Poop and Robin Williams spell trouble

RV (2006)

Reviewed by Jerry Saravia

Predictable poop, both the overall movie and the content of one shot. It seems any movie about a family going on vacation or simply staying home or involving bratty teenagers involves some poop joke. We had it in "Meet the Parents" (which had correctly timed flying poop, if there is such a thing) and the "Shrek" movies (even "Star Wars Episode I: The Phantom Menace" had Jar-Jar stepping on some feces, and let's not leave out Marty McFly in "Back to the Future Part III"). It is a desperate gag that seems to work best in "Family Guy" than it does in the movies. For a movie like "RV," you would've hoped for a little more inspiration considering Robin Williams stars in it. Then again, the poop out-stages Williams which is not a good sign.

"RV" starts off with a whiff of inspiration in the first scene. Williams plays Bob Munro, a devoted family man who does impersonations with plushy dolls to give his daughter, Cassie, a good laugh. She loves it and she says she doesn't want to get married. Bob tells her it is good to be married, and they will always be best friends. Then we flash forward to his daughter as a typical teenager (Joanna "JoJo" Levesque) who hates him. Rather than staying true to their relationship, the movie goes all over the map. Never content to be a family vacation movie like Chevy Chase's own "National Lampoon" films, the movie develops a plot that borders on idiocy. You see, Bob Munro's job is in jeopardy and in order to rescue himself out of losing his home and his family, he agrees to make a presentation in Boulder, Colorado for his sneakily mean-spirited boss Todd (Will Arnett, who at this point can play this role in his sleep). This means the planned vacation trip to Hawaii is off, so Bob tells his family that they are going to Colorado, in a rented RV no less! The wife hates the ideas, as does the kids.

There is a Murphy's Law in comedies starring Robin Williams, and this one starts off with one hazardous event after another. Bob has problems maneuvering the RV from his own driveway. He can barely drive it on the highway. They stay at an RV park which involves the dreaded poop joke - this time, involving some complicated hoses that need to drain poop and sewage (There is even a reference to a poop fairy). Then the Munro family meets one kooky, extremely friendly family, the Gornickes, specifically Travis and Mary Jo (both exceedingly well-played by Jeff Daniels and Kristin Chenoweth). They perform country songs together, live off of their mobile home that looks more like a bus selling franchise products. Their horn plays the first five notes of the "Star Trek" theme. This is a fun, original family that seem to be coming from a better movie, one that the Munros are unwisely trying to get away from.

To be fair, "RV" has some funny moments, mostly thanks to Robin Williams. I love when Williams is searching for a signal so he can email his presentation to his boss - not too many cell phone towers in the desert. I also like watching Williams struggling with a seatbelt or doing his "homeboy" routine. Also worth watching is a terrific scene where the RV is tilting and rocking back and forth on a peak in Diablo Pass - it is a Chaplinesque and Homer Simpsonesque moment.

But the movie never really carries itself and roars with comic possibilities. Directed by Barry Sonnenfeld, it too often feels flat and stillborn, something that you would not say about the early "National Lampoon Vacation" movies or even the recent and far superior "Little Miss Sunshine," a delectably funny road movie. The Munro kids look like superficial, well-fed, bland kids with little to no personality. Williams seems content to play it safe, which means a witless, stock family guy with no quirks other than pretending to take a dump in the woods. Huh? Why did they hire Robin Williams to play this role? And poor Cheryl Hines as Jamie, Bob's wife, appears as if she would rather join the Gornicke family. So would I.

Uneven sales pitch

CADILLAC MAN (1990)

Reviewed by Jerry Saravia

The pacing is off in the first unwieldy hour of "Cadillac Man," an alleged comedy of manners. Or is it a comedy of manners? I am not sure. Robin Williams is the Cadillac salesman but he is not the best at a sales pitch. He is desperate to sell cars, you see, because he has three different mistresses and an ex-wife to support. He also ignores his daughter (whom we never see). Some of this is prime comic material that could stretch in so many directions. The one direction the writers chose is unexpected and an altogether different movie.

Tim Robbins plays a delirious, insane madman who crashes into the Cadillac dealership and threatens everyone with a machine gun. He is mad as hell and will not take it anymore because he believes his wife (a thankless Annabella Sciorra) is cheating on him. Williams tries to calm him down, but none of this material results in comic fireworks. And with the exception of Williams throwing in some witty one-liners, there is nothing funny about it, not the staging nor the histrionic performances. Robbins exists in a vacuum of obscene screams - if he is not screaming, he is firing his machine gun at the ceiling. If he is not shooting, he is screaming and hollering and mustering something that is akin to cartoonish excess. Sometimes he does both and it grows wearisome and monotonous.

Directed like a frenzied comedy minus the humor by Roger Donaldson (a strange director to helm this travesty), the movie never builds into anything - it is simply frenzied. Williams is also more restrained than I expected. And though the film had potential with its first hour (and the far too brief appearance by Elaine Stritch as a widow that will leave you in stitches), the rest of the movie is a train wreck. And you know train wrecks are not funny. 

