A Reel 40: The Year in Film 1982

2022 marks the 40^th anniversary of one of the most fearless years in film, the year that was 1982. It was a year of significant achievements in the box office, the sci-fi genre, pop culture, and cinema as a whole. 

 

As great as the year turned out to be, things started slow in the late winter and early spring months. Notable releases in the first few months of the year included the schlocky yet now-respected SWAMP THING, the revenge-sequel DEATH WISH II, the Christopher Reeve and Michael Caine-led mystery DEATHTRAP, the teen sex-comedy PORKYS, and the Julie Andrews-led VICTOR/VICTORIA. 

 

The winter chill began to thaw in a hurry when May rolled in. John Milius introduced Arnold Schwarzenegger to the world with his magnificent sword-and-sorcery epic CONAN THE BARBARIAN. Other hits during this month included ANNIE, ROCKY III, and the comedy/mystery DEAD MEN DON’T WEAR PLAID. 

 

And then came the month of June. Steven Spielberg owned the month; acting as a guiding hand in the horror classic POLTERGEIST and directing his massive hit E.T. THE EXTRA-TERRESTRIAL. E.T. was a smash; breaking hearts and taking the crown of the highest-grossing film of all time…a mark that it would hold for 11 years. But the month was just getting warmed up, as it also delivered the best STAR TREK film of all time with STAR TREK II: THE WRATH OF KHAN, along with the Ridley Scott sci-fi classic and game-changing BLADE RUNNER, and the John Carpenter sci-fi- horror thriller THE THING. 

 

As the summer rolled on we were treated to the animated THE SECRET OF NIMH, Disney’s TRON, and the Oscar-darling AN OFFICER AND A GENTLEMAN. The hot months wrapped up with FAST TIMES AT RIDGEMONT HIGH, PINK FLOYD’S THE WALL, and the sword-and-sorcery flick THE BEASTMASTER. 

 

In the glorious fall, Sylvester Stallone put aside the boxing gloves and introduced the world to a new iconic character named John Rambo in FIRST BLOOD. Hot on Rambo’s heels was HALLOWEEN III: SEASON OF THE WITCH, the horror anthology CREEPSHOW, and the animated THE LAST UNICORN. 

 

Comedy had a strong showing in December with 48 HRS, THE TOY, and AIRPLANE II: THE SEQUEL. Jim Henson made a muppet-driven classic with THE DARK CRYSTAL, TOOTSIE would earn 10 Oscar nominations, Meryl Streep would win Best Actress for her part in SOPHIE’S CHOICE, and the late great Jason Miller would adapt his play THAT CHAMPIONSHIP SEASON to the screen. 

 

December would also feature the eventual Best Picture winner, GANDHI. The late great Richard Attenborough would direct this biopic that would earn 11 Oscar nominations and win eight. It would mark the big-screen debuts of lead actor Ben Kingsley, along with budding legend Daniel Day-Lewis. 

 

Also making their debuts in 1982 would be Michelle Pfeiffer, Eddie Murphy, Kirstie Alley, Antonio Banderas, Nic Cage, Glenn Close, Geena Davis, Angelina Jolie, Eric Stoltz, Forest Whitaker, and Gary Oldman. Also in 1982 we would say a final farewell and adieu to John Belushi, Henry Fonda, Ingrid Bergman, and Grace Kelly. 

 

Other notable releases in 1982 included GREASE 2, FIREFOX, THE BEST LITTLE WHOREHOUSE IN TEXAS, THE WORLD ACCORDING TO GARP, AMITYVILLE II: THE POSESSION, MEGAFORCE, ONE FROM THE HEART, THE SWORD AND THE SORCERER, DINER, A MIDSUMMER NIGHT’S SEX COMEDY, NIGHT SHIFT, THE PIRATE MOVIE, FRIDAY THE 13^TH PART III, and THE TRAIL OF THE PINK PANTHER. This would also be the year that the famed THX sound system would be developed for theatres. 

