibrant in-your-face personality of Joker. A lot of scenes and angles look like they're straight off comic book pages.
I love the tone of the film and atmosphere of this movie. The set design is dirty, gritty, dystopian, semi-futuristic as well as vintage. The movie has a dystopian vibe to it, similar to movies like "Blade Runner" with a little fairy tale feel to it. 

There's a wounded hero and a fair maiden whose affection becomes the object of rivalry between hero and villain.. In "Batman," that's a side story that's also used to bring the hero and the villain into battle.
When Christopher Nolan's "Dark Knight" movies arrived, Burton's "Batman" remained appreciated by some, and pushed aside by others because something "better" was now among us. 

The story gets unfair criticism for Alfred bringing Vicki into the bat cave. My retort to that is that Bruce was going to tell her the truth anyway. Why does Vickie's presence in the bat cave bother people?
With the presence of British actor Michael Gough as Bruce Wayne's butler, Alfred, along with Jack Nicholson's performance that he surely borrows inspiration from his role in "The Shining," "Batman" is a movie that has improved over time. Maybe it's not as good as Nolan's films. But it doesn't need to be. It's a solid, foundational, strongly constructed and highly entertaining film. To be fair, if I must complain about one thing it's Prince's awful music video "Batdance" written for this movie. Cringe isn't a big enough word! 

More than three decades later, "Batman" remains one of the most influential superhero films ever made. What makes it stand out as the standard for what a superhero movie should be is the insanity and ridiculousness of the premise, while the characters take the situation with such seriousness and intensity. That's what pulls the audience in and want to go along with it.
It may not possess the realism of Nolan's films or the scale of modern comic-book epics, but Burton's gothic vision, Keaton's understated performance, Danny Elfman's superb and iconic film score, and Nicholson's unforgettable Joker still make it a solid foundational comic-book film.

Teenage Mutant Ninja Turtles (1990) - Comic to Movie #21

"Ultimate mastering comes not from the body, but from the mind. Together, there is nothing your four minds cannot accomplish."

Director

Steve Barron

Cast
Brian Tochi - Voice of Leonardo

     *David Forman - Leonardo performer
Josh Pais - Voice and performer of Raphael

Corey Feldman - Voice of Donatello

      *Leif Tilden - Donatello performer
Robbie Rist - Voice of Michelangelo

      *Michelan Sisti - Michelangelo performer 

Kevin Clash - Voice and puppeteer of Splinter

James Saito - Oroku Saki / The Shredder

Toshishiro Obata - Master Tatsu
Judith Hoag - April O'Neil
Elias Koteas - Casey Jones
Jay Patterson - Charles Pennington
Michael Turney - Danny Pennington

If there's one thing I can say about the 1990 comic-based movie "Teenage Mutant Ninja Turtles," it's that the movie is much better than a lot of folks and critics give it credit for.

Sure, the idea of four mutated talking juvenile turtles named after Renaissance painters is an outlandishly silly idea. Creators Kevin Eastman and Peter Laird knew that when they created these characters as a lark back in the early 1980s.  

I recently watched the 1990 "Teenage Mutant Ninja Turtles" with my kids. And I've seen it several times before. So, obviously it was time for me to say something about it.

While I enjoyed this movie in my youth, it has taken some deeper meaning in my adult years. I'm not referring to any nostalgic investment I have in this movie specifically, or in the Ninja Turtles in general. 

This movie brings together the style of a children's movie against a gritty, dark comic book action story.

In this movie, New York City is suddenly plagued with a crime wave...as though crime waves are a new problem in the "Big Apple." 

April O'Neill (Judith Hoag), a news reporter for channel 3 news, has been reporting on this silent wave of crime involving a high level of theft and juvenile delinquency. 

She suspects that hotheaded Police Chief Sterns (Raymond Serra) knows more about the group behind this rise in crime than he's letting on. 

After getting off work one evening, April happens to catch a group of young thugs stealing from one of the news vans. 

