PROPHECY - Home
SAME AS IT EVER WAS
For Hicksflicks.com, Friday, Aug. 14, 2020
EDITOR’S NOTE: One weekend last month, with few movie theaters open to the public during the current pandemic — and with those that are open dominated by 1980s ‘classics’ — a 36-year-old movie became the No. 1 box-office hit in the nation: ‘Ghostbusters.’ So let’s take a look back at August 1984 when the summer was wrapping up and yours truly was assessing the damage for the Deseret News. As it happens, ‘Ghostbusters’ would go on to become the year’s biggest moneymaker, and four of the top 10 were also summer flicks; No. 2 was ‘Indiana Jones and the Temple of Doom,’ followed by ‘Gremlins’ (No. 3), ‘The Karate Kid’ (No. 4) and “Star Trek III: The Search for Spock’ (No. 8). The moviegoing public had spoken! This ‘Hicks on Flicks’ column was published on Aug. 19, 1984.
Unless there’s some surprise coming I don’t know about — that is, unless “Body Rock” or “Oxford Blues” turns out to be an exceptionally wonderful sleeper — the summer verdict is pretty well in.
“Ghostbusters” is the winner and reigning champ, and indeed one of the summer’s brightest and best films.
Meanwhile, though they still made a box-office killing, “Indiana Jones and the Temple of Doom” and “Gremlins” are licking the critical wounds of Steven Spielberg backlash. Even critics who raved about the films when they first viewed them seem to be backing down a bit in the light of more recent criticisms of those films and of Spielberg himself.
And while it may be true that Spielberg is “imitating himself,” and going for fast pacing and shock effects over character and story, those films are, for me at least, still highly entertaining and wonderfully fanciful.
Every summer has its sleeper and “The Karate Kid” was unexpectedly a pleasantly surprising box-office and critical hit, one which seemed to open the floodgates for family films.
Most of the other movies that were aimed at children and their parents came at the end of the summer, following “The Karate Kid.” Late in July we got “Marvin and Theo,” “The Last Starfighter,” “The Neverending Story” and “The Muppets Take Manhattan,” and this month brought “The Lucky Star” and “Cloak & Dagger.”
Ralph Macchio, left, Pat Morita, 'The Karate Kid' (1984)
And that will most certainly be the last of the family fare we will see until Christmas, or at least that’s how it appears right now.
Fall, traditionally a time for “serious” films — those with higher aspirations than most and those that begin to aim seriously for Oscar nominations — will not be much different this year in content. It will differ, however, in the number of films scheduled.
Each month between now and December has from 10 to 15 major movies on the calendar, a most unusual phenomenon. And December, always a big month, has some 20 on the schedule.
Some of the upcoming Christmas films already have previews showing in the theaters, including the two big sci-fi films “Dune” and “2010: Odyssey Two.” In addition there is “Supergirl,” John Carpenter’s “Starman,” Neil Simon’s “The Slugger’s Wife,” David Lean’s “A Passage to India” and Francis Ford Coppola’s “The Cotton Club.” Along with a detective film starring both Clint Eastwood and Burt Reynolds, a thriller with Tom Selleck, and comedies starring Goldie Hawn, Eddie Murphy and Michael Keaton, respectively.
December, as you might gather from that list, is a big-budget blockbuster month. The fall months preceding December, on the other hand, usually go for smaller films.
Those scheduled for September include a comedy, of all things, Steve Martin and Lily Tomlin in “All of Me,” but most will be much more serious – “Country,” with Jessica Lange, Sam Shepard and Wilford Brimley; “Amadeus,” based on the stage production about Mozart; “Places in the Heart,” with Sally Field; Under the Volcano,” with Albert Finney and Jacqueline Bisset; “Irreconcilable Differences,” with Ryan O’Neal, Shelley Long and Drew Barrymore; and “A Soldier’s Story,” with Howard E. Rollins Jr., who was so memorable as Coalhouse Walker in “Ragtime.”
