At the top of my list of experiences I don’t need recreated for me by a movie would be the frustrating tedium of phone-based customer support.
I tried real hard, Circadian Rhythm. I tried real hard to like, then tolerate, then at the very least, appreciate on some level what you were doing. But in the end, I just couldn’t pull it off.
Cherry 2000 gleefully embraces all the excess, quirks, and questionable art and design decisions that embodied the 1980s, resulting in a post-apocalypse film as imagined by Patrick Nagel.
By 1992′s Split Second, Rutger Hauer had either become so good at acting bored that he seemed totally bored with the movie, or he was totally bored with the movie.
The crew of the salvage vessel find themselves stranded (except for their helicopter) in a seemingly deserted coastal town, and by seemingly, I mean that there are plenty of corpses placed in various humorous and surprising “tumble out at ya” locations.
It’s dialog is ludicrous. It’s action is frenetic, and also ludicrous. It’s gore is gratuitous to the point of being… well, ludicrous. Everything about it is so much more than it needs to be that it takes one past the point of feeling satisfied to feeling engorged.
Mad Max was really the opening salvo in the Reagan era post-apocalypse boom, even though it’s more outrageous sequel became the template. It’s debatable whether or not Neon City is the last film in the trend, but regardless, it’s fitting that it would be among the last and is, in spirit so much more similar to Mad Max than it is Road Warrior.
It seems like the middle story is always the crappy one, and while I understand that dropping the bad story in the middle means you can start and end strong, it also kills momentum
Alongside all of its surface froth, Who Wants to Kill Jessie carries a simple political message that’s pretty hard to miss – that authority’s attempts to suppress the dreams of its subjects have a tendency to force those dreams into the world of action, and that, once made manifest, those dreams tend to be a genie that’s pretty hard to get back into the bottle.
GI Joe: The Movie feels like marketing was supposed to be first, but the screenwriter had so much booze and amphetamines that the whole thing veered off into the outer limits of madness. There’s just nothing in it that is well-done, and you know that from me, that’s an endorsement.