Andrew Davis’ The Fugitive (A+), based on the classic TV series of the same name, completely delivers on its intriguing cat-and-mouse premise and is a chase from start to finish. Harrison Ford proves he still has the chops to be an absorbing action hero, and Tommy Lee Jones injects solid comic relief as his tenacious foil.
Director Sydney Pollack’s film adaptation of John Grisham’s bestseller The Firm (B-) is a rather tepid thriller that nearly misses its mark with lazy pacing, boring piano music (it sounds like the opposite of “page turner”) and empty-suit acting by Tom Cruise. Luckily the pacing picks up, and it can at least be characterized as a template for the “man joins firm and finds himself over his head in scandal” type movie. Coming off the mega-flop Havana, it is clear Pollack isn’t taking too many risks here, and fortunately he casts Gene Hackman as diabolical head of the law firm and the zany Gary Busey as a private investigator. There are few films Hackman doesn’t improve. Cruise is joined on the domestic front by the equally bland Jeanne Tripplehorn. When his character learns his law firm isn’t all he was promised, it’s a race to the finish to get to the closing credits.
Director John McTiernan serves up a straight-down-the-middle sentimental actioner and pleases no one in the summer flop Last Action Hero (C-) in which a young movie fan enters the screen, reverse Purple Rose of Cairo style, to pal around with Arnold Swarzenegger on some lame product placement laden adventures. A muddled tone, an uncertain target audience, flat action sequences, poor special effects and an absolute void of dramatic structure and human chemistry are but some of the hazards in the way between the movie and your entertainment. There are two pretty thrilling stunt sequences, but it’s hard to stay too thrilled when the cloying duo of protagonists is mugging and plugging.
Steven Spielberg has always been fascinated with the wonders of childhood, the perils of technology and the gulf between reality and fantasy. Once again, in the summer mega-movie Jurassic Park (B+), he opens up a mysterious childhood treasure chest to unleash the demons within it. In the film he proves most kids have a certain wide-eyed interest in dinosaurs, and adults will exploit such unknowns if given the chance. After Hook, Spielberg is thankfully back to formula form. The story is essentially an island theme park of dinosaurs re-created in modern day like a high-end zoo — and that turns out to be a terribly bad idea. The effects are great, many sequences highly suspenseful and the characters are almost all dull and underdeveloped (especially Sam Neill, Laura Dern and Richard Attenborough). Jeff Goldblum thankfully provides a bit of comic relief. This is a theme park ride and a sequel franchise unspooling before your eyes.
Elvis in Blue Hawaii. Madonna in Shanghai Surprise. History has not been kind for pop superstar cross-overs into film, but Whitney Houston actually lifts director Mick Jackson’s The Bodyguard (B-) into an often stylish and engaging romantic adventure with music. Paired with a stoic Kevin Costner as her protector, Houston capably plays a souped-up version of herself in a dusted-off Lawrence Kasdan script that is mainly a big excuse to get to the love sequences and the songs. See it for the iconic songs such as “Queen of the Night,” “Run to You,” “I Am Nothing” and “I Will Always Love You.”
Adding to the charm Harrison Ford brings to the heroic role, Steven Spielberg’s Indiana Jones and the Last Crusade (A) layers in a flashback sequence with River Phoenix as Young Indy and introduces an inspired casting companion: Sean Connery as Indy’s dad. The two Joneses go on a quest to find the Holy Grail (before the Nazis get it, of course!). The family dynamic helps make fresh what might otherwise feel like a retread. We get exotic locales from Italy to Jordan and a highly sentimental set of sequences as father-son bonding and bickering become a major part of the equation. Since Indiana Jones was always Spielberg’s James Bond type franchise, the pairing of Indy with the original 007 is a great casting excavation. It’s a triumphant send-off for a trilogy of outstanding action films; I’ll try to forget that one more misguided sequel happens many years later.
Related link: One of my jobs in the 1990’s was developing the in-store magazine and Website for a video rental chain called MOOVIES. Here’s one of the few remaining sidebars: A run-down of Sean Connery’s movies: Link here.