 

 

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1982 was the year that began to change cinema. Films like E.T., BLADE RUNNER, and THE THING re-established the sci-fi genre as a legit form of film after nearly a decade of cheap STAR WARS knockoffs. THE WRATH OF KHAN set a standard for STAR TREK felt to this day, and for any sequel. Comedies like PORKYS and RIDGEMONT HIGH kickstarted the teen sex-comedy for the next decade, and long after the credits rolled on CONAN…we knew that its new muscled star would be back. As much as 1982 changed things, it is astounding to think of the sheer amount of great films that were in theatres at the same time competing against each other. Even before 2020 began to change movie theatres and the way films are distributed, big-screen releases for the last 20 years have been spaced out thanks to overthinking and attempts to make the most money. That was one of many things that 1982 had no fear over. 

 

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Next week, Reel Speak’s ranking of the Top 10 Films of 1982. 

A Reel Opinion: The Best & Worst of 2021

The year that was 2021 is behind us on the calendar, and now comes the annual long wrap-up. The Oscars and its brethren award ceremonies are months away, which makes this the time for Reel Speak’s Best & Worst summation. 

 

As with every year, the worst part of any wrap-up is looking back on the talented souls that have left us. In the past year we bid a final farewell and adieu to silver screen stars Betty White, Wilford Brimley, Sidney Poitier, Ed Asner, Ned Beatty, Richard Donner, Robert Downey, Sr., Charles Grodin, Hal Halbrook, Yaphet Kotto, Helen McCrory, Tanya Roberts, Michael K. Williams, Peter Bogdanovich, Olympia Dukakis, Michael Constantine, Jean-Marc Vallee, and Christopher Plummer. 

 

On the screen, our beloved theatres finally lit up again, but only to an extent, and many studios still opted to release to their streaming services. This made it difficult to keep up with new films, as one-stop-shopping turned into scatter-shot releases as movies went to who-the-hell-knows-what-streamer (a good case for the theatre experience being superior to streaming, but that’s another story). So, this Blogger only saw three films that deserve to be called the Worst of 2021: the LeBron James-led SPACE JAM sequel, the Sony Pictures dumber-than-shit VENOM sequel, and the insanely stupid HALLOWEEN KILLS. 

 

On the superhero front, Marvel had three solid efforts, while rival DC was busy re-making their flops to mixed degrees of success. In other news, musicals had a minor resurgence with four major releases, Daniel Craig wrapped up his run as 007 with a bang, Sir Ridley Scott finally got out of a decades-long rut with two excellent films, and Disney dusted off a few of their oldest dog-tales and river boats with great results. Here now, are the Top 10 Best Films seen by this Blogger in 2021: 

 

 

 

 

 

10. WEST SIDE STORY

Steven Spielberg returned to top-form with this re-adaptation of the 1957 stage musical and 1961 Best Picture winner. Thanks to Spielberg’s next-level eye for framing shots and intimate character-time, this WEST SIDE STORY is more honed and refined than the 1961 film, giving clarity to what all the fighting is about. The dance numbers are spectacular, and breakout star Rachel Zegler is a delight. 

 

 

 

9. BELFAST

Kenneth Branagh directs this semi-autobiographical film which takes us back to the turbulent times of Ireland in the 1960’s. An intimate look at family amidst a larger, historical backdrop…BELFAST works as a nearly forgotten era of history and a coming-of-age tale. One of two major releases this year shot in glorious black-and-white, BELFAST is stripped-down, back-to-basics filmmaking that is refreshing and feels new. 

 

 

 

8. SPIDER-MAN: NO WAY HOME

Sony Pictures and Marvel Studios sorted out their differences to bring us this box office champion and emotional epic…which combines our current version of Spider-Man with Spideys of the past 20 years…along with their villains. Emotional, epic, massive in scale, and game-changing for the Marvel Cinematic Universe (MCU), NO WAY HOME was the one film this year that turned theatre audiences into cheering fans not unlike the Super Bowl. And that ending was something that Hitchcock would be proud of. 

