No Time to Die Review

The five film run of Daniel Craig as perhaps the world’s most famous cinematic character comes to a close in No Time to Die, the 25th feature in the nearly 60-year-old 007 franchise. It began 15 years ago with Casino Royale, which I list at #2 in the canon behind only From Russia with Love (Sean Connery’s second entry).

For those who think the dedicated team behind the series have no time for surprises, be prepared. Like the midsection poker sequence in Royale that stands as one of the finest in Bond history, there’s times where they go all in. There’s also moments that harken back to the Roger Moore days and, in this case, I mean it as a compliment. By the time we reached Craig’s third and deservedly praised Skyfall in 2012, the pics had achieved a level of seriousness that risked becoming too dour.

Despite its considerable flaws, 2015’s follow-up Spectre thankfully remembered that the action and plots in this cinematic universe can be silly. 007’s 25th adventure isn’t afraid to display that. The threat to the world here involves passing a weaponized virus only through that individual’s DNA and those related to them. It’s a little ridiculous and I once again mean that in a good way.

This is not quite the triumph that Casino Royale was. In fact, I’d also rank this a smidge behind Skyfall. The villain is not particularly memorable. Like all Craig films that followed the first, no romantic entanglement will rival the one he had with Eva Green’s Vesper Lynd. Yet Die achieves the unlikely feat of bringing those fun Moore elements dashed with Timothy Dalton’s more weighty tone. The result is that Craig’s time as the super spy (the longest in terms of actual time but not volume of titles) is easily the most satisfying since Sean Connery’s.

From the jump, we realize Die is going to be a little different. The pre-title sequence begins with a franchise first: an eerie and gorgeously rendered flashback that sheds light on the childhood of Madeleine Swann. As you may recall, she’s Bond’s love interest from Spectre played by Lea Seydoux. Her connections to that criminal enterprise led by Blofeld (Christoph Waltz) is expanded upon. In the present day, James and Madeleine are making a romantic go of it. A visit to Vesper’s tomb disrupts both their safety and Bond’s trust in his current relationship.

This all occurs in the lengthy prologue before we hear Billie Eilish’s title cut. Let’s dispense with that. Ms. Eilish has some quality tunes, but her contribution is forgettable and not the kind of Bond tune you’ll be humming leaving the theater or rushing to download for the ride back.

In the serialized fashion we’ve come to expect from Craig’s tenure (something unique only to his), we jump five years to Bond in retirement. And (gasp) he’s no longer 007. MI6 is still going strong but relations with their U.S. counterparts are strained. It’s not the new 007 (Lashana Lynch) or M (Ralph Fiennes) or even his beloved Moneypenny (Naomie Harris) or Q (Ben Whishaw) that convince Bond to emerge from his Jamaican R&R. Felix Leiter (Jeffrey Wright), along with a new eager associate (Billy Magnussen), recruit him for a mission that involves dismantling SPECTRE. Bond hooks up (not literally as Bond’s libido seems to be catching up with his age) with another agent (Ana de Armas) to do so. This culminates in a wonderfully fabulous and bizarre action set piece in Cuba.

All this activity soon puts James in the same space with Madeline again and with Blofeld. And we soon meet Safin (Rami Malek), the head baddie with his own troubled history with the criminal organization. I won’t wax rhapsodic about Safin as I mentioned he’s a pretty weak villain. On the other hand, No Time to Die is not really focused on his story. This Bond story, more than any other besides Skyfall, is really about Bond. That gives us one more opportunity to soak in Craig’s terrific performance that’s spanned this quintet. One could argue the series goes too far in making it all about him. With Craig in control, you’ll hear few complaints from me (heck even Quantum of Solace had some cool stuff in it).

