What Have I Been Watching?

Here’s a fun exercise:  Try keeping a list of which movie you watch on which date for a month.  This is my list!

9/11 – The Big Lebowski (A)
9/13 – The Cell (B+)
9/14 – Rocky Balboa (B-)
9/16 – Jesus Camp (B-)
9/18 – Alpha Dog (C-)
9/22 – Paradise Lost (A)
9/23 – Paradise Lost 2 (A-)
9/25 – Capturing the Friedmans (A-)
9/29 – Rambo (C-)
10/3 – Jumper (D+)
10/6 – The Border (B)
10/10 – The Bridge (C+)
10/11 – The Fall (A+)
10/14 and 10/16 – Kingdom of Heaven Director’s Cut (B+)
10/17 – Children of Men (A)
10/20 – Bugsy (B+)
10/24 – The Dark Knight (A-)
10/26 – Caligula (C+)
10/27 – Exodus (C+)
10/28 – BlowOut (B+)
10/30 – Night of the Hunter (A)
11/1 – The Good, the Bad, and the Ugly (A)

The Worst Movie Scenes Ever!

Thanks to Jon for bringing this hilarious clip compilation to  may attention!

“The Dark Knight” – Ten Reasons You Must See the New Batman Movie

“The Dark Knight” has been smashing box office records and cashing in on universal acclaim since it was released July 18, 2008. Is it REALLY as good as everyone says it is?

Yes! And here’s “Ten Reasons You Must See the New Batman Movie:”

1. It’s Better Than “Batman Begins”

Every superhero franchise is obliged to cover the “origin story” in the fist film. Having explained who Batman is and why he does what he does (in “Batman Begins”), “The Dark Knight” expands the lore by analyzing the complicated ethics of vigilantism. It’s deeper, darker, and more entertaining than its predecessor.

The villains are better, too. The teaming of the Scarecrow and Henri Ducard in “Batman Begins” pales in comparison to the epic evil unleashed on Gotham City in the sequel. The Joker is truly terrifying, and Harvey Two-Face is truly tragic.

2. Heath Ledger’s Performance As The Joker

If he were still alive, Heath Ledger might have received an Oscar nomination for “The Dark Knight.” Now that he’s passed on, he will surely win it.

3. Introducing Harvey Two-Face

One of the great things about “The Dark Knight” is how it re-introduces familiar elements of the beloved Batman cannon. Arkham Insane Asylum is name-dropped several times. The Scarecrow is STILL alive, and survives the film to boot.

And then there’s Harvey Two-Face: Gone are the zebra-print suits and neon pink makeup of Tommy Lee Jones’ (“Batman Returns”) interpretation. Aaron Eckhart’s take on the role is at once more tragic and menacing than any previous incarnation of the famed villain.

4. The Ensemble Cast

Christian Bale is back as Batman. Michael Caine and Morgan Freeman make the most of their smaller roles. Gary Oldman expands on the importance of his character within the series. And Maggie Gyllenhaal replaces Katie Holmes (as love interest Rachel Dawes) so ably, you won’t even notice the continuity gap.

5. A Lesson In Superhero Ethics

“The Dark Knight” screenplay is by brothers Christopher Nolan and Jonathan Nolan. Together they have crafted a probing look at the ethical implications of vigilantism. Batman tries to do good, but he works outside the rule of law. The Joker does evil, poking carefully crafted holes into Batman’s moral absolutism. Harvey Dent is caught in the crossfire, a victim of chance.

Each of these three form an ethical triangle. They exist as opposing extremes, but require the others in order to exist in the first place. Not many superhero flicks dig this deep.

6. Death Of A Major Character

That’s right! Christian Bale’s Batman can’t save EVERYONE. His choices have consequences, and a major character is killed off as a result.

7. Director Christopher Nolan Brings His “A” Game

Nolan always delivers the goods. Whether it’s “Memento,” “Insomnia,” or “The Prestige,” he knows how to walk the line between easily consumed Hollywood productions and enduring art.

In “The Dark Knight,” Nolan delivers his best film, save “Memento.” It’s the best superhero film of the year.

8. The “Realistic” Special Effects

Let’s face it: Computer effects may be cheaper and more versatile than traditional effects, but they can still make a live action movie look like a cartoon.

Christopher Nolan knows this. His “Batman” films avoid CGI and feel more realistic as a result. When Batman fights a bad guy, it’s Christian Bale in a rubber suit– not a computer generated model (like “Iron Man” or “Spiderman”).