 

 

 

7. THE FRENCH DISPATCH

Stylistic director Wes Anderson throws the basic rules of the three-act structure out the window in his anthology film about the final days of a French newspaper. Broken into three different storylines presented to us through the eyes of intrepid reporters, THE FRENCH DISPATCH is a love-letter to a bygone era of reporters hitting the streets and taking their time to research and get acquainted with their stories. Funny, gorgeous, and a delight with that sad melancholy concerning all things that must pass from this world, not to mention the best ensemble cast of the year. 

 

 

 

6. LICORICE PIZZA

Paul Thomas Anderson brings us this coming-of-age tale set in sunny California in 1973, following a young couple’s discovery of love, stardom, and themselves. Cooper Hoffman (son of Phillip Seymour), makes a huge impact in his debut, and pop-singer Alana Haim is a revelation. Shot with tender-loving care and presented with a love for all things 1970’s, LICORICE PIZZA is as great as the title is weird. 

 

 

5. GHOSTBUSTERS: AFTERLIFE

We all expect to laugh during a GHOSTBUSTERS movie, but we certainly do not expect to cry. Directed by Jason Reitman (son of Ivan, director of the first two films), AFTERLIFE focuses on the legacy of the original characters; spending most of its time with the late great Egon’s family as they discover who their grandfather was…just as an old spirit returns. The film smartly ties back to the original in a natural way that doesn’t feel forced, and although it takes a long while to get a glimpse of the one and the only Ghostbusters, the emotional payoff is worth the wait. And it is a payoff that offers a great sense of closure in one of the most satisfying sequels. 

 

 

4. THE TRAGEDY OF MACBETH

Joel Coen delivers a dagger of a film in his first solo outing away from his brother Ethan. Denzel Washington takes on the role of Macbeth and Frances McDormand slips into the gown of Lady Macbeth, in this stunning presentation of the famed Shakespeare play. Shot in glorious black-and-white and put together in the 100-year-old German expressionist style, this MACBETH is breathtaking from the first frame to the last. 

 

 

 

3. DUNE

Denis Villeneuve delivers the first part of the epic, classic sci-fi novel to big screens after a year of delays. Shot on a massive canvas that truly conveys the hugeness of the galaxy, the planet Arakkis, and the humanity of the characters, DUNE simplifies a complex narrative of family, fate, war, and politics… but doesn’t dumb it down, and sets the stage for what is promised to be an even bigger part 2. 

 

 

 

2. THE GREEN KNIGHT

David Lowery directs this stunning adaptation of the 14th century medieval fantasy poem. Dev Patel steps into the chainmail of Sir Gawain, who is challenged by a mysterious being over the course of a year. A visual feast and shot and edited with a precise touch, THE GREEN KNIGHT dives into what it really means to be a noble knight and the path to get there; do we wait for external forces to make us great, or does that come from within? Lowery presents the challenge with minimal dialogue and breathtaking cinematography that makes THE GREEN KNIGHT the most unique film of the year. 

 

 

 

1. CODA 

Breakout actress Emilia Jones plays the only hearing member of her family, and has her dreams of college and a bigger world constantly challenged by her responsibilities to her deaf mom, dad, and brother. Sian Heder helms this family-based drama that uses sign-language exclusively, which is a step forward for inclusion…but also unexpectedly offers the opportunity for an overlooked style of acting; showing that acting is more than just reciting dialogue. CODA places us into the perspective of those who can’t hear us, and the result is jaw-dropping. The cast is tremendous with Jones in the lead, and the new presentation of a dreaming teen held back by a family she loves gives CODA a huge heart. The story has many ups and downs, is inspiring and hopeful, and the closing shot a tearjerker. Brilliant film in every way. 

