Category: Reviews

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Terminator: Dark Fate (2019)

In real-time, 28 years have passed.  In movie time, it has been a couple of decades. A young Mexican couple are making out near a bridge when they notice sparks appearing in the deck of the bridge.  A large familiar sphere appears, and a nude female figure falls from the sphere to the ground.  When the couple goes to investigate, the police arrive and begin to question the couple about this semi-conscious nude female in their presence.  At that moment, the female (Mackenzie Davis) puts a hurting on la policia and takes the young Mexican dude’s clothes and makes her way to find Daniela Ramos.  Daniela lives with her brother Diego, an aspiring musician, and their father in Mexico City.  Daniela wakes Diego as he and she work in an auto plant; she doesn’t want to be late.  She also begs her father to make his doctor’s appointment.

After Daniela and Diego leave for work, sparks fly at their residence and who should turn up at their apartment but another terminator, a Rev-9 (Gabriel Luna) who quizzes their father on the whereabouts of Daniela.  Soon after, D&D’s father turns up at their work location because his kids forgot their lunch. Except Diego points out that Daniela brought their lunch.  Can you guess who Diego’s father is?

Of course, you can and that’s the problem with much of Terminator: Dark Fate. Much of what we see has either been revealed in the trailer, or it doesn’t take much thought to figure out what’s going on. The previously nude female has been sent to protect Daniela.  She battles the Rev-9 on the factory floor and she—identifying herself as Grace—, Daniela and Diego escape in a truck with the Rev-9 in hot pursuit. Sarah Connor (Linda Hamilton) shows up and we’re off on another Terminator adventure.

The balance of the story is a mishmash and rehash of ideas out of originator James Cameron and a committee of storytellers and screenwriters that defy credulity. Cameron and his cohorts have devised a scenario where what happened before didn’t really happen. It’s the old problem of dealing with time travel except this time, we don’t really deal with it.  We’re presented a story and expected to accept it, even though it’s banal and doesn’t make a whole lot of sense.

Don’t blame any of this on the actors or the director.  The actors do a credible job with the story they’ve been given, and director Tim Miller has kept the action moving, perhaps in the hope that the script won’t catch up to him.

All-in-all, Terminator: Dark Fate is a disappointment.  The return of Schwarzenegger, Hamilton and Cameron held out so much promise, and only Arnold and Linda delivered. Here’s hoping that Cameron is saving his best material for those Avatar sequels he’s been threatening us with.

If you must see this film, wait for home video.

Trailer:

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Jojo Rabbit (2019)

Roman Griffin Davis is Johannes Betzler, a ten-year-old boy who enthusiastically joins the Hitler Youth. “Jojo,” as his mother and second-best friend call him, dresses up in his uniform and talks to his best friend, an imaginary Adolf Hitler, played with delightful abandon by director, co-producer and co-screenwriter Taika Waititi. I’m most familiar, I’d imagine like most people, with Waititi’s work in the Marvel Cinematic Universe, but I’m now destined to examine his entire body of work which, as it turns out, is rather quite extensive.

Along with his tangible best friend Yorki (Archie Yates), Jojo goes to a Hitler Youth training camp, run by Captain Klenzendorf (Sam Rockwell) or rather “Captain K,” in an attempt to make him more accessible. During their training, Jojo is tasked with killing a rabbit in a scene that demonstrates the power of peer pressure and the concepts of nature versus nurture.  Jojo can’t bring himself to kill the rabbit. He ends up running into the forest to the taunts of the other campers who have now dubbed him “Jojo Rabbit.” While in the woods, Jojo imagines a conversation with Hitler which galvanizes him into grabbing a grenade from an instructor and throwing it against a tree with disastrous and unforeseen results.

Jojo is injured and while confined to his home, he discovers his mother Rosie (Scarlett Johanssen) has been hiding a young Jewish girl, Elsa (Thomasin McKenzie), in a secret room in their house. Jojo gives some thought to turning her in, but Elsa convinces him that it would have disastrous consequences for Jojo and his mother.  So, instead, Jojo decides to discover what makes Jews tick. Elsa feeds his paranoia, which makes for a delightful narrative.

