DATE WITH AN ANGEL - Home
WHEN CLINTON WAS ‘GUMPED’
For Hicksflicks.com, Friday, Sept. 25, 2020
EDITOR’S NOTE: When I was writing about movies for the Deseret News I would occasionally see Donald Trump — yes, our (insert adjective here) president — in movies doing cameos as himself: ‘The Associate,’ ‘The Little Rascals,’ ‘Two Weeks Notice,’ ‘Zoolander.' And if you look up his credits on the Internet Movie Database (IMDB) you’ll see that he has no less than 27 credits in his ‘Filmography’ list and 379 in the ‘Self’ list, meaning talk/variety/political shows on which he was a guest — which includes his appearances on ‘Fox and Friends’ and other shows during the past four years. But it also includes such TV shows as ‘Sex and the City,’ ‘Spin City,’ ‘The Drew Carey Show,’ ‘The Fresh Prince of Bel-Air’ and the daytime soap opera ‘All My Children.’ No kidding!
But for previous presidents, such frivolous appearances were something they didn’t even consider — to include the years before and after their presidencies. As an example there’s this column I wrote back in the late ’90s. Under the headline ‘Clinton in “Contact” is amusing despite what the White House says,’ published on July 20, 1997.
And, strangely, this does dovetail into current politics when altered videos are routinely used to discredit opponents and promulgate disinformation. When fiction becomes prediction, if you will.
President Clinton has been Gumped. And he's not happy about it.
Filmmaker Robert Zemeckis, who won an Oscar for "Forrest Gump," cleverly worked news-conference footage of the president into "Contact," thanks to the advanced computer technology that so seamlessly blended Tom Hanks' interaction with President Nixon in “Gump."
In "Contact," it appears that Clinton is on the movie set with the film's actors, offering up approval of the space exploration program that is the film's subject.
Of course, our chief executive didn't really participate in the film.
The main speech used was given some months ago in the Rose Garden of the White House, and he's actually discussing a rock believed to have come from Mars. Zemeckis and crew simply placed the video of Clinton into the movie, so that it appears he's in a room with Jodie Foster, Tom Skerritt, James Woods, Angela Bassett and other actors.
From left: Stallone, Schwarzenegger, Ford, all in their 70s and still doing action films.
Steve Starkey, a co-producer of "Contact," told the Los Angeles Times that presidential speeches "are in the public domain. We didn't alter a word he said. We just digitally replaced the setting. We took him from the Rose Garden to the pressroom."
The White House is not amused, however, and has lodged a complaint with the filmmakers.
Maybe they'd like to put the film in arbitration. Clinton could get into the Screen Actor's Guild, and his speechwriter could receive a writing credit — or at least a fee.
What's most interesting about all this is how well Clinton's remarks fit into the context of "Contact." These particular news clips provide a perfect example of how easily a pontificating generic political speech, which actually says nothing, can be adapted to any situation.
In that sense, it's pretty funny. And I was more amused by Clinton's appearance in the film than anything else. (There was also a titter that ran through the audience when he appeared onscreen.)
On the other hand, it does set a strange precedent. "Contact" may be the first movie to use public domain footage rather than simply hire an actor.
Who knows where it might lead?
Maybe all those 50-year-old action heroes — Sylvester Stallone, Arnold Schwarzenegger, Harrison Ford — will be able to continue doing slam-bang movies longer than anyone thought, with digital computer-generated bodies doing all the work.
They'll be 90, still banging heads and saving the world.
And movie producers will still be giving them 25-year-old female co-stars.
Wolf Blitzer, left, Bryant Gumbel, Jay Leno, at their day (or late-night) jobs in 1997.
-— CNN RSVP ASAP: Someone else who got his feathers ruffled by "Contact" was CNN President Tom Johnson, whose highest-profile reporters appear in the film, making pronouncements about the fictional plot as if they are reading legitimate news.
CNN's senior news anchor Bernard Shaw, anchors Bobbie Battista and Linden Soles, several field reporters and, of course, Larry King, all show up.
A range of non-CNN types — from Bryant Gumbel to Jay Leno — also appear in "Contact." But because CNN is owned by Time-Warner, which also owns Warner Bros., the movie studio that made "Contact," there has been some question about the ethics of so many CNN reporters showing up on various TV screens in the movie. (Only CNN White House correspondent Wolf Blitzer formally declined.)
Of course, CNN has also been a strong presence in a number of other recent movies — "Independence Day," "The Lost World: Jurassic Park," "Face/Off" and many more.
