Tonight I saw Ghostbusters live with the San Francisco Symphony. It was an amazing night with the director in attendance and the film was, of course, phenomenal
I've reviewed it before; you can find those reviews here.
Always a good time.
~~~
Showing posts with label 1984. Show all posts
Showing posts with label 1984. Show all posts
Friday, November 29, 2019
Wednesday, October 18, 2017
A Nightmare on Elm Street
Last night I saw A Nightmare on Elm Street, starring Heather Langenkamp and Robert Englund.
Nancy (Langenkamp) attends a sleepover with a friend only to wake in the middle of the night to the sounds of that friend's murder. They both had the same nightmare about a burnt-faced man with knives on his fingers. Nancy fears because of this commonality, she is next.
After more nightmares and an eventual confession from her own alcoholic mother, Nancy learns the man in their dreams is Freddy Krueger (Robert Englund), and gets his backstory. With this new information, she, along with her boyfriend across the street, Glenn (a very young Johnny Depp), attempt to defeat this monster with a mix of sleep deprivation and calculated nightmare-planning.
This film came out in 1984. I first saw it a year later at a friend's slumber party, much to the dismay of my mother, who forbid me from such parties when I came home afterword, terrified. I refused to sleep for days.
"1 ... 2 ... Freddy's coming for you, 3 ... 4 ... " The song the kids sing as they jump rope in the background of the film stayed with me all these years, and hearing it again gave me a visceral reaction.
It's funny what you remember and what you don't.
For example, I had clear recollections of Freddy: everything from his voice to his nails to his legendary sweater. I also remembered that Nancy was a "good girl" and her house was nice, in a good neighborhood.
What I failed to remember was Nancy's alcoholic mother, the sexual jokes and references (perhaps they just went over my head in youth) and the somewhat shocking ending. All were hilarious and satisfying last night.
The score by Charles Bernstein is a big factor as well—each time the music enters, it's hard not to put your guard up; you know something is coming.
Wes Craven knew how to do horror.
As silly and dated as many of the references and occurrences are, the film holds up. It is spooky, it is creepy, and it makes you jump. The origin story of the villain is also horrific and effective.
A classic already, and surely for years to come.
~~~
Nancy (Langenkamp) attends a sleepover with a friend only to wake in the middle of the night to the sounds of that friend's murder. They both had the same nightmare about a burnt-faced man with knives on his fingers. Nancy fears because of this commonality, she is next.
After more nightmares and an eventual confession from her own alcoholic mother, Nancy learns the man in their dreams is Freddy Krueger (Robert Englund), and gets his backstory. With this new information, she, along with her boyfriend across the street, Glenn (a very young Johnny Depp), attempt to defeat this monster with a mix of sleep deprivation and calculated nightmare-planning.
This film came out in 1984. I first saw it a year later at a friend's slumber party, much to the dismay of my mother, who forbid me from such parties when I came home afterword, terrified. I refused to sleep for days.
"1 ... 2 ... Freddy's coming for you, 3 ... 4 ... " The song the kids sing as they jump rope in the background of the film stayed with me all these years, and hearing it again gave me a visceral reaction.
It's funny what you remember and what you don't.
For example, I had clear recollections of Freddy: everything from his voice to his nails to his legendary sweater. I also remembered that Nancy was a "good girl" and her house was nice, in a good neighborhood.
What I failed to remember was Nancy's alcoholic mother, the sexual jokes and references (perhaps they just went over my head in youth) and the somewhat shocking ending. All were hilarious and satisfying last night.
The score by Charles Bernstein is a big factor as well—each time the music enters, it's hard not to put your guard up; you know something is coming.
Wes Craven knew how to do horror.
As silly and dated as many of the references and occurrences are, the film holds up. It is spooky, it is creepy, and it makes you jump. The origin story of the villain is also horrific and effective.
A classic already, and surely for years to come.
~~~
Friday, May 06, 2016
Purple Rain
On Tuesday I saw Purple Rain, starring Prince and Appolonia Kotero.
This was my second theater viewing of this film. The first took place when I was 9 years old—it was my first "R" rated film and the only film my older sister ever snuck me into. I'm still grateful.
With Prince's passing, the 'celebration' of seeing it has dimmed, but my friend and I still made quite a night of it, complete with cans (yes, cans) of wine, tears and enthusiastic singing. I can also not confirm or deny that I shouted "Fuck you, Tipper Gore!" during "Darling Nikki." But I digress.
In this 1984 classic, Prince plays The Kid, a young man obsessed with making it big in the music industry. His rival, Morris Day (playing himself), and his band The Time give The Kid a lot of grief, but here it's done in such a comical way that the banter is fun to watch.
There's also a girl, of course. She is supernaturally beautiful as well as talented. Her name is Appolonia (Kotero) and she also has her sights set on performing.
There are motorcycle rides and steamy sex scenes and domestic violence and above all else, epic music performances. Sure, the dialogue is cheesy, but the story—based loosely on Prince's real life—is solid.
In fact, it's hard to find fault with anyone as engaging and magical as Prince was. It's even harder to refer to him in past tense.
~~~
This was my second theater viewing of this film. The first took place when I was 9 years old—it was my first "R" rated film and the only film my older sister ever snuck me into. I'm still grateful.
With Prince's passing, the 'celebration' of seeing it has dimmed, but my friend and I still made quite a night of it, complete with cans (yes, cans) of wine, tears and enthusiastic singing. I can also not confirm or deny that I shouted "Fuck you, Tipper Gore!" during "Darling Nikki." But I digress.
