7.5/10
John Lewis as Himself
Directed by Dawn Porter
The film explores Georgia representatives, 60-plus years of social activism and legislative action on civil rights, voting rights, gun control, health care reform, and immigration.
Rent your copy of the documentary here, or pre-order the DVD here!
Documentaries are a tricky genre to tackle from a critical perspective. Particularly those about an individual, who is painted either in a righteous or disturbing light depending on the goals of the filmmaker. It’s remarkable how much different a subject can look when you position the camera at another angle.
That’s not a condemnation of John Lewis: Good Trouble, Dawn Porter’s latest documentary that details the life of the famed Georgia representative who stood against racism and played a vital role in the Civil Rights movement. Except to say, this particular biopic stops just short of becoming one of those cheesy campaign ads we typically see running during daytime soap operas. The only thing lacking is the counter — you know, the bit where the screen turns black and white, and ominous music plays over degrading shots of the opposition while a scary voice-over outlines all their flaws? — and a bold call to action at the end.
The documentary is still an interesting watch mainly because of how eerily it seems to speak to our current political climate. It’s crazy to see protestors from the 1960s battling police officers in a manner similar to those on the news today; and the media moguls lapping up the coverage. Such moments beg the question: has anything really changed in our country? Or did we merely sweep a majority of our issues under the rug?
Despite vehement oppression from the public and media during those turbulent times, Lewis preached peace and urged his fellow man not to follow the violent nature of their aggressors. Seek to be as “loving and forgiving in any situation,” Lewis says at one point, followed by a bizarre scene of protestors-in-training — they are told to stand idle while actors verbally abuse them. That’s certainly something I’ve never seen before, and it made me sad that anyone would have to undergo such abuse in order to prepare to stand for something they believed in.
Tellingly, the best moments of Good Trouble involve those featuring Lewis standing alongside Martin Luther King, Jr. during historical moments such as the Selma March. This guy interacted with some of the greats, including MLK and Bobby Kennedy, and changed our country for the better. Last night I played The Last of Us Part II … if anything, Good Trouble told me I should probably get off my ass and do a lot more than I’m doing. Men like Lewis put their lives on the line for the betterment of mankind: he was arrested over 40 times during the Civil Rights movement; and another five times during his time as a House member. What did you do today?
There are other aspects of the film I enjoyed. I liked the behind-the-scenes glances of Lewis prepping for House meetings and his team’s reaction to the live voting results. I was also moved by the section in which Lewis reflects on his wife, who passed away in 2012. I wanted more of these moments.
As is, John Lewis: Good Trouble often feels more like political propaganda than a biography. There’s even a lengthy section devoted to urging people to vote juxtaposed with interviews with democrats like Nancy Pelosi and Alexandria Ocasio-Cortez.
I wanted to hear more about Lewis’ exploits in the 60s; and more about the 1963 March on Washington, as well as his personal relationship with MLK and Kennedy. Lewis worked hard and continues to work hard to inspire change in this country — we could all learn a thing or two from his life story.
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Just over a month after the project was first announced, the Michael Bay-produced pandemic thriller Songbird won’t be soaring into production anytime soon as Variety has brought word that SAG-AFTRA has hit the film with a “Do Not Work” order.
RELATED: Michael Bay to Produce Pandemic Thriller Songbird
The project was first announced in mid-May with hopes to shoot the film in Los Angeles on a low-budget and adhering to the proper safety protocols the current global climate is imposing on film and TV productions, but it appears production company On A Lark Productions LLC has failed to “complete the signatory process” with SAG-AFTRA and resulted in the latter slapping the project with a “do not work” order that would result in discipline to any actor who signs on.
“As such, SAG-AFTRA members are hereby instructed to withhold any acting services or perform any covered work for this production until further notice from the union,” SAG-AFTRA said in a statement. “Please note, accepting employment or rendering services on ‘Songbird; may be considered a violation of Global Rule One. Violating this order may result in disciplinary action in accordance with the SAG-AFTRA Constitution.”
In a follow-up statement, a spokesperson for SAG-AFTRA confirmed that the producers of the film have “not been transparent” about the safety measures they intend on utilizing during production, which is something the organization “takes very seriously” before closing with no further comments.
Plot details place the story two years in the future, where the pandemic has not subsided, and worse, continues to mutate. The characters would deal with lockdowns, government conspiracies and paranoia.
RELATED: Toy Story 4’s Josh Cooley Set To Write & Direct Malamander For Sony
Bay is producing alongside Goodman and Eben Davidson of Invisible Narratives. Adam Mason (Into the Dark) will direct from a script by Simon Boyes.
(Photo by John Parra/Getty Images for 6 Underground)
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In time for Independence Day, Diamond Select Toys is celebrating with a special wave of new figures and products at comic shops and online, including new Westworld figures, two new Legends in 3D busts and other action figures! The new figures, along with previous special releases, can be viewed in the gallery below!
RELATED: Diamond Select Previews: Lobo, Doctor Doom, The Mandalorian & More!
