Finally Watching [Nostalgia Movies]

Ive found in time the search on this forum was shit but if you google whatever keywords with the word hipinion, you get what you're looking for most of the time. I mean even when they keywords aren't exact.

Postby Spoilt Victorian Child » Wed Sep 20, 2017 11:19 pm

And yeah this is pretty sick:



When I google "Skatetown USA" the first result is for a roller-skating facility "just 3 miles north of the Tri-County Mall." It's apparently talking about the one in Springdale, Ohio but I bet if you headed north from any other Tri-County Mall you would still find a roller-skating facility after about three miles.
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Postby Merciel » Thu Sep 21, 2017 12:01 am

I forgot to mention that Kermit was really into all the dance numbers on Dirty Dancing, and was positively hypnotized by the dirty dancing credits sequence.

I was reminded of this when we just watched that youtube and he spent the entire time gaping at blurry Patrick Swayze on roller skates.

Kermit is just starting to spin around and attempt leaping through the air, so I think his little toddler brain is completely blown by what actual dancers can do.
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Postby Merciel » Thu Sep 21, 2017 4:33 am

Risky Business (1983)

I did not remember anything from this movie, other than Tom Cruise's dance scene, which I didn't remember from this so much as from seeing it in a million other places. Everything I thought I remembered from Risky Business is probably actually from Milk Money or some other movie about a hooker lost in suburbia.

This is a very weird movie. Wikipedia would have you believe it's a rom-com but it totally is not, except in the loosest sense of the word. There are a couple of funny bits but nowhere near enough to class it as a comedy. It's more of a moody wannabe Michael Mann piece with sex (mostly) standing in for the violence, down to stealing Tangerine Dream for the score. The train sequence especially is a straight Mann knockoff, but a lot of the nocturnal scenes aren't so much homages as "look ma, I can trace a picture on film!"

Anyway it's a tough movie to classify because there's no traditional happy ending. The villain ("Joey Pantoliano as Guido," possibly the greatest movie credit I've ever seen) wins: he gets at least one of his girls back, makes a fortune, and escapes scot-free. Tom Cruise doesn't improve as a person or learn anything except how to get laid and use exploited women in the sex trade -- women that he knows are brutally victimized by pimps BECAUSE HE HAD A WHOLE CHASE SCENE ABOUT IT -- to cajole schlubby middle-aged white dudes into bending the rules for him, so that he can go to Princeton and some more actually deserving kid can't.

And Rebecca de Mornay never graduates from "plot device" to "character" at any point in this movie, although she briefly comes close when she yells at Tom Cruise to stop belittling her and then dumps his dad's Porsche in the lake.

(Incidentally, was it even possible to fix an early '80s Porsche that got dumped in a lake? I want to say "no" but maybe cars were sufficiently different back then that you could. Today there's no way, all the electronics would get fried in an instant. Back then? I guess maybe, although probably not in a couple of days.)

(Incidentally pt. 2, young Rebecca de Mornay has a slight but extremely distracting resemblance to boarder port, especially when she lowers her eyelashes and looks down and off to the side. It is reaaallll weird to watch her unbuckle Tom Cruise's pants and have to remind yourself that no, that's not actually the person you know.)

Overall, the movie is basically fine, although it's almost exactly the opposite of Dirty Dancing in that Dirty Dancing is a movie that pretends to be brainless but actually interrogates a lot of stuff very critically under its surface goof, whereas Risky Business appears to want you to think it's at least semi-serious and semi-smart, and it interrogates absolutely nothing.

6.5/10
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Postby futurist » Thu Sep 21, 2017 4:45 am

yet somehow it's tangerine dream's most perfect piece of music
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Postby Spoilt Victorian Child » Thu Sep 21, 2017 5:09 am

Pantoliano just gets whatever's left of $8000 after the car is fixed. I'm pretty sure Joel's trip to Princeton is worth more than that, particularly since he is the sort of person who benefits most from an Ivy League education, a mediocre student who is good at making friends.