Sidney J. Furie’s Superman IV: The Quest for Peace (F) was the film that trashed a perfectly good franchise, and this was coming off a previous film in which Supes accidentally ate dog food and straightened the Leaning Tower of Pisa. This fourth installment has Christopher Reeve’s now sullen Superman promise a bratty kid he will rid the world of nuclear weapons; but when he does so he accidentally activates a super-villain named Nuclear Man who had been strategically placed in embryo form in outer space by Lex Luthor (Gene Hackman) and his Valley Girl nephew (Jon Cryer) for just such a fertilization. Nuclear Man (Mark Pillow) is quite possibly the lamest supervillain in movie history. Some of the effects in this film look like two dimensional cardboard cut-outs. Hurriedly-dressed sets are hilarious in how much they don’t look like Manhattan/Metropolis. And the stunning lack of logic around topics such as breathing in space further mars this quickie sequel as it creaks to the screen.
Ivan Reitman’s Ghostbusters (B+) is a marvelous confection about four exterminators of ghastly spirits (droll Bill Murray, goofy Dan Akroyd, uber-serious Harold Ramis and straight man Ernie Hudson) who must save New York from a Pandora’s box of supernatural creatures run amok. Sigourney Weaver is a treat as a possessed love interest, playing giddily opposite Bill Murray’s clowning. Despite the overindulgence in silly special effects, the acting ensemble makes this piece work by playing it super-serious. The biggest laughs are in the reaction shots: Of course that’s a skyscraper sized marshmallow man! And why wouldn’t there be demonic animals running in the street? Leading man Murray is a superb match for this material with his dry wit a ribald rapier to the funky fleet week of ghosts on the loose. Reitman corrals his grinning brigade into hilarious territory as the ‘busters take on haunted New York!
Steven Spielberg pulls out all the stops and emphasizes an “anything goes” theme with Indiana Jones and the Temple of Doom (A-) as Harrison Ford’s titular protagonist helps a village in India try to recover sacred stones that have been stolen by a cult that has been kidnapping and sacrificing children. The sidekicks are a bit grating this time around (Kate Capshaw and Jonathan Ke Quan) and the supernatural mumbo jumbo a bit less grounded, but the stunts and pratfalls and mishaps and menace are just spectacular. It’s thrill-a-minute wall-to-wall action with even more crazy mischief than its predecessor, Raiders of the Lost Ark.
Star Wars Episode VI: Return of the Jedi (A-), directed by Richard Marquand, concludes a magnificent saga with an adventure to save Harrison Ford’s Han Solo, an excursion to a forest planet where Princess Leia confronts some family secrets and a battle between Luke Skywalker and Darth Vader for control of the universe. Treading some familiar territory, we have to blow up another Death Star and endure a few other retreads of movies past. And we may have some Ewok teddy bears as a merchandising tie-in. But it’s still wall-to-wall action, amazing new creatures (Jabba the Hutt! The Rancor Monster! Admiral Ackbar!) and lots of great moments in the details. No matter which of Lucas’ special editions you may be watching, you’ll be humming a tune as you complete the saga – and that tune will include the unspoken lyric, “I just watched awesome.”
It’s like a producer asked what’s popular in the ‘80’s, and someone said computers and Richard Pryor; and then he said, thanks, I was really fishing for the villains for my new superhero film. So there you have it, in Richard Lester’s Superman III (C), Superman vs. a comedian and a microchip fortress. It’s a mess, but a guilty pleasure of a glorious mess as Clark Kent goes to his high school reunion and romances Lana Lang (a charming Annette O’Toole), as Superman is confronted with some bizarre Kryptonite that turns him into a meanie for a while and as Pryor and a gang of billionaire villains set a high-tech trap for Supes. Most of what worked in the past two films simply isn’t here, except Christopher Reeve, who continues to give it his all. In fact, this may be my favorite Reeve performance as Superman/Clark as he gets to go from earnest to boorish quite often depending on what bad super-weed Pryor is pushing. It’s all a bit goofy but still pretty watchable. It’s just a shame that there wasn’t just a slight lifting of standards.
Steven Spielberg’s Raiders of the Lost Ark (A+) is a rollercoaster ride through history as archeologist protagonist Indiana Jones races against time to find the Ark of the Covenant before the Nazis do. It is said to have powers that will protect an army; in the wrong hands, it could help evil forces conquer the world. Spielberg gives his grizzled hero simple tools (a bullwhip, an occasional map), a spunky girlfriend (Karen Allen) and a globetrotting trip from Peru to Egypt and beyond as he chases antiquities. Harrison Ford is at his very best in this role; and the effects and stunts are epic. This is one of the great modern adventures, told with wide-eyed wit and wisdom.