They jump her, but she's saved by unseen vigilantes which are obviously the Ninja Turtles. Who doesn't know their names by now? Raphael, Michelangelo, Leonardo, and Donatello. Incidentally, Donatello - the brains of the turtles - was almost named after Italian sculptor and architect. Gianlorenzo Bernini. After a coin toss, Eastman and Laird decided on Donatello instead. So, the world almost got Leonardo, Michelangelo, Raphael, and Bernini. Doesn't quite have the same effect. 

Anyways, the turtles live in a liar in the sewer along with their mentor, Master Splinter - a mutated rat who is a master of ninjutsu. He taught the turtles this form of martial arts while raising them himself. 

After the turtles rescue April, they return to their lair where Splinter instructs them to master the art of invisibility. 

Raphael, meanwhile, returns in a bad mood because he lost one of his weapons - a sai - during the rescue. She happened to see it just as the police arrived and stuck it in her purse. 

He decides to head to the street surface, disguised of course, to catch a movie and cool off. While up on the street, he gets into a fight with another vigilante called Casey Jones (Elias Koteas).

April keeps digging into this crime wave, discovering that the group behind it all is known as the "Foot Clan" who use an abandoned warehouse as a hideaway. As she reports it on television, the head of the Foot Clan, the Shredder (James Saito) orders some of his clan to silence her. 

The Shredder has been recruiting wayward kids to commit these crimes all around the city. 

Some of the Foot Clan ninjas attack April on a subway platform. Little do they know that Raphael happened to follow her down there. After they knock her out, Raphael attacks them, rescues the

unconscious April and takes her back to the sewer lair.

Thinking he took down all the ninjas, Raphael doesn't realize that one of the Foot Clan is following him back to the turtles' lair only to report back to the Shredder. 

After April wakes up and freaks out at the sight of four talking mutated turtles and a rat, Splinter reveals their origins to her. 

As odd as the situation is, she lets the turtles escort her home where she invites them in for pizza. As luck would have it, that's their favorite food. So, how could they say no.

After hanging out and having a laugh, they head back to the sewer only to find the place sacked and Splinter missing. 

They return to April's to hide and figure out what to do next. 

When April's boss, Charles Pennington (Jay Patterson) and his delinquent son, Danny (Michael Turney) drop by April's apartment to check in after her attack. 

The turtles hide like the ninjas they are. But Danny happens to catch a glimpse of one of the turtles, who disappears just before he can get a good look. 

Danny, who's involved in this Foot Clan, tells Shredder about what he saw and where he saw it. 

The Shredder sends his Foot Clan to April's apartment just as Raphael is up on her roof blowing off some steam. 

They outnumber him, and then attack the rest of the turtles. Casey Jones, who's up on his own apartment roof, happens to spot the Foot Clan attack Raphael from a distance. 

So, he goes to help. 

The fight leaves April's apartment up in flames. She and the turtles are forced to escape and hide in an abandoned farmhouse that belongs to April's family. Casey Jones joins them there. 

Danny quickly feels immensely guilty that his actions have caused so much chaos. 

He goes to speak to Splinter, who's being held captive by the Shredder inside the hideaway. 

Splinter's words give Danny a change of heart about the life of petty crime he's picked up, as well as a change in attitude towards his father whom Danny thinks has no interest in him. 

The turtles receive a message from Splinter through astral projection which spurs them to return to their lair back in the city.

There, they find Danny in hiding. 

Later that night, when everyone's asleep, Danny sneaks off back to the Clan's secret hideout to go talk to Splinter. Casey Jones catches him sneaking out and follows him there. 

Splinter confides in Danny, explaining that before he mutated, he learned ninjutsu from his master, Hamato Yoshi. A rival of Yoshi named Oroku Saki was immensely jealous of Yoshi as he had won the love of a woman named Tang Shen whom Oroku Saki also loved. 

Shen and Yoshi moved to New York together in order to escape Saki's jealous wrath. 

But Saki found out they were in New York, and killed them both. 

In retaliation, Splinter attacked Saki and scratched his face leaving a scar. Saki tried to kill the rat, only to slice Splinter's ear. 

