As we start gearing up for the Holiday Shopping Season, there are a new batch of home media releases arriving this week, and a few of those titles might feel right at home on your wish list this year. Heathers, a personal favorite of mine is getting the Steelbook treatment this Tuesday, courtesy of Rlje Films, and in terms of recent horror releases, both 47 Meters Down: Uncaged and Bliss are both hitting Blu-ray and DVD as well.
Scream Factory is showing some love to Stacey Keach and Road Games (1981) this week, and for those of you who enjoy your sibling survival stories with a bit of a nasty twist to them, Arrow Video has put together a special edition release of Flowers in the Attic.
Other Blu and DVD films coming home on November 12th include Wicked World, The Attic, Polaroid, Darkslide, Small Town Killers, and Southern Chillers.
47 Meters Down: Uncaged...
Scream Factory is showing some love to Stacey Keach and Road Games (1981) this week, and for those of you who enjoy your sibling survival stories with a bit of a nasty twist to them, Arrow Video has put together a special edition release of Flowers in the Attic.
Other Blu and DVD films coming home on November 12th include Wicked World, The Attic, Polaroid, Darkslide, Small Town Killers, and Southern Chillers.
47 Meters Down: Uncaged...
- 11/11/2019
- by Heather Wixson
- DailyDead
David Lynch and Mark Frost's 1990 TV series looks better than ever, while the 1992 feature prequel digs deeper in Laura Palmer's unpleasant final days without as many rewards. CBS's 9-disc retrospective is a setup for the highly awaited series continuation -- delayed by 25 years. Twin Peaks: The Original Series, Fire Walk with Me & The Missing Pieces Blu-ray CBS / Paramount 1990 & 1992 / Color / 1:37 flat full frame & 1:78 widescreen / 25 hours + 134 min. / Street Date September 20, 2016 / 72,99 Starring (series) Kyle MacLachlan, Michael Ontkean, Lara Flynn Boyle, Sherilyn Fenn, Ray Wise, Sheryl Lee, Mädchen Amick, Dana Ashbrook, Richard Beymer, Warren Frost, Peggy Lipton, James Marshall, Everett McGill, Jack Nance, Joan Chen, Piper Laurie, Kimmy Robertson, Eric Da Re, Harry Goaz, Michael Horse,Russ Tamblyn, Kenneth Welsh, Wendy Robie, Miguel Ferrer, David Lynch, Heather Graham, Dan O'Herlihy, Billy Zane, James Booth, Michael Parks, Lenny von Dohlen, Hank Worden, David Duchovny, Walter Olkewicz, Jane Greer, David L. Lander,...
- 9/25/2016
- by Glenn Erickson
- Trailers from Hell
Cinematographer Frank Byers ("Boxing Helena") is set to direct, and screenwriter Franc. Reyes ("Empire") is set to pen an indie remake of Jean-Luc Godard's 1965 film noir "Alphaville" for Studiocanal and Ville Productions.
The story follows Lemmy Caution, who is sent to a dystopian city on a series of missions by the Outerlands. These include finding a missing agent, capturing the creator of the city Professor von Braun, and destroying von Braun's sentient computer system which controls the city and the minds of its citizens.
The remake is said to bring a fresh take on the story that reflects what’s happening in today’s political climate.
Source: The Wrap...
The story follows Lemmy Caution, who is sent to a dystopian city on a series of missions by the Outerlands. These include finding a missing agent, capturing the creator of the city Professor von Braun, and destroying von Braun's sentient computer system which controls the city and the minds of its citizens.
The remake is said to bring a fresh take on the story that reflects what’s happening in today’s political climate.
Source: The Wrap...
- 1/13/2015
- by Garth Franklin
- Dark Horizons
That Godard is so hot right now. I don’t even need to write his first name in the lead-in. His recent 3D film, Goodbye to Language, was named the best picture of 2014 by the National Society of Film Critics, and when that sort of thing happens you can bet Hollywood will come calling. Never mind that Godard has been around and considered one of the masters of cinema for more than half a century, and never mind that there’s not really anything the American studios could do with the material in that acclaimed new film (nor have they optioned any of the other foreign films the Nsfc have honored in the top slot, as far as I can recall). They don’t need to remake Goodbye to Language, anyway, because Godard has decades worth of output to mine from. His most famous, Breathless, has already been recycled, but Alphaville is apparently up for the taking...