Especially memorable is the semi truck flipped 180 degrees onto it’s topside. Hopefully the DVD special features will cover exactly how this amazing action scene was realized.

9. The Joker’s Magic Trick

Look for this scene early in the movie. It’s quickly over, but it is also the most memorable magic trick you are likely to see this year.

10. It Really Is As Good As They Say

At the time of this writing, “The Dark Knight” rates 82% favorable at MetaCritic.com and 92% “fresh” at RottenTomatoes.com. User Reviews are even higher, scoring 9.2 at MetaCritic and 9.4 at the Internet Movie Database.

Conclusion

I DO have a few complaints, but they are minor: Batman’s cell phone surveillance system is too make-believe to buy into. The Joker’s pre-planning is never really touched on; every scheme falls into place no matter how ridiculously complicated it is. And even at 2 1/2 hours long, the story is rushed at times, glossing over the “connecting logic” from set piece to set piece.

However, upon final analysis, “The Dark Knight” is a smash success. It sets a new standard for a franchise that peaked (seemingly) in 1989. It is fun and scary, and accessible and engaging. Don’t miss the best movie of the summer!

Grade: A-

Is this the best Batman movie yet? The best Joker yet? I think it’s tied with 1989’s “Batman” and Jack Nicholson’s Joker.
Post your thoughts.

Johnny Depp’s “Sweeny Todd” Sings and Slashes in Style

Tim Burton’s “Sweeny Todd: The Demon Barber Of Fleet Street” (2008) is an enigmatic picture, to be sure. Part comedy, part horror, and part tragedy, it also happens to be a musical based on a Broadway play.

Johnny Depp was nominated for an Oscar for his portrayal of Sweeny Todd, a murderous barber out to avenge the death of his long lost love. His partner in crime is played by Helena Bonham Carter, who owns the bakery below his barber shop. Together they secretly murder London’s upper crust aristocrats, bake them into meat pies, and sell them to witless patrons.

Depp sings ably for a Hollywood star, and Helena Bonham Carter is his match in every way. The songs are well written and lyrically creative. But leave it to the hilarious Sacha Baron Cohen to steal the show! Cohen (known for his “Borat” and “Ali G” characters) appears in only two scenes, and makes the most of it. In the first scene he upstages Depp as they compete in a barbering contest to see who gives the fastest, closest shave in London. In his second (and final) scene, Cohen attempts to extort money from Todd. (You can imagine the results). As in “Talladega Nights,” Sacha Baron Cohen knows how to make the most of a small role.

However, despite the film’s light comic touches, much of “Sweeny Todd” is darker and more atmospheric than you may expect. Directed by the always reliable Tim Burton, Sweeny Todd’s London is a perpetual nightmare of black and green colors, shadows, stripes, and cobblestone. When the blood flows (or more precisely, sprays) the bright crimson colors streak across the screen like brush strokes. Burton mastered his craft long ago, and with “Sweeny Todd” continues to explore the instantly recognizable style we will one day call “Burtonesque.”

Yet Burton’s visual flair only carries the film part way. The trouble is, most of the plot developments are underwhelming. The story of Sweeny Todd’s daughter– her imprisonment in the home of an evil judge, and eventual rescue– is strangely insulated from Todd’s revenge scheme. (The two don’t even share a scene together!) Nothing overly consequential goes on until the final revelation of what REALLY happened to Todd’s long lost love, and that’s in the very last scene.

Admittedly, “Sweeny Todd” walks a fine line, and criticizing the plot may sound like quibbling. It is evident that Burton is trying to balance many different elements, continually shifting from comedy to horror, and social commentary to tragedy. What results is a strange brew of melodramatic musicality… But too much melodrama spoils the drama and dulls the comedy, so ultimately “Sweeny Todd” loses his “cutting edge.”

Grade: B-

What does “Burtonesque” mean to you? Burton’s best film? I say “Pee Wee’s Big Adventure.”
Post your thoughts.

“The Orphanage” (AKA “El Orfanto”) – Spanish Cinema In The Style Of “Pan’s Labyrinth”

“The Orphanage” (2007) is a smart and stylized horror movie with great direction and an even better plot.

The story centers around Laura, played by Belen Rueda, as she moves with her family into the old orphanage in which she grew up. Now thirty-seven, Laura plans to reopen the orphanage as a home for the disabled, with the help of her husband Carlos (Fernando Cayo) and son Simon (Roger Princep).