High-speed romp that is more than inept

A LIFE LESS ORDINARY (1997)

Reviewed by Jerry Saravia

So let's see what we have here. A dim bulb of a janitor (Ewan McGregor) has just been fired by his stern boss (Ian Holm). The boss's daughter (Cameron Diaz) loves to play a little William Tell with her orthodontist (Stanley Tucci). The daughter visits her father at his "Hudsucker Proxy" office. The janitor comes back asking for his job. Instead he kidnaps the boss's daughter, though he knows next to nothing about kidnapping or ransoms. He is also incapable of making a ransom phone call. Two pistol-packing angels (Delroy Lindo, Holly Hunter) are sent to earth to make sure the janitor and boss's daughter fall in love by any means necessary.

I am usually a sucker for offbeat romantic comedies but this turgid, lifeless film by Danny Boyle ("Trainspotting") has nothing up its sleeve. McGregor and Diaz barely pass a 2 on the electric chemistry scale so their eventual affair is unbelievable. Most of the dialogue is unfunny and, at times, barely audible. To make matters worse, there is an ineptly staged bank robbery and a car chase! It even has one of the most torturous of cliched devices, a karaoke duet! The tone is inconsistent, veering from melodrama to cutesy romance to black comedy. Jonathan Demme's "Something Wild" had abrupt shifts in tone but all in the service of a story - this movie is like a high-speed romp through an interminable void.

"A Life Less Ordinary" is a major comedown from Boyle's "Shallow Grave" and the electrically charged "Trainspotting." Boyle seems to be coasting on Coen Brothers territory with not a tenth of their style or pungent wit (it is no surprise that Coen regulars Holly Hunter and Dan Hedaya are in the movie). There is a clever, funny animated sequence that has more laughs than anything in the entire movie - unfortunately it is placed during the end credits.

Angela just wants to party

NIGHT OF THE DEMONS (1988)

Reviewed by Jerry Saravia

Until the film picks up the pace during the last forty minutes or so, "Night of the Demons" is a sorry sight to behold - an amateurish horror film with blank automatons substituting for human beings. It is strange that the blank automatons gain a little sparkle in their eyes when they are possessed by demons. As high-school teens, they are about as interesting as watching makeup dry.

Directed by Kevin Tenney, the bare thread of a plot dangling on Linnea Quigley's nipple has a few select teenagers going out to a Halloween party at, get this, a mortuary! I am guessing it is an abandoned mortuary and for good reason - evil spirits reside there! Angela (Mimi Kincade) - the Goth queen who robs convenience stores while her friend (Linnea Quigley) shows her ass to dumb, entranced store clerks - is the party leader. These teens, including a beer-bellied jerk who just wants to PARTY!, are disposable, unlikable young jerks. Excepting the sole black kid (Alvin Alexis) and a vulnerable and virginal Alice-in-Wonderland-costumed girl (Cathy Podewell), the rest are soporific at best.

When the evil spirits start their possession duties, "Night of the Demons" excites and manages to be frightful. Some scenes with the monstrous transformation of Angela actually work (the makeup is extraordinary). Other scenes with Linnea Quigley leave a lot to be desired, including the insertion of a lipstick in her nipple! Don't ask me to explain that one! There is also the mean old man in the neighborhood who places razor blades inside of apples...but his actual purpose in this film left me mystified.

Essentially, this is "Evil Dead" in a mortuary and nowhere near as blood-curlingly fun. "Night of the Demons" could have used more demented humor and horrific shenanigans overall, and less Linnea Quigley though short-sighted males will enjoy seeing her breasts. Ah, the small pleasures of 1980's horror flicks. 

Heart-Felt

MUPPETS MOST WANTED (2014)

Reviewed by Jerry Saravia

When the Muppets hit their stride, they are as fun to watch as any animated film that contains copious CGI. I am happy to report that "Muppets Most Wanted" is as invigorating a treat as The Muppets from three years ago or any Muppets film in eons. It is cliched and contains a wisp of a plot that could be written on a candy wrapper, yet it is buckets of heightened, endearing fun.

This sequel picks up precisely where the last "Muppets" left off, now literally seeking a reason to do a sequel (Postmodernist winks have also become cliches). A new manager named Dominic Badguy (Ricky Gervais) suggests that the Muppets take their show on a European tour. The Muppets are delighted though Dominic is not at all what he is cracked up to be (how many managers take calls from President Clinton and Rihanna in less than five minutes?). Badguy's boss is a world-class criminal named Constantine, who bears a strong resemblance to Kermit the Frog, and has escaped from the Siberian Gulag 38B. The Russian authorities are searching for Constantine who switches places with the unbeknownst Kermit the Frog - a fake mole makes all the difference. The plan is that for every stop on the Muppets tour, the dynamic evil duo get closer and closer to uncovering the location of the Crown Jewels of England! Walter (a Jason Segel created Muppet from the 2011 film) is suspicious of the heavy-accented Kermit though none of the other Muppets sense any trouble. Meanwhile, a French INTERPOL inspector (a hilarious Ty Burell) and Sam Eagle (who each compare the sizes of their badges) try to decipher the identities of the thieves.

