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<blockquote data-quote="Willie Oleson" data-source="post: 391101" data-attributes="member: 8"><p>Tonight was an "underrated gems of 1980s cinema" double feature.</p><p></p><p>REPO MAN (1984)</p><p></p><p>[ATTACH=full]51478[/ATTACH]</p><p></p><p>A philosophical comedy with charming B-movie effects, but I think the best part is the background noise.</p><p>Characters never stop talking and there's always something going on on the radio or TV. It reminded me of the industrial score that is often used in David Lynch films.</p><p>I always confuse Emilio Estevez with Mario Lopez even though Mario is the only one who looks like his name.</p><p>Emilio plays Otto, and the connection with <em>Auto</em>-mobile is made in the film but I also think it's one of those names that could feature in a Euro-obsessed Sparks song.</p><p>Most of the humour is deadpan and I think it helps to make REPO MAN a genuine cult classic. DALLAS gets soap-dropped, by the way.</p><p></p><p></p><p>THE MOSQUITO COAST (1986)</p><p></p><p>[ATTACH=full]51479[/ATTACH]</p><p></p><p>The 6.6 IMDB rating is ridiculous because this film has everything that <em>Aguirre, Wrath Of God</em> doesn't have: an all-round terrific cast, big drama and one of the most impressive explosions I have ever seen in a film. Directed by Peter "Picnic At Hanging Rock" Weir.</p><p>Former action-adventure hero Indy seems a logical choice for MOSQUITO's techno-Frankenstein who's trying to build a new and untarnished civilisation in the jungle, except that this Harrison Ford is far from likeable.</p><p>The first 20 minutes is almost a non-stop tirade against US consumerism and waste culture, and it even continues when the setting moves from America to their green nirvana.</p><p>There is the irony of the disillusioned American who then buys a jungle village and accuses another white man of trespassing.</p><p>I've never really thought about it but there's something truly bizarre about "man" owning a piece of the planet. Who the hell do we think we are?</p><p></p><p>Yound and fresh-looking River Phoenix was the eighties answer to Leonardo DiCaprio and I must check out some of his other films.</p><p>Andre Gregory is a joy as Reverend Spellgood and I wish his part had been bigger. "Dinner With Andre" added to the watch list.</p><p>The twins are the stereotypical twin toddlers who only serve as extra precious baggage. At one point they have to be strapped to a mast to keep them inside the boat. Funny.</p><p>Conrad Roberts is the main black actor who plays Mr. Haddy and he's so good that I almost didn't notice it. Perhaps it's also a bit racist to assume that these kind of roles are easy to do for black actors.</p><p>Protagonist Allie Fox is definitely a racist, a dictator and a lousy father, and not in an entertainingly villainous kind of way. It goes completely against Harrison Ford's blockbuster charm and that alone makes it an interesting performance to watch.</p><p>Helen Mirren is never not good but I wonder if the novel describes as being British.</p><p>Somehow it kinda works that she unintentionally creates an air of detachment, it makes it easier to believe that she would follow her bossy genius-husband all over the world, like a devoted Mary Poppins wife.</p><p>It's a beautiful and very intense film, and as with most great films of the 80s decade a bit harder to discover. But it's always the payoff that counts.</p></blockquote><p></p>
[QUOTE="Willie Oleson, post: 391101, member: 8"] Tonight was an "underrated gems of 1980s cinema" double feature. REPO MAN (1984) [ATTACH type="full"]51478[/ATTACH] A philosophical comedy with charming B-movie effects, but I think the best part is the background noise. Characters never stop talking and there's always something going on on the radio or TV. It reminded me of the industrial score that is often used in David Lynch films. I always confuse Emilio Estevez with Mario Lopez even though Mario is the only one who looks like his name. Emilio plays Otto, and the connection with [I]Auto[/I]-mobile is made in the film but I also think it's one of those names that could feature in a Euro-obsessed Sparks song. Most of the humour is deadpan and I think it helps to make REPO MAN a genuine cult classic. DALLAS gets soap-dropped, by the way. THE MOSQUITO COAST (1986) [ATTACH type="full"]51479[/ATTACH] The 6.6 IMDB rating is ridiculous because this film has everything that [I]Aguirre, Wrath Of God[/I] doesn't have: an all-round terrific cast, big drama and one of the most impressive explosions I have ever seen in a film. Directed by Peter "Picnic At Hanging Rock" Weir. Former action-adventure hero Indy seems a logical choice for MOSQUITO's techno-Frankenstein who's trying to build a new and untarnished civilisation in the jungle, except that this Harrison Ford is far from likeable. The first 20 minutes is almost a non-stop tirade against US consumerism and waste culture, and it even continues when the setting moves from America to their green nirvana. There is the irony of the disillusioned American who then buys a jungle village and accuses another white man of trespassing. I've never really thought about it but there's something truly bizarre about "man" owning a piece of the planet. Who the hell do we think we are? Yound and fresh-looking River Phoenix was the eighties answer to Leonardo DiCaprio and I must check out some of his other films. Andre Gregory is a joy as Reverend Spellgood and I wish his part had been bigger. "Dinner With Andre" added to the watch list. The twins are the stereotypical twin toddlers who only serve as extra precious baggage. At one point they have to be strapped to a mast to keep them inside the boat. Funny. Conrad Roberts is the main black actor who plays Mr. Haddy and he's so good that I almost didn't notice it. Perhaps it's also a bit racist to assume that these kind of roles are easy to do for black actors. Protagonist Allie Fox is definitely a racist, a dictator and a lousy father, and not in an entertainingly villainous kind of way. It goes completely against Harrison Ford's blockbuster charm and that alone makes it an interesting performance to watch. Helen Mirren is never not good but I wonder if the novel describes as being British. Somehow it kinda works that she unintentionally creates an air of detachment, it makes it easier to believe that she would follow her bossy genius-husband all over the world, like a devoted Mary Poppins wife. It's a beautiful and very intense film, and as with most great films of the 80s decade a bit harder to discover. But it's always the payoff that counts. [/QUOTE]
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