Tag Archives: John Goodman

Arachnophobia (1990, Frank Marshall)

Is John Goodman doing an impression of Bill Murray from Caddyshack?

Arachnophobia is so all over the place, it wouldn’t be a surprise to find out Frank Marshall directed him along those lines. The movie’s a mix between The Birds and a little Gremlins. Not to mention some proto-Jurassic Park. Unfortunately, Marshall doesn’t bring these elements together cohesively.

The first problem is the tone. It’s supposed to be kind of cute, especially once Trevor Jones’s score gets sappy (and bad), but it’s about a terrible spider infestation.

The second problem is those spiders. There’s a lack of science… and a lack of smarts. The lack of smarts goes so far as to show the protagonist, a doctor (played by a passable Jeff Daniels), doesn’t know what the Richter Scale is called. Those kind of dumb jokes (along with Goodman’s goofy exterminator) make Arachnophobia a chore.

Worse, it’s boring. It goes on and on and on. And once it does get going, Julian Sands comes back. He’s in the prologue, where Mark L. Taylor acts circles around him. But when Sands gets back, there’s no one near as strong as Taylor to make up for his awful acting.

Arachnophobia‘s big problem, besides Marshall’s general inability, is the acting. Mary Carver gives the film’s best performance. Besides Sands, Stuart Pankin gives the worst. Brian McNamara isn’t bad, but Harley Jane Kozak is mediocre. It’s probably the lousy writing of her character.

Still, the pre-CG special effects are absolutely stunning.

1/4

CREDITS

Directed by Frank Marshall; screenplay by Don Jakoby and Wesley Strick, based on a story by Jakoby and Al Williams; director of photography, Mikael Salomon; edited by Michael Kahn; music by Trevor Jones; production designer, James D. Bissell; produced by Kathleen Kennedy and Richard Vane; released by Hollywood Pictures.

Starring Jeff Daniels (Dr. Ross Jennings), Harley Jane Kozak (Molly Jennings), John Goodman (Delbert McClintock), Julian Sands (Doctor James Atherton), Stuart Pankin (Sheriff Lloyd Parsons), Brian McNamara (Chris Collins), Mark L. Taylor (Jerry Manley), Henry Jones (Doctor Sam Metcalf), Peter Jason (Henry Beechwood), James Handy (Milton Briggs), Roy Brocksmith (Irv Kendall), Kathy Kinney (Blaire Kendall) and Mary Carver (Margaret Hollins).


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The Big Lebowski (1998, Joel Coen)

There are a lot of interesting things about what the Coens do with The Big Lebowski. The foremost thing has to be how, even though the film is incredibly thoughtful and complex in its homages, the Coens aren’t exclusionary about it. If you don’t know it’s Raymond Chandler, it’s okay. If you don’t know zero budget Westerns had narrators, it’s okay.

If you do, you understand more about what they’re doing, but you don’t better understand the film. Because knowing where they’re coming from isn’t the point. The movie’s the point.

But being accepting of populist viewers aside, the Coens also do something very interesting with the dialogue. When people listen to other people, they’re hearing it for the first time, just like the viewer. Even though John Goodman’s amusing lunatic has been friends with Jeff Bridges’s character for untold years… Bridges’s reactions are in line with the audiences. He’s stunned—just like the viewer—at the stupid things Goodman says.

It’s subtle, but with the film starting in the first scene.

Bridges and Goodman are both great, as is Steve Buscemi as the third in their triumvirate. Of course, he has nothing to say, which is kind of the point.

In the supporting roles, Julianne Moore, Philip Seymour Hoffman and David Thewlis are all fantastic.

Lebowski, now a pop culture icon, succeeds because it embraces pop culture (and assumes everyone should know LA culture). It’s excellent.

Except, however, when there’s a nonsensical reference to an as yet unestablished subplot.

3/4★★★

CREDITS

Directed by Joel Coen; written by Ethan Coen and Joel Coen; director of photography, Roger Deakins; edited by Roderick Jaynes and Tricia Cooke; music by Carter Burwell; production designer, Rick Heinrichs; produced by Ethan Coen; released by Gramercy Pictures.

Starring Jeff Bridges (Jeffrey Lebowski), John Goodman (Walter Sobchak), Steve Buscemi (Theodore Donald ‘Donny’ Kerabatsos), David Huddleston (Jeffrey Lebowski), Julianne Moore (Maude Lebowski), Tara Reid (Bunny Lebowski), Philip Seymour Hoffman (Brandt), Ben Gazzara (Jackie Treehorn), Peter Stormare (Karl Hungus), John Turturro (Jesus Quintana), Jon Polito (Da Fino), David Thewlis (Knox Harrington), Jack Kehler (Marty) and Sam Elliott (The Stranger).


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Speed Racer (2008, Lana and Lilly Wachowski)

I may be a little naive, but I think one of the aspects of adapting materials between mediums is to encourage (or at least tacitly imply) someone to look at the original material. I find it particularly odd in the case of Speed Racer. Being somewhat aware of the cartoon but never having seen it, I’ve now formed the opinion–just based on the film–it’s for six year olds and anyone older than six years of age watching the cartoon is a little slow. The Wachowskis’ adaptation suggests there isn’t a single intelligent thing in the source, something their insanely bad, outrageously expensive adaptation gleefully amplifies.

