MONSTERZERO NJ’S SATURDAY NIGHT DOUBLE FEATURE: PEE WEE’S BIG ADVENTURE and BEETLEJUICE

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This week’s double feature is one that not only works perfectly but, is a lot of fun. It pairs Tim Burton’s first two films together, the hilarious and delightfully surreal Pee Wee’s Big Adventure and the supernatural Gothic laugh fest that is Beetlejuice. Both films would introduce the world to Burton’s cartoonish visual style and have gone on to become cult classics in their own right. When stacked up against his body of work, they still rank as two of his best. So crack open your favorite beverage and enjoy this double bill of offbeat hilarity.
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PEE WEE’s BIG ADVENTURE (1985)

Paul Reubens’ Pee Wee Herman character became a sensation in the 80s. He started out as a more adult-themed comedy act and cable TV show and then became an all-out, though still pretty bizarre, hit children’s show. So, the transition to feature films was a natural and quirky new filmmaker Tim Burton was perfectly picked to guide Pee Wee to the big screen in this cartoonish and surreal adventure.

The plot is simple. Pee Wee’s prized bicycle is stolen and the strange man-child sets off on a cross country adventure to hunt it down and get it back. His travels lead him to some strange places, where he meets some equally strange characters as he follows a trail that takes him all the way to the Alamo and then eventually brings him to Hollywood.

Tim Burton was the perfect director for this project scripted by Reubens, the late Phil Hartman and Michael Varhol. It’s a colorful, yet bizarre, road trip populated by some very eccentric and equally colorful characters. And Burton’s Edward Gorey-ish visual style is perfect for the weird situations Pee Wee gets into such as his encounters with escaped convict Micky (Judd Omen), a rowdy biker gang, the phantom-like Large Marge (Alice Nunn) and the climactic chase through Warner Brothers Studios. Oingo Boingo frontman Danny Elfman was brought in to score and his whimsical musical style was a perfect fit for the situations on-screen. Reubens, Burton and Elfman where so perfectly matched here, it’s sad the three have never, at least so far, collaborated again on another movie, unless you count Reubens’ small role in Batman Returns. Burton brings a sense of whimsy to the proceedings and has no problem indulging in the surreal such as two amusing nightmare sequences where Pee Wee fears about the fate of his bike. The FX are simple and quaint and even involve a little stop-motion animation and it adds to the film’s charm which it has lots of. It gives the film an almost demented fairly tale vibe at times, which fits the universe Reubens has already created for his character.

The cast have a lot of fun with this, too. Reubens is at his Pee Wee best and his reactions to things, such as his impatience with The Alamo tour guide, Tina are just as hysterical as is the broader physical comedy. 80s cutie and icon E.G. Daily plays the only, fairly down to earth character in the film, bike shop repair girl Dottie, who crushes on the reluctant Pee Wee. The rest of the characters are all cartoonish such as spoiled brat and bike theft suspect Francis (Mark Holton) and of course, Lou Cutell as Amazing Larry. And the actors all have a lot of fun with their over the top screen personas. Burton gets good work out of everyone for the gallery of oddball characters that inhabit Pee Wee’s world.

Pee Wee’s Big Adventure is a comedy classic and rightfully so. It’s delightfully offbeat and amusingly surreal at times and Burton was the perfect choice to bring Pee Wee’s off-kilter world to the big screen. The movie is incredibly quotable and I still laugh heartily when I watch it all these years later and it definitely is one of my all time favorite comedies. And if that makes me a geek, fine… I know you are but, what am I ?

3 and 1/2 Pee Wees!

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BEETLEJUICE (1988)

Burton’s sophomore feature teamed him with another comic icon Michael Keaton, in this tale that puts a spin on the traditional haunted house story by having the ghosts trying to remove the humans from their house and not the other way around and turning in desperation to the demonic bio-exorcist Beetlejuice (Keaton) for help.

