Tag Archives: Randy Quaid

Moving (1988, Alan Metter)

Posted on 15 August 2011 | Leave a comment

I really wish–even though the cameo is great–Morris Day wasn’t in Moving. If he weren’t, one could make the argument all the terrible people are white and all the good people (basically Richard Pryor and his family) are black.

But Day shows up for a funny moment. Oh, and bad guy mover Ji-Tu Cumbuka is black too.

Race isn’t actually an issue in Moving (except when Pryor gets confused for a robber and even then they don’t press it). I was just trying to find something interesting to say about the film.

Pryor can apparently rise above any material, even writer Breckman’s script–Breckman eventually has Pryor donning body armor and running around Boise, Idaho with a bunch of guns (he got the gun part right, though I think there are more black people in the film than there are in Idaho state).

Beverly Todd is fine as Pryor’s wife, though the script eventually falls out from under her and she’s left to just silently follow him around. Stacey Dash manages to be weak but appealing as the daughter. As twin sons, Raphael and Ishmael Harris are likable.

Randy Quaid falls flat in a Vacation variation, but Dana Carvey is absolutely hilarious as a car mover with multiple personalities. Conversely, everyone else in the film lacks personality.

Howard Shore’s music’s innocuous, as is Metter’s direction (though there are a few good shots).

It’s like they’re trying to do a W.C. Fields movie for modernity.

It doesn’t work.

CREDITS

Directed by Alan Metter; written by Andy Breckman; director of photography, Donald McAlpine; edited by Alan Balsam; music by Howard Shore; production designer, David L. Snyder; produced by Stuart Cornfeld; released by Warner Bros.

Starring Richard Pryor (Arlo Pear), Beverly Todd (Monica Pear), Dave Thomas (Gary Marcus), Dana Carvey (Brad Williams), Randy Quaid (Frank / Cornall Crawford), Stacey Dash (Casey Pear), Raphael Harris (Marshall Pear), Ishmael Harris (Randy Pear), Morris Day (Rudy), Ji-Tu Cumbuka (Edwards), King Kong Bundy (Gorgo), Alan Oppenheimer (Mr. Cadell), Gordon Jump (Simon Eberhart), Bill Wiley (Arnold Butterworth), Bibi Osterwald (Crystal Butterworth) and Paul Willson (Mr. Seeger).

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Posted in 1988, Color, Comedy, English, USA, Warner Bros.

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Bye Bye Love (1995, Sam Weisman)

Posted on 8 August 2011 | Leave a comment

About halfway through Bye Bye Love, I realized it was reminding me of “The Bradys,” the hour-long drama sequel to “The Brady Bunch.” Two very successful sitcom writers wrote this movie; it’s like an hour-long comedy drama… Only the movie runs about a hundred minutes. It’s way too long.

What’s interesting—there’s not a single laugh in the film, so one has to find interesting things to think about—is the casual misogyny running through it. Sure, Matthew Modine being a philanderer is a bad thing, but one has to look very hard to see a positive female character and ignore some glaringly awful ones. Randy Quaid’s ex-wife, played by Lindsay Crouse, lets her new boyfriend beat her son. Janeane Garofalo, as Quaid’s date, is a “ha ha, she’s so dumb because she’s a feminist” character. Paul Reiser’s ex-wife has this odious husband who calls Reiser the “birth father” of his fourteen year-old daughter. As the daughter, Eliza Dushku’s occasionally awful but the character’s probably mildly honest.

Quaid’s really good when being the dad, bad when interacting with women (it’s the script). Modine’s interesting as the Don Juan; it’s funny to see him in this kind of role. Reiser’s all right as a less engaging Modell.

The biggest draw is Maria Pitillo’s outstanding performance as Modine’s suffering girlfriend. Oh, and Amber Benson’s good….

Wait, I forgot the music… J.A.C. Redford’s score is unbearable.

It’s sort of worth a look as a curiosity, but not really.

CREDITS

Directed by Sam Weisman; written by Gary David Goldberg and Brad Hall; director of photography, Kenneth Zunder; edited by Roger Bondelli; music by J.A.C. Redford; production designer, Linda DeScenna; produced by Goldberg, Hall and Weisman; released by 20th Century Fox.

