Kevin Bacon can still dance. Don’t be fooled.
Slick and cool kid from Boston, Ren McCormack (Kenny Wormald) moves to a small town where rock ‘n’ roll and dancing have been banned, and his rebellious spirit shakes up the populace. However, Rev. Shaw Moore (Dennis Quaid) won’t stand for it and he lets Ren know about it, every step of the way.
For all of you loyal readers and followers of DTMMR, you all may be a bit shocked to find out that I have never seen the original, Kevin Bacon headliner in it’s entirety. I’ve seen bits and pieces of it, including the awesome dancing-sequences that had me inspired for a day or so, but nothing more than just that really. However, apparently director Craig Brewer has seen it all, and loved it so much that it was the one movie to inspire him to make movies. That’s right: not Casablanca, not Citizen Kane, not even The Godfather, Footloose is the one movie that made this man inspired to make such flicks like Hustle & Flow, Black Snake Moan, and now, this remake of his old-school passion. It’s weird, I know, but hey, if you’re going to have a guy do a remake of a classic, have a guy that loves the hell out of the movie in the first-place do it. Then maybe, most remakes won’t suck nowadays.
The idea of featuring a town that actually “bans public dancing” seems a bit too 1984 the dog days of the 21st Century, but somehow Brewer has it make sense and seem a bit believable. This is a small, earnest town that all know each other, know whats going on, and have an idea of what’s best for the whole community. They aren’t some sort of small-commune that’s sheltered-off from the rest of the world because of their hard-earned beliefs of God, faith, and religion, even if those themes do hit-hard in where this story is coming from. Still, the idea of keeping the original premise in this updated remake isn’t as goofy, as well as a couple of other ideas as well, mainly because Brewer knows what does and does not work in today’s day and age.
Brewer, like his last two flicks before this, definitely knows how to work in a great deal of Southern-grit to his stories, no matter how wholesome or sweet they may be. For instance, the opening title-sequence where we see everybody’s shoes moving around, is a trick that was pulled-off in the original but updated in a more standard, gritty way that would be expected by kids of today’s generation, due to there being a crap-load of dirty, kegs, and beer being thrown-around as if somebody was throwing an old-school banger in the middle of the corn-fields. Oh, those were the golden days. Anywho, that’s not the only aspect of this flick that Brewer updates with his gritty look-and-feel, there’s a couple of other cool instances where we see how the world around us has changed to where these kids could easily want to rebel by dancing and sticking-up for themselves, but in the end, Footloose is about one thing and one thing only: cuttin’ loose and gettin’ foot loose.
No matter how much it may seem like Brewer is putting his own, personal stamp on this story, he still never forgets to remind us that this is a dancing-movie at it’s heart and core, and that’s all that mattered to me. Nowadays, dancing movies are usually recognized by two words: Step Up. But thankfully, Brewer shoves a little bit of his fist in the way of those movies and give us a great deal of fun and entertainment to watch, as all of these kids just shake their asses off like no other. The stunts, moves, and choreography are off-the-charts and as goofy as it may be to see a bunch of 18-year-old kids, dancing like Michael Jackson on crack at their high-school prom, you still can get past it and have a great-old time no matter what.
Also, to make matters even better, the soundtrack is awesome and definitely worth a listen. They start-off things so perfectly by keeping the old-school, Kenny Loggins track in the movie, and then start to dive-away from that and giving us a rawer, southern-bound edge to music, filled with the eclectic likes of David Banner, Quiet Riot, Zac Brown Band, and most surprising of all, and probably used the best: The White Stripes. Yeah, his days of giving Terrence Howard some key rap-tracks haven’t gone away in the slightest-bit, but Brewer still shows that he’s got a knack for putting in some cool-tracks, into scenes that you would not expect to gel so well with. Basically, when you put the combination of awesome music and awesome dancing together, you are bound to get some fun and entertainment, and if you do not for one second tap your toes to at least one second of this movie, you have no soul and need to get this soundtrack, ASAP.