Waititi has taken a difficult subject and turned it into a masterwork of drama, comedy, and just a tinge of horror. He turns in a delightful comedic performance as an imaginary Hitler while at the same time constructing a tale of a town about to be liberated seemingly against its wishes. The film is exceptionally photographed by Mihai Malaimare Jr., which, combined with the direction of Waititi, communicates feelings subtly and powerfully.

Scarlett Johanssen is marvelous as a mother who is trying to raise her son among the madness of a world at war, and Davis is good as the dutiful son of his parents and the Third Reich. Throughout the film, the relationship between Jojo and Elsa evokes curiosity and tenderness. Sam Rockwell continues to turn in nuanced performances as in this one where he is at times comic and, other times, compelling.

Jojo Rabbit is currently in limited release, and it was challenging to find a theatre where I could see it.  Fortunately, it opens in wider release on 8 November.  If you have the opportunity, I highly recommend you see it.

Trailer:

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Zombieland: Double Tap (2019)

Some mild spoilers of the first film follow immediately.

I recently re-watched Zombieland (2009) and this movie basically picks up where that one left off except, as narrated by “Columbus,” some years later, presumably ten. The family of “Tallahassee” (Woody Harrelson), “Columbus” (Jesse Eisenberg), “Wichita” (Emma Stone) and “Little Rock” (Abigail Breslin) are still together after all these years. As the opening credits roll, they take up residence in the abandoned White House.

Columbus and Wichita are still paired off, and Tallahassee has taken a paternal interest in Little Rock, who has grown into a young woman and is now quite restless as a result. Little Rock’s annoyance at being treated like a “little girl” and a miscalculation by Columbus in his relationship with Wichita creates an event that propels the plot of the rest of the movie.

When our family leaves the White House and begins traveling again, they have to avoid a new breed of zombies, which Columbus names the T-800. These zombies are stronger, faster and more deadly than other zombies our troupe has encountered before. Incidentally, Columbus has classified the zombies they’ve come across into groups. So, now the zombie types have names to go along with Columbus’ rules.

The problem here is the way the script develops is somewhat redundant of the first film. Some very similar events happen; so if you’ve seen the first film, you might be getting a little bored as to how things progress. However, other events happen just new enough to keep you mildly interested.

While the script may be lacking, the performances are not. The characters are familiar, but the acting is fresh and delightful. There are also some new characters that we meet along the way, beginning with the daft blonde we saw in the trailer, Zoey Deutch as Madison, and an equally cliche free spirit named Berkeley (Avan Jogia).

The saving grace of the script is that it’s incredibly self-aware, and that brings enough humor to carry us through the entire film. This includes performances by “guest stars” (my phrase) Rosario Dawson, Luke Wilson and Thomas Middleditch.

If you’ve seen the first film, you’ll enjoy the second one. Although I’ve listed it as a prerequisite, it’s not absolutely necessary to view it before viewing Zombieland: Double Tap. There’s enough exposition in Columbus’ narration that you’ll be able to follow along just fine.

I found Zombieland: Double Tap to be mildly humorous, but other people in the audience were laughing out loud, and I can understand why. There’s a mid-credits scene you should stay for and a post-credits scene you can catch at home whenever you get around to watching it there.

Trailer:

Red Band Trailer:

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Joker (2019)

Todd Phillips and Joaquin Phoenix team for an unconventional comic book movie about a man and a city’s descent into madness. There has been some discussion that this isn’t a comic-book movie, but it undeniably is. It is an origin story.

Arthur Fleck is a devoted son. He lives with his mother, but he is not dependent on her. Rather, he takes care of her, and he does it by working as a clown for hire. His job takes him to various places: for example, a music store going out of business and a children’s hospital. Arthur also suffers from a (real-life) condition, which causes him to laugh uncontrollably at inappropriate times. So much so that he carries a card that can explain it to people when he cannot.