Danny asks what became of Oroku Saki. Splinter replies that no one knows, but his emblem is on the headband Danny's wearing. 

Just then, Shredder catches Danny leaving Splinter's company and can tell he's hiding something. He pulls out a picture April drew of Leonardo from Danny's pocket. Shredder figures out that the turtles have returned. 

Now, the turtles are forced to face Shredder in order to save Splinter and severe the Foot Clan's grip on the city. 

This movie was made at the height of Ninja Turtle popularity. And as a comic book-based movie, it was released in the shadow of Tim Burton's popular 1989 comic book-based movie "Batman." I'll get to that movie in a later post. 

Jim Henson's creature shop does an amazing job at the designs of the turtle costumes and puppetry. Not only does each turtle bear a different color head band to distinguish them, but their facial features are distinct as well. 

On top of that, each performer gives their respective character a unique personality. 

Brian Tochi gives Leonardo a leadership attitude who calls the shots, but not without some uncertainty and trepidation as to whether he's making the right choice or not. 

For the first time, he's left to lead without Splinter's guidance. 

Josh Pais gives Raphael a closed-up personality. He needs his brother turtles, but he doesn't want that need to show. He's gruff and angry. Pais gives him a lower east-side New York accent which makes Raphael sound very sure of himself. But his vulnerabilities aren't as hidden as Raph thinks they are. 

Corey Feldman makes his character, Donatello, the brains of the turtles. He acts as their support. He gives the other turtles a silent respect as he lets them figure out their issues but not without a shoulder or extra ear. 

Robbie Rist makes Michelangelo the most juvenile of the turtles, as his character is more fun-loving and the most teenager-like, especially with his crush on April. He also comes across as the most emotional. 

Cartoon sound effects and corny gags are sprinkled within the gritty tone of the movie. Yet, some scenes are intense, such as the Shredder's initial entrance onto the screen with the camera above him as he walks into frame with a long dark shadow appearing before him. Youth surround him awaiting his instructions. The camera moves from above to behind the Shredder giving his entrance a strong feeling of dread and intimidation. 

There's a warm sense of family through the movie. It starts with Splinter and the four turtles against Shredder's Foot Clan and the wayward children he instructs to steal and terrorize New Yorkers for his sake operating under the false pretense that they're a family. 

The Foot Clan's hideaway, full of stolen goodies like stereos, video games, and electronics, is like a dark inner-city version of Pleasure Island from "Pinocchio."  The Shredder's recruitment of these kids while convincing them that they're all family and he's their father parallels the story, "Oliver Twist" in which children are trained to be thieves and pickpockets by the infamous criminal Fagin. 

On top of that, we see April's boss, Charles Pennington, trying to keep his relationship with his son Danny, who's involved in Shredder's Foot Clan, together.

It's not clear where the fracture in their tumultuous father and son relationship comes from. Maybe a divorce? But it's clear that Danny is looking for guidance and a father who's not too busy for him. He tells Splinter, "My father could care less about me." 

Splinter's response makes him think about himself from his father's point of view.

"I doubt that. All fathers care for their sons." 

"Teenage Mutant Ninja Turtles" may be a movie tarnished just a little by the ludicrous but highly imaginative idea of four anthropomorphic turtles who practice ninjutsu, the movie works well thanks to its writing and masterful puppetry and costume designs from Jim Henson's Creature Shop. This movie spawned two sequels, "Teenage Mutant Ninja Turtles II: The Secret of the Ooze," and "Teenage Mutant Ninja Turtles III" which I reviewed back in 2020. 

The film is certainly well cast. And the chemistry between the actors is clearly present. In my opinion, Hoag portrays April O'Neill the best compared to the following sequels. Her version is lively with personality, likeability and great chemistry with the four turtles she has to work alongside with. Her April is the most unforgettable. 

Sure, comic book enthusiasts and Ninja Turtle fans give this movie the most credit. Looking past the concept of "teenage mutant ninja turtles," this movie is well executed and deserves that credit and attention. 

