Westworld

Written and directed by Michael Crichton, Westworld is the story revolving around an amusement park for adults where they pretend to be in the American West and have fun until some androids malfunction and kill off some guests. It’s a film about the dangers of technology and what happens when the fantasy turns against the individual trying to live that fantasy. Starring Richard Benjamin, James Brolin, and Yul Brenner. Westworld is an intriguing and thrilling film from Michael Crichton.

The film is the story of a couple of guys who go to this theme park for adults where they can delve into any fantasy world they want to be a part in whether it’s the age of the Romans, medieval times, or the American West where they can do whatever they want with the androids they encounter. Yet, something goes wrong during this vacation where guests pay $1000 a day for their own desires to be fulfilled where the androids suddenly go rogue due to some malfunction. Michael Crichton’s screenplay has a very simple structure yet it slowly plays into the moments everything goes wrong where it also shows what is happening behind the scenes as the people who created the androids suddenly have no control of what is happening. Though the objective of the park is giving people a chance to play fantasy and be unharmed, that fantasy becomes reality once everything else goes to shit.

Crichton’s direction is very simple as it starts off with this ad about this amusement park and the people who have returned as the announcer says “Boy, have we got a vacation waiting for you”. Then it cuts from being a small TV aspect ratio ad into a full-on widescreen experience as it play into what these two men are about to go into as one of them had been to the park. Many of Crichton’s compositions are simple as it pays homage to films set in the American West and medieval times with some stylistic elements that includes some slow-motion action for the former. There are also some chilling and suspenseful moments once it reaches the second half involving the character of the gunslinger (Yul Brenner) where Crichton shows exactly what he sees as it is one of the very first moments in film that uses digital image processing as it adds to the film’s climax where a protagonist has to deal with the gunslinger without any tricks. Overall, Crichton creates an engaging and whimsical film about a theme park for adults that goes horribly wrong.

Cinematographer Gene Polito does excellent work with the cinematography as it is very straightforward with its gorgeous lighting and moods for some of the interior scenes at night as well as in the rooms where the scientists work at. Editor David Bretherton does terrific work with the editing as it has some elements of style in some slow-motion cutting as well as some jump-cuts. Art director Herman A. Blumenthal and set decorator John P. Austin do fantastic work with the set design as it play into the different areas of the park such as the look of the castle interiors in the medieval times area and the look of the American west in the western area. The special effects work of Charles Schulthies is wonderful for the look of what the androids see from their perspective as well as in some of the look of the androids in what they look like from the inside. The sound work of Richard S. Church and Harry W. Tetrick is superb for the sounds of gunfire and other objects that play into the worlds that the characters are in as well as the technological sounds in the computer rooms. The film’s music by Fred Karlin is wonderful for its mixture of musical styles that play into the different worlds with some orchestral pieces to play into its suspenseful moments.

The casting by Leonard Murphy is great as it include some notable small roles from Anne Randall as a medieval servant named Daphne, Terry Wilson as a sheriff, Victoria Shaw as the medieval queen, Linda Scott as a French prostitute, Michael Mikler as the black knight, Majel Barrett as a brothel madam, Norman Bartold as a man pretending to be a medieval knight for his fantasy, and Alan Oppenheimer as the supervisor watching over everything in the park as he tries to figure out what is going on with androids. Dick Van Patten is superb as a banker who goes into the west in the hopes he can become a cowboy where he is quite funny in his attempts to become a sheriff.

James Brolin is excellent as John Blane as a guest who had visited the park as he guides his friend into what goes on while becoming aware that something isn’t right. Richard Benjamin is brilliant as Peter Martin as John’s friend who is new to the experience at the park where he would have fun until he too becomes aware that something isn’t right. Finally, there’s Yul Brenner in an amazing performance as the gunslinger as it’s a variation of the character he played in The Magnificent Seven where even though it is a supporting role. It’s a performance that is just unforgettable in how menacing his presence is as he becomes the one android that goes completely rogue.

