Tag Archives: Lin Shaye

There’s Something About Mary-1998

There’s Something About Mary-1998

Director Peter Farrelly, Bobby Farrelly

Starring Ben Stiller, Cameron Diaz, Matt Dillon

Scott’s Review #1,428

Reviewed June 16, 2024

Grade: B+

Since many films are released within the romantic comedy genre most are disposable and forgettable. Very few stand out initially let alone stand the test of time.

Decades later, There’s Something About Mary (1998) holds up well mostly because of its chemistry and laugh-out-loud memorable moments. It also has a heart and is not mean-spirited showcasing a brewing romance people can relate to.

Watching in 2024 particularly interesting is the appeal of Cameron Diaz since retired from acting, and a young Ben Stiller who was then in his heyday and a box-office gem. Brett Favre, who then was a superstar NFL quarterback makes a cameo appearance.

Pleasing is to watch a hit film from decades ago that still offers appeal.

Ted’s (Ben Stiller) unexpected dream prom date with Mary (Cameron Diaz) in 1985 is disastrous due to an embarrassing injury at her home causing them never to get to the prom. Mary leaves town shortly after.

Thirteen years later, pre-social media in 1998, Ted hires shady investigator Pat Healy (Matt Dillon) to track down Mary so he can reconnect with her. Pat becomes obsessed with her and lies to Ted about Mary, finding out everything he can about her to trick her into dating him.

Ted realizes the truth and travels to meet Mary in Miami, Florida where she is a successful orthopedic surgeon to reconnect with her.

Instantaneous hilarity comes to mind from two legendary scenes involving Ben Stiller’s Ted that most people have heard of.

While using the bathroom at Mary’s house before leaving for the prom Ted gets his private parts or ‘frank and beans’, caught in his zipper. Every male viewer will squirm in imagined discomfort but the hijinks with Mary’s parents and neighborhood firefighters who get involved make the sequence legendary.

This pairs well with a later scene when Ted masturbates just before his date with Mary to relax. Mary mistakes some ‘residue’ on Ted’s ear for hair gel and hilariously applies it to her hair causing it to stick straight up in the air during dinner.

Both scenes still feel fresh and natural years later and are now historical.

The introduction of Tucker (Lee Evans) a third admirer of Mary doesn’t work so well in hindsight. The revelation that he is not a British architect but merely a pizza deliverer who injured his back to get close to Mary feels forced and unnecessary.

The triangle between Ted/Mary/Pat is just enough.

The inclusion factors are impressive. In 1985, Mary had a black stepfather and a mentally disabled brother both of whom she adores. When Ted drives from Rhode Island to Florida he stops at a rest area and is assumed to be gay. This is preceded by a session with a psychiatrist who suspects Ted may be gay.

These additions go a long way to showcase normalcy in these individual areas.

It’s also impressive that the Farrelly brothers (Peter and Bobby), who direct the film, make Mary a surgeon paving the way for female viewers to aspire to the same.

There’s Something About Mary gets a slight knock for exploiting female breasts, Mary is seen at least twice through a window putting on a bra while a male spies on her from the distance.

The characters are benevolent especially Ted and Mary making it easy for the audience to root for them. Thanks to the tremendous chemistry between Diaz, Stiller, and Dillon, There’s Something About Mary (1998) feels fresh and romantic without a forced feeling.

A Nightmare on Elm Street-1984

A Nightmare on Elm Street-1984

Director Wes Craven

Starring Heather Langenkamp, John Saxon

Scott’s Review #1,019

Reviewed May 4, 2020

Grade: A-

Pioneer horror director Wes Craven, famous for reinvigorating the slasher genre with humor, wit, and satirically ponderous situations, created the iconic A Nightmare on Elm Street (1984), which introduced the legendary character of Freddie Kruger (Robert Englund) to audiences.

Followed by eight sequels or re-introductions, the debut is a clever affair and a breath of fresh air in the too-often formulaic world of slashers. And who could deny the satisfaction of seeing future Hollywood royalty, Johnny Depp, succumb to the villainous Kruger?

A group of unsuspecting teenagers is tortured both consciously and unconsciously as they dream the nights away, by a hideously disfigured man clad in a striped shirt and a gloved hand with razors.

He taunts and teases the teens unmercifully as they reside, party, and have sex in small-town America, mainly spending their time in high school or on the cursed Elm Street. The main girl to experience Freddie’s devious wrath is Nancy Thompson (Heather Langenkamp), who uses caffeine and more drastic measures to stay awake and alive!

To review A Nightmare on Elm Street without mentioning the Friday the 13th or Halloween franchises would be foolhardy since combined, they make up the “Big Three” of the entertaining slasher genre, each living on in infamy.

To provide a quick chronology, A Nightmare on Elm Street ran from (1984-1994) adding a crossover with Friday the 13th in 2003, and an unnecessary remake in 2010. Friday the 13th hit cinemas in 1980, never looking back until the uninspired remake in 2009.

Finally, Halloween debuted in 1978 and is still churning out relevant chapters.

Whereas Friday the 13th and Halloween chose to stick with a more realistic formula- a crazed killer wielding a butcher knife or an ax, the brief foray into outer space with Jason X (2002) notwithstanding, A Nightmare on Elm Street is the more cerebral of the three, mixing dreams and reality so the viewer is left perplexed and filled with thoughtful questions and is scared.

As each victim is gleefully toyed with, invaded, and killed in their dreams, and thus killed, by the burnt killer, more complexities exist.

Released right smack in the middle of the 1980s- the decade of decadence, where a snug suburban life meant safety and sweet dreams, the target audience is the teenage crowd.

In the height of the Reagan years when everyone and their neighbor had a vacation house, boat, or BMW, this film scared the daylights out of most viewers. Sleep did not come easy for those who took Freddie’s taunts to heart.

While frightening, A Nightmare on Elm Street does not take itself as seriously as Friday the 13th or Halloween does. Infusing humor and snickering fun is a great recipe to differentiate itself from its brethren by taking on straight-ahead horror.

The film can blur the boundaries between the imaginary and the real, toying with audience perceptions at every turn and making them think.

Imaginative, this is not always the film’s key to success. Craven needs to be careful that his story does not teeter off into the absurd or the outlandish, which it did in later installments.

Credit must be given to Englund, who takes crazy Freddie off to orbit with dizzying rapidity, going too over-the-top only once or twice. And who can ever forget the frightening child’s rhyming song featured in the film?

The story always eclipses effects, and Craven is wise to craft a backstory for Kruger to enjoy almost making him sympathetic, but then harshly bringing reality back and making the killer a child murderer.

Still, the parents who took their brand of vengeance and burned Freddie alive are not saints but sinners. This allows Kruger just enough empathy to keep audiences engaged. He’s a fun villain!

A Nightmare on Elm Street (1984) is a timeless classic that introduced the world to one of the horror genre’s best villains.

Unlike Jason and Michael Myers, who are faceless, Freddie Kruger was played by one actor, Robert Englund, who gave him energy, zest, and charm.

He will forever live on in the hearts of slasher fans everywhere.