Tag Archives: Bobcat Goldthwait

God Bless America-2012

God Bless America-2012

Director Bobcat Goldthwait

Starring Joel Murray, Tara Lynne Barr

Scott’s Review #1,543

Reviewed August 4, 2026

Grade: A-

Made in 2012, God Bless America is a satisfying experience for viewers who enjoy seeing assholes and mean people get their due.

Its central characters (the heroes) blow the brains out of those miserable human beings we meet every so often and can only fantasize about taking to task.

Shrouded in dark humor and satire, not to mention gore, director/comedian Bobcat Goldthwait revels in situations that fulfill a desire for justice.

He thereby makes his two prominent characters extremely likable, and the rest of the cast hated.

Frank Murdoch (Joel Murray), who lives alone in Syracuse, New York, is middle-aged and works as an insurance salesman in a depressing windowless office.

His colleagues are trite and superficial and lead meaningless lives, finding satisfaction only in talking about a reality show or something mindless each morning.

After being fired for sending a colleague flowers after obtaining her address, Frank is told by his doctor that he has an incurable brain tumor. In addition, his ex-wife Alison (Melinda Page Hamilton) has custody of their daughter Ava (Mackenzie Smith), who has become a spoiled brat.

Frank is sick of how America has fallen into a state of depravity based on pop culture, TV, the Internet, and talk radio. He fantasizes about killing his neighbors, whose screaming baby worsens his migraines and keeps him awake all night.

After his string of missteps, he goes off the deep end, fed up with the cruelty and stupidity of American culture. He meets teenage Roxy Harmon (Tara Lynne Barr), who shares his rage, and they team up to whack reality TV stars, bigots, and other repugnant creatures.

While the premise is not meant to be taken seriously, viewers who go along with it, get the jokes, and understand the crazy situations will find much satisfaction in God Bless America.

The characters who are killed are so completely over the top and raucously annoying that not even a shred of decency emits from their pores.

We cheer and celebrate their demise.

Frank’s stupid neighbors who talk about the most uninteresting and superficial subjects, like a reality show or an action movie, are trite and guzzle whatever little pleasure they can muster.

In the husband’s case, it’s a tacky bright yellow sports car.

Later, a self-absorbed reality star named Chloe (Maddie Hasson) and her equally obnoxious parents are offed in appropriate and satisfying form.

These characters are a representation of the idiocy of America, whose attention is caught by American Superstarz, a talent show craze featuring an intellectually disabled man named Steven Clark, whom the judges mock for his attempts at singing.

Watching the film in 2026, fifteen years after it was made, is powerful and telling.

Four years before the terrible reign of Donald Trump, who ruined American politics and the United States as a whole, who knew that the characters in God Bless America would resonate even more years later?

In a 2026 world of MAGA, ICE, and incompetence in the White House, the United States is even worse than God Bless America states!

After all, it’s the stupidity of voters who would actually elect a baffoonish reality star as their national leader.

You might say ‘it served ’em right’ if not for the other sensible and intelligent portion of the United States.

Goldthwait clearly falls into this bucket as he writes a clever and brilliant screenplay crackling with wackiness that sadly holds in real life.

The people who see God Bless America are largely those who get the humor and are intelligent enough to understand what Goldthwait is going for.

The rest won’t have a clue, which is the reason the film was made in the first place.

The film slows a bit when Frank and Roxy suffer from a misunderstanding and a lie about her past life comes to light. There’s also a bit of sentimentality, which is not the strongest part of the film.

These aspects are not as interesting as the scenes of the pair traversing the United States shoot-em-up style or the wonderful hostage standoff finale.

God Bless America (2011) is a satirical, well-written, and well-produced film solely made for smart people.

Hercules-1997

Hercules-1997

Director Ron Clements, John Musker

Voices Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on Ancient Greek mythology. The premise is one I find fascinating, and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal, but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that are rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special, and it feels too kiddie-like.

It’s like comparing The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a historical album, to a latter-day solo effort by Paul McCartney, and that’s being generous.

It may be fine, but it can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining, but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain, though the best part of Hercules is not the mythological elements. James Woods, who voices the character of Hades, is wonderful, and I’m hardly a James Woods fan, but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of the gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god.

When he becomes an adolescent, Hercules must undergo a rite of passage on Earth to prove himself worthy to live with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me, it will.

Though predictable, the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money, which means a lot of kids saw it. A great reminder is that with any luck, truth and honesty will win out. So will remaining true to oneself.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are being swindled, but there is fun in that.

Megara (Susan Egan), Hercules’ intended love interest, works for Hades, adding a layer of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or romantic potential between the couple.

Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing, but I never felt invested in the character.

The main song from the film is okay, but rather forgettable. The title of “Go the Distance” is a song of determination, but also generic and unmemorable.

The look of the animations has a 1990s vibe, with bright, vibrant colors that feel “of the time” rather than classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and misses completely at other times.

I was enraptured by the historical and mythological gods and the trappings that go along with that mystique, but the modern spin didn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”