Westworld is a remarkable film from Michael Crichton. Featuring a great cast and a fascinating premise that blends all sorts of genres. It’s a film that definitely showcases what happens when a theme park for adults become a nightmare when the robots suddenly go rogue. In the end, Westworld is a marvelous film from Michael Crichton.

© thevoid99 2017

Robin Hood: Men in Tights

Directed and co-starring Mel Brooks and screenplay by Brooks, Evan Chandler, and J. David Shapiro from a story by Chandler and Shapiro, Robin Hood: Men in Tights is the story of a royal who returns to Britain as he tries to reclaim his land from an evil prince and his sheriff with the aid of villagers. The film is a spoof on many variations of the Robin Hood story as it play into the legend and put a witty spin on it while making fun of other films as the titular character is played by Cary Elwes. Also starring Richard Lewis, Roger Rees, Amy Yasbeck, Isaac Hayes, Tracey Ullman, and introducing Dave Chappelle as Ahchoo. Robin Hood: Men in Tights is a delightful yet flawed film from Mel Brooks.

The film is essentially a spoof on the Robin Hood story as it plays with the origin story but also infuse it with anachronistic humor and other quirks. Yet, it does faithfully follow the original story about a man who loses his family home and land upon his return from the Crusades as an evil prince and sheriff have taken over England where they raise taxes. This would force Robin Hood to gather some local villagers to steal from the rich and give back to the poor as well as lead a revolt against Prince John (Richard Lewis) and the Sheriff of Rottingham (Roger Rees) while winning the heart of the fair Maid Marian (Amy Yasbeck). The film’s script would put in some quirks such as the fact that Robin Hood is a bit smug as he would go into long speeches that gets old very fast while the Sheriff of Rottingham often speaks in spoonerism. Prince John often sports a fake mole unaware that he has one while the character of Friar Tuck is remained as a rabbi (Mel Brooks).

Mel Brooks’ direction is quite straightforward as it play into this world of medieval times where it was shot in various locations and studio lots in Southern California while it also has recurring gags that often breaks down the fourth wall accidentally. While much of the compositions are simple in the way he shoots close-ups and medium shots as it relates to the way he present characters and situations. There are a few wide shots in the film to establish some of the locations as Brooks is more about presenting the humor and do whatever he can to bring laughs. Some of it doesn’t work such as scene rapping merry men as well as other bits relating to 90s culture that ends up being very dated. Still, Brooks does manage to find way to create moments that are still funny as well as put in bits and references from his own films. Even as it help tell the story while doing whatever he can to make it fun. Overall, Brooks makes a enjoyable though flawed film about a man who revolts against an evil prince while trying to woo a maiden wearing a metallic chastity belt.

Cinematographer Michael D. O’Shea does nice work with the film‘s cinematography from the way many of the daytime exteriors are presented as well as some of the nighttime interior scenes. Editor Stephen E. Rivkin does excellent work with the editing with its stylish usage of dissolves for a musical sequence involving Maid Marian as well as some jump-cuts to play into some of the humor. Production designer Roy Forge Smith, with set decorator Ronald R. Reiss and art director Stephen Myles Berger, does fantastic work with the design of the sets from the prison in Jerusalem to what was once the Loxley castle until it was moved because of owed back taxes. Costume designer Dodie Shepard does wonderful work with the costumes from the design of Maid Marian’s chastity underwear belt to the clothes the men wear including the tights.

Visual effects supervisor Mat Beck does OK work with the few visual effects such as a major sequence involving an archery contest. Sound editors Gary S. Gerlich and Gregory M. Gerlich, with Harry E. Snodgrass, do terrific work with the sound in the way some of the sound effects are heard as well as how the arrows sound when they‘re shot into a target. The film’s music by Hummie Mann is superb for its orchestral-based score that is triumphant and playful while the film also feature some original songs written or co-written by Mel Brooks that are funny though the rap song isn‘t very good.

