#j.f. lawton

[gameofthunder66]

'Cannibal Women in the Avocado Jungle of Death' (1989) film

-watched 8/14/2023- 2 [1/2] stars- on Tubi (free)

[90smovies]

[the-hindu-times]

Pretty Woman The Musical

New Victoria Theatre 28/11/23

'Pretty Woman The musical' is, of course, based on the classic 1990 Julia Roberts and Richard Gere-led movie of the same name, which became the highest-grossing romantic comedy in the US ever. The musical followed the film's storyline, thanks to a book by the movie’s director, Garry Marshall, and screenwriter, J.F. Lawton. It told the story of a chance encounter between sex worker, Vivian Ward, and rich businessman, Edward Lewis, who offered Vivian $3,000 to be his companion for the week. The pair, although intending to keep their arrangement as purely business, found themselves falling in love as they get to know each other better. 

The original songs by Canadian crooners, Bryan Adams and Jim Vallance, often had a decent enough hook, with one even sounding like another Adams' anthem, but there were too many lazy similarities and lifts from Cher's 'Believe' (even keeping the same lyrics, phrasing and melody at the same points!), along with hints of Cage The Elephant's 'In One Ear', which was trying too hard to be a bit from Hamilton. Apart from that, none of them were particularly memorable but were enjoyable in the moment. Nevertheless, the cast's delivery had great enthusiasm, particularly during the romantic number "You and I", which was prefaced with a mini performance of the opera 'La Traviata'. Violetta's (performed by Lila Falce-Bass) absolutely gorgeous soprano and Alfredo’s (Josh Damer-Jennings) strong tenor vocals left me wanting more of the same. Some of Violetta's operatic vocals reappeared in the middle of "You and I" and, although it was different, it didn't quite work as well as it was probably intended. The intertwining of opera and pop vocal was later repeated in the finale "Together Forever", with a much better result. 

Gregg Barnes' colourful, fun and beautifully executed costumes and wigs really brought the 1980s' Hollywood to life, with those sharp suits and oversized mobile phones. The contrast between the lively, rough streets and the supposedly opulent hotel created a striking metaphor with the elegance and grace of some of those outfits.

The heroine was performed by Amber Davies, who won ITV's 'Love Island' in 2017, has since starred in '9 to 5 The Musical', 'Bring it On' and 'Back to the Future'. Reincarnating the role of Vivian must have been a daunting task for Davies, yet she completely superseded expectations. She was effortlessly endearing, charming and confident - a force of energy with a surprising childlike nature and a sense of freedom. Playing a young woman who dreamt of romance and excitement, it was a joy to watch Davies on stage, and whilst she had a powerful voice, showcased especially in the song "I Can't Go Back", it was her manifestation of Vivian’s zest for life and hidden insecurities that made her the star of the show.

Our romantic lead was Edward Lewis, played by Oliver Savile, who had simmering chemistry with Davies‘ Vivian right from the very start; they complemented each other well.  The production also featured Natalie Paris as Vivian’s roommate, Kit. Paris, who originated the role of Jane Seymour in the smash-hit musical 'SIX', was a powerhouse; with some fantastic solo moments of outstanding vocals.  Equally entertaining was the versatile Curtis Patrick, who popped up in unexpected spots to lend a comic touch. He flitted from streetwise guide, Happy Man, to Beverly Wilshire Hotel concierge, Barney Thompson, barely breathing a breath. Lastly, there was the dynamic Noah Harrison as Giulio the hotel bellhop. The character said almost nothing, but his enthusiasm was infectious and it was impossible not to smile whenever he was on stage.  

Whilst the musical didn’t quite knock the stereotype of a female character who needed to be rescued by a wealthy man for her happy ending, there were efforts to emphasize Vivian’s business sense and create a relationship trajectory that found them sailing off into the sunset as equal partners. 

