Thunderbolt and Lightfoot


Jeff Bridges and Clint Eastwood share a Zen moment.

Jeff Bridges and Clint Eastwood share a Zen moment.

(1974) Crime Comedy (United Artists) Clint Eastwood, Jeff Bridges, George Kennedy, Geoffrey Lewis, Catherine Bach, Gary Busey, Jack Dodson, Gene Elman, Burton Gilliam, Roy Jenson, Claudia Lennear, Bill McKinney, Vic Tayback, Dub Taylor, Gregory Walcott, Erica Hagen, Alvin Childress, Virginia Baker, Stuart Nisbet, Irene K. Cooper, Cliff Emmich, June Fairchild, Karen Lamm. Directed by Michael Cimino

Once a mainstay of Saturday afternoon television movie programming, this Clint Eastwood action thriller is notable for being Oscar nominated back in the day. All the digital splendor of a DVD doesn’t hide just how dated this movie is, though.

Notable as the first directorial effort of Michael (Heaven’s Gate) Cimino, the film concerns the pairing of a middle-aged, jaded bank robber now in hiding (Eastwood) and a young, impetuous and, er, highly vigorous young man named Lightfoot (Jeff Bridges, who garnered a Best Supporting Actor Oscar nomination for the role) who literally run into each other in a wheatfield while bullets whiz around them. That pretty much sets the tone for the movie.

They are being chased by Red Leary (Kennedy), a foul-tempered former member of the Thunderbolt gang (Thunderbolt is Eastwood’s character, by the way). Eventually, they all hook up and plan to duplicate the gang’s legendary heist of Montana Armored. But you just know that Lightfoot, so full of piss and vinegar, will get on stodgy old Red Leary’s nerves like stink on a two-dollar cigar, and that the fur will fly because of it.

The location in Great Falls, Montana, brings out the feeling of desolation and isolation that couldn’t be pulled off on a studio backlot. Cimino shows some decent writing skills with a few unexpected twists here and there, but mainly he borrows too heavily on a stylistic level from such movies as Bonnie and Clyde, The Wild Bunch and Easy Rider.

Eastwood is at the point of his career here where he was beginning to stretch his acting wings (Thunderbolt and Lightfoot immediately followed Play Misty For Me on Eastwood’s resume). Of course, the basics of his persona honed in so many badass Italian westerns are there, but the tough guy he plays here has a vulnerable, world-weary and dog-loyal soul beneath the veneer. Bridges was at the very start of his career which was somewhat checkered for awhile but has been awash with Oscar nominations and lately, Oscar wins. The supporting cast includes some of the era’s most solid character actors in Lewis, Tayback, Taylor and Dodson, while Bach is lustrous and Busey turns in one of his earlier performances.

Few movies age well, especially those that try to make a hipness quotient that generally eludes Hollywood movies. What’s hip in one era becomes hopelessly anachronistic in the next. Thunderbolt and Lightfoot has some meat on its bones, but generally speaking, holds up about as well as The Partridge Family does. Those who love ’70s movies or are students of the era however might find this a hoot.

WHY RENT THIS: Fine performances by Bridges and Eastwood. Very much a product of its times.

WHY RENT SOMETHING ELSE: Extremely dated and doesn’t hold up well. Derivative of other, superior works.

FAMILY MATTERS: A bit of violence and sexuality.

TRIVIAL PURSUITS: Eastwood’s son Kyle had his first movie role in this film at age 5; because he had one word of dialogue, he had to be paid union scale for actors with dialogue rather than extras, which meant he got $128 (scale at the time) for his work.

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $21.7M on a $4M production budget.

