Max’s Drive-In Movie – PowerPop… An Eclectic Collection of Pop Culture

Max’s Drive-In Movie – It’s A Gift

So roll down the window at Max’s Drive-In, grab some popcorn, and toast the man who proved that laughter isn’t always about joy; sometimes, it’s about pain and survival. This was the first W.C. Fields movie I ever watched, years ago, and I wasn’t disappointed. It contains no sentimentality…just one man’s pursuit of peace. In this case, an orange grove he has his eyes on. When people think of W.C. Fields, this is probably not the movie they usually think of first, but to me…it’s brilliant!

Sometimes, you don’t need romance or a difficult plot. It’s WC Fields trying to get a few minutes of peace and quiet. It’s a Gift is one of those hidden little gems, a film that’s basically one long bad day stretched from start to finish.

This film takes place in the middle of the Depression, when a grouchy grocer named Harold Bissonette (that’s “Biss-uh-NAY,” thank you very much) dreamed of escaping his nagging wife, children, and blind customers by buying himself an orange grove in California. Not a mansion, just fruit trees and some peace. But in Fields’ universe, that doesn’t happen. His wife nags, his customers interrupt his naps, and his children treat him like a piece of furniture. It’s a Gift may be ninety years old, but it still feels right.

He plays the definition of the henpecked husband, muttering under his breath. The movie is like a string of brilliant sketches stitched together by pure exasperation. That would be my definition of it. The “porch sleep scene,” where Fields tries to take a nap on his back porch as milkmen, salesmen, and children launch an invasion. The rhythm, the timing, was pure gold.

Then there’s the grocery store scene, the poor man behind the counter trying to deal with the infuriating Mr. Muckle. He is the blind and almost deaf man who wrecks everything he touches. It’s slapstick with a slight mean streak, but Fields plays it straight, and it worked.

This was in the middle of Hollywood’s “screwball comedy” decade, when the big studios were giving audiences zany escapism to forget the Depression. Fields, though, offered something a little more grounded and darker. He wasn’t Cary Grant tripping over furniture in a tux; he was a tired grocer stepping on a roller skate at 6 a.m.

Critics in 1934 didn’t quite know what to do with him. Some thought he was too grumpy. But audiences loved it. The film became one of Paramount’s biggest comedies that year. It’s now considered one of Fields’ great films, alongside The Bank Dick and Never Give a Sucker an Even Break.

The infamous Mr Muckle

The Front Porch Scene

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Max’s Drive-In Movie – MAS*H

I pulled out this 1970 movie the other day and ended up enjoying it even more than I did years ago. When I first saw it back in the ’80s, I’d been expecting something different because of the television show. At first, I was confused, but the longer I watched, the more it thrilled me. If you only know MASH from television reruns with Alan Alda smirking through battlefield banter, the 1970 film that started it all might feel like a grenade lobbed into your expectations.

Robert Altman’s MASH isn’t a gentle sitcom. It’s raw, irreverent, chaotic, and somehow all the better for it. This is the war movie for people who hate war movies. It doesn’t glorify anything. It just throws you into the blood, the absurdity, and the humor of a Mobile Army Surgical Hospital during the Korean War, but let’s be real, this is Vietnam by another name. They just couldn’t say it at the time.

What strikes you about the movie is that it looks real. You don’t see a nice clean Army camp; you see authentic rubble, which captures the hopelessness of it all. Altman shot this film like a jazz improvised session. Overlapping dialogue, handheld cameras, and actors wandering through the frame like no one gave them a blocking direction. It feels messy because it is messy. War is messy. And MASH knows that the only way to survive it might be to laugh, so you forget where you are.

The plot? Loosely structured at best. You follow a pair of too-smart-for-their-own-good surgeons, “Hawkeye” Pierce and “Trapper” John McIntyre, as they drink, prank, operate, and generally wreak havoc behind the front lines. And when I say wreak havoc, I mean mocking authority, goading a desk jockey into a breakdown, and broadcasting a fake-suicide funeral for a lovesick dentist.

The cast, Donald Sutherland (Hawkeye), Elliott Gould (Trapper John), Tom Skerritt (Duke), and Sally Kellerman (Hot Lips Houlihan), weren’t exactly marquee names in 1970. Allegedly, Sutherland and Gould, suspicious of Altman’s loose approach, actually tried to get him fired during production. They failed. Years later, they admitted Altman was right all along.

Altman’s rebellious methods created friction with the studio, too. He refused to follow the traditional film shooting formula. He shot scenes with actors talking over one another, dismissed explanations, and downplayed narrative story arcs. Altman called it “anti-movie making,” and it became his signature style.

And that theme song? “Suicide Is Painless.” Written by Altman’s 14-year-old son, no less. A haunting lullaby for the down-and-out, it creeps under your skin and stays there long after the credits roll. The movie was based on a novel written by former military surgeon Richard Hooker.

Hotlips O’Houlihan: [referring to Hawkeye] I wonder how a degenerated person like that could have reached a position of responsibility in the Army Medical Corps!
Father Mulcahy: He was drafted.