The casting by Lindsay Chag and Bill Shepard is great as it feature some notable small appearances and cameos from Robert Ridgely sort of reprising his hangman role from Blazing Saddles, Dick Van Patton as the abbot, Joe Dimmick as a Clint Eastwood look-alike assassin in Dirty Ezio, Steve Tancora as a champion archer in Filthy Luca, Brian George as a Jerusalem dungeon maitre d’, Avery Schreiber as a tax assessor, Megan Cavanagh as Maid Marian’s lady-in-waiting Broomhilde, and Patrick Stewart in a brief appearance as King Richard. Other noteworthy small roles include Isaac Hayes as Ahchoo’s father Asneeze that Robin meets at the Jerusalem dungeon, Dom DeLuise in a hilarious spoof of Marlon Brando’s Don Corleone character in Don Giovanni, and Mel Brooks as Rabbi Tuckman who joins Robin Hood in dealing with Prince John. Tracey Ullman is fantastic as Latrine as a sorceress/cook for Prince John who is willing to help him but what she wants is the Sheriff of Rottingham. Eric Allan Kramer and Matthew Porretta are terrific in their respective roles as Little John and Will Scarlett O’Hara with the former being a big but dimwitted ally of Robin Hood while the latter is good with knives.

Mark Blankfield is superb as Robin’s blind servant Blinkin who is a comic relief that often is in some sort of mishap due to his blindness. Dave Chappelle is excellent as Ahchoo as Robin’s right-hand man who would say some funny things but also come up with some inspiring plans. Amy Yasbeck is brilliant as Maid Marian as a virginal maiden who is trying to find her true love as well as the one who can get rid of her chastity belt underwear. Richard Lewis is amazing as Prince John as an evil royal who has a hard time trying to rule England as well as do bad things where Lewis is very funny. Roger Rees is hilarious as the Sheriff of Rottingham as a spoonerism-spouting sheriff who says offbeat things and put himself into very hilarious situations. Finally, there’s Cary Elwes in an incredible performance as the titular character as a royal who is eager to reclaim his land and help the poor while being the Robin Hood that can speak with an English accent.

Robin Hood: Men in Tights is a witty though flawed film from Mel Brooks. Despite some dated jokes, the film does offer plenty of laughs thanks to a great cast and some funny gags. In the end, Robin Hood: Men in Tights is a stellar film from Mel Brooks.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part 1) - Spaceballs - (Life Stinks) - (Dracula: Dead and Loving It)

© thevoid99 2017

High Anxiety

Directed and starring Mel Brooks and written by Brooks, Barry Levinson, Ron Clark, and Rudy De Luca, High Anxiety is the story of a renowned psychiatrist who deals with mysterious circumstances at the institute he‘s been hired to fun while dealing with his fear of heights. The film is a tribute/parody of sorts to the films of Alfred Hitchcock, who also contributes to the film’s script, as it play into the world of suspense and horror but in a humorous fashion as it relates to the many situations this doctor would encounter. Also starring Harvey Korman, Cloris Leachman, Madeline Kahn, Ron Carey, Howard Morris, and Dick Van Patten. High Anxiety is a witty and exhilarating film from Mel Brooks.

The film revolves around a renowned, Nobel prize-winning psychiatrist who travels to Los Angeles to head a psychiatric institute after its head doctor had been mysteriously murdered where he would encounter a series of strange events. It is a film that follows many storylines made famous by the films of Alfred Hitchcock as well as play into the elements of suspense. Notably as this psychiatrist has a immense fear of heights as it’s an issue he hasn’t resolved as he’s aided by his old mentor who also works at the institute. The film’s screenplay isn’t just filled with many references to Hitchcock to form its own story but also has its own approach to suspense that is leaned towards comedy.

The fact that Dr. Richard H. Thorndyke (Mel Brooks) is dealing with his own issues makes him an easy target for two of the film’s antagonists in Nurse Diesel (Cloris Leachman) and Dr. Charles Montague (Harvey Korman) who want to control the institute for their own selfish reasons. It would lead to a plot where Dr. Thorndyke is put into situations where he meets a patient’s daughter in Victoria Brisbane (Madeline Kahn) who is convinced that her father is in danger. There is a cleverness to the script in not just the way the suspense is plotted but also in the characters as Dr. Thorndyke is often accompanied by chauffer in Brophy (Ron Carey) who often takes photographs for odd reasons. These are the many quirks that the writers would put in as they would also create scenes that would make fun of famous moments from Hitchcock movies.

