Category Archives: Kyle MacLachlan

1995 Films, Camp, Drama, Elizabeth Berkley, Gina Gershon, Kyle MacLachlan, Lowest Rated Films, Paul Verhoeven, Thriller

Showgirls-1995

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Showgirls-1995

Director Paul Verhoeven

Starring Elizabeth Berkley, Kyle MacLachlan

Scott’s Review #372

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Reviewed January 31, 2016

Grade: D

Having heard much about the infamously badly reviewed Showgirls (1995), and its ranking as one of the worst films ever made, I finally got around to watching this (twenty years after its release).

Now considered something of a camp classic, I am glad I did.

While I recognize the dubious distinction it holds and does not disagree with it, I also found something slightly entertaining about the film, and my thought process throughout was “this film is so bad that it might be good”, but in the end, it is pretty much just a bad film.

Nomi Malone (Elizabeth Berkley) hitchhikes to Las Vegas intending to find success as a showgirl. Having her belongings stolen, she is then befriended by a kind-hearted woman named Molly, who works as a seamstress at the topless dance revue, Goddess.

Molly takes her in and introduces her to the star of the show-Cristal (Gina Gershon).

A rivalry immediately develops between the women as Cristal mocks Nomi’s job at another topless club. The main story centers on this rivalry, as Nomi attempts to climb the ranks and achieve success in the shady world of adult entertainment.

Along the way she becomes involved with various men, specifically entertainment director (and Cristal’s boyfriend), Zack, played by Kyle MacLachlan, leading to further tensions.

Let me be honest here- Showgirls is a bad film in every way. I observed three major flaws in the film- poor acting, poor writing, and the film being over-the-top on every level.

Let’s break it down.

Within minutes, I knew the acting was sub-par, and I wondered if that was the fault of the director’s (Paul Verhoeven) directing or the actors themselves- or a combination.

Known for directing Basic Instinct (a sexy, smoldering film), one wonders if he had the same success in mind for Showgirls.

Berkeley gets the brunt of the mention since she is the lead character, but, wow what a bad performance. From the over-dramatic delivery to the phony earnestness, I did not buy the performance for a minute and fantasized on more than one occasion about how a different actress might have tackled the role (Nicole Kidman and Julia Roberts came to mind).

Gershon was almost worse as her sexiness and vixen-like character were fraught with an irritating brooding pout.

The writing is one-dimensional- a poor girl tries to achieve success in a bad, bad world and meets challenge after challenge. Nothing new here.

The predictability was apparent almost immediately and most of the characters were unlikable. When Nomi garners interest in a man, he turns into a player with another aspiring female star on the side, feeding her the same lines as he did Nomi.

Even the one sympathetic character (Molly), exists only to make Nomi more likable as is the case when Molly is attacked and Nomi races to her bedside.

Forced and formulaic, this scene is a prime example of poor and contrived writing.

Most scenes play over the top.

Brimming with nudity and sexual excitement, the film is bawdy and party-friendly. In one scene, dancers take a line of coke before hitting the stage and a feud between two of the dancers results in one sabotaging the production so that the other dancer will break her hip.

The larger-than-life (in more than one way) x-rated, well-endowed, mama dancer, while entertaining, is also silly and foolish.

Chaotic and pointless, each scene was hard to believe and take seriously.

You may be wondering what positives can be found in Showgirls- the answer is not many, but there is a charm I found in the film, but perhaps I am glutenous for punishment.

I think the film “feels” like it wants to have fun and a certain level of entertainment can be found in viewing it, but this is like trying to find a needle in the haystack to see any good in Showgirls.

I do not disagree with the distinction that Showgirls (1995) is one of the worst films ever made, but I found a sliver of charm, interest, and fun mixed in with the more prevalent drivel, poor quality, and painfully bad acting.

But perhaps that is because it is so bad.

1986 Films, Angelo Badalamenti, Best Film of the Year, Brad Dourif, David Lynch, Dean Stockwell, Dennis Hopper, Hope Lange, Independent, Independent Thriller, Isabella Rossellini, Kyle MacLachlan, Laura Dern, Scott's Top 100 Films, Thriller

Blue Velvet-1986

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Blue Velvet-1986

Director David Lynch

Starring Kyle MacLachlan, Laura Dern

Top 100 Films #62

Scott’s Review #343

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Reviewed January 9, 2016

Grade: A

Taken from a 1963 Bobby Vinton tune of the same name, Blue Velvet (1986) is an independent thriller noir film directed by the master of the weird and the unusual, David Lynch.

It is surreal in look and so mysterious- almost a pre-cursor to Lynch’s fantastic television series, Twin Peaks. I adore the film and find new facets to it with each passing viewing.

Though it’s not an easy or mainstream watch- the payoff can be big and you know you are watching a deep, layered, film.

The story can be tough to completely understand with only one show, but it goes something like this- Under the guise of a cheerful, suburban surface, evil is lurking somewhere. College student, Jeffrey (MacLachlan) discovers a severed human ear lying in an abandoned lot delivers it to police detective John Williams, and reconnects with the detective’s daughter, Sandy (Dern).