- 1/12/2015
- by Christopher Campbell
- FilmSchoolRejects.com
Veteran cinematographer Frank Byers (“Twin Peaks,” “Boxing Helena”) is set to direct an indie remake of Jean-Luc Godard’s 1965 film noir “Alphaville,” TheWrap has learned.
Studiocanal and the director’s Ville Productions are teaming on the project, which was written by Franc. Reyes (“Empire”).
Also Read: ‘Goodbye to Language’ Wins Top National Society of Film Critics Award
“Alphaville” follows Lemmy Caution, who is sent to the titular dystopian city on a series of missions by the Outerlands. He searches for the Outerland’s missing agent Henry Dickson and he’s also there to capture or kill the creator of Alphaville,...
Studiocanal and the director’s Ville Productions are teaming on the project, which was written by Franc. Reyes (“Empire”).
Also Read: ‘Goodbye to Language’ Wins Top National Society of Film Critics Award
“Alphaville” follows Lemmy Caution, who is sent to the titular dystopian city on a series of missions by the Outerlands. He searches for the Outerland’s missing agent Henry Dickson and he’s also there to capture or kill the creator of Alphaville,...
- 1/12/2015
- by Jeff Sneider
- The Wrap
The Academy of Motion Picture Arts and Sciences has released its annual list of invited new members, and it’s clear they’re continuing to try to make their membership younger. On the list alongside veterans like John Hawkes and David Duchovny are a slew of twentysomethings, including Mia Wasikowska, Ellen Page, Jesse Eisenberg, Mila Kunis, Beyonce Knowles, Jennifer Lawrence, and Rooney Mara. The Board of Governors also decided to extend an invitation to Restrepo codirector Tim Hetherington, the first time Academy membership has been bestowed posthumously. As a side note, it’s also a hoot to now say the phrase Oscar voter Russell Brand.
- 6/17/2011
- by Dave Karger
- EW - Inside Movies
Beverly Hills, CA . The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 178 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitation will be the only additions in 2011 to the Academy.s roster of members.
.These individuals are among the best filmmakers working in the industry today,. said Academy President Tom Sherak. .Their talent and creativity have entertained moviegoers around the world, and I welcome each of them to our ranks..
The Academy.s membership policies would have allowed a maximum of 211 new members in 2011, but as in other recent years, several branch committees endorsed fewer candidates than were proposed to them. Voting membership in the organization has now held steady at just under 6,000 members since 2003.
In an unprecedented gesture, the list of new members includes documentary filmmaker Tim Hetherington, who was killed in action in Libya in April.
.These individuals are among the best filmmakers working in the industry today,. said Academy President Tom Sherak. .Their talent and creativity have entertained moviegoers around the world, and I welcome each of them to our ranks..
The Academy.s membership policies would have allowed a maximum of 211 new members in 2011, but as in other recent years, several branch committees endorsed fewer candidates than were proposed to them. Voting membership in the organization has now held steady at just under 6,000 members since 2003.
In an unprecedented gesture, the list of new members includes documentary filmmaker Tim Hetherington, who was killed in action in Libya in April.
- 6/17/2011
- by Michelle McCue
- WeAreMovieGeeks.com
HollywoodNews.com: The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 178 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitation will be the only additions in 2011 to the Academy’s roster of members.
“These individuals are among the best filmmakers working in the industry today,” said Academy President Tom Sherak. “Their talent and creativity have entertained moviegoers around the world, and I welcome each of them to our ranks.”
The Academy’s membership policies would have allowed a maximum of 211 new members in 2011, but as in other recent years, several branch committees endorsed fewer candidates than were proposed to them. Voting membership in the organization has now held steady at just under 6,000 members since 2003.
In an unprecedented gesture, the list of new members includes documentary filmmaker Tim Hetherington, who was killed in action in Libya in April.
