Grizzly II: Revenge

She’s a big’un!

(1983) Horror (Gravitas) Steve Inwood, Deborah Raffin, John Rhys-Davies, Louise Fletcher, Deborah Foreman, Dick Anthony Williams, Jack Starrett, Charles Cyphers, Marc Alaimo, Laura Dern, Barbie Wilde, Ian McNeice, Charles Young, Charlie Sheen, George Clooney, Billy Boyle, Nigel Dolman, Edward Meeks, Timothy Spall. Directed by Andre Szöts

 

Some movies are most definitely products of their eras. You can look at them and immediately say “Oh, that’s a noir film from the 40s” or “that’s a 70s anti-hero film.” The 80s were like that; movies from that decade had a style and a presence all their own, much like the music and fashion of the time. Sometimes, that’s a very good thing. In this case, not so much.

When poachers kill a bear cub and remove its gall bladder for its aphrodisiac qualities – one would think it would work much better as a laxative – mama bear goes ballistic and starts shredding every humanoid she lays eyes on in Summit National Park. Park ranger Nic (Inwood) is trying to rally his rangers for an upcoming rock concert that park manager Ms. Draygon (Fletcher) insists must go off without a hitch, 15-foot-bear or not. The hunky ranger brings aboard the “best grizzly tracker” in the business, the French-Candian Bouchard (Rhys-Davies) with an accident that would embarrass Pepe LePew – much to the horror of “bear manager” (don’t all national parks have one?) Samantha (Raffin). Ahh, but the show must go on, something that the makers of this film took much to heart.

The story of how this movie finally made it into theaters 38 years after it was filmed probably makes a more interesting movie than the one that actually got made. Lensed at the tail-end (‘scuse the pun) of the killer animal craze that Jaws created, this sequel that nobody wanted was filmed in Hungary while the Cold War was still in full swing and the Iron Curtain was still Iron. The producers apparently ran out of funds before post-production could be commenced, and the uncompleted movie languished on the shelf, famous only for the future stars that appeared in it – all cast because of their famous relatives, being unknowns at the time. In fact, this movie has three Oscar-winners in its cast (two of them are killed before the movie is even five minutes old, so there’s that) but you’d never know it. But somehow, an unfinished work print started making the rounds on YouTube and at genre film festivals until original producer Suzanne Nagy, realizing that there was an audience for this, finished the special effects and got the movie edited for release. There is no disguising the mechanical bear, however.

Interspersed with the action is concert footage of very bad Hungarian new wve bands performing at the faux concert….in Hungarian. Yes, this concert that is supposedly taking place in an American national park features songs sung in a language only a tiny percentage of the population here speaks. And the music is about what you’d expect it would be.

This is the kind of movie that’s enjoyed more in retrospect. While you’re actually watching it, you might find yourself having a hard time keeping from turning the bloody thing off. In fact, those who do see the movie from start to finish should get some sort of merit badge.

So why the score it got? I’ll be honest with you, the movie deserves a much lower score and in fact my initial rating was going to be much lower, but the fact of the matter is as I sit down to write this, the more I think about the movie, the more enjoyment I’m getting out of remembering how ridiculous it was. I don’t know if Clooney even remembers making the film – I assume he likely remembered a trip to Budapest – but I’m sure he was just as happy it never was released into theaters. I would love to hear what he thinks of its release…I can only imagine the expression of pain he might extrude. All in all, with Rhys-Davies and Fletcher gamely delivering what they can in the way of performances and a kind of car crash vibe that really takes hold well after you have finished watching, the experience is one that I am glad of – and one I sincerely never hope to repeat.

REASONS TO SEE: Unintentionally funny, sort of like a Plan 9 From Outer Space.
REASONS TO AVOID: Very much a product of its time and not in a good way.
FAMILY VALUES: There is some sexuality and plenty of violence.
TRIVIAL PURSUIT: Fletcher and Alaimo, who have no scenes together here, would go on a decade later to play major recurring characters in Star Trek: Deep Space 9.
BEYOND THE THEATERS: Amazon AppleTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 1/27/21: Rotten Tomatoes: 9% positive reviews, Metacritic: 7/100.
COMPARISON SHOPPING: Grizzly
FINAL RATING: 5/10
NEXT: 76 Days

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Sides of a Horn

A sight we may not be able to see for very much longer.