I am really charmed by how strange this movie is. It's a really bitter satire that's clever without being funny, but it's played so straight that it winds up with the tone of a John Hughes movie. (Merciel says Cruise doesn't improve as a person, and that's certainly true -- he becomes a much worse person, because it's a satire. But because it feels like a Hughes movie, you still have this expectation that he should have improved.) And then yeah you have that great Tangerine Dream score pulling it in Michael Mann's direction, although I think the result is more in Wong Kar-Wai's neighborhood. It makes sense that this is the only movie this guy directed because if he'd done more I would probably be used to this by now.

I also noticed that Rebecca de Mornay looks a lot like port, especially in this movie where she has bangs.
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Postby Merciel » Thu Sep 21, 2017 12:31 pm

I have a hard time finding it charming because Risky Business feels like a movie created by the villain from Dirty Dancing.

Some people matter, some people don't. And the movie just has no interest in scratching beyond the surface of any of that. We're treated to long sequences of Tom Cruise agonizing over his sexual frustration and inability to masturbate, but the hookers in this movie don't matter whatsoever beyond being masturbation aids that get Cruise and his friends over that hump (hur hur, see what I did there).

It is very weird but in and of itself that's not something I value highly.
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Postby r m » Thu Sep 21, 2017 1:37 pm

I'm perfectly OK reading Risky Business as a Brickman's movie-length statement about what he thought of Princeton.
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Postby DestructoBot » Thu Sep 21, 2017 1:45 pm

Merciel wrote:(Incidentally, was it even possible to fix an early '80s Porsche that got dumped in a lake? I want to say "no" but maybe cars were sufficiently different back then that you could. Today there's no way, all the electronics would get fried in an instant. Back then? I guess maybe, although probably not in a couple of days.)


there is far less going on electronically in a car from the early 80s. though not fun, it is much more feasible to replace any wiring on that car than it would be on any car now. aside from that its basically drying out all the carpets, and ensuring no water got into the engine, coolant, transmission, fuel lines, brake lines, etc. a lot of fluid flushing.
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Postby Spoilt Victorian Child » Thu Sep 21, 2017 2:04 pm

Merciel wrote:I have a hard time finding it charming because Risky Business feels like a movie created by the villain from Dirty Dancing.

Some people matter, some people don't. And the movie just has no interest in scratching beyond the surface of any of that. We're treated to long sequences of Tom Cruise agonizing over his sexual frustration and inability to masturbate, but the hookers in this movie don't matter whatsoever beyond being masturbation aids that get Cruise and his friends over that hump (hur hur, see what I did there).

The movie has to establish Cruise as a relatable (or at least pitiable) character in order to show what this system does to him. But I think his problems are also part of the joke -- the movie is pretty upfront about the fact that his worst-case scenario is going to the University of Illinois and having a hard time masturbating.
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Postby Bartatua » Thu Sep 21, 2017 2:43 pm

tom cruise has slaves
i broke somebody's ribs
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Postby Merciel » Fri Sep 22, 2017 3:58 am

Ferris Bueller's Day Off (1986)

Kermit was extremely into "Beat City" and bopped around with a big dumb smile until it was over.

I don't know why Ferris Bueller is this great pop culture touchstone. I really don't. I liked the movie more this time than I did last time SVC made me watch it, but I can only be so charmed by a movie that posits ditching school as this great and glorious experience that will surely lead to awesome adventures and popularity.

You should go to school. You should learn things. European socialism in the '30s does matter for today's world. Ben Stein's shitty self-important grasp of history and economic policy is a problem in the present day. Devoting enormous amounts of energy to lying to your parents so that you can avoid grappling with this stuff is not ever going to make me think highly of you, and Ferris Bueller is no exception here.

The movie is basically fine apart from that, but it is sort of annoying how the narrative universe bends so that everybody Ferris needs to lie to for plot purposes is an overweening asshole who deserves it (restaurant host, Dean Rooney) and everybody who's a good-natured ne'er-do-well magically can do no harm (the joyriding valets, Ferris and his friends, probably Charlie Sheen). Most genre comedies do this to some extent, but it grates on me in this one because Ferris Bueller is almost a good enough movie to not need to lean on that crutch constantly, but it does it anyway, and as a result is not as good a movie as it could be.

