Tag Archives: Leslie Nielsen

1994 Films, Comedy, Fred Ward, George Kennedy, James Earl Jones, Leslie Nielsen, O.J. Simpson, Olympia Dukakis, Pia Zadora, Priscilla Presley, Raquel Welch

Naked Gun 33 1/3: The Final Insult-1994

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Naked Gun 33 1/3: The Final Insult-1994

Director Peter Segal

Starring Leslie Nielsen, George Kennedy

Scott’s Review #1,104

Reviewed January 26, 2021

Grade: B-

Despite being the third and final installment in the popular Naked Gun (1988-1994) franchise, Naked Gun 33 1/3 The Final Insult (1994) is my favorite of the trio despite having a silly title.

The title of “33 1/3” is a reference to the resolutions per minute of an LP playing on a phonograph, a point that has nothing to do with the actual film.

It was also inexplicably decided to leave off the “The” in the title, leaving Naked Gun instead of The Naked Gun.

Why is anyone’s guess? Nor does it matter.

Don’t get me wrong. It’s not a great film but it’s better than the other two, which is shocking in a spoof/screwball comedy going for the standard gags. But, as dumb as the film is, it’s also kind of fun and lightweight.

It’s like a needed chuckle requiring little thought following a rough day at the office.

A familiar formula is followed and this time the events culminate at the glorious Hollywood Oscar celebration, the apple in the eye of all Los Angeles, undoubtedly the main reason this effort is marginally enjoyable.

For unfamiliar viewers, the Naked Gun films are a combination of the Airplane! (1980-1982) and the over-exhausted Police Academy (1984-1994) franchises. The films were out of gas by 1994.

The franchise is based on the short-lived television series Police Squad! (1982), a procedural comedy about bumbling police personnel and the situations they get themselves into to showcase their ineptness.

The Naked Gun 33 1/3: The Final Insult was O.J. Simpson’s final role before he was damned for all eternity for his presumed role in the murder of his wife and her friend in a ritzy area of California.

Leslie Nielsen returns as Frank Drebin, retired and living with his wife Jane (Priscilla Presley). Bored with life, they experience marital problems and seek counseling. Six months after Frank’s retirement, he is visited by Captain Ed Hocken (George Kennedy) and Officer Nordberg (Simpson), who ask for Frank’s help with an investigation.

Police Squad has caught wind that mischievous bomber Rocco Dillon (Fred Ward), who is currently incarcerated, has been hired by terrorists to conduct a major bombing against the United States.

As Frank tries to keep Jane from finding out that he is dabbling in detective work again, he jokes that he is having an affair to throw her off the track. When she begins to suspect he is having an affair this leads to a silly series of misunderstandings and gags which naturally are wrapped up as is always the case in films like this.

Nielsen is the main draw and he does what he does best and what makes him the king of spoof films. A serious actor before Airplane! he became a typecast but had lots of successes ahead of him.

He embraces his role which adds freshness. He doesn’t take himself so seriously so audiences can sit back and relax, enjoying the entertainment.

The lavish awards ceremony and the ingenious idea to plant the bomb within the coveted Best Picture Oscar sealed envelope is delicious, especially when the bomb is set to detonate when the card is pulled from the envelope and the winner is crowned.

This creates a good measure of suspense as the award show carries on toward the big finale.

George Kennedy has little to do but it’s the inclusion of stars like Vanna White, Weird Al Yankovic, and Pia Zadora that add zest to the production.

Director, Peter Segal, famous for lightweight comedies with heart, is wise to keep the running time at a quick one hour and twenty-two minutes. If longer, any momentum the film musters would have disintegrated.

This was his feature-length directorial debut.

The Naked Gun 33 1/3: The Final Insult (1994) may be the best in the trio but that says quite little considering it’s based on funnier and fresher endeavors.

I champion the early Police Academy films for a needed dose of police incompetence and hilarity done up in a fun way. If one must watch a Naked Gun film and is partial to the Academy Awards, this one is begrudgingly suggested.

1980 Films, Comedy, Leslie Nielsen, Lloyd Bridges

Airplane!-1980

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Airplane! -1980

Director Jim Abrahams, David & Jerry Zucker

Starring Robert Hays, Leslie Nielsen, Julie Hagerty

Scott’s Review #1,087

Reviewed December 2, 2020

Grade: A-

Airplane! (1980) is a landmark film in the spoof genre, leading the pack in the decade of silly (the 1980s) where films of this ilk and dumb comedies, in general, became a dime a dozen oversaturating the market.

While the film is unabashedly brainless with gags for miles, the jokes work, and the tasteless brand of humor provides plenty of belly laughs.

Better yet, Airplane! never ages, holding up incredibly well long after its initial release. It’s just perfect for a Saturday late-night watch, or when one needs cheering.

It’s in my Top 10 comedies.

When it was originally released, the timing was perfect to spoof by then the aging world of disaster films. I refuse to believe that Jim Abraham and the Zucker brothers had malcontent on their minds since they created a friendly and benevolent yarn that’s well-timed.