 

 

 Reel Speak's Best Films of 2021

1. CODA
2. THE GREEN KNIGHT
3. DUNE
4. THE TRAGEDY OF MACBETH
5. GHOSTBUSTERS: AFTERLIFE
6. LICORICE PIZZA
7. THE FRENCH DISPATCH
8. SPIDER-MAN: NO WAY HOME
9. BELFAST
10. WEST SIDE STORY

A Reel Review: THE TRAGEDY OF MACBETH

Over the last 25 years or so, the filmmaking team of Joel and Ethan Coen have created some of the best and most beloved films; from the crime-comedies FARGO (1996), and THE BIG LEBOWSKI (1998), to serious award-winning drams like NO COUNTRY FOR OLD MEN (2007), and INSIDE LLEWYN DAVIS (2013). For 2021, the brothers have taken a break from being joined at the hip, and Joel has taken a crack at Shakespeare with THE TRAGEDY OF MACBETH. 

 

Macbeth (Denzel Washington), encounters three witches (Kathryn Hunter), who prophesize about this future. Although he is content with letting things play out naturally, he is encouraged by Lady Macbeth (Frances McDormand), to murder the king (Brendan Gleeson), and take the throne. 

 

Written and directed by Joel Coen and based on the famed play by William Shakespeare, THE TRAGEDY OF MACBETH is a stripped-down version of the tale, relying on the actors and powerful visuals. Coen, using his decades-long experience and knowledge of cinema, is heavily influenced by the German expressionist films of the early 1920’s, using simple sets with powerful lighting and shadow techniques. The film is a stunner to look at from the first frame to the last. 

 

With the backgrounds and surroundings so simple, this moves our attention to the characters and dialogue. The film feels like a stage-play in all the right ways. There is an intimacy to it that makes us feel like we are right there in the bedrooms when murders and plotting take place, and it is there where this MACBETH really shines. As Macbeth and Lady Macbeth plot and scheme and slowly descend into madness, it has a hook that grabs deep. 

 

Coen gets powerful performances out of his cast. Denzel Washington and Frances McDormand are fire on the screen, and as actors who are cast older than what most Macbeth adaptations have done, there is a weight to their characters. Corey Hawkins comes in as Macduff, who confronts Macbeth in the finale in a thriller, and matches Denzel’s intensity blow-by-blow. The show is stolen by Kathryn Hunter, who as the embodiment of the witches (and another secret role), puts on a breathtaking performance. The rest of the cast are also excellent; Brendan Gleeson, Alex Hassell, Stephen Root, and Harry Melling. 

 

As one of the simpler Shakespeare plays, Macbeth is more accessible than others, and is often one of the first taught in high schools. Outside of Romeo and Juliet, it is probably the most familiar. Joel Coen has taken that old familiar tale and given it a new skin; a skin that uses hundred-year-old filming techniques to finish off as one of the most stunning adaptions of Shakespeare. If we can look into the seeds of time, it is fair to say that the solo career of Joel Coen will be one that will grow. 

 

BOTTOM LINE: See it 

 

 

A Reel Opinion: The Top 10 Best Legacy Sequels

In 1983, PSYCHO II, the first sequel to Alfred Hitchcock’s classic thriller PSYCHO was in theatres. Of the film, famed journalist Aljean Harmetz wrote that it was unusual for a sequel to be made 22 years after the original. Little did she know that the idea would eventually turn into what is now called the Legacy Sequel; one of Hollywood’s favorite shiny new toys. 

 

A Legacy Sequel is defined as a film that follows the continuity of the original, but takes place further down the timeline. Original characters return and are joined by new ones, and old places and plotlines are resurrected. Some Legacy Sequels ignore previous entries and just sequel-ize the first movie (like HALLOWEEN in 2018), while others serve as a direct follow-up; either staying true to the time that has passed or even ignoring it completely. The best Legacy Sequels are the ones that are first and foremost a good movie, well-received, and use nostalgia as a storytelling device instead of a cheap trick to trigger emotions. For the purposes of this Blog, at least 10 years must have passed between the most recent film and the sequel. 