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Max’s Drive-In Movie – Pat Garrett and Billy The Kid

I saw this movie for the first time in the early nineties in my apartment, which I shared with a cousin. I watched it initially for Bob Dylan, but ended up loving the movie. This movie, above all else, treats silence better than any other movie I’ve seen. The characters get to breathe. No one is in a hurry, but when action happens, it makes it all the more dramatic.

In Pat Garrett and Billy the Kid, director Sam Peckinpah trades the mythic grandeur of the Old West for something slower, lonelier, and far more tragic. This is a Western all about finality, a farewell to freedom, friendship, and the open frontier. Pechinpah created a great movie out of this.

Set in 1881 New Mexico, the film dramatizes the final days of William Bonney, better known as Billy the Kid (played by Kris Kristofferson) as he’s hunted down by his former friend turned lawman, Pat Garrett (James Coburn). There’s no rush to the inevitable confrontation. Instead, the film moves slowly with purpose, soaking in the dusty landscapes, long silences, and uneasy glances between men who understand their roles in their vanishing world.

Coburn delivers a wonderful performance as Garrett, a man who’s made peace with compromise but not with himself. Kristofferson, younger and looser, plays Billy with charm and recklessness. Their scenes together are understated but filled with unspoken history and mutual resignation. It stands as one of the most introspective and mournful Westerns ever made. It’s not a shoot-’em-up spectacle; it’s a meditation on regret, inevitability, and the bitter cost of survival.

The studio clashed with Peckinpah and released a terrible version in 1973 that was a pale version of Peckinpah’s vision. It was jagged, choppy, and stripped of its emotional weight. Critics panned it. Audiences stayed away. Like many films ahead of their time, Pat Garrett and Billy the Kid didn’t stay buried. A bootlegged “preview print” started circulating in the 80s—rougher but far more coherent. It showed what Peckinpah had been aiming for: a slower, sadder, more deliberate tone piece about friendship, death, and the slow extinction of the outlaw soul. Critics and fans alike loved his original version.

In 2005, a “Special Edition” came out, restoring much of what had been lost (though not fully satisfying the purists). Still, it was enough to elevate the film from cult obscurity to a rightful classic. And make no mistake…it IS a classic!

I never thought about cinematography until recently, but John Coquillon did a hell of a job on this movie. It looks beautiful, and the landscapes jump out at you as you watch.

Now let’s talk about the soundtrack by Bob Dylan. Bob Dylan was in the movie and did a good job, but it’s the soundtrack that will be remembered. This isn’t your typical Dylan record. It’s mostly instrumental, often minimalist, and was stitched together for the film. But what you get here is an eerie, atmospheric tone throughout the entire album. Let’s get this out of the way: Knockin’ on Heaven’s Door is the anchor, the standout, the one track that broke free and carved a permanent space in classic rock airwaves. It’s a song so simple it feels like it always existed. Unfortunately, it overshadows the other songs, which I like a lot. Billy 1, Turkey Chase, Bunkhouse Theme, and the rest. It’s an album I like to put on and just soak it in and relax.

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Max’s Drive-In Movie – Sunset Boulevard

“I am big. It’s the pictures that got small.”

I didn’t find this movie until the 90s. In the late eighties, I was watching and reading about every silent movie and artist that I could. Clara Bow, Buster Keaton, and Charlie Chaplin were at the top of my list. Back then, you had to get book after more books. I would also find ads in magazines of people selling silent movies on VHS.

In a Keaton book, I saw this as a film credit. I then read some about the great Billy Wilder, director, screenwriter, and producer, and I had to watch it. The movie did not disappoint. Buster’s part was nothing more than a cameo, but the movie more than made up for it. It’s funny how we find some movies. This would be high on top of my movie list. I’ve watched it so many times that I’ve lost count. I always notice something that I didn’t before. I keep hoping a change will happen, Joe will do something different, or just go back home.

Billy Wilder’s Sunset Boulevard isn’t just a film noir. It’s a Hollywood horror story soaked in pool water and silent film ghosts. The real trick Wilder pulls here is making you feel both horror and heartbreak. Norma isn’t really a villain or a relic; she’s an open wound. She’s clinging to her dreams like a one-hit wonder who never got the memo that the charts moved on. And Joe Gillis? He’s the guy who sells out until he’s got nothing left but a typewriter and a guilty conscience.

The movie was released in 1950. By 1950, the first great silent film stars of the 20s were aging, and there was interest in knowing what happened to them. The Norma Desmond character was thought to be a composite of Mary Pickford, who lived her life in seclusion, Clara Bow, who had a mental illness, as well as some other silent greats. The name was a combination of silent-film star Norma Talmadge and silent movie director William Desmond Taylor, who was mysteriously shot and killed… and remains unsolved to this day..

The star of this movie, without a doubt, is Gloria Swanson as Norma Desmond. When we first meet Norma, we think she is just an over-the-top, egocentric former silent era actress. Slowly, we see what a psychotic existence she lives, and it only gets worse. Norma still thinks she is adored by millions. Her chauffeur, Max Von Mayerling, helps perpetuate this lie. We find out why as the movie goes along, and it is shocking. It will blow up in his face, but he never quits building her up.

