DVD Challenge #20: TREMORS

Tremors
1990
PG-13
Run-time: 1 hour, 36 minutes

Directed by: Ron Underwood
Starring: Kevin Bacon, Fred Ward, Finn Carter, Michael Gross, Reba McEntire


I remember seeing bits and pieces of this film back in my younger years, but I don't think I actually saw Tremors in its entirety until a few years ago. When I finally had the chance to give it a full viewing, however, I was amazed by what I saw. Tremors is one of those films that, on the surface, seems like it's going to be a trashy send-up of 1950s B-movie horror flicks, and in some ways, that's exactly what it strives to be. When you have a film that centers around a small town being terrorized by gigantic, worm-like monsters, there's only so much you can really expect. However, like those 1950s B-movies, Tremors delivers a fun-filled, albeit ridiculous, ninety minutes of entertainment.

One of my earliest memories of this film is actually of the creature itself. Once you see this worm (affectionately referred to once as a "graboid," the name that it would carry in the sequels), there's really no way that you're going to forget it. What's truly fascinating about the creature is that it's unlike anything that's ever graced the silver screen prior to or since this film's release in 1990. It's originality is undeniable, and it makes for an interesting storyline. The filmmakers were essentially given the opportunity to create a brand new monster, and they made it so convincingly real that it's not much of a stretch to think that animals like this could actually exist somewhere in the world. I loved this creature so much that it made my list of favorite animals and creatures from film. It's a dazzling spectacle to behold, even when it's looking horrendous and trashy.

To add to the seeming brilliance of this film is the stellar cast that plays their roles to a tee. Kevin Bacon is his usual fantastic self, taking his character above and beyond anything that a sane individual would do. He and Fred Ward have such a fantastic on-screen chemistry that it's difficult not to fall in love with their characters and their relationship. They bring the majority of the comedy in the film, and they play off each other - and the other members of the cast - incredibly well without ever breaking out of their individual character. Kudos, my good sirs. We also get some very good performances from the likes of Finn Carter as our main female lead, and let's not forget about Michael Gross, who's character was successful and entertaining enough to make it to the subsequent Tremors sequels. No, the acting isn't anything utterly brilliant, but in the constructs of a ridiculous movie such as this, the performances just might be flawless.

While the film doesn't necessarily offer a ton of scares, it definitely follows horror conventions very well, creating a good layer of suspense in some scenes. We're also given some schlocky, comedic gore, mostly at the expense of the graboids, to add to the hilarity. Tremors offers a great blend of action, comedy and horror, mixing the three genres very, very well. At the end of the day, it's a completely entertaining flick that doesn't require you to think at all. It's pure entertainment, which is exactly what we're usually looking for in a film. So if you haven't given this one a go, I strongly suggest you do so. I can't personally speak for any of the film's sequels (I haven't seen any of them), but definitely take in this first installment as soon as you can.


Previous DVD Challenge: MEMENTO (2000)

Movie Review: CRAZY, STUPID, LOVE.

CRAZY, STUPID, LOVE.

2011
PG-13


"I'm going to help you rediscover your manhood. Do you have any idea where you could have lost it?"
-- Jacob

Crazy, Stupid, Love. is a 2011 dramatic comedy directed by Glenn Ficarra and John Requa that centers around the conflicting love lives of one family. When Emily Weaver (Julianne Moore) tells her husband Cal (Steve Carell) that she wants a divorce, his life begins to tailspin. He moves out and spends much of his time at a local bar where he meets a young womanizer named Jacob (Ryan Gosling), who takes it upon himself to reinvent Cal and his manhood. The two begin to share a bit of success in their woman-chasing efforts, but Cal's interactions with his son Robbie (Jonah Bobo) help him realize that he still has strong feelings for Emily. At the same time, Jacob meets a young woman named Hannah (Emma Stone), who he calls a "game-changer." The tables somewhat turn when he starts to ask Cal for advice. However, not everything is at it seems, and the train of emotion continues to head on a one-way trip towards a massive collision.

I have to be honest and tell you that when I first started hearing about this film, I wasn't too impressed with the premise. With Carell headlining the film, I was worried it might delve into his general brand of comedy. Yeah, I know he's done some more dramatic work in films like 2007's Dan in Real Life and 2006's Little Miss Sunshine, but something about this film seemed too over-the-top funny for me to take it seriously. However, it started to garner some strong reviews, and word of mouth seemed to be rather positive, so I figured I'd give it a gander. What I received was one of the most honest films I've ever seen.

The screenplay offers a very simple story that's chalk full of twists and turns that you never truly expect. In a way, we're given a story about soul-mates and their place in our lives, and it seems like everyone is chasing after their own soul mate. That's where the fun comes in. We have a number of prominent love circles that constantly conflict against one another. In fact, I think that nearly every major relationship in the film was part of some love triangle. So, things get a little twisted here and there, but that adds to the comedy of the film. The constant strain of love and love lost is intensely emotional but bitingly humorous in the context of this film. Now, when I say that Crazy, Stupid, Love. is an "honest" film, I mean that it tells its story without really holding anything back. It never seems to delve into that Hollywood rom-com sap (although there are a few sappy moments here and there). It doesn't tie a nice little bow at the end, but it leaves you with a sense of hope and promise. It just feels more realistic. It just feels real.