As fun as this movie may be, there are a lot of goofy moments in this flick that seem so damn earnest and self-important with itself, that it’s just really hard to swing-by (see what I did there?). There are so many instances in this movie where I just had to roll my eyes by how silly things were, such as when Ariel, or lead-gal, feels the need to play chicken in front of train to show how much of a lost soul she truly is. That’s stupid, as well as all of the scenes with her deuchebag boyfriend named Chuck, who comes into disrupt things between Ren and Ariel’s hormones, and does exactly that, but yet, it’s annoying as hell. Whenever the guy shows-up, he’s just hammy, obvious, and way too violent for his own-good, almost to the point of where I felt like the guy made the story a bit too dark by some standards. Anytime he shows up, and this movie tries to get all serious and dramatic with me, I rolled my eyes, scoffed at it all, and pretty much didn’t care. But as soon as the dancing started-up and the music began to blast, then I just forgot about it all and had a fun-time. Isn’t that what dancing’s all about?
Casting this movie must have been a total bitch for Brewer, considering the guy has to fill in the shoes for so many iconic stars like Bacon, John Lithgow, Chris Penn, and even Sarah Jessica Parker, among many others, but he does a nice-job in picking just the right names, for the right people, no matter how well-known or unknown they are. Kenny Wormald is a nice-fit for the rebellious and cool kid known as Ren McCormack and handles a lot of the dramatic-stuff, just about as good as his amazing dancing. His infamous infamous “freak out” dance scene seems a bit like parody at-first, but it just goes to show you just how talented this kid is at shaking his rump, and hey, I gotta give him credit for that because lord knows I’d never be able to achieve that. I just hope that Matt Damon or Ben Affleck didn’t catch a glimpse of this movie, or else they’d have a thing or two to teach Wormald about doing an official, Bawhstan accent.
As good as Wormald may be as Ren, the one who really impressed the hell out of me was Julianna Hough as Ariel, the preacher’s daughter. Her character is the most obvious and predictable out of everybody here, but the gal’s still very, very talented when it comes to dancing and being sexy, but she’s also very good in the dramatic scenes as well that makes a lot of her pain and anguish seem real and reasonable. Sadly, I don’t think the girl’s going to get many dramatically-acting offers any time soon, but it’s always good to know that there’s more to her than just a pretty face, a nice body, and a couple of sweet-ass dance moves.
Playing her old daddy O, is non-other than Dennis Quaid who is terrific as the preacher of the little town of Bomont, that not only wants what’s best for his little town, but for his daughter as well. Quaid is good in this role because as much as he may seem like a bit of a stiff that doesn’t budge on anything that concerns going against the sacred book of God, you can start to see a change in him by the end that’s as believable or moving as anything the guy’s done in the past couple of years. Seriously Dennis, you need to get back-out there, man, and show the world what they’re missing-out on. Everybody else is in this movie is interesting, entertaining, and likable, but the only one that really seemed to struggle is Andie MacDowell as Shaw’s wifey. To most of you, this may come as to no surprise whatsoever, but it’s a bit of a surprise to me considering that this chick has been acting for over 30 years by this point, and still has yet to churn-out a good performance. What the fuck, Andie?!?!?
Consensus: Some moments seem obvious, tacky, self-important, and earnest, but in all honesty, it doesn’t matter all that much since Footloose is a fun and entertaining movie that shows some nice/believable character-development, as well as a love and passion for the original source material, courtesy of Craig Brewer.
Don’t eff with the comic book nerds.
The film tells the story of a novice prostitute Alabama Whitman (Patricia Arquette) and the adventure with her lover, comic book store clerk Clarence Worley (Christian Slater). When Clarence kills Alabama’s pimp (Gary Oldman), the newlyweds ride off into the sunset — with $5 million worth of cocaine in a suitcase and the police and the mob on their trail.
Since director Tony Scott is in such a slump nowadays, I honestly think he should just go back to having Tarantino write his scripts because he gave him two of the best films of his career. Aside from ‘Crimson Tide’, this is the other one.
The real selling point of this flick is that it’s written by Tarantino himself, and as everybody already knows, this guy is a freakin’ original genius. Tarantino is able to take any situation and make it go from normal to completley insane in about a matter of 5 seconds and it will give you this bad-ass feeling that you could not expect. The story is a pretty familiar but there are people getting killed at every second that you wouldn’t expect, twists and turns, random pop-culture references that somehow fit into the story, and just a whole bunch of other cool moments in this flick that make it ten times more the awesome thrill ride that it is known as today.