The finale was one big party; smartly placing the 1964 Obison & Dees hit song "Oh, Pretty Woman" at the very end, post curtain call. The iconic opening guitar riff lead the entire audience to leap up for a sing and dance, before leaving the the theatre elated and joyful.  'Pretty Woman the Musical' was an entertaining production that, at its core, focused on finding love and never giving up on your dreams. It was an easy and enjoyable watch for those who were already fans of the film and for those coming to the story for the first time. Within the same bracket as 'Footloose', 'The King & I' and 'The Bodyguard', tonight's show was a cut above 'Shrek' but didn't quite measure up to the quality of 'Jersey Boys', 'Life of Pi' or 'Everybody's Talking About Jamie'. If you want a fun night out with more than a smidgen of nostalgia, Pretty Woman delivers as a guaranteed crowd-pleaser but it may fade from your memory quicker than other musicals.

Mittal Patel

[prettywomanonlinero]

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Frumușica (1990) R 23.03.1990 (US) Comedie, Romantic 1h 59m

Prezentare Când milionarul Edward Lewis a făcut un contract de afaceri cu prostituata de la Hollywood, Vivian Ward, el își pierde inima în negociere în această comedie romantică fermecătoare. După ce Edward o angajează pe Vivian ca partenera lui pentru o săptămână și îi oferă o înfățișare de Cenușăreasă, ea îi întoarce favoarea, făcându-l să se răzgândească cu privire la viziunea magnatului dur. Pot prostituata săracă și capitalistul bogat trăi fericiți până la adânci bătrâneți?

Garry Marshall

Director

J.F. Lawton

Writer

O zi buna "Multumesc"

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[mariocki]

Cannibal Women in the Avocado Jungle of Death (1989)

"Are you saying the future of women is in cannibalism?"

"Face up to the truth! This is a war! A war between men and women. Anything short of cannibalism is just beating around the bush."

[sundancearchives]

“Did you know your foot’s as big as your arm from your elbow to your wrist?” That’s a little bit of trivia offered by Julia Roberts’ Vivian in the 1990 film Pretty Woman. Another bit of trivia for you: Pretty Woman actually had its beginnings as a Sundance lab project! In 1988, screenwriter J.F. Lawton (above) attended the Screenwriters and Directors Labs to workshop his script, then titled Three Thousand. 

Since the film recently celebrated the 30th anniversary of its release, we thought we would share some photos taken on set of the project during the Directors Lab that year.

Resource actors Pamela Gidley and Peter Gallagher work on a scene directed by lab fellow Jim Simpson. © 1988 | John Schaefer 

Portrait of Pamela Gidley in character as Vivian © 1988 | John Schaefer 

[adamwatchesmovies]

D.O.A.: Dead or Alive (2006)

D.O.A.: Dead or Alive is difficult to review. It knows exactly what it wants to be, and at this, it excels. Based on the video game by Tecmo, it's an excuse to have scantily-clad, physically fit women in hand-to-hand combat. This film isn't concerned with characters, plot, depth or anything else for better and for worse.

It’s about a tournament organized by Dr. Victor Donovan (Eric Roberts). He assembles the world’s leading hand-to-hand combatants to compete for the ultimate prize of $10 million. Each fighter is more stereotypical and ridiculous than the last. Most noteworthy are pro-wrestler Tina (Jaime Pressly), Kasumi (Devon Aoki), a ninja princess searching for her lost brother, and flirty master thief Christie (Holly Valance). Who will win the tournament? More importantly, does Donovan have nefarious plans for the winner? You know he does, but what are they?

If you’re 13-years old and your parents let you pick a movie (nothing with nudity or cursing) and you want something that'll rustle your jimmies and throw in some action too, D.O.A. was made for you. There’s a lot of action in a variety of formats. Each competitor has their own fighting style so there’s always a fight coming up. Even better, the actresses throwing the punches and kicks are all pretty good at it. The movie’s sold on seeing women beat each other up and then relax by playing beach volleyball in bikinis. Critiquing it for this means you missed the point. 

I’m not saying D.O.A. is a great movie. I would actually say it sets its ambitions so low, it gets downright bad at times. The plot makes no sense at all. The end, in particular, is ludicrous. You'll be laughing too hard to pay attention to the flimsy explanations behind Donovan's plan.  It features some of the stupidest police officers ever seen on film and I’m not entirely sure writers Adam Gross, Seth Gross, and J.F. Lawton understand what the word “shinobi” means either. 