The story has young couple Barbara (Geena Davis) and Adam (Alec Baldwin) Maitland, living a peaceful life in their large house in a remote New England town… until a horrible accident brings about their premature demise. But, things get worse for the dearly departed couple when, as they try to adjust to their new after-life, their home is invaded by the new owners, the new age Deetz family, Charles (Jeffery Jones), Delia (Catherine O’Hara) and their Goth emo daughter Lydia (Winona Ryder). With their gaudy interior decorator Otho (Glenn Shadix) in tow, they begin to completely remodel the Maitland’s house. The ghostly couple try to haunt the new family out but, only wind up intriguing them and in desperation, they turn to the demonic entity known as Beetlejuice (Michael Keaton) to evict the Deetzes from their home. But, they have started to bond with Lydia and realize all too late that the funky phantom they have unleashed has a far more sinister agenda and becomes a far worse problem then the Deetzes and their plans to turn the house into a paranormal sideshow attraction.

Written by Warren Skaaren and Michael McDowell from a story by McDowell and Larry Wilson, this was another film perfectly suited to Burton’s gothic, offbeat visual style and his quirky sense of whimsy. Burton really gets to have some surreal visual fun with his presentations of the afterlife and in the design of some of the supernatural beings that inhabit it. His teaming with Keaton is also perfect as the actor gets to really chew up the scenery as the bizarre and slightly perverse Beetlejuice. The character comes across less an actual demon than your creepy, pervy, alcoholic uncle… on crack… and that’s kinda what makes it work. Keaton is completely over the top and it fits Burton’s over the top style directing style very well. While not all the bits work, most do and the film is not only flat out hysterical at times but, whimsically spooky at others. The climactic last act when Beetlejuice is loosed on the Deetzes dinner party and trying to wed Lydia so he can remain corporeal is an amusement park ride, almost literally, and it makes it worth the wait to see him finally and fully unleashed. The film also makes it’s ghost characters, The Maitlands, the only normal people in the movie which adds to the turning the traditional haunting premise on it’s head. The film is a lot of fun and Burton imbues it with some nice sentimental moments too. Here he still knew when to temper the outlandish with the subtle, something some of his recent films seem to have lost. The FX here are very inventive and not only include some very bizarre make-up and prosthetics but, some charming stop-motion animation as well. A time before CGI and it’s all the more charming for it. Despite a modest budget the quaint FX enhance the film’s atmosphere and add to the fun. Again Danny Elfman was brought into score and again his music fits the film like a spooky glove.

As for the human cast elements, despite not having as much screen time as you might think, it’s Keaton’s show and he takes the demonic ball and runs with it. He is completely and unapologetically over the top as the perverted and devious oddball demon that is Beetlejuice. He has a lot of great bits to chew on and while not every line is knee-slapping, Keaton gives them his all anyway and the film would not have worked so well without him. Davis and Baldwin make a very endearing couple of ghosts and they have a really great chemistry together and with Ryder. The fact that they are played as the most normal characters in the film adds to the charm and they both give very down to earth performances… pun intended. It really works as a nice contrast to the eccentric Deetzes and their weird friends and, of course, Beetlejuice himself. And as the Deetzes there is also a nice contrast here with Jeffery Jones’ more down to earth real estate developer and Catherine O’Hara’s delightfully eccentric new age sculptor wife. Add in the adorably gloomy Lydia brought to life by a cute, young Winona Ryder and the obnoxious and self centered Otho, made all the more amusing by a scenery chewing Glenn Shadix (who sadly passed away in 2010 due to injuries sustained in a fall in his home). A very well cast comedy with some very talented people doing what they do best.

I love this movie. Sure, not all the bits work and a slightly tighter script could have made it even more of a tour de force for the eclectic cast but, with Keaton creating an iconic character and some truly inventively designed otherworldly characters and sequences, you get a very original and now classic comedy and a film that is still, in my opinion, one of both Burton’s and Keaton’s best. A delight even close to 30 years later. Also features cameos by Robert Goulet and Dick Cavett.

3 and 1/2 Beetlejuices!

