Category Archives: Satire

Deal of the Century (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Making money selling weapons.

Eddie (Chevy Chase) is a American arms dealer selling weapons to both the rebels and military dictator of a small South American country. While there he meets Harold (Wallace Shawn) who works for a large contractor known as Luckup. Their weaponry is much more sophisticated and cutting edge so after Harold kills himself Eddie takes over the deal and successfully wins a big contract, but upon returning to the states he finds that the deal fell through, which forces him to return to the small country along with Harold’s widow Catherine (Sigourney Weaver) and his partner Ray  (Gregory Hines) to see if they can make another pitch.

The film is based on the novel of the same name by Bernard Edelman and makes some really good satirical points about how the arms race being driven more by corporate greed, which only helps to create wars instead of preventing them. Unfortunately the film’s tone is too muddled and goes haphazardly from lighthearted fare to dark humor while throwing in graphic violence that is jarring. There’s also a surprising number of scenes where the three main characters don’t appear in it at all.

Chase can be appealing if given the right material but his cynical smart-ass sense of humor doesn’t exactly make him lovable. Here his character is so consumed with making a deal that he becomes no different than the bad guys and someone the viewer doesn’t connect with or care for. The only positive thing about his character is that he gets shot in the foot early on and then unlike most other movies where the healing power gets sped up he instead spends the rest of the film in a cast, which is more realistic. The scene where he gets shot in the foot a second time and blood spews out of the cast until Sigourney stops it up with a cork is the film’s best moment.

Hines on the other hand is quite likable and his convergence to Christianity is funny and should’ve been played-up more. The scene where he gets into a confrontation with a Latino couple after a car accident is amusing, but having him suddenly go rogue at the end makes little sense and is kind of stupid.

Weaver, who doesn’t have any significant presence until almost 45 minutes in, is wasted and there’s no way that anyone as beautiful as her would marry a chump like Wallace Shawn, which makes the casting here quite nebulous. Vince Edwards, famous for starring in the 60’s medical drama ‘Ben Casey’, gets a surprisingly large role as a Luckup executive and I can only guess that this was because of his longtime friendship with director William Friedkin as otherwise by the 80’s he was way past his and largely forgotten.

There are some humorous bits here and there, but overall the pacing is poor and quite jumbled. Friedkin, better known for his dark dramas and horror films, looks way out of his league and when compared to other Hollywood comedies this thing lacks finesse. The special effects are also really tacky, which ultimately sends this to a schlock level and becomes an embarrassment to all those who were involved.

My Rating: 5 out of 10

Released: November 4, 1983

Runtime: 1 Hour 39 Minutes

Rated PG

Director: William Friedkin

Studio: Warner Brothers

Available: DVD, YouTube

Utilities (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Social worker battles bureaucracy.

Bob (Robert Hays) is a social worker who’s fed up with the utility companies who shut the heat off to a group of senior citizens when they can’t pay their bill, which almost causes them to freeze to death. He decides to get revenge by having his techno wiz friend Eddie (Benjamin Gordan) rig the companies computers so that the customers get paid directly by the same utility companies that have been screwing them over. Unfortunately Bob’s new girlfriend (Brooke Adams) who is also a cop won’t hesitate to turn him in if she finds out that he’s the one behind the scheme.

This was filmed in 1980, but sat on the shelf for 3 years and it’s easy to see why as the humor is quite flat.  For some reason it was produced by a Canadian company and filmed in Toronto, which they then try to mask as being Chicago and I’m not sure why. Can’t these types of scenarios happen in Canada or is the US the only one with greedy corporations? The effort to try and seem like an American film doesn’t work as Canadians have a much different sense of humor and the whole thing comes off, much like Fear is the Key another film produced by our friends to the north, but filmed here, very off-kilter right from the start.  It’s like the film’s director Harvey Hart doesn’t really understand American culture as the characters behave in ways unlike anyone that I know.

It’s also against the law to turn off the heat or gas  on someone between the months of November and March, or if the temperature dips below 32 even if it’s because they cannot pay their bill or are struggling with financial hardship. I’m not sure if the filmmakers knew this being from Canada, or if they thought the viewers would be unaware so it didn’t matter, but in either case it shoots the entire scenario down dead on arrival.