Ke Huy Quan, left Kate Capshaw, Harrison Ford, 'Indiana Jones and the Temple of Doom' (1984)
Among those scheduled for October are Bill Murray’s dramatic debut, “The Razor’s Edge”; “Songwriter,” with Willie Nelson and Kris Kristofferson; Brian De Palma’s “Body Double”; “Little Drummer Girl,” with Diane Keaton; and, for a bit of lighter fare, Paul McCartney’s “Give My Regards to Broad Street,” with McCartney and his wife Linda, along with Ringo Starr.
Even lighter is one of November’s films, the third in the “Oh, God!” series, again with George Burns.
Looking for possible Oscar fare among films that have not yet been seen is a fool’s game, of course, though Albert Finney, Diane Keaton and David Lean are always fairly secure bets. But there have been so far very few films that look like qualifiers and one is tempted to speculate that nary a single film up to now will receive a nomination in a major category.
There are possible exceptions, of course. A fairly strong contender might be Anthony Hopkins for his excellent portrait of Capt. Bligh in “The Bounty,” but that may not come to pass since the film flopped at the box office. Lesser possibilities, though they are certainly deserving, would be Mia Farrow for “Broadway Danny Rose,” John Lone for “Iceman,” Wilford Brimley for “The Stone Boy” and Pat Morita for “The Karate Kid.”
But I haven’t seen a single film so far this year I would put money on as a contender for “best picture.” It would appear those and any other strong contenders for ’84 will come from films released in the final months of the year.
One thing remains certain, however. Those who avidly search out movies to see will not have their usual idle period during the fall this year.
It’s enough to make a critic look forward to Christmas.
SOMETHING FOR … ANYONE?
For Hicksflicks.com, Friday, Aug. 14, 2020
So far the “new” movies that have been opening in local theaters (meaning the Megaplexes), and which have also debuted as online streaming options, are nothing to shout about. Hollywood is, of course, holding its best stuff off in hopes of theaters genuinely reopening at some point. (Although Disney became impatient and put its live-action “Mulan” remake on its Disney+ channel already.)
This weekend you can see these newbies at several Megaplex multiplexes:
“How to Build a Girl” (R). Based on a popular novel, this English coming-of-age comedy stars Beanie Feldstein as an out-of-step teenager who rises from her working-class roots to become a popular music journalist. With Emma Thompson and Chris O’Dowd.
“The Silencing” (R). A reformed-alcoholic hunter (Nikolaj Coster-Waldau) whose teenage daughter disappeared years earlier joins forces with a town sheriff (Annabelle Wallis) to track down a serial killer.
“Children of the Sea” (PG, Japanese, dubbed in English). Another Japanese anime offering, this one has a junior high school girl hanging out at the aquarium where her father works and taking up with a pair of mysterious brothers that her father says were raised by dugongs, marine mammals related to manatees.
“Happy Happy Joy Joy: The Ren & Stimpy Story” (Not Rated). The controversial 1990s Nickelodeon cartoon series about an unstable Chihuahua and his pal, a sweet-but-dim cat, is profiled in this documentary.
“Sputnik” (PG-13, in Russian with English subtitles). The lone survivor of a mysterious incident aboard a spaceship in 1983 is unaware that his body has been taken over by a creepy alien creature … and the use of the word “Alien” here is no accident.
“Spree” (R). This yarn about a rideshare driver obsessed with social media who turns to murder to up his presence online has been described as a combination of Martin Scorsese’s “Taxi Driver” and “The King of Comedy.”
And, the usual (mostly 1980s) “classics” continue to dominate the aforementioned theaters, including “Ghostbusters,” “The Goonies,” “Gremlins,” the “Back to the Future” trilogy, the first two “Indiana Jones” pictures, “The Breakfast Club,” “Dirty Dancing,” etc.
And such post-’80s efforts as “Jurassic Park,” “Hook,” “Space Jam,” “Iron Man,” “Twilight,” the first three “Harry Potter” films and “Edge of Tomorrow.”
