29 Days of Romance, Review #15: Footloose (1984)

 

Directed by: Herbert Ross. Starring: Kevin Bacon, Lori Singer, John Lithgow. Runtime: 1h 47 min. Released: February 17, 1984.

I’ll discuss some spoilers in this review, but I feel like I’m the only person who hadn’t seen this.

Released 36 years ago today, I don’t think Footloose has aged well. In the no-fun-town of Bomont, Utah, rock music and dancing has been banned by the town council and Reverend Shaw (John Lithgow) to protect the town’s teens.

Their logic is that they’ll only lead to drugs, alcohol and fornication. A city teenager, Ren (Kevin Bacon), moves to town and shakes things up with his rebellion, while also falling for the local reverend’s daughter, Ariel (Lori Singer).

Ariel was the biggest problem for me. Her recklessness and rebellion against her reverend father got old fast. She puts her life in danger on two occasions, getting nearly flattened by a semi-truck and then nearly run over by a train. Writing this review, I’m realizing it’s so she can feel how her brother felt when he died (in a car accident) but the scenes are weak without that context.

Rock music and dancing aren’t the problem with this town when teens are reckless like Ariel. Singer plays her fine, and Ariel started to win me over by the end when she stopped needing to get her father’s approval, and I liked the loss of her brother developing Ariel and her father. I found her dull for the most part and didn’t feel any chemistry between her and Kevin Bacon.

Footloose article

Dianne Wiest and John Lithgow in Footloose. (IMDb)

Before I get to Bacon, Shaw and his wife Vivian (Dianne Wiest) are the best characters here. Lithgow plays his role well and his arc is good, as he feels like he has to carry the weight of the town on his shoulders. Wiest is the highlight as Vivian for me. The scene where she speaks up to Shaw because he doesn’t see the bigger picture is the strongest scene. “You can lift a congregation up so high they have to look down to see heaven,” is a great line. Their scenes are engaging drama.

I had little interest in Ren and Ariel. Kevin Bacon’s fine as Ren, but the teens’ side of things is often uneventful. Until it gets to the point where they plan a secret dance, there was a lot of time killing like Ariel’s abusive boyfriend Chuck Cranston (Jim Youngs) challenging Ren to the ultimate display of masculinity: A classic game of chicken using huge tractors. I think this is what makes it feel like an ‘80s movie because it’s so ridiculous as it plays to “Holding Out For a Hero” by Bonnie Taylor. This is the point that I understood the appeal of Footloose and conceded that it’s simply not for me.

At least after dancing gets unbanned, the displays of masculinity can be dance battles. The screenplay by Dean Pritchford handles Chuck weakly as Ariel starts spending time with Ren and they forget all about Chuck. When they remember he’s a character, they bring him back to beat up Ariel and then bring him back for a fight at the end.

Footloose article1

Lori Singer and Kevin Bacon in Footloose. (IMDb)

The screenplay generally makes a habit of bringing characters into the film and forgetting about them, even with Ariel’s friend Rusty (Sarah Jessica Parker) who disappears for like 40 minutes. The fact that Ren is given a hard time for being the new kid seems realistic. He deals with the oppression, and the town’s rules, in a healthy way with a workout dance to Moving Pictures’ “Never.”

I’m giving this film a hard time, but I had some fun during this. I liked the scene where Ren, Ariel, Ren’s friend Willard (Chris Penn) and Rusty went to a different town to dance. It was lively when they play the titular song (“Footloose” by Kenny Loggins) and Rusty wanted to dance. This was also the first scene where the teens felt authentic. My main question of this scene is why Ren thinks it’s unbelievable that Willard can’t dance when dancing has been illegal in the town for six years. Speaking of Willard dancing, the montage of him learning to dance is charming.

Some of the dance scenes are fun, but I found most of the drama boring. I felt like a kid at the beginning of the film sleeping in Church. I don’t like the film, but the soundtrack is an absolute classic. Every song on the soundtrack bops and my feet were tapping a lot during this. It’s just a shame that the story never reaches that same greatness.