Johnson said the intention was to help promote the Cable News Network — but now he feels that it has become a bit embarrassing.
Though a formal announcement has not been made Johnson indicated he may not let any of his reporters appear in future movies.
That will be a relief to struggling actors who audition for roles as news anchors.
ENDNOTE: Wolf Blitzer, by the way, has since been seen in such films as ‘The Campaign,’ ’Skyfall’ and ‘Mission: Impossible — Fallout,’ along with such TV shows as ‘House of Cards,’ ‘The Brink’ and ‘Alpha
SEVEN NEW MOVIES AND NOTHING TO WATCH
For Hicksflicks.com, Friday, Sept. 25, 2020
It’s a mixed bag of new movies at the multiplexes this weekend, with a couple of independently produced Sundance Film Festival winners appearing to be your best bets. Or you could just wait for them to be on some streaming site, which will happen all too soon.
There are also a few older films that have crept into theaters this weekend, including a 1963 classic and a couple of fairly recent films about the late Supreme Court Justice Ruth Bader Ginsberg.
“The Last Shift” (R). A sad, over-the-hill, faintly racist bachelor and former high school jock (Richard Jenkins) is about to retire from a fast-food joint when he clashes with his replacement, a young black man (Shane Paul McGhie) who rails against white privilege in this comedy-drama. With Allison Tolman and Ed O’Neill. (Had its world premiere at the Sundance Film Festival.)
“Kajillionaire” (R). Richard Jenkins is also in this comedy-drama (which also had its world premiere at Sundance) about a cynical con artist (Evan Rachel Wood) who works with her criminal parents (Jenkins, Debra Winger) but who feels upended when another crook is invited to join them on a heist. With Gina Rodriguez. (To be on video-on-demand Oct. 16.)
“Ava” (R). Jessica Chastain stars as a seasoned assassin working for some kind of killer-for-hire worldwide organization is blindsided by hit gone wrong and begins to think she was set up. With Colin Farrell, Geena Davis, Common, John Malkovich, Joan Chen. (Also available on video-on-demand.)
“Leap” (Not Rated, in Mandarin with English subtitles). Chinese biographical film covers 40 years in the lives of members of China women’s national volleyball team. Gong Li stars as a coach. (Exclusive at the AMC Theater in West Jordan.)
“Shortcut” (R). A mysterious monster terrorizes five school kids whose bus has taken a wrong turn in this English-language Italian creature feature.
“Break the Silence: The Movie” (Not Rated, in Korean with English subtitles). South Korean documentary follows the band BTS (aka The Bangtan Boys) during its “Love Yourself” world tour and is being sold as a sequel to the 2018 documentary “Burn the Stage: The Movie.”
“Candy Planet” (PG, dubbed in English). A group of kids in a jungle setting perform one task after another — derived from the “Candy Crush Saga” video game — to save their friends on Candy Planet. The full title for this children’s animated feature from China is “Jungle Master 2: Candy Planet.”
Older films landing in theaters this weekend include the two about Justice Ginsberg — the biographical film “On the Basis of Sex” and the documentary “RBG,” along with the Hictchcock-like comedy thriller “Charade,” with Cary Grant and Audrey Hepburn, as well as “The Empire Strikes Back” and the animated features “Akira,” “Madagascar,” “The Land Before Time” and “The Secret Life of Pets.” Others that are hanging in there include “Jurassic Park,” “School of Rok,” “Inception” and “How to Train Your Dragon.”
FULL METAL JACKET
For Hicksflicks.com, Friday, Sept. 25, 2020
EDITOR’S NOTE: Stanley Kubrick’s still stunning and still disturbing ‘Full Metal Jacket’ recently earned a 4K reissue on video, so here’s my review, published in the Deseret News on July 10, 1987. (And despite my prediction in the final paragraph, none of the actors was nominated for an Oscar, although R. Lee Ermey was nominated for a Golden Globe.)
Stanley Kubrick movies are events, no getting around it.
When a filmmaker of his stature makes a film only every seven or eight years, his fans tend to look forward to each venture with great expectations.
He doesn’t always live up to what we hope for, but even Kubrick’s less successful films — “The Shining,” for example — have so many fascinating elements about them that movie buffs inevitably return to them.
And his best films — “Paths of Glory,” “Dr. Strangelove,” “2001 — A Space Odyssey” — are classics.
