WHEN CLINTON WAS ‘GUMPED’ - 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
HORROR, ACTION, CARTOONS
For Hicksflicks.com, Friday, Oct. 16, 2020
Fewer new movies open this weekend but it’s a real mix, with dark comedy, horror, animation and fantasy at the forefront. Be safe as you venture out to local theaters, all employing Covid-19 restrictions.
“Honest Thief” (PG-13). Liam Neeson is a wealthy longtime thief who decides to go straight for the love of a woman. But when he attempts to return all the money he stole to make a deal with the FBI, two agents double-cross him and take the dough for themselves. Bad idea. With Kate Walsh, Jai Courtney, Jeffrey Donovan and Robert Patrick.
“2 Hearts” (PG-13). This sort-of mystery romance follows two couples falling in love in two different timelines — the 1970s and the present day. And they will eventually converge. Based on a true story. With Radha Mitchell.
“Don’t Look Back” (Not Rated). Karma as horror, with bystanders who decline to take action when they witness a brutal beating that kills a man, suddenly dying by some supernatural form of revenge.
“The Kid Detective” (R). Adam Brody is the title character in this dark comedy-mystery about a former child detective who earned some renown as a kid but as a post-30-year-old adult is flop. Until a young woman asks him to help her learn who killed her boyfriend by stabbing him 17 times.
“The Devil Has a Name” (R). Edward James Olmos directed and has a supporting role in this true comedy-drama about a farmer (David Strathairn) that fights back when his land and water are polluted by oil exploration. With Kate Bosworth, Alfred Molina, Haley Joel Osment and Martin Sheen.
“Love and Monsters” (PG-13). When giant creatures take over the Earth, humans move underground to form a new society. But a pair of teenagers living 80 miles apart and communicating via radio decide to risk going above ground to reconnect. An action horror-comedy. With Dylan O’Brien and Michael Rooker.
“Over the Moon” (PG). This Chinese animated musical is about a girl who builds a rocket so she can travel to the moon and meet a mythical goddess. Dubbed in English with voices by Sandra Oh, Ken Jeong, John Cho, Margaret Cho, among others.
Added to the “classic” revivals this weekend are “The Shining,” the 2018 “Halloween” sequel, and for the younger set, “The Nightmare Before Christmas,” the 2019 animated version of “The Addams Family” and “The Croods."
THE DEAD ZONE
For Hicksflicks.com, Friday, Oct. 16, 2020
EDITOR’S NOTE: Although my review below comes off as a bit lukewarm, ‘The Dead Zone’ has grown on me over the years. Strangely, reading this again, I don’t disagree with my specific assessments made some 37 years ago, but the overall film has risen to be one of my favorites in this genre and of Stephen King’s oeuvre. It’s interesting to note that since this film’s early ’80s release, David Cronenberg has become a director of many controversial films, King has had several very good movies made from his books and Sheen went on to play — quite wonderfully — the President of the United States in the excellent TV series ‘The West Wing’ (it’s on Netflix and is well worth checking out). Not to mention my naïveté about the possibility of our country electing an American president as portrayed in this film … well before the era of Trump. Oh well. Although ‘The Dead Zone’ has been on DVD for many years, this new Paramount release marks its Blu-ray debut as part of the ‘Stephen King 5-Movie Collection’ (with ‘The Stand,’ ‘Silver Bullet’ and the two 30-years apart versions of ‘Pet Sematary’). My ‘Dead Zone’ review was published in the Deseret News on Oct. 23, 1983.
Stephen King’s novels have not fared well on the silver screen, which seems odd to me since his books have such a visual flair. Whenever I’ve read one of his tales of terror it has always seemed to be material that would adapt easily to cinematic translation.
Aside from “Carrie,” however, they’ve all been disappointments. “Salem’s Lot” (originally made-for-TV), “The Shining” and especially this year’s miserable “Cujo.”
Now comes “The Dead Zone,” and though the film suffers from some problems this one isn’t too bad. Part of that has to do with Canadian director David Cronenberg’s interesting visual style and a lot of it has to do with some very well cast actors.
Christopher Walken is excellent in the lead, as Johnny Smith, a schoolteacher who has a major auto accident and remains comatose in a hospital bed for five years. When he awakens, he finds he has the power of clairvoyance. When he touches people, he sees into their past or future — and with the latter, he finds he has the power to change it.
Christopher Walken has a vision inventively portrayed by director David Cronenberg for 'The Dead Zone.' (1983).