Simon is an orphan too. Adopted by Laura and Carlos out of compassion for his HIV illness, Simon makes many invisible friends at the family’s new home. Whether Simon’s invisible friends are the result of an overactive childhood imagination or more sinister forces, you can probably guess.

When Simon suddenly disappears, Laura will stop at nothing to find out the true nature of Simon’s friends, and solve the mystery of “The Orphanage.”

The great thing about seeing the mystery unfold is the quality of film’s structure. Because there ARE ghosts in the orphanage, we ASSUME they must be responsible for what happened to Simon. In fact the ghosts are VICTIMS of what goes on in the orphanage, which begs the question: Will Simon be a victim too?

The ending will surprise you in its sheer logic and simplicity. This is a refreshing change from the horror franchise norm (e.g. “Saw”), in which twist after twist is crammed into the last five minutes, creating plot holes and stretching the limits of believability.

“The Orphanage” is also notable for it’s lack of special effects. The ghosts are not computer generated, the climax does not involve hanging from the roof’s ledge, and there is hardly a drop of blood in the whole picture. Instead, the scares are done the right way: by mixing lighting, shot composition, sound effects, timing and rhythm to ratchet the suspense into the stratosphere. The craftsmanship of “The Orphanage” is genuine, folks!

All this makes “The Orphanage” (or “El Orfanto” in the film’s native tongue) another in a string of Spanish cinema breakthroughs. Director Juan Antonio Bayona and producer Guillermo del Toro, along with other great filmmakers like Alfonso Cuaron and Alejandro Gonzalez Inarritu, have thrust Spanish made movies back to the forefront of world cinema.

While Bayona’s “Orphanage” is not quite as good as del Toro’s Oscar-winning “Pan’s Labyrinth,” anyone who enjoys one is bound to enjoy the other. Check them both out on Netflix. If you have a Netflix account, either film is available for instant viewing online.

Grade: B+

Is “The Orphanage” a modern horror classic?
Post your thoughts.

American Film Institute Presents “AFI’s 10 Top 10″

Here is the complete list of films from the “AFI’s 10 Top 10″ special, which aired Tuesday, June 17 on CBS. It’s billed as being the ten greatest films of ten different genres, respectively.

Of course, no list by the AFI has ever been definitive, or in my opinion, CORRECT. But that’s why they make these things: to inspire debate and get film buffs talking.

ANIMATION

1. “Snow White and the Seven Dwarfs,” 1937.
2. “Pinocchio,” 1940.
3. “Bambi,” 1942.
4. “The Lion King,” 1994.
5. “Fantasia,” 1940.
6. “Toy Story,” 1995.
7. “Beauty and the Beast,” 1991.
8. “Shrek,” 2001.
9. “Cinderella,” 1950.
10. “Finding Nemo,” 2003.

FANTASY

1. “The Wizard of Oz,” 1939.
2. “The Lord of the Rings: The Fellowship of the Ring,” 2001.
3. “It’s a Wonderful Life,” 1946.
4. “King Kong,” 1933.
5. “Miracle on 34th Street, 1947.
6. “Field of Dreams,” 1989.
7. “Harvey,” 1950.
8. “Groundhog Day,” 1993.
9. “The Thief of Bagdad,” 1924.
10. “Big,” 1988.

GANGSTER

1. “The Godfather,” 1972.
2. “Goodfellas,” 1990.
3. “The Godfather Part II,” 1974.
4. “White Heat,” 1949.
5. “Bonnie and Clyde,” 1967.
6. “Scarface: The Shame of a Nation,” 1932.
7. “Pulp Fiction,” 1994.
8. “The Public Enemy,” 1931.
9. “Little Caesar,” 1930.
10. “Scarface,” 1983.

SCIENCE FICTION

1. “2001: A Space Odyssey,” 1968.
2. “Star Wars: Episode IV — A New Hope,” 1977.
3. “E.T. the Extra-Terrestrial,” 1982.
4. “A Clockwork Orange,” 1971.
5. “The Day The Earth Stood Still,” 1951.
6. “Blade Runner,” 1982.
7. “Alien,” 1979.
8. “Terminator 2: Judgment Day,” 1991.
9. “Invasion of the Body Snatchers,” 1956.
10. “Back to the Future,” 1985.

