A Reel 40: THE NATURAL

“…there goes Roy Hobbs, the best there ever was in this game.”

This month marks the 40^th anniversary of THE NATURAL. 

 

Often considered to be one of the best sports films of all time, and perhaps the best baseball movie ever made, THE NATURAL was directed by Barry Levinson and adapted from the 1952 novel of the same name by Bernard Malamud. It told the story of Roy Hobbs; a talented baseball player who has his career put on hold for decades. 

 

The run to bring THE NATURAL to the big screen goes back to 1976 when the rights to the novel were purchased. It would linger in various phases of production before being picked up by the newly formed Tri-Star Pictures in 1983. THE NATURAL would be the studio’s first film. 

 

Leading off the film would be acclaimed actor Robert Redford, who was making his first film in four years…having last been seen in BRUBAKER in 1980. Redford would be joined in an all-star lineup which included Robert Duvall, Glenn Close, Kim Basinger, Wilford Brimley, Barbara Hershey, Robert Prosky, and Michael Madsen. Also, in an uncredited role, would be Darren McGavin (the Old Man from A CHRISTMAS STORY). 

 

The directing duties would go to Barry Levinson, who was only directing his second feature film. Filming would take place at several baseball stadiums, including the now long-gone War Memorial Stadium in Buffalo, and the famed Wrigley Field in Chicago. Randy Newman would provide the score. 

 

On release, THE NATURAL earned good reviews and high praise from the athletic community. It would be nominated for four Oscars; Supporting Actress (Glenn Close), Cinematography, Art Direction, and Music (Randy Newman). Kim Basinger would be nominated for a Golden Globe. Barry Levinson would go on to direct acclaimed films such as GOOD MORNING, VIETNAM (1987), and the Best Picture-winning RAIN MAN (1988). 

 

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THE NATURAL was a family favorite in This Blogger’s household. It was a thrill seeing Hobbs literally knocking the cover off the ball and smashing up stadiums in electrifying swings. Even then, the climactic moment of Hobbs’ two-out, bottom-of-the-ninth home run to win the big game was regarded as a new classic moment in cinema. The scene, along with Randy Newman’s soaring music, would be parodied and used as a homage for decades to come. But underneath the slugging, there was an elemental human story at work; of a man who lost his best years and was doing all he could to make good on what he had left. It is a story of human resiliency that hits hard. Striking that balance between sports and human drama is vital to any sports film. In doing so, some films are a hit, but THE NATURAL is a grand slam. 

 

“The life we learn with and the life we live with after that.”

 

 

A Reel Review - FURIOSA: A MAD MAX SAGA

In 2015, director George Miller unleashed upon an unsuspecting world, the thunderous rampage of MAD MAX: FURY ROAD; the fourth installment of his own MAD MAX franchise which started back in 1979. FURY ROAD would live up to its name on the screen, roaring away with 10 Oscar nominations (winning six), and earning praise as one of the greatest action films of all time. Nine years later, Miller is back in that post-apocalyptic world…this time slowing things down and focusing on character. Meet FURIOSA. 

 

Years before the events of FURY ROAD, Furiosa (Alyla Browne), is taken from her home…a place of abundant green in a desolate hellscape…by the Biker Horde, led by Dementus (Chris Hemsworth), who kills her pursuing mother. As Dementus makes a play for power to own the desert and its resources, Furiosa ends up in the hands of the Citadel, led by Immortan Joe (Lachy Hulme). Once Furiosa grows up (and turns into Anya Taylor-Joy), she plans an escape to her home and revenge against Dementus. 

 

Directed by George Miller, FURIOSA is also true to its name. As a prequel, its primary business is building the character we met in FURY ROAD as an adult. Pieces of her are put together throughout the film, from her origins, mechanical-knowledge, mechanical arm…right down to her haircut and weapons. With character the primary finish-line, FURIOSA really pumps the brakes and takes things a lot slower than FURY ROAD. The first hour is spent moving Furiosa from place to place (Anya Taylor-Joy doesn’t get in the game until almost 60 minutes in), and while the action is there, it’s a bit of a slog to sit through. 