The final scene is chilling. Norma Desmond is in a catatonic state, asking for a close-up. Her eyes alone will send a shiver down your spine. The movie is full of great actors and actresses. The focus is on William Holden, Gloria Swanson, and Erich Von Stroheim. Holden was a great actor who appeared in movies such as The Bridge on the River Kwai, Stalag 17, and The Wild Bunch. Erich Von Stroheim plays Max, and in the twenties, Erich was a silent movie actor but best remembered as an avant-garde director in the 1920s. Gloria Swanson was a very successful silent movie actress who made a successful move to sound pictures. She also appeared on Broadway in the 40s and 50s. She started many production companies in the 1920s and 30s.

PLOT (Spoilers)

Screenplay writer Joe Gillis was desperately trying to sell his stories, but Hollywood did not want to listen. Joe had talent, but he wasn’t trying to write something great…just something that would sell. He was going to have to return home to Dayton, Ohio, a failure if something didn’t happen and soon. His car was getting repossessed, and he was trying to hide it just for a little while. While being chased by creditors, he parks it in a decrepit old mansion. Little did he know that former silent movie star Norma Desmond still lived there. She used to be a big (“I am big, it’s the pictures that got small”) star.

Joe Gillis ended up being invited to stay to edit Norma’s film screenplay that she wrote. That screenplay was going to be her return to film. One thing leads to another, and Joe ends up being a kept man, and he doesn’t like it one bit. As time goes by, life at Norma’s mansion…it gets darker and darker. Joe is stuck there working on Norma’s horrible screenplay while playing the good boy. He gets new clothes, perks, and is not wanting for anything…except freedom. There is a price to be paid for being kept by Desmond. He sneaks out and sees a young girl whom he writes with and falls for, but cannot break Norma’s grip.

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The movie was written by Charles Brackett and Billy Wilder. It was directed by Billy Wilder and released in 1950. This movie is one of the greats. It’s a movie that anyone who is a film fan must watch.

“Alright, Mr. DeMille, I’m ready for my close-up”

Yes, she was indeed ready…she spent years getting ready for her final starring role. Just not the role you would think.

Max’s Drive-In Movie – The Poseidon Adventure

I watched this around 5 months ago for the first time in about 10 years. Altogether, I’ve seen it around 7 to 8 times. I added another watch since I wanted to post this. Disaster movies are hardly ever on “great” lists, but this is a disaster movie done right. Watching it in hindsight, you wouldn’t think a movie full of stars would be this good. Many times, if you see a lot of stars advertised, they are mostly cameos, but this is not the case with this movie.

I have a weak spot for this kind of movie. Horror and Disaster movies I fall for right away, and yes, I’ve seen a lot of bad movies that way. This one, though, has some smarts to it, and it is enjoyable. The set for this movie must have been super expensive and huge. It’s one of those films that has everything. Gripping adventure scenes, non-stop crises, drama, sadness, and hotpants. I was around 7 (1974) when I saw it on television, and I loved it. It’s a film that offers something for both kids and adults. As I’ve said before, I dislike the word dated, but aside from the clothing styles, it still holds up today. Plus, the special effects have a realism that I prefer over CGI; they just feel more authentic.

It has earned a reputation as the best disaster film of the seventies, not just for its impressive special effects but for its compelling story of survival. The film follows a select group of people fighting to stay alive, and despite some being a bit annoying, you find yourself rooting for them. If you love star power, this movie delivers, featuring Gene Hackman, Shelley Winters, Ernest Borgnine, Red Buttons, Stella Stevens, Jack Albertson, Roddy McDowall, Leslie Nielsen, and more.

The acting was very good in this, as expected with their talent level. The film was based on Paul Gallico’s 1969 novel of the same name. It follows the journey of passengers and crew trying to escape a capsized luxury ocean liner. The budget was 4.7 million, a great amount back in 1972. It made over 125 million, so it did well. If I had to pick the two stars that had the biggest impact in this movie, it would be Gene Hackman and Ernest Borginine. They developed a rivalry in this movie, and it worked well for the survivors. Shelly Winters also did a good job, along with everyone else. She gained 35 pounds for the part of Belle Rosen. Afterward, she complained that she was never able to get back to her original weight. She received an Academy Award nomination for Best Supporting Actress.

The movie was directed by Ronald Neame. Also, don’t get this one confused with its “sequel” in 1979. That one wasn’t anywhere close to this one.

PLOT

As the Poseidon sails on its final voyage before being retired, a festive New Year’s Eve party is underway. Meanwhile, the ship’s captain reluctantly follows orders from the ship’s owner to maintain high speed despite rough waters. Disaster strikes when a massive tsunami wave hits, flipping the ship upside down.

In the aftermath, a small group of survivors, led by the determined and strong-willed Reverend Frank Scott (Gene Hackman), must navigate their way upward toward the ship’s hull, which is now their only possible escape route.

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Max’s Drive – In Movie – The Seven-Ups…

I’ve had problems posting this so I’ll try one more time.

My cousin Ricky let me borrow this movie because he thought I would like it. He was right. It’s described as a crime, action, mystery, and neo-noir ’70s police movie. I would easily put it in the same category as The French Connection and movies like that. Some of the same techniques and backdrops. It was released in 1973, and you can’t get any more early seventies than this movie.