WESTERN

1. “The Searchers,” 1956.
2. “High Noon,” 1952.
3. “Shane,” 1953.
4. “Unforgiven,” 1992.
5. “Red River,” 1948.
6. “The Wild Bunch,” 1969.
7. “Butch Cassidy and the Sundance Kid,” 1969.
8. “McCabe & Mrs. Miller,” 1971.
9. “Stagecoach,” 1939.
10. “Cat Ballou,” 1965.

SPORTS

1. “Raging Bull,” 1980.
2. “Rocky,” 1976.
3. “The Pride of the Yankees,” 1942.
4. “Hoosiers,” 1986.
5. “Bull Durham,” 1988.
6. “The Hustler,” 1961.
7. “Caddyshack,” 1980.
8. “Breaking Away,” 1979.
9. “National Velvet,” 1944.
10. “Jerry Maguire,” 1996.

MYSTERY

1. “Vertigo,” 1958.
2. “Chinatown,” 1974.
3. “Rear Window,” 1954.
4. “Laura,” 1944.
5. “The Third Man,” 1949.
6. “The Maltese Falcon,” 1941.
7. “North By Northwest,” 1959.
8. “Blue Velvet,” 1986.
9. “Dial M for Murder,” 1954.
10. “The Usual Suspects,” 1995.

ROMANTIC COMEDY

1. “City Lights,” 1931.
2. “Annie Hall,” 1977.
3. “It Happened One Night,” 1934.
4. “Roman Holiday,” 1953.
5. “The Philadelphia Story,” 1940.
6. “When Harry Met Sally …,” 1989.
7. “Adam’s Rib,” 1949.
8. “Moonstruck,” 1987.
9. “Harold and Maude,” 1971.
10. “Sleepless in Seattle,” 1993.

COURTROOM DRAMA

1. “To Kill a Mockingbird,” 1962.
2. “12 Angry Men,” 1957.
3. “Kramer Vs. Kramer,” 1979.
4. “The Verdict,” 1982.
5. “A Few Good Men,” 1992.
6. “Witness for the Prosecution,” 1957.
7. “Anatomy of a Murder,” 1959.
8. “In Cold Blood,” 1967.
9. “A Cry in the Dark,” 1988.
10. “Judgment at Nuremberg,” 1961.

EPIC

1. “Lawrence of Arabia,” 1962.
2. “Ben-Hur,” 1959.
3. “Schindler’s List,” 1993.
4. “Gone With the Wind,” 1939.
5. “Spartacus,” 1960.
6. “Titanic,” 1997.
7. “All Quiet on the Western Front,” 1930.
8. “Saving Private Ryan,” 1998.
9. “Reds,” 1981.
10. “The Ten Commandments,” 1956.

For details, see the official site: AFI’s 10 Top 10.

Why do lists like this always rank “The Godfather Part II” below “The Godfather”?
Post your thoughts.

“I’m Not There” – Six Sides Of Dylan Is Another Side Of Bob Dylan Too Many!

Tod Haynes’ 2007 docu-drama “I’m Not There” is a poetic meditation on the life and career of Bob Dylan. In tone and structure, the film is a radical departure from traditional music biopics.

Haynes’ screenplay accepts as its basic premise, that Dylan’s story is too enigmatic to be summarized in conventional narrative terms. His solution is to cast six different actors to portray different aspects of Dylan’s personality, at various stages in his lengthy career. The characters are given alternate names (like Jude Quinn, or Billy the Kid) and their stories take liberties with Dylan’s life (one of them is an actor, not a musician) in order to convey the shifting nature of Dylan’s art. The actors include both an African American boy and a woman.

The woman is Cate Blanchett. Along with Heath Ledger, they deliver the two most solid Dylan incarnations in the film. Blanchett was nominated for an Oscar for her vivid portrayal of Dylan in the mid-sixties. She brilliantly conveys the alienation that comes with fame, and the pointlessness of celebrity.

Ledger, on the other hand, plays Dylan later in life– after he had turned his back on pop music. His scenes depict the breakup of Dylan’s marriage, and the inherent difficulty of balancing a public persona with a private life. Ledger’s performance is introspective and understated, like Dylan’s albums in the early seventies.

The other performances are good too, but none can overcome Haynes’ self-conscious, reference-stuffed script. He incorporates many allusions to the real-life Dylan which are disorganized and lacking context.