Starring Paul Reiser (Donny), Matthew Modine (Dave), Randy Quaid (Vic), Amy Brenneman (Susan), Maria Pitillo (Kim), Janeane Garofalo (Lucille), Ed Flanders (Walter Sims), Johnny Whitworth (Max Cooper), Lindsay Crouse (Grace), Eliza Dushku (Emma), Ross Malinger (Ben), Mae Whitman (Michele), Amber Benson (Meg), Cameron Boyd (Jed), Jayne Brook (Claire), Dana Wheeler-Nicholson (Heidi Schmidt), Wendell Pierce (Hector) and Rob Reiner (Dr. David Townsend).

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Posted in 1995, 20th Century Fox, Color, Comedy, English, USA

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Kingpin (1996, Peter Farrelly and Bobby Farrelly)

Posted on 25 June 2010 | Leave a comment

The Farrelly Brothers created the mainstream gross-out comedy here in Kingpin, with all the familiar trappings–a familiar, if somewhat independently minded cast (Chris Elliot is in Kingpin), the star in need of a hit (Bill Murray), the popular soundtrack, and the storyline entirely capable of being tame, then ramped up for the belly laughs.

The difference between Kingpin and what came after, and the Farrelly Brothers made lots of them, until they finally stopped having hits (they have finally stopped making hits, haven’t they–I try not to see their movies), is Woody Harrelson. Harrelson turns in an exceptional performance in Kingpin, turning his (dirty) comic strip character into a full-fledged human being by the end. One of the great things the Farrelly Brothers do here is keep him gross throughout. Even after he turns the corner, he’s still bald with a comb-over (lots of comb-overs, Murray’s being the most stunning), with terrible teeth.

The film’s a rehash of The Color of Money, just with bowling and forty-six year-old Randy Quaid playing a twenty-something. Quaid’s great too, but it’s hardly a stretch. In his best dramatic scenes, he seems to be imitating his brother, actually.

Vanessa Angel is fine as the sexpot with the heart of gold (she’s kind of like a Rosanna Arquette who can act).

Also impressive are the bowling scenes, when it becomes a straight narrative, only with Harrelson in his absurd makeup.

It’s fantastic, hilarious and exceptionally confident.

CREDITS

Directed by Peter Farrelly and Bobby Farrelly; written by Barry Fanaro and Mort Nathan; director of photography, Mark Irwin; edited by Christopher Greenbury; music by Freedy Johnston; production designer, Sidney J. Bartholomew Jr.; produced by Brad Krevoy, Steven Stabler and Bradley Thomas; released by Metro-Goldwyn-Mayer.

Starring Woody Harrelson (Roy Munson), Randy Quaid (Ishmael), Vanessa Angel (Claudia), Bill Murray (Ernie McCracken) and Chris Elliott (the Gambler).

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Posted in 1996, Color, Comedy, English, Metro-Goldwyn-Mayer, Sport, USA

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Christmas Vacation (1989, Jeremiah S. Chechik)

Posted on 25 January 2010 | Leave a comment

It’s telling how Christmas Vacation is probably John Hughes’s best film and no one noticed it when it came out. I mean, it’s got its problems–the introductory first half, where all the characters are established and Chevy Chase and company drive around that part of Wisconsin with the big mountains looking for a Christmas tree, is a complete mess. But once Christmas itself starts . . . the film’s solid gold.

The film, regardless of what section, works because of Chevy Chase. He’s not doing his doofus dad here. He’s doing his doofus dad with a nice amount of Fletch injected. It lets him have a little bit of edge and keeps him from being the butt of the jokes. Hughes recycles a lot from previous scripts (anyone else notice it’s basically Sixteen Candles at Christmas) and it’s entirely competent. In a lot of ways–the quality of jokes–it doesn’t even seem like him. The absence of black people (in Chicago, so Christopher Nolan’s Chicago is the same as John Hughes’s apparently) is visible until the end, when the one black actor is the film’s only real authority figure….

Anyway.

It’s perfectly cast–William Hickey and Mae Questel kind of walk away with it in terms of laughs, but John Randolph’s so good in it, in his one big scene, I teared up.

The production values–even with the bad Cali inserts–are good; Chechik can direct and Angelo Badalamenti’s score is way too classy.

It really is a modern classic.