“These individuals are among the best filmmakers working in the industry today,” said Academy President Tom Sherak. “Their talent and creativity have entertained moviegoers around the world, and I welcome each of them to our ranks.”
The Academy’s membership policies would have allowed a maximum of 211 new members in 2011, but as in other recent years, several branch committees endorsed fewer candidates than were proposed to them. Voting membership in the organization has now held steady at just under 6,000 members since 2003.
In an unprecedented gesture, the list of new members includes documentary filmmaker Tim Hetherington, who was killed in action in Libya in April.
- 6/17/2011
- by Josh Abraham
- Hollywoodnews.com
Release Date: May 8 (limited)
Director: Robert Iscove
Writer: Tom Malloy
Cinematographer: Frank Byers
Starring: Amy Smart, Tom Malloy, Billy Zane, Rachel Dratch, Caroline Rhea
Studio/Run Time: Screen Media Films, 90 mins.
Great choreography can’t sustain clumsy swing-dancing film
It’s sad that the one way Love N’ Dancing is a unique movie doesn’t even come from its dancing, but rather from how little it seems like its writer, director, actors, or pretty much anyone else involved with the picture were trying. For starters, its story is almost impossibly lazy and clichéd. Jessica (Amy Smart) wants to take her fiancé (Billy Zane) to dance lessons, but when he’s too busy with work to learn she ends up falling in love with her dance instructor (Tom Malloy) instead. Unfortunately, that’s all there is to the plot, and with not a twist in site the story really can be...
Director: Robert Iscove
Writer: Tom Malloy
Cinematographer: Frank Byers
Starring: Amy Smart, Tom Malloy, Billy Zane, Rachel Dratch, Caroline Rhea
Studio/Run Time: Screen Media Films, 90 mins.
Great choreography can’t sustain clumsy swing-dancing film
It’s sad that the one way Love N’ Dancing is a unique movie doesn’t even come from its dancing, but rather from how little it seems like its writer, director, actors, or pretty much anyone else involved with the picture were trying. For starters, its story is almost impossibly lazy and clichéd. Jessica (Amy Smart) wants to take her fiancé (Billy Zane) to dance lessons, but when he’s too busy with work to learn she ends up falling in love with her dance instructor (Tom Malloy) instead. Unfortunately, that’s all there is to the plot, and with not a twist in site the story really can be...
- 6/17/2009
- Pastemagazine.com
He's a man of wealth and taste, the devil in this life and death. Set in the deadly nighttime hours of Hollywood Boulevard east of Las Palmas, "Shadow Hours" shows a struggle between good and evil and, more poignantly, one man's struggle with his inner demons. Starring Balthazar Getty and Peter Weller, "Shadow Hours" has a Fellini-like feel and will win fans on the art house circuit and appeal to indie channel viewers.
With his black Porsche and shiny sunglasses, Stuart (Weller) tools around Hollywood as a modern-day version of the devil, looking for converts and preying on the vulnerable and destitute. In his prowling, he stops to refuel and finds a young night-shift station attendant, Michael (Getty), who catches his whimsical and sadistic fancy. Even by Hollywood standards, Michael is down on his luck. He's recently out of rehab for coke and booze addictions and has a deep personal pit to crawl out of. The only shining light in his dismal life is his new wife, a veritable angel who has seen him through the darkest hours.
Intermingling Michael's personal struggle with a sensational string of murders that has frightened nighttime Hollywood, screenwriter-director Isaac H. Eaton has skillfully hot-wired an incendiary story line. Fueled with all the slimy trappings of present-day Hollywood, and further juiced by the satanic presence of Stu, "Shadow Hours" is an entertaining depiction of both a place and a mindset. It works as an allegory and a sharply honed personal story as we sympathize with Michael's struggles to stay clean and assume the responsibilities of his new marriage. Although the film sometimes wallows in melodrama, it invariably swerves back to the nearest mean street.