My uncle was an undercover cop (Fulton was his name) in the ’70s and ’80s, and the movie rings true to some of the stories he told me. In one incident, he was undercover in a restaurant in a drug deal, and someone he knew in real life came up and yelled, “Hey, Fulton!” he had to lay the guy out right there with a punch and pass it off as something else. I never asked if he was still friends with the guy afterward. It was a dangerous job, and black roses were delivered to his doorstep more than once.

Philip D’Antoni directed this film. He had produced The French Connection and Bullit. This was his only director credit to his name. Some think it is a follow-up on Scheider’s character of Buddy from The French Connection. It doesn’t matter because it’s strong either way. The movie is not perfect; it has a few disjointed plot points, but it works well.

It has that grittiness that I love in movies from this period. The realistic feel makes the story so much better because you buy into it. The actors look like everyday people against the backdrop of early 70s New York. When I see some period modern movies try to replicate this look… they usually fail. You won’t find one thing in this movie that is new and shiny. Even the car wash looks grim.

The Seven Ups has all the earmarks of a 70s Cop film. Corruption, rogue cops, and the mafia all rolled up into one. It has that stark, cold landscape feel from the ’70s. You almost want to slip on a jacket while watching. You also have a hell of a car chase that was in many movies at this time, and this one does not disappoint. If you want a real white knuckle car chase, you just have to see the one in this film. You feel like you’re right in the middle of it.

Roy Scheider is Buddy and one of a small group of NYC cops with unusual methods, and they are called The Seven-Ups. One of his partners is murdered, and he sets out to find and kill the thugs who were responsible while at the same time discovering that they’re involved in a plan to kidnap mobsters to extort ransom money.

The movie encompasses all the pitfalls and dangers of police undercover work and the alliances between partners, as well as the relationships and betrayals of informers. The cast is superb, and one of the things that made it even better is none of the actors at the time were big stars. I do like that in some movies because you don’t really associate the actors with other roles. Roy Scheider would soon star in Jaws a couple of years after this movie.

Plot

The movie follows Buddy Manucci (played by Roy Scheider), a tough New York City detective leading an elite undercover police unit called The Seven-Ups—named after their specialty of catching criminals who receive sentences of seven years or more. The unit operates in the shadows, using unorthodox methods to bring down high-level criminals.

However, their investigation into a series of kidnappings involving Mafia figures takes a dark turn when one of their own is killed, leading Manucci on a personal quest for justice.

The full movie

Max’s Drive-In Movie – Rocky

I love boxing movies like Raging Bull, Requiem for a Heavyweight, and even Chaplin’s City Lights that feature a match. This movie also included that musical theme that is probably played more at gyms than anything else.

At the time it was released, the movies coming out had unhappy endings. It was the trend at the time. I like movies like that as well but this one split the difference. Rocky didn’t end up winning the belt in the movie but he held his own against Apollo Creed the current champion. The movie is the ultimate underdog movie.

In the mid-1970s, Stallone was an unknown actor struggling to make it in Hollywood. He had only a few minor roles and was living in poverty, even selling his dog at one point because he couldn’t afford to feed it. He wrote the script for Rocky in less than four days. The character of Rocky the Underdog mirrored himself because of the struggles he was going through.

Irwin Winkler and Robert Chartoff offered him $360,000 for the story but Stallone had one condition…he insisted on playing Rocky. Despite his financial struggles, he refused to sell the script unless he was cast as the lead. The producers were hesitant, preferring a big star like Robert Redford or Burt Reynolds, but Stallone convinced them.

The budget was low so they had to film sometimes guerrilla-style without permits and permission. Stallone’s friends and family were cast in roles to save money. For example, Stallone’s wife, Sasha, played a minor role, and his dog, Butkus (he bought him back), his two pet turtles Cuff and Link, appeared in the film.

Why was this movie so successful? Other than rooting for the underdog, it was the characters. They all had faults, likes, and dislikes but we could relate to these people because we knew them. You had Talia Shire playing Rocky’s shy love interest, Burt Young who played He played Rocky’s brother-in-law and best friend Paulie Pennino, Burgess Meredith who played his trainer Mickey, Carl Weathers as Apollo Creed the character influenced by the boxer Jack Johnson.

The main story is about one man’s struggles to overcome the odds but it is also a love story. There are real touches of greatness… such as Burgess Meredith as Mickey a veteran boxer who does not want to train Rocky as he sees him as a washed-out bum until he is offered a shot at the big time. Then seeing his relationship with Rocky grow. The acting is superb and the music still pumps me up to this day. This may have been the movie to invent the training montage which is now a must in any movie about sports or fighting. Stallone’s performance is great in this role.

All Rocky wants to do, as he confesses to Adrian (Talia Shire) in that touching apartment scene, is go the distance with the champ. He doesn’t have to knock him out, doesn’t even have to win, just go the distance. You know, I still have to remind myself at times as I reflect on the picture that Rocky really didn’t win the match but the film won because of it.

Rocky has become part of pop culture for so many years it’s hard to look at the first film as a standalone low-budget entry in the boxing genre. This is a great film and put the writer and main lead Sylvester Stallone into the stratosphere of Hollywood. The film is not flawless but it is classic.

A fun note about this film. In the movie, Rocky has two pet turtles, Cuff and Link, and he still has them at his home today. They are around 50 years old. He bought his dog Butkus back and the guy that he sold him to knew he had Stallone over a barrel so Stallone had to pay him $15,000 but he said it was worth every penny.