Who's Harry Crumb? (1989)

"My reputation precedes me. Otherwise, I'd be late for all my appointments."

Director
Paul Flaherty

Cast

John Candy - Harry Crumb
Jeffrey Jones - Eliot Draisen
Annie Potts - Helen Downing
Tim Thomerson - Vince Barnes
Barry Corbin - P.J. Downing
Shawnee Smith - Nikki Downing
Valri Bromfield - Detective Casey
Renée Coleman - Jennifer Downing
Wesley Mann - Tim

John Candy is a comedian I still miss. 

I was 13-years old when he died in 1994, and I recall being sincerely sad over hearing of his death. His performances in "Uncle Buck," "SpaceBalls," "Home Alone," and "Cool Runnings," along with his Saturday morning cartoon, "Camp Candy" made impressions on me in my younger days. 

There are a lot of his movies I haven't seen but intend to. Others, I haven't seen in years and want to revisit them. 

One of those movies is his 1989 comedy "Who's Harry Crumb?" I hadn't seen this before. 

When it comes to John Candy's style of comedy, he often plays a variety of characters that are so versatile and realistic, often relatable and likeable. 

His way delivering jokes along with his knack for timing is fantastic. Candy is a comedian unlike any other, and I mean that sincerely. And "Who's Harry Crumb?" is a rare movie that Candy produced. 

In this movie, Candy plays a private detective hired to investigate the kidnapping of a Beverly Hills fashion model named Jennifer Downing (Renée Coleman). The kidnapper is demanding a substantial ransom. 

Jennifer's father, P.J. Downing (Barry Corbin), who's a multimillionaire, is desperate to find her. So, he turns to his close friend, Eliot Draisen (Jeffrey Jones) for help as Draisen is president of the Crumb & Crumb Detective Agency. 

Downing, though, is completely unaware that Draisen happens to be the kidnapper. 

So, to make it look like he's helping his buddy, he hands the case over to Harry Crumb (John Candy), the last descendent of the agency's founders.

Crumb's office is out in Oklahoma, away from the home base. Crumb, a master of disguise, is too clumsy and stupid to be a decent detective. Of course, Downing doesn't know that. 

Crumb starts his investigation by first meeting with the Downing family. He connects with Jennifer's younger sister, Nikki (Shawnee Smith) who quickly takes the role of an assistant. 

He also meets with P.J. and his wife, Helen (Annie Potts). 
Helen is having an affair with her tennis coach, Vince Barnes (Tim Thomerson). 

John Candy in "Who's Harry Crumb?"

Under disguise, Crumb sneaks into the health salon where Jennifer was kidnapped. There, he learns that Jennifer used an appointment that originally belonged to Helen. This arouses his suspicions that Helen and Vince kidnapped Jennifer.

Meanwhile, Draisen admits to Helen that he has been in love with her since they were in school together. 

But Helen isn't interested. Rather, she only loves money which he doesn't have enough of to win her love. 

As Crumb's sites are on Helen and Vince, he and Nikki start investigating the illicit couple. 

Helen and Vince think P.J. will break down and pay the ransom. So, they plot to murder P.J. so Helen will inherit his wealth. 

Vince cuts the brakes on P.J.'s car. However, P.J. lets Crumb borrow it so he can follow Helen and Vince. 

Since the breaks fail, Helen and Vince assume Crumb is chasing them. 

When Crumb crashes P.J.'s car, Harry and Vince think he was trying to kill them, so they put a stop to his investigation. 

But Crumb isn't stopped so easily. The movie is a whodunnit with Crumb thinking one thing while the audience is in on the real goings-on. 

While "Who's Harry Crumb" is unique with Candy given the opportunity to play a variety of characters, some of whom made me laugh, it took effort for me to stay interested. 

Candy is clearly enjoying his role. That's no surprise as it's reminiscent of his sketch comedy from the show SCTV where he got his start. 

Candy does well with what he's given. But the entire film falls short for a comedy. It resorts to throwing Candy around in slapstick situations with dopey humor that's beneath Candy's talent.