Brooks’ direction doesn’t just provide a lot of the visual traits and motifs that is common with Hitchcock but also find ways to turn it into gags as well as provide little moments that accidentally breaks down the fourth wall. Shot in various locations around Los Angeles and San Francisco, Brooks definitely takes advantage of the locations which doesn’t just owe a lot to many of Hitchcock films with Vertigo being the most obvious. Still, Brooks finds a way to bring something of his own in not just a few gags but also some hilarious scenes such as a moment where he and Victoria try to get through the airport security through disguises as it is just a riot to watch. There are also moments that is very stylized for the fact that Brooks would take great advantage of low camera angles to play into the suspense and mix it up with humor as well as the way the camera would zoom in some scenes. It all plays into this humorous take of suspense as its climax isn’t just inventive but also very funny. Overall, Brooks creates a very delightful and entertaining film about a psychiatrist dealing with a mystery and his fear of heights.

Cinematographer Paul Lohmann does excellent work with the film‘s colorful cinematography from the usage of lights and moods for some of the scenes at night to the more naturalistic scenes set in the day. Editor John C. Howard does nice work with the editing as it is quite straightforward with some stylish cuts that play into the suspense and humor. Production designer Peter Wooley, with set decorators Richard D. Kent and Anne MacCauley, does brilliant work with the design of the institute and some of its rooms as well as some of the sets created as homage to the films of Hitchcock.

Costume designer Patricia Norris does fantastic work with the costumes from the clothes that Nurse Diesel wears to the clothes of Victoria Brisbane as well as she and Dr. Thorndyke would wear as disguises. The special visual effects work of Albert Whitlock is terrific for some of the minimal things that pay homage to Hitchcock‘s films including the moments where Dr. Thorndyke deals with his anxieties. The sound effects of William Hartman and Richard Sperber are superb for the way it play into the suspense and how it also add to its humor. The film’s music by John Morris is amazing for its orchestral-based score that owe a lot to the music of Bernard Herrmann as well as moments that are quite playful including a title song written and performed by Mel Brooks.

The film’s phenomenal cast feature some notable small roles from Lee Delano as a half-shaven orderly, Ron Clark as a patient who fears werewolves, Ron De Luca as a mysterious figure known as Braces, Barry Levinson as an uptight bellhop, famed Hitchcock special effects supervisor Albert Whitlock as a patient, Charlie Callas as a man who thinks he’s a dog, and Dick Van Patten as a fellow doctor in the institute in Dr. Wentworth who would become a victim in a scheme that adds to the mystery. Howard Morris is superb as Dr. Thorndyke’s mentor Dr. Lilloman who tries to cure his protégé over his fears as well as reveal what might be going on in the institute. Ron Carey is fantastic as Brophy as a photograph-obsessed chauffer who befriends Dr. Thorndyke as he always struggle to do things right while having his own theories into what is going on.

Cloris Leachman is excellent as Nurse Diesel as this intimidating nurse with a mustache and a penchant for torture who is the real mastermind behind a lot of what is going on as well as being very funny in what she does to Dr. Montague. Harvey Korman is brilliant as Dr. Montague as a scheming psychiatrist who is trying to create more chaos for his patients and wants to run the institute as Korman is just funny throughout for what he tries to do. Madeline Kahn is amazing as Victoria Brisbane as the daughter of a patient who believes something isn’t right as she tries to see if her father is alright as her character is a homage of sorts to some of the heroines in Hitchcock’s film while having her own moments that are just hilarious. Finally, there’s Mel Brooks in an incredible performance as Dr. Richard H. Thorndyke as a psychiatrist with a fear of heights as he copes with some of the strange things happening as well as a being a victim of these strange events where it’s Brooks being absolutely hilarious.

