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DOG DAYS OF SUMMER FLICKS
Steven Spielberg on the set of 'The Lost World: Jurassic Park' (1997), preparing to kill the dog, perhaps?
For Hicksflicks.com, Friday, June 14, 2019
EDITOR’S NOTE: The recent box-office hit ‘John Wick, Chapter 3: Parabellum’ is still in theaters, the third in a film trilogy that began with bad guys fatally shooting the title character’s dog. And all three movies are all about obeying the rules. Or not. Which reminded me that some 22 years ago I wrote a column about how dogs were never killed in action movies … unless Steven Spielberg was the director. It’s a rule. Or it WAS a rule. Well, OK, it’s just a rule I made up. Published on Aug. 3, 1997, this ‘Hicks on Flicks’ column (actually, just the first half of a longer column that was also about another subject) ran under the headline, ‘Only Spielberg has the guts to kill “The Dog” in films.’
More things I found myself thinking about when I should have been paying better attention to the movies:
Only Steven Spielberg can kill The Dog.
In action movies, The Dog always survives.
Dozens — even hundreds — of human beings may perish in disaster thrillers, but The Dog always manages to escape. And usually comes out as unscathed as the hero.
This has been an especially prolific cliché since "Independence Day" last year, when Vivica A. Fox's pooch barely escaped a blast in a tunnel filled with cars that flew end over end.
As a result, "Independence Day" set the tone — the First Lady may bite the dust, but not The Dog.
It's no surprise when Boomer the dog barely escapes with his life in 'Independence Day' (1996).
— In "Daylight," Sylvester Stallone leads a small band of survivors out of a tunnel that has been sealed at both ends and is on the verge of collapsing under the Hudson River. Will The Dog drown in one of those dangerous underwater undertakings, or will it prove to be a better swimmer than some of the humans?
— In "Dante's Peak," after a volcano loses its cool in the Great Northwest, The Dog is perched on a rock that is surrounded by molten lava. Pierce Brosnan drives by in a jeep (that apparently has fireproof tires) but will he be able to save our four-pawed friend from a serious hot foot?
— In "Volcano," after Los Angeles residents have been the victims of a volcanic eruption beneath the city, The Dog is trapped in a burning house. Will Tommy Lee Jones and friends get Rover outta there before the timbers collapse?
— In "Speed 2: Cruise Control," after Sandra Bullock and Jason Patric have been battling bad guy Willem Dafoe for two hours, The Dog is on a small boat that is about to be smashed to smithereens. Will the little guy somehow survive the wreckage?
— And in "Spawn," The Dog disappears after a violent fight between the title character (Michael Jai White) and the evil Clown (John Leguizamo), with only its collar left intact. Will "Spaz" surprise the audience by showing up safe and sound in the final reel?
The answer to all of these questions is, of course, a resounding "Yes."
In 1997 it was very unexpected when the T. rex in 'The Lost World: Jurassic Park' turned this pooch into a dino hors d'oeuvres (off-screen, of course).
It's a movie. And they never kill The Dog in a movie.
Unless the movie is directed by the mighty Steven Spielberg. He isn't one to follow the crowd. And he may be the only guy with enough clout to get away with this kind of thing.
So, in "The Lost World: Jurassic Park," The Dog is depicted as a pet in suburban San Diego when the T. Rex tramples the backyard while using the swimming pool as a watering hole.
And though the moment is not graphically demonstrated (it occurs off screen), the audience is made painfully aware that the T. Rex has turned The Dog into a dino-munchie.
Thus, the new Movie Rule: Only Steven Spielberg can kill The Dog.
And even Spielberg won't SHOW The Dog being killed.
LATE AND LATER NIGHT
For Hicksflicks.com, Friday, June 14, 2019
Late-night television and late-night zombie attacks, along with a pair of franchise sequels, mark this weekend’s entries in the summer-movie sweepstakes.
“Late Night” (R). Emma Thompson plays a pioneering late-night talk-show host in this comedy-drama but her reputation is tarnished by accusations that she hates women because she has an all-male writing staff. When she learns that she’s in danger of being replaced by a younger, hipper male host, she impulsively hires a new writer, an inexperienced woman (Mindy Kaling, who also wrote the script). With John Lithgow, Hugh Dancy, Max Casella and Amy Ryan.
“Men in Black: International” (PG-13). This reboot/sequel to the sci-fi comedy “Men in Black” trilogy has serious-minded new recruit Tessa Thompson teamed up with goofball veteran Chris Hemsworth, and Emma Thompson reprises her role (from “MIB3”) as MIB’s boss. With Liam Neeson and Rebecca Ferguson.