Sandy, being privy to secret information about the case, reveals that a mysterious woman, Dorothy Valens (Isabella Rossellini) resides in an apartment key to the case. Jeffrey and Sandy decide to investigate further and get themselves in over their heads as the mystery deepens.

The dreamlike quality of the film is very compelling and intriguing. Layers upon layers come to the forefront as the story unfolds and very few answers are ever provided- this adds to the mystery and is really the point of the film.

Many aspects are open to interpretation.

The relationship between Jeffrey and the much older Dorothy is fascinating, but what about his chemistry with the innocent Sandy? And who is the Yellowman? When the youngsters see Dorothy perform “Blue Velvet” at her nightclub, it is a great moment in the film.

The character of Frank Booth, played by Dennis Hopper, must be one of the strangest in film history as the man is maniacal and bizarre beyond measure. With his unusual sexual tastes- he enjoys inhaling gas, and sadomasochism, he is a unique character. He is also quite abusive to Dorothy.

The film is a throwback to classic film noir from the 1950s and a clear femme fatale in Dorothy is central to the film.

I find the film so compelling since its subject matter is secrets. Many secrets and dark corruption or various forms of left-of-center dealings reside in this small North Carolina town- it is the audience’s challenge to put all the pieces of this puzzle together.

Oscar Nominations: Best Director-David Lynch

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-David Lynch, Best Male Lead-Dennis Hopper, Best Female Lead-Isabella Rossellini (won), Laura Dern, Best Screenplay, Best Cinematography

2015 Films, Amy Poehler, Animated, Best Animated Feature Oscar Winners, Bill Hader, Bobby Moynihan, Children, Diane Lane, Disney, Flea, John Ratzenberger, Kyle MacLachlan, Lewis Black, Mindy Kaling, Paula Poundstone, Pete Docter, Phyllis Smith, Rashida Jones, Richard Kind

Inside Out-2015

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Inside Out-2015

Director Pete Docter

Starring Amy Poehler, Diane Lane

Scott’s Review #272

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Reviewed September 8, 2015

Grade: B+

Frequently, when I view a modern animated feature, (and by contemporary, I mean 1990 and beyond), I am either bored or left with a “meh” feeling, or both. It seems the trend is “Let’s create a manufactured film that will appeal to kids who will drag their parents to it”.

It is almost as if mediocrity is accepted in the animated film, but Inside Out (2015) challenges this trend with a thoughtful, interesting slab of story.

With this latest Pixar offering, we find a refreshing, intelligent film that makes the viewer think, containing a genuine cute factor, with lots of colors and interesting animation interspersed throughout.

Our story finds eleven-year-old Riley Anderson, and her five different personalities, working within her brain in unison. The emotions are five distinct little people representing (and named) Joy, Sadness, Disgust, Fear, and Anger. They overlap, conflict, and humorously strive to take control of Riley’s mind and thought processes.

Joy is central, and the happiest of emotions. They all live in Riley’s conscious mind, named Headquarters.

One day, Riley and her family pack up and move from Minnesota to the unknown and overwhelming city of San Francisco to capitalize on a job opportunity offered to Riley’s father.

The city is bustling and the family is thrown for a loop. Riley in particular has difficulty adjusting to this vastly different world and finds herself friendless and acting out of character.

Sadness accidentally begins touching other emotions within Riley’s mind, which sets off strange emotions causing her to behave erratically and become irritable.

Joy and Sadness struggle to return to Headquarters and fix the issues.

Inside Out is a complex animated film and will go way above the heads of many youngsters who will undoubtedly see it.

I find this rather refreshing.

It is a coming-of-age tale for adults and mature kids that challenges its audience rather than spitting out a retread or formulaic family story that we have seen countless times.

Riley and her parents are arguably supporting players in the story, taking a back seat to the small, interesting creatures in Riley’s mind. Her mind is a carnival of riches and cool characters emerge. I smiled as more characters were introduced. Riley’s imaginary friend from years ago, Bing Bong, was pulled to the forefront of her emotions, as he was sadly forgotten in her mind.

Who cannot relate to this? A childhood ritual of creating a friend.

I adored the trip through Riley’s mind and marveled at the revelation of the inner workings of her mind, with creative colors and bright interesting lights.

What a super-cool adventure for a young film lover to experience! Inside Out is quite sophisticated.

The main concern is the level of patience that this film requires. It is not a force-fed story but encourages one to experience and feel.

Touching scenes prevail, but the message I receive from Inside Out is important. A multitude of emotions in every human being is normal and the way the film shows them overlap and work together is ingenious. Nobody is one emotion, nor should they be as the movie promotes successfully.

Human beings are meant to feel.

The film also contains humor. I laughed out loud when one character saw a button labeled “puberty” and assumed it was unimportant. This inside joke is also alluded to after the film- a sequel perhaps? Since Riley is only eleven, puberty will be a natural progression.

Inside Out challenges the norm in animated films and entices audiences to think. It feels genuine, which is impressive in itself. It is sentimental without feeling contrived or corny.

The film succeeds on many levels.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won)