FINAL RATING: 5.5/10

NEXT: Prisoners

New Releases for the Week of September 6, 2013


Riddick

RIDDICK

(Universal) Vin Diesel, Karl Urban, Jordi Molla, Katee Sackhoff, Bokeem Woodbine, Dave Bautista, Conrad Pla, Matt Nable, Keri Hilson. Directed by David Twohy

Riddick, one of the most dangerous men in the Universe, has been abandoned and left for dead on a hellish rock. Bounty hunters are on their way to collect him and they’re not too picky what shape he’s in when they turn him in. However, Riddick isn’t the only dangerous thing on this planet and the bounty hunters soon realize that their only chance for survival may be the very man they’ve come to take – only he may be harder to contain than the murderous creatures that live there.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard, IMAX (opens Thursday)

Genre: Science Fiction

Rating: PG-13 (for strong violence, language and some sexual content/nudity)

Bounty Killer

(ARC Entertainment) Matthew Marsden, Kristanna Loken, Gary Busey, Beverly D’Angelo. Twenty years after corporate greed brought the planet to its knees, the CEOs and executives are being hunted down by a new generation of heroes; bounty killers. Often going up against private armies, these guys go after the powerful to give them what they have coming. Definitely a lefty fantasy.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Sci-Fi Action

Rating: R (for strong bloody violence, language and some sexuality/nudity) 

Laughing to the Bank

(L2Bank) Brian Hooks, Tabitha Brown, Laila Odom, Curtis Pickett. A struggling actor determines to get the funding to write, direct, star in and distribute his own film project. When the money vanishes, it’s just the start of a whole other thing to get the cash back.

See the trailer and a clip here.

For more on the movie this is the website.

Release formats: Standard

Genre: Urban Comedy

Rating: NR

Renoir

(Goldwyn) Michel Bouquet, Christa Theret, Vincent Rottiers, Thomas Doret. The beloved painter near the end of his life takes on a new model who brings new energy and passion out in the old man. However his son Jean, recuperating from war wounds, falls in love with her creating tension between father and son. This was one of my favorites at this year’s Florida Film Festival; you can read my review here.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Biographical Drama

Rating: R (for sequences of art-related nudity and brief language)

Still Mine

(Goldwyn) James Cromwell, Genevieve Bujold, Rick Roberts, Julie Stewart. A man attempts to build a more suitable home for his ailing wife. Confronted by bureaucratic red tape and stop work orders, he defies the system in a race against time to complete the project before his wife’s illness gets more serious.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG-13 (for thematic elements and brief sensuality/partial nudity)

Tio Papi

(Active Fox) Joey Dedio, Kelly McGillis, Frankie Faison, Elizabeth Rodriguez . A Miami bachelor is quite happy with his life of hedonism and non-stop partying. All that comes to a crashing halt however when he becomes the legal guardian of his sister’s six rambunctious kids.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Family

Rating: PG (for thematic elements, mild rude humor and brief language)

The Ultimate Life

(High Top) Peter Fonda, Logan Bartholomew, Bill Cobbs, Lee Meriwether. A man, reeling from lawsuits from his greedy extended family, missing his girlfriend away on a mission to Haiti and trying to run the foundation started by his late grandfather, finds some of old granddad’s journals. As he reads them, he becomes fascinated by the old man’s rise from rags to riches. But can he find the strength and the faith to withstand all the challenges being lobbed his way?

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: PG (for a brief battle scene and mild thematic elements)

Piranha 3DD


Piranha 3DD

It’s The Hoff’s world; we’re just living in it.

(2012) Horror (Dimension) Danielle Panabaker, Matt Bush, Chris Zylka, David Koechner, Meagan Tandy, David Hasselhoff, Ving Rhames, Christopher Lloyd, Clu Gallagher, Gary Busey, Adrian Martinez, Jean-Luc Bilodeau, Paul James Jordan, Katrina Bowden, Hector Jimenez, Paul Scheer. Directed by John Gulager

 

A proven formula for box office success has been blood, boobs and 3D. It worked well for Piranha 3D. Would it work as well for the sequel?

It is a year after the events of the first film and Lake Victoria is a ghost town, abandoned and largely a cautionary tale, a subject for solemn-sounding news features (although I have to admit that the documentary images of Lake Victoria make the town look abandoned for thirty years rather than the one year referenced in the narration). The prehistoric piranha with a taste for human flesh are still out there but where? I think we can guess.

A nearby water park has come under new management. Marine biology student Maddy (Panabaker) is a 49% owner in the park after the death of her mom, but the 51% is owned by Chet (Koechner), a sleazy promoter who’s out to turn the family waterpark into a kind of permanent Girls Gone Wild attraction called The Big Wet appealing strictly to the hormonal and the perverted and making sure everybody knows it with a series of tawdry adds with plenty of nudge-wink double entendres. Maddy is understandably perturbed about this turn of events but can do nothing to stop it.