CREDITS

Directed by Jeremiah S. Chechik; written by John Hughes; director of photography, Thomas E. Ackerman; edited by Gerald B. Greenberg and Michael A. Stevenson; music by Angelo Badalamenti; production designer, Stephen Marsh; produced by Hughes and Tom Jacobson; released by Warner Bros.

Starring Chevy Chase (Clark Griswold), Beverly D’Angelo (Ellen Griswold), Juliette Lewis (Audrey Griswold), Johnny Galecki (Rusty Griswold), John Randolph (Clark Wilhelm Griswold Sr.), Diane Ladd (Nora Griswold), E.G. Marshall (Art Smith), Doris Roberts (Frances Smith), Randy Quaid (Cousin Eddie), Miriam Flynn (Catherine), Cody Burger (Rocky), Ellen Hamilton Latzen (Ruby Sue), William Hickey (Uncle Lewis), Mae Questel (Aunt Bethany), Sam McMurray (Bill), Nicholas Guest (Todd Chester), Julia Louis-Dreyfus (Margo Chester), Brian Doyle-Murray (Mr. Frank Shirley) and Natalia Nogulich (Mrs. Helen Shirley).

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Posted in 1989, Color, Comedy, English, USA, Warner Bros.

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Caddyshack II (1988, Allan Arkush)

Posted on 3 December 2008 | Leave a comment

Now it makes sense–Rodney Dangerfield was originally going to come back for Caddyshack II, but then fell out over script disputes and Jackie Mason came in, persona in hand, to fill in. I kept wondering who writers Harold Ramis and Peter Torokvei envisioned in the lead role while writing the script.

My history with Caddyshack II is probably more amusing than the movie itself (not really–it’s a dumb movie, but it’s got a bunch of funny stuff in it). When I was a kid, I wasn’t allowed to see R rated movies, so instead of Caddyshack, I watched Caddyshack II. If I remember the first one correctly, they’re about on par with each other (no pun intended).

What Caddyshack II has going for it is the performances. Mason’s effective and often funny. He’s not a good actor, but he’s doing his schtick and it works. He’s so amusing, it’s believable when Dyan Cannon finds him beguiling. It shouldn’t work–I mean, Dyan Cannon was married to Cary Grant (which may or may not be part of the joke)–but it does.

The movie opens, rather smartly, with its younger cast though. Chynna Phillips, Brian McNamara, Jessica Lundy and Jonathan Silverman are all in the opening scene. I’d forgotten how appealing Silverman could be in his young everyman performances. It’s a solid opening–even after the menacing “An Allan Arkush Movie” credit a few moments before–almost entirely based on Silverman’s appeal, Phillips’s fantastic bitchiness and Lundy’s somewhat disguised warmheartedness. McNamara is okay in these opening scenes, maybe some of his best stuff in the movie, given he’s usually the butt of the jokes.

Throughout the film, these established personas for Phillips, Lundy and Silverman create frequent genial amusement. They never–except maybe Phillips–get the laugh-out-loud jokes, but they’re solid throughout. Silverman went on to some–very measured–success, Phillips did the music thing and Lundy disappeared for a while. The three of them ought to do some kind of a reunion (I think McNamara’s gone on to better performances).

The older actors–Robert Stack, Dina Merrill, Paul Bartel–are fine. Actually, Merrill’s great. Stack’s funny in the “I’m watching Robert Stack do this or that” and Bartel’s solid as always in his small role. He’s funnier rolling his eyes than most people are slipping on banana peels. Cases in point, Chevy Chase, Dan Aykroyd and Marsha Warfield. Warfield’s the only one in the entire movie I feel bad for–it’s one of her few film credits and it’s a lame performance. It’s stunt casting. Chase is a lot better than Aykroyd and Chase is still terrible–Aykroyd’s beyond bad, constantly upstaged by the animatronic gopher. Admittedly, the gopher effects are pretty good and the little rodent is always getting into amusing situations–but still. Aykroyd bases his whole performance on what someone foolishly thought was a funny voice.

The movie falls apart a little halfway through–there are so many narrative jumps, I wonder what they cut–when Mason turns the golf course into an amusement park… but whatever. It’s not supposed to be good… it’s supposed to make you laugh for ninety minutes and smile afterwards. It probably succeeds.