The Avengers’ shortest member gets a big bust from DST! Measuring approximately 8 inches tall, this half-scale bust is based on Rocket Raccoon’s appearance in Avengers: Endgame. It is limited to only 1,000 pieces, and comes packaged in a numbered, full-color box with a certificate of authenticity. Designed by Joe Allard, sculpted by Rocco Tartamella, the item runs for $120 and can be pre-ordered here!
A Diamond Select Toys and Gentle Giant Ltd. release, the world is still reeling from the Rise of Skywalker and this Legends in 3D half-scale bust captures the masked visage of antagonist Kylo Ren, detailing all of the cracks and seams of his repaired helmet. Measuring approximately 10 inches tall, it is limited to only 1,000 pieces, and comes packaged in a full-color box with a certificate of authenticity. Designed by Joe Allard, sculpted by Rocco Tartamella, the bust runs for $150 and can be pre-ordered here!
The groundbreaking animated-style line of X-Men busts continues with the Master of Magnetism himself, Magneto! Looking like he just stepped off the screen from the hit cartoon, Magneto raises a fist in this 6-inch resin bust, featuring detailed sculpting and animation-inspired paint details. Limited to only 3,000 pieces, it comes packaged in a full-color window box with a certificate of authenticity and runs for $60 and can be pre-ordered here!
RELATED: Diamond Select Unveils Nightmare Before Christmas SDCC Collection!
Return to Westworld with this new assortment of action figures based on the HBO television series! Key characters Bernard, Teddy and Clementine make up this assortment, each with multiple points of articulation and character-appropriate accessories. Each figure measures approximately 7 inches tall and comes packaged in a full-color blister card. Designed by Eamon O’Donoghue, sculpted by Gentle Giant Studios, each figure runs for $20 a piece or can be purchased together for $60 and can be pre-ordered here!
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In recent Q&A event by The Bearded Trio, when asked about the previously announced spinoff series for the iconic 80s’ film Willow, Oscar-winning filmmaker Ron Howard honestly answered that he can’t really reveal any big announcements about the potential series but he did confirm that the sequel is still currently in development.
“Well, if I say anything too concrete it’s gonna go viral because anytime I say anything about Willow, people take it all very seriously,” Howard said (via JoBlo). “I will say that, let’s see…what can I say? It’s still in development. It doesn’t have a green light. Warwick Davis is thrilled by it and if we are lucky enough for it to go, he would come back as Willow.”
He also revealed they have already started scouting for filming locations in the UK with scripts still being developed. “We are far enough along that in a very tentative way, locations are beginning to be scouted, and we don’t know where we’re going to shoot, but we have gotten some research photos back from Wales. It’s nice to think about where our old knock bar was, and again no idea if we’re gonna get to make the show but we’re having a wonderful time developing the scripts under Jonathan Kasdan who is leading the charge.”
RELATED: I Wish I Made That: Willow & The NeverEnding Story
Willow remains a rip-roaring, bizarre 80s adventure, boasting some incredible (for its time) FX, great performances, and a masterful score by the late James Horner. You can watch it now on Disney+ or buy a copy of it here.
Over three decades ago, Ron Howard teamed up with George Lucas on the fantasy film called Willow. In 1987, Lucas produced Willow, and Howard directed the movie; which featured Warwick Davis as a would-be magician, Willow Ufgood. While the movie only had a modest box office run, Willow has gone on to become a cult film.
RELATED: Jonathan Kasdan Confirms Start of Willow Series
Although Willow never got a cinematic sequel, Lucas and former X-Men writer Chris Claremont did create a trilogy of novels set in that world. In 1995, Shadow Moon kicked off the Chronicles of the Shadow War trilogy. In that story, the focus shifted from Willow to Elora Danan, the young girl whom Willow had protected when she was an infant.
Presumably, any Willow sequel series won’t be bound by any of the events of the Shadow War books but will serve as a continuation of the original film’s story.
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Warner Bros. has unveiled the first trailer for the latest installment in the direct-to-video Mystery Gang franchise, Happy Halloween, Scooby Doo! featuring an ensemble crossover that includes Elvira, Mistress of the Dark and DC Comics’ Scarecrow! The trailer can be viewed in the player below!
RELATED: Warner Bros’ Scoob! Getting an Early HBO Max Release
Scooby-Doo and Shaggy’s favorite holiday is upon us! With fake monsters and candy galore, Halloween is heaven for these hungry foodies going door-to-door. But this year, their sweet holiday turns sour when the neighborhood pumpkin patch is infected by toxic ooze, creating high-flying jack-o-lanters, and a king-sized pumpkin leader squashing everything in its path. It’s up to Scooby-Doo and the gang as they team up with their pals, Bill Nye the Science Guy and Elvira, Mistress of the Dark, to solve this mystery of gigantic proportions and save Crystal Cove!
