This review has been written as part of Todd Liebenow’s 1984-a-thon for his site, Forgotten Films. Be sure to check out everyone else’s reviews!
After three parapsychologists are kicked out of their university, they set up shop as the Ghostbusters, an elite force who will assist in any supernatural goings-on that may be bothering you. When a portal appears in the refrigerator of a particularly attractive client, the guys have their work cut out for them in working out what is going on, and how they can stop it. Continue reading →
During World War 2, it becomes evident that the Nazis are not only collecting countries, but famous pieces of artwork too. Not only that, but if Hitler is killed he has ordered that some of the hoarded pieces will be destroyed as well. In order to prevent this, a small team of art experts – none of whom are overly fit for duty – are sent in to retrieve and save the art. Continue reading →
It’s Bill Murray’s birthday! The guy is a prime contender for a future Film-Makers Career Review, but until I see all of his work, here’s my favourite of his films. Now, in my looking back at his career I noticed Murray has tended towards two kinds of roles, leads/major parts, or brief cameos, so I’ve made two lists to celebrate this fact:
I’m fairly sure the main reason this film is remembered as a comedy classic – by me at least – is because of Murray’s breakthrough role as the deranged gopher-hunting groundskeeper Carl Spackler. His scene in his shed, talking to the little clay models of squirrels and rabbits he intends to use to destroy the golf course terrorising rodent is just wonderful, even if the gopher himself looks like one of the worst puppets ever put on screen.
5b. Get Smart
OK, so the film is pretty terrible, but Murray’s cameo as the tree-dwelling lonely sad sack Agent 13 in this lacklustre spy reboot is one of the few watchable moments, and came as such a surprise to me when I watched the film that it almost made the experience worthwhile. Almost.
Michael Dorsey (Dustin Hoffman) is an actor in New York who, though talented and passionate about his work, finds himself unable to land a role due to age and physical limitations (I can be taller!) and a bad reputation for thinking too much about a character and arguing with the director. When he learns of an upcoming part on hospital soap opera Southwest General he makes sure he gets the gig, regardless of the fact that the character is female. This simple premise, man pretends to be a woman to get a job, would these days be most likely given to the likes of Eddie Murphy or Adam Sandler, played entirely for gross-out laughs and hopefully tanking at the box office, but fortunately in 1982 Hoffman plays the part(s) relatively straight, giving arguably a career best turn in a body of work hardly lacking in expertise.
Hoffman is disturbingly convincing as Dorsey’s alter ego Dorothy Michaels, and the scenes where he transforms his appearance are at times uncomfortable to watch. George Gaynes and Bill Murray do their best to steal the show, respectively as a lecherous autocue-reading lead actor and Dorsey’s sardonic flatmate Jeff (You slut!) but it is Hoffman’s film, and nothing can detract from his central performance.