The construction of the story is masterful and subversive, and it requires the audience to think and deduce some of the action going on before them. Phoenix’s performance is nuanced and skilled. It captures some of the cartoon-like nature of The Joker without it being cartoony. In some form, you respect Fleck’s struggle, and then he shocks you with his behavior. In a sense, Fleck has a code, and until the very end of the film, he never violates it.

To tell you more would spoil the experience.

Rated R by the MPAA for strong bloody violence, disturbing behavior, language and brief sexual images, Joker is the best comic book film with that rating since Logan.

I highly recommend it.

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#MCURewind and How “I” Got to Avengers: Endgame

A shoutout here to Joshua M. Patton, whose writing and social media presence I discovered when serendipity intervened; I used a similar hashtag on Twitter, #MCURewind. I hadn’t intended to use that hashtag when, independent of the rest of the universe, I decided to “countdown” the days to the premiere of Avengers: Endgame. (Apparently. Joshua hadn’t either since the original title of his piece was “MCU Rewatch.”)

With every prior MCU premiere, I had marathoned every previous film beforehand. I have a YouTube playlist (linked below) set up just for that purpose. However, this time around there was sufficient time to plan a one-a-day re-watch of every MCU film to-date. (Hopefully, on 25 April, my local movie theatre is still showing Captain Marvel.)

By way of introduction, Joshua (although anyone reading is welcome to follow along), I’m a 65.5-year-old commentator on the social zeitgeist. (Don’t let that avatar fool you.)

The Marvel Cinematic Universe is one of the things that got me back in the movie theatre. When Iron Man and The Incredible Hulk first appeared, I was more than content to allow the rest of geekdom to trot out to the theatre while I sat back and consumed the MCU the way I consume most forms of entertainment these days: in the comfort of my own home.

When those movies hit streaming, I purchased them on my Digital HD service of choice — VUDU (an unsolicited, unsponsored blurb) — and watched both movies to see what all the hubbub was about.

To go even a little more in depth, at that time, I had found comic book movies to be a hit-or-miss proposition. Between 1980 — the year Superman IIpremiered — and 2005 (Batman Begins), I had seen little in the realm that pleased me. There were a few exceptions: Michael Keaton’s first turn as Batman (1989) and M. Night Shyamalan’s Unbreakable (2000) which I enjoyed much more than The Sixth Sense. Other attempts such as subsequent Batman-, Superman-, and any Marvel-branded films were left on the wayside and pretty much ignored by me.

Batman Begins, a DC comic-book based movie, was the first to make me take notice. It wasn’t because it was a comic-book film. It was because it was a Christopher Nolan film. Christopher Nolan was the other thing that got me going into movie theatres again.

I consumed my first Nolan film like all other content — at home. Batman Begins was a serious and extraordinary take on the Batman mythology, and I was impressed with how Nolan told the story — so much so that I wanted more. In 2008, as Marvel Studios was gearing up to develop the MCU, Nolan, Warner Brothers and its corporate cousin, DC, produced a second film based on the Batman character, The Dark Knight (2008). I was in the theatre. Those first few moments, which Nolan filmed in IMAX, had me hooked.

As times passed, I consumed everything Nolan: Insomnia (2002); Memento (2000); Following (1998), which has presumably an unintended reference to Nolan’s future work directing Batman movies; and, finally, The Prestige(2006). I was ready for how Nolan was to conclude his trilogy.

Meanwhile, elsewhere in SoCal, a producer named Kevin Feige had a plan. Perhaps it was a small plan; maybe it was a grandiose one. That’s a story for another correspondent to tell. For me, however, I hadn’t been consumed by comic-book culture; so Marvel Comics and characters were foreign to me. I had certainly heard of them, but in the framework of Marvel vs. DC, I had always been a DC guy. I had never read more than a few comics, but when I had, they were DC-branded ones. I knew of Marvel and certainly of Spider-Man, but I never much paid attention to them.

