Classic Movie Review The Lost Boys

The Lost Boys (1987)

Directed by Joel Schumacher

Written by Janice Fischer, Jeffrey Boam, James Jeremias

Starring Corey Haim, Corey Feldman, Jason Patric, Kiefer Sutherland, Dianne Wiest, Jamie Gertz

Release Date July 31st, 1987

The Lost Boys turns 30 years old this weekend, July 28th, 2017, and the movie has not aged well. While it’s not quite the embarrassment that was the Twilight movies, The Lost Boys is bad in its own unique ways. While nostalgia might cloud fans of the Coreys’ first team up (Haim and Feldman for those aren’t fans of Tiger Beat circa 1987) the reality of The Lost Boys is that director Joel Schumacher is an epically bad filmmaker and teamed with a cast of not ready for primetime teenagers, and a minimal budget, Schumacher’s modest talents are entirely overwhelmed.

The story of The Lost Boys began life as a kid’s adventure movie surrounding the bizarre idea of Peter Pan as a vampire, explaining why he was always a teenager, and attempting to lure Michael, eventually played by non-child Jason Patrick, and his brother Sam (Corey Haim) to become one of his "Lost Boys" hence the title that seems confusing minus the Peter Pan story. The Peter Pan aspect was ditched when director Richard Donner bolted from the project for the chance to direct Lethal Weapon. (Why did they keep the name? It means nothing without… oh never mind.)

In the story, as it plays out in the finished film, Michael and Sam have moved to Santa Carla from Phoenix after their mother, played by Dianne Wiest, divorced her husband and lost her job. They are going to live with their eccentric grandfather, played by the perfectly cast Barnard Hughes, who specialized in playing oddball grandpas. Hughes is one of the many extraneous idiocies of The Lost Boys as his character is little more than a series of creepy, supposedly endearing, quirks that have nothing to do with the plot.

Find my full length review at Geeks.Media 

Movie Review: Bad Company

Bad Company (2002) 

Directed by Joel Schumacher

Written by Jason Richman 

Starring Chris Rock, Anthony Hopkins, Gabriel Macht

Release Date June 7th, 2002

Published June 6th, 2002 

Anyone who has ever written a screenplay knows one of the hardest parts is coming up with a title. Back in 2000 Jerry Bruckheimer thought that when he bankrolled a mismatched, fish out of water, buddy, action comedy that the film had a perfect title. That title was Black Sheep. Bruckheimer had forgotten that just three years earlier Chris Farley and David Spade starred in a god-awful comedy of the same title. So the title was changed, however, the new title now seems just as curious. 

Bad Company is the title of at least a dozen films, one of which was a spy movie made in 1990 starring Laurence Fishburne and Ellen Barkin. Curiously that film is just like the new Bad Company, about CIA agents. Of course the fact that I have spent the first few paragraphs of this review writing about the title of the film should indicate how I felt about this latest Bad Company.

Chris Rock stars in dual roles, the first being an undercover CIA agent who is killed in the former Czech Republic in an arms deal gone bad. The second role is that of the CIA agent’s estranged twin brother Jake Hayes. After his twin brother’s death, Jake is recruited by the CIA to replace him and complete the arms deal. Jake is not surprisingly reluctant to team with the CIA and his brother’s former partner Oakes (Sir Anthony Hopkins). After finances are discussed, Jake eagerly takes up his brother’s cause.

This, of course leads to one of those typical fish out of water sequences where the low class character has to learn to be high class and do so in very little time. Jake needs to know which fork to use at a fancy dinner and needs to learn how to dress, walk and speak. It's a scene cribbed from a dozen other formula fish out of water comedies and not improved upon here. 

Once Jake is ready he is taken to the Czech Republic to do the deal, but wouldn't you know it, the same guys who killed his brother are already waiting for Jake and the CIA and the deal goes bad. The nuclear weapon that was the subject of the deal is stolen and moved to New York City, and somehow Jake's girlfriend is kidnapped. I'm sure there was a good reason for how the bad guys figured out Jake wasn't his brother but I was so bored with Bad Company by this point I didn't care.