No Time to Die has Cary Fukunaga taking over directorial duties from Sam Mendes, who helmed the previous two. He presides over some amazing looking chases and battles that rank right at the top of what we’ve seen previously. On a slightly contradictory note, there’s one during the climax that was a little too video game oriented for my taste. The screenwriters (with an assist from Phoebe Waller-Bridge) also remember to bring the humor. As much as Safin isn’t much of a memorable character, he does get a moment with a toddler that left me chuckling for a good minute or two after their interaction. The makers also don’t forget that these pictures can be quite weird in their production design. Safin’s Poison Garden is a glorious example.

Additionally, the team isn’t afraid to bring a rare level of emotion to the proceedings. However, it’s not that out of place for Craig’s service. We witnessed a love story in Casino Royale that went beyond his typical dalliances. His connection to Judi Dench’s M (particularly in Skyfall) went far deeper than the same character giving James his orders in the past. In No Time to Die, Mr. Craig’s mission involves the striking visuals that we’re used to. What’s different is that over the five adventures connected to each other, I felt like these missions developed a familial bond that shook the foundation of a franchise in a stirring fashion.

***1/2 (out of four)

Oscar Predictions: No Time to Die

The 15 year era of Daniel Craig as one of cinema’s most famous characters concludes with No Time to Die. James Bond will return… but not with arguably his best incarnation since Sean Connery. Prior to the October 8 stateside bow, the embargo lifted this evening and the results are encouraging.

007’s 25th adventure stands at 89% on Rotten Tomatoes (with 35 reviews out at press time). Many critics are calling it a surprisingly emotional swan song for Craig’s contribution to the British super spy series. There’s also hints that it resembles more of the Roger Moore era of the canon than one might expect (a direction it seemed to be taking with predecessor Spectre). Ana de Armas is drawing raves for her very short amount of screen time. The consensus on Rami Malek’s main villain seems a bit mixed. There’s some complaints about the length (a Bond high 163 minutes).

Yet no one seems to be arguing that it’s a rather fitting conclusion to Craig’s tenure in the part. So will Oscar take notice? Skyfall, the third pic in the actor’s five appearances, probably came close to a Best Picture nod. It did earn five nominations – winning Sound Editing and Original Song (Adele’s title track) with mentions in Sound Mixing, Score, and Cinematography. 2015’s follow-up Spectre (which had less laudatory reviews) managed a sole nomination in Song with Sam Smith’s “The Writing’s on the Wall” where it scored an upset victory.

I wouldn’t be shocked if an internet campaign is mounted for Craig to get a Best Actor slot (kind of as a tribute to the whole run). It’s highly unlikely to materialize. I do believe Die will make it three in a row for the songs with Billie Eilish’s title tune work. Whether she wins is a question mark (Beyonce has a ditty from King Richard that might serve as its main competition). Cinematography and Sound are two other feasible possibilities.

Bottom line: while I don’t foresee this factoring into the biggest races, tech and musical recognition could be coming its way. My Oscar Prediction posts for the films of 2021 will continue…

Blue Bayou Review

Justin Chon’s Blue Bayou has a compelling message about a touchy political issue. In its final moments, it serves as an angry takedown on the country’s immigration policies. This is spliced with moments of melodrama and a generous heaping of subplots. The mix is often just a little off in this overflowing gumbo of storylines though it occasionally has the recipe right for an emotional payoff.

The director serves as star and writer here. Chon is Antonio LeBlanc and he’s lived just outside of New Orleans for his cognizant life. A tattoo artist with a criminal past, Antonio is on the right track with his pregnant wife Kathy (Alicia Vikander) and precious stepdaughter Jessie (Sydney Kowalske). He remembers little (or so he says) about his first years in South Korea before becoming a foster child stateside, which too is off limits for discussion.

Kathy’s ex (Mark O’Brien) is a police officer who wants more face time with Jessie. That domestic dynamic puts Antonio in jeopardy when an encounter calls his naturalization status into question. Facing deportation, Bayou shifts to showing the impossibly jumbled procedural morass to remain in the only home that Antonio has truly known.

Speaking of shifting and jumbling, there’s a lot of it in this screenplay. In addition to the looming court date, our protagonist strikes up a friendship with a cancer stricken Vietnamese woman (Lanh Dan Pham). Their interactions touchingly show Antonio a life of family and fellowship that’s often escaped him.