 

But once Furiosa gets some mileage on her, things pick up. Furiosa gets entangled in a coming war between Immortan Joe and Dementus, which offers her the chance to get payback and get back to her home. She hooks up with Praetorian Jack (Tom Burke), where she learns all she needs to about weaponry and building grotesque, nightmarish vehicles. It’s one woman’s story in a big backdrop; the war affects her, and she affects the war in some clever writing. 

 

From day one, the MAD MAX movies have been known for their gritty look. The patched together vehicles and costumes gave the films their personality, and that continues here. But some of the grit is gone in place of modern special effects. While the vehicles look awesome, there is way too much green-screen and CGI which makes the film look too clean. But the film is still a marvel to look at; some practical stunts and car and motorcycle chases are a thrill, and the spectacle (once it starts), is always in high gear. 

 

Acting is superb. Anya Taylor-Joy makes the character her own and is a powerhouse, and her younger self, played by Alyla Browne, is excellent. Chris Hemsworth is a blast and is nearly unrecognizable. He is so much fun that it becomes hard to root for Furiosa to kill him, and his final scene with Furiosa is the best acting he’s ever done. 

 

As a prequel to FURY ROAD, FURIOSA checks off all the boxes in building the character and the world she inhabits…and manages the tall task of making FURY ROAD a little bit deeper. There are some pacing issues here and the slick CGI takes away a lot of the realism we expect from these films, but the destination is satisfying. The thunderous rampage was traded in for a rumble, and that’s not a bad way to go.  

 

BOTTOM LINE: See it 

A Reel 25: THE MUMMY

“This creature is the bringer of death…”

 

This month marks the 25^th anniversary of Stephen Sommers’ THE MUMMY. 

 

A loose remake of the 1932 version of the story of a cursed Egyptian priest who returns from the dead, Stephen Sommers’ THE MUMMY was a high-adventure inspired by the classic Hollywood films of old. Horror was traded in for fun and thrills, love and adventure, chills and spectacle…harking back to the Golden Age of Hollywood. 

 

The journey to resurrect THE MUMMY goes back to 1992, when Universal Studios decided to update the original for modern audiences. Famed horror directors Clive Barker (HELLRAISER), and George A. Romero (NIGHT OF THE LIVING DEAD), worked on early versions, as did Joe Dante (THE HOWLING) …who wanted Daniel Day-Lewis as a brooding mummy. Wes Craven (A NIGHTMARE ON ELM STREET), was also considered to direct the project, which at this point was leaning towards a straight-up horror film with a low budget. The turning point came in 1997 when Stephen Sommers came on board with a vision of THE MUMMY as a cross between INDIANA JONES and JASON AND THE ARGONAUTS. Universal liked the idea and gave the go-ahead while increasing the budget. 

 

The inspired casting included Brandan Fraser as an American adventurer, Rachel Weisz as a clumsy but intelligent Egyptologist, Arnold Vosloo as Imhotep the resurrected mummy, and John Hannah as the bumbling brother to Weisz’s character. The rest of the cast included Kevin J. O’Connor, Oded Fehr, Erick Avari, Patricia Velasquez, and two TITANIC alums: Bernard Fox and Jonathan Hyde. Filming took place in Morocco, the Sahara Desert, and the United Kingdom. The score was provided by famed composer Jerry Goldsmith of STAR TREK fame. Visual effects were accomplished by Industrial Light and Magic, which was experimenting with new technology called CGI to bring the mummy to life. 

 

Despite mixed reviews, THE MUMMY was a hit, and would finish as the 6^th highest grossing film of 1999. It would be nominated for an Oscar for Best Sound, and Goldsmith would win a BMI Award for his score. It would also receive a BAFTA nomination for its visual effects. 

 

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Over time, some of the most popular, successful, and time-tested films are the ones that check off three boxes: Action, Adventure, and Romance. These are basic storytelling elements that Hollywood had played with for decades, and was then brought together with RAIDERS OF THE LOST ARK in 1981. THE MUMMY takes inspiration from RAIDERS, and delivers on all fronts; high energy, fun characters, gorgeous cinematography, a classic score, and a sense of whimsy and adventure on the highest level. It played out as a love letter to classic cinema and a bygone era of Hollywood. Today, despite 20-year-old CGI, THE MUMMY hasn’t aged a day, and stands as one of those perfect films; perfect for dates, entertainment, or just taking in an adventure. 