The Very Serious Interlude immediately before the Ferrari takes an ass dive out of the garage is pretty weird. It doesn't really fit with the rest of the movie and it comes out of nowhere because we never actually see Cameron's parents be dicks to each other or to him. He does talk about it with the other characters, but we never witness this behavior firsthand and so the Ferrari's suicide leap seems way out of whack. How do we know Cameron's right in his read of the situation? What reason do we have to believe that he's going to improve his relationship with his dad now, as opposed to just driving the poor guy to jump after his car because now his only solace in a miserable life is gone?

Matthew Broderick is phenomenally charming in this though. So is Alan Ruck. Watching the two of them play off each other is the main reason this movie's fun. Sloane is a total nothing of a character, which isn't really Mia Sara's fault given that the movie gives her very little to do, but even so I can't be all that surprised that her next most famous role was in Timecop.

7/10
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Postby Spoilt Victorian Child » Fri Sep 22, 2017 4:36 am

As with The Breakfast Club I'm left wondering to what extent Hughes was pandering to teens and to what extent he was just in arrested development. I skipped all the time in high school so I don't exactly identify with Rooney, but the pain and humiliation he's made to endure is just totally out of proportion with what he deserves. And that's fine, I mean, it's funny. But watching it as an adult, and knowing that Hughes was even older than I am when he wrote it, there's a real masochistic undercurrent. Like ultimately Rooney is just being punished for not accepting his role as an old loser -- for trying to defy the natural order by standing up to someone younger and cooler than he is. It works because everyone in the audience has the same bias and likes Ferris a lot more. But how do you sit down to write that character as an old guy whose job mainly involves dealing with people who are younger and cooler than you?

But yeah Broderick is great and it's all a really nice, breezy time.
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Postby chairkicker » Fri Sep 22, 2017 4:43 am

here's the original risky business ending, which is so much better than what made it into theaters

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Postby jewels » Fri Sep 22, 2017 6:20 am

Ferris reminds me a little of Beverly Hills Cop in that they are frequently bluffing and lying their way into situations that seemed way cooler and believable when I was 8 years old.

What happened 5 minutes later when Abe Froman showed up for his reservation?

Is the fact that an entire city is freaking out over a kid lyp syncing to The Beatles supposed to be silly and surreal or are we supposed to view it as awesome the way I did when I was a little kid?
gold and glass wrote:When you get to heaven, do you get to see a list of which gimmicks belonged to who?
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Postby r m » Fri Sep 22, 2017 11:27 am

Going back to The Lion King for a second, because RM Jr. discovered it a couple nights ago and now wants to watch the opening 15 minutes or so over and over and over, but wants nothing to do with it once they get to the boneyard.

It drives me nuts that all the character actors in this movie (Irons, Whoopi, Cheech, Atkinson, Lane, Sabella) sing, but all of Simba and Nala's parts are sung by professional singers who don't really sound anything like their voice-actor counterparts. Simba sounds like little Michael Jackson on I Just Can't Wait to Be King.

For some reason I had this assumption that Jada Pinkett was adult Nala, but it's Moira Kelly? Young Nala clearly has the voice of a young African American girl, so it's especially weird for her to grow up to become...Moira Kelly.

The whole story (especially the third act) seems so simplistic compared to modern Disney movies, in which the protagonist usually has to solve a problem or unravel a mystery using some ingenuity and teamwork.

Rafiki's martial arts sequence makes no sense whatsoever.
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Postby goofjan » Fri Sep 22, 2017 11:37 am

94 JTT was a busy man- he didn't have time to sing.
plz if u get a chanse put some flowrs on algernons grave kthxbye
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Postby Merciel » Fri Sep 22, 2017 12:19 pm

jewels wrote:What happened 5 minutes later when Abe Froman showed up for his reservation?


What actually kills me about that scene is that the host apparently doesn't know what Froman looks like.