(2018) Drama Short (Whitlow Park) Wellie Nzuza, Sheldon Marema, Ayanda Seoka, Dimpho Motloung, Motheo Mope, Petrus Maduna, Mpho Noko, Johnny Kaledi, Emmanuel Castis, Khanyisile Sebolai, Tshepiso Molati, Tonny Sebolai, Keorapetse Matji. Directed by Toby Wosskow

 

The African rhinoceros is one of the oldest species still extant on the planet, around 50 million years or so. If current estimates hold, the animal will be extinct in the wild within ten years. Much of that is due to a belief in certain Asian nations that the powdered rhino horn brings virility in a male. We are all about our dicks, after all. For that there’s a good chance that we will see them exist only in zoos and wildlife parks in our lifetimes.

This short is about Dumi (Nzuza) who works as a ranger for a wildlife protection agency in South Africa. He has come home to his village to visit his sister who is dying of a wasting disease. Her husband Sello (Marema) works as a wood cutter and doesn’t make enough to afford to take his wife to a doctor. Dumi offers to help out when he gets paid next week but that could be too late for the dying woman. Sello will do anything to protect his family; Dumi will do anything to protect his land. The two are headed on a collision course and don’t even know it.

The short 17-minute film has a powerful story that shows a surprisingly balanced view of a thorny problem that envelops modern Africa. On the one hand, they are fighting for their land and their heritage, trying to protect the wildlife which is native and part of a delicately balanced ecology. On the other hand, they are fighting terrible poverty in which even the most basic services are out of reach for a significant percentage of the population. Exacerbating everything is simple human greed – powdered rhino horn fetches lavish prices in Asia.

The cinematography by Nico Aguilar is beyond breathtaking. Filming was done in villages and game preserves where the rhino poaching issue is an everyday affair. As gripping as the story is, however, the pacing felt a little rushed, as if Wosskow were in a hurry to get this out in the world. I can’t say as I blame him if that is the case; every minute counts for a species that time is literally ticking down on.

The film was executive produced by Sir Richard Branson and is available free of charge in various places around the net a few of which are listed below in addition to the film’s website which can be reached by clicking on the picture above. In many ways, the rhino is almost incidental to the story onscreen which is a very human one although it remains distinctly at the center of the tale. When a wild rhino makes its appearance in the film, you can’t help but admire the magnificence of a creature which at the moment desperately needs our help to survive.

REASONS TO SEE: The cinematography is beautiful. Approaches the issues of poaching in South Africa from the points of view of both the conservationist and the poacher. The story is an important one and the dramatic tension is high.
REASONS TO AVOID: The story feels a bit rushed.
FAMILY VALUES: There is some brief violence.
TRIVIAL PURSUIT: A poacher can get paid the equivalent of US $3,000 for a single rhino horn, enough to support his family for a full year.
BEYOND THE THEATER: African Wildlife Foundation, Vimeo, Virgin, YouTube
CRITICAL MASS: As of 6/25/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Forgotten Kingdom
FINAL RATING: 8/10
NEXT: Hot Doug’s: The Movie

Hunt for the Wilderpeople

An odder couple you will not find.

(2016) Comedy (The Orchard) Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Tioreore Ngatai-Melbourne, Oscar Kightley, Stan Walker, Mike Minogue, Cohen Holloway, Rhys Darby, Troy Kingi, Taika Waititi, Hamish Parkinson, Stu Giles, Lloyd Scott, Selina Woulfe, Mabelle Dennison, Timothy Herbert, Sonia Spyve. Directed by Taika Waititi

Kids aren’t always easy fits. They aren’t always little darlings. Some have had a tough go of things and they don’t always behave like angels. They act out. They lash out. That doesn’t necessarily make them bad kids though.

