Classic Movie Review Amazon Women on the Moon

Amazon Women on the Moon (1987) 

Directed by Joe Dante, Carl Gottlieb, Peter Horton, John Landis, Robert K. Weiss 

Written by Michael Barrie, Jim Mulholland 

Starring Arsenio Hall, Michelle Pfeiffer, Joe Pantoliano, David Allan Grier, Rosanna Arquette 

Release Date September 18th, 1987 

Published September 18tth, 2017 

One of the first movies I ever reviewed on my podcast, when it was still called I Hate Critics, now Everyone’s a Critic, was a disconcerting sketch comedy movie called Movie 43. The film was a series of appalling short films strung together with no narrative under a title that one could imagine it having been randomly assigned by a movie studio for storage purposes, not intended for theatrical release. That this series of short films starred such actors as Hugh Jackman, Kate Winslet, Richard Gere, Liev Schreiber, and Naomi Watts are the only reason Movie 43 ever saw the light of day.

When I saw Movie 43 I had never even heard of the obscure 1987 comedy Amazon Women on the Moon. I take that back, I did hear of it but I assumed it was some sort of softcore pornographic comedy. I think I may have also confused it with the movie Cannibal Women in the Amazon Jungle of Death, an epically unfunny spoof movie starring Bill Maher, before Politically Incorrect, oddly enough, and Shannon Tweed.

It turns out, Amazon Women on the Moon is everything that Movie 43 wished it could have been, trenchant, hilarious, weird, and just plain fun. Twenty-six years before Movie 43 strung together a random assemblage of movie stars in unfunny short films, writers and directors John Landis, Carl Gottlieb, Robert K. Weiss, and Carl Dante, all born from the Roger Corman school of filmmaking, pulled off the trick Movie 43 so desperately failed at, a ragingly funny sketch comedy movie.

Amazon Women on the Moon consists of 19 short films, some related, some not. The sketches do vary in quality, with Joe Dante really stealing the show in his portions, while Robert K. Weiss struggles a little with the film’s title sketch. Landis and Gottlieb go a far less traditional route with mostly good results, especially Gottlieb’s use of nudity which is wonderfully absurd and genuinely inspired.

Find my full length review at Geeks.Media 

Classic Movie Review After Hours

After Hours (1985) 

Directed by Martin Scorsese 

Written by Joseph Minion 

Starring Griffin Dunne, Rosanna Arquette, Teri Garr, Cheech and Chong 

Release Date September 13th, 1985

Published 

The tracking shot that opens Martin Scorsese's black comedy, After Hours, is relatively meaningless. It's just a neat visual way to end up with the camera pointing to our protagonist, Paul Hackett. This is a valid cinematic choice, no criticism there. That said, as a student of opening scenes, I am a little bummed out. In my last exploration of a Scorsese classic, The Age of Innocence, Scorsese's camera opened on flowers under the credits and in the opening moment, a flower given from a performer on stage to another. The flower imagery in The Age of Innocence was the underlying theme of the movie. 

Perhaps, the vacuousness of the tracking shot in After Hours is a reflection of Paul's own vacuousness. Under the credits, we're hearing Mozart's Symphony in D Major No. 45. The symphony has little to do with the story either but it is beautiful and Paul is a handsome guy so, if I am going to read too much into every second of After Hours, perhaps these two surface level observations combined with the meaningless tracking shot crashing on Paul's face, is all to add up to how empty the character of Paul is and how his descent into a world of madness will only underline how Paul prefers being an empty vessel of capitalist exploitation to the alternative of actually living a life, as messy and problematic as that can be. 

As Paul Hackett's (Griffin Dunne) co-worker, played in a brief cameo by Bronson Pinchot, prattles on about how he doesn't plan on doing this job that Paul is teaching him in this scene, Paul is struck by the co-worker's words. He stops listening almost immediately, this man having a plan and goals in life, has Paul searching the world around him for a meaning. As the co-worker goes on about getting into publishing, Paul's eyes fall on everyday office stuff before finally landing briefly on a shot of a birthday calendar, and a picture of a child on a co-worker's desk. The story of a person with a family, a life away from work, is what jars Paul back to reality and the reality that his new co-worker doesn't realize he's hurt Paul's feelings a little, just enough to make him not pay attention before awkwardly excusing himself. 

The deck is beginning to stack. The conversation with Paul's co-worker is underlying a theme that will become clear, Paul doesn't have a life outside of work. He has no family, no girlfriend, he doesn't even seem to have friends, or, at least, he doesn't make it plain that he has anyone he can call on a Friday night. As Paul leaves work, he's just another lonely face in the crowd, so insignificant that the gates closing his office nearly close on him, and he narrowly slips through as men are closing them. All the while, another, more melancholic classical music piece plays on the soundtrack. The giant golden gate doors close, and Paul is made smaller by their massive size in a striking visual. 

Find my full length review at Geeks.Media