The premise is fascinating and Cronenberg presents these flashbacks and flashforwards with some great cinematic tricks. He’s not quite as slick as Brian De Palma (who gave us some great telepathic scenes in “The Fury”) but that actually works to his advantage, giving the film a more gritty style. (Cronenberg is the guy who gave us the exploding heads in “Scanners” and some other extremely gory films, but this one is relatively tame in that regard.)
“The Dead Zone” is told in episodic fashion, almost like a series of short stories with one continuing character. Smith discovers his power when a nurse touches him and he sees her daughter trapped in a fire. Later he helps the local sheriff (Tom Skerritt) track down a killer. Ultimately, he discovers the terrifying future of a local Senate candidate (Martin Sheen), a wild-eyed politician who’s more of a thug than the common man depicted in his campaign.
In the opening sequences, the film establishes a love-match between Smith and Sarah (Brooke Adams), who also teaches at the same school. When he awakens from his coma, she has been married for some time and has a child. This storyline points up the film’s major weakness, which is the inability to deal with the human drama as effectively as the horror.
There are all kinds of plot holes here, questions that arise about their relationship and Sarah’s seeming independence, which is contradicted by her campaigning for a politician who is so overbearingly slick. Saddest of all, though, is the opportunity for a strong probing of these two characters on an emotional level, which is passed over in favor of superficial meetings between the two.
Worse, though, is the segment that deals with Sheen, as it tends to stack the deck too heavily against his character. Sheen is such a total madman, complete with his own personal goon, a Mafia-style hit man/bodyguard at his side, that one wonders how he could get this far into his campaign without someone pointing out what a hypocrite he is.
This especially comes to mind in a rather silly scene in a newspaper editor’s office that is extremely contrived. How much better all of this would have been if Sheen had been allowed to be a more realistic human character whose motivations were merely misguided, rather than an over-the-edge maniac.
On the plus side, however, Walken is excellent, looking pallid and sickly, never overplaying the shocking revelations that come to him. Adams is also good, though given little to do.
And there is a nice centerpiece to the film, dealing with a wealthy man (Anthony Zerbe) who hires Smith to work with his young son as a tutor. That segment ends rather abruptly, though, where Zerbe’s character might have come into the Sheen story to redeem himself.
Sheen overacts ridiculously but in the process creates a funny, campy character that, in an odd way, seems to fit into the proceedings here. Herbert Lom is much better, reminding us of the fine dramatic actor he is when away from his twitching “Pink Panther” role — he plays Walken’s devoted doctor. Tom Skerritt and Anthony Zerbe are also very good in their supporting roles. Colleen Dewhurst is utterly wasted, though, in a good part that is just too small to be effective.
On the whole, though problematic in its structure and execution, the film offers quite a few chills and some very good isolated moments. But I’m still waiting for a King novel to become a film that fulfills all it promises.
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, Oct. 16, 2020
EDITOR’S NOTE: Director Kenny Ortega went on from this film to helm the ‘High School Musical’ trilogy, among many other projects, but despite the renewed popularity of ‘Hocus Pocus,’ thanks to home video and the Disney Channel, it was a deserved theatrical flop in the early 1990s. Yet, here it is as a ‘Comeback Classic’ in local theaters, so let’s take a look back at my Deseret News review, published on July 16, 1993. You can still catch it a various Cinemark and Megaplex theaters around town.
Bette Midler, Kathy Najimy and Sarah Jessica Parker make like Moe, Larry and Curly in "Hocus Pocus," a horror-comedy that spoofs witches, zombies and teen angst — all equally horrifying prospects.
Unfortunately, all their hammy mugging makes the Three Stooges seem downright subtle. A little goes a long way — and there's way too much here.
There are also some "scary" moments that may upset small children, so despite the PG rating and the Walt Disney Pictures logo, parents should know that a zombie has his head lopped off (twice), as well as the fingers of one hand.
Kathy Najimy, left, Bette Midler, Sarah Jessica Parker, 'Hocus Pocus' (1993)
"Hocus Pocus" begins in 17th-century Salem, Mass., with the Sanderson sisters, Winnie, Mary and Sarah (Midler, Najimy and Parker, respectively) practicing their witchcraft ways, attempting to drain the life out of a young girl (shown less graphically than last year's "Sleepwalkers," which had a similar premise).
The girl's older brother attempts to rescue her, only to be turned into a black cat that is cursed to live forever. But he has also brought the townfolk with him, and they break down the door and lynch the sisters — but not before Winnie curses the town, promising to return one Halloween night when a virgin lights the black-flame candle in their shack.
Cut to modern-day Salem — 300 years later on Halloween — as Max, the new kid in town (Omri Katz), learns the legend of the Sanderson sisters for the first time. And later that night, as he's taking his younger sister Dani (Thora Birch) on her trick-or-treat rounds, they link up with Allison (Vinessa Shaw) and visit the old rundown Sanderson home, which has been preserved as a museum.