Regarding his past criminal offenses involving stolen motorcycles, Antonio’s quick need for cash has him pondering a return to that life. This causes major tension between him and Kathy. Vikander is quite good in the role. She’s not your typical suffering spouse. One gets the impression that she’s the one holding it all together for her small but growing family. The actress gets a lovely moment in which she croons the track serving as the title.

We delve into Antonio’s abusive past – both in Louisiana and overseas. He also happens to be good buds with an ICE agent (a hulking Tony Vitrano) who might be escorting him onto a plane at some point. There’s Kathy’s disapproving mother. In the film’s worst characterization, there’s the partner of Kathy’s former boyfriend. He’s played by Emory Cohen as an exaggerated coconut drink sipping buffoon who’s either being the main reason for Antonio’s troubles or talking about andouille sausage. Cohen’s role has about as much subtlety as J.W. Pepper, the loud and crude Bayou sheriff from Live and Let Die and The Man with the Golden Gun (Roger Moore’s first two James Bond features).

The heart of Blue Bayou is certainly well-placed and its urgent call for reform is best felt in the epilogue displaying real cases of injustice and the legal loopholes that caused them. In the midst of all the subplots and busy work of the script, Antonio’s connection with Jessie is the one that may get you misty eyed. Chon is passionate about his subject matter. Yet it frequently feels like the passion could have been harnessed into a more cohesive structure and not this unwieldy result.

**1/2 (out of four)

James Bond: An Oscar History

Of the six actors to have played the most famous spy in cinematic history, only one of them has ever been nominated for an Oscar. That would be, of course, Sean Connery and he was victorious in 1987 for his supporting work in The Untouchables. It is worth noting that the last two Bonds (Pierce Brosnan, Daniel Craig) have Golden Globes nods in the Musical/Comedy category for The Matador and Knives Out, respectively.

With the recent death of Sir Connery, this got me thinking… how many actors from the nearly 60 year old franchise have been recognized by the Academy? And how much Oscar attention has the series itself received? For the first question, it was rather limited until Craig took over the role. For the second question, 9 out of the 24 official 007 entries have managed to get on awards voters radar screens. So let’s break it down, shall we?

Goldfinger (1964) was the third feature in the franchise and it marked the first nomination and win for the Bond catalogue. The pic took the Best Sound Effects trophy. One year later, Thunderball won for its Visual Effects. Connery’s final official appearance in 1971’s Diamonds Are Forever resulted in a nod for its sound.

When Roger Moore took over the part, his debut saw the first theme song nominated courtesy of Paul McCartney’s title track to 1973’s Live and Let Die. There would also be song nods for both The Spy Who Loved Me (1977) and For Your Eyes Only in 1981. Spy would mark the first Bond flick to score multiple mentions with its score and art direction. And Moore’s 1979 space opus Moonraker was nominated for its visual effects.

George Lazenby’s one-off appearance in On Her Majesty’s Secret Service, Timothy Dalton’s two 1980s pictures, and the 1990s-early 2000s four film Pierce Brosnan run yielded zero Oscar mentions. Same goes for Craig’s first two outings Casino Royale and Quantum of Solace. 

So it had been over 30 years since a Bond adventure had been recognized on Oscar night when 2012’s Skyfall landed a franchise record 5 nominations. It won two with Adele’s theme song and its sound editing. The other nods were Score, Sound Mixing, and Cinematography. The song love would continue with 2015’s Spectre when Sam Smith won for his tune.

Add that up and we have 15 total nominations for the series and 5 wins.