"Shadow Hours" oozes with hellish temptations as Michael tries to keep on the straight and narrow. Ultimately, it's Getty's empathetic performance as the struggling newlywed/recovering junkie that makes the film work. He's vulnerable and strong, and we root for him to resist his overwhelming temptations. Even more invincible in his Porsche and shades than he was in his Robocop gear, Weller's Mephistophelean malice is perfect for an L.A.-style devil. Rebecca Gayheart is peaches-and-cream dreamy as Michael's pregnant wife, certainly a guiding light. Once again, Brad Dourif does a terrific turn as a scummy night creature.
Technical contributions are well-realized, given the obvious budgetary constraints. The blight-night is searingly visualized by Frank Byers' eerie, smudgy cinematography, while the rank seediness of good ol' Hollywood is conveyed by Francis J. Pezza's sure-eyed production design.
SHADOW HOURS
Newmark Films Inc.
In association with 5150 Prods.
Producers: Peter McAlevey, Isaac H. Eaton
Screenwriter-director: Isaac H. Eaton
Co-executive producer: Andrea Mia
Executive producer: Michael Thomas Shannon
Co-producers: Balthazar Getty, Shon Greenblatt
Line producer: Donald West
Director of photography: Frank Byers
Production designer: Francis J. Pezza
Editors: Annamaria Szanto,
Clayton Halsey, Bill Yarhaus
Music: Brian Tyler
Costumes: Luke Reichle
Casting: Cathy Henderson-Martin,
Dori Zuckerman
Color/stereo
Cast:
Michael Holloway: Balthazar Getty
Stuart Chappel: Peter Weller
Chloe Holloway: Rebecca Gayheart
Detective Steve Andrianson: Peter Greene
Sean: Frederic Forrest
Roland Montague:: Brad Dourif
Detective Thomas Greenwood: Michael Dorn
Vincent: Corin Nemec
Running time -- 95 minutes
No MPAA rating...
With his black Porsche and shiny sunglasses, Stuart (Weller) tools around Hollywood as a modern-day version of the devil, looking for converts and preying on the vulnerable and destitute. In his prowling, he stops to refuel and finds a young night-shift station attendant, Michael (Getty), who catches his whimsical and sadistic fancy. Even by Hollywood standards, Michael is down on his luck. He's recently out of rehab for coke and booze addictions and has a deep personal pit to crawl out of. The only shining light in his dismal life is his new wife, a veritable angel who has seen him through the darkest hours.
Intermingling Michael's personal struggle with a sensational string of murders that has frightened nighttime Hollywood, screenwriter-director Isaac H. Eaton has skillfully hot-wired an incendiary story line. Fueled with all the slimy trappings of present-day Hollywood, and further juiced by the satanic presence of Stu, "Shadow Hours" is an entertaining depiction of both a place and a mindset. It works as an allegory and a sharply honed personal story as we sympathize with Michael's struggles to stay clean and assume the responsibilities of his new marriage. Although the film sometimes wallows in melodrama, it invariably swerves back to the nearest mean street.
"Shadow Hours" oozes with hellish temptations as Michael tries to keep on the straight and narrow. Ultimately, it's Getty's empathetic performance as the struggling newlywed/recovering junkie that makes the film work. He's vulnerable and strong, and we root for him to resist his overwhelming temptations. Even more invincible in his Porsche and shades than he was in his Robocop gear, Weller's Mephistophelean malice is perfect for an L.A.-style devil. Rebecca Gayheart is peaches-and-cream dreamy as Michael's pregnant wife, certainly a guiding light. Once again, Brad Dourif does a terrific turn as a scummy night creature.
Technical contributions are well-realized, given the obvious budgetary constraints. The blight-night is searingly visualized by Frank Byers' eerie, smudgy cinematography, while the rank seediness of good ol' Hollywood is conveyed by Francis J. Pezza's sure-eyed production design.
SHADOW HOURS
Newmark Films Inc.
In association with 5150 Prods.