She’s too busy canoodling with Deputy Kyle (Zylka), an arrogant preppy sort who seems to be way off from the type of guys you’d think a down-to-earth scientific type like Maddy would be into but I suppose the message here is never underestimate what a pair of dreamy eyes, a handsome face and a banging bod will do to make a woman’s knees weak and her heart melt. In the meantime nebbish Barry (Bush) pines for Maddy (he has since high school) and works as a mascot for the water park although he can’t swim and is terrified of the water – as it turns out for good reason.

I was pleasantly surprised by this one. There is a kind of underlying lightheartedness that makes me think that the filmmakers didn’t take themselves too seriously with this one – in a good way. Gulager has some underground horror film cred with the Feast trilogy and he proves himself worthy of a larger budget and a major studio release.

I liked that the movie had kind of an 80s vibe to it, although not overtly set in that era. There’s a certain amount of playfulness that was very endemic to the era, not to mention a lack of inhibitions when it came to actresses taking off their tops. There was also a lack of inhibition when it came to gore back then and Gulager doesn’t flinch when it comes to that either.

The movie doesn’t look as murky as the first one did; the producers saw to it that the movie was filmed in 3D rather than converting in post-production which usually yields a much clearer and cleaner image. However, it remains largely a gimmicky effect and to my eye didn’t really enhance the movie much, although admittedly I didn’t see it in a theater (more on that in a minute).

There are a handful of veteran actors with varying degrees of name value in the cast to go along with the largely unknown but plucky young cast. Of the latter, Panabaker has got a few good credits to her name, including a turn in John Carpenters The Ward in which she was one of the film’s acting highlights. Here she’s solid but unspectacular in the smart girl heroine role. For the cameos, Hasselhoff makes the best use, playing himself and referencing his public intoxication arrest from a few years ago to skewer his “Baywatch” image and prove that he might not be a bad sport after all. Rhames and Lloyd reprise their roles from the first film and gleefully overact, while Busey shows up to be fish food in the first reel in what might be a signature of the movie; killing off a well-known actor in the first reel (Richard Dreyfus did the honors in the first film).

The fish, a mixture of CGI and practical effects, are never really convincing. The CGI looks like CGI and the practical effects look like rubber fish being bludgeoned with rocks and filled with air bladders and blood bags. Still, the cheesy factor of the effects may also be a deliberate nod to the era, so you can take it in the spirit given.

Dimension (the genre division of Weinstein) took the interesting step of releasing this on Video On-Demand on the same day the movie got a limited release in theaters, a strategy that has worked well for major indies Magnolia and IFC. I don’t know how the movie is faring in VOD rentals but the box office numbers are weak. Whether this is the wave of the future for releases that aren’t expected to be box office bonanzas remains to be seen.

I’ve read reviewers who have said that this works much better on the big screen than on the home screen and I can see where that might be the case. This is definite exploitation fun that probably appeals most to the young male crowd and those who want to hang out with them. It’s not everybody’s cup of tea but in all honesty for what it is, it really isn’t that bad at all.

REASONS TO GO: Retains a sense of fun. Hoff, Rhames and Lloyd are good sports.

REASONS TO STAY: The dumb factor is pretty high. Gore and CGI are unconvincing and 3D more gimmicky than anything else

FAMILY VALUES: Where to begin? Lots of swearing, a pretty fair amount of gore, plenty of bare breasts, some sexuality and some male nudity. And drug use. And teen drinking. And…

TRIVIAL PURSUIT: The movie was originally set to be filmed in Baton Rouge, Louisiana during January and February 2011 but this proved to be impractical due to the cold weather and clothing restrictions for the actors; production was moved to Wilmington, North Carolina but resulted in a delay from the original November 2011release date to June of this year.

CRITICAL MASS: As of 7/14/12: Rotten Tomatoes: 14% positive reviews. Metacritic: 24/100. The reviews are nearly universally bad.

COMPARISON SHOPPING: Shark Night

TOPLESS WOMEN LOVERS: The water park has an adult pool where women may swim topless. Yes, there are a whole lot of boobs. No, none of the main actresses show theirs.

FINAL RATING: 5/10

NEXT: Speed Racer