Score: 50/100

 

 

 

 

X-Men: First Class (2011)

X-Men FirReleased: June 3, 2011. Directed by: Matthew Vaughn. Starring: James McAvoy, Michael Fassbender, Jennifer Lawrence. Runtime: 132 min.

X-Men: First Class opens with what opened the original X-Men, but Matthew Vaughn adds his own stylish direction to it and extends the story. It introduces what motivates Erik Leshnerr (a.k.a. Magneto) and the main villain – Sebastian Shaw, portrayed by Kevin Bacon – from the get go. How Erik delves into her powers is through pain and anger, it’s shown through a heartbreaking sequence, mostly for Erik. I like it when a film gets right into the narrative. I think it compels from the opening scene – and it’s nice to see how Charles Xavier was good friends with Raven Darkholme (Mystique). 

The film then skips to 1962 after staying in 1944 for the opening fifteen minutes. The plot concerns Shaw, who is attempting to start World War 3 in 1962. Charles Xavier, and Leshnerr, team up with the CIA to stop the villains, and they recruit a few cool heroes in the process. I had only heard of Beast of the ones they recruit, but their powers are cool. I especially like Banshee’s (Caleb Landry Jones) sense of humour. Havoc (Lucas Till) is a bit of a total dick at times. The sequence where Xavier shows them how to control their powers is engaging and fun. Matthew Vaughn’s style and the excellent camerawork gives the film an extra fun layer, and engages one’s attention even more. 

I think setting this origins story in a very cool age is a smart choice, and Vaughn depicts the style of the age really well. It’s a sort-of Cold War/Cuban Missile Crisis film, and it seems to set up an imaginative way of how the Cuban Missile Crisis was started in this universe.The film’s also visually compelling. Prior to Days of Future Past, this is the franchise’s most engaging narrative thus far. It’s great to experience the chemistry shared between James McAvoy as Charles Xavier and Michael Fassbender as Erik Leshnerr. Some of their clashes in opinions are heartbreaking, but necessary.

The two share a great scene together where Charles shows Erik to find out how to use his power – finding a balance between rage and serenity. What he does to show him how to do it is mesmerizing and emotionally charged. I seriously think it’s some of the strongest acting of the franchise shown in that simple scene. James McAvoy brings charm to his role, and a calm attitude; while Fassbender gives a sometimes chilling performance as Magneto. My favourite characterization for the film is for Mystique/Raven. She’s still coping with fitting in, as she has to use half of her concentration to stay beautiful all the time. It seems like a real struggle; because other mutants can hide and blend in easier than her and Hank McCoy, who has feet that are like an extra pair of hands. Nicholas Hoult (as McCoy) and Lawrence share strong scenes together. What Magneto says at one point about Mystique is thought-provoking: “How can society accept you, if you can’t accept yourself?” 

The only boring characterizations are for the CIA characters, largely Oliver Platt’s Man in Black Suit. Rose Byrne’s Moira gets decent characterization, but apparently humans are boring. I think Kevin Bacon is good as the big baddie Sebastian Shaw. He’s critical to Erik’s development. I like his power, but it’s also very lame when he can just flick someone and send them flying, because he absorbs so much energy. (He receives weird visuals at times, but weird in a good way.) At times, he is brilliant and super cool – and the introduction to his power is one of my favourite scenes. My favourite baddie in this film is Azazel – he is so cool. There’s a baddie called Riptide who is boring because I just saw him as a male Storm, and he doesn’t get an ounce of characterization. He’s dressed in a suit and he looks cool, but I don’t remember him having any dialogue other than nodding in agreement. At one point, I thought he might be an angel and Azazel a devil, and they might act those little dudes who show up on someone’s shoulder in a moral dilemma. Geddit? January Jones is awesome as Emma Frost.

One thing is certain: Matthew Vaughn handles his characters as well as Bryan Singer, and lightyears better than Brett Ratner or Gavin Hood. With the film’s great sense of humour and engaging atmosphere, Vaughn directs the franchise back to greatness – and helps re-invent it with a compelling story, too. There’s an endless amount of great sequences, even ones that aren’t primarily action-packed. This is my favourite film of the franchise and it features a great pace and a strong finish. The dazzling film has a musical score that complements the feature well, and it also has some great visual effects. At one point, the visual effects are mesmerizing discovery. They’re sometimes out-of-this world. I am just left astounded by the atmosphere Vaughn is able to create. This is how you make an origins story. 