It's not surprising to find this formula swill was directed by Joel Schumacher, the king of formula swill. (I should note my still simmering bitterness towards the man who destroyed the Batman series). What is surprising is seeing two actors as talented as Sir Anthony Hopkins and Chris Rock in such a conventional film. From the script to the screen, I can't imagine they couldn't see how formulaic and trite this material was. 

Rock deserves a lot of credit for going off the script as often as he does, providing the only solace from the lame formula with bits taken from his standup act and his natural wit. Sir Anthony Hopkins on the other hand makes it clear that he is merely picking up a check sleepwalking through the entire film, especially it's lamest of all ending. 

It would be very easy for me to blame Joel Schumacher for this formula trash but the real fault lies with Jerry Bruckheimer. He after all is the one who keeps financing this supposedly crowd pleasing, screen tested trash. Bruckheimer knows formula swill because he and his late partner Don Simpson invented it.

Movie Review Phone Booth

Phone Booth (2003) 

Directed by Joel Schumacher 

Written by Larry Cohen 

Starring Colin Farrell, Kiefer Sutherland, Katie Holmes, Forrest Whitaker, Radha Mitchell 

Release Date April 4th, 2003 

Published April 3rd, 2003 

Like many fans of the D.C Comics Superhero Batman I have harbored a good deal of resentment toward Director Joel Schumacher for screwing up the Batman movies. However, whether I've become more mature or Schumacher's films have gotten better, that resentment has lessened. As Bat nipples and bat credit cards recede into the past, I find myself not liking Schumacher's take on the blockbuster franchise, but also not caring nearly as much as I once did about Schumacher having made a bad Batman movie. 

Since his Batman debacle Schumacher has done good work. Schumacher's work on Tigerland, for instance, was astonishingly low-tech yet very artful as the director coaxed a star turn out of then unknown actor Colin Farrell. Now with Schumacher's return to the big budget Hollywood machine, he brings Farrell with him in the minimalist action pic Phone Booth. I find myself once again appreciating the artistry of the man who killed Batman.

In Phone Booth, Colin Farrell is shady public relations guy Stu Shepard. Though Stu is married to Kelly, played by Radha Mitchell, he is also romancing a young starlet named Pam, played by Katie Holmes. When Stu decides to use a payphone booth to call Pam rather than one of his three cell phones, he finds himself the target of a crazed assassin (Kiefer Sutherland's voice). If Stu leaves the booth, he will be shot.

Stu's situation is complicated by a group of prostitutes who want the phone booth and are becoming increasingly more agitated. When the prostitutes get a male friend to try and remove Stu from the booth the assassin shoots the guy and Stu is blamed. As cops arrive, led by Forest Whitaker as the police negotiator, so do the media as well as Stu's wife and girlfriend.

This is quite a daring setup and the execution is flawless. When writer Larry Cohen pitched this story he had to have been met with a number of blank stares. So it comes as no surprise that he's been pitching the story for nearly 20 years. It wasn't until Joel Schumacher signed on that studios began to get interested in this challenging premise. Schumacher's involvement brought some interest from big name stars such as Jim Carrey and Will Smith but it's Farrell (admittedly the cheaper alternative to Carrey and Smith's $20 Million dollar price tags), who took the role and proved to be the perfect choice.

Farrell brings just the right combination of smarm and charm to the role of Stu. Farrel recalls a young Al Pacino, with his sweaty, passionate and energetic performance. Farrell melts down like a pro. As Stu slowly melts from cocky confident defiance to contrite good guy, Farrell never panders to the audience, never begs to be liked. Farrell remains true to the character’s nature, attempting to lie and negotiate his way out all the way to the end, always looking for an angle. 

The real star of Phone Booth however is Joel Schumacher, who's sweeping camera ratchets up the tension from beginning to end. Schumacher does a first rate Hitchcock impression taking this difficult premise and wringing every last bit of tension from it. Using the same real time approach that Hitchcock employed in Rope, Schumacher uses dialogue and stellar camerawork to keep the audience constantly off balance and on the edge of their seat.

