Life was a film that limped into theatres, rather than one which kicked the door down and demanded we all take notice. Its faltering movements perhaps brought on by the baggage it carried. Take, for example, the strange rumor that began to circulate which suggested Life was a really a covert Marvel movie about everyone’s favourite symbiote, Venom.
Taking into account that Life is written by Rhett Reese and Paul Vernick of Deadpool fame, and stars Ryan Reynolds of Deadpool fame, you can see why some were quick to call this was comic book film. However, that wasn’t what crippled Life before it came out. If anything, that probably got a lot of people frothing at the mouth more than they should have. And whilst nothing hurts a film’s reception than disappointment, that wasn’t its main problem.
1974’s Young Frankenstein is one of my favourite films. Everything about it works. Mel Brooks manages to get the tone right, the jokes are spot on and the lead actors, Gene Wilder, Madeleine Khan and Marty Feldman, are never beaten. In fact, I want it confirmed here that I think Madeleine Khan is one of my favourite comedy actors. She plays it straight faced with the best of them.
Anyway, I’m beating around the bush because what I’m going to say isn’t easy for me. The Adventure of Sherlock Holmes’s Smarter Brother just isn’t that funny. Oh, it has its moments. Marty Feldman’s photographic hearing is a lovely little detail. Only being able to repeat what he’s heard from the very leads to a great scene as Feldman is constantly interrupted by Wilder making him a cup of tea. What could have been played with building frustration is all the better for Feldman reigning it in and refusing to get angry at Wilder’s interruptions. Other highlights include Dom Deluise and Madeleine Kahn performing an opera in English and gloriously over the top.
The rest of the film suffers from the curse of zany equals funny. Too many jokes fall flat or go on too long. The ballroom scene, in particular, with Feldman and Wilder unaware their arse cheeks are hanging out should be funny. Arses are generally funny but this scene, with added homophobia, just irks a little.
Having worked with him so much, it’s no surprise that that Wilder would emulate Mel Brooks in his directorial debut; Brooks even makes a tiny cameo. It’s just a shame this is more Dracula: Dead and Love It, than Blazing Saddles.
Corey Feldman’s first and only attempt at directing was this 1997 softcore porn/screwball comedy written by Maria James and Ronald Jacobs. Largely forgotten by many, those who have done any reading up on Busted will know it as the film that saw Feldman having to fire his co-star and good bud, Corey Haim. Despite that, and the fact Haim’s scenes largely sit on the cutting room floor, attempts were made to sell this as a Two Coreys movie in the same breath as Licence to Drive and Dream a Little Dream. I’m sorry to report that Busted isn’t even Dream a Little Dream 2.
Essentially Police Academy meets Naked Gun, Busted revolves around the Amity police department who are struggling with the distinct lack of crime in their town. Apparently, times have been hard since their town was attacked by a shark… Yes, Busted is also a sequel of sorts to Jaws. No, really. Anyway, in order to make ends meet the Head of Vice, David (Feldman), opens up their station as a brothel; allowing the sex workers to stay safe and for David and his team to siphon some much needed cash into the station. A spanner is thrown in the works when Captain Mary Mae (Marianna Morgan) is requested by the Mayor of Amity to look into unusual goings on at the precinct. Cue lots of bare breasts, simulated sex acts and grown worthy jokes that even your dad wouldn’t want to say.
Working on an extremely limited budget is no excuse for the poor effort on display, with numerous scenes appearing to be the product of the first take. Lines are rushed, cues are missed and Busted highlights itself as not being funny enough to be classed a comedy, or even sexy enough to distract from this fact. Hell, a cameoing Elliot Gould does nothing to save this utter mess. Perhaps one for the self-hating Two Coreys completest, the only truly surprising thing is how progressive the film is towards the LGBTQIA+ community. Well, as progressive as it can be for 1997.
When photographer Rell (Jordan Peele) is dumped by his girlfriend, his self-pity party is immediately cancelled when a stray kitten turns up at his door. Taking it and calling it Keanu, Rell finds a new lease of life in his furry companion. However, returning from home after a night at the pictures with his friend Clarence (Keegan-Michael Key), Rell finds his house ransacked and, more importantly, Keanu missing. And so begins the two friends’ journey into the darker side of town to get the little kitty back which sees them cross paths with murderers, gangbangers and Anna Faris.
Directed by Peter Atencio, who headed up all the episodes of the sketch show Key and Peele, Keanu follows a similar path to films such as Pineapple Express and Hot Fuzz, where every day folk get caught up life-threatening situations. Cue lots of screaming, shouting and wondering how to use handguns.
What makes this film stand out from its peers is how dark the film goes so quickly. Starting off with a bloody shootout in an abandoned church, Keanu contains a surprising amount of violence. Take the scene where, after being mistaken for a couple of assassins, Rell and Clarence find themselves caught up in a drug deal that quickly turns into a bloodbath. The scene would be truly shocking if it wasn’t balanced out by Clarence teaching a bunch of gang members about the virtues of George Michael’s Faith.
It’s this dichotomy that works so well in Keanu’s favour; the absurdity of these two middle class men completely out of their comfort zone. Typical of the humour found in their sketch show, Key and Peele deftly switch between jokes about racial politics and the absurdity of action movie tropes. The jokes might not always stick, but there’s always the promise of another one just around the corner.
If you’re a fan of their show or just having a good time in general, then Keanu is certainly one to check out. A laugh out loud comedy, it’s a shame that, at the time of writing this, Keanu didn’t receive a better release in Australia before been shoved straight onto DVD and digital download.
We’ve all become quite dependent on smartphones, haven’t we? Look at the anger the public is willing to hurl at Apple after their recent decision to go cold turkey with headphone jacks; there’s probably still someone crying about it now. Smartphones are our gatekeepers to our social lives. If they don’t work then how are we supposed to get on Facebook and twitter, let alone make a simple phonecall to tell people we’re alive! The aforementioned life drainers play an uncredited part in Recovery, a new horror film by Darrall Wheat (Slumber).
On the eve before her high school graduation, Jessie (Kirby Bliss Blanton) discovers through Facebook that her boyfriend is cheating on her. Looking to get over him, she plans a night on the town with smooth dude Logan (Samuel Larsen), irritant little brother Miles (Alex Shaffer) and brand new friend Kim (Rachel DiPillo). When Kim goes missing with Jessie’s phone, the use of a ‘find my phone’ app helps the remaining friends track her down. Unfortunately, it also puts them in the crosshairs of a murderous family intent on doing incredibly nasty things to each of them.
Recovery has that 90s teen sheen to it that will appeal to fans of the Scream franchise. Whilst the plot is pretty straight forward – hunt, find kill, repeat – it still manages to tear you rug from under you. Perhaps it’s because we think we’re all so knowing when it comes to slashers, when one tries a something a little old school we don’t end up seeing the wood for the trees. We expect there to be a grandiose revelation where the killer’s motives are exposed for all to see! Either way, this critic didn’t see the twist until the last second.
And yes, whilst it certainly might not be the most revolutionary film in the horror genre, there’s enough here to guarantee that is liable to be a staple of midnight screenings at sleepovers. After all, what’s a little screaming amongst friends?
This review previously appeared on earlybirdfilm.com.
John Noonan 