We move to the thespians and their fortune at the big show. As mentioned, before the recent run of Craig titles, it was a bit limited. In fact, the number of actors who are Oscar nominees from the Craig run nearly equals everything that came before it. Giancarlo Giannini appeared in Casino and Quantum and he was a Best Actor nominee in 1975 for Seven Beauties. Ralph Fiennes (otherwise known as M) is a double nominee for Schindler’s List and The English Patient. Naomie Harris (or Moneypenny) achieved a Supporting Actress mention for 2016’s Moonlight. Albert Finney showed up in Skyfall and he was nominated five times in his long career. Craig’s original “M” was Judi Dench and she dates back to the Brosnan era. She’s a one-time winner with 6 other nominations.

That’s just the good guys. In the Craig era, the villains come with serious awards cred. Javier Bardem from Skyfall had taken Supporting Actor five years earlier in No Country for Old Men and is a two-time Best Actor nominee for Before Nights Falls and Biutiful. Christoph Waltz (Spectre) is a double Supporting Actor winner with Inglourious Basterds and Django Unchained. And the next pic – the oft delayed No Time to Die – has Rami Malek as its main baddie. In 2018, he gave his acceptance speech for Bohemian Rhapsody. 

Going back to the beginning, From Russia with Love featured Lotte Lenye (a 1961 nominee for The Roman Spring of Mrs. Stone) and Robert Shaw (nominated three years after Russia for A Man for All Seasons). And that’s actually the extent of performers from the Connery era nominated for Oscars… sort of. The legend did return to the role in 1983’s Never Say Never Again, though it is not considered part of the “official” catalogue. It does boast three Academy players with Klaus Maria Brandauer (Out of Africa), Max Von Sydow (Pelle the Conquerer and Extremely Loud and Incredibly Close), and Kim Basinger (Supporting Actress recipient for 1997’s L.A. Confidential).

Telly Savalas costarred with Lazenby in Secret Service and he was nominated seven years earlier for his work in Birdman of Alcatraz. In the Moore era, there’s just Topol. He’s best known his nominated work in Fiddler on the Roof and he costarred in For Your Eyes Only. In the Dalton double feature, we have Benicio del Toro as he was a henchman in Licence to Kill. Over a decade later, he would win Supporting Actor for Traffic and get another nod for 21 Grams. Things picked up a bit with Brosnan. In addition to Dench, a trio of actresses were on their way or had already achieved nominations. Halle Berry co-headlined Die Another Day one year after winning Actress for Monster’s Ball. Minnie Driver had a small role in Goldeneye and would have her breakout part (along with Supporting Actress inclusion) two years later with Good Will Hunting. And Rosamund Pike was also in Die Another Day a decade plus before her Actress nod for Gone Girl. 

A final word. Not one of the 24 released 007 features has achieved any acting, directing, writing, or picture nominations of its own. Skyfall probably came the closest as some prognosticators wondered whether it could be the first to nab a Picture nod. It didn’t materialize, but its five nominations indicate it might have come the closest. Indeed, Daniel Craig’s time as Bond has seen him costar with the most Academy friendly costars. Let’s see if the next performer to play the iconic spy gets to act alongside that same kind of pedigree.

James Bond and the U.S. Presidency: A History

A fascinating factoid is out now that the U.S. Presidential Election of 2020 is in the rearview. As fans of the James Bond franchise are aware, we are now approaching the 60th anniversary of the series in 2022. The release of No Time to Die will mark the 25th official feature in the 007 canon when it (hopefully) debuts in 2021. As you are likely aware, the fifth and final Daniel Craig appearance as the British super spy was originally slated for April 2020 before its COVID-19 related delay.

Why am I saying all of this as it relates to the election that just happened? Well, it turns out that the Trump presidency will be the first since the series began in which no James Bond picture was released. That means there have been 10 U.S. Presidencies in a row where 007 appeared on the silver screen… from Kennedy to Obama. Until now. This will clearly resume when No Time is released in plenty of time for when Joe Biden sits in the Oval Office.