As one can imagine, a great screenplay can't take off if it doesn't have the right mix in the cast. Carell is fantastic as a heart-broken man trying to find his way post-divorce. He's wowed me in the past, and he's done so again with his performance here. Moore is always great, and although I wish she would have been featured a little bit more, she does very well with the time she's given. Gosling continues to prove he's a force with which to be reckoned on the Hollywood scene, bringing a comedic element to the film that's undeniably hilarious. Emma Stone is also a little under-utilized, but she brings her brand of humor and sass to the screen whenever given the opportunity. We also get some great performances from younger actors like Bobo and Analeigh Tipton. Also be on the lookout for fantastic supporting roles and cameo appearances from the likes of Kevin Bacon, Marisa Tomei and Josh Groban. Overall, we have a fantastic cast that's firing on all cylinders.

At the end of the day, I think Crazy, Stupid, Love. is pretty close to a must-see. Sure, a lot of guys are going to dismiss it as another "chick flick," but I think there's a lot for both sexes to enjoy here. We get into the psyche of both men and women in completely different stages of life as they search for their soul-mates. Everyone in the world is ultimately looking for love, and because there's so many facets to this film, I can nearly guarantee that you'll be able to find a character with which to relate. I know I did. So do yourself a favor and give Crazy, Stupid, Love. a go.

Movie Review Summary
Grade: A-
2 Thumbs Up
Addition to Rankings
Best All-Time - #127
Best Comedy - #23

Movie Review: X-MEN: FIRST CLASS

X-MEN: FIRST CLASS

2011
PG-13

X-Men: First Class is a 2011 superhero action film directed by Matthew Vaughn that serves as a prequel to the 2000 film X-Men and its subsequent sequels. The film opens in the mid-1940s, giving a little exposition for our two male leads: Charles Xavier (to be played by James McAvoy) and Erik Lehnsherr (to be played by Michael Fassbender). We then fast forward nearly twenty years to the early 1960s, where Erik has spent the majority of his life looking to avenge his mother's death by the hand of a man named Sebastian Shaw (Kevin Bacon). Meanwhile, Charles is finishing his doctoral dissertation about genetic mutation in humans while living with his seemingly-adopted "sister" and friend Raven (Jennifer Lawrence). On the night of his dissertation presentation, Charles meets a woman named Moira MacTaggart (Rose Byrne), who tells him of a matter of major security: Shaw is dealing with the Russians in order to start what looks to be a third World War. Charles and Raven accompany Moira to stop Shaw's plan and meet Erik in the process. After learning that each of them is a mutant, the three agree to join forces with the CIA in order to put a stop to Shaw's plans. By recruiting a number of mutants from around the United States, Charles and Erik assemble a crackpot team to do battle against Shaw and his loyal followers, all in the hopes of preventing a massive nuclear war that could wipe out the face of humanity.

When I first heard about plans to produce a prequel to the X-Men franchise, I can honestly say that I was a little unnerved. I had never been a huge fan of the X-Men films, but I had thoroughly enjoyed all of them (the Wolverine spin-off included, if only for Hugh Jackman's charisma). As the cast list slowly started to trickle through the grapevine, however, I found myself becoming more and more anxious for the film's release. With stellar actors like McAvoy, Fassbender and Bacon headlining the cast, I assumed we'd be in for a pleasant treat. Still, taking a story back to its roots can be a daunting task, and I've seen some "origin" stories simply crash and burn. Fortunately for us, First Class is, as one of my readers so blatantly put it, "a first class movie."

Let's start with the acting since I've already mentioned it a little bit. McAvoy proves to be the perfect fit for a young Charles Xavier, in my opinion. He brings the grace and the attitude that Patrick Stewart brought to the role in previous films, and he doesn't forget to turn on the charm now and again. It's a different look at Xavier, however. We get to see him as a young man who, despite all of his ambitions, desperately wants to fit into society as a normal individual. Fassbender was an equally good choice to take over the role of a young Magneto. His character is benefited by one of the larger character arcs in the film, giving Fassbender the opportunity to strut his stuff a little bit more than the rest. Although his Irish accent starts to slip out a little bit towards the end of the movie, he mostly stays on an even keel and provides a strong and surprisingly emotional performance. Recent Academy Award nominee Lawrence gives a decent performance, but having seen her in Winter's Bone makes it a little difficult for me to believe her as Raven/Mystique because the characters are so glaringly different. It took me a little while, but I finally fell into her character and could believe her in that role. And what can I say about Kevin Bacon? If anyone's stealing the show here, it's him. He and Fassbender work their multilingual magic throughout the film; the difference, however, is that we all knew that Fassbender could rock it. When Bacon started spouting in German and Russian, I was simply blown away. He gets a lot more screen-time in the first hour of the film, but he makes the most of what he's given. Kudos, Mr. Bacon. I tip my hat to you.

