This was one of those rare movies that is so bad I don’t even know where to begin. It’s the acting, it’s the writing and it’s directing that makes this movie the blemish on mankind that it is. The story, at times, makes no sense, nor do the actions of the main character, Sarah (Elizabeth Olsen of the Olsen twin’s fame). The fact that someone approved the making of this movie, and that people actually got money to make it, is an outrage surpassing the 2008 financial bailout.
Taking its elements from a 2010 Uruguayan film, The Silent House story is pretty basic – which makes sense for a movie with only a few characters and an especially limited scale. We are forced to follow leading-lady Sarah (Olsen) through “a tense,” and at times “horrifying,” ordeal: Sarah, along with her father, John (Adam Trese), and Uncle, Peter (Eric Sheffer Stevens), is in the process of fixing up the family’s dilapidated vacation home, in an effort to make the property more attractive when they attempt to sell it. Sarah begins to hear mysterious noises in the upstairs portion of the house, and when she and her dad attempt to investigate the sounds, it quickly becomes clear that they are not alone – nor are they safe. Whether or not the alleged “true event” inspiration of the film ever actually occurred remains unsubstantiated (and was a point of contention among fans of the 2010 Uruguayan film); however, “based on true events” or not, the fundamental storyline is inadequate within the confines of the 88 minute timeframe.
Silent.House.2011. The Whole Movie Looks Like This
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The only interesting part of this is movie is that film was shot in “real time.” Due to this unique nature of the film’s presentation they had to use as a single take methodology, the production crew ran into several technical issues while filming, mainly surrounding lighting issues and mobility around the house. Since the movie was filmed in 12-15 minute takes, there were several occurrences where entire sequences had to be thrown out and re-done repeatedly due to lighting problems or missed cues. It also created a Blair Witch Project type of effect where the camera was bouncing up and down and twisting in all directions—it was like being on a bad roller coaster.
To be frank, I cannot write any more about this movie because it was so bad I had to turn it off. As I have mentioned before, my threshold for bad movie pain the legendary, this film, however, was the Chinese water board torture of movie watching. Its plot is thin, its acting is wretched and the writing seems like it was created by 100 monkeys chained to typewriters. Remain silent if you are asked to watch this movie and exit as quickly as possible.
An old chum of mine recently left me a comment asking why, as a co-connoisseur of the inane, hadn’t The Adventures of Buckaroo Banzai Across the 8th Dimension! been reviewed. Answer, I don’t know. So here you go MF this one is for you.
People have a love-hate relationship with this film. Many, especially younger people, believe it is (at best) a cheap sci-fi want-to-be made by idiots for idiots. Others look at The Adventures of Buckaroo Banzai Across the 8th Dimension! and see it as brilliant because it is at once a spoof of 50’s era science fiction and a celebration of all sci-fi in general. The film is a cross between the action/adventure and science-fiction movie genres, and also includes elements of comedy, satire, and cheap, cheap romance. Well a movie can’t be all things to all people and anyone who knows anything about movies would have seen this film and known it was destined for the controversial cult classic list. If you like sci-fi and don’t take yourself too seriously to laugh at the genre sometimes, then you will probably like Buckaroo Banzai Across the 8th Dimension!
BUCKAROO The Jet Car
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Let’s take a look at the cast. Buckaroo Banzai was directed and produced by W. D. Richter (writer of Brubaker and Big Trouble in Little China (excellent movie)) and has a pretty impressive supporting cast including John Lithgow as Dr. Emilio Lizardo/Lord John Whorfin, Ellen Barkin as Penny Priddy, Christopher Lloyd as John Bigbooté, Peter Weller as Buckaroo Banzi and Jeff Goldblum as New Jersey. For a low budget sci-fi that is a pretty impressive cast—remember that Lloyd would go on to co-star in Back to the Future the next year–one of the biggest box office hits in history.
BUCKAROO and the Gang
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Ok so far we have a film that is going to be a spoof and a strong cast. There is only one thing left, the story. The story is where the film loses its appeal to the great unwashed philistines who unfortunately comprise a vast percentage of the movie going audience. I will concede that the film’s plot has many twists, turns and stops but anyone who does not have a serious case of ADD should be able to follow it.
Now to try to sum it up. The film opens with Banzai is preparing to test run a heavily modified Ford E-Series van powered by a jet engine capable of exceeding Mach 1. The car is also equipped with an “oscillation overthruster,” that looks just like a flux capacitor and that Banzai and his comrades, the Hong Kong Cavaliers, hope will allow the truck to drive through solid matter. The test is a success; Banzai drives the Jet Car directly through a mountain and emerges on the other side, but finds that an alien organism has attached itself to the “car.”