PLOT IMDB

Rocky Balboa is a struggling boxer trying to make the big time, working as a debt collector for a pittance. When heavyweight champion Apollo Creed visits Philadelphia, his managers want to set up an exhibition match between Creed and a struggling boxer, touting the fight as a chance for a “nobody” to become a “somebody”. The match is supposed to be easily won by Creed, but someone forgot to tell Rocky, who sees this as his only shot at the big time.

Quotes

Adrian: Why do you wanna fight?
Rocky: Because I can’t sing or dance.

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Adrian: Einstein flunked out of school, twice.
Paulie: Is that so?
Adrian: Yeah. Beethoven was deaf. Helen Keller was blind. I think Rocky’s got a good chance.

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Bodyguard: Did ya get the license number?
Rocky: Of what?
Bodyguard: The truck that run over your face.

THEME of Rocky

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Max’s Drive-In Movie – Fantastic Planet

We will take a short break from the Christmas posts.

This is the first animation that I’ve featured on my Drive-In movie series. This is not The Flintstones, The Simpsons, or anything close to normal. I mean that as a compliment…the visual of this movie is fantastic…no pun intended.

In 2012 I was sick with the flu and it was around midnight. I had nothing to do so I remembered a movie that a co-worker wanted me to watch. It was the 1973 movie Fantastic Planet and I was blown away. Bailey, my son, came into the room and asked me what I was watching. He started to watch and couldn’t believe the animation and what it was all about. He was 12 at the time and I was amazed as well. I’ve never seen anything like this movie before or since. I still watch it from time to time and I find things in the film I missed before.

Fantastic Planet (original French title: La Planète Sauvage) is a 1973 French-Czech animated science fiction film directed by René Laloux. The film is known for its surreal, dreamlike visuals and its hidden meanings, which explore themes of oppression, freedom, and coexistence. It’s based on Stefan Wul’s 1957 novel Oms en série, the film became a cult classic, especially in the science fiction and animation communities.

I’ve read some about the making of this movie. The film uses cut-out animation (a form of stop-motion animation using flat characters, props, and backgrounds cut from materials such as paper, cards, stiff fabric, or photographs. The props would be cut out and used as puppets for stop motion. ), a labor-intensive method that gives the movie a distinct, dreamy feel. The style was heavily influenced by Roland Topor, a French artist and writer known for his surrealist work, who also co-wrote the screenplay and designed much of the film’s visual style.

It’s very hard to describe this movie or try to put it in words. You would have to watch it yourself. The full French version of the movie is at the bottom, underneath the trailer. Unfortunately there are no english subtitles. My son Bailey now teaches classes at college for his Master’s degree, and he took this movie to show his class. He said they were amazed and lost. They wanted to know more about it, and many said they had never seen anything remotely like it before.

If you are looking for something different…give this a try because it fits that description totally. I think you will be amazed at the animation they used. You also have a very seventies soundtrack which only heightens it to me.

Plot

The film is set on the planet Ygam, where giant blue humanoid aliens known as Draags dominate the planet and keep human-like creatures, called Oms, as pets. Oms are treated as inferior beings, with some Draags experimenting on them or exterminating wild Oms who resist control. Then, an Om boy becomes educated, thanks to a young female Draag. This leads to an Om rebellion, which weakens the Draag control over their race. Will the Oms and the Draags find a way to coexist?

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Max’s Drive-In Movie – Jurassic Park

In 1993 I went to see Jurassic Park and was blown away. I returned two more times and took my Dad to one of the showings. This movie has become part of pop culture and is considered a classic movie. It’s odd thinking of a classic movie that I saw at the theater in real-time.

I’ve always liked dinosaurs since I was a kid but on film, they never looked like I imagined. They usually were claymation or men in suits. I really like claymation a lot on most things but the dinosaurs just never looked right. I do not crave great special effects…the original Star Trek is great to me with its red beams stunning people. They were always able to convey the story and that is enough for me…but dinosaurs were not beams of light or the transporter.

When this movie was released it was shocking. It was a game-changer in so many ways and brought CGI to the forefront. Today younger people can not imagine what it was like seeing dinosaurs come to life that actually matched our imaginations. This is what we were used to.

To see a T-Rex with the new DTS surround sound in a theater was frightening…in a great way though. The most significant change was the way the dinosaurs interacted with their surroundings. This movie benefitted from the new technology…where I think the original Star Wars was not improved by Lucas’s tinkering with CGI trying to improve them.

The movie now is considered a classic for good reason. An island full of dinosaurs who terrorize people… a simple plot but extremely well done. From beginning to end this film is just an enjoyable watch. Back in 1993 when it was released these never-before-seen effects wowed audiences, and even now it still holds up with the animatronics and CGI combo to most things today. When the Brachiosaurus first appeared on the screen, the movie was sealed.

I do believe that CGI can be and has been overused at the expense of a story. In Jurassic Park, they got it right. It still stands up today but now we are so accustomed to CGI that this movie doesn’t get noticed as much…but when it was released everyone took notice and it upped the game in special effects.