There, Max takes up the challenge and lights the black-flame candle. And sure enough, the Sanderson hags return. Much of the rest of the film is taken up with predictable fish-out-of-water gags as the trio tries to cope with modern inventions and conventions (though this element is decidedly inconsistent).
Some amusing ideas have been conjured up by the three screenwriters (led by Mick Garris, director of "Sleepwalkers"), such as the three witches' individual eccentricities, a subplot about a zombie who rises from the dead to do their bidding (but who walks more like the scarecrow in "The Wizard of Oz") and the eternal black cat — a talking cat, no less.
The elaborate sets, costumes and special effects are notable. But director Kenny Ortega ("Newsies"), who was previously a choreographer ("Dirty Dancing"), has everything racing chaotically at such a fever pitch that it becomes annoying after a while. (Even the musical punctuations in John Debney's score are ridiculously over the top.)
Similarly, the goofy tics each of the lead actresses display — buck teeth and affected speech for Midler, a twisted mouth and Boris Karloff lisp for Najimy and Parker's airhead-style prancing around — grow quickly tiresome.
All in all, "Hocus Pocus" simply tries too hard and wears out its welcome in the process.
The film is rated PG for a couple of mild profanities, some vulgar jokes (primarily about women's breasts) and a fair amount of violence (most of it comic in nature).
TERROR IN THE AISLES
For Hicksflicks.com, Friday, Oct. 16, 2020
EDITOR’S NOTE: This compilation film of bits and pieces of horror staples (with emphasis on Universal pictures, since this was a Universal release) was released o VHS I’m 1985, in 2012 on DVD and had its Blu-ray debut as a special feature on the 2011 ‘Halloween II' Blu-ray release. Now the Shout! Factory has released the film as a standalone Blu-ray, with new bonus features, including the extended alternate TV version. That’s a lot of hoopla for a not-much horror version of ‘That’s Entertainment!’ But fans … whatcha gonna do? My review was published in the Deseret News on Oct. 29, 1984.
“Terror in the Aisles” wants to be the “That’s Entertainment” of horror movies but it’s so sloppily conceived and haphazardly directed that it’s more like a pastiche of poorly made previews.
My most frequent complaint about movies like this is that many of the film clips are unidentified. In “Terror in the Aisles,” however, none are titled for us.
Some are obvious, of course, like “Carrie,” “Halloween,” “Psycho,” “The Birds,” “The Omen,” “The Shining,” etc. But others, like “Sisters,” “Bug,” “Alone in the Dark,” “The Silent Partner,” are going to leave the audience puzzled.
Donald Pleasence surprises 'Halloween' fans in 'Terror in the Aisles' (1984).
The only possible use for a movie like “Terror in the Aisles” is to wait until it comes on cassette, invite a bunch of film buffs over and play a sort of video Trivial Pursuit or a horror version of “Name That Tune.”
As a film, however, boredom sets in early, along with frustration. There is no continuity, no thesis to fulfill, no central theme adhered to and no fun — which is the idea of compilation films in the first place.
Donald Pleasence, who starred in the first two “Halloween” films, and Nancy Allen of “Carrie” and “Dressed to Kill,” are the hosts, sitting in a movie theater commenting as patrons around them cringe and act afraid. The dialogue they are required to speak is so much drivel, made up of pop psychology and nonsensical phrases.
There are a few clip groupings that form a certain kind of logic, such as three telekinetic characters (from “Carrie,” “The Fury” and “Scanners”) causing mayhem in intercut scenes, and three cop thrillers (“Marathon Man,” “Nighthawks” and “Vice Squad”), supposedly representing cool killers.
But when a class act like “Klute” is combined with sleazo exploitation like “Ms. 45,” it’s just adding insult to injury.
What made “That’s Entertainment” unique was its ability to show dozens of clips from favored musicals with thematic ties, so that instead of just making us frustrated with brief clips, we saw whole set-pieces that added up to marvelous movie fun.
Here we just get brief, seconds-long clips and often the audience won’t even know what the movies are.
If you’re going to use clips from the classics, like “Bride of Frankenstein,” how about some historical perspective, some comical juxtaposition or something?
Even the comedy movies are badly used. Lou Costello in “Abbott and Costello Meet Frankenstein,” gets off one joke — but the rest are passed over so quickly they might as well not even be there.
Rated R for the gore from individual films, as well as some sex, nudity and profanity, “Terror in the Aisles” is one of the worst compilation films ever. Even “It Came from Hollywood” is better.