 

“Rescue the damsel in distress, kill the bad guy, and save the world.” 

 

 

A Reel 40: INDIANA JONES AND THE TEMPLE OF DOOM

 

“Fortune and glory…”

 

This month marks the 40^th anniversary of INDIANA JONES AND THE TEMPLE OF DOOM. 

 

Directed by Steven Spielberg and created by George Lucas, TEMPLE OF DOOM was the second cinematic adventure of swashbuckling archeologist Indiana Jones, as played by Harrison Ford…after making his debut in 1981 in the magnificent RAIDERS OF THE LOST ARK. 

 

As the follow-up to one of the best films of all time, TEMPLE OF DOOM surprised audiences by striking a different, hellish tone. Where RAIDERS had Indy chasing Biblical artifacts and punching Nazi’s to great audience delight, DOOM went much darker…traveling to India to battle a bloodthirsty black-magic cult which used children as slaves. Executive producer and story writer George Lucas would set the film before the events of RAIDERS, making it a prequel. The darker tone would be attributed to both Lucas and Spielberg going through respective divorces at the time. 

 

Going further in distancing itself from the whimsy and fun of RAIDERS, the female lead was made to be the opposite of the whiskey-drinking, right-hook throwing Marion. Indy was paired with a new character named Willie Scott (Kate Capshaw), who was as out of place in the jungle as a fish out of water. To balance things, Indy was also paired with a child sidekick, named Short Round (Ke Huy Quan). The rest of the cast would be filled out by Amrish Puri, Roshan Seth, and Philip Stone. Dan Aykroyd makes a quick cameo.

 

The script was penned by Willard Huyck and Gloria Katz, and filming took place in Kandy, Sri Lanka. John Williams provided the score, which included a musical number in the beginning. Lucas’ wizards at Industrial Light and Magic (ILM), would handle the visual effects. 

 

Despite being the first film in history to earn a PG-13 rating, TEMPLE OF DOOM would be a box office hit, and would finish as the third-highest grossing film in North America, behind BEVERLY HILLS COP and GHOSTBUSTERS. At the 57^th Academy Awards, John Williams would be nominated for his score, and ILM would win for Best Visual Effects. A sequel, INDIANA JONES AND THE LAST CRUSADE, would follow in 1989. 

 

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TEMPLE OF DOOM is indeed a dark film, but the whimsy of RAIDERS is still present due to some thrilling set-pieces including a mine-car chase, a fight in a swanky night club, and a breathtaking, climactic showdown on a suspended bridge. The witty one-liners by Short Round are some of the most memorable and often quoted in the series, and John Williams’ score stands as one of his best works. 

 

But the real legacy of TEMPLE OF DOOM comes from its importance in developing the character of Indiana Jones. As a prequel, it has the task of taking a younger Indy, who is more of a treasure hunter this time, and moving him towards the archeologist we meet in RAIDERS. Indy’s turn from seeking fortune and glory to saving enslaved children is one of the best moments in all of the Indy films, and is one of the few major turning points for the character through his five films. INDIANA JONES AND THE TEMPLE OF DOOM does everything that a good sequel should do: smash expectations, further the character, and deliver one hell of an adventure. 

 

“You call him Doctor Jones, doll!”

A Reel Review: KINGDOM OF THE PLANET OF THE APES

The first three films in the rejuvenated, hi-quality PLANET OF THE APES franchise followed the rise of Caesar, the first super-intelligent, speaking ape and leader of a revolution that would free his kind and lead to the downfall of the human race. The newest and fourth film in the franchise, KINGDOM OF THE PLANET OF THE APES, boldly takes place 300 years after the death of Caesar, setting the stage for a new slate of stories. 

 

Apes rule the world and humans are nearly extinct or feral. During this time, Noa (Owen Teague), sees his clan and family wiped out by a warring clan of apes led by Proximus (Kevin Durand), who are hunting a young human girl called Nova (Freya Allan), who is one of the few humans left who can speak. 

