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Film/TV Film/TV/Etc. Blog

Time Warp With Ahnold this Saturday!

Arnold Schwarzenegger’s career in the 1980s ranged from the sublime to the ridiculous. That makes the former governor of California the perfect subject for this month’s Time Warp Drive-In.

Schwarzenegger, a former professional bodybuilder whose first screen appearance was in the documentary Pumping Iron, starred in two perfect movies in the Reagan era. One of them is Conan The Barbarian, and I will accept no disagreement on that point. The second one is James Cameron’s breakthrough picture (if you don’t count Piranha II: The Spawning) The Terminator. Not much I can say about The Terminator that hasn’t already been said a thousand times. If you’ve never seen it, yes, it is every bit as good as you’ve heard, and watching it in a drive-in is pretty much the ideal setting. And if you want a master class in how to cut a trailer, take a look at this one. They don’t make ’em like this any more.

Time Warp With Ahnold this Saturday!

Next up is a film that epitomizes the rut he fell into in the late ’80s. Where The Terminator was violent, it was also one of the smartest science fiction scripts ever filmed. Predator is all about bulging biceps and firearms. And yet, Ahnold carries it effortlessly. To see what happens when he’s not the lead, check out this year’s flaccid Predator remake.

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Two years later, Paul Verhoeven was using Ahnold’s public image as a tough guy to sell his over-the-top, borderline satirical take on Philip K. Dick’s Total Recall. And yet, amidst all the weirdness, Schwarzenegger still carries the film! Just witness the horror show of the Ahnold-less remake. This is why, despite the fact that he is almost singlehandedly responsible for the introduction of the Hummer into civilian life, I can’t hate the guy. He’s got chops.

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Finally, a Stephen King adaptation that was set in the then-far-away future of 2017, The Running Man. Schwarzenegger is, predictably, great in this, but not for the usual reasons. He’s kinda clueless as the now all-too-real satire swirls around him, but playing the material completely straight is absolutely the right move here, especially since he’s playing off of a gloriously over-the-top Richard Dawson. Did I mention this movie essentially predicted the plague of reality TV, but somehow didn’t go far enough to see that the dystopia that blighted entertainment genre would create when we essentially elected Richard Dawson’s character president?

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Time Warp Drive-In starts at dusk on Saturday, November 10 at the Malco Summer Drive-In.

Categories
Opinion Viewpoint

Die Hard

Republican presidential candidate Donald Trump says that if he had been present for the Paris terror attacks, he would have personally shot the attackers. “I’m licensed to carry,” he explains. “If I were there, if somebody were there, if we had some firepower in the opposite direction, those people would’ve been gone.” Such shoot-from-the-hip rhetoric, which has swollen Trump’s poll numb

ers, has defied conventional wisdom about what you can let your id blurt out on the campaign trail.

Much attention and analysis — too much — has been commmited to the bizarre phenomenon of a bombastic, self-promoting reality-TV star and real estate mogul capturing Republican primary voters’ hearts by spurning traditional scripts. But that’s the point with Trump. We need to think about him not through the frameworks of politics or how the mainstream news media cover current affairs. Rather, we must recognize that Trump is a canny performer who taps into enduring fantasies Americans have imbibed for decades — not from the news or political talk shows, but from TV, movie, and console screens.

Too often we forget how political values are embedded in and advanced by what passes for “just entertainment.” Some of these values are progressive, others quite regressive, but a persistent trope is that there are simple solutions to complex problems.

One incarnation of this fantasy, a noble one, is about politicians speaking truth to power and, in the end, redeeming national politics. This is the Mr. Smith Goes to Washington dream, in which James Stewart takes on the press (to one reporter, “Why don’t you tell the truth for a change?”) and corrupt politicians, filibustering for truth and decency on the Senate floor and shaming a colleague into confessing his wrongdoing. An impressed radio commentator casts him as “one lone and simple American holding the greatest floor in the land. What he lacked in experience, he’s made up in fight.” Only an outsider could see and speak the truth.

A more recent version of this fantasy was Warren Beatty’s 1998 film, Bulworth, in which a corrupt politician, thinking he’s about to die, spouts obscenity-laced raps about almost every injustice he sees — from the mass incarceration of black men to the need for socialism — and experiences a spike in his popularity as a result. While these media dreams, which Trump both channels and perverts, speak to our better angels, a lone hero simply speaking his “truth” to the establishment has rarely, by itself, changed anything.

Another version of this mass-entertainment fantasy exploited by Trump features the tough, massively armed lone hero — think Die Hard, or most Schwarzenegger films — who triumphs against murderous hordes, be they terrorists, criminals, or foreign armies. In her 1993 book, Hard Bodies, Susan Jeffords laid out how these action films of the 1980s meshed beautifully with both Ronald Reagan’s cowboy image and his foreign policy stances, and came to stand for a vision of our national character as “heroic, aggressive and determined.” As Trump proclaimed in a recent Republican debate, “We need toughness. We need strength.”

Trump also relentlessly promotes the delusion that stereotypes are true and thus should guide our public policies. For most Americans, entertainment and news media are the primary sources of information about Arabs and Muslims (two groups that are often conflated). What they see, overwhelmingly, are both groups portrayed as terrorists.

As the author of a 2013 study on stereotypes in video games put it, “Being an Arab video game character is almost synonymous with being a terrorist.” Trump’s proposal to ban Muslims from entering the United States draws from this stereotype to present the illusion that racial profiling is a simple way to keep us safe. Add the proposal to “take out the families” of terrorists and you have a strategy straight from the Godfather movies.