Now, I could go on and on about every character in the film, but we're really being given a solid performance from every featured actor. And boy do we have a laundry list on our hands, folks. There's so many recognizable faces in this film that it was difficult for me to wrap my head around it all. Be on the lookout for the likes of Oliver Platt, Zoë Kravitz, January Jones, Olek Krupa and Michael Ironside. Oh, and there is one cameo that I'd rather not mention because it's probably the funniest part in the film. I'll leave it for the people who've already seen the film to know what I'm talking about.

In addition to the stellar acting ensemble, we're also getting a solid screenplay to bring the story to life. As I said earlier, it's almost like an origins story, in that we're getting a lot of the back story on our two main leads, and it's telling us how we get to the events that take place in the original X-Men film. I personally have always been rather fond of films that take true historical events and warp them a little bit, twisting them into an alternate reality (i.e., the entirety of 2009's Inglourious Basterds). This time, we're getting a crack at the Cuban Missile Crisis, a moment in U.S. history that could have easily spelled the certain doom of America. Fortunately, it never panned out extremely violently, but this screenplay takes a look at how it might have turned out had mutants been involved. It's a clever twist on history, and it makes for an interesting concept. That being said, the real meat of the screenplay comes in the exposition and the back-story for both Charles and Erik. While Erik's is a little grander and more drawn out, getting the in-depth look at the driving forces behind their personalities is quite a treat for the viewer.

Now, there's been a TV spot running around with a review that said that X-Men: First Class is better than 2008's The Dark Knight. I'd like to quash that right here and now: First Class is a great film, but it doesn't come close to touching the brilliance exhibited by Christopher Nolan's second Batman flick. So please, let the comparisons stop there. I'm not saying that First Class isn't good - it just doesn't reach the bar set by The Dark Knight. Still, I personally believe that First Class is the best X-Men film to date. As I said earlier, I was never huge on the previous films, but I always found them entertaining. This one, however, is another another plane entirely, and I mean that in the best way possible.

Movie Review Summary:
(I'm going to start giving my "score" for each film I review in addition to its grade. For a breakdown of how I "score" films, take a look at my grading system.)
Score: 8.5
Grade: A-
2 Thumbs Up

Movie Review: FRIDAY THE 13TH

FRIDAY THE 13TH

1980
Unrated

Friday the 13th is a 1980 horror film directed by Sean S. Cunningham that falls into the subcategory of "slasher" flick. We open on a group of teenage or young adult camp counselors who are working to reopen Camp Crystal Lake for the first time in two decades. The camp has a rather tragic past: in 1957, a boy drowned in the lake, and in 1958, two camp counselors were brutally murdered. The camp itself has garnered the nickname "Camp Blood" among the people in town. However, Steve (Peter Brouwer) wants to bring the camp back to life, so he hired the co-eds to refurbish the area in preparation for its grand reopening. They all arrive on Friday, June 13th and get to work. Slowly, the counselors start being killed in graphic fashion by some unseen person, and when Alice (Adrienne King) finally catches on, she does everything she can just to stay alive.

The character Jason Voorhees is one of those characters that essentially everybody knows about. His name is right up there with Freddy Krueger and Norman Bates, yet I had never given the Friday the 13th franchise a shot. When I saw it instantly streaming on NetFlix, I figured I'd give it that chance, but now I just wish I could have those ninety-five minutes back. There's no real story here - we're basically seeing a slow and methodical string of murders that are eventually justified by an extremely warped sense of revenge.

To be fair, the actors weren't really given much to work with, but they still could've brought a little more believability to their respective roles. The screenplay is written so that you never really get a sense of who these people are, and in turn, you never really care that they're being offed so quickly. Essentially, this movie was made for the sake of giving the audience a little bit of gore (I'd say scares, but there's really none to speak of), and even that's tame by today's standards. Maybe back in 1980, it was shocking, but now, it's not even laughable. We do get a look at a young Kevin Bacon, though.

I did have major issues with the film's musical score, which felt like a mix between John Williams's score for 1975's Jaws and Bernard Hermann's score for 1960's Psycho. Composer Harry Manfredini basically spawned the bastard child of those two iconic scores, and I think it took me out of this film more than anything else. The whole time, I just wanted something original, but instead, we've got music that so blatantly steals from other bits of classic cinema. In retrospect, most of the film is unoriginal, taking healthy helpings from other great films.

All in all, Friday the 13th really isn't worth your time. Maybe you'll laugh at it, but I couldn't even give it that much credit. It's just a travesty of a film that Leonard Maltin claimed was "one more clue to why SAT scores continue[d] to decline" in the time when the film was first released.

Movie Review Summary:

Grade: F
Current All-Time Rank: Worst - #100
2 Thumbs Down