 

Directed by Wes Ball, KINGDOM OF THE PLANET OF THE APES is picking up the pieces left by the first three films while exploring what may come next for apes and humans. Noa is on a mission of revenge and in search of a way to restore his clan, while Nova seems to have other ideas in helping her fellow humans. Proximus hunts Nova for her intelligence and possible help in obtaining some hidden human tech left behind centuries ago, and KINGDOM mostly unfolds as a massive chase film. 

 

The legacy of Caesar, whose teachings have either become lost in time or warped by Proximus’ want for power, turns the once-leader into nearly a myth. KINGDOM explores this lightly, but it is mostly set aside for standard blockbuster spectacle. While that spectacle does deliver in sight and sound, we can’t help but to feel there is a missed opportunity for something deeper. 

 

Where KINGDOM may go light on depth, it goes heavy on visuals. The apes and their surroundings look spectacular, and the human-qualities that the apes have to show emotion really work. World-building is done very well, with traditions of the different clans and state of the world fleshed out nicely. The score by John Paesano is excellent. 

 

The motion-capture work here allows the actors to really turn their ape characters into characters. Owen Teague does very well here as Noa. The show is stolen by Freya Allan who is a revelation. 

 

KINGDOM OF THE PLANET OF THE APES doesn’t resolve a whole lot as far as the big picture is concerned; at the end the apes still rule, and humans are still in the trees. But the apes finish with a new perspective and the humans have some new hope for survival…which means we are probably due for more APES movies to tell this story despite being four deep now. That’s okay, as long as this quality keeps up. 

 

BOTTOM LINE: See it 

A Reel 25 - STAR WARS EPISODE I: THE PHANTOM MENACE

“Anakin Skywalker, meet Obi-Wan Kenobi.”

This month marks the 25th anniversary of George Lucas’ STAR WARS EPISODE I: THE PHANTOM MENACE. 

 

During the run of the original STAR WARS trilogy (1977-1983), series creator George Lucas spoke often of the saga eventually becoming six to nine films. But in the early 1990’s, things were quiet. STAR WARS had been out of theatres for a decade, with light merchandising and Expanded Universe novels and comics exploring events after RETURN OF THE JEDI. But in 1997, Lucas re-released the Original Trilogy into theatres, with a few edits and enhancements, as a test-run to see if the public still remembered or cared about that far, far away galaxy. The results were outstanding, and Lucas set to begin a new trilogy of films; a trilogy that would explore the backstory of the Old Republic, the Clone Wars, the fall of the Jedi, and the rise of Darth Vader; events merely mentioned in the Original Trilogy. 

 

The writing for EPISODE I actually began in 1994, and it was adapted from Lucas’ 15-page outline that he had written for STAR WARS in 1976. With a large budget and new special effects called CGI at his disposal, he was able to write and think grander; doing things that no STAR WARS movie had done before. These new ventures would include a massive pod-race, CGI characters, and large set-pieces ranging from underwater cities, grassy plains, and exotic cities. 

 

The film was taking place 30 years before the events of STAR WARS, but characters from the Original Trilogy were able to be brought back…and the film benefitted from the original actors being available to reprise their roles. Ian McDiarmid returned as Palpatine; the man destined to become Emperor. He was joined by Frank Oz (Yoda), Anthony Daniels (C-3P0), and Kenny Baker (R2-D2). Newcomers to the STAR WARS galaxy included Ewan McGregor as a young Obi-Wan Kenobi, veteran actor Liam Neeson as a Jedi Master, Natalie Portman as the Queen of Naboo and eventual mother to Luke Skywalker and Princess Leia, and eight-year-old Jake Lloyd would play Anakin Skywalker; the boy who would grow up to become Darth Vader. Other cast members included Pernilla August, Samuel L. Jackson, Ray Park, Terence Stamp, Keira Knightley, and Ahmed Best…who would play Jar Jar Binks…the first ever CGI character in history. 

 

Filming took place in Italy, Hertfordshire, and Tunisia, where the first STAR WARS was filmed. THE PHANTOM MENACE would break new ground in visual effects, with over 1,900 of the shots in the film requiring CGI. LucasFilm would use old and new techniques to bring it to life; combining old-school models and brand-new CGI effects. John Williams returned to provide the score. 