Based on this interesting little nugget of trivia info, I thought it might be fun to run through the movies that were released under each former POTUS and take stock with how their administrations matched up with Bond’s adventures onscreen:

The Presidency of John F. Kennedy

The Bond Pictures: Dr. No (1962)

It seems more than appropriate that this franchise started under JFK’s tenure. President Kennedy was a self-professed fan of the Ian Fleming novels. The producers of Bond actually chose From Russia with Love to be the second in the series because JFK singled it out as a favorite book. Sadly, the last movie the President ever watched at the White House was From Russia (months before its actual US release, though it was out in the UK). That was on November 20. Two days later is when Kennedy took the fateful trip to Dallas.

The Presidency of Lyndon Johnson

The Bond Pictures: From Russia with Love (1963), Goldfinger (1964), Thunderball (1965), You Only Live Twice (1967)

I would say it’s hard to argue that Johnson’s time in the White House isn’t the most impressive when it comes to the 007 catalogue. This was, of course, the heyday of Sean Connery’s time in the role which turned him into an international superstar. The first two titles on the board are often cited as the greatest of the bunch (my personal favorite is Russia).

The Presidency of Richard Nixon

The Bond Pictures: On Her Majesty’s Secret Service (1969), Diamonds Are Forever (1971), Live and Let Die (1973)

Nixon wins having the most Bonds during his time in office. There were three as his Presidency marked George Lazenby’s one off in Service, Connery’s return in Diamonds, and Roger Moore’s first outing with Live. I would also say the trio is all somewhat underwhelming to a degree (though I know the Service diehards will not appreciate that statement).

The Presidency of Gerald Ford

The Bond Pictures: The Man with the Golden Gun (1974)

Pretty slim picking for Mr. Ford with Moore’s second go-round as 007. This is deservedly considered one of the weakest in the franchise.

The Presidency of Jimmy Carter

The Bond Pictures: The Spy Who Loved Me (1977), Moonraker (1979)

The best of times and worst of times for Roger Moore matched with the Carter Administration. I would easily call Spy the finest Moore pic in his run while Moonraker is the low point.

The Presidency of Ronald Reagan

The Bond Pictures: For Your Eyes Only (1981), Octopussy (1983), A View to a Kill (1985), The Living Daylights (1987)

It’s appropriate that some of the titles here incorporate the Cold War activities happening in Reagan’s 1980s era. The list here includes two solid Moore outings (yes, I think Octopussy is quite good) and the middling finale of View. It also marks Timothy Dalton’s fairly pleasing debut in Daylights. As a side note, while not considered an official Bond pic in the canon sense, Sean Connery returned to his signature part with 1983’s Never Say Never Again.

The Presidency of George H.W. Bush

The Bond Pictures: Licence to Kill (1989)

The last one term President until now had just one 007 flick. I maintain that Licence may be just the most underrated one of the whole series. It was Dalton’s swan song for his brief tenure.

The Presidency of Bill Clinton

The Bond Pictures: Goldeneye (1995), Tomorrow Never Dies (1997), The World Is Not Enough (1999)

The Clinton Era matches with the Pierce Brosnan era as the franchise was revitalized financially with these three blockbusters which were all decent in quality.

The Presidency of George W. Bush

The Bond Pictures: Die Another Day (2002), Casino Royale (2006), Quantum of Solace (2008)

A mixed bag. I consider Brosnan’s finale of Day to be the worst James Bond adventure of all time. On the other hand, Daniel Craig’s emergence in Royale is second only to From Russia with Love in my opinion. Quantum was just OK and the weakest of the Craig pics.

The Presidency of Barack Obama

The Bond Pictures: Skyfall (2012), Spectre (2015)

Bond reached a billion dollars in the Obama era with Skyfall, rightfully considered one of the strongest of the two dozen pictures. Spectre didn’t match its quality, but was still pretty good.

The Presidency of Donald Trump

As I said… nada. No Time to Die would have been the one Trump time release if not for the pandemic. It will instead be unveiled when President Biden is in office and there could be even be a new 007 under his Presidency depending on how quickly the studio casts a new spy.

 

Connery. Sean Connery.