“Full Metal Jacket,” Kubrick’s dissertation on the Vietnam War, is an oddly structured film, essentially in three parts. The sum of those parts may not add up to a classic but the parts themselves are composed of powerful filmmaking, particularly the final third.
Vincent D’Onofrio, Lee Ermey, 'Full Metal Jacket' (1987)
Kubrick has taken a different approach than “Platoon,” so comparisons, though inevitable, are not really valid. Where Oliver Stone followed a rich kid who volunteered for combat and showed us how the war changed him, Kubrick follows his main character – a recruit who becomes a Stars and Stripes reporter – almost incidentally. There is some voice-over narration, but it’s limited, rather stilted and unnecessary. That, however, is where the resemblances end.
“Full Metal Jacket” begins in boot camp. You may think you’ve seen it all before, but you haven’t. Not like this.
Though the aforementioned main character, Joker (Matthew Modine), is prominent early on, the showstoppers are Vincent D’Onofrio as “Gomer Pyle” and Lee Ermey as the drill instructor. There is little dialogue exchanged here, the soundtrack being filled instead with the obscenities of the D.I. as he puts his troops through the rigors of basic training.
The boot camp portrayed here reveals more realistically than any movie I’ve ever seen the combination of comedy and tragedy, humor and heartbreak that make up that eight-to-12 week experience. And the end of this segment is a shocker.
Then we follow Joker to Vietnam, where his character is established as a conflicting mix of rebel, trooper, peace-lover and killer. But gradually one of the Marines in his group takes over our attention, Animal Mother (Adam Baldwin).
And before long the latter third of the film takes us to the destroyed city of Hue during the Tet Offensive as this rat-tag bunch of sad sacks find themselves without a leader. The chaos that ensues as they are confronted with a sniper is as powerful a piece of filmmaking as you are likely to see on the subject. It reveals incredibly well the sense of young boys playing war — for keeps — and the difficulty of making decisions in the ultimate stress situation.
“Full Metal Jacket” has its flaws but Kubrick’s technical prowess is so overwhelming that those flaws seem largely unimportant. His characters may be underdeveloped, the story may meander from time to time, but the overall picture of the horror of war is clear, and the power with which it is told is at once repugnant and compelling.
Rated R for extreme violence and profanity, “Full Metal Jacket” would seem to round out a trilogy of war films by Kubrick — “Paths of Glory,” about the insanity of World War I; “Dr. Strangelove,” about the insanity of nuclear war; and now “Full Metal Jacket.”
Summer seems an odd time to release a movie of this intensity but maybe it’s just what we need in the midst of all the standard silly movies out right now.
And you can bet on Baldwin, D’Onofrio and Ermey as strong contenders for next year’s Oscar race.
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, Sept. 25, 2020
EDITOR’S NOTE: This popular Japanese anime feature has been brought back to theaters this weekend (playing in several Cinemark and Megaplex multiplexes around town) and fans will be happy to see it on the big screen, perhaps for the first time. My review was published in the Deseret News on March 30, 1990. (Although, as noted here, the film was unrated in 1990, it was given an R rating for a 2001 anniversary home-video release.)
"Akira" is an animated feature but don't let visions of talking ducks and dancing hippos fill your mind. This is adult fare, aimed at hard-core science-fiction fans.
Further, it's so violent and bloody that if the film was live-action it would easily get an R rating. Come to think of it, maybe it would get an R rating anyway. (There are also a few profanities and a scene with nudity.)
The ads hype "Akira" as a cross between "Heavy Metal," the animated sci-fi anthology, and Ridley Scott's "Blade Runner." The comparison is apt, since the concept owes something to "Heavy Metal's" rude, gritty animation style and the scenes of "Neo-Tokyo," some 30 years into the future, starkly resemble Scott's vision of 21st-century Los Angeles. (And like "Blade Runner," "Akira" gives much more emphasis to the visual style than the story.)
After that there are a lot of other movies that come to mind while watching "Akira," from "Star Wars" to "Superman," but chiefly Brian DePalma's "The Fury" and David Cronenberg's "Scanners" — right down to the one-on-one duel-of-the-telekinetics.
But being animated, "Akira" has a lot more freedom than those films, in terms of its visual imagery, and stylistically it's all over the map.
The film's "look" is significant, since "Akira" is aimed at animation, sci-fi and comic book buffs — it is based on the comic book … er, "graphic novel" … by Katsuhiro Otomo, published here by Epic Comics. (Budgeted at $7 million, this is also Japan's most expensive animated feature.)
But the plot is less successful.