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MONSTERZERO NJ’S SATURDAY NIGHT DOUBLE FEATURE: BATMAN and BATMAN RETURNS

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Recently revisited these two classics and though they still cause controversy amongst Batman and movie fans years later, they are true classics whether you are for them or against them. I think they sit fine as their own series next to Christopher Nolan’s darker and more grounded films but, however, I did find that one of them has aged more gracefully then the other. It’s also my favorite of the two so, that might have something to do with it …

 

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BATMAN (1989)

Warner Brothers was trying to get a Batman film going for years with various directors attached and in various tones and with numerous actors sought for the lead from Bill Murray to Steven Seagal. But with the success of Pee Wee’s Big Adventure and Beetlejuice, the studio settled on Tim Burton as a new upcoming director and fans began to buzz with interest. When Burton announced Beetlejuice star Michael Keaton as his Batman, the interested turned to outrage, though the outrage calmed down somewhat as it was also announced that film icon Jack Nicholson would be his arch-nemesis, The Joker. The film was finally made and after years of waiting, I remember enjoying it upon seeing it opening night on 6/23/89 but I had some problems with it that kept me from loving it. With a recent revisit, I found those problems still haunt it and to be honest, it is kind of dated especially with the Prince songs, which I never liked being in the film in the first place. They totally contrast and work against Danny Elfman’s moody and gothic score. But I digress…

Batman opens with a mysterious bat suited figure thrashing two criminals on a rooftop and the subsequent investigation by hard-nosed reporter Alexander Knox (a completely annoying Robert Wuhl and a character that could have been totally removed without any effect on the story) and intrepid photographer Vicki Vale (a bland Kim Basinger). We also get a second storyline of mob enforcer Jack Napier (Jack Nicholson) who is sleeping with crime boss Carl Grissom’s (Jack Palance) girlfriend (Jerry Hall) and Grissom knows it. Grissom sends Napier on a job which is actually a set-up and when the police arrive, so does ‘The Bat” and Jack winds up shot in the face and falling in a vat of chemicals. The Joker is thus born, but so is a hero as The Batman (Michael Keaton) is secretly orphaned billionaire playboy Bruce Wayne, a man who is avenging the murder of his parents by taking the criminals of Gotham head on as his masked alter ego. And with the Joker planing to ruin Gotham, he and Batman are fated to collide. But Wayne and Joker are also fated to collide too, as both men set their sights on the beautiful Vale…

And that plot element brings me to one of my first and biggest problems with Batman and that is the love triangle (quadrangle?) between Vale, Wayne, Joker and Batman. Not only does it not really work, but it provides some of the worst written scenes/dialogue in movie. The film stops dead for two scenes in particular when the Joker come to woo Vale and I never bought that the Joker would throw aside and endanger his nefarious plans, just for a girl… at least in how I see the character. That and Bassinger is just boring as Vale and one wonders how it would have been if Sean Young hadn’t been injured and lost the role. But this is also the product of the really weak script by Sam Hamm and Warren Skaaren that was reported to have been continuously tweaked throughout production. The script continually stops the already weak plot…The Joker messing with hair and beauty products? That was the best ‘evil scheme’ they could come up with for the greatest comic book villain of all time?…to pay attention to this subplot and takes the iconic Joker and Batman characters and makes their disagreement over a girl, like this was a John Hughes high school movie or something. At least Keaton shocked the world by being a great Batman and he gives this film a lot of the weight it has. He makes a brooding and mysterious Dark Knight and a perfectly aloof and eccentric Bruce Wayne. He even retains his dignity in an awfully written scene with him trying to explain his double life to Vale with an intrusion by The Joker. There is that ‘Vale’ factor again. As for Nicholson, despite what appears to be perfect casting…and I know I’ll get flak for this…Jack’s Joker is a mixed bag. He goes from dead-on threatening, such as the infamous “Wait’ll they get a load of me” scene, to just plain goofy and silly. I do understand that the Joker’s tone did change from dangerous psycho to goofy clown over the years in the comics, but the movie needed to pick one. I don’t know if it was Jack being overindulgent or Burton mishandling him or a product of the script, but Nicholson’s Joker is all over the place. He fails to solidify the proper threat and menace to make the character a solid villain as there are times when he appears to be a little too demented and silly to get away with his plans. He has some really effective scenes…his treatment of Alicia (Hall) is the kind of cruel streak the character needed a bit more of to remain frightening…but they are totally sidetracked by his sillier moments, but in his defense, and I can’t say this enough, the script doesn’t give him the best material to chew on. And as Burton isn’t always the strongest storyteller, so maybe Jack just winged it from scene to scene.