D.O.A. is not a good film, but it is entertaining. It’s the equivalent of a bowl of children’s cereal. Colorful, aimed at a specific audience and no one else, probably not very good for you, but if it’s what you’re craving, it hits the spot. I have to give credit where credit is due: D.O.A. is what it is and at what it wants to do well, it excels. It isn’t for everyone, and I know some will see this and call me nuts for recommending it, but I had fun. (On DVD, October 12, 2014)

[genevieveetguy]

I’m gonna treat you so nice, you’re never gonna let me go.

Pretty Woman, Garry Marshall (1990)

[may8chan]

The Hunted 1995

[twilightronin]

The Hunted 1995

[robinsonaden]

#MeToo isn’t just about outing men as abusers. It’s also about dismantling a system that has forced women to be silent—about giving women space and resources, and protection, to do our work and tell our stories.

It shouldn’t be used to give problematic musicals contemporary relevance, or to sell tickets to a show, or to effectively keep women out of positions of power. This is performative wokeness: producers and directors giving lip service to the idea of diversity and equality, but doing very little to actually further the cause by, you know, hiring more women on their creative teams for shows about sexism and women, or people of color for shows about race.

[90smovies]

[theamazingstories]

REVIEW: CANNIBAL WOMEN in the Avocado Jungle of Death (1989) SOME SPOILERS

REVIEW: CANNIBAL WOMEN in the Avocado Jungle of Death (1989) SOME SPOILERS

Figure 1 – Cannibal Women poster When I first saw this film title, I said to myself, “You’ve got to be kidding. Is this a Roger Corman film?” But no, it’s not Corman, nor is it a Troma extravaganza. It’s a perfectly serious genre film from Full Moon Video. (Okay, it’s not serious at all. It’s a comedy genre-type film starring Shannon Tweed, Adrienne Barbeau, and Bill Maher.) Wait— BILL MAHER?!…

[supercultshow]

Hello Supercult West! This is Supercult South Bad Movie Professor Cameron Coker (BS in “Nuclear Pirates” with a minor in “50 Gallons of Bouillabaisse”) and I’m reaching out to you from across the country to help hype tonight’s screening of Under Siege!

We’ve seen a decent number of Steven Seagal films here at Supercult, on Deadly Ground, being one of the most memorable, but Under Siege, first screened at Supercult West in 2017 is arguably the best. Released in 1992, Under Siege is Steven Seagal’s zenith, both critically and financially, which is saying something because it’s only his 5th big picture of the nearly 60 films he’s starred in to date. Under Siege is from a time when studios were working to make Seagal into more of an actor rather than ‘just an action star’, before Seagal started writing most of his own scripts, before he met the Dalai Lama and decided that he was a deity, and before he…well…got fat.

“It’s not a job…It’s an Adventure!”

” Jones has developed into one of the most effective and interesting villains in the movies, maybe because he’s not afraid to go over the top – as he does here, masquerading as a heavy-metal rocker and later spieling political slogans into the radio like a deranged dictator.” -Roger Ebert

https://www.youtube.com/watch?v=jWchDZMchIE

“I am hoping that I can be known as a great writer and actor some day, rather than a sex symbol.” -Seven Seagal

*Sigh* No man ass here folks, move along.

Can we get more Tommy Lee Jones Supercult movies please? Like Man of the House or Black Moon Rising?

If you hold a gun up to your ear you can hear the ocean…no wait, that’s because we’re on a boat.

I’m going to make you a pie. A meat pie! No, nevermind, it sounded better in my head.

While you might get excited over the fact that Under Siege was written by J.F. Lawton (who previously wrote Pretty Woman and would later write the film adaptation for the Dead or Alive video game) and directed by Andrew Davis (who had previously worked with Seagal on 1988’s Above the Law), the real treat of this film are the villains played by Tommy Lee Jones and Gary Busey. From Gary Busey in drag to Tommy Lee Jones in a bedazzled leather biker jacket making cartoon sound-effects with his mouth, you’d think the two were competing to see who could steal the most scenes. At one point Director Davis was asked by the studio head to film more Seagal scenes saying that Seagal was only in the movie for 41 minutes and that Tommy Lee was in the movie longer that Steven. Davis brushed it off saying later in interview, “that was the movie that got me [the director’s role on] The Fugitive so it was worth it.”

