Veronica (Geena Davis) is a reporter for a science magazine, scoping out a party for up-and-coming scientists. There she meets Seth Brundle (Jeff Goldblum), an eccentric yet strangely charismatic guy who invites her back to his place to reveal an invention that will change the world as they know it. Upon arriving at his apartment, Veronica learns of Seth’s Telepods, devices that allow the user to instantaneously transport something from one place to another. At first they use an inanimate object, but the plan is to move living things, and then eventually Seth himself. Hilarity ensues. Continue reading →
A couple, Adam and Barbara Maitland (Alec Baldwin and Geena Davis) decide to spend their two weeks vacation at home working on their house, when quite unexpectedly they die in a car crash. They find themselves haunting their home and are tethered to it, unable to leave, and are appalled when new owners move in from New York, intent on renovating the house into a modern art spectacle. The Maitlands seem to have just one option – hire Beetlejuice (Michael Keaton), a self-confessed bio-exorcist, to help them rid their home of these unwanted inhabitants, but unfortunately he turns out to be a little more than they bargained for. Continue reading →
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.