The Love Bug (1968) Review:

Whether it be in person or the TV screen, race cars have captured many attention for their noisy antics. No matter if it’s the speed these cars pass by at or the wrecks they get involved with, racing can be an exhilarating sport. The people who obviously get the most out of it though are the racers themselves. Even then though, they can hit slumps especially if their season isn’t going as planned. Pick me ups are possible, but sometimes it’s difficult getting back in the ring. But what are those pick me ups? Surely not getting a completely new car. Well, this movie happens to feature something like that with a very unlikely added feature for a fun ride. This is also the film that began a franchise favorite for many people who love racing and classic cars.

Jim Douglas (Dean Jones) is a struggling driver trying to make something of his profession. Unfortunately for him, he’s just making ends meet by participating in demolition derbies with his partner Tennessee (Buddy Hackett). That is until he takes a stroll and happens to meet Carole Bennett (Michele Lee) an assistant to Peter Thorndyke (David Tomlinson) the owner of a car dealer. While perusing, he crosses paths with a white Volkswagen beetle. Feeling the car is an eyesore, Thorndyke offers it to Douglas. What nobody seems to know is that the car has a mind of its own except Tennessee, which leads to all kinds of shenanigans. Written by Bill Walsh and Don DaGradi from Mary Poppins (1964) fame, this story is a cute little racing movie, although highly unrealistic. Robert Stevenson serves as director who also helmed other Disney pictures like Mary Poppins (1964) and Old Yeller (1957).

As for stories go, there’s a decent amount of family entertainment to be had. While the character of Jim Douglas is a bit stubborn at times, he does have a character arc which makes him an amicable protagonist. It’s a little questionable why Michele Lee’s character would warm up to him rather quickly, but perhaps this writing is more of a product of the time. Both Tomlinson and Hackett are the actors who have the more comedic characters. Tomlinson plays Thorndyke as an overly confident man in his abilities to persuade others. His development is interesting seeing that he became more and more unstable as the story progressed. Hackett as Tennessee is fairly consistent throughout, but it’s never explained how he could tell that Herbie was a sentient motor vehicle or how it became sentient.

However, audiences do get to learn how Herbie gets his name. As for the car itself, Herbie is a charming little car that shows just how much energy it really has. While the vehicle may not be able to make faces, through a series of actions, audiences will be able to tell what mood the car is in. There’s also appearances from Joe Flynn playing Havershaw, Thorndyke’s sniveling partner, and Benson Fong playing Tang Wu, another shop owner who gets entangled with the bug. Since this is a family adventure fantasy film and the premise is about a sentient car, expectations should be low for realism. Reason for this being not even the racing segments are exactly believable. Which is kind of surprising, considering one would think that would be something to keep authentic if takes place in the human world.

When a car is operating only on ¾ of its base and the rest is being balanced by the crew, how is a race functioning properly with that? The cinematography shot by Edward Colman was well done for its time. Having also done cinematography for Mary Poppins (1964), the quality remains the same. Before that, he also worked on Dragnet (1954). This would however be Colman’s last credit as a cinematographer. Finally, the film score composed by George Bruns, a frequent composer for Disney films at the time, did a nice job. Unfortunately, there never was an officially released score, but Bruns does have a cute little jingle for Herbie. In a way it sounds like it took inspiration from Vic Mizzy’s Addams Family theme with the same instruments.

The realism in the racing aspects are far from plausible and the origins of Herbie’s existence isn’t given much explanation. Despite that though, it’s easy to ignore since it’s a fantasy film with goofy likable characters, cute music and skilled camerawork.

Points Earned --> 7:10

It (2017) Review:

Of all the works written by horror novelist Stephen King, none of his creations were fully recognized until the late 1980s to 1990s. Yes, Carrie (1976) and The Shining (1980) had come out way earlier than that, if anything though, they were the launch pad for King’s properties into the film industry. Yet, the one creation a generation would remember most was not even from a theatrical film, but a mini-series. Stephen King’s It (1990) with Tim Curry was successful at leaving an impression on viewers. It had a likeable cast of characters, a memorable villain and an interesting way of telling the story. Despite the fondness though people have for the whole series, it wasn’t perfect and suffered from a datedness that the 1990s only had. This new reimaging of the story not only updates it but raises the bar slightly, which is rare. Thankfully it stands out enough that it does nothing to harm the reputation of the first effort.