 

 

So let’s go back and visit…

 

 

 

 

 

 

 

10. DOCTOR SLEEP (2019) 

 

Mike Flanagan directs this supernatural thriller which is a direct, decades-later sequel to THE SHINING (1980); both films based on Stephen King novels. Ewan McGregor steps into the role of a grown-up Danny Torrance, who has found a way to deal with his ability of seeing dead people…only to get pulled back into the terror when a new threat arises. DOCTOR SLEEP dives deep into the workings of people with Danny’s ability and uses it to great effect, and makes us want to revisit THE SHINING almost right away. The film takes a while to make it back to the famed Overlook Hotel, but once there…it pays off big, and reminds us why that building was so terrifying in the first place.  

 

 

 

 

9. TRON: LEGACY (2010)  

 

Arguably the film that launched the new era of the Legacy Sequel by bringing back familiar characters, revisiting old places, and using CGI to de-age actors to their younger selves. Directed by Joseph Kosinski and released 28 years after the original TRON, LEGACY brought back Jeff Bridges and sent us back into the computer world of The Grid, while also kicking in  cherished memories of cabinet arcades and dazzling rock music. The CGI used to de-age Bridges was dodgy at the time, but for the most part the film is a visual and audio delight, and brought TRON back from an obscure Disney film to a new attraction. 

 

 

 

 

8. THE MATRIX: RESURRECTIONS (2021) 

 

Released 17 years after the last MATRIX film and 22 years after the first, RESURRECTIONS brings back Neo (Keanu Reeves), from the dead for another go-around in the anything-is-possible virtual reality that mankind is stuck in. Using some clever self-referential winks and nods, returning director Lana Wachowski turns the tables on what we’ve come to expect a Legacy Sequel to do, making the fourth go-around in The Matrix one of the best in the series. 

 

 

 

 

7. THE COLOR OF MONEY (1986) 

 

Martin Scorsese directs this follow-up to the 1961 drama, THE HUSTLER, which is less of a sequel to its predecessor and more of a follow-up to its main character. Paul Newman reprises the role of pool hustler “Fast Eddie” Felson, and was joined by Hollywood’s top gun, Tom Cruise. MONEY has an excellent old-man vs. young-man storyline in a battle of generations, and the acting is top-notch. Newman would win an Oscar for his reprisal. 

 

 

 

 

6. MAD MAX: FURY ROAD (2015)

 

The only reason this sonic boom of a movie doesn’t rank higher is because of its status as a kinda-sorta Legacy Sequel…a question that was never quite clear. Regardless, director George Miller and the new Max (Tom Hardy), sets us on a thunderous rampage across the desert in an all-out assault of sound, and yes…fury. Simplistic on paper but carrying a slight spiritual side, FURY ROAD doesn’t bank much on nostalgia other than the old-school way of making car-crash movies. Nominated for ten Oscars and a winner of six, FURY ROAD was one of the most acclaimed sci-fi films of the last decade. 

 

 

 

 

5. ROCKY BALBOA (2006)

 

Sylvester Stallone straps on the gloves one more time as Rocky Balboa in this sequel released 30 years after the Best Picture-winning ROCKY and 16 years after the dung-heap that was ROCKY V. Stallone finally isn’t afraid to show Rocky’s age and frailty, and making him a grieving widow added to the emotional punch the film constantly carries. Packed with big-speeches and moments, ROCKY BALBOA paved the way for its own spinoff, CREED. 

 

 

 

 

4. BLADE RUNNER 2049 (2017)

 

Denis Villeneuve directs this follow-up to Ridley Scott’s classic sci-fil film from 1982, where human officials hunt down manufactured human beings. With startling visuals and a slow-burning mystery, 2049 builds a grand mystery with huge ramifications for the BLADE RUNNER world, including returning star Harrison Ford. The film is done in the style of the original, not just for nostalgia but for consistency, and long-time fans felt right at home. More refined and honed than the 1982 film, this Blogger finds 2049 to be superior to its predecessor in every way. 

 

 

 

 

3. MARY POPPINS RETURNS (2018)

 

Emily Blunt bravely steps into the dancing shoes of the beloved, iconic, and beyond-royalty Julie Andrews in this sequel to the 1964 Disney classic. Rob Marshall directs and Blunt does her own singing in this delight which sees Mary returning to aid the now-adult Banks children…and their children. RETURNS had very high marks to hit due to the high stature of the original film, but thanks to some wonderful performances, music, and a family-based storyline…the film delivers and delivers it practically perfect. 

