Fletch (1985)

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Are you putting a whole fist up there Doc? Irwin Fletcher (Chevy Chase) is an undercover reporter doing a drugs story while disguised as a homeless junkie on the beach when he’s approached by businessman Alan Stanwyk (Tim Matheson) to kill him for $50,000 because he’s got bone cancer. Fletch identifies himself as Ted Nugent. He then investigates this fascinating proposition, donning a myriad of disguises and identities (we particularly like the 49c teeth), getting mired in Stanwyk’s marital disarray, property deals, police corruption involving Chief of Police Karlin (Joe Don Baker) – and murder. And he gets to know Alan’s LA wife Gail (Dana Wheeler-Nicholson) in a mutually satisfying fashion. Win! Gregory Mcdonald’s novel gets a fast-moving adaptation from Andrew Bergman, a director in his own right (there was some additional uncredited work by fellow writer-director Phil Alden Robinson.)  Chase gives the performance (or performances) that you’d expect – droll and deadpan, always amiable (yet plucky!) and the running joke about his bizarre expense claims is well done. Fine, funny lighthearted fare handled with his customary aplomb by director Michael Ritchie, energised by a typically zippy plinkety-plonk score from Harold Faltermeyer, the go-to composer for zeitgeisty mid-Eighties entertainment. Chase even dons an Afro to play basketball with Kareem Abdul-Jabbar. There’s a wonderful supporting cast including Geena Davis in the newsroom, David Harper (of The Waltons!) as ‘teenager’ and Kenneth Mars:  we are thrice blessed!

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Drive, He Said (1971)

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Jack Nicholson had been busy in one of the leading roles for Bob Rafaelson in Five Easy Pieces so it was 1970 before he could begin shooting on his directing debut. He had already written a number of screenplays but he was over-committed at the time he wanted to make this. He was starring in Carnal Knowledge for director Mike Nichols so he began Drive… without a complete script.  Jeremy Larner adapted his own book but Nicholson wasn’t happy with it and had begun writing a second draft himself.  He brought in Robert Towne to complete his vision on set, with the added bonus of an acting role for his screenwriter friend – that of a cuckolded, broad-minded professor. Reclusive screenwriter and director Terrence Malick also did a rewrite – prior to making Badlands (1973). The film was completed on time for Nicholson to report to the East Coast for Mike Nichols.  He edited Drive… on weekends and downtime from shooting Carnal KnowledgeDrive… is an exposé of Sixties left-liberal attitudes, set on a campus infected with radicals  and replete with ready-made mythological references which must have appealed to Robert Towne:  a leading character called Hector  (who of course  as the eldest son of the king, led the Trojans in their war against the Greeks,  fought in single combat with Achilles and stormed the wall of the camp and set it alight). And, as if we don’t ‘get it,’ Hector’s major is Greek. The radical elements were complete with the casting in the lead role of William Tepper – a dead ringer for producer Bert Schneider, whose famously radical approach to production would lead Hollywood out of the old-style studio system but would embalm him in the mid-Seventies forever. There is a romantic element that interferes with male friendship: Gabriel is the guerrilla, played by Michael Margotta. Hector is besotted with Karen Black, married to Towne’s professor in the film. Her name, Olive, signifies her role as peace-maker in the narrative.  Gabriel runs away to escape the draft.  Hector is the warrior in love – he is in touch with nature (his surname, is, after all, Bloom.) He communes with the trees in the forest, stays in a log cabin and is generally at one with everything that is not ‘the Man.’ The film was entered in Cannes and Nicholson’s efforts were the subject of scorn.  It opened in New York on 13 June 1971 where it got mixed reviews.  BBS apparently offered more money to promote it but were deflected by Nicholson himself, who was depressed at the critical reception. But its lyricism, message and sub-Godardian construction have held up considerably better than Nicholson himself believed and its countercultural theme still produces a striking effect.The film is structured around Hector’s basketball games – the opening titles are underlined in a stunning sequence by the use of cult musician Moondog’s music – later paid homage by the Coen Brothers in The Big Leboswki (1998). The filming style in slow motion corresponds with much of Visions of Eight (1973), which would itself be an influence on Towne’s own film style in his directing debut, Personal Best. For more on Nicholson’s work with Towne, you can read my book ChinaTowne:  https://www.amazon.co.uk/ChinaTowne-Elaine-Lennon-ebook/dp/B01KCL3YXQ/ref=sr_1_1?ie=UTF8&qid=1490221804&sr=8-1&keywords=elaine+lennon

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Superstar (1999)

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I realise that not all SNL knockoffs are passable but this one makes me laugh like a drain. Molly Shannon is orphaned Irish-American Catholic high schooler Mary Katherine Gallagher, a bespectacled geek in love with Sky Corrigan (Will Ferrell), the dreamboat – wow! – and dreaming of, yup, superstardom. Mary’s the rewind girl in the video store and she’s obsessed with TV movies which provide a lot of her best lines – maybe the most apposite coming from Portrait of a Teenage Centerfold! (starring Lori Singer).[If this in fact exists…]  She’s relegated to the class for retards and befriends fellow loser Helen (Emmy Laybourne). She attracts the attention of Slater (Harland Williams) the mute rebel biker newcomer to the school which provides more backstory and permits her Id’s vision of Jesus to pay him a visit at this movie’s version of a crossroads. She tries to achieve her ambitions by competing in a talent show for VD (‘with an opportunity to appear as an extra in a Hollywood movie with Positive Moral Values’). Sky’s cheerleader girlfriend – the most beautiful, the most popular, the most bulimic – Evian Graham (Elaine Hendrix) is her main rival but wheelchair-bound Grandma (Glynis Johns) doesn’t want Mary to take part. The scene where she tells Mary the truth behind her parents’ death is screamingly funny – they weren’t eaten by sharks but stomped to death Riverdance-style. Reader, I howled. She and Sky both think The Boy in the Plastic Bubble is the 19th-best TVM and when he and Evian split she spots an opening…This high school movie parody is for that special person in your life – your irrepressible inner gummy child! The perfect comedic holiday comedown. Written by Steve Koren and directed by Bruce McCulloch. Shannon is great. In fact, she’s a Superstar!

Delivery Man (2013)

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The redeeming and recuperating potential of paternity is the root of this very contemporary comedy about sperm donation and its many consequences. Useless meat truck delivery driver Vince Vaughn is immature, owes money and his policewoman girlfriend has just announced she’s pregnant when he discovers that his moneymaking activities in a clinic when he was in his twenties have yielded 533 children of whom 142 want him unmasked. This potentially lurid story manages to be both candid and sweet, principally through a well-managed screenplay by director Ken Scott (adapted from Starbuck by himself and Martin Petit for the earlier French-Canadian version) which places notions of family at the centre of everything. Vaughn decides against the advice of BFF Chris Pratt, stay at home dad of four chaotic children and on-off lawyer, and plays guardian angel to some of the hundreds of children he has unwittingly fathered when the clinic gave his donation to way too many recipients. We meet a few of them:  an aspiring actor wasting his life as a barista;  a basketball star;  a drug addict; a disabled man. He follows them and does them favours until his creditors beat up his dad who runs the family meat business and he has to follows the clinic into court to retain his anonymity. Meanwhile, his girlfriend is approaching her due date … A film about a very modern problem which asks questions about identity, family and fatherhood and doesn’t blame anyone for this social chaos – at all!