Most of the jokes are corny gags and one-liners. It's not as funny as I anticipated. 

I felt like someone was standing off camera with a shotgun pointed at him and demanding he act funny or die! It's a disappointing Candy movie, but I can't blame him for that. 

The film has a solid supporting cast including Annie Potts, Jeffrey Jones, and Tim Thomerson. As talented as these comedians are, they offer little to the movie. They're just...there. It's not their fault. This cast isn't used to their full comedic potential. I especially wanted to see more from Annie Potts. How disappointing.

In one scene on a bus, there's a pointless cameo from James Belushi. He appears and does absolutely nothing but read a newspaper. And then...he's gone. What a waste! 

I didn't care enough about the characters to take interest in what was happening. In fact, I was getting bored waiting for the movie to end. 

John Candy is a comedian unlike any other before or since. He's immensely likeable and truly missed. While the movie showcases Candy's comedic talent rather well, "Who's Harry Crumb?" doesn't live up to his more notable roles.  

The Cocoanuts (1929)

"Three years ago I came to Florida without a nickel in my pocket. Now I've got a nickel in my pocket."

Directors

Robert Florey
Joseph Santley

Cast
Groucho Marx - Mr. Hammer
Harpo Marx - Harpo
Chico Marx - Chico
Zeppo Marx - Jamison
Mary Eaton - Polly Potter
Oscar Shaw - Bob Adams
Margaret Dumont - Mrs. Potter
Kay Francis - Penelope
Cyril Ring - Harvey Yates
Basil Ruysdael - Detective Hennessy

Being asked who my patron saint is, aside from my name's sake patron, goes with the territory of being a Catholic. My reply is often "Groucho Marx." 

The reactions I receive from this differ. Once I was told, "He wasn't Catholic." My response to that was, "Maybe that's why he never answers my prayers." Still, that hasn't stopped me from being a Marxist. 

I should mention that I'm writing this review under the pretense that my readers (all three or four of them, plus mom) are familiar with the Marx Brothers. For those who don't know who these guys are, I'm too lazy to write up a brief biography about them. Instead, watch this video before moving on - Legends of Comedy - The Marx Brothers.

The 1929 comedy "The Cocoanuts" is the Marx Brothers' first film. Four of the Marx Brothers appear in this movie - Groucho, Harpo, Chico, and Zeppo. 

Incidentally, Zeppo appears in the first five Marx movies, with their 1933 movie "Duck Soup" being his last film role before leaving the act. After his departure, Groucho, Harpo, and Chico appear in the rest of their films. And the fifth brother, Gummo, doesn't appear in any of their films.

My first review on this blog was the 1932 Laurel and Hardy movie "Pack Up Your Troubles" for its unique story that's unlike other Laurel and Hardy films. After that, I wanted to include at least one Marx Brothers movie on this blog. But I didn't know which movie to start with. I didn't want to just pick any movie. I thought about "Duck Soup" but my mind eventually gravitated towards "The Cocoanuts." I'll get to "Duck Soup" eventually. 

I also considered their satire of the 1943 classic "Casablanca" titled "A Night in Casablanca." That deserves a lot of attention.

Left to right: Zeppo, Groucho, Chico, and Harpo in "The Cocoanuts."

If there's one thing that appeals to me about the Marx Brothers' comedy, it's their irreverence and ribbing towards the upper-class and all their formalities. 
"The Cocoanuts" takes place in a resort, Hotel de Cocoanut, down in Florida. 

The movie opens with Irving Berlin's song "Florida by the Sea." 

"In the lovely land of Florida

Sunny Florida by the sea.
All the sunshine in America
Is in Florida you'll agree," as the song goes. It should be the state anthem! 

The resort is run by Mr. Hammer (Groucho) along with his assistant, Jamison (Zeppo). 

Harpo and Chico show up to the hotel posing as guests. However, their suit cases are empty as they plan to rob the hotel guests.