Producers: Peter McAlevey, Isaac H. Eaton
Screenwriter-director: Isaac H. Eaton
Co-executive producer: Andrea Mia
Executive producer: Michael Thomas Shannon
Co-producers: Balthazar Getty, Shon Greenblatt
Line producer: Donald West
Director of photography: Frank Byers
Production designer: Francis J. Pezza
Editors: Annamaria Szanto,
Clayton Halsey, Bill Yarhaus
Music: Brian Tyler
Costumes: Luke Reichle
Casting: Cathy Henderson-Martin,
Dori Zuckerman
Color/stereo
Cast:
Michael Holloway: Balthazar Getty
Stuart Chappel: Peter Weller
Chloe Holloway: Rebecca Gayheart
Detective Steve Andrianson: Peter Greene
Sean: Frederic Forrest
Roland Montague:: Brad Dourif
Detective Thomas Greenwood: Michael Dorn
Vincent: Corin Nemec
Running time -- 95 minutes
No MPAA rating...
A handsomely crafted boy-and-his-dog picture in the tradition of "Old Yeller" and "Lassie Come Home", "Shiloh" hits all the requisite emotional chords while adroitly veering clear of mushy sentimentality.
Serving as a solid directorial debut for Dale Rosenbloom, the low-key, family-oriented picture might drum up a little theatrical business, but "Shiloh" will ultimately have its day on video.
Adapted by Rosenbloom from the award-winning novel by Phyllis Reynolds Naylor, the story is set in the microscopic town of Friendly, W.Va. While most folks live up to the municipal moniker, an exception to the rule is Judd Travers (Scott Wilson), a lonely hunter whose method of training his dogs is known to involve kicking, caging and general all-around abusiveness.
When his new beagle decides he has been smacked in the head with a rifle butt for the last time, he runs into the forest, where he meets up with young Marty Preston (Blake Heron), and the two strike up a fast friendship.
While Marty wants to keep the dog, who he has named Shiloh because he found him near the Shiloh Bridge, his stern, by-the-book dad (Michael Moriarty) insists he return the pooch to its owner. The wheels of moral dilemma are thus set in motion.
There's some terrific casting at work here. As the core family, Heron, Moriarty and Ann Dowd as Marty's mom make for a fully believable unit, warts and all. Wilson, meanwhile, as the abusive Travers, is far from the usual, cardboard-cutout big-screen villain. He invests his solitary character with a quiet pathos, and he lives his life by his own, personally justifiable moral code.
Rounding out the main cast, Rod Steiger puts in a warm, heartfelt performance as the country doctor, while Bonnie Bartlett plays his supportive wife.
In adapting the material, Rosenbloom has been careful to keep the characters fully dimensional. While a few carefully injected doses of levity would have helped prevent the story from hovering on the somber side, overall it's a job well done.
That extends to the technical side, highlighted by cinematographer Frank Byers' ("Twin Peaks") bright outdoor compositions and a satisfying background score composed by Joel (Jerry's son) Goldsmith.
SHILOH
Legacy Releasing
A Utopia Pictures, Carl Borack production
in association with Zeta Entertainment
Director-screenwriter Dale Rosenbloom
Producers Zane W. Levitt, Dale Rosenbloom
Executive producers Carl Borack, Mark Yellen
Based on the novel by Phyllis Reynolds Naylor
Director of photography Frank Byers
Production designer Amy Ancona
Editor Mark Westmore
Costume designer Charmain Schreiner
Music Joel Goldsmith
Casting Laura Schiff
Color/stereo
Cast:
Ray Preston Michael Moriarty
Doc Wallace Rod Steiger
Marty Preston Blake Heron
Judd Travers Scott Wilson
Mrs. Wallace Bonnie Bartlett
Louise Preston Ann Dowd
Running time -- 93 minutes
MPAA rating: PG...
Serving as a solid directorial debut for Dale Rosenbloom, the low-key, family-oriented picture might drum up a little theatrical business, but "Shiloh" will ultimately have its day on video.
Adapted by Rosenbloom from the award-winning novel by Phyllis Reynolds Naylor, the story is set in the microscopic town of Friendly, W.Va. While most folks live up to the municipal moniker, an exception to the rule is Judd Travers (Scott Wilson), a lonely hunter whose method of training his dogs is known to involve kicking, caging and general all-around abusiveness.
When his new beagle decides he has been smacked in the head with a rifle butt for the last time, he runs into the forest, where he meets up with young Marty Preston (Blake Heron), and the two strike up a fast friendship.