Recently Joel Schumacher admitted that he screwed up Batman. That admission and a few more excellent films like Tigerland and Phone Booth and maybe I can forgive him. Of course, there is still 8MM to apologize for but let's leave that for another day. -

Movie Review: The Number 23

The Number 23 (2007) 

Directed by Joel Schumacher 

Written by Fernley Phillips 

Starring Jim Carrrey, Virginia Madsen, Logan Lerman, Danny Huston 

Release Date February 23rd, 2007 

Published February 22nd, 2007 

Jim Carrey has struggled to overcome his reputation as just a clown for years. He has done well with dramatic turns in The Truman Show, Man on The Moon, and The Majestic. With his latest picture he once again works against type this time as a potentially psychotic family man in the thriller The Number 23. He should probably have stuck with comedy. The Number 23, directed by Joel Schumacher, is a goofball thriller with an interesting premise that never works because Jim Carrey is simply the wrong actor for this role.

Walter Sparrow (Carrey) has a life that is rather mundane. As a dog catcher he doesn't seem to have much to do from day to day, when there aren't dogs to catch. Aside from waiting for his wife, Agatha (Virginia Madsen), to finish work everyday he's a pretty boring and lonely guy. One day, when Walter picked up Agatha from work he found her in a bookstore. There she purchased for him an odd used book called The Number 23.

Walter is skeptical of the book at first; but two chapters in he is hooked. The book, it seems to Walter, is mirroring his life. The description of the lead character Fingerling, played by Carrey himself in dream sequences, matches Walter's childhood experiences almost exactly. As the story progresses Walter see's more parallels with his own life, especially in relation to the book's central theme about the number 23 which Walter links everywhere in his life. Eventually the book predicts Walter will murder his wife and he must find some way to keep that from happening.

Directed by Joel Schumacher from a script by Fernley Phillips, The Number 23 is a paranoid thriller that indulges an interesting conspiracy but sadly degenerates into a series of ever less believable twists before crashing and burning in the final 20 minutes. The idea behind the film is interesting. The number 23 has in fact been linked by conspiracy theorists to all sorts of tragedies and the script for The Number 23 initially makes good use of this.

From the moment the first trailer for The Number 23 hit theaters Jim Carrey fans have worried that they had another Cable Guy on their hands. They were right. The Number 23 is yet another manic, out of control performance for the funnyman, only this time without the few spare laughs that other film managed. Carrey simply can't find the right pitch for this type of character. He can do morose and he can do manic but when he combines those attributes as he did in Cable Guy and as he does in The Number 23 his performance becomes messy and over-indulgent.

I love the idea of this film. With a tighter script and a different lead actor; I believe The Number 23 could be a dense, conspiracy thriller. In reading about the number 23 enigma I found that the number is linked to the Illuminati and other rich conspiracy targets. Those who have obsessed over the number, those who suffer from an illness called Apophenia; the experience of seeing patterns in random meaningless data, have connected the number 23 to numerous historic tragedies from the Oklahoma City bombing to the siege in Waco Texas to 9/11.

Did you know that Oklahoma City and Waco both happened on 4/19. 4 +19 is 23. No matter that Timothy McVeigh intimated that he chose that date for the Oklahoma City bombing because it was the date of the Waco siege, the conspiracy theory about this ridiculous number is more fun. A movie about that kind of mania would likely be much more fun than the mess that is The Number 23.

I'm certainly not suggesting that there is a role Jim Carrey can't play. However, clearly there are roles he shouldn't play. Psycho, conspiracy-attled killer simply doesn't suit Carrey. It didn't work in The Cable Guy and it works far less in The Number 23. Granted, a third act train-wreck in Joel Schumacher's direction does Carrey few favors but even with Schumacher's bad direction, Carrey is so wrong for the role that even good direction likely could not save The Number 23. \