Big questions remain - will Fozzie Bear ever be funny? Will Kermit, er Constantine, marry Miss Piggy before the reluctant Kermit? Can Kermit survive the throes of the Gulag? Can Tina Fey ever be unfunny? (the answer is NO!) Will Badguy and Constantine manage to get hold of those precious jewels? Can Usher ever be referred to as anything but an actual usher?

"Muppets Most Wanted" is pure rollicking silliness and super-duper family fun. The songs by Bret McKenzie are memorable and witty ("I am Number One" might be my favorite). The surprise cameos are a joy. I can honestly say that the movie made me laugh, thrilled me, and further renewed my faith in Hollywood's deep appreciation of those delightful members made of felt. "Muppets Most Wanted" indeed.

Dance to your heart's content

BREAKIN' (1984)

Reviewed by Jerry Saravia

Breakdancing may have come and gone but optimistic, energized little movies like "Breakin" live on. Thirty years later, the movie still has electrifying breakdance sequences and three strong personalities that populate the screen - Lucinda Dickey, Adolfo “Shabba-Doo” Quinones and Michael “Boogaloo Shrimp” Chambers. There are mediocre elements here that deflect the grittiness but they are minor compared to the dancing that makes the movie.

Dickey is Kelly, a waitress and aspiring dancer who deals with a stern choreographer (Ben Lokey) who wants nothing more than her passion, eh, preferably between the sheets. One day Kelly witnesses the breakdancing moves of street performers with memorable names like Ozone (Shabba-Doo himself) and Turbo (Boogaloo Shrimp). They live to dance and amp up their ghetto blasters with pop techno music. Ozone is tickled pink by Kelly but he resists corporate interests and Broadway talent managers. Ozone and Turbo live to entertain the crowds, and perform competitions (with the help of an early performance by Ice-T as Rap Talker - the club MC) to outdo any rival crew's moves - one particular crew calls themselves "Electro Rock." Whoever wins has the audience gather and flock to the winner. Whoever loses, leaves the club in great haste. Why they nickname Kelly "Special K" is a question begging to be asked and borders on the level of parody.

Most of "Breakin" is chock full of upbeat dance sequences and in that spirit, it works. When the movie deals with Christopher McDonald as the agent who has a hard time signing up the trio for an audition, "Breakin" looks and feels as if it was assembled by committee, not by a genuine interest in the lives of street performers. Delete the mean choreographer and the too-good-to-be-true agent from another movie and we could have had a gritty expose of life in the streets. Shabba-Doo, Boogaloo Shrimp and Lucinda Dickey occupy a movie of heart, passion and ambition. The other elements occupy formula. See the difference? 

The World According to Robin Williams

ROBIN WILLIAMS - A SMILE HAS LEFT US

By Jerry Saravia

As fellow comedians Whoopi Goldberg and Billy Crystal tweeted, there are no words to describe the passing of one of comedy's few geniuses, Robin Williams. Robin had the ability to improvise an idea and build it and build it, and then segue to another idea from left field and build it, and build it and make you laugh in spite of yourself. The difference is that Robin possessed a manic energy and a superhuman speed of delivering jokes, which may range from his kids' demands, to network censors, to the Falkland Islands, to ridiculing politicians and comparing them to Warner Bros. cartoon characters, to even ridiculing his alcoholism and cocaine issues, and so much more. His delivery was rapid-fire, his tone comical and yet just slightly serious-minded without ever sentimentalizing. This is not so true with some of his movies, especially "What Dreams May Come" or "Mrs. Doubtfire," the latter an outstandingly funny movie until it aims for sentimentalizing divorce and its consequences.

Some Robin Williams movies were rotten ("Hook," "Toys," "Popeye," "Father's Day"), some were solid ("Good Will Hunting," "The World According to Garp," "Aladdin") and some were magnificent ("Awakenings," "Moscow on the Hudson," "Insomnia," "Dead Poet's Society," "Good Morning Vietnam") and some were just odd yet intrinsically fascinating ("The Big White," "One Hour Photo"). But there is one film that went beyond expectations, that soared beyond our imagination and asked us to see the humanity of quirky, eccentric characters on a quest to find the Holy Grail. Yes, it is the one-of-a-kind original, Terry Gilliam's masterful "The Fisher King" which contains my favorite Robin Williams performance. In the film, Williams plays a homeless man named Parry who is searching for the Holy Grail, haunted by visions of a blood red knight on a horse in New York City. Williams is warm, humane, gets naked in Central Park for laughs, and shows a romantic who finds bliss and solace not just in the arms of a woman (Amanda Plummer) but also in nature and in the everyday. It turns out that Parry also has a love for humankind (this may also describe Mork in TV's "Mork and Mindy"). That might also describe Robin Williams. The smile may have left us but the memories have not.