Spielberg made the movie after the book Jurassic Park by Michael Crichton. I just read it and the movie doesn’t follow the book exactly but does keep the spirit of it. I’ve noticed that the three Jurassic Park movies used some scenes from this book as well. The book was much more bloodier than the film by a large margin.

The reason for the success other than the CGI was that Spielberg kept the plot simple. There were not 100 subplots that you had to follow. Billionaire John Hammond creates a groundbreaking theme park with live dinosaurs cloned from ancient DNA. Before the park opens, Hammond invites expert paleontologists Dr. Alan Grant and Dr. Ellie Sattler, mathematician Dr. Ian Malcolm, and his grandchildren for a preview tour. However, when a greedy employee sabotages the park’s security systems, the dinosaurs escape containment, creating chaos.

The actors were good and the children didn’t over act too much at all. It was a balanced cast and a well-made film.

Quotes

John Hammond: All major theme parks have delays. When they opened Disneyland in 1956, nothing worked!
Dr. Ian Malcolm: Yeah, but, John, if The Pirates of the Caribbean breaks down, the pirates don’t eat the tourists.

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John Hammond: I don’t think you’re giving us our due credit. Our scientists have done things which nobody’s ever done before…
Dr. Ian Malcolm: Yeah, yeah, but your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.

The trailer was fantastic. They showed you just enough of the dinosaurs to make you want to see the film.

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Max’s Drive-In Movie – Kentucky Fried Movie

The reason I thought about this movie again was I was reading a Quentin Tarantino interview and he mentioned how much he liked it. It is in his favorite movie list. I hadn’t seen it since around 2012 or so. I rewatched it and enjoyed it a lot.

I read about this movie a lot and finally got to see it in the 1980s. It’s close to a rated R Saturday Night Live episode set in a movie with no audience. They have fake newscasts, commercials, movie trailers (Catholic High School Girls In Trouble), and almost everything else. It’s 1970s skit humor very close to SNL with the first cast. Some skits work really well and some skits don’t…just like most skit-based shows. I also would compare some of the humor with Airplane! and Naked Gun. This movie does include nudity and dark humor.

The film was directed by John Landis and written by David Zucker, Jim Abrahams, and Jerry Zucker (who later created The Naked Gun series). You will see familiar faces but not well-known except for a few cameos by Donald Sutherland, Bill Bixby, and George Lazenby. Tony Dow also makes a cameo playing his old character Wally Cleaver in the skit Courtroom.

The Zucker brothers (David and Jerry) and Jim Abrahams were the creative team behind the film. They had originally been performing a live comedy show called “The Kentucky Fried Theater” in Madison, Wisconsin, in the early 1970s. The success of their live sketches inspired them to translate that format into a film. This was going on across the nation along with the National Lampoon Magazine which inspired a different kind of skit comedy than the Carol Burnett Show.

I really hate the word “dated.” This goes back to a modern movie critic saying “Vanishing Point” was dated. Hmmm, a movie set and filmed in the 1970s with a 1970s theme and style…who would have thought that? When you watch a movie like this one…you have to put yourself in that mindset of when it was made. I understand that some comedy styles change but some things are funny…and some are not… regardless of when they were made. In other words, it’s not “politically correct.”

I have seen some “first reaction” videos of this movie from young people who were watching it for the first time. They were very positive which surprised me. Of course, they gave warnings because of the darkness but liked it.

The budget was $600,000 and it made 7.1 million dollars at Drive-Ins across America. I won’t include a plot since it contains different skits.

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Max’s Drive-In Movie – The Shootist

When I watch this movie I marvel at the talent on the screen. John Wayne, Ron Howard, Jimmy Stewart, Lauren Bacall, Scatman Crothers, John Carradine, and more. I watched it as a teenager in the 1980s at some point. The movie was released in 1976.

I really, really like this movie a lot and have liked it from the first time I saw it. Along with Wayne, it is fun seeing Ron Howard in his role here. No, it’s not the Clint Eastwood trilogy or John Wayne’s own The Searchers but a really good film.

This film has John Wayne at the end of his long career and Ron Howard at the beginning of his adult career. This was John Wayne’s final role before he died later. Wayne was battling cancer in real life during the film’s production, adding a poignant parallel to real life.

It was directed by Don Siegel and is based on the 1975 novel by Glendon Swarthout. The movie is set in 1901 and follows the story of J.B. Books (played by Wayne), an aging and ailing gunfighter who learns he has terminal cancer. Determined to face his final days with dignity, Books seeks peace but becomes embroiled in conflicts that challenge his desire for a quiet end.

James Stewart had not made a film for five years. He agreed to play the doctor as a favor to John Wayne and his hearing was getting bad by then.

Don Siegel was a very successful director. Some of Siegel’s huge movies came with Invasion of the Body Snatchers (1956), Coogan’s Bluff (1968), Two Mules for Sister Sara (1970), Dirty Harry (1971), and Escape from Alcatraz (1979). Siegel was known for his direct no-nonsense directing and ability to draw performances from his actors. Clint Eastwood said he was one of his mentors.

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Max’s Drive-In Movie – The Truman Show

When I saw this 1998 movie I did with trepidation because of Jim Carrey. There is only so much of his comedy I can take at once but this was completely different. He did more of a serious turn in this movie and I must admit he was great. I’m not the world’s biggest Jim Carrey fan at all but this movie is brilliant.