Using song titles as dialogue, for example, strikes a particularly hamfisted tone. In one scene, Cate Blanchett’s Jude Quinn is confronted by a crazed fan with a knife. When a groupie subdues the fan by smashing a bottle over his head, Quinn quips, “Just like a woman!” Winks and nods to real-life Dylan trivia needn’t be so cringe inducing as that!

It begs the question as to whether Haynes’ entire approach is even necessary. Surely a traditional biopic like “Walk The Line” feels genuine (in part) because Johnny Cash talks like a real person. If he cuddled up next to his wife June and whispered in her ear, “I walk the line… because you’re mine,” no one would take the film seriously.

Fortunately, for each such misstep, “I’m Not There” corrects course with a sure-footed step. (Richie Havens delights in a brief singing role, and David Cross steals a scene as poet Allen Ginsburg.) But by the end, writer/ director Haynes has meandered too much. “I’m Not There” offers only a vague semblance of a musician and his art. Maybe this is all one can expect when the subject of the piece is as enigmatic as Dylan.

Yet we are left to wonder: perhaps seeing six different sides of Bob Dylan is simply another side of Bob Dylan too many.

Grade: B

Which actor interprets Dylan best?
Post your thoughts.

“Indiana Jones And The Kingdom Of The Crystal Skull” Battles Unrealistic Expectations

Fanboys love to hate George Lucas.

His recent “Star Wars” prequels were universally hailed as inferior retreads despite doing massive business at the box office. Now 2008’s “Indiana Jones And The Kingdom Of The Crystal Skull,” which is also produced by Lucas, finds itself in the same situation.

The fact that “Crystal Skull,” like the new “Star Wars,” is not-quite-as-classic as its predecessors should come as no surprise. What IS surprising is how few viewers are willing to give “Indiana Jones And The Kingdom Of The Crystal Skull” any chance at all, because it’s actually a pretty good adventure yarn.

It is reminiscent of “Indiana Jones And The Temple Of Doom” in the sense that it’s totally made-up, and not based on any religious mythology (like Arks or Grails). This time around, Dr. Jones is out to return a crystal skull to a mythical city of gold hidden deep in the Amazon.

Of course the Russians are on his tail, too. They replace Jones’ classic nemesis, the Nazis, and are led by Cate Blanchett as the evil, sword-wielding Irina Spalko. Resurrecting the Russian villain archetype (complete with bad accent) is the right choice for this picture. Considering Russian bad guys have been recently replaced with Arab bad guys in popular cinema, Spalko and her cronies add to the retro B-movie feel familiar to fans of the series.

“The Kingdom Of The Crystal Skull” also blazes new ground with an extraterrestrial themed story. This is a refreshing and unexpected choice by the writers, helping to set “Skull” apart from the earlier films and offer viewers more than mere nostalgia.

Not that there’s anything wrong with nostalgia!

“Skull” works the nostalgia angle, and works it hard. Karen Allen reprises her role as Marion Ravenwood (from “Raiders Of The Lost Ark”), we learn the fate of some classic characters, and old gags are reprized with new variations. (Notice how Indy passes on the nickname “Junior.”)

Unfortunately, a few scenes go overboard with special effects, like when Jones survives a nuclear blast. Other scenes are a bit too cartoonish for their own good, like the Tarzan homage with vines in the jungle.

Yet a fair analysis will demonstrate that ALL Indiana Jones movies have these moments: The giant boulder in the opening scene of “Raiders Of The Lost Ark” defies logic. The rubber life-raft-as-parachute from “Temple Of Doom” makes no sense at all. Neither do the buzz saws, break-through floor, or invisible bridge in “The Last Crusade.”

And yet these scenes are classic, regardless of how much sense they make.

For twelve year olds, “The Kingdom Of The Crystal Skull” will be an instant classic. It fits right in with the earlier films of the series. For adults who grew up watching Indiana Jones in the 80’s, try approaching “The Kingdom Of The Crystal Skull” with the mindset you had when you were young. Forget your grown up logic. Forget your preconceptions. Everyone, no matter their age in years, should enjoy “Skull” for what it is– a twelve year old’s comic book fantasy realized on the big screen.

The only alternative is to run the classic series through the same logic-wringer you take to “The Kingdom Of The Crystal Skull.” And trust me, you don’t want to do that.

Grade: B

Has Indiana Jones lost his charm?
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“The Devil And Daniel Johnston” Rocks Like Crazy!