Instead of book ending the story with two different settings simultaneously, this entry just covers the early years. This is definitely a better way to approach this since it’s a theatrical film. Credit to writers Cary Joji Fukunaga, Chase Palmer and Gary Dauberman for having the foresight to do this along with director Andy Muschietti. When a group of ragtag children join forces for being considered outcasts, they also realize that the town they live in has something to hide. For some reason people, especially children go missing. As they continue to search for answers, they realize a dark force has been creeping on them, only known as It. While the premise is the same, it’s quite surprising how well things are handled considering Fukunaga and Palmer had no previous writing credits to a horror film before it. Dauberman does have experience, but his best known credits to this point was Annabelle (2014) and most recently Annabelle: Creation (2017).

No main characters featured in this project are adults, except It.  Jaeden Martell plays Bill, the stuttering leader of the group, who also lost his brother Georgie (Jackson Robert Scott) to the mysterious force. Ben (Jeremy Ray Taylor) is the new kid on the block who enjoys reading and has the biggest heart. Beverly (Sophia Lillis) is the only girl of the group, but is able to stand her own even to them, mostly because of her abusive father. Richie (Finn Wolfhard) is the jokester and seeks to be the grounder of the group. Mike (Chosen Jacobs) is the farm boy who lost his parents in a house fire, but does his best to stand out. Eddie (Jack Dylan Grazer) the germophobe is a smart kid who has the clearest common sense from anyone else, but also has asthma. Then there’s Stanley (Wyatt Oleff), the kid of religion who has other things he needs to accomplish but is just as much an outcast like his friends.

There’s also the Bowers gang, led by Henry (Nicholas Hamilton) and his cronies Belch (Jake Sim), Victor (Logan Thompson) and Patrick (Owen Teague). All of these actors perform well off each other and their chemistries feel natural in every situation. Lastly there’s Bill Skarsgård as It. Taking the form of his best known character as Pennywise the dancing clown. His performance as Pennywise is definitely one in itself. Skarsgård made it clear from the beginning he had to make his performance different from that of Tim Curry because he knew how many people regarded the original incarnation. Skarsgård as Pennywise is ravenous and quite sadistic, yet has moments of dark comedy for good measure. And unlike the mini-series where Pennywise looked like the mainstream clown, here he looks like a clown from another century. The only thing that could’ve been changed was not having the child actors dropping F bombs so frequently. It seemed like almost every sentence they used.

For a film that came out in the late 2010s, the look of it is praiseworthy. The cinematography shot by Chung-hoon Chung is beautiful to look at either during the day time or in dark settings. Chung was also the cinematographer for the original Oldboy (2003). The sets built for the film also look great. Whether it be the sewers the kids go searching in or the old abandoned house. The interiors look amazing. Finally, the film score composed by Benjamin Wallfisch is unique to listen to. The score is a mix of orchestra and heavy synthesizers but still manages a balance between dark themes and the lighter ones. There’s also the use of a creepy organ and a children’s choir for Pennywise, which makes it all the more unsettling. All around though, a great work from this up and coming composer.

Aside from a slight overuse of the F word by children like it’s their favorite word, this updated version of Stephen King’s popular novel is a worthy addition. The performances from the actors, unique music and beautiful cinematography all elevate the experience of watching this movie.

Points Earned --> 8:10

Dune (1984) Review:

Prior to George Lucas and the release of Star Wars: Episode IV – A New Hope (1977), the genre of space related films had been out and about before. It just so happened that Lucas’ film brought it back by popular demand. While Lucas’ story was a culmination of ideas, it was still his original concept. There was however a popular story already written that was waiting to be adapted and that was Dune by Frank Herbert. With that said, who knows how it would have turned out if Lucas was in charge. For David Lynch who only directed Eraserhead (1977) and The Elephant Man (1980) before this, it seems to be clear perhaps he was not the strongest choice. That’s not to say Lynch isn’t a good director, but his previous projects were not in the same genre nor were they as big a production as this one. He also admits to not fighting for his vision.

Having written and directed this feature probably took a toll on Lynch as well. The plot for this feature is about a planet named Arrakis AKA Dune, which has a precious commodity called “spice”, everyone in the universe loves. On Dune where this good is sourced, are the natives who believe in a prophecy of someone freeing them and their planet from authoritarian control. The person whose plan is to inherit the current occupation of Dune is Paul Atreides (Kyle MacLachlan) the son of the Duke Leto Atreides (Jürgen Prochnow). They are not the only ones though seeking to control Dune. There’s also Padishah Emperor Shaddam IV (José Ferrer) who’s competing with the Atreides dynasty and hopes to overthrow them with the help from Baron Vladimir Harkonnen (Kenneth McMillan) and his nephews Feyd Rautha (Sting) and The Beast Rabban (Paul L. Smith). That’s about as condensed as it can get.