While Marty wants to keep the dog, who he has named Shiloh because he found him near the Shiloh Bridge, his stern, by-the-book dad (Michael Moriarty) insists he return the pooch to its owner. The wheels of moral dilemma are thus set in motion.
There's some terrific casting at work here. As the core family, Heron, Moriarty and Ann Dowd as Marty's mom make for a fully believable unit, warts and all. Wilson, meanwhile, as the abusive Travers, is far from the usual, cardboard-cutout big-screen villain. He invests his solitary character with a quiet pathos, and he lives his life by his own, personally justifiable moral code.
Rounding out the main cast, Rod Steiger puts in a warm, heartfelt performance as the country doctor, while Bonnie Bartlett plays his supportive wife.
In adapting the material, Rosenbloom has been careful to keep the characters fully dimensional. While a few carefully injected doses of levity would have helped prevent the story from hovering on the somber side, overall it's a job well done.
That extends to the technical side, highlighted by cinematographer Frank Byers' ("Twin Peaks") bright outdoor compositions and a satisfying background score composed by Joel (Jerry's son) Goldsmith.
SHILOH
Legacy Releasing
A Utopia Pictures, Carl Borack production
in association with Zeta Entertainment
Director-screenwriter Dale Rosenbloom
Producers Zane W. Levitt, Dale Rosenbloom
Executive producers Carl Borack, Mark Yellen
Based on the novel by Phyllis Reynolds Naylor
Director of photography Frank Byers
Production designer Amy Ancona
Editor Mark Westmore
Costume designer Charmain Schreiner
Music Joel Goldsmith
Casting Laura Schiff
Color/stereo
Cast:
Ray Preston Michael Moriarty
Doc Wallace Rod Steiger
Marty Preston Blake Heron
Judd Travers Scott Wilson
Mrs. Wallace Bonnie Bartlett
Louise Preston Ann Dowd
Running time -- 93 minutes
MPAA rating: PG...
- 4/22/1997
- The Hollywood Reporter - Movie News
Situated in a parallel nocturnal universe where trigger-happy gangsters cavort in cocktail lounges while scheming to off each other, writer-director-actor Larry Bishop's "Mad Dog Time" is quite the hybrid.
It's part Rat Pack paean to "Robin and the Seven Hoods" (Bishop's father is Rat Packer Joey), part "Wild in the Streets" commemorative cast party ("Mad Dog"'s Christopher Jones, Bishop and Richard Pryor also appeared in that late '60s seminal satire) and part Beverly Hills High reunion (Bishop, Richard Dreyfuss and Rob Reiner were schoolmates).
Unfortunately, the parts don't add up to very much. Despite some amusing quirky moments and performances, the self-consciously eccentric film quickly wears out its welcome, looking and mainly sounding like another inferior product of the spawn of Tarantino.
Expect the picture to get buried in the pre-Thanksgiving shuffle, although its cast of thousands could attract some mild curiosity when it shows up on video.
The normally somber Gabriel Byrne gets to kick up his heels as "Brass Balls" Ben London, a motor-mouthed Mob enforcer who has been minding the shop until the Big Boss, Vic (Dreyfuss), gets out of the loony bin. With word of Vic's imminent release, Ben attempts to tidy things up by eliminating some riffraff and leaning on the cool Mickey Holliday (Jeff Goldblum), who has been keeping company with the boss' girlfriend (Diane Lane) while two-timing her sister (Ellen Barkin).
When Vic finally emerges, he has a few scores of his own to settle, and when all the smoke clears only a handful of Bishop's sprawling cast remains standing.
Aside from Byrne, who gets to do a bit of a flip on his "Miller's Crossing" role, Goldblum also stands out as suave, smooth operator; while Dreyfuss has some fun as the crazy-like-a-fox boss man.
Bishop's script is fine on character but never goes beyond its and-then-there-were-none premise. He does score some big style points, however. Assisted by production designer Dina Lipton ("Mr. Holland's Opus") and cinematographer Frank Byers ("Twin Peaks"), he's concocted a permanently smoke-filled, cocktail-soaked time warp where sharp-dressed inhabitants lounge to the swinging sounds of -- who else -- Frank, Dean and Sammy.