When Marvel and Feige decided to produce a slate of films based on their stable of comic-book characters, I was sufficiently intrigued that I decided to watch those first two films on Digital HD. As you mentioned, Joshua, Feige’s decision to use mid- and post-credit scenes in those and subsequent films was important, if not critical. Feige had either learned or intuited what moviemakers of the past had discovered. Those scenes built those individual movies into something akin to the old Saturday matinee serials that our parents and grandparents were exposed to during their lifetimes. It is also the basis of television since its invention until the current day. Give audiences characters and stories that they care about and they’ll keep coming back for more.

By the time Captain America: The First Avenger (2011)rolled around, like Nolan before him, Kevin Feige had me sitting in a dark theatre again. Ever since, I’ve discovered not only numerous Marvel and DC comic-book movies but countless other films that I’ve watched and enjoyed in a movie theatre.

So, Joshua, like you and millions of other movie fans, on April 26th I’ll be sitting in a dark theatre — an IMAX 3D one — preparing myself for, perhaps, the conclusion of the greatest Saturday-matinee movie serial of my lifetime: the Infinity Saga, as you called it. I hope we all enjoy it.

And so it goes.

(Mike’s MCU Playlist)

[Also published on Medium.com]

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Star Trek Beyond (2016)

As the movie opens, the Enterprise of the Kelvin alternate universe is in the middle of its five-year mission of space exploration. Captain Kirk returns from an unsuccessful diplomatic mission questioning his role in Starfleet. As Bones McCoy points out in a private moment, Kirk is still competing with his dead father, especially on the impending anniversary of Kirk’s birth (and his father’s death).

The Enterprise heads for a deep space port named Yorktown where the crew can have a little downtime. However, we learn that Kirk is tiring of trekking and, to no crewmembers’ knowledge, has requested a transfer to an administrative assignment. Elsewhere on Yorktown, Spock, who feels he should be doing more to help New Vulcan, receives a visit from two Vulcans who notified him of Ambassador Spock’s death. His melancholy has already affected his relationship with Uhuru as they have broken up.

Before Kirk and Spock can act on their feelings, however, they are assigned to help rescue a stranded crew on another planet in the quadrant. However, just before arriving, the Enterprise is attacked and Kirk and crew must fight for their survival.

Star Trek Beyond deconstructs the characters and relationships of this alternate timeline crew and then spends the film reconstructing them. As the situation separates them, we see Kirk and Chekov working together. Sulu and Uhuru form another team on a different mission. Scotty and a newfound alien, Jaylah, are another team. Finally, we have Bones and Spock working together. As the film meanders along, these teams come together to fulfill an even bigger threat off planet.

One of the striking things to me, as a fifty-year viewer of this television and movie franchise is how well these new actors have stepped into the old shoes of their predecessors. The newer characterizations are so spot on that my brain is willing to accept the massive cast shift. This has been evident since the 2009 reboot, but this is the first time that I’ve felt the characterizations have moved beyond imitation and parody into inhabiting the characters as we grew to love them. I’m fully invested in this cast. Kudos to cast member Simon Pegg (Scotty) and Doug Jung who wrote the script which reflects the heart of the original television series.

At this point, I should mention the untimely death of Anton Yelchin, who played the rebooted Chekov. Unlike that of original cast member Leonard Nimoy, Yelchin’s death is not dealt with within the context of the film.  Both are handled with slides at the beginning of the end credits.

Justin Lin has directed Star Trek Beyond with great energy which many expected as Lin made the Fast and the Furious franchise what it is today. However, Star Trek Beyond does not feel like Fast and Furious in space. The set pieces are fantastic, but Lin handles the character interaction with great skill. Idris Elba (as Krall) and Sofia Boutella (as Jaylah) are great as guest stars.

Star Trek Beyond is a welcome 13th edition of this franchise and third film in the rebooted series, Producer J.J. Abrams has already stated that another film is in the works with Chris Hemsworth returning as George Kirk. So. James T. Kirk will have the opportunity to work out his “Daddy” issues.