It’s fun watching Hays who’s best known for his starring role in the cult hit Airplane as he portrays a much different character here. Instead of just being this dull dimwit like in that film he’s much more emotional here and even aggressively opinionated, which is fine. The only problem I had is I couldn’t understand why he would want to date Adams who had him arrested when he tried to stop the gas company from turning off the heat as the two just didn’t seem to have much in common and if anything it would’ve been more fun had they remained adversarial throughout only to finally soften on each other at the very end.

I happen to be a big fan of satire, but it has to have an edge to it. Trying to lampoon greedy corporations is not at all interesting and too easy of a target. The company’s CEO, which is played by James Blendick, is portrayed too broadly and is nothing more than a boring caricature as are the elderly tenants who battle him. Potentially serious issues get lost in a script that wants to pad everything over in a cutesy way that ultimately proves to be both mindless and forgettable.

Alternative Titles: Getting Even, Up Your Gas Company

My Rating: 2 out of 10

Release: June 13, 1983

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Harvey Hart

Studio: Astral Films

Available: VHS (Vestron Video)

Teachers (1984)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Teaching can be difficult.

Alex (Nick Nolte) is a burned-out teacher who feels that the system is working against him as he tries to do his job in an inner-city school despite having no support from administrators. Things come to an ugly light when Lisa (JoBeth Williams) a former student of his who’s now an attorney takes part in a lawsuit suing the school for graduating a student who could not read.

Producer Irwin Russo drew on his 10-years as a teacher at an inner-city New York high school as the basis for the story and the film has some good trenchant points, but trying to put a satirical spin to it was a mistake. To make a good satire you gotta go all-in and this film timidly goes half-way with humor that at times, especially at the beginning, is off-putting. It’s not until the second-half when it gets more serious does it ever start catching its stride and the production would’ve been better had it remained a drama from the very beginning.

Nolte comes off like he’s suffering from one long hang-over, which may have been the intention, but the way he basically sleepwalks through the role gives the film no energy and makes the viewer feel as drowsy as he is. His relationship with Lisa, his former student, is forced and uninteresting and even a bit unbelievable since they look to be basically the same age. Judd Hirsh who plays the vice principal should’ve been the lead adult character as he does a great job of balancing the comedy with the drama by playing it straight and simply responding in sometimes glib and humorous ways to the insanity around him.

Ultimately it would’ve worked better had Ralph Macchio been made the star as he’s excellent despite the irony that he was already 23 at the time, but looking more like he was still in the eight grade. Crispin Glover as his goofball friend doesn’t work as well. Sometimes his pseudo-psycho characters are interesting, but here it is poorly defined and distracting. Laura Dern’s character is annoying as she plays another one of those perennial teen girls who gets pregnant and then wants an abortion, which has been so overused in so many other high school films that by now it seems like a cliche.

I did like the on-location shooting done at the former Central High School in Columbus, Ohio and the student body looks to be made up of actual teens and not just young adults trying to play one, but they did seem at times to be a bit unrealistically too well behaved. The scene where a teacher Mr. Stiles (Royal Dano) would fall asleep behind his desk and the students would still quietly do their homework made no sense as I would think they’d take advantage of the situation and goof-off instead.  Richard Mulligan’s role as an escaped mental patient pretending to be a substitute teacher is equally implausible as I thought the authorities would’ve caught up to him much sooner than they do although it is fun seeing him wearing a General Custer outfit as it looks quite similar to the one he wore in Little Big Man when he played the actual Custer.

There are a few good moments here and there, but it’s badly undermined by the misguided humor and corny ending. The eclectic supporting cast though is a treat to watch. I enjoyed William Schallert as a principal who seemingly wants to avoid confrontation at all costs as well as Lee Grant as a lawyer, which is the type of profession her acting style seems born to play. Originally the part was written for a man, but she plays it better than any guy ever could and I also enjoyed seeing her with a brunette hairdo instead of her usual red one, which makes her appear younger than she did in the 70’s.

