Category: Movie DVD Quicktakes (Page 36 of 41)

Jekyll and Hyde…Together Again

Here’s a little piece of nostalgia that’s got a small but rabid cult following, due mostly to repeated airings on “Night Flight,” an ‘80s variety show responsible for unleashing all manner of depravity on late night TV viewers back in the day. “Jekyll and Hyde…Together Again” is not your typical retelling of the Robert Louis Stevenson classic. No, instead it’s basically one big cocaine joke. Dr. Jekyll (Mark Blankfield) is so devoted to the world of science and surgery that he barely even notices his society girlfriend Mary (Bess Armstrong). One wonders if they’ve ever even had sex. Late one night in his lab, as he tries in vain to perfect a miracle drug that will benefit mankind, two of his powders inadvertently mix together. In a sequence that must be seen to be believed, he falls asleep and accidentally snorts the new chemical (through a straw, no less), Mr. Hyde is unleashed, and Blankfield gives his real performance in the film. He sprouts hair in new places, a leisure suit, gaudy jewelry and even grows a coke nail. Instant swinger! Hyde goes out on the town to find Ivy (Krista Errickson), a hooker and former patient who briefly transfixed Jekyll earlier in the film. They have an insane night before he reverts back to the good doctor, and of course the cycle repeats itself several times before it’s all over. The third act, set in England and featuring an extensive sequence shot in black and white, is far more inventive than it probably needed to be. But the same can be said for much of the film: It’s a one-joke movie with dozens of priceless gags. Before the final credits roll, the camera pans down into Stevenson’s grave to catch his corpse spinning round and round.

“Jekyll and Hyde…Together Again” is by no means great cinema, but it is a hell of a tasteless good time, and I laughed out loud more times than I can count on two hands. It’s a relic of another era, and much of its success is due to Blankfield’s dual (dueling?) performances. Here’s a guy who’s all but fallen off the map, although his last IMDB credit is as Dr. Miller in the first season “Arrested Development” episode, “My Mother the Car.” A subtle nod to his doctor in this underground classic? If so, props to Mitch Hurwitz and Co. There’s a place for Blankfield in the movies of today, it just hasn’t yet been carved. The movie is an easy recommendation to anyone looking for laughs off the beaten path. If it still seems like a backhanded compliment, then there’s the added bonus of Tim Thomerson playing a closeted homosexual…in a totally non-P.C. manner, of course. Those wacky ‘80s!

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Prairie Fever

Any movie that earnestly harks back to classic westerns and tries to strike a blow for human liberty at the same time can’t be all bad. Sadly, a single star is all I can justify for this direct-to-DVD oater. “Prairie Fever” brings us onetime TV Hercules Kevin Sorbo as Preston Biggs, a former small town sheriff turned town drunk. When several mail order brides start to exhibit signs of pretend-insanity – incessantly quoting Bible verses, miming playing the piano, and generally exhibiting signs of really bad acting – the woman are assumed to have fallen to a sort of female hysteria apparently brought on by living on a pretend-Western hamlet, i.e., “prairie fever.” The cure, such as it is, is to have Biggs take the women, and a tidy sum of money, to the nearest train station hundreds of miles away. Along the way, our not-so-anti-hero encounters the feisty and beautiful Abigail (Dominique Swain), who is on the run from an occasionally villainous gambler (Lance Henrickson). While this set-up initially appears lamely misogynist, rest assured that it is actually lamely feminist. These women are suffering from old West PTSD caused by frontier cruelty, but in true old school TV style, they will all fully recover within less than 81 minutes.

Written and directed by a triumvirate of TV veterans, “Prairie Fever” effectively evokes the bad television of yore. For all the attempts at characterization, it’s often possible to recite the dialogue in advance of the characters. Moreover, action sequences are badly muffed, though the three stars are, for the most part, able to keep their heads above water. The less said about the supporting cast, however, the better.

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The Tracey Fragments

An experimental film that tells its story through a handful of scenes scattered across its black canvas like an unfinished jigsaw puzzle, “The Tracey Fragments” isn’t particularly good or bad – it’s just really unique. Filmed in only 14 days (and looking every bit as under-produced), the movie stars Ellen Page as the titular character, a 15-year-old outcast who recalls the events of the past two days while riding in the back of a bus wearing only a shower curtain. Along the way, we learn all about Tracey’s search for her lost brother Sonny, her fractured relationship with her parents, her dreamlike visits to a transvestite therapist, and her schoolgirl crush on the new kid in town.