And a pair of 1970s films — “Jaws” and “Superman.”
Enjoy — in a socially distanced theater or in the comfort of your own home.
For Hicksflicks.com, Friday, Aug. 14, 2020
EDITOR’S NOTE: Robert Duvall deservedly earned his best-actor Oscar for ‘Tender Mercies,’ which holds up marvelously some 37 years after its theatrical debut. If you’re looking for something uplifting that will give you hope during the ongoing pandemic and financial crisis, here it is. If I were compiling a list of my favorite films of all time, this one would be near, if not at, the top. Now it's earned a Blu-ray upgrade from Kino Lorber. My review was published in the Deseret News on June 10, 1983.
“Tender Mercies” is an excellent film likely to be overlooked by summer audiences who want razzle-dazzle escapism — but you won’t find anything better to spend your movie dollars on.
Arriving on the heels of ecstatic reviews, “Tender Mercies” lives up to every shout of praise. But the film itself is quiet, very gentle and low-key. This is real life, with all the day-to-day motions people are led through, with the present linked inseparably to the past and genuine expressions of every emotion as they naturally occur.
Robert Duvall, who also co-produced is Mac Sledge, a former country-western singer who was a singing star in his day but now is reduced to drunken brawls in small towns where no one remembers him.
Robert Duvall, left, Tess Harper, Allan Hubbard, 'Tender Mercies' (1984)
We meet Mac when he finds himself stranded in a small Texas motel on a desolate highway. To pay for the motel room in which he’s been unconscious for two days, Duvall does some work for the owner, Rosa Lee (Tess Harper), a widow with a young son (Allan Hubbard).
Gradually they become close and Mac asks Rosa Lee to marry him. She agrees and they lead a quiet life, as Mac gives up the bottle and tries to settle down. Then his ex-wife, Dixie Scott (Betty Buckley), comes through town, a singing star whose rise came through Mac’s music years ago. Mac tries to see their daughter (Ellen Barkin) after nearly a decade of absence and Dixie’s hatred for him flares. And later, Mac gets the itch to write and sing again.
“Tender Mercies” is about people, and it makes no attempt to give us extended highs or lows. And because it is so honest and refreshing in its approach it never fails to move us.
This is a “little” film, an even-tempered story told directly, without major plot tragedies or violent shifts in development. Screenwriter Horton Foote (“To Kill a Mockingbird”) obviously knows these people very well and Australian director Bruce Beresford (“Breaker Morant”) has perfectly captured the bleakness of the landscape, along with its simple beauties. Likewise, the characters here are all people with whom we can identify.
Duvall is incredible. There’s no underplaying, no overplaying — in fact it hardly seems like playing at all. It’s as if we’re peering into Mac Sledge’s life with no regard whatsoever that this is an actor in a role. He is so believable, so real, that any thought of his being anyone else is left behind. (Duvall also sings all his own songs, and even wrote some of them.)
The rest of the cast is also remarkable, with Harper, Hubbard, Buckley, Barkin and Wilford Brimley all giving wonderful turns — some in very brief, but memorable roles.
Rated PG for some profanity, “Tender Mercies” is one of those rare things, a movie you immediately want to share with everyone you know.
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.
INDIANA JONES AND THE TEMPLE OF DOOM
For Hicksflicks.com, Friday, Aug. 14, 2020
EDITOR’S NOTE: Although it received some backlash because it is darker in tone and arguably more violent than its predecessor, ‘Indiana Jones and the Temple of Doom’ remains a wild ride and a satisfying entry in the serial-spoofing quadrilogy from Steven Spielbeg. (I can’t say that I’m thrilled that he is handing the reins to another director for the upcoming fifth ‘Indiana Jones’ flick.) And it’s playing now at the Megaplex Jordan Commons multiplex in Sandy. My review was published in the Deseret News on May 23, 1984.