My Rating: 5 out of 10

Released: October 5, 1984

Runtime: 1 Hour 47 Minutes

Rated R

Director: Arthur Hiller

Studio: MGM/UA

Available: DVD

Real Life (1979)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Ordinary family reality show.

Albert Brooks plays Albert Brooks a hot shot young filmmaker determined to make a splash by filming a regular American family in their home and capturing everything that they do. The idea is for the family to go about their daily lives as if the cameras aren’t really there and then record their interactions. Things though go off-kilter almost immediately, which sends Brooks into a panic as he fears his movie won’t be entertaining enough and forcing him to compromise the project by instilling outside influences in order to make the movie more commercially viable.

This is another film that gets listed in the book ‘1001 Movies You Must See Before You Die’, but I’m not sure why. I’ll admit when I first saw it over 30 years ago it struck me as being quite irreverent and edgy at least the beginning, but the second half fades as Brooks loses sight of the main theme and writes himself into a hole. This results in a lot of tired jokes that focuses too much on the filmmaker and not the family.

The idea is based off of the documentary called ‘An American Family’, which was broadcast on PBS from January to May of 1973. This is where a filmmaking crew followed around the Loud family of Santa Barbara, California for 7 months in 1971 and filmed everything that went on between them. The idea was not to sensationalize anything, but instead have it work as an educational program examining the dynamics of how a typical American family works. Although things started out normal it soon began to unravel when the wife asked for a divorce and the couple’s 20 year-old son suddenly came out as gay. All these things were unexpected and many critics felt it was the presence of the cameras that brought them out.

Unfortunately this film misses the mark by having the family’s unraveling occur almost immediately and therefore not taking advantage of a prime comedic arch. The family members also lack any discernable personality and proceed to just get more boring as the film progresses. Certain darkly humorous moments like the scene where the father, played by Charles Grodin, performs a botched operation on a horse as part of his veterinarian practice are not funny at all and instead quite disturbing especially since a real horse was used.

The audience comes into this thing expecting to see a story about a family, but instead gets bombarded with Brooks whose sarcastic personality is only tolerable in small doses. The intended satire of a popular TV-series morphs into scenes of a narcissist filmmaker endlessly whining about his anxieties making the whole thing seem more like a vanity project or worse a limp remake of Federico Fellini’s 8 ½.

Some great moments particularly the opening scenes showing the audition phase get lost amidst a rapid fire of sardonic gags that go nowhere.  I started to wonder if Brooks had even seen the actual series that he is supposedly trying to make fun of, or if he just considered the concept as an excuse to try and make himself the star. The intended surrealism doesn’t work and actually gets in the way with a whacked-out Gone with the Wind-like finale being the worst and only helps cement this as a misfire.

My Rating: 4 out of 10

Released: March 2, 1979

Runtime: 1Hour 39Minutes

Rated PG

Director: Albert Brooks

Studio: Paramount

Available: DVD, Amazon Video, YouTube

Hairspray (1988)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Integrate the dance show.

Tracy Turnblad (Ricki Lake) and her best friend Penny Pingleton (Leslie Ann Powers) audition for ‘The Corny Collins Show’ a local teen dance contest. Penny isn’t able to make the cut, but Tracy is much to the infuriation of the snotty Amber (Colleen Fitzpatrick) who was the show’s reigning dance queen. The rivalry between the two heats up even more when Tracy tries to integrate the show with black performers which incites Amber’s racist parents (Sonny Bono, Debbie Harry) to resort to desperate and violent means in order to keep the show segregated.

This was the movie where John Waters became a legitimate filmmaker who could use his craft to create a story instead of making a movie that was simply a foray into crude humor. When he first broke into the underground scene his films such as Mondo Trasho, Pink Flamingoes, and Female Trouble where refreshingly trashy and daring to show things other movies wouldn’t. The stark frankness and complete disregard of who it offended were both hilarious and groundbreaking, but by the time it got to 1981’s Polyester the formula had gotten stale and hearing campy characters shout incessantly at each other was becoming derivative while also exposing Waters as possibly being just a one-dimensional talent who was sadly losing his edge.