A convoluted, muddled mixture of decades' worth of science fiction and fantasy themes, the story begins with a couple of biker gangs battling it out in the streets of Neo-Tokyo, built on the remains of Tokyo Bay in the year 2019, 31 years after World War III.
During one confrontation on their hyper-speed motorcycles, a junior member of one of the gangs is injured and spirited off by evil government officials to a hospital. There a doctor discovers he has telepathic and telekinetic powers.
Before the boy's powers can be harnessed, however, he escapes and wreaks havoc on the city, with his friends and other government experimental telekinetics trying to help him. Eventually, however, they realize that all they can do is try to stop him.
Anyone who's read or watched much science fiction will recognize the themes here, right down to the most basic — the "1984"-style government structure. And the battles, whether involving mobs of people or one-on-one confrontations, become rather redundant after awhile. (Some of the English dubbing is a bit strange, as when a couple of Japanese natives seem to have affected Brooklyn accents. And why do so many characters grimace and growl?)
Worst of all, the film is more than two hours long, which is much too lengthy to sustain interest in an animated feature, even if the story were more compelling.
But it is the animation that is the draw here, so to speak. And some of the imagery is nothing short of stunning. (The hallucinations of experimental victims are especially effective.) And the musical score is also very good.
So keep in mind that the three-star rating is strictly for avid fans of the genre. Anyone else should beware.
DATE WITH AN ANGEL
For Hicksflicks.com, Friday, Aug. 14, 2020
EDITOR’S NOTE: Once again Kino Lorber has a mixed bag of vintage Blu-ray upgrades in release this week that genuinely represent both ends of the quality spectrum. ‘Tender Mercies’ (reviewed elsewhere on this page) is a genuine gem, while this one, ‘Date with an Angel’ is dumbfoundingly atrocious. But someone must like it, so here’s my review, published Nov. 24, 1987, in the Deseret News.
“Date With an Angel” is yet another movie with a “heavenly connection,” hot on the heels of “Made In Heaven” and “Hello Again.”
Emmanuelle Beart (soon to be seen in the title role of “Manon of the Spring,” the sequel to “Jean de Florette”) is the angel in question, sent to earth on a mission that is revealed late in the film (but which can be easily figure out whether or not you are paying attention).
The camera gives us an angel-eye view as she leaves heaven, heads for earth and accidentally bumps into a satellite injuring her wing. She crash-lands into a swimming pool and is rescued by our hero, played by Michael E. Knight.
He takes her into his apartment and helps nurse her wing back to health, much to the consternation of his fiancé (Phoebe Cates) and her father (David Dukes).
Michael E. Knight, Emmanuelle Beart, 'Date with an Angel' (1984)
When word gets out that Knight has an honest-to-gosh angel in his midst, his three money-hungry buddies try to exploit her, Dukes tries to get her to endorse his cosmetics line, and Cates has periodic fits and begins drinking heavily.
But Beart is a complete innocent, though she often seems like a bit of a nymphet. And she doesn’t speak; she squeaks, sounding for all the world like a dolphin.
Plotwise, “Date With an Angel” makes no sense whatsoever, and the climax is truly ridiculous, as if the filmmakers suddenly realized that a happy ending could not be achieved, given the direction the story was going — so they shifted gears at the last minute to achieve the desired results.
Most of this is pure slapstick, however — and not very good slapstick at that. Dukes is bitten on the rear by a ferocious dog and thereafter has trouble sitting down. Beart can’t walk in high heels but tries anyway, falling down a lot. Cates drunkenly puts on her underwear over her jeans and goes after the angel with a rifle. Knight’s trio of friends lures Beart with her favorite food, French fries, which she stuffs piggishly into her mouth.
And those are the highlights.
Phoebe Cates, left, Michael E. Knight, Emmanuelle Beart, 'Date with an Angel' (1984)
There are some good special effects and the cast does try but most of the players are often less than charming, when they aren’t downright obnoxious. Knight is somewhat appealing in the lead and Beart is stunningly beautiful, exhibiting the perfect amount of innocence as the angel, though the noises she makes are really annoying.
And wouldn’t you know it; they just couldn’t resist. The angel has a nude scene.
Worse, however, are the scenes of bondage as the angel is kidnapped by Knight’s friends, and the opening sequence with his pals staging a phony terrorist attack. There’s a cruel streak at work here that undermines the film’s attempts at humor.
“Date With an Angel” is rated PG for some profanity, violence, nudity and implied sex.