Happy Halloween, Scooby-Doo! features the familiar voice talents of Frank Welker as Scooby-Doo/Fred Jones, Grey Griffin as Daphne Blake, Matthew Lillard as Shaggy Rogers and Kate Micucci as Velma Dinkley. The film also stars Cassandra Peterson as Elvira, Mistress of the Dark and Bill Nye as himself. The film was executive produced by Sam Register (Looney Tunes Cartoons) and written, produced and directed by Maxwell Atoms.
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Happy Halloween, Scooby-Doo!, the first adventure set around the titular holiday for the Mystery Gang, is set to hit digital platforms and physical shelves sometime this fall!
The post Happy Halloween, Scooby-Doo! Trailer Unveils Ensemble Crossover appeared first on ComingSoon.net.
It has been nearly two months since it was announced that Mike Flanagan is set to pen Warner Bros’ film adaptation of Stephen King’s horror novel Revival, and now the Doctor Sleep filmmaker has finally revealed an update on the project’s current development. Speaking with The Kingcast, Flanagan confirmed completion of his first draft of the screenplay, describing it as dark and cynical. He also confirmed that King has also read it and has given his approval.
“What I love about it is it’s a return to cosmic horror, which I think is so fun,” Flanagan said. “It is relentlessly dark and cynical and I’m enjoying the hell out of that. This is just bleak and mean and I like it for that. I haven’t gotten to end a movie that way since ‘Absentia,’ maybe? Maybe ‘Ouija’?”
He continued, “This one was a really fun piece of material for me because I get to be like, ‘Oh, you want a dark ending? Okay. Cool. Get ready.’“
RELATED: Mike Flanagan Offers Update on The Haunting of Bly Manor
Originally published in 2014, the novel centered on a relationship between a heroin-addicted musician and a dubious faith healer with a hidden agenda, with the minister obsessed with trying to find a way to communicate with his departed wife and child but accidentally taps into a Lovecraftian horror.
Pick up your copy of the novel here!
Flanagan is currently attached to pen the script for the adaptation at Warner Bros. Pictures and has the option to also step into the director’s chair on the project. A film adaptation was previously in the works at Universal Pictures with Josh Boone set to write and direct the project while also working on his iteration of The Stand, but after lingering in development hell the rights were picked up by Warner Bros., while Boone’s version of the 1978 novel is expected to premiere on CBS All Access later this year.
Flanagan is currently working with producing partner Trevor Macy on the adaptation of Revival, with Macy set to produce via the duo’s Intrepid Pictures, who recently acquired the rights to develop an adaptation of the 1994 horror novel The Midnight Club at Netflix in expanding Flangan’s working relationship with the streaming service.
RELATED: Netflix Delays Production on Mike Flanagan’s Midnight Mass
The 41-year-old writer/director previously dipped his toe into the world of King with the 2017 adaptation of his 1992 novel Gerald’s Game for Netflix, which received rave reviews from critics and audiences alike, and continued with the big screen adaptation of the 2013 sequel to The Shining, Doctor Sleep, which despite receiving strong reviews was considered a box office disappointment, grossing only $72.3 million on a $45 million budget, squashing follow-up plans.
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Last May, DCEU fans were treated to some good news when various outlets reported that Henry Cavill was currently in negotiations with Warner Bros. to reprise his iconic role as Superman. However, in a new interview with Variety, Cavill addressed recent reports regarding his possible return to the DCEU, confirming it as speculation since conversations about that subject aren’t taking place.
“The amount of speculation, the stuff I read on the Internet, is extraordinary and sometimes frustrating,” Cavill said. “It’s when you see people stating stuff as fact. Like, ‘No, that’s not the case. That hasn’t happened, and that conversation isn’t happening.’”
Even though his return as the Man of Steel far from certain, he again reiterated his desire to be able to be given the chance to play the character again. “But the important thing is that people are excited about it, and I think it’s important to be excited about a character like Superman. Superman is a fantastic character. If people are chatting about it, and even if they’re making stuff up, it’s okay, because that means they want to see the character again. And in an ideal world, I would absolutely love to play the character again.”
RELATED: Zack Snyder Unveils Teaser of Justice League Director’s Cut
Though Cavill had reportedly departed the role in 2018, he has said in interviews since that he hadn’t given up on the role and was very grateful for his time as the Man of Steel and was ready to take on the mantle once again should the opportunity arise and now it appears he’s ready to return, though it’s currently unclear as to the extent of his new work, whether it be for the upcoming Snyder Cut of Justice League or for future films.
Cavill first appeared in the role in the start to the DCEU Man of Steel followed by 2016’s Batman v Superman: Dawn of Justice and 2017’s Justice League, which was the inciting point for his potential exit from the role after reshoots caused a rift between the studio and the star as it conflicted with his work on Paramount Pictures’ Mission: Impossible — Fallout. He was set to appear in future DCEu films, including a cameo in David F. Sandberg’s Shazam!, but after being let go from the role, one of his stunt doubles stepped in for him instead without the face of the character being shown.