This film though was a complete change-of-pace with each shot and scene a loving tribute to his days growing up in Baltimore during the 50’s and early 60’s. The film has a lot of dance numbers that normally could bog the pace down, but here I got into the energy of it and it helped me to feel even more like I had been transported into a different time period. The musical soundtrack is filled with a lot of lesser known songs which most viewers will have never heard of and thus helping the film’s soundtrack avoid sounding like just another generic playlist from an oldies radio station.

Divine’s presence is much less crucial to the story’s plotline than in Waters’ past films. Sadly by this time his/her appearance was looking even more like just some fat guy wearing wig and no longer coming off in any way as being an overweight woman even though in the past films it was at times hard to tell. His physique looked so out of shape here that it should be no surprise that he died of a sudden heart attack just three weeks after the film’s release. In fact as the mother he really isn’t funny or engaging at all and only in a brief few scenes where he plays the station’s cantankerous owner Arvin Hodgepile does he show actual energy and gets a few laughs.

The original idea was to have Divine play both the roles of the mother and daughter, but fortunately that got nixed and Ricki Lake was brought in. She has a genuine, honest presence about her that creates instant empathy and it’s nice having a film showing an overweight person where her body type did not impede her from achieving her goals nor work as a detriment at keeping her down.

The supporting cast is eclectic, but unfortunately most are wasted particularly Jerry Stiller and Sonny Bono as the two fathers. Debbie Harry is great with her increasingly outrageous beehive hairdos, which become the most memorable and imaginative thing about the film. Lesser known actress Joanne Havrilla is quite funny as Penny’s racist mother especially the scene where she panics when trapped in a black neighborhood. John Waters himself gets some good comic bits playing Penny’s quack psychiatrist and Pia Zadora is engaging as a pot smoking beatnik.

The film is full of comical highlights that playfully runs the gamut between subtle, over-the-top and crude that somehow works to form a cohesive whole culminating in a very funny ‘race riot’ at the end. If the film has any fault it is in the fact that it treats racism in a little too much of a trivial way like it is just some silly thing that can be easily fixed instead of the serious and deep-rooted issue that it really is.

My Rating: 7 out of 10

Released: February 16, 1988

Runtime: 1Hour 32Minutes

Rated PG

Director: John Waters

Studio: New Line Cinema

Available: DVD, Amazon Video, YouTube

Risky Business (1983)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Teen becomes suburban pimp.

Joel (Tom Cruise) is a teenager living in a sprawling home on the North Shore of suburban Chicago who is stressing about getting into a top college. His parents (Nicholas Pryor, Janet Carroll) announce that they will be leaving on vacation for two weeks and he’ll have the whole place to himself. After some prodding by his friends he invites over a beautiful prostitute named Lana (Rebecca De Mornay) and takes her for a spin in his Dad’s Porsche, which accidently slides into the lake. The repairs will be expensive, so Lana devises a scheme where his home will be used as a temporary, make-shift whorehouse bringing in customers, many of whom being Joel’s high school friends who will pay to have sex with Lana’s beautiful call girl friends and whose proceeds will go to fixing the car.

The film is a fresh, funny look at capitalism and a perfect composite of the Reagan years and ‘80s attitudes. However, the conversations that the teens have here is jarringly out-of-touch with today’s youngsters who seem to favor more socialistic concepts. On one hand this then dates the picture, but it also makes it fascinating at seeing how people thought from a bygone era.

Cruise is fantastic and really looks like a teen, especially with his bowl haircut, even though he was already in his 20’s at the time. The character though allows himself to be taken advantage of too much by his friends. For most people the friendship would immediately end if they had a pal who would invited over a prostitute as a ‘joke’ that they didn’t want and would still be expected to pay for.

Why are these friends doing these hijinks anyways? It was almost like Joel had never been home alone before. Most likely he had, so why now are his buddies doing these things when they hadn’t earlier? A much better premise would’ve been to have Joel achieve some sort of accomplishment, like pass an all-important SAT test and as a ‘reward’ his friends would pitch-in and buy him a prostitute for the night while his parents were away. Everything else that follows would be the same, but at least the catalyst that sets it in motion would make more sense and Joel would seem less like a pushover straddled with irritating friends no one in their right mind would want.

