Hidden Netflix Gems – Earth Girls Are Easy

Hidden Netflix Gems is a new feature designed to help readers answer that burning question, “What should I watch tonight?” It will be updated every Saturday before the sun goes down.

In an oddball blend of ’50s science fiction classics like Invasion of the Body Snatchers and The Day the Earth Stood Still, combined with much stronger elements of beach musicals and screwball comedy, director Julien Temple‘s Earth Girls Are Easy explores interplanetary sexual politics with a light and infectiously fun touch. This is one of those ’80s movies, much like The Lost Boys, that is objectively silly and perhaps unimportant to the history of cinema, but is nonetheless one of my favorite movies of all time.

Valerie (Geena Davis) is a sort of ditzy manicurist who works at beauty parlor in San Fernando Valley with her gloriously superficial and oversexed friend Candy (co-writer Julie Brown). After discovering her physician fiancée, Ted (Charles Rocket), attempting to cheat on her with a nurse he brings home, she kicks him out and wrecks most of his belongings in a musical montage of destruction and bittersweet flashbacks of the better times they spent together. Of all the film’s musical numbers, this is the weakest, but still great visual fun and prime ’80s nostalgia, as when Valerie shoves a box of Ted’s cigars into the VCR, or when she sends a bowling ball crashing into his Commodore 64 computer. As if her relationship troubles aren’t bad enough, the next morning a spaceship full of furry, horny aliens lands in her pool, and Valerie has to figure out how to keep them secret until they can fix their flooded ship and head back to their home planet.

The aliens are Mac (Jeff Goldblum), Zeebo (Damon Wayans) and Wiploc (Jim Carrey), and of course the solution to the problem of how to hide their alien identity is a makeover. Candy assists, removing the aliens’ colorful fur and revealing “three major cute guys” underneath. Valerie falls for Mac in particular, becoming enamored with his innocent, childlike ways, a result of the culture clash experienced by all three aliens, which is a major source of the film’s comedy. In perhaps the funniest scene in the movie, Zeebo and Wiploc, en route to a beach trip with Valerie’s aging surfer pool cleaner, Woody (Michael McKean), take his suggestion that they pick up “bread and junk” for sandwiches very literally. Brandishing a realistic toy gun accidentally stolen from a child earlier, they tell the frightened cashier, “Give us bread. We need junk.”

Though Earth Girls Are Easy could fairly be labeled predictable and certainly inconsequential, it has an undeniable charm, and only the severely humor-deficient will be unable to find something to like about it. For whatever reason, this movie is actually something of an addiction for me, a film I have to rewatch at least once a year or so in order to feel that all is right with the universe, to remind me that even with all the problems of the planet earth, at least its female humans don’t play too hard to get.

  

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Christopher Guest, Michael McKean, and Harry Shearer Hope You’ll Enjoy Their New Direction

When “This is Spinal Tap” premiered twenty-five years ago, the now classic mock-documentary…or “mockumentary,” if you will…about lightly-brained, heavily sedated British metal stars on the skids received good reviews but unexciting box office. Considering that most people who saw it – and understood that it wasn’t a real documentary — thought it was one of the funniest movies they’d ever seen, it wasn’t too big a surprise that it soon became a very significant cult hit via home video. What was a bit harder to predict was that a film featuring three only moderately well known comedian/satirists and directed by then first-timer Rob Reiner would become one of the most influential comedies of its era. It certainly wasn’t clear that lines such as “this goes to eleven” or “it’s such a fine line between stupid and clever” would enter the general musical and cultural lexicon, and that, decades on, “mock docs” would remain among the most popular of low-budget movie subgenres — and not only for comedy.

Still the biggest surprise of all was that, as musicians, improv geniuses Christopher Guest, Michael McKean, and Harry Shearer, turned out to be better at music as a sideline than most of those who do it fulltime. Not only could the trio play rockers like “Big Bottom” and “Sex Farm” live with brio and dexterity, “unplugged” versions of such vintage Tap classics as “Listen to the Flower People” and “Give Me Some Money” were among the highlights of their early live shows. Of course, the shows were funny, but the big surprise was how well played the music actually was, wowing both metalheads and metal-haters (that would be me) alike.

It didn’t end there. With Christopher Guest emerging as the most reliable comedy-mockumentary director of his time with such irony fests as “Waiting for Guffman” and “Best in Show,” Guest, McKean, and Shearer became the Limelighters/Kingston Trio-like Folksmen. The group figured prominently in Guest’s affectionate 2003 poke at the folk music scene, “A Mighty Wind,” leading to the inevitable gigs where the geeky but oddly talented folk music threesome would open for the bombastic boy-men of Spinal Tap.

Six years later, however, Guest, McKean and Shearer would, in preparation for an upcoming Spinal Tap reunion, take the ultimate step of acoustically performing a collection of Tap and Folksmen classics as well as new material not as any of their off-kilter comedy personas, but as themselves for this spring’s 30-city “Unwigged and Unplugged” tour, which is now officially underway.

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