 

 

 

 

2. STAR WARS: THE FORCE AWAKENS (2015)

 

When THE FORCE AWAKENS hit theatres in December of 2015, it had “only” been 10 years since we last had a STAR WARS film on the big screen; with the Prequel Trilogy running from 1999 to 2005. But AWAKENS served as Episode VII, which makes it a direct follow-up to RETURN OF THE JEDI (Episode VI) from 1983 (everybody got that?). Director J.J. Abrams takes the franchise back to basics; gone were the political discussions and back were the chases, fights, cliffhangers, and fun that STAR WARS is expected to deliver. New characters such as Rey (Daisy Ridley) and cute-as-nuts droid BB-8 became instant icons, while famed characters such as Han Solo (Harrison Ford), Leia (the late great Carrie Fisher), Chewbacca (the late great Peter Mayhew), and Luke Skywalker (Mark Hamill), were welcomed back with wide-open emotional arms. A box office monster (it is currently the 4th highest earner of all time), THE FORCE AWAKENS re-ignited the franchise for yet another generation. 

 

 

 

 

1. GHOSTBUSTERS: AFTERLIFE (2021)

 

When we see a GHOSTBUSTERS film, we expect to laugh. What we don’t expect to do is cry our souls out…and that is exactly what happened in AFTERLIFE from 2021. Directed by Jason Reitman (son of Ivan, director of the first two films), AFTERLIFE comes to us 37 years after the first classic film…and 32 years after the less-loved GHOSTBUSTERS II. Focusing not on the original characters but instead the legacy that they left behind, AFTERLIFE spends most of its time with the late great Egon’s family as they discover who their grandfather was…just as an old friend is coming back. The film smartly ties back to the original in a natural way that doesn’t feel forced, and although it takes a long while for us to get a glimpse of the guys, the emotional payoff is worth the wait. And it is a payoff that offers a great sense of closure in one of the most satisfying sequels made. This is the one that was worth waiting for. 

REEL SPEAK'S TOP 10 BEST LEGACY SEQUELS

1. GHOSTBUSTERS: AFTERLIFE
2. STAR WARS: THE FORCE AWAKENS
3. MARY POPPINS RETURNS
4. BLADE RUNNER 2049
5. ROCKY BALBOA
6. MAD MAX: FURY ROAD
7. THE COLOR OF MONEY
8. THE MATRIX: RESURRECTIONS
9. TRON: LEGACY
10. DOCTOR SLEEP

 

A Reel 25 - THE STAR WARS TRILOGY: SPECIAL EDITION

This month marks the 25^th anniversary of THE STAR WARS TRILOGY: SPECIAL EDITION. 

 

The SPECIAL EDITION of the first three STAR WARS films (1977-1983), was wide-released in theatres to commemorate the 20^th anniversary of the first film, STAR WARS (sub-titled A NEW HOPE). Series creator George Lucas was looking to use the re-release as a test, to see if STAR WARS was still popular in the world…a test that would help him decide if he would press on with his long-planned, and long-promised Prequel Trilogy. 

 

Lucas, who had always been unhappy with the limits of technology at the time of the making of the films, decided to use the shiny new tool called CGI to polish, alter, and improve scenes and sequences that he felt were unfinished. Long-lost scenes were restored as they were meant to be, and the films were remastered digitally for long-term preservation.

 

The films were marketed successfully by way of a knockout trailer (below), and new artwork from long-time STAR WARS artist Drew Struzan (above). The films were released on a monthly interval starting on January 31^st, 1997. THE EMPIRE STRIKES BACK was released on February 21^st. RETURN OF THE JEDI was originally slated for March 7^th, but thanks to the enormous box office success, was pushed to March 14^th. A NEW HOPE would finish as the 8^th highest earner of 1997. 