The sex scene between Joel and Lana comes off like an overly stylized bit from a soft core porn flick. There were several fantasy segments that came before it and I was fully expecting this to be one of them, but it isn’t. Joel is a kid that seriously lacks confidence in every other way, so I would imagine his initial meeting with a prostitute would be awkward especially since he had never done anything like that before. Most likely he would’ve been so nervous that he might not have been able to even ‘rise-to-the-occasion’. Having Joel initially behave clumsily towards Lana would’ve been funny and more believable instead as it is here the ‘reality’ segment is dreamier than the fantasy ones.

The Lana character is frustrating as she remains an aloof composite of a hooker that the viewer never gets to understand as a real person. Seeing her in a vulnerable moment would’ve helped, but it never comes. (Her conversation with Joel about her life was too brief and not enough.) I would’ve liked a more conclusive ending revealing whether their relationship ‘blossomed’, worked into a long term friendship, or just dissipated. Having a scene at the end with Joel in college and calling Lana up to chat could’ve solidified this.

The parents are portrayed as being too stuffy and more like caricatures. The ending, which entails Joel buying back his parent’s furniture that had been stolen and then moving it all back into the home with the help of friends before his parents arrived is implausible. The house was too big and had too many items for them to be able to get everything in near spotless position in only 2 hours’ time.

The movie’s original charm is also affected by the fact that films like Home Alone and Ferris Bueller’s Day Off have had similar plots and stronger cult followings, but there’s still plenty of engaging moments. Watching Cruise dance around in his underwear to a Bob Segar song is hilarious. His precarious attempts to save the Porsche from going into the lake is really funny as is his interview with a college admissions dean from Princeton (Richard Masur) in Joel’s home while prostitutes and their customers scurry all around.

( Joel’s house as it appears today.)

My Rating: 6 out of 10

Released: August 5, 1983

Runtime: 1Hour 39Minutes

Rated R

Director: Paul Brickman

Studio: Warner Brothers

Available: DVD, Blu-ray, Amazon Video, YouTube

Beer (1985)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: This beer is flat.

An ad agency goes on the offense when their top client Norbecker beer (Kenneth Mars) threatens to pull their account. B.D. Tucker (Loretta Swit) is put in charge of introducing a new ad campaign that will excite viewers. After she witnesses three men (Elliot Morrison, William Russ, Saul Stein) subdue a gunman at a bar she decides to hire them to star in her new commercial were they’re portrayed as macho men and chick magnets, which causes controversy when female viewers find the ads to be sexist.

Normally I love satire and find it sad that there are so few satirical movies out there and yet it’s films like these that have single-handedly killed the genre. The attempt at mixing the acerbic wit of Network with the work place politics of How to Succeed at Business without Really Trying and then throwing them into the rapid-fire joke structure of Airplane doesn’t work and only succeeds at producing more groans than laughs. The tone is inconsistent with too many dumb gags thrown in for the sake of a cheap laugh that many times has nothing to do with the main theme. Taking satirical jabs at the advertising business is too easy and been done before while portraying the industry and the people who work in it in too much of a generic way. You’ll find a more realistic portrait of the business and on-target satire from a weak episode of ‘Bewitched’ than anything you’ll see here.

The three male leads lack pizazz and are incredibly bland and transparent. The film might’ve had a better chance of working had it cut the three characters down to just one, hired an actor who had some actual presence and then geared the story completely from his point-of-view, so the viewer like the protagonist could see the ugly side of advertising biz first-hand from an outsider’s perspective.

The supporting cast fails to help. Mars does a softer version of the caricature that he portrayed in The Producers, but here it fails to elicit even a small chuckle. Swit, who was nearing 50 at the time, looks great, but her performance lacks verve. Sandra Bernhard, who was initially cast in the role and then later fired, would’ve been a better choice for this type of material.

Dick Shawn’s attempt to emulate Phil Donahue doesn’t work as he fails to share any of Donahue’s same mannerisms although seeing him prance around on stage as he goes from one audience member to the next is worth a few chuckles. The scene though, which involves female audience members shouting their disproval of the beer commercials at the three men who starred in them, would’ve been stronger had it been Swit a fellow female that was onstage taking the women’s heat instead of the men.