Good comedy is tough to find, but this film gets it right. The monotone dialogue said with straight faces is what makes the hysterics genuine and palpable.

Not unfairly, is to say that Airplane! is to disaster films what Mary Hartman, Mary Hartman was to daytime soap operas. A celebration and a clever wink to each, infusing much-needed light-hearted appreciation.

It’s fun to re-watch Airport (1970) and Airport ’75 with fresh eyes and a new perspective in parallel to this film.

Ted Striker (Robert Hays) is an ex-fighter pilot traumatized by the war, now working as a taxi driver. He is terrified of flying despite his previous occupation.

His girlfriend, Elaine (Julie Haggerty), conveniently a flight attendant, dumps him just before her flight from Los Angeles to Chicago.

Naturally, Ted throws caution to the wind and boards the flight in hopes of reconciling.

When several of the passengers and flight crew succumb to food poisoning, an inflatable named Otto must steer the plane toward Chicago.

The crew convinces Ted to muster up the courage to safely land the plane because Otto cannot do it and subsequently conquer his fear of flying. A perilous yet comical landing ensues, and Ted and Elaine happily reunite.

The plot is a direct steal from Airport ’75 when poor Karen Black’s flight attendant character famously is instructed how to land the aircraft. Until, in a sexist fashion, the men arrive to take control, sending her back to serve coffee. This is intentional and spot-on to show the ridiculous nature of that plot point.

The gags are legendary, the “Surely you can’t be serious”, “I am serious…and don’t call me Shirley” exchange the most famous one, always providing a laugh. The effortless dialogue as inane as it is somehow works exceptionally well and combines brilliantly with the pacing and delivery.

It’s like a long and wonderful episode of television’s Saturday Night Live.

The chemistry between Ted and Elaine is very strong, making the audience root for their eventual reconciliation though it’s obvious they will ride off into the proverbial sunset together.

Actors, Hays and Hagerty deserve tremendous praise for aligning the characters so well. Also of note, are the efforts of Leslie Nielsen and Peter Graves as Doctor Rumack and Captain Oveur, respectively.

Nielsen would subsequently become famous for spoof films, none of them as good as Airplane!

I’ll never profess to be a slapstick person, but Airplane! (1980) is one that I embrace, undoubtedly because of my love for disaster films and fondness for airplanes.

Advisable is to sit back, relax, and enjoy the zany ride that this satirical and very funny film offers.

1980 Films, Horror, Jamie Lee Curtis, Leslie Nielsen, Slasher

Prom Night-1980

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Prom Night-1980

Director Paul Lynch

Starring Jamie Lee Curtis, Leslie Nielsen

Scott’s Review #1,025

Reviewed May 21, 2020

Grade: B

Released in the summer of 1980, Prom Night feels much more like a late 1970s-styled film than the plethora of carbon copy products that were churned out in the early part of its decade.

The film is a conventional slasher whodunit and does not reinvent the wheel, but small tidbits of stylized cinematography are nestled within its formulaic confines during what could be considered throwaway scenes.

Prom Night might be forgotten if not for the casting of “Scream Queen” Jamie Lee Curtis who leads the charge, carrying the story.

The film is heavily influenced by two very popular motion pictures that preceded it. The most obvious comparison, also in the horror genre, is Carrie (1976), which has a gruesome finale set in the usually cheerful late spring high school gymnasium event, known as prom night.

Prom Night also capitalizes on the enormous success of Saturday Night Fever, a 1977 vehicle that made John Travolta and discotheque household names, to say nothing of making teenage girls swoon.

Prom Night even copies a cheesy disco dance sequence.

The story begins, like many horror films do, with an incident that took place many years ago, paving the way for current events.

Youngsters, Wendy, Jude, Kelly, and Nick play hide-and-seek in an abandoned convent. When little Robin Hammond tries to join them, the group starts teasing her, repeating “Kill! Kill! Kill!”, over and over again, frightening her and causing her to accidentally fall to her death through a second-story window.

The children make a pact not to tell anyone what happened and keep the incident a secret. The shadow of an unseen person who witnessed Robin’s death emerges.

Flash-forward to the present day when the children are now in high school and eagerly await a night of dancing, drinking, and perhaps getting lucky, as they flirt and plan their partners for the night.

Robin’s family, led by the stoic Mr. Hammond (Leslie Nielsen) memorializes her on the anniversary of her death as sister Kim (Curtis) and brother Alex (Michael Tough) ready themselves for the prom that night.

Meanwhile, Kelly, Nick, Jude, and Wendy begin to receive menacing phone calls. Could Mr. Hammond, Kim, or Alex be behind the calls, perhaps seeking to avenge Robin’s death, or is this too obvious an approach?

As nightfall draws near the teenagers and their friends begin to fall victim to throat-slitting, a decapitation, and a chase with an ax by a crazed killer wearing a ski mask and black clothing.

An ode to the Halloween franchise in the final act is delicious, but may or may not have been intentional.

The best part of Prom Night is the whodunit factor and most of the fun is trying to figure out who is offing the kids. We know the motivation but not the who.