It is, quite simply, the greatest screen introduction of all time. Nearly 60 years ago, the suave tuxedoed super agent lighting his cigarette in the posh casino and uttering three words that changed cinematic history.

“Bond. James Bond.”

They were, of course, spoken by Sean Connery. And that line of dialogue, flawlessly delivered, kicked off the franchise of all franchises. The role of 007 was followed by George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig. Yet to most lovers of the art form – Connery is Bond. He perfected Ian Fleming’s British hero from the start in Dr. No and continued to do so in the seminole pictures from the series including From Russia with Love and Goldfinger. 

When a performer passes on, as Connery has at age 90, it’s easy to delve into hyperbole. That doesn’t apply here. The man truly was and is an icon. Just being the best and original Bond would be enough to cement that legacy.

However, there’s plenty more. His Oscar winning turn as the tough and gruff Malone in Brian De Palma’s The Untouchables. His role as the father to Indiana Jones in The Last Crusade. Being Alfred Hitchcock’s leading man in Marnie. His Soviet captain in The Hunt for Red October. The escape artist opposite Nicolas Cage in The Rock. His shining star among other legends in Murder on the Orient Express.

The man who will always be Bond and much more may be gone, but that famous introduction and hours of additional first rate entertainment will be there for us to appreciate. And nobody looked cooler providing it to us.

Sean Connery. Icon. August 25, 1930-October 31, 2020.

The Long and Winding Bond

It’s amazing to think that The Beatles released their first single in 1962. This was also the first year that a Bond picture came out with Dr. No. Both entities are still extraordinarily relevant. Famously, Sean Connery’s Bond dissed the Fab Four in 1964’s Goldfinger. 

007 fans got some welcome news this week as Cary Fukunaga was announced as the director of the 25th (and as yet untitled) official James Bond film. By the time it comes out, Mr. Fukunaga will be the first American filmmaker to make a Bond pic in its 58 year history.

He brings an exciting resume to the fold. In addition to a filmography that includes varied directorial efforts like Sin Nombre, Jane Eyre, and Beasts of No Nation, his screenwriting credits include last year’s smash It and TV’s The Alienist. His work behind the camera for television also includes the critically lauded first season of HBO’s True Detective and Netflix’s Maniac with Emma Stone and Jonah Hill (which premieres today).

The pick was a surprise and it wasn’t just due to his U.S. heritage. The producers behind Bond had recently gone with a certain type… awards friendly directors branching out to the super spy series. After Martin Campbell successfully kicked off the Daniel Craig era (just as he did for Pierce Brosnan in Goldeneye), Marc Forster (maker of Monster’s Ball and Finding Neverland) did the disappointing Quantum of Solace. Then it was Academy Award winning Sam Mendes behind Skyfall and Spectre. 

When Danny Boyle was announced as director for Bond 25, it seemed to fit the mold. He’s an Oscar winner for Slumdog Millionaire. He’s also directed some other genre fare (including Trainspotting and 28 Days Later) that made him a fairly exciting pick. Yet it somehow seemed a little safe. After creative differences caused his exit, I figured someone like Joe Wright (who last directed Darkest Hour) could be the replacement.

Fukunaga is an intriguing selection and I’m curious to see how he handles what is very likely to be Craig’s final appearance as 007. And this brings us to Mr. Craig’s longevity. Sean Connery made six movies in the official canon (1983’s Never Say Never Again isn’t considered part of it). George Lazenby did the one-off On Her Majesty’s Secret Service. Roger Moore is the leader with seven. Timothy Dalton had two. Pierce Brosnan made four.

This will be Craig’s fifth 007 turn. Surprisingly, he will have actually portrayed the MI6 agent the longest by the time #25 is released in February 2020. His 14 year reign will eclipse the 12 years that Moore played him.

Attention will soon turn to the next Bond. If I had to guess, I figure the seventh actor to play him will debut onscreen in November 2022. There’s been rumors of Idris Elba taking over the role. Expect plenty of speculation over the next couple of years. By that time, the Bond franchise will be 60 years old. Like The Beatles music, it will never die and the long and winding road of the franchise continues to interest us.