And the less said about the desperately unfunny Randy Quaid, the better.

CREDITS

Directed by Allan Arkush; screenplay by Harold Ramis and Peter Torokvei, based on characters created by Brian Doyle-Murray, Ramis and Douglas Kenney; director of photography, Harry Stradling Jr.; edited by Bernard Gribble; music by Ira Newborn; production designer, William F. Matthews; produced by Neil Canton, Peter Guber and Jon Peters; released by Warner Bros.

Starring Jackie Mason (Jack Hartounian), Robert Stack (Chandler Young), Dyan Cannon (Elizabeth), Dina Merrill (Cynthia Young), Jonathan Silverman (Harry), Brian McNamara (Todd Young), Marsha Warfield (Royette), Paul Bartel (Mr. Jamison), Jessica Lundy (Kate), Chynna Phillips (Miffy Young), Randy Quaid (Peter Blunt), Chevy Chase (Ty Webb), Dan Aykroyd (Capt. Tom Everett), Anthony Mockus Sr. (Mr. Pierpont) and Pepe Serna (Carlos).

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Posted in 1988, Color, Comedy, English, Sport, USA, Warner Bros.

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The Paper (1994, Ron Howard)

Posted on 9 April 2008 | Leave a comment

For a painfully brief period in the 1990s, Ron Howard was one of the best filmmakers working. It didn’t last. The Paper kicked off his run. Howard and the Koepp brothers (I can’t remember for sure, but I think Stephen worked at a newspaper) imbue the film with the traditional Hollywood newspaper movie idealism, but also enough modern cynicism to make the film fit for human consumption. Actually, the traditional Hollywood newspaper has always had the commercialism conflict, in The Paper personified by Michael Keaton and Glenn Close’s printing press fistfight, but along with the rest, it all somehow seems fresh. The rest is Robert Duvall’s aged newspaperman paying the various prices for his life, Marisa Tomei worrying about having her imminent baby with workaholic Keaton, Randy Quaid as a griping, indifferent columnist, and, of course, Jack Kehoe’s search for a comfortable chair. Howard’s special touch was bringing a heartening sense to his films without ever pandering. He could make a movie where a doorman could worry about a tenant in a medical crisis without it coming across as mawkish.

But there’s the technical aspect one shouldn’t ignore. The Paper takes place over a day, twenty-four hours, and while there are occasional visual errors, Howard and cinematographer John Seale do a beautiful job creating that day with wonderful skies. When Tomei is on the street, talking to Keaton on her cellphone, you can feel the warm New York evening. The editing is also very nice–and the Randy Newman score (there is, of course, a Randy Newman song over the end credits too), but the score sets the perfect tone for the film. It’s that extinct drama… the adult comedy.

All of the Koepp brothers’ dialogue is great, so much so, it’s strange David never came back to dialogue-heavy movies. Their characters–and here’s an odd compliment–are just sparse enough the actors can bring defining features to them, since the story doesn’t have any room for them (as written) except as figures moving throughout the story. The newspaper story, the one Keaton can’t get wrong, unfolds wonderfully. The plotting being good, I can figure that one from Koepp, but the dialogue just seems odd coming from him.

The acting is all fantastic. It’s one of Keaton’s best performances, it’s probably Tomei’s best. Randy Quaid’s good in the smallest of the principal roles, but he does get a great payoff at the end. Duvall’s great. Glenn Close probably has the most complicated role and she’s the only one with a eureka moment and she pulls it off. The supporting cast, with Kehoe maybe being the most memorable, is also fantastic. Roma Maffia and Lynne Thigpen being the other two standouts, but they’re all great.

The Paper is largely, I’m guessing because of the cast, forgotten. There’s a lousy pan and scan DVD in the United States and Howard’s shown no interest in the last ten years in forcing an acceptable release. It’s got a place in film history–one of the forgotten films of the 1990s (it won no major Oscars and did not make over a $150 million), an ever growing category and maybe the most depressing–but it really ought to be known for its excellence, not as an entry on a list or as a footnote. It’s a wonderful film.

CREDITS

Directed by Ron Howard; written by David Koepp and Stephen Koepp; director of photography, John Seale; edited by Daniel Hanley and Michael Hill; music by Randy Newman; production designer, Todd Hallowell; produced by Brian Grazer and Frederick Zollo; released by Universal Pictures.