Red herrings are thrown directly to the audience like bones to a hungry dog.

The creepy, alcoholic janitor, Sykes, leers at the teens and even witnesses one of the murders (spoiler alert- he is not the killer!) but his claims are dismissed as drunken rants.

An escaped sex offender thought to be Robin’s killer, and an enemy of Kim’s are also thrown in to distract the viewer.

There is little character development (surprise, surprise) as standard stock characters are on display. There is the jokester, the bitchy rich girl, the virginal girl, and the obnoxious boy, so diversity is not the ingredient of this film.

A formula is followed and we know the final reveal will be the be-all, end-all of a film like this. Despite being formulaic Prom Night is still enjoyable, never feeling mediocre. Enough is going on to please horror fans seeking thrills.

Not a bad effort, Prom Night (1980) captures the viewer’s attention immediately and is never dull. The one-hour and twenty-nine minutes running time is a smart move as quick and easy can be described in the film.

The surprise reveals genuinely does surprise when the masked killer is revealed.

This is not Halloween (1978), Friday the 13th (1980), or Black Christmas (1974), the cream of the crop in slasher films, but is worth the watch.

1972 Films, Adventure, Carol Lynley, Disaster, Ernest Borgnine, Gene Hackman, Jack Albertson, Leslie Nielsen, Red Buttons, Roddy McDowall, Scott's Top 100 Films, Shelley Winters, Stella Stevens

The Poseidon Adventure-1972

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The Poseidon Adventure-1972

Director Ronald Neame

Starring Gene Hackman, Ernest Borgnine, Shelley Winters

Top 100 Films #12

Scott’s Review #214

867891

Reviewed January 17, 2015

Grade: A

The disaster genre, mainly encompassing the 1970s in film, includes some of my personal favorites and The Poseidon Adventure (1972) is easily at the top of the pile.

Set on a lavish ocean liner, the SS Poseidon, on New Year’s Eve, the doomed ship falls victim to a powerful tsunami while sailing from New York to Athens on its final voyage, causing it to topple over and leaving a handful of survivors to meander through the bowels of the ship in an attempt to find a way out and be rescued.

They are led by a stubborn preacher, played by Gene Hackman.

The appeal of The Poseidon Adventure is, of course, watching the cast of characters in peril and guessing which ones will meet their fates and how- think a slasher film without the horror component.

Featuring an ensemble cast of Hollywood celebs of the day, the characters are introduced to the audience before the tidal wave erupts, so, therefore, we care for them immensely.

There is the former hooker with the heart of gold married to a gruff cop (Stella Stevens and Ernest Borgnine as Mike and Linda Rogo).

Then there is the sweet-natured older couple on the cruise to see their grandchild (Shelley Winters and Jack Albertson as Manny and Belle Rosen).

Pamela Sue Martin plays the teen girl, Susan, who falls madly in love with the preacher- Reverend Scott. Along with her younger brother, Robin, they are traveling to see their parents, who await their arrival.

Roddy McDowall plays a waiter named Acres.

Lastly, Red Buttons plays James Martin, a health-conscious bachelor, and Carol Lynley plays shy singer Nonnie.

Reverend Scott is the moral focal point of the film and questions god several times throughout.

The sets are extraordinary- the colorful Christmas tree in the grand dining room is fantastic. The entire New Year’s Eve party scene is my favorite- it is festive, extravagant, and mixed in with a scene where the ominous tsunami is rapidly approaching.

The festive celebration quickly turns into confusion as the sirens begin to sound, and finally, panic as furniture begins to fly.

Visually this scene is the most intricate- the ship turns upside down after the crash, thus giving the illusion that the bottom of the ship is the top.

Tricky.

From this point on all of the sets to follow are intended to be upside down- a crafty and effective style, but none more than the dining room scene.

A victim toppling and crashing into a giant clock is a memorable scene.

As the group of survivors haggardly make their way throughout the ship they encounter underwater explosions, dead bodies, rushing water, and disputes, mainly between Reverend Scott and Rogo, as to how to proceed to safety.

One by one a handful of the group meets their fates in gruesome fashion- falling into a fire, a heart attack, and falling to one’s death.

Shelley Winters is the comic relief of the film with her humorous quips about her weight, and her death scene brings me to tears each time I experience it.

A heavyset older woman who at one time was a dynamite high school swimmer, she attempts to help the group by holding her breath and swimming underneath the engine room, which is blocked- she does inevitably save the Reverend Scott’s life but succumbs to a heart attack shortly thereafter.

It is a powerful, heartbreaking scene.

The film is a great adventure. What makes The Poseidon Adventure (1972) so timeless and continues to bring so much pleasure? Certainly not high-brow nor high art, but it does not need to be.

It is simply meant to be enjoyed for what it is- a thrilling, fun, entertaining ride.

Oscar Nominations: 1 win-Best Supporting Actress-Shelley Winters, Best Song Original for the Picture-“The Morning After” (won), Best Original Dramatic Score, Best Costume Design, Best Sound, Best Art Direction, Best Cinematography, Best Film Editing