Sadly, the characters and writing suffer the worst in this science-fiction story. The characters and their respective actors mentioned above are only a small handful of those to appear in this film. There’s also appearances from Brad Dourif, Richard Jordan, Virginia Madsen, Everett McGill, Dean Stockwell, Max von Sydow, Sean Young, Linda Hunt, Silvana Mangano and Patrick Stewart. The value their characters add to the picture though is average at best. With that said, it doesn’t give the audience much more for the main characters. Very few of them have any kind of charm to them. It’s like the tone was to take it very seriously, as the amount of light hearted moments come far and few between. As the lead star, one would think Kyle MacLachlan as Paul Atreides would be someone to rally behind…not exactly.

Really, it’s the villains who expel the most energy on screen. Kenneth McMillan as the pus oozing floating fat man, as he’s referenced in this film by another character, looks to be enjoying every scene that he’s in. Paul L. Smith best known for his role in Robert Altman’s live-action version of Popeye (1980) comes in a close second here. Sting is also grinning in several shots…whether he needs to be or not. Why are they having a good time but no one else looks like they are? The worst offense this film commits is having in almost every scene having characters perform inner monologue whispering. To its credit, it works in some cases for context purposes. However, this movie just over does it; audiences don’t have to be told everything a character is thinking.

Visually speaking for 1984, the film looks good. The practical effects and small assortments of digital effects are unique for their time. The greatest prop of this feature everyone remembers are the gigantic sand worms. Wonder if that helped inspire the demonic ones from Beetlejuice (1988). Helping with the visuals was Freddie Francis who also shot for Lynch’s The Elephant Man (1980) and would later shoot for Glory (1989). Lastly the film score was composed by 80s icon band TOTO. While it seems to have been their only film to score by, TOTO deserves credit for creating and mixing a competent sounding tone for this futuristic movie. There are mixes of orchestra and electric guitar some would be surprised to hear actually work well off each other. Not to mention there’s a main theme for the film.

As grand as the look of the movie is, the stuffed screenplay, over serious tone and constant inner monologues make the experience long and boring. The special effects and music is crafted expertly, but that doesn’t add much when most of the characters are bland.

Points Earned --> 5:10

Wes Craven's New Nightmare (1994) Review:

The 1980s was the decade of many things. For the film industry, more specifically the genre of horror, Freddy Krueger was one of the top icons. While he emerged almost half way through the decade, his name stuck and the fans couldn’t get enough of the series. Of course that is until the character became campier and campier therefore viewers not taking him as seriously. It was also obvious to director Wes Craven after leaving the franchise from the first film that his creation wasn’t the same several sequels down the road. It was because of this realization that Craven returned to helm this film. Although, what some people might be expecting is not what they should be expecting, if that makes any sense. This is exactly why the title is called Wes Craven’s New Nightmare.

The plot is one the most absurdly meta stories to a franchise. After taking part in A Nightmare on Elm Street (1984) and A Nightmare on Elm Street 3: Dream Warriors (1987), Heather Langenkamp is now married with a son Dylan (Miko Hughes). Producers from New Line Cinema want her to return for one more Elm Street sequel, but she’s currently being stalked by someone imitating Freddy Krueger…or is it? Once people she knows starts showing up dead in familiar ways to that of the films, it’s up to Langenkamp to stop the evil force. Written and directed by Wes Craven, this pseudo-sequel which in a way, rounds out the two trilogy of films rather well. What’s crazy is just how self-aware the script is. There nods to how fans have seen the franchise through the years, how Freddy has been perceived and what parents have thought of the films.

The script also has people who played characters in past films playing themselves this time. Rob LaBelle from Jack Frost (1997) has a small role as a special effects technician. Jsu Garcia who played Rod in the first film has a cameo, as well as Tuesday Knight from A Nightmare on Elm Street 4: The Dream Master (1988), John Saxon and Lin Shaye. It’s just weird, but cool at the same time. This also seems to be the template for what Craven would use in Scream (1996) and maybe even Bride of Chucky (1998). All the actors entertain and are convincing in their roles as themselves and their characters of this movie of a movie within a movie. Also as a child actor, Miko Hughes is believable and would later have roles in Apollo 13 (1995), Mercury Rising (1998), Escape to Grizzly Mountain (2000) and Clockstoppers (2002).

But of course, what would the film be without Robert Englund playing Fred Krueger? Well that’s kind of the thing about this movie. First off, Englund not only plays himself, but also Krueger again. That’s a plus. The problem is, Krueger doesn’t seem to appear as much in the film as one would hope. There’s a balance and sometimes less is more. However, even the very first film had more appearances that what seems to be this one. The same could be said for gore as well. This doesn’t take away the performance or look of the new Krueger design though. The criticism of Krueger being too campy cannot be made here. He is very much what he was from early on; serious, dark and has just right number of one-liners. Kudos to Englund.