The film is aimed at an audience of adults–it’s not aimed at NASCAR fans, simply because it gives the appearance of being high brow (but couldn’t be further from)–but adults who think the things they liked at age six are good. Not realizing a six year old might not make the best cinematic or literary recommendations.

Still, the film is so unbearably bad–the green screen shooting (there are very few real sets) looks terrible–I find it hard to believe the film has supporters, but I know it does… I’ve read positive reviews. Though such reviewers must be driving to work in a gift from Warner Bros….

I do have one positive observation to make about the film. The casting of John Goodman and Susan Sarandon. While their performances are awful, their makeup is very successful.

Otherwise, it’s indescribably bad.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Lana and Lilly Wachowski; screenplay by the Wachowskis, based on a manga and an anime by Yoshida Tatsuo; director of photography, David Tattersall; edited by Zach Staenberg and Roger Barton; music by Michael Giacchino; production designer, Owen Paterson; produced by the Wachowskis, Joel Silver and Grant Hill; released by Warner Bros.

Starring Emile Hirsch (Speed Racer), Christina Ricci (Trixie), John Goodman (Pops Racer), Susan Sarandon (Mom Racer), Paulie Litt (Spritle), Roger Allam (Royalton), Rain (Taejo Togokhan) and Matthew Fox (Racer X).


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In the Electric Mist (2008, Bertrand Tavernier)

In the Electric Mist is a perfect example of how not to adapt a novel into a film. The source novel is the sixth novel in a series and the film–in a seemingly bold but utterly misguided move (much of it would be incoherent if I hadn’t once read the novel)–assumes the viewer is going to be familiar with all of the previous novels. There’s absolutely no introduction to the characters who aren’t related to the mystery–the film’s reliance on implying past knowledge is actually pretty cool, because it only relies on someone listening. But there are a bunch of characters who go without any explanation. It’s a film for fans of the novel series, which hurts it.

It’s a shame, because Tommy Lee Jones has a good role here. It allows him to do his more mannered performance, but mix in a little of that pseudo-action hero thing he does. Not a lot of it, but enough someone could cut a teaser trailer with it in there. In the Electric Mist doesn’t seem to be putting itself out there as a franchise starter, but the approach to the adaptation implies otherwise. There’s nothing particularly significant about the events in this picture–Jones meets movie stars, played by Peter Sarsgaard and Kelly Macdonald, and he says he’s familiar with their work… but it’s never touched on. At no time does he seem like someone who goes to the movies a lot or sits back and watches the CW. There’s a bevy of supporting characters–John Goodman’s goateed mobster and Pruitt Taylor Vince as a cop sidekick–who don’t have any real weight. It’s impossible to imagine these characters interacting together off screen.

The film also has an incredibly silly voiceover gimmick. Jones narrates his adventure, in the past tense, simply because the film doesn’t want to have a lengthy run time. Sometimes he narrates transitions, so there don’t have to be scenes. It’s obvious and annoying.

And the mystery isn’t particularly engaging, maybe because it’s really not a mystery the way the film presents it. Jones is having hallucinations of a Civil War general advising him (these sequences are handled terribly) and they move the story more than any thought processes.

Bertrand Tavernier is a fine director. His Panavision framing–I think he went wide so it wouldn’t seem like a TV movie–is excellent. There’s some bad focusing, but otherwise the visuals are solid. Marco Beltrami’s score gets repetitive and annoying pretty quick though.

Jones is good, Goodman’s okay, Vince’s okay. Sarsgaard’s amazing–I’ve seen him before, but never turn in anything like this performance. It’s just fantastic. Macdonald’s good. Ned Beatty’s not good though, which is depressing. James Gammon’s amazing. Mary Steenburgen and Justina Machado are both good–though neither have anything to do and they really ought to. John Sayles shows up for a cameo, essaying the kind of Hollywood director who’d do a Civil War movie. He has a lot of fun.

In the Electric Mist has a bad ending. It’s already got the disadvantage of being narrated by the protagonist, but the end goes and changes the protagonist for a cute fade out. It’s an awful move.

1.5/4★½

CREDITS

Directed by Bernard Tavernier; screenplay by Jerzy Kromolowski and Mary Olson-Kromolowski, based on a novel by James Lee Burke; director of photography, Bruno de Keyzer; edited by Larry Madaras and Roberto Silvi; music by Marco Beltrami; production designer, Merideth Boswell; produced by Frédéric Bourboulon and Michael Fitzgerald; released by Image Entertainment.

Starring Tommy Lee Jones (Dave Robicheaux), John Goodman (Julie ‘Baby Feet’ Balboni), Peter Sarsgaard (Elrod Sykes), Kelly Macdonald (Kelly Drummond), Mary Steenburgen (Bootsie Robicheaux), Justina Machado (Rosie Gomez), Ned Beatty (Twinky LeMoyne), James Gammon (Ben Hebert), Pruitt Taylor Vince (Lou Girard), Levon Helm (General John Bell Hood), Buddy Guy (Sam ‘Hogman’ Patin), Julio Cedillo (Cholo Manelli), Alana Locke (Alafair Robicheaux) and John Sayles (Michael Goldman).