Carey plays Truman Burbank, a man who unknowingly lives his entire life in a meticulously crafted, 24/7 reality TV show, with his every move broadcast to a global audience. I try to find themes in movies and this one explores themes of manipulation, personal freedom, commercialism, and the power of free will that wins out.

This movie was like looking into the future…a bleak near future. The Kardashians and others followed showed “real life” (heavy sarcasm) and delivered Warhol’s 15-minute fame theory in the worst possible way. To be honest…I’m honestly amazed that this movie’s plot hasn’t been tried.

Truman Burbank lives a seemingly perfect life in Seahaven, a fictional island town somewhere that is mixed between the 1950s and the 1990s. He was unaware that his entire existence was being broadcast to millions around the world. Every person he interacts with, including his wife, best friend, and co-workers, is an actor playing a role. As Truman begins to notice inconsistencies and strange events like a stage light falling from the “sky” and his wife advertising products mid-conversation…he starts to question his reality.

The film builds towards a powerful climax as Truman embarks on a journey of self-discovery and challenges the artificial world he has been confined to, sailing across the set’s ocean (which he is scared of) in search of freedom. Funny, he wanted to see the world but didn’t know the world was watching him being born, his first step, his first kiss, his marriage, and his escape.

This is a SPOILER but the most poignant thing about the movie to me is when he decides to go to the real world and the show ends. All of those people who bought Truman merchandise and tuned in through the years applauded and said hmm… what’s on another channel? They moved on quickly without a thought or care…and hopefully, Truman did the same.

I have so many feelings about this movie. After I watched it for the first time I took a second look in the mirror and the consistent things in my life and thought hmm what if? And you know what? There IS something called The Truman Syndrome… Psychologists later identified a phenomenon called “The Truman Show Delusion” where individuals believe their lives are being staged and broadcast.

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Max’s Drive-In Movie – A Clockwork Orange

This movie changed me when I was a teenager. It made me realize the power that a movie can have. Just a few movies have moved me like that, and this was one of them. Platoon and Full Metal Jacket were two others. I had seen violence before on the screen but this was realistic and brutal…especially when you are a very young guy (too young to watch this) viewing it for the first time. I had to rethink many things after seeing it.

I love the soundtrack, especially the music performed on a Moog synthesizer, which set the tone for the film. I’m not giving a synopsis of the movie…there are plenty of books and internet sites doing that… but a movie that will change you does its job and more. This film was directed by the great Stanley Kubrick and you know it’s his movie within 30 seconds of the intro.

There is a story about a frog and a scorpion, which I relate to this movie. It goes like this. A scorpion asks a frog to carry it across a river. The frog hesitates, afraid of being stung, but the scorpion argues that if it did so, they would both drown. Considering this, the frog agrees, but midway across the river, the scorpion does indeed sting the frog, dooming them both. When the frog asks the scorpion why, the scorpion replies that it is in its nature to do so.

This movie runs the gamut…cruelty, horror, the absurd, violence, pity, and justice. In my opinion, this movie shows that evil exists in all of us and what happens if we let it take over. Also, I think the movie shows you that no one can change someone’s nature no matter what drugs or treatment you may give them outside of a lobotomy. Treatment and drugs may slow them down and help but their nature is not going to change. They will at least have to keep fighting it every day.

In the end, A Clockwork Orange challenges viewers to consider human freedom and the ethics of “curing” people against their will. This movie has been analyzed to death and rightly so. It could have only been made in the period it was made. I can’t imagine this movie coming out now…although I wish more modern filmmakers would take chances.

The scene that stick with me are the record shop scene, the Billy Boy gang fight, Singing in the Rain, and of course the eye scene… The record shop scene was filmed in the Chelsea Drugstore… I would love to have a room like that place. Very 60’s-70s futuristic…immortalized in the Stones’s “You Can’t Always Get What You Want”…The building is now sadly a McDonalds…modern progress?

Malcolm McDowell as Alex was excellent in this movie along with his droogs Pete (Michael Tarn), Georgie (James Marcus), and Dim (Warren Clarke).

Plot from IMDB

Alex DeLarge is an “ultraviolent” youth in futuristic Britain. As with all luck, his eventually runs out and he’s arrested and convicted of murder. While in prison, Alex learns of an experimental program in which convicts are programmed to detest violence. If he goes through the program, his sentence will be reduced and he will be back on the streets sooner than expected. But Alex’s ordeals are far from over once he hits the streets of Britain.

The cool car is an Adams Probe 16 AB/4 that was referred to as a Durango 95 in the film has been restored…

The Record Shop (Chelsea Drugstore)

Adams Probe 16 AB/4

Max’s Drive-In Movie – Halloween

Que that spooky piano part now. This 1978 film is a horror classic that I still enjoy watching. While I’m at it…Happy Halloween Everyone! Sometimes, sequels can ruin a franchise and it gets silly. We sometimes forget how great the original is. I’m not a fan of the no-brain slasher movies that followed this.