Summer 1987: The Top 10 Hits and More

As we begin the month of August and the dog days of summer, I’ll be traveling back 30, 20, and 10 years ago to seasons past giving you the top ten hits and more of that particular time frame. Today we are going all the way to 1987.

It was a simpler time back then. There were very few sequels and franchises and reboots and a good portion of the highest grossing flicks dealt with law enforcement in action type settings. Only one picture grossed over $100 million dollars. Yes, the times have changed, but what a hoot to look back at what was burning up the box office charts three decades ago. This post will also discuss some other notable flicks outside the top ten and some big ole flops.

Let’s get to it!

10. The Living Daylights

Domestic Gross: $51 million

The 15th James Bond picture kicked off the brief two picture reign of Timothy Dalton, who took over the iconic role after the late Roger Moore’s 12 year long portrayal of 007. It’s $51M gross would just surpass the $50M earnings of Moore’s swan song, 1985’s A View to a Kill. Two summers later, Dalton would star in his swan song Licence to Kill before Pierce Brosnan donned the tuxedo six years later.

9. Robocop

Domestic Gross: $53 million

Paul Verhoeven’s futuristic sci-fi action thriller nearly received the dreaded X rating upon its release. It also received critical acclaim and spawned two sequels and a 2014 remake.

8. La Bamba

Domestic Gross: $54 million

This biopic of singer Ritchie Valens starring Lou Diamond Phillips was a major summer sleeper and even earned a Golden Globe nod for Best Picture (Drama). It also featured the Los Lobos cover of the title song that was in the top ten summer songs of 1987.

7. Dragnet

Domestic Gross: $57 million

A few years before Tom Hanks was earning back to back Best Actor Oscars, he was costarring in silly remakes of 1950s cop dramas. Dragnet managed to perform well and it’s a guilty pleasure, especially Dan Aykroyd’s take on Sgt. Joe Friday (a role made famous by Jack Webb).

6. Predator

Domestic Gross: $59 million

One of Arnold Schwarzenegger’s finest action pics, Predator also kicked off an impressive three picture directorial run by John McTiernan that was followed up by Die Hard and The Hunt for Red October. This franchise is still going strong today, but nothing beats the hard edged original.

5. Dirty Dancing

Domestic Gross: $63 million

The biggest sleeper hit of the summer vaulted Patrick Swayze into super stardom and won the Oscar for Best Original Song for Bill Medley and Jennifer Warnes’s “(I’ve Had) The Time of My Life”.

4. The Witches of Eastwick

Domestic Gross: $63 million

Mad Max maker George Miller went Hollywood with this critically appreciated comedic fantasy with an all-star cast of Jack Nicholson, Cher, Susan Sarandon, and Michelle Pfeiffer.

3. Stakeout

Domestic Gross: $65 million

This was the height of the buddy cop era and it propelled this one starring Richard Dreyfuss and Emilio Estevez to big grosses. A less regarded sequel costarring Rosie O’Donnell would follow six years later.

2. The Untouchables

Domestic Gross: $76 million

Brian De Palma’s take on the classic TV series was a big-budget and highly entertaining affair headlined by Kevin Costner, Robert De Niro, Andy Garcia, and Sean Connery (who won a Supporting Actor Oscar for his work).

1. Beverly Hills Cop II

Domestic Gross: $153 million

Eddie Murphy was just about the biggest movie star in the world in summer 1987 and that’s shown here by the enormous gross of the sequel to his 1984 classic, directed by Tony Scott. A much less successful third entry would follow seven summers later after Murphy’s box office potency had waned.

And now – here’s some other notable pictures from the season:

Full Metal Jacket

Domestic Gross: $46 million

Legendary director Stanley Kubrick’s first film in seven years (since The Shining) is now considered a modern classic, especially for its unforgettable first half featuring R. Lee Ermey’s Vietnam drill sergeant.