In any half-decent restaurant at that presumable price point, there is no way they'd allow that to happen. Either the host would remember Froman because he's a regular (it doesn't matter if he isn't really a regular, if he's an important guy and/or you're good at your job, you pretend otherwise), OR the staff would have circulated his picture so everybody knew to treat him well. If you know the guy's name and nickname without even thinking about it, you absolutely have to know what he looks like.

At dinner this might not happen. The other week we were at dinner and SVC saw a pro ball player (I think it was an Eagles player?) get turned away because they didn't have a reservation and apparently the rush hour crunch was such that an inexperienced staffer turned away a ball player, which amazed me but evidently does happen sometimes.

But at lunch, with that long and high-profile of an altercation with nothing else going on to distract the host, there's just no way I can buy it. Lunch is so much slower and the lighting is so much better and the potential for either charming or turning off that guy's lunch party (3 people = business lunch) would be too much to risk.
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Postby chairkicker » Fri Sep 22, 2017 2:58 pm

i don't think risky business is really biting michael mann's style so much as it is arriving at a similar place independently. thief had only just come out when this movie was getting made
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Postby chairkicker » Fri Sep 22, 2017 3:00 pm

not that influence can't transfer that quickly, it just doesn't seem like that's quite what's happening with risky business
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Postby whatabout tim » Fri Sep 22, 2017 3:16 pm

Merciel wrote:
The Very Serious Interlude immediately before the Ferrari takes an ass dive out of the garage is pretty weird. It doesn't really fit with the rest of the movie and it comes out of nowhere because we never actually see Cameron's parents be dicks to each other or to him. He does talk about it with the other characters, but we never witness this behavior firsthand and so the Ferrari's suicide leap seems way out of whack. How do we know Cameron's right in his read of the situation? What reason do we have to believe that he's going to improve his relationship with his dad now, as opposed to just driving the poor guy to jump after his car because now his only solace in a miserable life is gone?


I always thought the justification was their complete absence in the movie (compare him staying home sick in an empty house where no one cares) to ferris who has the elaborate system rigged up just because his family cares too much about him (almost a saccharine amount). That combined with the choice of his house being this weird empty, soulless glass house in the middle of the woods made it seem more believable.

Not to armchair psychoanalyze too much, but Cameron also comes across as basically the posterchild for the reclusive, anxiety ridden teenager who is high strung about every little perceived wrong.

Not saying it's justified, but from memory that's why I never questioned it too much.
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Postby Spoilt Victorian Child » Fri Sep 22, 2017 3:18 pm

reversemigraine wrote:Going back to The Lion King for a second, because RM Jr. discovered it a couple nights ago and now wants to watch the opening 15 minutes or so over and over and over, but wants nothing to do with it once they get to the boneyard.

It drives me nuts that all the character actors in this movie (Irons, Whoopi, Cheech, Atkinson, Lane, Sabella) sing, but all of Simba and Nala's parts are sung by professional singers who don't really sound anything like their voice-actor counterparts. Simba sounds like little Michael Jackson on I Just Can't Wait to Be King.

For some reason I had this assumption that Jada Pinkett was adult Nala, but it's Moira Kelly? Young Nala clearly has the voice of a young African American girl, so it's especially weird for her to grow up to become...Moira Kelly.

The whole story (especially the third act) seems so simplistic compared to modern Disney movies, in which the protagonist usually has to solve a problem or unravel a mystery using some ingenuity and teamwork.

Rafiki's martial arts sequence makes no sense whatsoever.

Yeah Nala being a black girl who grows up to be a white woman was one of the things I forgot to write about this movie.

Another is how Jonathan Taylor Thomas grows up to be Dennis Wilson with Matthew Broderick's voice.
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Postby universe » Fri Sep 22, 2017 3:30 pm

jewels wrote:
Is the fact that an entire city is freaking out over a kid lyp syncing to The Beatles supposed to be silly and surreal or are we supposed to view it as awesome the way I did when I was a little kid?