 

THE PHANTOM MENACE would be met with mixed reviews from critics and fans, but was still a box office smash and broke many records at the time. It would finish as the third-highest grossing film of all time behind TITANIC (1997), and STAR WARS; a position it would hold until 2009. It was nominated for three Oscars; Best Sound Effects Editing, Visual Effects, and Best Sound. 

 

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Today, THE PHANTOM MENACE is looked at with vile by many fans, only half of which is deserved.  The film had issues in pacing, acting, dialogue, and Jar Jar Binks with his over-the-top comedy was not received well. But the positives are many; the pod-race and other action set-pieces were fantastic and brought us something new, and the epic lightsaber battle near the end…fought by three combatants…was not only fresh but finally showed us fully-trained Jedi and Sith in their prime. The production design was sleek and gorgeous, and John Williams’ score ranks as one of his best. Jar Jar may be looked upon with hate today, but without him, the industry would never have moved forward with other CGI characters such as Rocket and Groot, Gollum, the apes from the new PLANET OF THE APES films, and Jim Cameron’s AVATAR. 

 

THE PHANTOM MENACE had a task of setting the stage for a new STAR WARS trilogy, and it was also made to bring in new fans. The older fans may rebel against the decisions made, but the newer ones look at it as their gateway to STAR WARS. That, and the many seeds planted by Lucas, which spread into the rest of the saga, gives the film a lasting legacy.  

“Your apprentice, Skywalker will be.”

Read Reel Speak's ranking of the STAR WARS films HERE 

 

 

A Reel Preview: The Year in Film 2024 - Episode V

When Steven Spielberg unleashed JAWS on the world in May of 1975, he started a cultural tradition for the fifth month of the year. From 1975 on, the month of May would be packed with cinematic adventures that were fun, audience-pleasing, and nothing short of riding a roller coaster. Here’s what’s rolling our way for the big screen this month: 

 

 

 

THE FALL GUY – Ryan Gosling plays a stuntman and Emily Blunt plays his film director in this action comedy based on the 1980’s TV series. The cast also includes Aaron Taylor-Johnson, and it is directed by David Leitch…co-director of JOHN WICK (2014), and DEADPOOL 2 (2018). 

 

 

 

STAR WARS EPISODE I: THE PHANTOM MENACE – The first episode of the Star Wars Saga returns to theatres for its 25^th (!) anniversary. 

 

 

 

KINGDOM OF THE PLANET OF THE APES – the fourth film in the new APES franchise, which started back in 2011. Taking place 300 years after the events of WAR FOR THE PLANET OF THE APES from 2017. 

 

 

 

BACK TO BLACK – A biopic about the late singer Amy Winehouse, played by Marisa Abela. 

 

 

 

IF – IMAGINARY FRIEND – Ryan Reynolds stars in this comedy about a man and his young neighbor who are the only ones who can see everyone’s imaginary friends. The packed voice-cast of imaginary friends includes Steve Carell, Phoebe Waller-Bridge, Emily Blunt, Matt Damon, Jon Stewart, Sam Rockwell, Richard Jenkins, Awkwafina, George Clooney, Bradley Cooper, and the late great Louis Gossett, Jr. 

 

 

 

THE STRANGERS: CHAPTER 1 – Renny Harlin, director of DIE HARD 2 (1990), and A NIGHTMARE ON ELM STREET 4 (1988), returns to the big screen with this horror film in the STRANGERS franchise, where a stranded young couple are terrorized by masked, murderous strangers. 

 

 

 

FURIOSA: A MAD MAX SAGA – The spinoff and prequel to the acclaimed MAD MAX: FURY ROAD from 2015, with Anya Taylor-Joy taking on the role of a young Furiosa. She is joined by Chris Hemsworth, and George Miller returns to direct. 

 

 

 

THE GARFIELD MOVIE – Garfield the orange cat returns to cinemas in this animated comedy, this time voiced by Chris Pratt. Samuel L. Jackson provides the voice of Garfield’s long-lost father. 

 

 

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Next month, Reel Speak previews the month of June.