Meanwhile, enjoy Star Trek Beyond.
Live long and prosper.

★★★★☆ 4 out of 5 stars

Rated PG-13 for sequences of sci-fi action and violence

Trailer:

Originally published 22 July 2016 20:00 on View from the Seats

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Batman v Superman: Dawn of Justice – Ultimate Edition (2016)

Like many fans, when I viewed the theatrical release of Batman v Superman: Dawn of Justice, I was incredibly disappointed. I found it disjointed, full of plot holes and inexplicable character development.

Well, the inexplicable character development is still there and a few plot holes still exist, but BVSDOJ: Ultimate Edition is a vastly superior film to its theatrical release.

As the opening credits roll, we get director Zach Snyder’s version of the Batman origin story. However, by the time the credits are done, we’re done with the origin story as well.

An older Bruce Wayne arrives in Metropolis as Superman and General Zod battle over the city as we saw in Man of Steel. However, this time it’s all from Wayne’s point of view. We begin to see the reason why Wayne thinks of Superman as someone who should cease to exist.

Clark Kent is a much more developed character in the Ultimate Edition than he was in the theatrical release. His character feels more in line with the character of the previous film. His relationship with Lois Lane is fleshed out (pun intended) as well as that with his Mom.

The dream sequences that Wayne had in the theatrical release are far less disjointed and re-edited into a form which makes better sense.

This film introduces Wayne and his faithful butler from the Batman saga and Alexander Luthor from the Superman saga. Ben Affleck and Jeremy Irons play their characters well and Jesse Eisenberg is slightly less goofy in the extended version rather than over-the-top in the theatrical version. Unfortunately, Laurence Fishburne is chewing a lot more scenery in BVSDOJ than in Man of Steel.

While I’m talking about characters, let me just mention as an aside that I don’t understand why the characters of Steve Lombard, Jimmy Olson and Clark Kent (Kent to a much lesser degree in the Ultimate Edition) were wasted in this film.

The set pieces in the movie flowed naturally with the narrative and I think many will enjoy the major fight sequence in the film.

Query: was that Wonder Woman theme in the theatrical release?

All in all, BVSDOJ: Ultimate is a much better film than the theatrical release. It’s plot flows more evenly, many characters are better developed and, although the film weighs in at 3 hours and 3 minutes, I didn’t want to leave my seat for fear of missing something.

On a 10 scale, I rate BVSDOJ: Ultimate up from a 6 to a 9.

Trailer:

Rated R for sequences of violence.
Theatrical cut rated PG-13 for intense sequences of violence and action throughout, and some sensuality. 

Originally published 28 June 2016 05:30 on View From The Seats

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10 Cloverfield Lane (2016)

JJ Abrams seems to be the only producer to get me in an actual movie theater. He first accomplished that with Star Trek, then Super 8.

Now comes 10 Cloverfield Lane, the first official blood relative to 2008’s Cloverfield. (Mr. Abrams and others may not agree, but I actually feel Super 8 is worthy of that title.)

Now,  you’d have to be brain-dead to hear Mr. Abrams talk about this film and expect a direct sequel to the eponymous 2008 film. Yet, even I was surprised at the numerous twists and turns this latest entry takes.

Mary-Elizabeth Winstead portrays Michelle, a woman who has decided to end her relationship with her unseen boyfriend, Ben. She’s driving through rural Louisiana talking to him on her cell phone when she’s forced off the road.

When she awakens, she has an IV in one arm and is handcuffed to a bed by one leg. Enter Howard (John Goodman) who explains, in chilling fashion, that no one will be looking for her.

I won’t be the one to give away the various secrets of this film. I suppose that will happen faster than you can spell Wikipedia. I will say that you’ll be trying to figure out what the heck is going on as much as Michelle is.

Honorable mention to John Gallagher, Jr. who portrays Emmett, the third member of Howard’s impromptu family.