MAD DOG TIME
MGM/UA
United Artists
A Dreyfuss/James production
in association with Skylight Films
Director-screenwriter Larry Bishop
Producer Judith Rutherford James
Executive producers Stephan Manpearl,
Len Shapiro
Director of photography Frank Byers
Production designer Dina Lipton
Editor Norman Hollyn
Music Earl Rose
Costume designer Ileane Meltzer
Casting Amy Lieberman
Color/stereo
Cast:
Rita Ellen Barkin
Ben London Gabriel Byrne
Vic Richard Dreyfuss
Mickey Holliday Jeff Goldblum
Grace Diane Lane
Jules Flamingo Gregory Hines
Jake Parker Kyle MacLachlan
Jackson Burt Reynolds
Gabriella Angie Everhart
Lee Turner Billy Idol
Albert the Chauffeur Rob Reiner
Jimmy the Gravedigger Richard Pryor
Running time -- 93 minutes
MPAA rating: R...
It's part Rat Pack paean to "Robin and the Seven Hoods" (Bishop's father is Rat Packer Joey), part "Wild in the Streets" commemorative cast party ("Mad Dog"'s Christopher Jones, Bishop and Richard Pryor also appeared in that late '60s seminal satire) and part Beverly Hills High reunion (Bishop, Richard Dreyfuss and Rob Reiner were schoolmates).
Unfortunately, the parts don't add up to very much. Despite some amusing quirky moments and performances, the self-consciously eccentric film quickly wears out its welcome, looking and mainly sounding like another inferior product of the spawn of Tarantino.
Expect the picture to get buried in the pre-Thanksgiving shuffle, although its cast of thousands could attract some mild curiosity when it shows up on video.
The normally somber Gabriel Byrne gets to kick up his heels as "Brass Balls" Ben London, a motor-mouthed Mob enforcer who has been minding the shop until the Big Boss, Vic (Dreyfuss), gets out of the loony bin. With word of Vic's imminent release, Ben attempts to tidy things up by eliminating some riffraff and leaning on the cool Mickey Holliday (Jeff Goldblum), who has been keeping company with the boss' girlfriend (Diane Lane) while two-timing her sister (Ellen Barkin).
When Vic finally emerges, he has a few scores of his own to settle, and when all the smoke clears only a handful of Bishop's sprawling cast remains standing.
Aside from Byrne, who gets to do a bit of a flip on his "Miller's Crossing" role, Goldblum also stands out as suave, smooth operator; while Dreyfuss has some fun as the crazy-like-a-fox boss man.
Bishop's script is fine on character but never goes beyond its and-then-there-were-none premise. He does score some big style points, however. Assisted by production designer Dina Lipton ("Mr. Holland's Opus") and cinematographer Frank Byers ("Twin Peaks"), he's concocted a permanently smoke-filled, cocktail-soaked time warp where sharp-dressed inhabitants lounge to the swinging sounds of -- who else -- Frank, Dean and Sammy.
MAD DOG TIME
MGM/UA
United Artists
A Dreyfuss/James production
in association with Skylight Films
Director-screenwriter Larry Bishop
Producer Judith Rutherford James
Executive producers Stephan Manpearl,
Len Shapiro
Director of photography Frank Byers
Production designer Dina Lipton
Editor Norman Hollyn
Music Earl Rose
Costume designer Ileane Meltzer
Casting Amy Lieberman
Color/stereo
Cast:
Rita Ellen Barkin
Ben London Gabriel Byrne
Vic Richard Dreyfuss
Mickey Holliday Jeff Goldblum
Grace Diane Lane
Jules Flamingo Gregory Hines
Jake Parker Kyle MacLachlan
Jackson Burt Reynolds
Gabriella Angie Everhart
Lee Turner Billy Idol
Albert the Chauffeur Rob Reiner
Jimmy the Gravedigger Richard Pryor
Running time -- 93 minutes
MPAA rating: R...
- 11/8/1996
- The Hollywood Reporter - Movie News
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