My best guess is that when you're in high school, sometimes it seems like people go gaga over the "cool" or charismatic kids for doing things that would seem weird or not cool or totally unremarkable if anyone else did it. To someone like Cameron or Jeanie, it's perplexing and frustrating. It shouldn't be cool but somehow... it is?
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Postby universe » Fri Sep 22, 2017 3:33 pm

The core of that movie is that Cameron and Jeanie are desperate for the validation that Ferris gets without trying, and that he really doesn't want, and the "lesson" of the movie is that they should stop seeking about other people's validation and stop resenting Ferris for receiving it.
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Postby Prof. Horatio Hufnagel » Fri Sep 22, 2017 4:29 pm

universe wrote:the "lesson" of the movie is that they should stop seeking about other people's validation and stop resenting Ferris for receiving it.


also that it's fun to skip school and have a day off
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Postby Merciel » Mon Sep 25, 2017 2:35 am

Ghostbusters II (1989)

I've spent a few minutes now trying to figure out exactly why this movie doesn't have the magic of its predecessor, and it's hard to pin it down on any one thing because, basically, all the elements are a little bit worse than they were the first time around. The plot isn't as tightly built and doesn't have the same narrative momentum; there are too many detours, and the detours aren't as funny. The villain is a painting backed by vats of pink slime, which doesn't have the mystery or presence of Gozer's crew (although, if you do have to build your entire movie around an angrily scowling painting, Vigo the Carpathian is a solid pick). The characters don't have the same drive to prove themselves -- they've had success and just lost it -- and it doesn't really make a ton of in-world sense that a NYC that's been devastated by supernatural activities would (a) rush to dump the team that saved it the first time; (b) not have copied the hell out of all their devices; and (c) not have a million other wannabes trying to capitalize on the Ghostbusters' success.

We're talking about a town that transformed halal carts from one guy slinging chicken and rice out of a tin box on a street corner to multiple competitor chains and brick-and-mortar restaurants halfway across the country. You're going to tell me that the Ghostbusters command less market interest than The Halal Guys? Yeah okay.

Anyway the movie is fine and okay, it's just nowhere near as great as the original. Egon's lines are still great. Winston still doesn't have nearly enough to do. Ray's fine, although I'm not sure when he transformed from Stay Puft Marshmallow Man-creating disaster dork to the (relatively) smooth-talking face of the party. Venkman's kind of crippled by the fact that he's supposed to be interested in becoming a family man (at least nominally) and taking on the kid as well as talking his way into Sigourney Weaver's pants, and while it's easy to buy the second part, the first part's a harder sell. He does a good job trying to sleaze it up, but Venkman with a character goal of becoming a stepdad is still a toughie.

Also it's a little weird that they crash-landed the Statue of Liberty onto the steps of the "Manhattan Museum of Art" and the New Year's crowd didn't give a damn, they just laced arms and sang Auld Lang Syne and cheered Our Heroes like always, and the irreparable loss of a national landmark mere feet from them and mere minutes ago is apparently nbd.

Peter MacNicol is much better as a smarmy camp counselor than a smarmy henchvillain. That was some amazing accent he was doing in this movie, though.

7/10
Last edited by Merciel on Mon Sep 25, 2017 2:40 am, edited 1 time in total.
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Postby Merciel » Mon Sep 25, 2017 2:37 am

Oh also I should footnote that Kermit rocked out harder to the Ghostbusters theme song than anything else yet, incl. taking his very first actual jump to this music and also finishing his routine with a giant leap into the air that ended with him landing on his ass and laughing maniacally in glee.
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Postby mites » Mon Sep 25, 2017 2:38 am

Y'all ever seen my best friends wedding

Wtf is happening in my best friends wedding
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Postby Merciel » Mon Sep 25, 2017 2:42 am

We could do My Best Friend's Wedding.

My recollection is that it's weird and not very good and I didn't like it at all when I watched it, but it might be interesting to revisit for exactly that reason.

I guess it depends on how much SVC wants to sit through a weird and (probably) not very good rom-com.
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Postby mites » Mon Sep 25, 2017 2:44 am

You've condemned Kermit to decades of Huey Lewis and the Mews fandom
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Postby mites » Mon Sep 25, 2017 2:45 am

Do u need a bbsitter btw I got nothing to do
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