Ricky Baker (Dennison) is a kid just like that. After his mom gave him away, he has been shuttled from foster home to foster home. Each time he ends up back in the hands of child services and Paula (House), his exasperated case officer. Ricky has one more shot – out in the sticks with Bella (Wiata), a kind-hearted woman living on the edge of the bush with her husband, curmudgeon Hec (Neill) who clearly wants nothing to do with Ricky – and for whom the feeling is mutual.

Circumstances arise that force Ricky and Hec to go fleeing into the bush with the incorrect assumption that Hec has somehow abused Ricky (mainly due to the surprisingly naive Ricky himself) and that due to circumstances, Ricky will be remanded to juvenile jail until he turns 18 as he has used up all of his foster care opportunities. The two become the object of a massive manhunt, becoming a major news story in New Zealand and the two become folk heroes.

With the relentless Paula chasing them and bounty hunters on their tail, it will take all of Hec’s bush knowledge to keep the city-bred hip-hop loving Ricky safe. And all of New Zealand seems hell bent on capturing the two and sending them both to their respective jails.

From the co-director of the wonderful What We Do in the Shadows, this is one of those movies that either the humor will appeal to you or it won’t. For me and Da Queen, it definitely did. There’s a scene early on of Bella killing a wild boar which won’t sound funny on paper, but had me in stitches. Comedy gold, I tell you.

Sam Neill, who has been around for quite awhile, puts in what just might be his best performance ever here. It’s not that Hec is just grouchy; he has to deal with all sorts of emotions, including some tender ones, during the course of the film. I’ve always liked Neill, going back to his turn as an adult Damian in The Omen III to his work in Jurassic Park and one of my favorites, The Hunt for Red October. This is the movie that fans of this actor should make a point of seeing.

Also, mention must be made of Julian Dennison as Ricky Baker. This is a young actor who has amazing comedy chops. He is blessed with a script that doesn’t descend into chintz or shtick, nor does it unduly play off of Dennison’s size (he’s overweight as you can see from the picture). Yet they don’t make him a laughingstock, as the movies often do with portly kids. That’s a good thing to see, but as well, Dennison nails his role and makes Ricky Baker a memorable character. That’s not an easy thing to do in a film like this.

The scenery is beautiful – New Zealand came by its reputation as one of the most beautiful places on Earth honestly. The soundtrack is also chock full of some terrific Kiwi pop songs that will keep your toes tapping throughout. There literally is nothing not to like about this movie.

Okay, maybe one thing. Some of the humor might be a little more over the top than some American audiences are used to. There’s a character played by @Midnight favorite Rhys Darby named Psycho Sam who lives up to his name. His presence derails the movie a little bit even though Darby does a fine job. It just feels like the character came in from another movie.

Otherwise, this movie rocks from beginning to end. It’s funny, sweet and like Ricky himself has a heart of gold under all the bluster. Definitely one of the finer movies to be screened at the Florida Film Festival this year. It’s out and about the country right now, doing a walkabout of its on in American theaters. Catch it at one while you still can.

REASONS TO GO: Much funnier than I was led to believe it was. The soundtrack is abso-bloody-lutely terrific. Majestical scenery.
REASONS TO STAY: May be a little too out there for some.
FAMILY VALUES: A bit of foul language and some violence.
TRIVIAL PURSUIT: In the birthday scene, ten takes were filmed of the cast singing “Happy Birthday” to Ricky until someone realized that they didn’t have the rights to use the song. Therefore, the actors made up a new song on the spot, the one which appears in the film (and also partially in the trailer).
CRITICAL MASS: As of 7/1/16: Rotten Tomatoes: 100% positive reviews. Metacritic: 80/100.
COMPARISON SHOPPING: Buddymoon
FINAL RATING: 9/10
NEXT: The American Experience begins!

So I Married an Axe Murderer

Scotland has a love-hate relationship with Mike Myers.