RELATED: Justice League Snyder Cut: Deborah Snyder Reveals Details Behind Surprising HBO Max Release
In the meantime, Henry Cavill has been hard at work leading Netflix’s popular fantasy series adaptation of The Witcher which is currently gearing up to restart production on the second season. Based on the best-selling fantasy series, The Witcher is an epic tale of fate and family. Geralt of Rivia, a solitary monster hunter, struggles to find his place in a world where people often prove more wicked than beasts. But when destiny hurtles him toward a powerful sorceress, and a young princess with a dangerous secret, the three must learn to navigate the increasingly volatile Continent together.
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Man, these weeks are just flying by. What a year, amirite? Imagine talking to your kids or grandkids about 2020 — the year everything in the world seemed to just stop. It has truly been a bizarre experience.
Speaking of bizarre, suddenly you couch potatoes are clamoring for Yellowstone! I’m so proud. The first season snuck its way on the list a few weeks ago, and now the Top 5 consist of all three seasons. Remarkable what good word of mouth will do for a flick/show/series, eh? Season 3 takes the top spot from The Invisible Man, which endured a long road to the top, but must settle for fifth place this week.
Surprisingly, Trolls World Tour made a huge splash at No. 2. The DreamWorks animated flick has amassed quite the audience since its digital release way back on April 10.
Otherwise, the list remains fairly intact from last week give or take a few titles. Despite the additions of Yellowstone, friggin’ Harry Potter refuses to avada kedavra*. In fact, it has wingardium leviosaed* its way around the Top 20 for nearly a month. Again, no issue here, the series is great. But there are literally millions of films for you to watch, people? Let’s get some variety going here!
1. Yellowstone: S3 (Paramount)
2. Trolls World Tour (Universal)
3. Yellowstone: S1 (Paramount)
4. Yellowstone: S2 (Paramount)
5. The Invisible Man (Universal, 2020)
6. Sonic the Hedgehog (Paramount)
7. The Hunt (Universal)
8. Jumanji: The Next Level (Sony)
9. Bad Boys for Life (Sony)
10. Birds of Prey: Harley Quinn (WB)
11. 1917 (Universal)
12. The Call of the Wild (Disney, 2020)
13. Bloodshot (Sony, 2020)
14. The Gentlemen (STX/Universal, 2019)
15. Spies in Disguise (Fox)
16. Onward (Disney)
17. Fantasy Island (Sony, 2020)
18. Dolittle (Universal)
19. Harry Potter (WB, Complete 8-film Collection)
20. Star Wars: Episode IX – Skywalker (Disney)
*I realize these are not actual Harry Potter sayings, but spells. So, please, don’t obliviate my brain.
The post Watched at Home: Top 20 Streaming Films for the Week of June 26 appeared first on ComingSoon.net.
Stuck inside? Don’t know what to watch/read/play/listen to? ComingSoon.net has got you covered. In this week’s CS Recommends our staff gives you solid tips on the best media to consume during your downtime, including Thor by Jason Aaron: The Complete Collection & more. Check out our picks below!
RELATED: June 30 Blu-ray, Digital and DVD Releases
Click here to purchase Volume 1!
Click here to purchase Volume 2!
I want to make a confession: I was a regular reader of the Thor comics by Jason Aaron for awhile, and was loving every issue. Then when they introduced the concept of Lady Thor I immediately reacted like the book jumped the shark and stopped buying the floppies from my homebase comic book store, Midtown Comics in NYC.
Then Taika Waititi announced he was making Thor: Love and Thunder based on this very run that I had stopped reading, so I decided to take the plunge and read it and… IT’S GREAT! The artwork by artists like Esad Ribic and Russell Dauterman (among others) is iconic, and the story of Jane Foster inheriting Mjölnir/the power of Thor while battling cancer is touching and powerful. This is Marvel Comics at its very best, with lots of great mythic detours involving Frost Giants, the Roxxon corporation, Malekith and more. Highly recommended before the new movie comes out! The Lady Thor stuff begins in Volume 2 of The Complete Collection.
The BioShock franchise is probably my absolute favorite of any video game series. The collection consists of the first two games, BioShock and Bioshock 2 in the underwater city of Rapture, as well as the third game, BioShock Infinite, which takes place in 1912 in the flying city of Columbia. The original will probably always be my favorite, the one that really cemented my love of the first-person shooter with a story as unique as its characters and settings, but all three games are vastly entertaining and worth a playthrough. Between the design, story, and gameplay style including plenty of choices and hacks for the player to navigate in the FPS/RPG hybrid (with a bit of survival horror mixed in), the titles offer a lot in immersive gaming.
Click here to purchase the movie!
Click here to purchase the soundtrack!