“Shaft” (R). Although it carries the same title used for the Samuel L. Jackson 2000 reboot of the cops ‘n’ robbers franchise about maverick detective John Shaft — which was also the title of the original 1971 film with Richard Roundtree — this is a new mystery-thriller with Jackson, Roundtree and Jessie Usher as three generations of the titular character. With Regina Hall.
“The Dead Don’t Die” (R). A series of odd events and missing animals in and around a small town, to include an array of empty graves in the cemetery, lead locals to realize that the zombie apocalypse is in full swing. A dark comedy written and directed by quirky independent filmmaker Jim Jarmusch with an eclectic cast that includes Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Rosie Perez, Iggy Pop, Carol Kane, Selena Gomez and Tom Waits.
“American Woman” (R). When her daughter goes missing, a 32-year-old woman (Sienna Miller) in a small blue-collar town in Pennsylvania spends the next 11 years raising her grandson alone while grieving the mystery of her daughter’s disappearance. With Christina Hendricks, Aaron Paul and Amy Madigan.
“The Outsider” (R). The wife of a Chinese railroad worker (Jon Foo) is raped and killed, sending him on a kung-fu fury of vengeance. The corrupt local sheriff (country singer Trace Adkins) tries to stop him in this low-budget western. With Sean Patrick Flanery and Danny Trejo. (Exclusively at the Megaplex Gateway Theater.)
For Hicksflicks.com, Friday, March 15, 2019
EDITOR’S NOTE: Stanley Donen, who will always be remembered as the director of “Seven Brides for Seven Brothers” and the co-director (with Gene Kelly) of “Singin’ in the Rain,” died a couple of weeks ago at the age of 94. I only reviewed two of his movies for the Deseret News, ‘Movie Movie’ in 1979 and ‘Blame it On Rio’ in 1984. Loved the first, hated the second. But as both have been given new life on Blu-ray upgrades in the last year, courtesy of Kino Lorber, you’ll find my reviews on this page today. The ‘Movie Movie’ review was published in the Deseret News on Jan. 29, 1979.
“Movie Movie” is the kind of movie they don’t make anymore — in fact, it’s two of them.
If you’re one of those folks who stays up until midnight Sunday to catch any old Busby Berkeley film or an old Wallace Beery flick, you’ll love “Movie Movie.” And if you’re not, you’ll still love “Movie Movie.”
Stanley Donen, whose talent has given us such diverse movie entertainment as “Singin’ in the Rain,” “Charade” and “Seven Brides for Seven Brothers,” has crafted here an old-fashioned double-feature, including coming attractions and complete with hokum.
Donen produced and directed “Movie Movie,” which is composed of a black-and-white boxing film, “Dynamite Hands,” and a splashy color musical, “Baxter’s Beauties of 1933.” Both take place in the 1930s and both begin with the exact same scene. The previews are sandwiched in between.
Trish Van Devere, Harry Hamlin, 'Movie Movie'
Both are also composed largely of the same cast — and a fine acting crew it is, including George C. Scott, Trish Van Devere (Mrs. Scott), Red Buttons, Eli Wallach, Art Carney and Barry Bostwick. Supporting players, appearing in one or the other of the films, include Harry Hamlin, Barbara Harris, Rebecca York, Kathleen Beller, Ann Reinking and Michael Kidd, who also choreographed “Baxter’s” dancing sequences.
Their deadpan delivery of the hilarious dialogue is excellent in all respect, and Scott, Van Devere, Buttons, Wallach and Bostwick get to show just what fine actors they all are with extremely different roles in each feature.
But kudos would be incomplete without mentioning writers Larry Gelbart (“M*A*S*H” on TV and “Oh, God!” in theaters) and Sheldon Keller. Their script (or scripts) is (are) both a tribute and a send-up. The situations are contrived, the romance is sappy and the dialogue is insipid and delivered straight — in other words, just as Hollywood really used to make them (and often still does). But that dialogue has enough bite, wit, twists and double meanings to keep the laughs coming. They are intentional here, of course, but were not always in the original genres.
It’s hard to say which of the two is better. “Baxter’s” is snappy, energetic and a lot of fun, but “Dynamite” is probably funnier, due largely to a hilarious courtroom scene at the end. Gelbart and Keller are particularly adept at taking everyday clichés with anatomical words and twisting their meanings into the ridiculous. (“When you speak with your heart, your mouth is 10 feet tall.”) They become slightly predictable but never stale.
And Donen has captured the sight and sound of ’30s movies; film buffs will notice the brash color of “Baxter’s” and the quivery background music of “Dynamite.”
My personal favorite is the preview in the middle for a black-and-white picture: “See ‘Zero Hour’ — war at its best!” Scott, Carney and Wallach are hysterical as the typical heroes and villains of old war movies.