 

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THE SPECIAL EDITION caused an uproar in 1997 that still lingers today. Although most of the altered scenes were for the better, there were others that are considered to have altered character development. Creator George Lucas has taken it on his bearded chin for many years over his new editing decisions, but there is never any sense to be made in following the religion and cursing the creator. THE SPECIAL EDITION never took anything away, and always added more, and in the grand scheme of things…brought STAR WARS back into the public consciousness after nearly 15 years of no new movies or substantial product. Regardless of the public opinion on the SPECIAL EDITION, this was the event that brought STAR WARS back for good, as without it, the franchise would not be seeing daylight today. For this Blogger, a STAR WARS man since day one, there are very fond memories of seeing the films on the big screen for the first time in many years. Special editions for films that were, and will always be special. 

 

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Watch the SPECIAL EDITION trailer (HERE)

A Reel Preview: The Year in Film 2022 - Episode I

January and February are always known as Movie Siberia; a region where films deemed not good enough for awards season and not fun enough for the Summer are banished. This year the pickings are slim not only in quality, but in quantity. Here are the few notable releases for the first month of 2022: 

 

 

 

THE 355 – Simon Kinburg, director of X-MEN: DARK PHOENIX (2019), helms this spy film about an all-female team trying to stop WWIII. The cast includes Jessica Chastain, Lupita Nyong’o, Diane Kruger, Penelope Cruz, and Sebastian Stan. 

 

 

 

HOTEL TRANSYLVANIA: TRANSFORMIA – The fourth and supposed final entry in the HOTEL TRANSYLVANIA series that started in 2012, with Drac and his monster friends transformed into humans. The voice-cast includes Andy Samberg, Selena Gomez, Kathryn Hahn, Steve Buscemi, and Fran Drescher. 

 

 

 

SCREAM – The fifth installment of the slasher series that started way back in 1996, with returning cast members Courteney Cox, David Arquette, and Neve Campbell reuniting to face down another killer in the ghostface mask. 

 

 

 

THE KING’S DAUGHTER – This fantasy film is based on the 1997 novel The Moon and the Sun, and has King Louis XIV seeking immortality. Pierce Brosnan plays the king, and he is joined by Kaya Scodelario and William Hurt. 

 

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Next month, Reel Speak previews the month of February. 

 

A Reel Review - THE MATRIX: RESURRECTIONS

In 1999, the Wachowski siblings’ THE MATRIX became one of the coolest movies ever made; with trailblazing new visual effects and a storyline that warped everyone’s minds. Two divisive and mixed sequels followed; RELOADED (2003), and REVOLUTIONS (also 2003). Here in 2021, Lana Wachowski brings the franchise (which has also included comics and an animated series), back from the dead with RESURRECTIONS. 

 

Thomas Anderson (Keanu Reeves), is the award-winning designer of The Matrix video game trilogy, who secretly crushes on Tiffany (Carrie-Ann Moss); a mother of three whom he sees at the local coffee shop, and is also seeing a therapist (Neil Patrick Harris), to deal with the outrageous flashbacks he has…which has also inspired his video games. Anderson has his world upended when he meets Bugs (Jessica Henwick), and Morpheus (Yahya Abdul-Mateen II). 

 

Set 60 years after the events of the previous film, RESURRECTIONS first unfolds as a mystery. Anderson of course, turns out to be Neo…the savior of mankind who are in reality in a stasis for the machines…who only keep humans alive for energy and exist only in the virtual Matrix. Tiffany of course, turns out to be Trinity…and the last we saw her and Neo, they were sacrificing themselves to earn an uneasy truce between the machines and what was left of mankind. How Neo and Trinity survived and why they have been kept alive all these years is the first hook of the film. 

 

Since this is a Wachowski film, there are deeper themes at work here. The film is littered with nostalgia (including the stunning opening scene), but instead of cheap thrills we get when seeing something beloved from the past, Wachowski is questioning by we can be obsessed with the past, and from a creative standpoint, if it is necessary to bring back stories and characters from 20 years ago (a question that Anderson and his video-game colleagues also wrestle with, in a neat self-referential first act). As a legacy sequel, RESURRECTIONS does it brilliantly. 