The biggest transgression though is that after bombarding us with one silly comedic idea after another it then decides to suddenly at the end make a ‘serious statement’, which is utterly hackneyed. You can’t spend the majority of time being inane only to get ‘profound’ at the last minute, which makes this production seem even more amateurish and misguided than it already is.

My Rating: 1 out of 10

Released: August 30, 1985

Runtime: 1 Hour 22 Minutes

Rated PG

Director: Patrick Kelly

Studio: Orion Pictures

Available: DVD-R (MGM Limited Edition Collection), Amazon Video

Polyester (1981)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Suburban housewife has problems.

Francine Fishpaw’s (Divine) world is crumbling. Not only must she endure constant protests in front of her suburban Baltimore home dealing with people upset with her husband (David Samson) running an adult theater, but she must also deal with his affair with his sexy secretary (Mink Stole) as well. Her teenage son (Ken King) is terrorizing the city by intentionally stomping on the feet of every woman he sees and her daughter Lu-Lu (Mary Garlington) wants an abortion. She then meets the dashing Todd Tomorrow (Tab Hunter) and the two immediately fall-in-love only to find that he too has a dark-side.

This was John Waters’ first studio backed film and the first to garner an R-rating while the others had been X. While the budget is an improvement and its technicallys more polished the edginess is lost. The humor and satirical potshots don’t have the same zing and are lacking in originality and outrageousness. The gimmick of passing out a scratch-and-sniff cards where audiences could sniff the scents being smelled by the film’s main character seems excessively juvenile and the film begins with a campy scientist (Rick Breitenfeld) talking about it, which sets the tone too much on a silly/cartoonish level.

Divine’s presence helps, but she isn’t as made-up or as flashy as she was in her past films and looking much more like just some fat guy wearing a lady’s wig. I liked that her character was consistently normal for the most part as in the other films she behaved more erratically although what she goes through here is so unrelentingly traumatic that it borders on being almost cruel to laugh at. It’s also not completely easy to sympathize with her quandary as her kid’s behavior is so outrageous you have to question her parenting skills and whether she’s partially to blame for the bad things that they do.

Edith Massey is funny as a poor woman who wins the lottery and now acts a bit nouveau riche about it. It’s also fun seeing the two teens go through a Jekyll and Hyde transformation, but Tab’s appearance adds little although he does sing a decent opening title tune.

The broad humor for the most part is dumb, but I still found myself laughing-out-loud at some of it, which I suppose is a part of Waters’ ‘charm’ at getting you to laugh at things you otherwise wouldn’t. Some of the moments that had me chuckling were: a ‘nice’ picnic that gets ruined by ants and a skunk. Pregnant young women forced to go on a ‘happy hayride’ in the cold rain by two fascist nuns and the pet dog who commits suicide by hanging himself along with leaving a note saying ‘Goodbye cruel world’.  The part where overweight Jean Hill hijacks a bus and chases down a group of teens who assaulted her on the street and then bites into their car tires to disable their vehicle is pretty wacked-out too.

My Rating: 4 out of 10

Released: May 29, 1981

Runtime: 1 Hour 26 Minutes

Rated R

Director: John Waters

Studio: New Line Cinema

Available: DVD, Amazon Video, YouTube

The Incredible Shrinking Woman (1981)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Suburban housewife gets smaller.

Pat Kramer (Lily Tomlin) is a housewife/mother raising two rambunctious kids (Shelby Balik, Justin Dana) while married to Vance (Charles Grodin) who works in advertising. After being exposed to some products from her husband’s company she begins to shrink until she becomes so small that she is forced to move into a dollhouse and drink out of thimble since a regular glass would be too big for her to hold.

The film is a modern remake of Richard Matheson’s The Incredible Shrinking Man and as much as I loved the original this version takes the storyline in a completely different direction, which for a while proves interesting. Director Joel Schumacher comes up with some wild color schemes and the knowing satire makes great points in its observations on modern suburbia as well as American consumerism. Screenwriter Jane Wagner manages to employ some well thought out scenarios and the special effects aren’t bad either.