Starring Michael Keaton (Henry Hackett), Robert Duvall (Bernie White), Glenn Close (Alicia Clark), Marisa Tomei (Martha Hackett), Randy Quaid (Michael McDougal), Jason Robards (Graham Keighley), Jason Alexander (Marion Sandusky), Spalding Gray (Paul Bladden), Catherine O’Hara (Susan), Lynne Thigpen (Janet), Jack Kehoe (Phil), Roma Maffia (Carmen), Clint Howard (Ray Blaisch), Geoffrey Owens (Lou) and Amelia Campbell (Robin).

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Posted in Universal Pictures, Color, English, USA, Drama, Comedy, 1994

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The Ice Harvest (2005, Harold Ramis)

Posted on 12 February 2007 | Leave a comment

In the few reviews of The Ice Harvest I looked at before renting the DVD, the reviewers all called John Cusack’s lawyer character dumb. Watching the film, however, I noticed John Cusack was doing what he always does… playing John Cusack. So, I didn’t really see his character as stupid (I was trying to read so much into those reviews, I was actually questioning what the reviewers must have thought he should do scene to scene–but only for a little while, it got distracting). I queued The Ice Harvest this week because I’d forgotten about it. A film written by Robert Benton and Richard Russo, it’s of a particular pedigree. Harold Ramis seems an odd choice for a director, given I expected the Benton and Russo script to be incredibly quiet… and The Ice Harvest is incredibly quiet. More happens in the first fifteen minutes or so than in the rest of the movie, just because Cusack drives to more places in that time. But Ramis handles it quite beautifully. I was halfway through the film before I noticed just how good of a job he does.

Instead of being a heist at Christmas gone wrong (which is actually The Ref, isn’t it?), The Ice Harvest defines itself in the scenes between Cusack and Oliver Platt as a (quiet) rumination on the state of the American male. It’s almost a modern Butch Cassidy and the Sundance Kid. Platt’s excellent, of course, so’s Cusack (playing himself) and the rest of the cast is good. Billy Bob Thorton’s good, with the most laughs in the film. Randy Quaid, Ned Bellamy, Mike Starr, all good. The only problem with The Ice Harvest–besides its lack of focus, which is probably more serious than the following–is Connie Nielsen. Nielsen’s awful. She couldn’t sell shampoo, much less play a femme fatale. Her scenes drag The Ice Harvest to a halt–and at a fast-paced ninety minutes, it’s a hard thing to do. When it started and she showed up and was terrible, I really hoped it wasn’t Connie Nielsen. Maybe the character was just a throwaway, certainly not the third-billed. But the third-billed it was… She practically haunts the whole movie.

Overall, I’m really sorry I waited so long to see The Ice Harvest. I intended to see it in the theater, but never made it. Its quietness amid some really smarmy, loud settings makes it peculiar but still a very worthwhile film. It also has a nice lack of predictability thing going.

CREDITS

Directed by Harold Ramis; written by Richard Russo and Robert Benton, based on the novel by Scott Phillips; director of photography, Alar Kivilo; edited by Lee Percy; music by David Kitay; production designer, Patrizia von Brandenstein; produced by Albert Berger and Ron Yerxa; released by Focus Features.

Starring John Cusack (Charlie), Billy Bob Thornton (Vic), Connie Nielsen (Renata), Randy Quaid (Bill Guerrard), Oliver Platt (Pete) and Mike Starr (Roy).

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Posted in 2005, Color, Comedy, Crime, Drama, English, Focus Features, Thriller, USA

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Quick Change (1990, Howard Franklin and Bill Murray)

Posted on 2 February 2007 | Leave a comment

Having seen Bill Murray capital-a act for so long–it’s been ten years now, hasn’t it?–seeing him do Quick Change is a little disconcerting. At times, he’s so mellow, he almost isn’t there. I’ve seen Quick Change five or six times–the first being in the theater at the age of eleven–so I can’t remember if there are any surprises in it. The first act (if Quick Change has acts) hinges on a surprise for the characters, but I can’t tell if the audience is supposed to be fooled. I doubt it. It plays too close to the middle though, allowing for either read, when one or the other would firm Quick Change up a little.