Most of the action takes place in Howard’s bunker and it can be quite claustrophobic at times. Yet, a pivotal event occurs and all hell breaks loose.

10 Cloverfield Lane will keep most guessing right to the very end. Director Dan Trachtenberg is to be commended for constructing a film that mostly keeps you on the edge of your seat. The fact that most reviews won’t reveal the secrets of the film should tell you everything you need to know.

Highly recommended!

Out of 5 Stars: ⭐⭐⭐⭐+1/2⭐

Rated PG-13 for thematic material including frightening sequences of threat with some violence, and brief language.

Trailer:

Originally published on 12 March 2016 20:44 on View from the Seats

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Twister (1996)

One of the things that gets me about movie reviews is that every thing has to be so subjective. In the case of this little movie, the subjective complaint is PLOT, PLOT, PLOT. A couple of things. First, when a latter-day movie has the name of Twister, what do you expect? A Long Day’s Journey Into Night? Schindler’s List? I think not. This movie is for escapism and it should be judged in that context.

Secondly, the movie does have a plot. Hell, there’s even sub-plot.

Bill Paxton is Bill Harding, a TV weatherman chasing his soon-to-be ex-wife Jo (Helen Hunt). You see, Bill wants to get married to psychiatrist Melissa (Jami Gertz) but he can’t until he get Jo to sign the divorce papers. Jo, however, is occupied. See, she is chasing something herself. Tornadoes. She hates them. She’s obsessed by them. So, she hunts them down so she can place small sensors into them. The sensors will give her and other scientists better information about them. While she’s chasing the tornadoes, she’s running away from Bill. She’s playing hard to get, or rather, hard to get rid of. Jo is ambivalent about divorcing Bill. She’s so ambivalent that she’s built his invention, named Dorothy, to launch the sensors into a funnel, if she catches one. Maybe, in the meantime, she’ll catch her man. Again.

So, off they go. Jo’s chasing tornadoes with her rag-tag bunch of storm chasers. Bill is chasing her trying to get her to sign the divorce papers, while trying to convince the aforementioned rag-tag bunch that he’s not back in the storm-chasing game. All the while, Melissa is trying to figure out all the things swirling all about her.

Meanwhile, while Jo’s group is rag-tag, the group headed up by Dr. Jonas Miller (Cary Elwes) is not. It’s slick and para-military. Dr. Miller seems to have ripped off Bill’s designs and constructed a sensor launcher of his own to rival Dorothy. So, it’s a race to see which storm-chasing team gets their device launched first.

I went into the movie house wanting a thrill ride and I got exactly what I wanted. It was an enjoyable experience. I can actually see Twister: The Ride on the Universal Studios tour in the forseeable future. That’s because the movie is just that, a non-stop thrill ride from start to finish with just enough of a plot to let you catch your breath and move the story along.

See for yourself.

Ciao for now!

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Saturday Night At The Movies: Jeffrey / To Wong Foo…

I’m gonna start this way.
Remember in Who Framed Roger Rabbit when Jessica Rabbit told Eddie Valiant : “I’m not bad. I’m just drawn that way.” Well, both of the following movies had predictable plots. You could see plot turns from a mile away. However, they weren’t bad. They were just written the way they were written. Well, given that proviso, I present my opinions as follows.

Jeffrey
3 stars
(Add a star if you like getting exasperated.)

This movie is a veritable cameo fest, but that’s not what makes it enjoyable. What makes it enjoyable is the wonderful acting of Patrick Stewart, Michael T. Weiss, and Steven Weber in the lead role as Jeffrey. That aside, there is a cornucopia of cameo appearances by a variety of people that you’re sure to recognize.

Jeffrey is an actor/waiter in New York City who’s gone thru, by his own admission, about 5000 prior liaisons. How’s that for hyperbole. Well, maybe it was a bit much, but right away you can see that Jeffrey is not cut out for sex in the 90′s. Especially gay sex.

