I have to admit that “The Big TNT Show” isn’t nearly as good as “The TAMI Show.” Despite being a big sixties fanatic and lover of the styles and attitudes, “The Big TNT Show” suffers from being a pretty humdrum concert with an unusual line up. If anything the best way to watch and appreciate “The Big TNT Show” is as a sixties oddity that took a lot of what was coming in the decade, and what was popular and kind of mixed them together in one weird show with an enthusiastic audience. If anything there is a ton of good music and some raucous performances.
ABC Television’s remake of “Dirty Dancing” is a god awful and ill conceived version of the eighties classic. I don’t say that as a fan of the original, or an eighties kid, but as someone who just can’t abide a truly awful reworking for a film that didn’t need it. Did we forget “Havana Nights” already? ABC goes for an over two and a half hour remake that is just about as listless and ridiculous as you can imagine. For some reason the writers thought it’d be a good idea to add a story frame for the actual story that ensues between Baby and Johnny.
Then there’s a verbatim remake of the original, a goofy melodrama about Baby coming of age, and a musical that stages a bunch of forgettable tunes. Not to mention a relationship drama about Baby’s parents experiencing a crossroads in their marriage. Lest we forget an interracial romance with Baby’s sister falling in love with an African American singer for the country resort, and the steamy torrid love affair between Johnny and a local middle aged resort guest (as played by Katey Segal).
Director Max Beauchamp’s “Iridescence” is an excellent short film and one that we desperately need these days. Conveyed through motion, body language, and dance, “Iridescence” is the story of one family torn apart and destroyed by ignorance and misunderstanding. Relying on ace editing by Duy N. Bui and fantastic choreography, director Beauchamp tells the story of the tragic death of a wife at the hands of her husband one fateful night. Years later their son grows up confused about his own sexuality and is struggling to hide his affair with another man from his violent father.
ACADEMY AWARD NOMINEE – I love a good romantic movie and I especially love it when directors approach the genre from a different angle. The reason why “Timecode” might just win an Oscar come February is because the way director Juanjo Giménez approaches the love of two people. The romance is built through technology, but not in the way you’d assume. Director Juanjo Giménez unfolds his short film with very little dialogue and a lot of acting that relies on facial expressions and heavy reactions to events that ensue.
Returning to the big screen on January 29th and February 1st for a 30th anniversary presentation from Fathom Events and Lionsgate.
“Dirty Dancing” represents a lot of what made eighties cinema so great. There’s the obsession with the sixties, Jennifer Grey, Patrick Swayze, a pretty brilliant soundtrack, and of course a story about the guy from the wrong side of the tracks and the upper class girl above him in certain respects. Sure, “Dirty Dancing” can be silly, but it’s silly in a good way, and it’s bold in its approaching abortion as a key story element that sets the narrative in to motion. “Dirty Dancing” is one of the best movies about the love of dance and music ever made, and while it’s definitely associated with the chick flick label, it’s a movie that just about anyone can enjoy. And how can you not love “(I Had) The Time of My Life”?
You have to give it to Lucille Ball. While there are countless stories about her latter years in show business and how much of a tyrant she was, she seemed to show a lot of respect for Carol Burnett. Burnett was prompted by network executives to build a big time television special. Burnett recruited Ball, who was more than happy to co-star. Burnett, an old school queen of comedy, shared the stage with Ball, another titan of comedy.
Every month we discuss some of the best and worst cult films ever made, from the hits, classics, underground, grind house, and utterly obscure, from Full Moon, and Empire, to Cannon and American International, it’s all here, minus the popcorn, and car fumes.
The Plot is Afoot! Terry is a classical musician and wealthy young girl who dreams of being a roller skater and disco dancer. She meets quick talking huckster Bobby James who is one of the best roller skaters in California. After seeking a chance to become a roller skater, she looks for Bobby James who begins to fall in love with Terry.
With Terry’s future in college gradually veering toward a life of music, she begins to warm up to Bobby who shows his charms. Meanwhile, the owner of a popular roller skating rink is being pushed out of his business by a crooked land developer who wants to destroy it. Terry, Bobby, and their large cavalcade of skaters team up to save their favorite hang out and compete one last time.
I liken “Beat Street” to “Saturday Night Fever” in where both films, set in the Bronx, feature very talented youths with troubled home lives trying to fulfill their promise and chase the American dream. While “Beat Street” is nowhere near as timeless as the former film, director Stan Lathan’s drama is an entertaining, if exaggerated look at life in the Bronx, and the culture that would eventually die with the decade. The film produced by Harry Belafonte doesn’t have the same committee constructed, consumer pandering aesthetic that the “Step Up” movies do. But for all intents and purposes it tend to shine the light on actual minorities living in the Bronx, some of whom can barely make rent, but still drive themselves on their love for their work.