Following the initial bank robbery sequence, which is excellent, mostly because Bob Elliot is so funny–when Bill Murray’s in the clown make-up, he comes his closest to that capital-a acting he likes so much nowadays–Quick Change devolves into a sequences of vignettes with shitty New Yorkers. It’s kind of like After Hours, kind of not (it’s obvious the film’s makers are aware of After Hours though, because Quick Change lifts a comedy beat–I can’t remember where–directly from that film). These vignettes are amusing, occasionally funny, and well acted. Except, at the same time, there’s the side-story with Jason Robards as the police chief on the robbers’ tail, and the romance between Bill Murray and Geena Davis. Davis is fine in most of the film, but during the romance scenes, she’s not and Murray’s better in those scenes than most of the others. Maybe because her character reacts so ludicrously to everything. Quick Change establishes a side reality for itself–one where situations prime for sardonic comment present continuously themselves–so it’s hard to take Davis’s character’s concerns seriously.

Randy Quaid is funny as the third robber, being the center of the film’s funniest sequence (along with Tony Shalhoub), but he really doesn’t do anything in the film except wait around to either say something stupid or do something stupid. The supporting cast is perfect, with Stanley Tucci and Kurtwood Smith standing out… but there’s something missing. Bill Murray and Howard Franklin’s direction is somehow funnier than Murray’s performance, which is an uncommon equation. The film’s a pleasant, occasionally really funny ninety minutes–but its slightness really cuts it down.

CREDITS

Directed by Howard Franklin and Bill Murray; screenplay by Franklin, based on the book by Jay Cronley; director of photography, Michael Chapman; edited by Alan Heim; music by Randy Edelman; produced by Robert Greenhut and Murray; released by Warner Bros.

Starring Bill Murray (Grimm), Geena Davis (Phyllis), Randy Quaid (Loomis), Jason Robards (Rotzinger), Bob Elliot (Bank Guard), Philip Bosco (Bus Driver), Phil Hartman (Hal Edison), Kathryn Goody (Mrs. Edison), Tony Shalhoub (Cab Driver), Stanley Tucci (Johnny), Victor Argo (Skelton), Gary Howard Klar (Mario), Kurtwood Smith (Russ Crane), Susannah Bianci (Mrs. Russ Crane) and Jamey Sheridan (Mugger).

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Posted in 1990, Color, Comedy, Crime, English, USA, Warner Bros.

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The Missouri Breaks (1976, Arthur Penn)

Posted on 7 October 2005 | Leave a comment

Okay, so I’m a little confused.

How the hell is this film unknown? It’s just now coming out on DVD, but I’d never heard of it until I read something for a film class (six years ago) about Arthur Penn. Penn didn’t survive the 1970s (and it’s not all Target’s fault). Somehow, his films remained known to people of that era and to decent film watchers, but not to film snobs. (I’m defining these particular film snobs as the folks who don’t know they made movies before Mean Streets, you know, the Tarantino school). What the hell?

The Missouri Breaks features one of Jack Nicholson’s best performances. It’s a ‘holy shit’ good performance. Brando’s good too, though in a playful way. He never lets us in to the character, but there’s the moment, watching both of them in this film, where you stop and say, “That’s acting right there.”

As for Penn’s direction… It’s amazing, I mean, come on. The guy’s a superstar. Also of particular note is the John Williams score, which is from when John Williams was still something special.

The Missouri Breaks is so good, I could go on and on. Instead, see it and find out for yourself.

CREDITS

Directed by Arthur Penn; written by Thomas McGuane; director of photography, Michael C. Butler; edited by Dede Allen, Gerald B. Greenberg and Stephen A. Rotter; music by John Williams; production designer, Albert Brenner; produced by Elliot Kastner and Robert M. Sherman; released by United Artists.

Starring Marlon Brando (Robert E. Lee Clayton), Jack Nicholson (Tom Logan), Randy Quaid (Little Tod), Kathleen Lloyd (Jane Braxton), Frederic Forrest (Cary), Harry Dean Stanton (Calvin), John McLiam (David Braxton), John P. Ryan (Si), Sam Gilman (Hank Rate), Steve Franken (Lonesome Kid) and Richard Bradford (Pete Marker).

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Posted in 1976, Color, Drama, English, United Artists, USA, Western

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