As we close June and Pride Month, we also come to the 50th anniversary of the first Pride march in New York City and though there are a number of important and eye-opening dramas and documentaries audiences should go watch, I believe one of the best ways to celebrate the day is to dive into the powerful and exhilarating Elton John biopic Rocketman. The long-developed project is an unashamed look at the highs and lows of the legendary musician’s 50-plus year career and finds a beautiful way to weave his Grammy-winning catalogue of songs into the story without simply being concert performances or studio recordings. The unique structure and stellar direction from Dexter Fletcher aside, the film is carried by what should’ve been an Oscar-winning performance from Taron Egerton, who also performs every song on the soundtrack depicted in the story in such an impressive manner it’s almost impossible to distinguish between the 30-year-old star and his real-life subject. Unlike a certain other four Oscar-winning musical biopic that mishandled its portrayal of its lead character’s sexuality, Rocketman is willing to fully embrace every element of John’s struggles with whether he was bisexual or gay and even features the first gay male sex scene to come from a major film studio. In choosing to celebrate John’s life, both professional and personal, good and bad, the film is, for the most part, an honest and wonderful representation of a legend and is not only a magnificent film to visit to honor Pride Month, but one of the best music biopics to ever grace the screen, and the fact it earned one lone Oscar nomination/win while that other movie-that-shall-not-be-named earned five is criminal. And once you’ve finished the film, dive right into the soundtrack, because Egerton’s renditions of John’s iconic sings are works of art to revisit time and again.
Starring Steve Martin and Diane Keaton, Father of the Bride is a comedy film that follows the story of a successful businessman named George Banks, whose perfect and happy life gets suddenly disrupted when her 22-year-old daughter Annie announces that she is engaged to someone she had only been dating for three months. As an overprotective father, George didn’t take the news lightly and immediately disliked Annie’s fiancé Bryan for taking his daughter away from him, even though Bryan’s a nice guy and comes from a wealthy family. Throughout the film, George gets unwillingly dragged into the madness and expensiveness of wedding preparation all the while reminiscing through his and Annie’s father and daughter moments.
This 1991 film is a remake of Vincente Minnelli’s 1950 film of the same name. Overall, it is a really entertaining and heartwarming film about parents learning how to accept the reality of their children’s inevitable path towards growing up. I definitely consider Father of the Bride as one of my most favorite family comedies because it’s a feel-good classic that you can rely on a bad day.
What I love the most about the film is the scenes involving Steve Martin and Martin Short where their dynamic comedic chemistry transcends throughout their scenes together even though their characters are always at odds with each other. If you haven’t got the chance to watch Father of the Bride, I guarantee you that you won’t get disappointed with this 90s classic. However, in case you’ve already seen this film, you should also check out its 1995 sequel, which is equally fun and entertaining as the first one.
If you’re looking for some wacky summer fun, check out Joe Dante’s 1989 classic The ‘Burbs, starring Tom Hanks before he became Academy-Award winner Tom Hanks. The story is simple: a weird family moves onto the Universal Tour backlot block and causes the local residents to go berserk. There are crazy situations involving sardines, power lines, garbage, gas lines, infrared scopes … all told from Joe Dante’s clever, if not dark, perspective; and brought to life by Jerry Goldsmith’s terrific score and a wonderful cast that also includes Carrie Fisher, Bruce Dern, Rick Ducommun, Corey Feldman, and Wendy Schaal.
As a side, and this is a spoiler in case you haven’t seen the movie, the original ending revealed that Hanks’ character had lost his job, which added to his stressful state; and the finale absolved the Klopeks of any crimes, which fits the narrative a little better if you ask me. As it turns out, the Klopeks were just weird people; and it was Hanks and his buddies who were the lunatics. Another ending had Ray murdered by Dr. Klopek in the ambulance and a final shot showing trash bags being stuffed into the back of the Klopeks’ car, which would have been darkly humorous but a little too … much. In any case, the ending as is works just fine, even if it runs counter to the themes of the film.
ComingSoon.net recommends all readers comply with CDC guidelines and remain as isolated as possible during this urgent time.
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Welcome to this month’s edition of ComingSoon.net’s I Wish I Made That, in which filmmakers Ted Geoghegan (We Are Still Here, Mohawk) and Victoria Negri (Gold Star) each pick a film they wish they had actually made! This discussion focuses on the Nicolas Cage comedies Valley Girl (1983) and Vampire’s Kiss (1988). Check out their conversation below!
RELATED: I Wish I Made That: Airplane & Clue
Victoria Negri is an actress, producer, writer, and director known for The Walk (2020) and The Fever and the Fret (2018). Gold Star, her 2017 debut feature as director, served as the final onscreen performance by noted actor Robert Vaughn. You can purchase Gold Star by clicking here!
Negri just announced that her horror-themed short film The Walk will be screening as part of June’s virtual edition of New Jersey’s Lighthouse International Film Festival!
Ted Geoghegan studied screenwriting under the tutelage of the late Carroll O’Connor. After writing numerous genre features in Europe and The United States, he made his directorial debut with the 2015 horror film We Are Still Here, then followed it up with the Native American revenge movie Mohawk (2017). Click here to purchase We Are Still Here, and click here to purchase Mohawk!