My complaint with this script is that even though it is by Tarantino, this is definitely not his best work by any means. Yes, he does get to use all of his trade-marks like funny one-liners, pop-culture references, and tense stand-offs but for some reason it’s not as edgy as you would expect. There was just something that felt like it should have really hit me harder and stuck with me more but instead it just ended up entertaining me and left me with a pretty happy mood. I don’t think Tarantino had full control over his story and that’s why the story may come off as a little more lame than his usual stuff, but it still at least works in a rather medium way.
Director Tony Scott also adds a bunch of fun to this flick by giving it this straight-forward, energetic thrill ride that isn’t filmed with that annoying shaky-came he can’t ever seem to get his hands off of nowadays. Scott is a good director when he’s got good source material, which he definitely has here, and even though it’s not drenched in style like you would expect from him, it still has a fast-paced to it that keeps the story going and the bullets flying.
However, what really had me going for this flick was its whole ensemble cast that is filled with just about every star from the early 90′s. Christian Slater is pretty good as Clarence, a guy that may seem a little strange but after awhile you start to believe and actually hope he comes out of all of this shit alive. Patricia Arquette is also a lot of fun to watch as Alabama, and you can totally feel like this one girl could actually fall in love with this type of dude. Their romance is something you actually care about because we spend enough time to see them together, and to see them be happy with one another so that when they go on this road trip and their lives are in danger, we care not only about them but their relationship as well. Sounds pretty sappy, I know, but it’s something that surprisingly worked here.
The rest of the cast is freakin’ great too, considering that just about every big star this flick had to show is in here for about 5-10 minutes each but totally kick-ass for the time they have. Dennis Hopper is great here as Clarence’s dad, in a non-psychotic role; Val Kilmer is here as “The King” but is still funny and cool, considering we barely see him; Gary Oldman is hilarious and menacing as Drexl, the white boy pimp with dreadlocks; Brad Pitt is also here as our pot-smoking friend, Floyd, and probably one of the best performances of his career, and I am willing to go toe-to-toe with whoever thinks otherwise; and Christopher Walken shows up for about 7 minutes but gives the film’s best scene where its just him and Hopper talking shit to one another and once again, it’s always Walken who steals the show at the end of the day and I can’t say that I expected anything else. Aside from these peeps I already mentioned there are plenty of other familiar faces here such as Samuel L. Jackson, James Gandolfini, Michael Rapaport, and Bronson Pinchot among others. Basically, it’s one of the better casts for a flick that I’ve seen and they all do excellent jobs with what they are given.
Consensus: It may not be Tarantino’s best script ever written, but it still has a great energy to it, with crazy performances from the ensemble cast, and some really kick-ass moments that make this film a fun watch if not as good as you would expect from these Scott and Tarantino working together.
How mad at Daddy can you get to the point of where you want to kill him?
Reunited with his career criminal father (Christopher Walken) for the first time in years, tough teen Brad Whitewood Jr. (Sean Penn) thinks he’s found his ticket to an exciting life of crime, only to learn that his amoral father is more vicious than young Brad ever imagined.
The film started off as if it were adapted from one of those “young-adult” novels that shows alienated youth doing all of the things they think are cool and rebellious, which really had me feeling as if I was in store for something that would really annoy the hell out of me. Things don’t start to pick-up until Walken comes into play, then the film is all balls-to-the-walls.
Director James Foley does a great job with this real-life story that took place in my state of Pennsylvania (woot-woot!) and give a real beauty to it. There are some real magnificent shots here with the corn-rows looking so detailed that it actually made me hungry, the night shots feel like the moon is right over them, and almost lake, stream, or river reflects some sort of sun-light which gives this gorgeousness in how the film looks which preps us for all of the dirty crap that goes down in the last two acts of the film.
There is a lot of violence that goes down and a lot of disturbing things that happen, especially a rape scene that really had me cringing but none of it ever felt forced. I mean this is a true story so they have to get all of the facts right but all of the shootings, the killings, and non-stop murders felt realistic and needed to show the pure harshness that lied within this film’s subject matter. This was very controversial back in 1986, but the times have changed and there has been a lot worse we’ve seen but this film really packs on the violence and it works.
The film also has a nice central-story that develops as time goes on. The story is all about how this one kid, Brad, will stop at nothing to just be loved and gain the respect from his father, so by doing all of these criminal-like jobs he think that he will easily become daddy’s little boy. However, the dad never allows this and it shows the real sadness that Brad goes through not being able to fully live up to his father and even yet, still knows what’s right and what’s wrong. This story may seem a little bit sad and very depressing but Brad is a good character to begin with and I think as time goes on his story starts to become richer and richer.