(1993) Comedy (TriStar) Mike Myers, Nancy Travis, Anthony LaPaglia, Amanda Plummer, Alan Arkin, Brenda Fricker, Matt Doherty, Charles Grodin, Phil Hartman, Debi Mazar, Steven Wright, Patrick Bristow, Cintra Wilson, Luenell Campbell, Michael Richards, Michael G. Hagerty, Jessie Nelson, Bob Sarlatte, Ken Grantham, Greg Germann, Holly Lewis. Directed by Thomas Schlamme

Do we really know the person we’re closest to? After all, it’s very easy to create a facade of normalcy. We can say anything about ourselves and the person who loves us will believe us. After all, why should we lie?

Charlie McKenzie (Myers) is a San Francisco hipster who writes beat-like poetry by night and…well, we’re not quite sure what he does by day. He has been through one abortive relationship after another, each one ending with the terminally paranoid and commitment-phobic Charlie finding a reason to end things. His friend Tony Giardino (LaPaglia) urges him to loosen up but Charlie isn’t inclined to.

That is, until he meets Harriet (Travis) in a butcher shop and it’s chemistry at first sight. Things are going really well as they get to know each other and Charlie thinks at long last this might be the one. Even her little sister Rose (Plummer) is nice.

Then, Charlie is reading one of his mother’s (Fricker) Weekly World News papers (her sole source of news and information) and happens upon an article about Mrs. X, a woman whose three husbands have all disappeared under mysterious circumstances – as has she. The more Charlie reads, the more he realizes that the facts about Mrs. X happen to match up with those Harriet has let slip.

Suddenly Charlie is certain that Harriet is Mrs. X and ends things with her, not wanting to end up as the fourth husband – and victim. Tony is just as certain that his friend is a wacko who is inventing yet another excuse to avoid committing to another person, albeit the most bizarre excuse yet. Then when someone confesses to being Mrs. X in Texas (all our X’s are in Texas), Charlie realizes what a fool he’s been and at the anniversary party of his mother and father (Myers again) he proposes. Nothing but smooth sailing ahead, right?

This was Myers’ first film after the lucrative Wayne’s World established him as a movie star and it was a critical and commercial flop at the time. Over the years the opinion about this gem have been revised and now it has a bit of a cult following and I for one couldn’t be happier about it.

While Charlie is pretty damn quirky, this is Myers’ most “normal” role to date and quite frankly I wish he’d do more of them. He is really likable as Charlie and has a terrific chemistry for Travis who is one of the more underrated actresses of the last 20 years, although she’s getting a regular paycheck these days on the Tim Allen sitcom Last Man Standing. Myers also does his Scottish eccentric role to perfection as Charlie’s dad. “Heed.. Newspaper. Now!” he bellows at his other son, the poor set-upon Doherty, lobbing bon mots at the oversized noggin of his son.

There are plenty of cameos ranging from Arkin as Tony’s way-too-sensitive captain and the late great Phil Hartman as a creepy park ranger at Alcatraz to Steven Wright as a laconic pilot and Charles Grodin as an uncooperative driver whose car is commandeered. The city of San Francisco is shown off as effectively as it has been in any recent movie – watch this one and you might just want to move there.

This is as charming a movie as Myers has done. He’d go on from here to the Austin Powers franchise and the Love Guru misstep but one look at this will convince you that even with the success he’s had he could have gone much farther if he’d continued on the road of movies like this. Sadly, the box office underperformance convinced him otherwise although Austin Powers fan might be happy enough that it did. This is one of those underappreciated comic gems of the 90s that may well have fallen below your radar; it’s well worth a look if you haven’t seen it (and it has a fabulous soundtrack to boot).

WHY RENT THIS: One of Myers’ best. Underrated. Terrifically quirky and cute.

WHY RENT SOMETHING ELSE: A bit dated and relies too much on shtick.

FAMILY VALUES:  There’s some bad language, a bit of nudity, some sexual situations and what they called “mock terror.”

TRIVIAL PURSUIT: The Poet’s Corner Hotel scenes were filmed at the Dunsmuir estate which is actually in the Oakland hills east of San Francisco, not North of the city as depicted in the film.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $11.6M on an unknown production budget.

COMPARISON SHOPPING: Haunted Honeymoon

FINAL RATING: 8.5/10

NEXT: Good Ol’ Freda