Geoghegan recently began a well-received podcast titled “This is Not a Story About…” Each episode of the program begins as the story of someone or something in the world of film that cinephiles know very well, but transforms into an expertly-researched tale about a new topic: one that can be closely-related or worlds away from where its story began. You can listen to the podcast by clicking here!
RELATED: I Wish I Made That: Willow & The NeverEnding Story
Victoria Negri: Hey Ted! I’m excited to chat with you for this edition of “I Wish I Made That” about films with Nic Cage. The man, the myth, the acting legend. You chose another film I’ve never seen “Valley Girl” and I picked the cult film “Vampire’s Kiss”. Two very different movies. It was crazy watching them back to back. Tell me about “Valley Girl”. What made you pick that one? I loved it, by the way!
Ted Geoghegan: Oh, I’m so glad you dug it! I picked it because it was always a film that I enjoyed as a kid, and it held up as I got older. I like that it feels very innocent and pure. And, I admit, I also picked it because it was recently remade!!!
Negri: I noticed that! Yeah, I haven’t seen the remake. But I want to. I loved that it was quite clearly an 80’s version of “Romeo and Juliet”. They really don’t shy away from that. The characters are literally standing underneath the marquee saying “Romeo and Juliet”.
Geoghegan: Yeah, the film doesn’t quite understand subtlety. But it’s sweet.
Negri: I’m all for it though. Go for it!
Geoghegan: I was drawn to that sweetness when I picked a Nic Cage movie I wish I’d made. Even though I love horror movies, I’m kind of a big softy.
Negri: Yeah he’s done such a huge range of films, especially when he was younger. I almost picked “Moonstruck” because I’m also a softy.
Geoghegan: On the other end of that spectrum, you picked “Vampire’s Kiss” – which might be one of the meaner Cage movies he’d ever made! It always rubbed me the wrong way, both as a child and an adult! Yeah, it’s the first film for this series that by “I Wish I Made That” what I really want to do is go in there, tear it up and make something that’s not so I guess repulsive in many ways.
Negri: The concept is so interesting to me though.
Geoghegan: The concept, on its surface, works for me. But the execution is so mean. Cage’s Peter Lowe is all-time uncomfortable example of a toxic dude. It’s legit hard for me to watch him in that film.
Negri: Yeah he’s awful. The way his character is written, he’s screaming at women for 90 percent of the film, and just violent.
Geoghegan: So, before I dive into the cuteness of “Valley Girl”, tell me more about how and why you want to deconstruct your title!
Negri: Yeah I mean, I want to deconstruct everything about it. I feel like this could become a big rant… But…To me what’s interesting in the concept is this person who hates himself so much that he wants to be something else, something people are afraid of to keep others away. Also, this psychosis through sexuality that’s touched on but just kind of tossed off with sexualized vampires. What’s that about? I would RATHER change it to have a woman play the leading Nic Cage role, and have her fall down this rabbit hole of hiding beneath the belief that she’s a vampire. The thing to decide is whether the character gets lost in this world (a la Joker) or if there’s light at the end of the tunnel and they realize the vampire persona was a cloak (pun intended) because of their fears of society. I think too many people watch the film like — oh Nic Cage is so crazy! Hilarious! But there’s a lot to talk about beyond his over the top performance.
Geoghegan: I totally get you. I feel like the toxicity of the role is almost completely overlooked by its fans. Gender-swapping it would be a great step in flipping the script, but the nastiness would have to be toned down, regardless of its lead’s sex.
Negri: Totally.
Geoghegan: The character, as its currently written, would be reprehensible as a woman too.
Negri: Peter really is vile.
Geoghegan: I think the deeper dive that you spoke of is the first step. Asking why this character is so awful and why they choose to live this life… that’s interesting.
Negri: Exactly. What are they hiding from and why are they pushing people away?
Geoghegan: And a lot more fun, as a viewer, than watching someone in power scream at the people who work for them.
Negri: Yeah the power screaming. Not a good look. And the plot of the film doesn’t even matter as it’s written.
Geoghegan: Sexuality in the film is a huge focus, but also something that doesn’t get the attention it rightfully deserves. Showing it as both a drug and a crutch would be key to making the character more relatable.
Negri: Yeah and that’s what makes me interested in making the protagonist a woman also, exploring that through a female perspective. And giving the character some back story to aid in all of this — who is this person?
Geoghegan: So, Victoria’s version sees a real, honest-to-God woman with ample power, believing she’s been bitten by a vampire and delving into a new world to sex and power. But how do you keep that concept funny in 2020? …Or do you drop the humor?
Negri: Hmm… Yeah, keeping humor in it would be challenging but I think it’s important to have something in there for levity. Maybe another character that pulls her out of it, someone that can keep her grounded. A family member or mother character. Somebody to point out how ridiculous it is. Or, maybe she does dive into the vampire world and joins some kind of really dedicated club of people that are fun and she believes they’re actually vampires, but they’re not. I also really like “What We Do in the Shadows”, but that’s tonally such different vampire humor haha.