“The Devil And Daniel Johnston” (2005) tells the inspiring, tragic story of a brilliant songwriter hindered by severe bipolar disorder.

With access to an astounding array of resources– ranging from home audio and video recordings to personal interviews– the filmmakers have crafted one of the most memorable character studies of recent years. Like “Crumb” and “Grizzly Man,” this documentary paints a portrait of a man doing what he loves in spite of great personal problems.

The details of Daniel Johnston’s life are downright mythic. To see the film is to understand how to conquer MTV while working at McDonald’s. Or how to negotiate an album deal with Elektra Records while living in a mental institution. Or how to first cause a plane to crash, and then survive the crash you caused.

Through it all, one thing is clear: Daniel Johnston is an amazing songwriter. He may not have a great voice, but he makes up for it in spades. The quality of his words and music eclipse the often poor production values of his recordings. He is a musician’s musician, inspiring the likes of Kurt Cobain, Sonic Youth, and the Butthole Surfers.

Daniel Johnston’s personality has been compared to that of Brian Wilson. I would add Syd Barrett to the list. The raw, out of tune brilliance on display in such late-career Barrett as “Dark Globe” anticipates Johnston’s similar struggle to make great music while battling mental illness.

If you like underground music, this movie is for you– but be warned:

Viewing “The Devil And Daniel Johnston” may result in purchasing multiple CD’s featuring out-of-tune singing and poor production values. In severe cases, starting a collection of cassette tape bootlegs may result.

Grade: A-

Does Daniel remind you of Brian Wilson? Of Syd Barrett?
Post your thoughts.

“Tango & Cash” – The GOOD Bad Cop Movie

There are good cop movies (like “Lethal Weapon 2″).

There are bad cop movies (like “Cobra”).

And then there are GOOD bad cop movies, like “Tango & Cash” (1989).

The distinction is often a fine one. What sets “Tango & Cash” apart is that it is so obviously self-aware, comedic, and spoof-like. This movie has a sense of humor, and does not for one moment take itself too seriously (like the dreadful “Cobra”).

“Tango and Cash” lives and dies by two things: the jokes and the casting. It succeeds on both counts, making this bad cop movie into a good one– although barely.

First, the casting:

Kurt Russel plays Gabe Cash, the crazy loose cannon. Sylvester Stallone plays against type, as the refined playboy cop Ray Tango. They are so named, no doubt because it makes a good movie title. Their nemesis, the incomparable Jack Palance, hams it to the hilt as crime boss Yves Perret. This was the same year Palance appeared in “Batman,” and was memorably murdered by The Joker. A good year, for an aging star.

Add Teri Hatcher to the mix as Kiki, and you’ve got a pretty good cast for 1989. But that’s not all! Film buffs will enjoy the steady stream of character actors whose faces you remember but names you don’t. To mention a few, there’s James Hong, the go-to-guy for Asian villains who played Lo Pan in “Big Trouble In Little China” and the maitre de in The Chinese Restaurant Episode of “Seinfeld.” There’s also Michael Jeter (who delivers the Margaret Mead speech in “Fear And Loathing In Las Vegas”) and Clint Howard (a frequent collaborator with brother Ron).

Second, the jokes:

Some are clever, others are corny, but the jokes are as integral to the success of “Tango & Cash” as the casting is. From the very first scene, this movie is out to make you laugh.

Here’s a one liner:

[Tango has just stuck a grenade down a bad guy's pants.]
RAY TANGO: My contribution to birth control.

And a typical exchange:

GABE CASH: You know it’s a free country, Tango.
RAY TANGO: Yeah.
GABE CASH: And people are free to do whatever they want.
RAY TANGO: So?
GABE CASH: Well, your sister is very, very free.
RAY TANGO: I’m going to kill you.

Notice the simple set up/punchline technique?

GABE CASH: This is the tape that’s gonna clear our names, courtesy of our friend Jumbo the Forgerer. What do you got?
RAY TANGO: I got a quarter of four.

That last one is straight out of vaudeville, and “Tango & Cash” essentially coasts by on the vaudevillian level all the way through the picture. The strategy is a simple one. Throw in plenty of stunts, jokes, and likable characters and maybe the audience will forget they’ve seen this all before. You can get the same dog and pony show just about anywhere, but this one has the right mix to win over the crowd.

Grade: C+

Does “Tango & Cash” exemplify the “GOOD bad movie”?
Post your thoughts.