High Anxiety is a sensational film from Mel Brooks. Featuring a great cast and some hilarious gags, it’s a film that isn’t just one of Brooks’ finest film but also a film that fans of Alfred Hitchcock would love for not just the references. It’s also for the fact that it’s a homage to the filmmaker whom the film is dedicated to. In the end, High Anxiety is a remarkable film from Mel Brooks.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - (History of the World, Part 1) - Spaceballs - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)

© thevoid99 2017

Spaceballs

Directed by Mel Brooks and written by Brooks, Ronny Graham, and Thomas Meehan, Spaceballs is a spoof film about a mercenary and his half-man/half-dog who save a princess and her robot from the clutches of an evil henchman. The film makes fun of the Star Wars franchise as well as sci-fi films of the past including the world of advertisement and home video releases. Starring Mel Brooks, John Candy, Rick Moranis, Bill Pullman, Daphne Zuniga, the voice of Joan Rivers, George Wyner, and Dick Van Patten. Spaceballs is a hilarious and entertaining comedy from Mel Brooks.

After wasting all of the air in his home planet, President Skroob (Mel Brooks) devise a plan to take out all of the fresh air from Planet Druidia with the help of his henchman Dark Helmet (Rick Moranis). In Druidia, King Roland (Dick Van Patten) is celebrating the wedding of his daughter Princess Vespa (Daphne Zuniga) to a man named Prince Valium (Jim J. Bullock). Yet, Vespa runs away with her robot droid Dot Matrix (the voice of Joan Rivers) as Skroob and Helmet decide to kidnap her so that Roland can give them fresh air. With Vespa in danger, King Roland asks mercenary Lone Starr (Bill Pullman) to rescue Vespa. Starr asks for a million space-bucks in return so he and his half-man/half-dog friend Barf (John Candy) can pay their debt towards space criminal Pizza the Hutt (the voice of Dom DeLuise).

After jamming Helmet’s radar system, Lone Starr is able to retrieve Vespa, Dot, and their luggage as they try to evade Helmet’s ship through hyperspace. Helmet and his assistant Col. Sandurz (George Wyner) try to do the same but only pass them as Lone Starr’s Winnebago spaceship crash lands into a planet where they would meet wise master of the Schwartz in Yogurt (Mel Brooks). After teaching Lone Starr the Schwartz, Yogurt also learns the contents of Lone Starr’s medallion which he won’t reveal until later. After Vespa and Dot are captured by Helmet, Lone Starr and Barf go to Planet Spaceball to save them as Skroob is able to get the code to open Druidia’s planet shield. Lone Starr and Barf arrive to Planet Spaceball to save Vespa and Dot as they decide to stop Skroob and Helmet with help from the Schwartz.

The film is essentially a Star Wars parody where it doesn’t try to take itself too seriously as Darth Vader is re-created as a nerdy guy wearing a big black helmet. Luke Skywalker and Han Solo become this mercenary who travels in a space Winnebago with his half-man/half-dog friend while is willing to do anything for a shit-load of money. While there’s a lot of humor that allows Mel Brooks and his co-writers to make fun of Star Wars as well as other sci-fi franchises. There’s also an element of wit as Brooks allows himself to make fun of the world of the home video market in a scene where Helmet and Col. Sandurz track down Lone Starr by watching a video cassette of the actual movie they’re in while it’s still in the making.

It’s part of Brooks’ genius to satirize the film industry at a time when the home video market was becoming big. Another element of satire Brooks gets to point fingers at is the world of merchandising. The scene where Lone Starr, Vespa, and the gang learn about what Yogurt does. Yogurt reveals that he’s selling loads of products where the real money for the movie is made. Spaceballs the t-shirt, Spaceballs the coloring book. Spaceballs the flamethrower! (Kids love that!) It’s Brooks allowing himself to point fingers at the silliness of mass-marketing in films while doing it in a very comical manner.