Geoghegan: Also a superfan, but yeah, tonally quite different.
Negri: I think it’s through another character that throws her off somehow.
Geoghegan: I think there’s a world in which the humor around this can be found, even in our current landscape. It’s kind of sad and scary, what the film’s lead goes through, but if handled properly, it could be funny. Maybe that’s what I’ve always had an issue within the film. It *could* work.
Negri: Yeah. What would you do with it to keep it funny? Or not keep, but give it humor, I should say.
Geoghegan: I feel like the film would have worked much better with its original lead. Dennis Quaid was supposed to star in it, but dropped out last-minute after getting “Innerspace”. I love Cage, but I think Quaid playing the part with less rage and more humanity would have been a huge help.
Negri: Oh! I had no idea!
Geoghegan: Quaid’s also got a sense of humility that I think the role required.
Negri: Yeah I agree, that would’ve been much more interesting to see. Maybe some subtlety.
Geoghegan: Yeah, it wasn’t originally conceived as Cage going bonkers. He brought all that, himself.
Negri: He’s like a crazy hurricane in the film.
Geoghegan: And again, big Cage fan. But when I think of the film with Dennis Quaid in the lead, it reads completely differently.
Negri: Yeah I wonder why Cage went as big and angry as he did. I wonder why he often does that in a lot of his work. He’s never not interesting, at least!
Geoghegan: I think this perfectly brings up something I wanted to address, which is “When did Cage get big and angry?” He’d always been over-the-top, but at a certain point, it was almost as though he lost the ability to play anything but crazy.
Negri: Yeah I loved some of his other over the top choices, like using different character voices, etc., that weren’t big/angry. I don’t know.
Geoghegan: I feel like it was after “Leaving Las Vegas” in ’95. He was playing an out-of-control drunk, and he won an Oscar for it. After that, I think he was just like, “Oh. This is what they want? Fine, then.”He’d done plenty of gonzo parts before then – including “Vampire” – but I feel like that Oscar changed everything.
Negri: Yeah I think it’s self-perpetuating, like, oh, this works. This is what people expect. I think you’re right.
Geoghegan: He’s forever chasing that second Oscar nod by getting sillier and sillier…
Negri: Yeah. He’s got to choose something different. Although I loved “Mandy”. So I’ve been thinking about anything that could link our films together in thinking about, okay, well what about these parts would makeCage want to play them? And they’re both people that are in worlds that aren’t their own, like people who are out of place. Maybe he’s drawn to parts like that? Although maybe now it’s money? But back in the day, these are characters out of their element.
Geoghegan: I think that’s a very fair assumption. He wants to play characters that are outsiders. And that’s very charming. If you remade “Vampire’s Kiss”, where would you put Cage in it? What outsider role could you dream up for him that isn’t the lead? I thought about that with “Valley Girl” and was amused by the idea of him playing a yuppie dad in the 1980s. I’d love to see him play against type… however hard that might be to accomplish.
Negri: Oooooo awesome question. I think the foil to the lead. Like maybe he plays the version of Alva or a love interest to the woman who is the Peter character rewritten. Maybe he’s trying to be in her world and it doesn’t work. A yuppie dad in the 80s would be amazing. Yeah, I think he’s fully embraced his outsider-I-go-bonkers persona. So tell me more about “Valley Girl”. What if anything would you change about it? How would you update it for 2020? I loved that New Wave soundtrack, by the way.
Geoghegan: Well, my thoughts regarding “Valley Girl” are peculiar because I could never remake it. They tried recently and I hear it’s not bad, but I picked this title because, as the column’s title goes, “I wish I made it.”I wish that I was of-age when the film was shot and that I could experience those moments for real – not re-imagine them.
Negri: Yeah there’s something so innocent and nostalgic about it. As we were talking about, it’s like “Romeo and Juliet”, with very little of the dark aspects of it. Just some of the friend gossip that happens. When did you first see it? And how was it re-watching in thinking about wanting to experience those moments and how that may have evolved for you over time?
Geoghegan: I first saw it shortly after it came out, but I was in grade school. Still, it resonated with me. I’d never been to California, but it seemed magical. I wanted to hang out these people. I wanted to be in their world.
Negri: Yeah it’s very cool.
Geoghegan: And as I grew up, visited California, and watched the world change, I always hung onto that sweet little slice of cinema.
Negri: Yeah it made me want to go back in time and be that person that goes to a party and then runs off with someone new, that discovery of young love in a place that feels magical. California always seemed exotic and magical — that’s where movies are made — to me growing up in Connecticut.
Geoghegan: It’s the perfect example of a film that I desperately wish I could have made, but would never try to now. It’s a time capsule. And I think the idea of making a time capsule is pretty special.
Negri: Yeah what would be a time capsule now that holds onto this feeling, like an ode to it? A modern-day “Romeo and Juliet”? Where would you set it? Still California?
