Tag Archives: James R. Symons

Teenage Mutant Ninja Turtles (1990, Steve Barron)

Teenage Mutant Ninja Turtles uses Central Park as an establishing shot for an apartment at 11th and Bleecker. I’ll let you Google Map that one.

The film’s worth talking about for four reasons—the amazing animatronics, the editing, the anti-Japanese sentiment and Judith Hoag. It’s also amusing to watch for Sam Rockwell sightings, but that one isn’t so much a discussion point.

For people who care about puppetry and animatronics, the work the Jim Henson workshop does in Turtles is phenomenal. They create five entirely believable creatures. It’s so effective, in fact, I’m glad Josh Pais both did the voice and the costume work for his character… so I can identify him as the film’s worst performance.

There are some terrible performances from the regular actors here, but Pais is atrocious. His characterization seems like a mix between James Cagney and George Jefferson. If Turtles weren’t a stupid movie with a bad script, he’d be the one ruining it.

Switching up the list a bit—Judith Hoag. While Elias Koteas (as her romantic interest) is okay, she’s great opposite all the costumes and animatronic nonsense. She makes the fantastical nature work… at least until her character disappears to give more attention to the lame fight scenes.

The great editing—in the fight scenes and not—makes Turtles mildly tolerable. The anti-Japanese sentiment is bewildering but captivating.

Awful performances from James Saito and Obata Toshirô—the only Japanese actors—don’t help.

Turtles is terrible. Hoag aside, there’s nothing “good.”

CREDITS

Directed by Steven Barron; screenplay by Todd W. Langen and Bobby Herbeck, based on a story by Herbeck and a comic book by Kevin Eastman and Peter Laird; director of photography, John Fenner; edited by William D. Gordean, Sally Menke and James R. Symons; music by John Du Prez; production designer, Roy Forge Smith; produced by David Chan, Kim Dawson and Simon Fields; released by New Line Cinema.

Starring David Forman & Brian Tochi (Leonardo), Michelan Sisti & Robbie Rist (Michelangelo), Leif Tilden & Corey Feldman (Donatello), Josh Pais (Raphael), Judith Hoag (April O’Neil), Elias Koteas (Casey Jones), Michael Turney (Danny Pennington), Kevin Clash (Splinter), James Saito (The Shredder), Obata Toshirô (Tatsu), Raymond Serra (Chief Sterns) and Jay Patterson (Charles Pennington).


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The Naked Gun 2½: The Smell of Fear (1991, David Zucker)

Watching The Naked Gun 2½, its’s almost immediate clear the missing Z-A or is it A-Z (being Jerry Zucker and Jim Abrahams) are the ones who made the first film funny. They don’t contribute to this one’s script—instead it’s just the other Z, David Zucker (who also directs) and Pat Proft. The script is so 1991 topical it’s painful… and it’s lame too.

The topical stuff—George H.W. Bush is a character (being the president and all) and there’s a lot about the Democratic Party being in trouble—would probably be funny on a sitcom. Or maybe on a “Saturday Night Live” sketch (why they didn’t get Dana Carvey is beyond me). Then there’s some stuff about evil energy companies. That aspect is still topical, I suppose.

Particularly stupid is the film taking place in Washington, D.C. They explain Leslie Nielsen is just visiting from Los Angeles, but apparently George Kennedy and O.J. Simpson transferred.

Nielsen’s able to keep it together, even though the script only gives him a good laugh every three minutes (instead of every thirty seconds like the original), but Kennedy looks exhausted. Simpson’s good. Priscilla Presley is weak too (Zucker and Proft break her and Nielsen up off screen so they can reunite in the story—awful decision). Robert Goulet’s awful.

The film also has a stupid female police commissioner character just like the first one. It’s a subtle bit of misogyny.

The jokes occasionally work, but it’s a lukewarm, lousy sequel.

CREDITS

Directed by David Zucker; screenplay by David Zucker and Pat Proft, based on a television series by Jim Abrahams, David Zucker and Jerry Zucker; director of photography, Robert M. Stevens; edited by Christopher Greenbury and James R. Symons; music by Ira Newborn; production designer, John J. Lloyd; produced by Robert K. Weiss; released by Paramount Pictures.

Starring Leslie Nielsen (Det. Lt. Frank Drebin), Priscilla Presley (Jane Spencer), George Kennedy (Det. Captain Ed Hocken), O.J. Simpson (Det. Nordberg), Robert Goulet (Quentin Hapsburg), Richard Griffiths (Dr. Albert S. Meinheimer / Earl Hacker) and Jacqueline Brookes (Commissioner Anabell Brumford).


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Rambo III (1988, Peter MacDonald)

According to IMDb, Rambo III was the most expensive movie ever made at the time of its release. It shows. Enormous sets, lots of vehicles–Rambo versus a helicopter, Rambo versus a tank, Rambo in a tank versus a helicopter. For all the money, it ought to look fantastic–except director Peter MacDonald, a camera operator and second unit director… composes like a second unit director and camera operator. It’s incredibly boring to watch, no matter what’s actually going on. MacDonald shoots wide shots and long shots and close-ups of Stallone. For the majority of the movie, nothing else. His direction drains any energy the film might have.

With this one, Stallone changes it up a lot. Most importantly, the politics are essentially gone and the movie really does try for some humanism by giving a face to the Afghani people during the Soviet invasion. When Richard Crenna goes and calls it Russia’s Vietnam, however, the metaphors and similes get confused (Rambo is siding against the imperialist invader… siding with people who get illicit support from a superpower). But, whatever. They’re trying and, with the exception of the really cute and precocious thirteen-year-old soldier, they do okay.

The second change-up is between Stallone and Crenna. Rambo III is a buddy flick with all the wisecracks and the one or two moments of awkward tenderness between macho men. Crenna’s actually not as bad as usual in this one, the humor making his hammy performance acceptable. And Stallone’s better too… even if he looks out of place and not just because of his poofed out eighties hair. Rambo the character doesn’t transition well from the previous entries, as serious and terribly flawed as they are, to a superhero. There’s an emptiness to the desert landscape–it affects the visual of Stallone in his headband and MacDonald doesn’t know how to adjust for it.

So, the goofy action and the bad puns between Crenna and Stallone and the humanism make Rambo III an okay diversion. It’s a precursor to the bigger, louder Carolco action movies. The movie’s almost all action for the second half–including one good sequence in a cave–which is nice, because MacDonald can’t do tension and whenever villain Marc de Jonge is onscreen, the movie becomes nearly unbearable. De Jonge is something terrible… but the movie itself is nearly okay.

CREDITS

Directed by Peter MacDonald; screenplay by Sylvester Stallone and Sheldon Lettich, based on characters created by David Morrell; director of photography, John Stanier; edited by James R. Symons, Andrew London, O. Nicholas Brown and Edward A. Warschilka; music by Jerry Goldsmith; production designer, Bill Kenney; produced by Buzz Feitshans; released by Tri-Star Pictures.

Starring Sylvester Stallone (Rambo), Richard Crenna (Trautman), Marc de Jonge (Zaysen), Kurtwood Smith (Griggs), Spiros Focás (Masoud), Sasson Gabai (Mousa) and Doudi Shoua (Hamid).


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