You may recall that “Raiders of the Lost Ark” opened with the Paramount Pictures logo — a snowcapped mountain — fading into a South American mountaintop as we were introduced to that intrepid archaeologist/adventurer Dr. Indiana Jones. I remember the preview screening, when the Villa curtains parted to reveal the scope of the 70mm film, and the audience “oohed” and “ahhed.”
Something similar happened Monday night at the Villa’s preview of “Indiana Jones and the Temple of Doom,” the “Raiders” sequel. The Paramount snow-laden summit faded into an engraved mountain on a gong in a Shanghai nightclub. Again, the audience “oohed” and “ahhed” as the 70mm screen filled and everyone in the theater knew immediately we were off to another rousing rollercoaster ride from Steven Spielberg. And that’s exactly what it is.
Prior to that, fans wondered if Spielberg could possibly pull it off — a satisfying sequel to the fifth biggest hit movie of all time. Could “Indiana Jones” possibly be as fantastic as the nonstop action of “Raiders,” building thrill upon thrill, leaving the audience excited and exhausted? But by the time “Indiana Jones” was over — possibly the fastest two hours you’ll ever spend at the movies — there was no doubt.
Steven Spielberg has done it again.
“Indiana Jones” is different from “Raiders” in several significant ways. The period is set before the first film, in 1935. We first see Indy in a tux, of all things, while the locations range from Shanghai to India, and most of the second half is confined to a palace and its underground caverns, though there is nothing static about it.
From left, Kate Capshaw, Steven Spielberg, George Lucas, Harrison Ford, 'Indiana Jones and the Temple of Doom' (1984)
The film begins in the aforementioned Shanghai nightclub, where American showgirl Willie Scott (Kate Capshaw) is warbling a Chinese version of “Anything Goes” (shades of Mel Brooks’ “Sweet Georgia Brown” in Polish in “To Be or Not to Be”).
In the club, Jones confronts an evil villain and finds himself in a free-for-all reminiscent of Spielberg’s nightclub scene in “1941.”
Indy and Willie are rescued, momentarily at least, by his young friend Short Round (Ke Huy Quan), and they board a cargo plane that eventually loses its pilot. Their escape is incredible, unbelievable and wonderful, setting the pace for what is to come.
Eventually the main plot unfolds as they agree to find a sacred stone stolen from a drought-ridden Indian village, and with it the village’s population of children.
How Indy and his two companions manage to do so, bringing the children home in Pied Piper fashion, makes for an incredible two-hour visceral experience that will exhaust and excite you every bit as much as “Raiders” on its first go (the high point has to be a wild underground coal-car chase).
Harrison Ford is perfect as Indiana Jones, using his ironic sense of humor frequently here. He’s heroic yet accident-prone, in possession of nine-plus lives, and there are lots of wonderful little comic bits that occur in and around the action.
Kate Capshaw’s blonde singer is pampered and spoiled, afraid of everything — especially getting dirty or breaking a nail — and she’s very funny in the role.
But the real charmer is Ke Huy Quan as the little Chinese boy Short Round, Indy’s sidekick, who manages to rescue Indy almost as often as he is rescued by him. (Quan is actually a 12-year-old Vietnamese boy living in Los Angeles, and though he has never acted before he has a very engaging and natural screen presence.)
Spielberg’s direction is lickety-split, of course, and he works the camera like a character, pulling us through the story and the action. He truly is the master of his craft. John Williams’ score is rousing, the technical credits and effects are superlative, and the script is clever and funny.
A warning, though: Like “Raiders,” “Indiana Jones” is very violent. A man’s heart is torn out of his chest while he remains alive, and various people are shot, fall from great heights, are devoured by crocodiles and die in other sundry ways. And though there are no snakes or tarantulas, there are such delights as cockroaches galore, vampire bats, and the eating of disgusting Indian delicacies (such as live eels) to raise your adrenalin.
In other words, heed the warning below the PG rating: “ … may be too intense for younger children.”