Score: 90/100

R.I.P.D. (2013)

R.I.P.D.Release Date: July 19, 2013. Director: Robert Schwentke. Stars: Jeff Bridges, Ryan Reynolds, Kevin Bacon. Runtime: 96 min.

A recently slain cop joins a team of undead police officers working for the Rest in Peace Department, that hunt Deados (ugly spirits who slipped through the cracks of the system and are now rotting on earth), and tries to find the man who murdered him.

It isn’t truly fair to compare films; but with “R.I.P.D.,” it’s nearly impossible to not make comparisons to the “Men in Black” franchise. They’re both buddy action comedies. Cops from both films battle otherworldly beings. The characters are similar, even if the character arcs are different. (More on that later.) There is one fundamental difference: The “Men in Black” franchise is smart, funny and fun; while “R.I.P.D.” is only one of those things. (Note: The “MIB” comparisons stop here, for the most part.)

Unoriginality and laziness are a few of the main problems that plague this film. The story is a basic save-the-world narrative. The story also isn’t enthralling, and there are few surprises in this safe feature. At one point, when the film seems to be holding a potentially awesome reveal for the end, it cowers away and restrains itself. The movie is never boring because there’s a lot going on and it’s loud. Its goofy tone helps it to be moderately fun. It’s never downright hilarious because, as much as The Dude and Van Wilder try, the writers don’t write many great jokes for them to deliver. The last time director Robert Schwentke made a comic book a movie (“Red”), it ended being a great success. This movie can’t be a great success, because this moderately entertaining time-waster is insanely disposable.

A fair deal of the content is chuckle-worthy throughout and the fact that the movie doesn’t take itself seriously is welcome. There’s only one laugh-out-loud moment, delivered by Jeff Bridges. Bridges is the most amusing part of the film, playing a cop who thinks he is the best lawman to ever live and die. He’s doing his best impersonation of John Wayne’s Rooster Cogburn. He is the most memorable part of the movie – because for audiences, it will be fun to impersonate his impersonation of Cogburn. Ryan Reynolds is okay, his character’s arc is interesting; he hasn’t yet come to terms with his unexpected death, because he didn’t get closure with his wife (Stephanie Szostak). However, this thought-out arc almost feels strange in such a silly movie.

“R.I.P.D.” is just forgettable. It’s hard on the eyes, because the darkly tinted glasses make the ugly 3-D effects even worse. (If you do end up seeing this, do yourself a favour and watch it in 2-D.) The Deados are also hard on the eyes because they’re so damn ugly, and not in the awesomely ugly way some creatures are, like in “Pacific Rim.” They’re all a bit too similar, too, even the underwhelming leader. One of the coolest things about the movie are the guns. However, they look like they’re stolen from the set of “MIB.”

It’s amusing when we get to see the avatars of Reynolds and Bridges. Reynolds appears to the real world as an Asian man (James Hong, “Balls of Fury”) shooting a banana, instead of a gun. Bridges appears as a supermodel (Marisa Miller) who, appropriately, everyone gawks at while Marvin Gaye plays over the soundtrack. (Those scenes are chuckle-worthy, and it’s where the writers show shades of cleverness.) It would be welcome to see entire sequences with the characters’ respective avatars, rather than only the bit-sized periods of time they are on-screen. It’s distracting to constantly see the characters go from Bridges to Miller; from Reynolds to Hong.

If you see “R.I.P.D.,” you might or might not like it, but you surely won’t care if you ever see it again. Suffice to say, you could see worse this summer (“Grown Ups 2“), but you could see so much better. Or you could even re-watch “Men in Black.” This movie will struggle to linger in the mind, because it will be known as that one movie that’s a lot like “Men in Black,” but isn’t “Men in Black.”

Score50/100