In this 1984 classic, Prince plays The Kid, a young man obsessed with making it big in the music industry. His rival, Morris Day (playing himself), and his band The Time give The Kid a lot of grief, but here it's done in such a comical way that the banter is fun to watch.
There's also a girl, of course. She is supernaturally beautiful as well as talented. Her name is Appolonia (Kotero) and she also has her sights set on performing.
There are motorcycle rides and steamy sex scenes and domestic violence and above all else, epic music performances. Sure, the dialogue is cheesy, but the story—based loosely on Prince's real life—is solid.
In fact, it's hard to find fault with anyone as engaging and magical as Prince was. It's even harder to refer to him in past tense.
~~~
Saturday, October 29, 2011
Ghostbusters
On Thursday night I saw Ghostbusters, starring Bill Murray and Dan Akroyd.
It was one of my favorite films as a kid and it remains so today—I'm so glad I got to experience it on the big screen after all of these years.
When three parapsychology professors lose their funding, they go into business battling ghosts around New York City.
Dr. Egon Spengler (Harold Ramis) is the serious scientist; Dr. Ray Stantz (Akroyd) is the bumbling idiot and Dr. Peter Venkman (Murray) leads the bunch with his sarcastic wit. It's a match made in heaven (or in Sumer), as the chemistry between the three provides consistent sparks throughout the film.
The damsel in distress is a young, alluring Sigourney Weaver as musician Dana Barrett. Her kitchen is taken over by Gozer, an ancient God worshiped by Sumerians. She reports this disturbance to the Ghostbusters, but when Dr. Venkman investigates, her kitchen doesn't deliver.
Soon she is possessed by the spirit and becomes the "Gate Keeper"; her nerdy neighbor across the hall (Rick Moranis) is her "Key Master." Just as they begin to prepare for the return of Gozer, the EPA shuts down the Ghostbusters' business, which releases countless specters back into New York City.
When the mayor realizes this was done in error, he invites the Ghostbusters to battle this paranormal apocalypse and save the city from certain destruction.
Even after seeing the film at least a dozen times over the years, seeing it again last night in the theater felt like the first time.
The ghost that opens the show in the New York Public Library still startled me, though I knew she would shush the scientists when they approached; the dog jumping out of the closet at the party still made me jump.
Though the film is clearly set in the 80s (as evidenced by the Coke cans that don't yet say 'classic' and Larry King's dark hair), the story and it's wonderfully developed characters remain timeless.
I could probably see this film once a week and never tire of it.
~~~
It was one of my favorite films as a kid and it remains so today—I'm so glad I got to experience it on the big screen after all of these years.
When three parapsychology professors lose their funding, they go into business battling ghosts around New York City.
Dr. Egon Spengler (Harold Ramis) is the serious scientist; Dr. Ray Stantz (Akroyd) is the bumbling idiot and Dr. Peter Venkman (Murray) leads the bunch with his sarcastic wit. It's a match made in heaven (or in Sumer), as the chemistry between the three provides consistent sparks throughout the film.
The damsel in distress is a young, alluring Sigourney Weaver as musician Dana Barrett. Her kitchen is taken over by Gozer, an ancient God worshiped by Sumerians. She reports this disturbance to the Ghostbusters, but when Dr. Venkman investigates, her kitchen doesn't deliver.
Soon she is possessed by the spirit and becomes the "Gate Keeper"; her nerdy neighbor across the hall (Rick Moranis) is her "Key Master." Just as they begin to prepare for the return of Gozer, the EPA shuts down the Ghostbusters' business, which releases countless specters back into New York City.
When the mayor realizes this was done in error, he invites the Ghostbusters to battle this paranormal apocalypse and save the city from certain destruction.
Even after seeing the film at least a dozen times over the years, seeing it again last night in the theater felt like the first time.
The ghost that opens the show in the New York Public Library still startled me, though I knew she would shush the scientists when they approached; the dog jumping out of the closet at the party still made me jump.
Though the film is clearly set in the 80s (as evidenced by the Coke cans that don't yet say 'classic' and Larry King's dark hair), the story and it's wonderfully developed characters remain timeless.
I could probably see this film once a week and never tire of it.
~~~
Monday, February 14, 2011
Sixteen Candles
Tonight I saw Sixteen Candles, starring Molly Ringwald and Anthony Michael Hall.
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
There is something magical about a John Hughes film, even 27 years later.
Brought back to theaters in honor of Valentine's Day, the simplicity of teenage love shines on in the characters of Samantha (Molly), The Geek (Hall) and Jake (Michael Schoeffling). A love triangle if there ever was one.
When her family forgets her sixteenth birthday, Samantha is devastated. She whines to her friend at school and resents her sister who is getting married the following day. She's also taken an embarrassing written "sex test" that has fallen into the hands of the boy she has a crush on. She's had better weeks.
The Geek is obsessed with Samantha, bugging her on the bus, then hijacking a spot on the dance floor next to her later that same night. His sidekick friends, expecting the most from him, only make things worse.
Jake is a cute, popular boy with a bombshell girlfriend who is unsatisfied with his relationship. He's looking for more than a trophy, and is interested in learning more about Samantha.
And there you have the plot.
The rest of the film is a hilarious standard 80s teen comedy, complete with the obligatory exchange student, two Cusacks and an obnoxious kid brother.
Did I mention that I still loved every minute of it as much as I did when I was 9?
The formula of realistic dialogue, quotable catchphrases, and perfectly cast actors gets me every time.
John Hughes gave us even more than that, though. He gave us films with heart.
~~~
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