Talking Movies

February 23, 2019

Any Other Business: Part XXV

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a blog post proper? Why round them up and turn them into a twenty-fifth pormanteau post on matters of course!

Reruns receiving runaround

I’ve previously lamented the attitude of millenials who veritably trashed a screening of Halloween in the Lighthouse with their stunning contempt for anything dating from before last Tuesday never mind anything dating from before they were born. I had a sudden realisation the other day; perhaps their attitude is born of ignorance in more ways than one – to wit, they were never exposed to anything from the past when they were children. The rise of reality TV has filled acres of airtime with witless trash in the mornings, afternoons, and evenings. (And night too sometimes). Look at the location location location of someone coming to dine in an escape to a new home abroad while flogging antiques on an Alaskan trip from a survivalist farm to the lobster pots. All those hours used to be filled with reruns. That is where as a child I soaked up the culture of the 1950s, 1960s and 1970s: The Phil Silvers Show, The Twilight Zone, Rawhide, Hogan’s Heroes, Star Trek, The Man from UNCLE, The Champions, The Avengers, Land of the Giants, The Prisoner, Voyage to the Bottom of the Sea, Bewitched, Gilligan’s Island, Batman, Get Smart, I Dream of Jeannie, The Munsters, My Favourite Martian, Lost in Space, The Addams Family, The Brady Bunch, Flipper, Mission: Impossible, The Flinstones, The Invaders, The Time Tunnel, Gentle Ben, Thunderbirds, Joe 90, Stingray, Captain Scarlet and the MysteronsThe Fugitive, Dad’s ArmyColumbo, The Incredible Hulk, Happy Days, Fawlty Towers, Some Mothers Do ‘Ave Em, The Two Ronnies, Shoestring, The Fall and Rise of Reginald Perrin, Minder, Benny Hill, Citizen Smith, Three’s Company, The Bionic Woman, Mork and Mindy, Battlestar GalacticaDiff’rent Strokes, Grizzly AdamsThe New Avengers, Doctor Who, Blake’s SevenThe Dukes of Hazzard, The Muppets, Tales of the UnexpectedWonder Woman, and later Hancock’s Half Hour, Steptoe and Son, The Prisoner, The Rockford Files, Whatever Happened to the Likely Lads?, SykesKojak, and Starsky and Hutch. By the contemptible logic of ‘Ugh, I wasn’t born then’ I shouldn’t have bothered watching any of those shows. But those shows informed me to a huge degree: I remained aloof from general hysteria about The X-Files because I saw Mulder and Scully investigating bizarre murders as an American reworking with less suavity and more seriousness of Steed and Mrs Peel investigating bizarre murders. And I don’t think possessing a mite of historical objectivity to avoid passing moments of total hysteria is a bad thing to absorb from TV.

What ho, Clive Exton!

Well knock me down with a feather but I’ve just discovered that Clive Exton more or less decided what I was going to read for a good chunk of the 1990s and I never even knew. It turns out this Exton chappie was not only the scribbler who adapted PG Wodehouse all by his lonesome for all 23 spiffing episodes of Jeeves & Wooster starring Hugh Laurie and Stephen Fry, but before that he also was the main writer for David Suchet’s celebrated Poirot. Blimey! I mean once one knows the connections jump at one, don’t you know? The absurd moments of physical comedy with Hastings, the mischievous poking fun at Poirot’s vanity, above all the double act of the man about town who hasn’t a clue and the fussy man behind him who knows everything. You could almost view some of the funnier episodes of Hastings being a nitwit while Poirot solves everything as a dry run for Exton’s next series. And I lapped up both those shows as they ran simultaneously, without ever noticing it was the same Johnnie behind them both! Well, I mean to say, what? I might as well have taken Exton’s correspondence course on what to read for five years as just plunge in to Christie and Wodehouse as I did.

March 16, 2015

Home 3-D

Jim Parsons lends his voice to a most curious animated feature about an alien forced to team up with a human child on a road-trip.

Home-1

Oh (Jim Parsons) is a well meaning Boov who has an unfortunate habit of making hilarious mistakes. Captain Smek (Steve Martin), the leader of the Boov, has an equally ingrained habit of stealing planets as he leads the Boov in their flight from the vengeful Gorg. Smek’s latest conquest is Earth. Thus Oh is kicking it back in a human apartment. When he sends an email to his best friend Kyle (Matt Jones), a traffic cop whose inability to leave his post subjects him to Oh’s chatter, he accidentally cc’s the entire universe. Including the planet-destroying Gorg… Oh runs away from punishment and encounters Tip (Rihanna), who hates the Boov for kidnapping her mother Lucy (Jennifer Lopez) and interning her in Australia with all the other humans. Can Oh and Tip work together to rescue Lucy and un-invite the Gorg?

Yes, the fate of the world rests on cracking Oh’s password and unsending an email. Because, you see, Oh is not like the other Boov; who all follow Captain Smek’s instruction that the password for all accounts should be ‘password’ – to avoid just such screw-ups. Oh is an individualist, because the most important thing, above all, is to just be yourselfzzzzz… Apparently this is the only moral any animated film is capable of containing in this century. Which wouldn’t matter that much except that director Tim Johnson (Antz) and Get Smart screenwriting team Matt Ember & Tom J Astle add almost nothing for adults in adapting Adam Rex’s children’s book The True Meaning of Smekday. And, given that Johnson successfully transposed Woody Allen’s shtick into animated form back in 1998, and that Get Smart had its moments, that’s quite surprising.

Not nearly as surprising though as the relevance of another work of late 90s CGI: Jar Jar Binks. Can you imagine sitting thru a film where nearly everyone talked like Jar Jar? Well, minus the faux accent, Home, courtesy of the jumbled-up English the Boov employ, is pretty much that film. And it grates… Rihanna shamelessly using the movie as a giant music video for song after song is less annoying because it’s explicable. Who thought garbling grammar would be inherently funny? As far as comedy goes Martin has some fun with his vainglorious role (“I admire your cowardice”), particularly one routine with Parsons (“But you might!”), but Parsons curiously stays firmly entrenched in his anti-social Sheldon Cooper rut rather than trying to stretch himself outside his TV show; similar decisions during 24’s run effectively destroyed Kiefer Sutherland’s acting range.

Home is a film for very young children, as its animated slapstick and Rihanna-heavy soundtrack might prove mildly diverting; but for parents it’s likely to be quite a slog.

2/5

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