Unfortunately for Jeffrey, gay sex in the 90′s means AIDS and it’s driving Jeffrey mad. So, all at once, he decides to give up sex. Of course, as soon as he does, he meets Steve (Weiss). Steve obviously has the hots for Jeffrey and makes his feelings known almost instantly. Jeffrey, however, wants to stick to his decision. So, despite Steve’s pursuit, Jeffrey spurns him at nearly every turn. At one point, Steve (with a little help from his friends) gets Jeffrey to agree to go out with him. At the same time, he lets Jeffrey know that he’s HIV-positive. Resistance turns to avoidance as Jeffrey weedles out of his date.

Jeffrey does all of this despite the advice of his good friend, Sterling. Sterling (Stewart) is an interior decorator…er…designer who’s gleefully living with Darius (Brian Batt), an HIV-positive chorus dancer in CATS. Sterling and Darius have a wonderful relationship; yet, despite this, Jeffrey is still afraid of what dating an HIV-positive man.

The balance of the movie becomes Jeffrey’s journey thru life as he balances his obvious fear of getting AIDS with his lust for Steve. Unfortunately, the journey becomes so tortured that at one point you’re looking for The Golden Ticket (from The Last Action Hero) just to jump up on the screen and slap him. What saves your outing are the marvelous performances by Weber, Weiss, Batt, and especially Stewart. Can you say “Best Supporting Actor”? He probably won’t win, but he should as he gives a delightfully camp performance that shows his tremendous range as an actor.

I don’t wanna be too down on Jeffrey. Despite its manipulative scripting and Jeffrey’s insufferable whining, the screenplay does hold a couple of surprises. So, things may not turn out exactly as you expect.

All in all, Jeffrey is an enjoyable way to spend a couple of hours at the movies. It’s funny and poignant and there’s a moral as well.

To Wong Foo: Thanks For Everything, Julie Newmar
3½ stars
(Add a half-star if you don’t mind being manipulated.)

All during the summer, in seeing previews, I was worried about To Wong Foo… being an American version or rip-off of Priscilla: Queen Of The Desert. Trust me, there are a lot of similarities; however To Wong Foo… stands on its own as an enjoyable movie experience. In the audience I sat in, there was laughter and applause throughout and I found myself laughing and applauding along. (I hadn’t expected to.)

Patrick Swayze is Vida Boheme, a drag queen from Bala Cynwyd, PA living in New York City. Bala Cynwyd is pivotal in his story. So is Noxeema Jackson (Wesley Snipes). Boheme and Jackson are friends competing against Chi Chi Rodriguez (John Leguizamo) and others for “Drag Queen of the Year”. Well, as luck would have it, Boheme and Jackson tie for the honors and both win an all-expense paid trip to Hollywood.

Well, Boheme is a queen with a heart. She can’t stand to see Chi Chi, who lives in the same building, so upset about not winning the crown; so, Vida bullies Noxeema into trading their paid-for airline tickets for a car and, together, the three set off to drive cross-country. Shades of Boys On The Side.

Early on, the trio is stopped in the middle of nowhere by a county sheriff (Chris Penn in a hoot of a role). What happens next brings more remembrances of Boys On The Side.

Eventually, our fun-loving “females” end up in Snydersville, a small hamlet where everyone seems to have a problem and our girls have a solution for every single one of them. Despite this manipulation, To Wong Foo… delights at every turn. It’s laugh-out-loud funny and not at all subtle. Normally, that would be a criticism, but in this case, it turns out to be a refreshing change of pace.

Of course, all of the elements in the story come together for a smaltzy conclusion. But, that’s OK. You’ll get all wrapped up in it anyway, just like I did. (Boy, was I surprised.)

Closing Comments

Between the two, I have to admit that I enjoyed To Wong Foo… better. Going in, I thought that a small film would do much better than a major studio release. However, they’re really different movies and you shouldn’t have to choose between them. So, don’t. Go out and enjoy them both.

Ciao for now!
Mike