BUCKAROO_2_clip0
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Learning of Banzai’s success, mad scientist Dr. Emilio Lizardo breaks out of the mental hospital for the criminally insane, where he has been a resident for 50 years. A black and white flashback shows Dr. Hikita (Robert Ito) (Banzai’s mentor) present at a failed overthruster experiment of Lizardo’s in 1938, trapping Lizardo briefly in the 8th dimension where his mind is taken over by Lord John Whorfin.
Whorfin is the leader of the Red Lectroids, a race of alien reptiles who waged an expansionist campaign against Planet 10. After being defeated by the peace-loving Black Lectroids, Whorfin and his group were banished into the void of the 8th dimension. Kind of like the villains in Super Man II but with no mirror. Lizardo’s failed experiment accidentally released Whorfin, and he soon brings many of the Red Lectroids to Earth in an incident that was accurately reported in 1938 by Orson Welles in his radio broadcast The War of the Worlds, only to be retracted as fiction.
BUCKAROO_3
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The Red Lectroids are incognito as owners and employees of a defense firm named Yoyodyne Propulsion Systems. The Reds have been building a large spacecraft in the guise of a US Air Force program, the Truncheon bomber. They intend to rescue any remaining 8th dimension exiles and then try to take over Planet 10 again. Whorfin plans to steal the overthruster because they can’t make one of their own. Banzai’s team finds out about what really is going on at Yoyodyne and hacks into their computer only to discover that everyone there has the first name John. At first they believe it’s a joke, but then they notice all the Yoyodyne employees applied for Social Security cards on November 1, 1938 and all in the same town, Grover’s Mill, New Jersey.
In the meantime, a Black Lectroid spacecraft orbiting Earth contacts Banzai, giving him an electric shock that enables him to see through Lectroids’ camouflage (kind of like in Predator they change their image—the Black Lectroids appear to be Rastafarian Jamaicans, while Red Lectroids are Caucasians.) The ship also sends a “thermo-pod” to Earth, with a holographic message from the Black Lectroids’ leader, John Emdall, that gives an ultimatum: stop Whorfin and his army or the Black Lectroids will protect themselves by staging a fake nuclear attack, causing World War III.
With help from the Hong Kong Cavaliers, a collection of civilian volunteers named “The Blue Blaze Irregulars,” and a young woman named Penny Priddy (Ellen Barkin) (a long-lost twin sister of Buckaroo’s late wife), Buckaroo succeeds in his mission, destroying the Red Lectroids and saving Earth.
Whew, that was not the easiest summary to write. The talented cast each play their roles well and the film overall is low budget and looks it. The Adventures of Buckaroo Banzai Across the 8th Dimension!, with its low-budget look and cheesy special effects, fits with its theme of a spoof of 1950’s era science fiction films and all things sci-fi in general. If you can’t laugh at sci-fi don’t bother with this movie you would probably take it personally. Where do I stand on this movie? Well I like it, but I don’t think it is the end all be all of cult movies.
Let’s take a look at some TV shows that may be lost and forgotten. Obviously, these shows may not be lost and forgotten to all of our readers here at JPFmovies, but my guess is that at least two out of the three of the shows I’ve picked probably were lost, forgotten or maybe never heard of. The three lost and forgotten shows are: Love American Style, The John Laroquette Show and The Ropers. When I was thinking about the trio of TV for this post, I wanted some shows that had character but were not terribly popular and easily forgotten. I think each of these series fits the bill.
First Love American Style.
This gem aired from 1969 to 1974. Each show featured several vignettes each lasting about 10-15 minutes of unrelated stories of comedy & romance. The episodes featured different characters, stories, and locations and often featured the same actors playing different characters in several other episodes.
Love and the Geisha
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The show introduced the “mini comedic soap opera” form used later by Aaron Spelling for The Love Boat. In contrast to the The Love Boat, Love American Style’s episodes within the show had no connection to each other but told the same predictable light, emotional stories about love, romance, and relationships.
Garry Marshall (creator of Happy Days) said that Love, American Style was “where failed sitcom pilots went to die,” a theory that was true. If a TV producer could not sell a pilot, they would instead sell the script to Spelling, who took the best parts of the pilot and recast them as a segment on Love, American Style.
The series also used 10–20-second “joke clips” between the highlighted segments, which allowed the show to be padded to the required length without altering the main skits. These joke clips were considered then “risqué,” burlesque- comedy of visual jokes.
After the Show was canceled it became standard in syndication as the stations could edit the show to a half-hour by linking the clips with a main segment, successfully making ten seasons out of five.
Love and the Busy Husband
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They just don’t make them like Love American Style anymore. Some say that is good thing, but I disagree—the show is a fun look back into the campy humor of the late 1960’s and early 70’s. And of course there is the famous theme song that is tough to get out of your head once it is in there.