My only real complaint about “Indiana Jones” is that the only female in the film is a stereotypical nincompoop, whereas “Raiders” offered just the opposite in the wonderful characterization by Karen Allen. But when you consider the source material for this film, the old ’30s and ’40s serials with their stereotypes and contrivances, it is certainly a faithful element.
On the whole, prepare for a wonderful, tremendously invigorating, old-fashioned cliffhanger time at the movies.
For Hicksflicks.com, Friday, Dec. 6, 2019
EDITOR’S NOTE: If someone were to ask me, of all the films I reviewed for the Deseret News, which is the least likely to be revived in the 21st century for a Blu-ray upgrade, this might have been at the top of that list. But for some reason, the Shout! Factory believes there is a fanbase for it, so it’s back in the catalog. My review was published in the Deseret News on June 18, 1979.
“Prophecy” has the distinction of possibly being the worst movie with which director John Frankenheimer, writer David Seltzer or star Talia Shire have ever been associated.
The ad campaign for this movie is better than the film itself. It is being built up as “THE” monster movie and those hired to work on it were sworn to secrecy so the “original” storyline could not be stolen by someone else for a quick movie rip-off.
But the real reason this plot was kept under wraps is that “Prophecy” itself is a rip-off of the 1977 film “Day of the Animals,” and others of its genre (“The Birds,” “Frogs,” “Night of the Lepus,” etc).
In “Day of the Animals” a group of people are trapped in the wilderness while animals and birds, driven berserk by the sky’s ozone layer, kill all the humans they can find.
In “Prophecy” a group of people are trapped in the wilderness while mutant animals, driven berserk by mercury in the water, kill all the humans they can find.
Horror, monster and science-fiction films are very commercial right now and it’s a shame to see such talented people involved in such a dumb movie. I’d like to think it is good intentions gone awry, not just a chance to make money with a creaky idea.
Talia Shire and Robert Foxworth, with Richard Dysart in the background, 'Prophecy' (1979)
But next to such recent horror fare as “Alien” and “Halloween,” “Prophecy” appears to be without style and is certainly without anything scary. And this PG-rated film is every bit as bloody as those R-rated movies.
Though Talia Shire receives top billing here she is reduced to screaming and worrying while her husband, Robert Foxworth, does all the typical hero work. For Shire it is a step backward toward such banal first films of hers as “The Dunwich Horror.”
Foxworth, previously seen in “Damien – Omen II” and “Airport ’77,” handles his role well. He is a dedicated U.S. Health Services doctor taken out of the ghettos of Washington, D.C., to spend two weeks evaluating the northern woods of Maine. It is hoped he will settle a land dispute for the Environmental Protection Agency between a paper mill and local Indians.
He takes his cello-playing wife (Shire) along for the ride as he confronts a bigoted mill boss (excellently played by Richard Dysart) and hostile Indians (Armand Assante, Victoria Racimo).
Foxworth soon discovers the mill has been polluting the water with mercury and it is mutating local fish and animals. He doesn’t know Shire is pregnant and has eaten some of the fish — thus opening the door for a possible sequel.
The mutant "bear" or whatever it is in 'Prophecy' (1979)
The first third of the film is pretty good, with Frankenheimer showing his talent for suspense (“The Manchurian Candidate,” “Black Sunday”), as in an ax-and-chainsaw fight scene and with discoveries of a giant fish and a killer raccoon.
But then his actors have to utter such ridiculous dialogue as when they carry a wounded helicopter pilot to a cabin: “Where shall we put him?” asks one carrier; “Let’s take him inside,” the other answers.
When they catch two baby monsters the plot seems to have taken an interesting twist, but it quickly slides downhill as Mama Monster (looking like a giant bare bear) spends the rest of the movie chasing them and her cubs (looking like skinned dogs).
It’s all formula horror. But it’s poorly done and excessively bloody, including a decapitation. The only difference between “Prophecy” and Roger Corman’s 1950s mutant movies is pollution instead of atomic desolation.
The clichés include musical buildups and stark silences as indications the monster is about to jump out at you. You’ll be better off jumping up and leaving the theater.