It’s surprising that for a movie about anthropomorphic talking turtles that director Steve Barron takes the premise with as much seriousness as possible. Director Barron just seems to get the appeal of the Ninja Turtles, walking the line between the mainstream versions and the original Eastman and Laird R rated comic book. The turtles here have a hard edge, but are entertaining sympathetic heroes, and they’re the center of what is still a damn good action film about family, revenge, unity.
Director Lucky McKee and Chris Siverston attempt what many directors have in the past and remake their early film, “All Cheerleaders Die.” Now that they’ve reached a point of success, their considerably entertaining horror indie is now reworked in to a bigger scale, bigger budgeted, and gorier horror film. While the movie suffers from its caveats, “All Cheerleaders Die” works as a entertaining and twisted amalgam of “Heathers,” “I Spit on Your Grave,” and “The Craft.”
How do you make a movie about CBGB in the structure of a routine narrative? Where do you start? Why do we have to see the origins of CBGB through a comedy lens? “CBGB” is what Hollywood envisions the origins of CBGB were. It’s clean, it’s sanitary, it’s inoffensive, and it paints some of the most iconic bands in rock music as mere footnotes in the world of the iconic New York club. To make things worse, its star looks really bored with the material, almost as if he’s slogging through a character and a script that he doesn’t quite understand.
Director Steve Miner and writer David E. Kelly’s “Lake Placid” is a B monster movie that knows what it is, and almost works against its type to offer something of substance. The harder it tries for satire and meta-storytelling, the more absurd “Lake Placid” is, thus more surreal. I wouldn’t classify “Lake Placid” as a great monster movie, but it has a strange energy to it that elevates it above usual monster movie tropes, but also keeps it firmly planted in the corner of a horror comedy bordering on a spoof quite often.
I thought I’d give my opinion on the pilot episode “Seinfeld” (my number two favorite TV show of all time), entitled “The Seinfeld Chronicles.” Initially the show was called “The Seinfeld Chronicles” and had a much different format in store for audiences. The show didn’t really pick up and become a zany bit of sitcom fun until the episode with Keith Hernandez and the excellent spoof of “JFK”; although, “The Subway” is an excellent episode in its own right, as well.
There aren’t many comedies that can reduce me to tears like “A Shot in the Dark” does. It’s one of those rare incredible comedies where every element from the story to the characters is so pitch perfect, it’s astounding. Character Clouseau even breaks the fourth wall at one point, destroying the momentum of the final confrontations. But he gets away with it so slyly, because Peter Sellers’ timing, matched with his physical comedy is flawless and genius. Even if you’ve never seen a Pink Panther movie, getting acquainted with Jacques Clouseau is a breeze because Sellers and director Blake Edwards establish him with subtle idiosyncrasies and almost no dialogue.
You wouldn’t think a movie about cheerleaders and a rivalry between teams would be any good, but “Bring It On” manages to be lightning in a bottle that has yet to be topped by its terrible sequels. Not that cheerleading isn’t interesting, but “Bring It On” is such an entertaining and funny sports film, it sets the standard for movies about cheerleaders that has yet to be equaled or rivaled in quality. Director Peyton Reed’s film is a mix of comedy, drama, and light commentary on race and class warfare.