One of those guests is the wealthy Mrs. Potter (Margaret Dumont). Her daughter, Polly (Mary Eaton) is staying with her at the hotel. 

Polly is in love with a down-on-his-luck architect named Bob Adams (Oscar Shaw) who's working at the hotel to keep himself afloat, financially speaking. 

Adams's ultimate plan is to develop the entire Hotel de Cocoanut into a large complex called "Cocoanut Manor." 

However, Mrs. Potter wants Polly to marry Harvey Yates (Cyril Ring) as she thinks he's among a higher social standing more suitable for her daughter.

 Little does she know that Yates is really a con artist. He and his partner, Penelope (Kay Francis), are plotting on stealing Mrs. Potter's diamond necklace. And hilarity ensues.  

I consider their first film "The Cocoanuts" to be groundbreaking in the comedy genre. Aside from being their first movie, I can't think of any other comedy before this one with the same whirlwind of non-stop jokes and on-liners that steps over the story to make itself the primary focus of the movie. The comedy here leaves the thin storyline as secondary. 

At the time, audiences couldn't make sense of the story, written by the legendary George S. Kaufman, as the comedy stood in its way. The comedy doesn't support the story. Rather, the story, as thin as it is, supports the comedy. And, really, the story needs to be thin. Otherwise, it would distract from the comedy. It wouldn't be as entertaining if that were the case. 

And what's even more impressive is that it doesn't really matter. I can't take my eyes off the energetic Marx brothers, nor do I want to. 

And as a big bonus, the songs are written by none other than Irving Berlin. That's some classy high caliber music!

The movie doesn't pull any punches, comedically speaking. It introduces the Marx Brothers, in all their impudent, cheeky, impressively talented ways to a wide range of audiences. They were already known to a lot of audiences through stage productions.

In their film debut, they're not presented in small doses. They're comedy, which relies more on one-liners and some sight gags, wasn't necessarily slapstick like other comedians at the time. Their comedy depended on comparing their jokes and behavior contrasted against the upper crust of society, and seeing the reactions that come about.

What audiences saw on screen in 1929 is what they got. The Marx Brothers as introduced to audiences like a novice swimmer is introduced to the deep end of a pool in order to learn how to swim. These are the Marx Brothers audiences would see again and again, in movie after movie.  

As Groucho Marx once said, "If you don't have anything nice to say, go ahead and say it." And it all starts with "The Cocoanuts."

In one seen, Chico tells Harpo, who never spoke in any of the Marx's movies, "Right now I'd do anything for money. I'd kill somebody for money. I'd kill you for money."

Harpo's face becomes dejected which Chico laughs off. 

"Ah, no. You're my friend. I'd kill you for nothing," Chico says, which makes Harpo smile and nod.

The best comedy in this movie comes from exchanges between Groucho and Margaret Dumont, who would be his leading straight lady for several films to come for Groucho to bounce insults off of. 

I could listen to hours of dialogue between Marx and Dumont and be entertained by each and every minute. 

In one seen, Mrs. Potter says to Hammer, "I don't think you'd love me if I were poor."

Hammer replies, "I might, but I'd keep my mouth shut."

Later, he asks to meet her in private.
"I'll meet you tonight under the moon. Oh, I can see it now - you and the moon. Wear a neck-tie so I'll know you."

But, perhaps, my most favorite line Groucho ever said to Dumont in all of their movie history together is delivered in this movie.

In one scene when Hammer is trying to flirt with Mrs. Potter, he says, "Did anyone ever tell you that you look like the Prince of Wales? I don't mean the present Prince of Wales; one of the old Wales, and believe me when I say Wales, I mean Wales. I know a whale when I see one."

Fantastic!

As a comedy, "The Cocoanuts" is a movie that deserves a lot more attention both in general as a comedy and as a Marx Brothers movie. It's an unforgettable introduction to the Marx Brothers which doesn't just pave the way for their humor, it drops their cynical style right in the laps of audiences again and again. I would have loved to see audience reactions back in 1929. It's a truly groundbreaking comedy movie with humor unlike comedies that came before.