And as for Burton, he is a great visualist and this film has a sort of grimy Blade Runner meets 1940s detective thriller look to it. The storytelling here is weak, but it is said the script was sometimes changed without the director’s knowledge, so not sure if the film’s weakest moments are totally his fault. There were apparently a lot of hands in this pot and that’s why the following sequel seems more like a “Tim Burton” film then this one. All it’s flaws aside, this movie is still endearing to me. Keaton is great and would get even better in the improvement of a sequel. There is a lot of fun action and when Jack is on, he is a delight to watch when he gives his Joker the appropriate menace and isn’t sabotaged by some bad dialogue or cartoonish behavior. I wish he had been given a better story then hair and make-up tinkering, but this is what we got. The film has a classic score by Danny Elfman and a very underrated performances by Michael Gough as Alfred and his scenes with Keaton are magic. Put all four of this era’s Batman flicks together and Gough is the jewel of this uneven series. The Phantom Of The Opera-ish climax is also a lot of fun and The Joker’s last scene might ironically be one of the most fitting scenes for the character… always having to have the last laugh.

So, in conclusion, despite a lot of flaws and the signs of a tumultuous production, the movie still has  a lot to entertain and certainly has it’s charm, especially now that it’s aged somewhat…though not as gracefully as we’d like. And as my idea of Batman and his Joker were better portrayed by Nolan’s The Dark Knight, I can now let this movie slide on a few of it’s issues as it is no longer the only film on the subject. Also stars Pat Hingle as Commissioner Gordon, Billy Dee Williams as Harvey Dent and Tracey Walter as Joker’s top henchman Bob.

… as a final note, it’s kind of interesting that I’ve read where Tim Burton has been said to say he finds the movie boring and proclaim that it’s not a great movie. I agree it’s not a great movie, but it isn’t boring and will always be regarded, even by me, as a classic despite it’s flaws. These statements only give more substance to me of the notion that this film was not totally his and there were a lot of cooks involved in the bat soup which may explain why many aspects of the production are so uneven.

3 bat signals!

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BATMAN RETURNS (1992)

Now this was more like it! As for what I wanted from Burton’s first Batman, this sequel is a lot closer to it. The film feels a lot more like a ‘Tim Burton’ film and a lot of the problems from Batman, have been eliminated or fixed such as booting the Vale and Knox characters and having a more consistently sinister villain and a far livelier and sexier leading lady… and no Prince music to date the film like last time…And for the record, I think Prince is a musical genius and has some great tunes, but they don’t belong in a Batman movie. The story is still not the strongest…none of this era’s Batman movies had strong plots…but it makes up for it by strengthening a lot of other weaknesses including a more gothic look and a snowy Christmas setting with a bit more of a devious sense of humor.

We start out with the wealthy Cobblepot family (Pee Wee’s Big Adventure vets Paul Reubens and Diane Salinger) welcoming a new baby boy into their family…an unfortunately deformed baby whom they proceed to send a la Moses sailing off down a creek in a basket. The basket sails into the abandoned Gotham City Zoo and down into the sewers beneath where it is greeted by a group of penguins apparently left over from the zoo’s closure. Cut to over three decades later as Gotham is battling a new criminal element and there are urban legends of a ‘penguin man’ stalking the sewers of the city, and now that he’s established as a hero, the apparently useless Commissioner Gordon (Pat Hingle) calls upon the Batman (Michael Keaton) to combat these problems. Meanwhile unscrupulous businessman Max Shreck (Christopher Walken) is scheming to construct a power plant that will actually steal power from Gotham and is forced to throw his shy secretary Selena Kyle (Michelle Pheiffer) out a high rise window when she stumbles on his plans. But all these characters and stories are destined to clash as the criminal gang is actually run by The Penguin (Danny DeVito) who is the vengeful, deformed outcast son of the Cobblepots and he tasks Max Shreck to help him get his revenge on the city that abandoned him. Miss Kyle is resurrected, in a scene that evokes the Japanese horror flick Kuroneko (1968), by the touch of some stray cats and emerges as Catwoman, yet another vengeance seeking individual with chaos and bedlam on her mind. And the one thing they all have in common…none of their plans can come to fruition without the elimination of The Batman. The only hitch is that Batman and Catwoman may have found soul mates in each other just as the emotionally scarred Bruce Wayne has with the equally damaged Selina Kyle. But will the feline femme fatale side with the caped crusader or join the other villains to do him in?