While traditional location work was used to make the USS Alabama museum ship look like the USS Missouri in the film and the USS Drum portrayed a North Korean Submarine, and traditional set work was used to give the ship the illusion of being in the middle of the Pacific Ocean when in fact it was docked in Mobile Bay, Alabama,  there’s some surprising technical depth to this film. Under Siege makes extensive use of the Introvision process. A variation of front projection that allows realistic 3D interaction of foreground characters with projected backgrounds without the heavy cost of traditional bluescreen effects by photographing miniatures or real-life locations, separating those shots into layers, and integrating actors into the middle ground. Introvision was used in films like Army of Darkness, The Fugitive, and even Supercult Classic Megaforce.

But enough of all that ‘this movie is actually good’ stuff, let’s get to the lighting round! Be on the lookout for the following Under Siege features:

Dolphins

Steven Seagal with Navy regulation hair length and no ponytail

Burning Pies

Eye-Gouging

An absurd, but surprisingly believable and nuanced geo-political thriller plot

Knife Fights

Lots of male on male face touching

Steven Seagal’s dramatic side lighting

Snapple

Navy terminology and recruitment slogan references

Former Bay Watch babe and ‘pretty schoolgirl who gets kissed by Elliott in E.T.’, Erika Eleniak as playmate sidekick Jordan Tate

Rybeck’s throwing knife designed by famed custom knifemaker Gil Hibben who has made knives for everyone from John Wayne, and Elvis Presley to Vice-President Dan Quayle and the Sultan of Brunei

Looney Tunes

A total body count of 100

Under Siege is the only Steven Seagal film to have a fresh rating on Rotten Tomatoes with a score of 79%, and it’s also the only Seagal film to ever be nominated for an Academy Award, in this case for best sound and sound effects editing. Roger Ebert praised the acting, especially of Jones and Busey, saying that “The villains are superb, vile and deliriously insane.” From a budget of $35 million it made over $156 million, and it even spawned a much worse sequel 1995’s Under Siege 2: Dark Territory which is all about Steven Seagal on a trains, planes, and in automobiles.

In other words, this is a good f*@&-in’ movie Supercultists! Don’t forget, he’s just a cook.

Supercult West is proud to present, Under Siege!

Under Siege (Supercult West) Hello Supercult West! This is Supercult South Bad Movie Professor Cameron Coker (BS in “Nuclear Pirates” with a minor in “50 Gallons of Bouillabaisse”) and I’m reaching out to you from across the country to help hype tonight’s screening of Under Siege!

[365days365movies]

February 2, 2021: Pretty Woman (Review)

Before I jump right into this review, I would like to say something about this movie: it’s timeless, while not aging super well for a couple of reasons. Those reasons make this film a tad problematic, and they are as follows, at least according to me:

Prostitution: Look, in NO WAY can I claim to be an expert, or very knowledgeable on culture in the world of sex workers, duh. But, given changing opinions in this during the past three decades since this film came out, this is bound to seem a little dated. Still, some credit for Edward not being...terribly condescending to her throughout this movie. Again, this is just something I’m noting. If anyone with more expertise knows more about how sex workers feel about this film, hit me up; I’m quite curious.

Edward: Speaking of Edward, though, I know that his character came off at the time as similar to Gordon Gekko from Wall Street (can’t confirm, never seen it), and stereotypical businessman characters (and actual people) from the time, and that he was probably considered quite suave and cool at that time. And don’t get me wrong, Edward is...fine...but living in 2021, and in the current political climate in America...dude comes off like a STRAIGHT sociopath throughout this movie. Yeah, no, less Prince Charming, more Prince Harming. I saw somebody describe him as a romantic Patrick Bateman, and GODDAMN does that resonate. That Zodiac Killer joke from the Recap? That was only slightly kidding, real talk.

I’m sure there are more (especially in terms of gender politics and sexism, but I AM NOT QUALIFIED ENOUGH FOR THAT), but these are the ones that came to me during the watching of the film. Anyway, shall we continue? Because I really DID like this movie, despite some problems with it. Let’s get the Review started!