“Movie Movie” is rated PG but could easily be G. There is nothing offensive, no profanity, but children may become bored, not understanding the humor. Get a sitter and go; you’ll love it. As Baxter tells his beauties: “Idle feet are the devil’s toenails!”
Hi. I'm Chris Hicks.
But if you're looking for Chris Hicks the Australian rugby player or the American recording-industry executive or the Major League Baseball player or the author of "Think" or the singer-songwriter or the former basketball player, you're in the wrong place.
I'm Chris Hicks the movie guy from Salt Lake City. If that's who you're looking for, welcome to my website as I enter the 21st century … a little late (May 2013).
This site is all about movies, well mostly, and it's also about me, I guess, but I'll try to keep my ego in check.
My goal, my hope, is that you will be able to browse the pages here and be alerted to or reminded of some great movie you've never heard of or forgotten about. In other words, something that might enhance your movie-watching experience, whether it's by Alfred Hitchcock or Joss Whedon, or stars Audrey Hepburn or Jennifer Lawrence or someone you never heard of. And I've also tried to make it fun.
The bulk of stories and reviews here are gleaned (with permission) from my 40 years of writing about film for the Deseret News, a daily newspaper in Salt Lake City, with side trips here and there to other entertainment forms.
I'm no longer writing for the D-News so this is mostly archival stuff, primarily from the Deseret News but also from my 13 years with KSL Television and Radio, as well as other sundry freelance things I occasionaly come across in my deteriorating hard-copy files.
Hope you enjoy my little site. If you do, tell your friends. If you don't, just say you couldn't find it.
For Hicksflicks.com, Friday, June 14, 2019
EDITOR’S NOTE: A talking-heads documentary with subtitles that plays at more than nine hours? You’ve got to be kidding. Daunting, I know. And yet this film by the late Claude Lanzmann, which was shown in two segments in theaters some 33 years ago, is as riveting as a movie can be. It’s available on the Criterion Collection label but the Salt Lake Film Society is bringing it back to town for big-screen showings at the Tower Theater as part of its series, ‘The Greatest: Life-Changing Documentaries.’ My review was published in the Deseret News on Oct. 24, 1986.
Movies come to town quite frequently with advance publicity hyping them to the stars. The word “masterpiece” is used so often by national critics and subsequently adopted as part of the newspaper ads that it becomes faint praise and is viewed with skepticism. Particularly by local critics.
In the case of “Shoah,” however, no amount of praise adequately prepares the audience — or the critic — for what unfolds on the screen. Here is a work so personal, so powerful, so tremendously moving that it must be seen and felt to be understood.
French filmmaker Claude Lanzmann, who spent some 11 years on this project, has managed to document on film an oral history of the Holocaust. This is the testimony of survivors. Mostly we see and hear victims but there are also a few former Nazi soldiers, all witnesses to atrocities so shocking that you might think mere words could not adequately convey their horror.
And yet that is exactly what happens in this film.
Lanzmann just lets them talk. The people he interviews tell their stories, unraveling for us the events that involved them during the war. Sometimes the camera cuts to the places where these events occurred but the shots are of these places as they look today. No stock footage or photographs of bodies or lime pits or victims lining up at gas chambers here. The result is an eerie contrast to what is being spoken.
Claude Lanzmann, director of 'Shoah,' died last year at age 92.
And as the stories are told, audience members’ imaginations fill in the visual gaps, making it all the more horrifying and real. The emotion in the voices of the victims will send chills up your spine and you may come closer to understanding what it was like than you ever have before.
There are so many people who tell stirring stories here that it’s hard to single out a few, but among the hardest to forget is a barber named Abraham Bomba who, toward the end of the film, talks about being forced to cut the hair of women who were about to be summarily executed.
While telling the story he is cutting the hair of a customer in a barbershop in Israel, and as he gets into a particularly heart-wrenching memory he breaks down, asking Lanzmann to stop the camera. But Lanzmann instead gently coaxes him to finish the story, and the result is extremely emotional.
Also memorable are Filip Muller, who describes the crematoriums and tells how he tried to walk into the gas chambers with his people when he could no longer bear watching them suffer, but was told by his comrades to live so he could testify about what he saw; Jan Karski, a Pole who had buried the events he witnessed in his psyche for decades before consenting to be filmed by Lanzmann, and is still quite reluctant as we see him; Rudolph Vrba, a Hungarian Jew who escaped Auschwitz to warn his countrymen.
And there are many others.
What is perhaps most remarkable about “Shoah” is that Lanzmann, without conventional theatrical devices such as music or camera movements or quick edits or avant-garde documentary techniques, makes his film compelling by virtue of its straightforward, non-theatrical approach.