The cinematography was shot well for this movie. Behind the camera was Mark Irwin, the same guy who worked on Scanners (1981), Videodrome (1983), The Fly (1986), The Blob (1988), RoboCop 2 (1990), Dark Angel (1990) and Showdown in Little Tokyo (1991). Probably the only weak visual component was CGI effects since it was the early 90s, which is forgivable to a degree and not much of it exists in the movie. Lastly the film score was composed by J. Peter Robinson, who during the same year scored Highlander: The Final Dimension (1994). Surprisingly, the music for this film pays respects to Charles Bernstein’s original theme while incorporating some of his own style in various tracks. Thankfully there aren’t too many stings if at all.

As the seventh entry in the series, although it may not be considered depending on who you ask, this film is bizarrely clever in its execution paving the way for other self-aware horror films. The actors all put in good performances, the music and camerawork are all nicely done too. Only issue is, the main villain may not be as prevalent as some might hope him to be.

Points Earned --> 7:10

Transformers: The Last Knight (2017) Review:

Ten years ago from the release of this entry, Transformers (2007) was never considered a deep film nor did it gain all around glowing reviews. Yet it made an impact on audiences and people loved it. Its visuals were eye popping, the action was gigantic and the music was fun. Sure, characters were a bit exaggerated and seen as annoyances, but there was some likability to them. Five entries later and it looks like mainstream audiences still enjoyed that familiar formula. People still came out to see it, despite this being the lowest earning entry in the series and that should mean something. Perhaps viewers want a little more in their robotic action romps? It's truly unfortunate when the only redeemable aspects to a film are it's visual and audible components.

Picking up some time after the events of Transformers: Age of Extinction (2014), where Optimus Prime (Peter Cullen) left Earth to find the autobots' creator(s), Cade Yeager (Mark Wahlberg) and the rest have been hiding from government authorities. Kind of strange considering like in every film, they've saved the planet from being taken over. Nevertheless, Prime returns to his home planet and is captured by his creator Quintessa (Gemma Chan). Her plan is turning Prime against his allies in search of an old artifact given from the autobots to the humans during medieval times. Surprisingly the one writer not involved with this sequel was Ehren Kruger, who was credited in the last three films and felt more like a burden than contributor.

This time, the script was penned by Ken Nolan (Black Hawk Down (2001)), Art Marcum and Matt Holloway (Iron Man (2008), Punisher: War Zone (2008)). Unfortunately, these changes did not improve on the story. The only thing the story properly gets correct is referencing the events from prior films, while occasionally using characters from those films. This is not enough though to prove itself to be a cohesive narrative. The fact that each entry has had to somehow retroactively fix the history of the autobots and how they played a part in the Earth's history is moronic. This kind of lunacy doesn't permit even continuity and makes characters feel far less unique. While the run time to this feature is much shorter than the last film, the delivery of the story is just a slog. Nobody seems to remember how many times Bumblebee's real voice has been heard.

Anthony Hopkins plays Sir Edmond Burton with Cogman (Jim Carter), a robot (transformer?) butler who does nothing but provide exposition dumps. It is a complete phone-in from Hopkins. Speaking of phone-ins, Peter Cullen does the same for Optimus Prime. Laura Haddock plays Vivian Wembley who also has a past she isn't aware of. Want to guess how she interacts with Cade Yeager? Everything is forced. Even new characters like Izabella (Isabela Merced) and her robot (transformer?) sqweeks (Reno Wilson) get sidelined further in the story. There's just too much to handle for this sequel. Actors like Josh Duhamel, Jerrod Carmichael and John Turturro try, but they're forgettable because of all that's going on. Voice actors Frank Welker, John Goodman, Ken Watanabe, Omar Sy, John DiMaggio and Jess Harnell also deserve better for their characters’ development wise.

From a visual standpoint, this is the one element to this franchise that maintains its consistency. The CGI special effects blend well with the physical backgrounds and the attention to detail on the robotic characters are as good as they've always been. While the cinematography has changed throughout the series, that too has remained competent. This time, the director of photography was Jonathan Sela, who also worked on Max Payne (2008), Law Abiding Citizen (2009) and A Good Day to Die Hard (2013). Lastly, the music composed by Steve Jablonsky who has worked on the franchise since the beginning has remained true to his form. Also with producing the most music for this film, those who enjoy the music will have plenty of tracks to listen to.

The technical fundamentals of this final film in the franchise have been as solid as they have ever been. The problem is, it does not make a movie by itself. The screenplay, while written by different people, does nothing to close plot holes, maintain continuity or make any of the characters interesting. Most performances are either boring or underutilized. It's sad because so much better could have come from it.

Points Earned --> 5:10