Geoghegan: God help anyone who wants to make a time capsule of 2020…
Negri: I know, I was just thinking, how would you even make a movie like that today?
Geoghegan: That innocence is, in many ways, gone.
Negri: Yeah even before 2020 hit, I feel like the internet and cell phones ruined so much of what make those movies magical.
Geoghegan: The 80s were *not* an innocent time, but a lot of their storytelling techniques were.
Negri: What about the storytelling to you was innocent?
Geoghegan: The stakes are high, but they’re not scary. It can be life or death, but it somehow also feels safe. It’s daring, but… not too daring. I think it’s why so much 80’s cinema resonates with people. It feels like true escapism. And a lot of cinema these days has lost that.
Negri: Yeah it really rides a line. I really appreciate that in “Valley Girl”. Tommy adds tension in trying to break up the romance, but unlike “Romeo and Juliet”, Julie’s parents are really supportive of her and the relationship, which was so awesome to see. I had so much fun watching it.
Geoghegan: If I was to make a feel-good time capsule movie of “right now” (not 2020), I think it would need to be about little kids. Something like “Good Boys”, which I thought was sweet and hilarious.
Negri: Yeah I have to check that movie out. Kids would work, before they realize all the awful stuff going on, before they’re completely corrupted by technology and social media.
Geoghegan: People become adults too quickly now. The teens in “Valley Girl” feel like children, yet 13-year-olds in2020 are practically grown-ups.
Negri: And there’s this mystery about getting to know new people that I really like. You can’t Google people. You can’t stalk their social media accounts. It takes more time. It’s so refreshing to see that. I’m really ripping into the internet despite it bringing a lot of good.
Geoghegan: Here’s to no digital stalking… or any stalking, for that matter!
Negri: None of it!
Geoghegan: Agreed. I’m a digital addict, but I hate what it’s done to the world.
Negri: Yeah I try to lessen its hold over me. Put my phone away when watching movies. It’s why I miss watching movies in theaters, because you can’t just turn on your phone and be like, hmmm what’s happening over here. Also something I really love about “Valley Girl”, how Julie really defends Nic Cage’s character to her friends. She takes action. She’s not a passive character. None of them are, they’re all moving towards something. When she got in that car with him I was like YES!
Geoghegan: Again, I think it’s why it resonated so strongly. It’s sweet-yet-powerful. It makes you wanna cheer on its heroes… warts and all. They’re all a bit off, and that’s what makes them so good. I’d like to think that’s why Cage wanted to do it.
Negri: Yeah he still gets to be kind of a weird outsider and it works. It’s charming.
Geoghegan: This conversation feels a bit different than our past ones, and I think it’s because we’ve both dug so deep into the existing films, good or bad, to talk about why we’ve chosen them. We’ve turned into armchair critics.
Negri: I know! I was thinking that when I was ripping into “Vampire’s Kiss”. I was like, oh no. People made this movie and tried and anyone who makes a movie deserves a huge WELL DONE because it’s a feat in itself. And I feel like we could sidetrack and talk about cinema of the 80s overall in this mindset, too.
Geoghegan: I don’t think you were ripping into it as much as you were pointing out what you’d do differently, both for yourself and for the mercy of your audience. And I think that’s a fair notion for any director to have.
Negri: Appreciate that. Yeah, I always get a bit iffy when I point out what I don’t like in other filmmakers’ movies publicly because we’re all, you know, sensitive artists. And again, making movies is HARD.
Geoghegan: And kudos for choosing a film that you weren’t gushing about, as I’ve done every column. I need to be bold next time and pick something that I disagree with!
Negri: I love that you keep picking such great films. “Valley Girl” is one I’ll go back to when I need to smile.
Geoghegan: Making movies *is* hard, and I’m sure that making a movie with someone as eclectic and incredible as Nic Cage is a journey not soon forgotten.
Negri: I know! I wonder how the director worked with him and what that was like on that film. Interesting, to say the least.
Geoghegan: My hat is off to anyone who takes that plunge! And you’re very welcome! You’re seeing deep into my psyche!
Negri: And you, mine! I’m like – let me pick the films about the strange outsiders.
Geoghegan: I always appreciate your insight, and I love the ideas that you’ve got bouncing around inside your head. While you’ll never be able to travel back to 1989 and right all of the wrongs in “Vampire’s Kiss”, I have faith that you’ll be able to give the world something even more amazing in the future!
Negri: I hope so! And thank you! I want to see a Ted version of “Valley Girl”, not a remake, but something similar.
Geoghegan: Tell you what… Let’s add vampires and we can both make it.
Negri: Hell yeah.
Geoghegan: I suppose our time has come, but it’s always a joy talking to you – and thank you again for the spirited chat. I can’t wait to get nerdy with you again.
Negri: Yes, until next time! Such a pleasure! Can’t wait for the next one!
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The post I Wish I Made That: Valley Girl & Vampire’s Kiss appeared first on ComingSoon.net.