Burton may not be the strongest storyteller but he does far better guiding this one then the last. Maybe it was less interference from producers?…a less demanding actor as his lead bad guy?…or that Daniel Waters’ script is a vast improvement over that last film’s. Either way this flick is a lot more fun, while retaining it’s dark tone. It seems to move faster and despite it’s complicated story and numerous characters, seems to flow a lot better in the context of the telling of that story. The characters all seem to fit together better, especially Keaton and Pfeiffer whose scenes together both as Wayne and Kyle and their alter egos are a delight to watch and crackle with a sexual tension that was completely absent in the last film’s romantic pairing. They are also far better written and have some nice crisp dialogue between the two especially with Batman and Catwoman’s love/hate relationship. While it may be debated that Walken’s villain is one too many, his scenes with all three leads are amusing to watch as he basically seems to be playing everyone for his own benefit and also seems quite amused with himself that his partners in crime don’t see the wool pulled over their eyes or his thinly veiled contempt for them as he does it. Keaton is even better here as Batman/Bruce Wayne and seems to be more relaxed in the role and while he is still a wounded soul, I dare say his Batman here is enjoying his superhero role a little more now that his is out of the shadows and an outright hero instead of an outlaw. He works well with all the cast especially recreating the magic between Batman and butler with Gough’s wonderful Alfred. As for DeVito, his Penguin is a grotesque and sinister creature that instills discomfort and menace. He is having a blast with the role and is far more consistent with his portrayal then the all over the place performance Nicholson gave and this helps establish his character more solidly. Penguin may not be as quite iconic as The Joker, but in my opinion DeVito is far more successful in his portrayal than Jack was in his, because he picks a tone for the demented and sly Oswald Cobblepot and stays with it. It may also help that he has a better script and a director who is not having his script changed underneath him like last time. Pfeiffer is simply hot and spicy as the kitten with a whip that is her Catwoman. She is adorable as the shy and clumsy Selena Kyle and then is delightfully hot as the twisted and sexy villainess. She and Keaton have a wonderful chemistry together and make good use of the witty dialogue between them. She also has some fun scenes with DeVito, whose creepily horny Penguin would like nothing better than to get into her vinyl catsuit.

The production on a whole seems more relaxed. The budget is almost twice what the first film’s was and Burton goes with a more gothic look with less pipes and girders and more stone and castle-like architecture and the colors are less rust and rot with more blues and cool grays to accent his cold weather suited villain. The first film looked appropriately grungy, but here it more ‘Transylvanian’ and he makes good use of the snowy winter setting to present a beautiful snow swept city in contrast to the dirty dark sewers in which Penguin calls home. There are some fun action scenes too and the film benefits from the larger budget with better FX and model work. Even back in the day, some of the model work in the first film’s cathedral scene made me wince. Danny Elfman returns to once again composes a wonderfully fitting score. The two Batman scores are among his best work.

All in all, Batman Returns is a better film in every way and it’s a shame the studio decided to change direction in the next film and go with Schumacher who treated the next two Batman films like a gaudy burlesque show complete with bat nipples and gratuitous latex covered ass shots. Keaton sadly but wisely walked away as the next two films went from neon drenched car wreck to neon drenched train wreck respectively. Odd that the studios wanted the films to be lighter and more family friendly yet, Schumacher gave them far more of a kinky sexual subtext then the darker Burton films and were ultimately less successful.

3 and 1/2 bat signals!

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