Unfortunately by the second-half becomes muddled with scenarios that are no longer funny, but genuinely horrifying and sad instead. The satirical edge gets lost and replaced with an over-the-top mad-scientist-trying-to-conquer-the world angle that becomes cheesy.  I was also confused with how Pat was able to continue to find clothes to fit her especially after she gets smaller than even a toy doll. The film seemed to touch on every other possible problem, so they should’ve had at the very least had a throwaway scene analyzing this one.

Spoiler Alert!

The ending gets too cute for its own good as Pat shrinks to nothing and then has what’s left of the small outfit she was wearing fall into a puddle of spilled chemicals, which somehow makes her big again. This however ruins the poignancy that had been created from showing clips of bells being rung around the world from different countries in remembrance of Pat, which had a certain profound message that no matter how small you are you can still have an impact. Instead of giving the film some substance it goes for a last-second gimmick that cements it as being an empty-headed comedy and nothing more.

End of Spoiler Alert!

Tomlin’s performance is excellent as she creates empathy for her character, which helps make the story more engrossing as you genuinely build concern and sympathy for Pat’s welfare. Noted make-up specialist Rick Baker garnered a cult following for his convincing performance of an ape, although the shot of the animal giving some people in an elevator the finger is pushing it. The movie though as a whole works only in spurts with a message and tone that is too unfocused and inconsistent to be completely effective.

My Rating: 4 out of 10

Released: January 30, 1981

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Joel Schumacher

Studio: Universal

Available: DVD-R (Universal Vault Series), Blu-ray, Amazon Video, YouTube

The Barefoot Executive (1971)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Chimp picks the hits.

Stuck working in a television network’s mailroom, Steven (Kurt Russell) longs for his big-break into the programming department as his previous attempts to impress upper management (Harry Morgan, Joe Flynn) have all failed. Then his girlfriend Jennifer (Heather North) is put in charge of taking care of her neighbor’s chimp while they are away. To Steven’s surprise the chimp shows an uncanny ability to know which TV shows will be a success and which will flop. He decides to use the chimp’s talents and pretend that they are his own, which he hopes will finally let him climb up the corporate ladder.

This film is a little bit different from all the other Disney flicks from that era in that there aren’t the slapstick hijinks or the patented car chase. The emphasis is instead on satire that for the most part hits the mark. It also has a protagonist that isn’t so squeaky clean either. Russell’s character is more than willing to lie and even cheat if he thinks it can help him move ahead and although he has a slight tinge of guilt about it’s never enough to get him to completely mend his ways, which helps to make him seem more human and the situation more believable.

Joe Flynn is quite funny in support. He was a comic character actor who had a great ability to play both exasperated authority types as well as meek subordinates and here he does both. He also has an amusing scene with Wally Cox on top of a ledge of a high rise building and I couldn’t help but think about the irony as I watched these two carry out the scene that only three years after this film’s release these otherwise healthy looking middle-aged men would both be dead. There’s also the novelty of seeing two alumni from ‘I Dream of Jeannie’ appear here with Hayden Rorke, who played Dr. Bellows on the TV-show and a TV exec here, and Bill Daily who ironically plays an airplane navigator, which he also later did on ‘The Bob Newhart Show’.

The film’s funniest moment though is actually just a throwaway bit where a news reporter, played by Jack Smith, goes out and gets the opinions of people on the street about their take on the rumors that a chimp is picking the TV shows that they watch. He interviews one woman (Iris Adrian) who at first scoffs at the notion, but then thinks about how all of her favorite shows get cancelled and how so many stupid ones gets put on the air and then comes to the conclusion that a monkey running the network makes perfect sense. It brought to mind a memoir written by legendary screenwriter William Goldman detailing in his opinion how studio execs really don’t have any clue what film will become a hits, which becomes the film’s best joke as in all honesty you’d have just as much luck with a chimp picking the stuff as you would a person.

My Rating: 6 out of 10

Released: March 17, 1971

Runtime: 1 Hour 36 Minutes

Rated G

Director: Robert Butler

Studio: Buena Vista

Available: DVD, Amazon Video, YouTube