Brooks’ direction is truly whimsical from the way he opens the film with this very long and exaggerated take on the big Spaceballs spaceship that Dark Helmet rides in. While the direction is quite straightforward for a sci-fi spoof, Brooks is able to create amazing timing for the comedy while not being afraid to go extremely silly. The fact that he often breaks down the fourth wall at times just adds to the hilarity. With these amazing compositions of the space scenes that is filled with lots of great visual effects and miniatures. Brooks creates a truly fun and imaginative sci-fi comedy spoof that does more than just entertain.

Cinematographer Nick McLean does an excellent with the film‘s photography from the very sunny yet stylish desert scenes to the wondrous interior lighting of the spaceships and Yogurt‘s cave. Editor Conrad Buff IV does a nice job with the editing by creating rhythmic cuts for some of the film‘s action sequences including some stylish cuts for the comedic moments. Production designer Terence Marsh, along with set decorator John Franco Jr. and art director Harold Michelson do great work with the set pieces created such as the Spaceballs ship interiors as well as the look of the Winnebago and Yogurt‘s cave.

The costumes by Donfeld are quite spectacular from the look of Lord Helmet‘s uniform including his big helmet that is also given a desert look to the wedding dress of Princess Vespa. Visual effects supervisor Peter Donen does an incredible job with the film‘s visual effects from the Schwartz-sabers and laser fire to the miniature spaceships made for some of exterior space shots. Sound designers Gary Rydstrom and Randy Thom do a fantastic job with the sound work from the sounds of the Schwartz-sabers and laser fire to .

The film’s score by John Morris is wonderful for the soaring orchestral pieces that is filled with bombastic string and percussion arrangements. The soundtrack includes a title song sung by the Spinners along with cuts by Maurice Jarre, Bon Jovi, the Pointer Sisters, Berlin, and Van Halen to play up the humor of the film.

The casting by David Rubin and Bill Shepard is terrific for the ensemble that is created as it includes appearances from Brenda Strong as a nurse, Stephen Tobolowsky as a guard captain, co-screenwriter Ronny Graham as a minister, Leslie Bevis as the interruptive Commanderette Zircon, Lorene Yarnell as the body of Dot Matrix, Jim J. Bullock as the narcoleptic Prince Valium, Michael Winslow as a sound effects-driven radar technician, Sandy Helberg as a deranged surgeon, a voice cameo from Michael York as creatures from another planet, and a hilarious cameo from John Hurt reprising his Kane role from Alien. Voice work from Dom DeLuise as Pizza the Hutt and Joan Rivers as Dot Matrix are very funny with the latter sporting some very funny one-liners. George Wyner is very good as the well-meaning Colonel Sandurz who tries to help Dark Helmet but either does the wrong things or ends up being smarter than his superior.

Dick Van Patten is also good as the regal King Roland who is desperate to save his daughter while revealing one of the stupidest code numbers ever. Daphne Zuniga is wonderful as the snobby Princess Vespa who tries to maintain her prestige while proving to be a total badass with a laser machine gun. Bill Pullman is great as the very scruffy yet no-holds-barred Lone Starr who becomes an unlikely hero. John Candy is hilarious as Barf, the half-man/half-dog who assists Lone Starr while saying some very funny lines. Rick Moranis is excellent as the villainous Dark Helmet as he often reveals his face to say smarmy one-liners while proving to be a very offbeat villain. Mel Brooks is fantastic in the dual role of the greedy yet neurotic President Skroob as well as the wise yet humorous wise creature Yogurt.

Spaceballs is truly one of the funniest spoofs ever created from the mind of Mel Brooks. The film is definitely one of Brooks’ most witty and very entertaining films as well as being something that is still funny through repeated viewings. Notably as it is filled with hilarious one-liners and moments that just keep people laughing while being a great homage to Star Wars and other sci-fi franchises. In the end, Spaceballs is a brilliant film from Mel Brooks that will make anyone wish for Spaceballs 2: The Search for More Money.

Mel Brooks Films: The Producers - (Twelve Chairs) - Blazing Saddles - Young Frankenstein - (Silent Movie) - High Anxiety - (History of the World, Part I) - (Life Stinks) - Robin Hood: Men in Tights - (Dracula: Dead and Loving It)

© thevoid99 2012