 

The film looks gorgeous, the action well-paced and executed, and the surprises and call-backs to the previous films perfectly timed. There are places where it could have been a lot tighter, as there are one too many bewildering scenes where complicated shit has to be explained, but it is no dealbreaker. The score by Johnny Kilmek and Tom Tykwere is excellent. 

 

Acting is great all around. Keanu Reeves and Carrie Ann-Moss pick up their chemistry as if no time has ever passed. Jessica Henwick is an elemental force. Yahya Abdul-Mateen II picks up the sunglasses of Morpheus very well…and be prepared for a few cameo surprises.

 

Legacy sequels have been one of Hollywood’s favorite toys in the last 15 years or so, and RESURRECTIONS separates itself from the herd by being clever and bold in its storytelling. THE MATRIX was ahead of its time in 1999, and it is ahead of the game in 2021. 

 

BOTTOM LINE: See it 

A Reel Review: LICORICE PIZZA

Paul Thomas Anderson, the heralded writer and director of acclaimed films such as BOOGIE NIGHTS (1997), THERE WILL BE BLOOD (2007), and THE MASTER (2012), has had great success in part by setting his movies in bygone eras; not just for the sake of nostalgia, but to let the time-period act as an actual character in the story. And that brings us to his latest trip back in time, LICORICE PIZZA. 

 

In the San Fernando Valley in 1973, 15-year-old Gary (Cooper Hoffman, son of Phillip Seymour), meets and falls in love with 25-year-old Alana (Alana Haim). Despite the age difference, they begin a friendship, and pursue business interests and potential acting careers. 

 

Written and directed by Anderson, LICORICE PIZZA is episodic in structure. The film moves from one “episode” to the next, changing gears often as Gary and Alana go through acting auditions, and business interests ranging from water-bed sales (the wave of the future!), pinball arcades, and politics. 

 

On paper, there doesn’t seem to be much of a plot, and the shifting of storylines can be off-putting. But the common thread through it all is Gary and Alana. Gary is crazy about her from the start, while Alana is more common-sense. But that common-sense goes out the window as the two progress and grow closer; their ups and downs reveal character traits, and the movie reveals itself as a journey of discovery and a coming-of-age tale. Despite the setting of the 1970’s, it feels very much timeless. 

 

The time setting is used to the story’s advantage. The Opec oil crisis comes into play as it destroys Gary’s water-bed business, and the simplicity of the time with no cellphones or internet makes the characters actually have to work to gain affection. Anderson writes, directs, and serves as his own cinematographer here. The film has a grainy, old-school film look to it, and coupled with some gorgeous set design…LICORICE PIZZA looks and feels like it came from another age. Nostalgia is used well, with a pop-culture convention attended by our water-bed salespeople a highlight; everything from the 1960’s Batman, Herbie the Love Bug, and Herman Munster makes quick appearances, and it is a delight to see. 

 

Also a delight is the acting. Cooper Hoffman is rock solid, and Alana Haim just lights up the screen. The film is packed with cameos and extended cameos with characters based on real-life Hollywood players. Bradley Cooper plays producer Jon Peters (producer of the 1976 A STAR IS BORN, ha ha), Sean Penn comes in as a loosely based version of actor William Holden, and John C. Reilly pops in quickly as Fred Gwynne of The Munsters fame. Also along for the ride is Maya Rudolph, Benny Safdie, Christine Ebersole, Harriet Sansom Harris…and an electric Tom Waits. 

 

The film borrows its odd name from a former record store chain in southern California. It serves as a metaphor for two things coming together that usually don't belong, but Anderson pulled it from his past. That, and the meandering-with-a-purpose style of recalling lazy summer nights and chasing true loves gives a signal that this Anderson’s love-letter to his past. It’s his most personal film, and one that is one delicious bite after another.

 

BOTTOM LINE: See it