Based on the novel by Maureen Medved, “The Tracey Fragments” might just be the weirdest movie you’ll ever see. In fact, I’m willing to bet that of every 10 people that do see it, only half will make it through all 77 maddening minutes. It’s not that the film is especially hard to follow, but it’s just not the kind of movie that most people care to see. The presentation is interesting, but it begins to wear on you as you’re forced to watch the same scenes over and over from different angles. It’s also hard to keep track of what moment you’re supposed to be invested in, because while there are two or three good shots going on at once, they never quite add up to anything more. Director Bruce McDonald is clearly more interested in the technical aspect of the experiment than the story it’s supposed to help tell, and though Ellen Page delivers a good performance in the title role, it’s not one she’ll be remembered for.

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Superhero Movie

David Zucker should really think about not including the word “movie” in the title of his next spoof film, because even though he’s partly responsible for the series that breathed new life into the genre, it’s just getting too difficult to separate the bad (“Scary Movie”) from the ugly (anything by Jason Friedberg and Aaron Seltzer). “Superhero Movie” is a spoof film done right – using the plotline of a single movie in order to create a coherent narrative – unlike the Friedberg/Seltzer method of pop culture overload. In this case, it’s the original “Spider-Man,” but instead of a radioactive spider, high school nerd Rick Riker (Drake Bell) is bitten by a genetically enhanced dragonfly. It doesn’t take long for him to recognize his newly gained superpowers, and before you know it, he’s posing as the green tights-wearing superhero Dragonfly. But when a supervillain known as Hourglass (Christopher McDonald) attempts to drain the life out of New York City so that he may become immortal, Dragonfly’s skills are put to the test as he must protect the woman (Sara Paxton) he loves. On par with the last two “Scary Movies,” “Superhero Movie” isn’t great, but it’s the funniest spoof released in years. Big props to writer/director Craig Malin for not only spoofing the Mecca of superhero movies (San Diego Comic-Con), but also including a song titled “Douchebag of the Year.” The additional superhero bits involving the X-Men and Fantastic Four (supposedly shot after initial production) are completely unnecessary, and the laughs decrease with each passing minute, but it’s exactly what fans of the genre have been waiting for.

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Diva

This very Parisian suspense comedy-drama was a sensation on the American art house scene during the early 1980s and helped launch a wave of more stylish, genre-oriented, French directors, action-meister Luc Besson included. (It also earned its own palindrome: “Avid was I, ere I saw Diva.”) It’s still fun, and very sexy in a demure, PG-13 way, if also kind of silly and lackadaisical.

Based on a novel by the pseudonymous Delacorta, writer-director Jean-Jacque Beiniex’s feature debut tells the story of a twentyish, scooter-driving postman (Frédéric Andréi) obsessed with a beautiful African-American opera singer (real opera star Wilhelmina Wiggins Fernandez) who, for artistic and philosophical reasons, refuses to allow herself to be recorded. The young man sneaks a high-end recorder into a performance and, after meeting his idol, steals her dress. He soon finds himself pursued by Asian audio pirates, but also by local assassins seeking an incriminating cassette. At the same time, he pursues a light flirtation/friendship with a larcenous Vietnamese teen orphan (Thuy An Luu) – and, shyly, but a lot more earnestly, romances the diva. He’s definitely one lucky celebrity stalker. Among other bits of good fortune, his less famous, underage gal-pal is under the possibly fatherly, possibly not-so fatherly, protection of a mysterious former Special Forces type (Richard Bohringer), who proves to be helpful in his tight spot.

“Diva” is really not about story but primarily about style, music (lots of opera, so be warned), and only then about its characters. While it doesn’t impress me today the way it did when I was the same age as its young postman, it’s still a nifty bauble with one really great foot/scooter chase through the Paris metro and lots of beauty — though buyers should be aware that the Lionsgate/Meridian Collection DVD has taken some hits for its technical quality. The print could probably be better.

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