By simply letting these people tell their stories and by not interfering except to explore particular questions he feels have not yet been answered – and he has a talent for exploring quite deeply without ever seeming to badger – Lanzmann allows the audience to feel as if it has been invited to listen to these stories, instead of being a voyeuristic eavesdropper, as is the case with most films.
“Shoah” is more than a movie. It is living history.
And, yes, I’ll go a step further and add that this movie truly is indeed a masterpiece. And I don’t think I’ve ever used that word in describing a movie before.
“Shoah” is occasionally in English but mostly in several foreign languages with English subtitles. It is unrated but would probably be rated PG for some profanity and adult themes.
(As a footnote, one of the things that makes “Shoah” so remarkable in keeping up its level of interest is that it is roughly 9 ½ hours long. As a result, it is split into two parts, to be shown on separate evenings during the week at the Utah Theater. See the newspaper ad for specific times for Parts I and II.)
RAMBO: FIRST BLOOD PART II
For Hicksflicks.com, Friday, June 14, 2019
EDITOR’S NOTE: ‘First Blood,’ in which Sylvester Stallone introduced his one-man army Rambo character, was a surprise hit in 1982, ranking No. 13 for the year in box-office dollars. So a follow-up was inevitable, and three years later ‘Rambo: First Blood Part II’ was an even bigger hit — No. 2 for the year, behind ‘Back to the Future’ and ahead of ‘Rocky IV.’ Yes, Stallone was riding high. Now, each of the first three ‘Rambo’ movies has earned a new 4K release from Lionsgate Home Entertainment, so here’s my review of the second film in the franchise, ‘Rambo: First Blood, Part II,’ which was originally published in the Deseret News on May 29, 1985.
Sylvester Stallone, he of the droopy eyelids, the Schwarzenegger biceps and the crooked sneer/smile — depending on whether he’s playing Rocky or Rambo — is back as the latter in “Rambo: First Blood, Part II.”
Here’s a movie that knows its audience. You want action? You want violence? You want a fast pace? You want a bigger-than-life hero who overcomes all — and I mean all — odds? You want a plot that panders to our need to hate the government for what it did to us in Vietnam?
And it undeniably delivers with style and excitement, which is more than you can say for Chuck Norris’ lethargic “Missing In Action,” which had a nearly identical plot (as did “Uncommon Valor” before “MIA”).
As a result, on a purely visceral level, “Rambo” is kind of fun. Whaddaya want, brains too?
The film begins with Rambo in prison after his “First Blood” escapades, during which he literally destroyed a small Colorado town, single-handedly of course, after being mistreated by local authorities.
Sylvester Stallone, 'Rambo: First Blood, Part II'
He is visited by his old commanding officer (Richard Crenna) who tells him the government needs him for a secret mission — to go back to an old POW camp in Vietnam and photograph any survivors who might still be there.
Rambo looks the commander in the eye and says, “Sir, do we get to win this time?”
And we’re off, transplanting the jungles of Colorado (in the first film) for the jungles of Vietnam (subbed here by Mexico).
Of course, Rambo doesn’t just take pictures. He’s not going to photograph those guys — he’s going to rescue them. All by himself. And what a rescue. He single-handedly blows away literally hundreds of Vietnamese and Russian soldiers with everything from arrow bombs to heavy helicopter gunnery held in one hand.
In fact, the body count on this film has to be one of the highest in history — including World War II documentaries.
Stallone co-wrote the “Rambo” script — which probably means he re-wrote it to suit his own talents. And it has the Stallone stamp all over it. We see close-ups of his glistening, gleaming biceps in the hot jungle sun; we see close-ups of the sneer as he warns the double-crossing diplomat that he’s coming to get him; we see close-ups of his mud-laden body as he jumps out of nowhere to attack a bad guy. But we don’t hear much in the way of dialogue.
The biggest mistake the original “First Blood” made was to have Stallone babble on with an incomprehensible monologue at the end, something to do with how badly Vietnam veterans have been treated. The sequel has the same preachy ending, but here it is reduced to two or three grunts. Wise move.
And that pretty well points the difference between this film and the other MIA “rescue” films. “Rambo” is streamlined, sleek and to the point. Rambo don’t take no guff from nobody — and the film is structured in the same manner.
That doesn’t mean “Rambo” makes any more sense or is any less ridiculous than other films of this ilk. When Stallone mumbles, “I’ve always believed the mind is the best weapon,” the audience has to laugh.
And “Rambo” is no more sensitive to the real MIA issue, either. It’s just a better action film. And that’s enough for a moderate recommendation.
“Rambo” is rated R for violence — and there’s mayhem aplenty (more bodies than any film since “The Terminator,” and that’s saying something). There is also some sex, brief partial nudity and profanity.