Review

Cast and Acting: 9/10

Edward might be a sociopath, but I don’t lame Richard Gere for that at all. He works through the character to create some legit emotional development for him, and I appreciate it quite a bit. But he’s not the draw here. First, let’s talk about the supporting cast here. Yes, really.  Héctor Elizondo, a Garry Marshall regular, IS A GOD in this movie. I love Barney so much, you have no idea. Laura San Giacomo is a quirky best friend, and I love her. Ralph Bellamy plays a very sweet man in David Morse (even if I disagree with his business). And finally, Jason Alexnder’s Phil Stuckey is IMPRESSIVELY slimy, if a little much at times. Still, he made a good villain in a film that didn’t necessarily need one.

But you all know. You know who takes the entire show here, I know you do. That 9 up there? Sure, the supporting cast carries about 2 of those points, and Gere has one...but JULIA FRIGGIN’ ROBERTS, ACTRESS QUEEN OF ROMANCIA is the star and glue of this movie! She’s perfect, she’s charming, she’s quirky, and she’s absolutely fantastic. Holy shit, I understand solely from this movie, why Julia Roberts became as much of a star as she is.

Plot and Writing: 8/10

Roger Ebert called this a good take on the Pygmalion and Cinderella formulas, both of which the movie heartily acknowledges. And, uh...yeah, it’s a legitimately good take on those formulae, while still being its own unique film, and it’s getting credit for that! It’s interesting to me that J.F. Lawton is the writer, because he...he didn’t do any great things after this one. Under Siege, maybe. Blankman, maybe. I haven’t seen either, so I can’t comment. However, he also wrote Cannibal Women in the Avocado Jungle of Death. Um. What. Pardon me. Wut. Anyway, plot’s good, character development is apparent through the writing and story, and the only real problem I have is that the time scale is literally a week. And it’s a fairy tale, yeah, and the cheesy nature of some of it definitely shows that. So, not perfect, but still good and unique!

Directing and Cinematography: 7/10

Garry Marshall, former advisor of the land of Romancia...yeah, you did alright. Nothing over-the-top amazing, but not bad by any means. It’s good, but it’s an average kind of good. Same goes for Charles Minsky’s cinematography, which is quite good, but never really breathtaking to me. Good, just not necessarily a cinematic masterpiece.

Production and Art Design: 8/10

The dichotomy between Vivian’s street world and Edward’s high-society world is very well visually portrayed, I gotta say. Most of that isn’t exactly iconically distinctive, but it’s still good. I say MOST of it because, well...Julia Roberts, man. The outfits she’s given in this movie are insanely iconic, even to this day, and they really pick up during the second half of the film. The polo dress, the Rodeo drive dress, the GODDAMN RED OPERA DRESS! It’s all gorgeous, and I genuinely love it all. But one wardrobe does not a movie make. Hence, it’s not perfect, but it’s still up there.

Music and Editing: 7/10

How goes it, James Newton Howard? This won’t be the last time I see you this year, I’m sure. And your score here is great! ANd I don’t remember it...at all! Literally, all of that music is drowned out for me by Roy Orbison’s “Pretty Woman.” By the way, DID NOT REALIZE that that wasn’t Elvis Presley, nor did my girlfriend. You learn something every day. But anyway, here’s the deal: this film is Dirty Dancing in reverse, in terms of music. And slightly worse than that. A lot of pop songs are peppered throughout this movie, and they’re all famous and good...but they aren’t really tied to this movie much, outside of “Pretty Woman.” But they’re mostly fitting with the times presented in the movie, unlike some of Dirty Dancing’s soundtrack. Not as iconic, but better fitting with the atmosphere. There you have it.

I mean, yeah, a LOT, even. At least 78% approval from me!

Pretty Woman is a cheesy yet heartfelt fairy tale of a movie, and it’s sweet all throughout. Problematic or not, I understand how this film but a crown on the heads of the King and Queen of Romancia. ALL HAIL KING GERE AND QUEEN ROBERTS!

But wait...on the horizon. A rival, and far larger nation, is arming its people, led by a fearsome warrior Queen, and one of her most faithful Kings. The Holy Romance Empire is on the march, and it wants blood. Until then...they will get no sleep.

February 3, 2021: Sleepless in Seattle (1993)