Spaceballs

Domestic Gross: $38 million

This Mel Brooks spoof of Star Wars may not be in Blazing Saddles or Young Frankenstein territory, but it’s certainly earned quite a cult status through the last 30 years.

Adventures in Babysitting

Domestic Gross: $34 million

The directorial debut of Chris Columbus (who would go on to make Home Alone, Mrs. Doubtfire and the first two Harry Potter pics), Babysitting has also achieved cult cred in addition to its decent box office showing at the time.

The Lost Boys

Domestic Gross: $32 million

Another flick with a rabid fan base, the teen pic cast Kiefer Sutherland, Jason Patric, and Corey Feldman in a California town overrun by vampires.

And now for a couple of 1987 summer box office bombs:

Jaws IV: The Revenge

Domestic Gross: $20 million

12 summers prior, Steven Spielberg’s original was a landmark motion picture. By the time the fourth entry came around, the series had gotten terrible. It still has a 0% score on Rotten Tomatoes and Michael Caine actually missed picking up his Oscar for Hannah and Her Sisters because he was shooting this turkey.

Superman IV: The Quest for Peace

Domestic Gross: $15 million

Not a solid summer for four-quels. This served as a bad ending to a series started nine years earlier. There was a moratorium on Supes pic for the next 19 years.

Ishtar

Domestic Gross: $14 million

Considered one of the largest bombs in film history at the time, this comedy with Warren Beatty and Dustin Hoffman was a punchline for years. Its reputation has grown a bit since.

And that’s my recap folks! I’ll be back recounting summer 1997 very soon…

The Fate of the Furious Movie Review

The Fate of the Furious is our eighth – yes, eighth – installment of a franchise that it would have been ridiculous to imagine there being that many entries. We’re a long way from the original 16 years ago that was sort of a drag racing rip-off of Point Break, or Point Brake as I deemed it in my review. That said, a common thread among the series is its willingness to be knowingly ridiculous while weaving in endless monologues about the importance of family.

The formula took on a different tone in predecessor Furious 7, which admirably managed to deal with the death of franchise stalwart Paul Walker in its conclusion. In that sense, Fate ushers in a new chapter. New characters are introduced, old ones are rehashed, and the level of silliness is brought to a level not quite seen before. Yes, cars go fast here. However, part 8 owes more to James Bond flicks when they were less grim (think Roger Moore era with a quarter billion dollar budget).

As I’ve written in previous Furious critiques, plot is secondary but here’s what you need to know: Dominic Toretto (Vin Diesel) has turned on his team. Sort of. He’s being forced to team up with criminal mastermind Cipher (Charlize Theron), who evades authorities in the air on an invisible plane. See what I mean? Isn’t that the kind of villain 007 might battle in the late seventies? Now on the wrong side of justice, Dominic and Cipher must go against Dom’s “family”, including wife Letty (Michelle Rodriguez) and the familiar players played by Dwayne Johnson (whose goofy character is still good for some funny and bizarre moments), Tyrese Gibson, Ludacris, Kurt Russell, and more. Part 7’s main villain Jason Statham is more of a team player this time around and even Oscar winner Helen Mirren turns up as his mum. Statham is granted a fight scene towards the end where he has to be delicate with some cargo he’s carrying (you’ll see what I mean). The scene is genuinely humorous and quite well choreographed.

The plot is all an excuse for the massive action spectacles and globe trotting we’ve become accustomed to and we have it here in Cuba, New York City, and Russia. The climactic sequence set on Russian frozen tundra employs the usual expensive vehicles, but we also are treated to tanks and submarines. Remember the ice action in Pierce Brosnan’s Bond flick Die Another Day? Think that, but it’s not embarrassingly awful.

Our Furious sagas rise and fall on the ability for us to check our brains at the Universal logo. By the third act, I’d succumbed once again to its cheesy charms. Maybe one day this series will truly stall like it briefly did in 2006’s Tokyo Drift. Not yet though and that’s some kind of testament to its durability.

*** (out of four)