These media-driven, macho fantasies are clearly providing sustenance to some, given the size of Trump’s rallies and his standing in the polls. But they are also why, according to the most recent polls from Wall Street Journal/MSNBC, 56 percent of Americans have a “somewhat negative” or “very negative” view of him; for women 18-49, the “very negative” ratings are 58 percent. In the real world, when politicians pervert “truth telling” to propose violent and hateful policies, fantasy can morph into nightmare.

Susan J. Douglas writes for Featurewell.com.

Categories
Film Features Film/TV

Terminator Genisys

I’m going to risk my film-geek cred by going on record as not hating Arnold Schwarzenegger.

There are a lot of reasons I should hate him: Commando; Kindergarten Cop; Jingle All the Way; Mr. Freeze in Batman & Robin. Not to mention his years as Republican governor of California and his role in popularizing the Hummer as a civilian vehicle.

But there’s something about the guy that makes it impossible for me to banish him to Steven Seagal land. Maybe it’s the fact that he was downright brilliant in two of the best sci-fi/fantasy movies of the 1980s: Conan the Barbarian and The Terminator. Directors John Milius and James Cameron, respectively, knew how to use Schwarzenegger’s impressive physical presence and limited command of English to create their title characters. As his career (and English lessons) advanced, he revealed a self-deprecating sense of humor that his contemporaries Sylvester Stallone and Jean-Claude Van Damme lacked. In 2015, I find myself intrigued by the prospect of his return as Conan, even though it won’t be in Milius’ long-rumored King Conan script.

But instead of seeing him wear Conan’s Crown of Iron, we got Terminator Genisys.

In these dark times of unnecessary sequels and reboots, Terminator Genisys stands out as particularly unnecessary. The original Terminator was a master class in low-budget exploitation sci-fi made by an acolyte of Roger Corman. The second was a lesson in what happens when a plucky underdog gets a big enough budget to fly a helicopter underneath a viaduct while a semi explodes in the background. Then things just got silly.

Okay, maybe the original premise of The Terminator is pretty silly: Skynet, artificial intelligence spontaneously generated from defense computers, initiates a planet genocide by starting a nuclear war in 1997. Then, 30 years later, when it is on the verge of defeat by a human resistance movement, it sends a robot in the form of Arnie back in time to kill a woman named Sarah Connor, whose son John would grow up to become the general who will defeat Skynet. It was pulpy fun and fairly self-consistent, since Skynet accidentally created its own nemesis when Kyle Reece, the soldier John Connor sent back in time to defend his mother ended up being his father.

But time war is a tricky thing. Once you start violating causation, you’ve opened up a major can of worms. Thor: The Dark World director Alan Taylor tries using Back to the Future, Part II as a template for the story, which sees Kyle Reese, now played by Jai Courtney, traveling back to save Sarah Connor (Game of Thrones‘ Emilia Clarke), only to find that the past ain’t what it used to be. Yet another terminator has been sent even further back into the past to terminate the terminator Reese was supposed to terminate. Who sent it? Nobody knows, but it has something to do with former Doctor Who Matt Smith, who plays yet another, higher-tech terminator that is Skynet made flesh. This is the kind of super-twisty plotting that could, in the hands of a genius science-fiction writer, pay off big time.

Unfortunately, Terminator Genisys doesn’t take its own plot seriously enough to build real tension. Instead, Schwarzenegger occasionally spouts a few lines of half-assed technobabble, and away we go to make bigger booms. Even as the story falls apart, it’s still burdened with leaden exposition. In place of Cameron’s relentless action-inventiveness, we get derivative hackery and callbacks to action sequences that were better staged 25 years ago. Clarke makes a brave run of it as Sarah, but she can’t live up to Linda Hamilton’s iconic heroine, and Courtney is too well-fed and bright-eyed to effectively channel the desperate future soldier Reese.

Watching old Schwarzenegger fight young Schwarzenegger is the best thing about the movie, but unlike Jurassic World, the action sequences aren’t good enough to help the audience ignore the shoddy characterization and indifferent plotting. The whole thing reeks of what it is: a dumbed-down version of a successful product created to exploit the overseas market. You can be forgiven if that gives you a sense of déjà vu.

Terminator Genisys
Now showing
Multiple locations

Categories
News The Fly-By

What They Said

About “Cohen Supporters Blast Tinker Ad as ‘Racial Politics'” by Jackson Baker:

“It looks like Ms. Tinker may be getting her campaign ad advice from John McCain’s camp. Hey, if scaring white folks about a black candidate is an acceptable tactic, why shouldn’t the reverse be acceptable as well, right? It looks to me like despicability (and desperation) crosses racial lines.” — gadfly

About “Homebuilder’s Group Calls for Rep. Blackburn’s Defeat”:

“Pistol-packing Marsha is going down. Good riddance, darlin.” — rantboy

About “How to Talk to a Tranny” by Bianca Phillips, which discussed terms considered appropriate for transsexuals:

“Try being civil as you would any other person you might meet with an obvious handicap. Don’t try to talk down to her or disparage her. You might find her fluency and verbal adroitness is superior to your own. And she’s been insulted by experts; you won’t have much to offer in the way of original thoughts.” — Terry

Comment of the Week:

About “Barack: Call Me!” by Marty Aussenberg, concerning John McCain’s TV commercials comparing Barack Obama to Britney Spears and Paris Hilton:

“They should use Arnold Schwarzenegger as the voiceover for those commercials. Or maybe Charlton Heston.” — fancycwabs