From the very beginning, Halloween grabs your attention with its eerie, minimalist score—also composed by Carpenter himself. The haunting piano melody sets the tone for the entire film, creating a sense of dread even before it begins. It’s one of those soundtracks that sticks with you long after the credits roll. The two main leads…Jamie Lee Curtis and Donald Pleasence do an excellent job. I’ve liked Pleasence in anything he has done.

What’s surprising about Halloween after rewatching it, is how little blood and gore is actually shown. The movie relies more on atmosphere and suspense than graphic violence, which is why it remains such an effective horror film today. Carpenter’s use of shadows, lighting, and camera angles makes everything feel off-kilter. Halloween doesn’t go overboard with its horror… just enough to leave a sense of unease.

There are little things as well that this movie does well. Before it all starts Lauire (Jamie Lee Curtis) and Annie (Nancy Kyes) are smoking a joint in a car while Michael is following them. While this was going on…Don’t Fear The Reaper was playing on the radio faintly. Annie’s dad is the sheriff and his name is Brackett. Dr Loomis (Donald Pleasence) tells him that he and his town better be worried. Michael Myers escaped a facility and was headed toward the town where Myers lived when he killed his sister when he was a kid.

This is another movie that has been ingrained in pop culture. After this film, there was a part 2. John Carpenter did not want to make it but was sued to make it. He made sure to blow Myers up in the 2nd film and part 3 had nothing to do with Myers. Halloween II was written by Carpenter and Debra Lee…the two who wrote Halloween. He refused to direct it and he never liked it. “I had to come up with something. I think it was, perhaps, a late night fueled by alcoholic beverages, was that idea. A terrible, stupid idea! But that’s what we did.”

Rob Zombie remade the film in 2007 and a sequel with much more blood and gore. He traded mystic for the obvious, which didn’t work as well for me…but I’m glad he put a little more reason on why Michael did what he did.

Plot IMDB

The year is 1963, the night: of Halloween. Police are called to 43 Lampkin Ln. only to discover that 15-year-old Judith Myers has been stabbed to death by her 6-year-old brother, Michael. After being institutionalized for 15 years, Myers breaks out on the night before Halloween. No one knows, nor wants to find out, what will happen on October 31st, 1978, besides Myers’ psychiatrist, Dr. Loomis. He knows Michael is coming back to Haddonfield, but by the time the town realizes it, it’ll be too late for many people.

Quotes

Loomis: I met him, 15 years ago; I was told there was nothing left; no reason, no conscience, no understanding in even the most rudimentary sense of life or death, of good or evil, right or wrong. I met this… six-year-old child with this blank, pale, emotionless face, and… the blackest eyes – the Devil’s eyes. I spent eight years trying to reach him, and then another seven trying to keep him locked up, because I realized that what was living behind that boy’s eyes was purely and simply… evil.

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Brackett: I have a feeling that you’re way off on this.
Loomis: You have the wrong feeling.
Brackett: You’re not doing very much to prove me wrong!
Loomis: What more do you need?
Brackett: i going to take a lot more than fancy talk to keep me up all night crawling around these bushes.
Loomis: I-I-I watched him for fifteen years, sitting in a room, staring at a wall; not seeing the wall, looking past the wall; looking at this night, inhumanly patient, waiting for some secret, silent alarm to trigger him off. Death has come to your little town, Sheriff. Now, you can either ignore it, or you can help me to stop it.
Brackett: More fancy talk.

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Max’s Drive-In Movie – Carrie

Next to The Shining, this is my favorite King adaptation.

Carrie is a 1976 horror film directed by Brian De Palma, based on Stephen King’s 1974 debut novel of the same name. He used many techniques in this movie that put it over the top. Split screens, slow motion, and vivid color contrast just to name a few.

It is one of the most iconic films in the horror genre and focuses on subjects like bullying, supernatural powers, and revenge. It’s so easy to relate to because in high school we have all been through embarrassing things…getting pig blood dumped on you…probably not but we can relate with Carrie. We know the good people and we have known the bad people in this movie. We also know the popular cliques and the not-so-popular cliques. The girls that were out of reach and the ones that were.

The story revolves around Carrie White, a shy and socially awkward high school girl who is mercilessly bullied by her classmates. Raised by an overbearing, fanatically religious mother, Carrie leads a lonely and repressed life. After experiencing a traumatic event at school, she discovers that she has telekinetic powers. The situation escalates when her classmates cruelly prank her at the senior prom. In a moment of intense emotion, Carrie uses her powers to take a horrifying revenge on those who tormented her.

Sissy Spacek starred in this film and was perfect in the role. Piper Laurie portrayed her mother with an exaggerated, fanatically religious fervor. Laurie’s portrayal of a zealot was intentionally over-the-top, adding to the film’s tone. . The movie also launched the film careers of Nancy Allen and Amy Irving who both went on to star in many movies.

In 1976 my class went to see Charlotte’s Web at the theater. On the wall were movie posters of Carrie. Since then I’ve always associated them with each other. As a 9-year-old, seeing a teenager covered with blood with an evil look made me want to see it. I didn’t get to see it until almost a decade later. It was worth the wait!

Both Sissy Spacek and Piper Laurie received Academy Award nominations for their performances, a rarity for the horror genre.

This story has been remade in 3 different movies. This one in 1976, 2002, and a remake in 2013. I’ve watched all of them…trust me on this…this is the best version out there at least to me.

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