Thursday, August 21, 2014

Quick Hits

Here are two things to think over.  Firstly, have you ever noticed in the Sonic commercial with the two guys talking about what is on the outside being more important and the dimwitted one says he only reads the cover of books, they are both wearing seatbelts?  Noticing this tidbit on about the 75th viewing of that particular ad (thanks a lot Texas Rangers and Fox Sports Southwest broadcast people), I couldn’t say whether they do this in every single one of their Sonic commercials or if it is just this one.
 
This is weird, right?  They are stopped in a Sonic parking space and not going anywhere.  Why wear the seatbelt?  Is this some sort of cross-advertising with the state of Texas in regard to the “Click it or ticket” campaign?  A quick Google image search shows in nearly every commercial that these two are in together, they are wearing seatbelts.  I just find this odd.
 
Here is the second thing.  Were you to rank where the Jack Ryan film series falls in the pantheon of Hollywood heroes it likely would fall pretty far down the list, especially since it hasn’t been very relative since Harrison Ford last portrayed the Tom Clancy character in 1994’s Clear and Present Danger.  Ben Affleck attempted a reboot of the series in 2002 that led nowhere and now Chris Pine has taken a stab at the part in Jack Ryan: Shadow Recruit.
 
I watched the movie for the first time last night and, while the movie overall wasn’t fantastic, what it did do that stood out over most of the other Jack Ryan films was an emphasis on his analytical skills.  Not since The Hunt for Red October have we seen the character actually do analytical work.  We are always told that Ryan is a great analyst and not a CIA field agent, but somehow he constantly is pitted against the villain in a battle of fists, not wits.  Patriot Games did the best job of justifying why Ryan was exchanging physical blows with the baddies, but the Harrison Ford films and Affleck’s outing both were light on the analysis when it came to Ryan’s character.  That is not to say Chris Pine doesn’t get himself in the fight, but the screenwriters and director at least balanced the brawling with actual paper-pushing skills.
 
That is all for now.  Go back to your regularly scheduled programming.

Monday, August 11, 2014

The Love-Hate Relationship Of A Cult Classic

Merriam-Webster defines cult as “great devotion to a person, idea, object, movement, or work (as a film or book).”  Wikipedia is a little more specific in regard to cult films.  The online encyclopedia states a cult film is one “that has acquired a cult following and are known for their dedicated, passionate fanbase, an elaborate subculture that engage in repeated viewings, quoting dialogue, and audience participation.”  This category of film can be broken down into sub-genres, including “So bad it’s good,” camp and guilty pleasures, nostalgia, midnight movies, art and exploitation, B and genre films, animation, and nonfiction.
 
The Matt Cook definition of cult movie falls mostly under the first two sub-genres: “So bad it’s good” and camp and guilty pleasures.  Upon initial release the film could be either loved or hated by critics, but what tags it with the cult-like status is that it is initially ignored by the masses but slowly builds up a beloved fanbase.  When it comes to movies, the term cult classic more than likely generates thoughts of Rocky Horror Picture Show.  That seems to be the most popular candidate, with massive turnouts for late-night sing-along showings.  However, a recent contender for the top spot of cult classics that is coming on strong is Tommy Wiseau’s The Room.
 
Previewing a list of cult movies on Wikipedia, it included several titles that were successful hits upon their initial release in theaters.  Instead of cult classics, they really should be considered sleeper hits.  This list includes:
Anchorman: The Legend of Ron Burgundy
The Blair Witch Project
The Breakfast Club
Clueless
Dirty Dancing
Dumb and Dumber
Galaxy Quest
The Goonies
Mamma Mia!
Pulp Fiction
 
All of the above movies were generally well-received by critics and box office successes.  It would be unfair to compare them with true cult classics like Brazil and Donnie Darko.  There was also another group of movies included in Wikipedia’s list that, while technically falling into the Matt Cook definition of cult classic in that they have gradually cultivated massive followings after being box office disappointments, their approval by the masses have turned them into legitimate classics.  This group is made up of the following:
2001: A Space Odyssey
Blade Runner
Dazed and Confused
Fight Club
Godzilla (1954 original)
Napoleon Dynamite
Monty Python and the Holy Grail
The Princess Bride
The Shawshank Redemption
Willy Wonka & the Chocolate Factory
The Wizard of Oz
 
With zero statistical evidence to support this opinion, a true cult classic is either treasured or loathed.  It is the rare moviegoer who watches a genuine cult film and doesn’t have their interest meter make a move one way or another toward “loved it” or “hated it.”  Last night I watched Suspiria from Dario Argento and within five minutes my interest meter was dropping quickly toward “hated it.”  While it certainly didn’t end up at the fathomless depths of abhorrence I feel toward cult films like Faster Pussycat! Kill! Kill! or Blue Velvet, it definitely will not see a second viewing again anytime soon, if ever.  Some of the more popular cult classics are listed below and I have broken them up among my “loved it” and “hated it” categories.
 
Loved it:
An American Werewolf in London
The Blues Brothers
Bottle Rocket (after multiple viewings)
Caddyshack
Clerks
A Clockwork Orange
Clue
The Crow
Empire Records
Freaks
Kiss Kiss Bang Bang
Mad Max
Mars Attacks!
Night of the Living Dead
Office Space
The Road Warrior
Robocop
Super Mario Bros.
This is Spinal Tap
Tremors
UHF
Unbreakable
The Warriors
 
Hated it:
American Psycho
Evil Dead Trilogy (Evil Dead, Evil Dead II, and Army of Darkness)
Big Trouble in Little China
Howard the Duck
Hudson Hawk
Plan 9 from Outer Space
Time Bandits
Tron
The Wicker Man