The problem that lies within this story is where Foley is trying to take this story’s central theme. In the beginning of the flick, all of the kids are all about violence, guns, and crime but then they soon find out the hard way that it’s all fun and games until someone loses their head. The film itself basically strikes down against the use of guns/violence in society but then by the end when everything starts to get ultra violent and criminal, apparently the film is all about using guns for the murder of another person. I didn’t understand where this film was trying to go with it’s theme but to be brutally honest, it kind of lost me.
Another problem with this flick is the ending itself which seems to be totally and utterly ridiculous that somehow somewhere, it made me actually believe it could happen. *SPOILER ALERT* In the end of the flick, Brad and his girl Terry get shot up by these two gun-men and while Terry is basically dead right on impact,Terry is somehow still left alive, walking, and have enough energy to go in the shower and rinse off a bit. This seemed so idiotic to me that I could actually believe that something like this could actually happen, but when the film was over I was sort of left just knowing that it’s just a film, that is based on true events.
The real reason to see this film is the performances by these two power-houses. Sean Penn is great as Brad because he shows him the scary side to his character but also the morally-intact side that allows us to stand behind and root him on as he goes through all of these problems with his father and just life in general. Penn never lets loose of Brad once and plays all of the sadness and vulnerability so well that he seems like a real-life human being.
Christopher Walken is absolutely brilliant as Brad Sr., the cocky and evil criminal father. Walken takes over just about every scene he’s in, giving us this intimidating and restless figure of a person that you do not want to eff with. Walken is so good at playing likable that you don’t know whether or not to love this guy, or hate the very near-sight of him. Obviously Brad Sr.’s actions show how we should feel but its really Walken who shines through with this villain that just bleeds mean.
Consensus: The point of At Close Range may get lost in the very end of the film, but the story is engaging, the sights and shots look stunning, and the performances from Walken and Penn are what make worth your while, even though it can get extremely violent at times.
A 3 hour and 9 minute film, that still needed more.
Robert Altman’s mosaic masterpiece, based on Raymond Carver’s short stories, presents several different characters — including a baker, a chauffeur, a helicopter pilot, a phone-sex provider, a pool cleaner and a jazz singer — whose stale lives intersect and are forever altered through simple twists of fate. This moving tale’s all-star cast includes Tim Robbins, Madeleine Stowe, Bruce Davison, Andie MacDowell, Jack Lemmon and Anne Archer.
The movie traces the actions of twenty-two principal characters, both in parallel and at occasional loose points of connection. The role of chance and luck is central to the film, and many of the stories concern death and infidelity.
Much of the stories are told about people who just have very strange but overall upsetting lives, and barely get through it day to day. A lot of these stories blend a great deal of humor and mix it with the depressing tone, but keep you interested due to this sharp skills.
Most of the credit of this film has to go to the amazing director Robert Altman, who really does show he can make some great film’s. He takes this three hour long story and still make it fresh and barely ever drag on. Altman really does have a love for many of these stories, and a lot of these strange characters and that comes out from his very impressive direction. He goes through each story like a 3 hour soap opera but never misses a beat in combining some strange moments and add a little flavor of realism.
As great as this film can be it did have a lot of problems that could’ve saved this film. With so many stories and a very long run time like this, you would think this movie would be a central message for some sort of idea. No, and if there was I didn’t catch it. I found the film’s stories to be powerful and mostly engaging but by the end of the film we don’t really see much resolved, and we don’t see what the main purpose of this film was, other than just a bunch of stories that end suddenly.
Many stories in this film are actually more interesting than others, and although I stated before didn’t drag too much, the less interesting ones were given the most attention. I think that Altman goes from one story to another but not a very notable way, because sometimes the stories are barely or at all connected.
The huge ensemble-cast is just simply amazing. There are a lot of big names in this film that show up, but actually do add something to this film, that is deserved. I can’t name notable one other than two that stand out in my mind. Tim Robbins plays a cop in this film an creates one of the most hated, self-conscience characters I have ever seen on film, and creates a perfect character. Also Julianne Moore has some good scenes although she is barely on and by the end of the film you soon start to know that she is destined for greatness.
Consensus: Some stories are more interesting than others, Short Cuts features some impressive directing, amazingly-acted ensemble, and some great stories to be told. The only problem is that an engaging film needs to have an engaging message, which this does not have.