Tag Archives: Michael J. Fox

Back to the Future-1985

Back to the Future-1985

Director Robert Zemeckis

Starring Michael J. Fox

Scott’s Review #1,205

Reviewed December 5, 2021

Grade: A-

As a child of the 1980s, films like Back to the Future (1985) left an indelible mark on me.

I fondly recall excitedly going to the movie theater on a Saturday afternoon with a giant tub of popcorn in tow and enjoying the hell out of this film.

I’ve subsequently seen it several times since.

A magical, futuristic element left me and countless other youngsters and adults alike with a sense of wonder. And one amazing car!

Michael J. Fox, a huge television star of the 1980s largely thanks to the sitcom Family Ties, powered through to the big screen with the help of this film and others.

The 1980s were a wonderful decade to grow up in.

Small-town California teen Marty McFly (Fox) is thrown back into the 1950s when an experiment by his eccentric scientist friend Doc Brown (Christopher Lloyd) goes awry.

Traveling through time in an amazing DeLorean, Marty meets younger versions of his parents (Crispin Glover, Lea Thompson) and must make sure they fall in love, or he will cease to exist.

To complicate matters further, Marty must return to his own time and save Doc Brown’s life.

Back to the Future is one of those films that has something for everyone, and the stars are perfectly aligned to make it a blockbuster popcorn hit.

Beyond the science fiction, the film offers humor, a cool 1950s throwback vibe, romance, and natural chemistry between Fox and Lloyd, who carry the film.

It’s hardly an art film and goes for the jugular with mainstream additions like a killer soundtrack led by Huey Lewis and the News’ “The Power of Love,” which was all over Top 40 radio in the summer of ’85.

Counterbalancing the current times was another smash hit, Johnny B. Goode, a 1958 Chuck Berry tune.

There is a safe vibe for sure, and director Robert Zemeckis knows his action-adventure romantic comedies. This may be his best work, but he also tends to avoid diversity and heavy topics. He creates a fun, entertaining film.

Fox is perfectly cast as Marty, and I cannot imagine anyone else in the role. However, method actor Eric Stoltz was the original choice and spent several dismal weeks filming scenes before the studio replaced him.

Fox is the ultimate boy next door, cute but goofy, and relatable to teenage boys across middle America.

Lloyd is perfect as the zany Doc Brown. He is wacky without being too ridiculous and bridges the gap between generations. The character is presumed to be old enough to be Marty’s (in present-day) grandfather, and the two characters rely on each other.

Back to the Future shows that an unlikely friendship can develop.

The film also effectively depicts the vast differences between the 1950s and the 1980s. The 1950s are seen as a simpler, wholesome time, while the 1980s are seen as a decade of excess, and the film pokes fun at both generations.

But both generations can also connect.

In a moment of crisis, Marty helps secure his parents’ bond and ensures his creation. Some may find this icky, but the romance between the two parents is tender and sweet.

The interactions between all characters are sentimental without being saccharine.

Back to the Future was the feel-good film of 1985 and a must-see for those living in the period. It holds up surprisingly well, and the state-of-the-art special effects don’t look dated or laughable now.

It also explores growing up as an adolescent, identifying with your parents, and the differences between you and them.

Who can’t relate to that in some way?

Oscar Nominations: 1 win-Best Original Screenplay, Best Original Song-“The Power of Love, Best Sound, Best Sound Effects Editing (won)

Golden Globe Nominations: Best Picture-Comedy or Musical, Best Actor-Comedy or Musical-Michael J. Fox, Best Screenplay, Best Original Song-“Back to the Future”

Annie-2014

Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis

Scott’s Review #231

220px-Annie2014Poster

Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one television variation exists, and all based on the Broadway hit of the same name, is a saccharine-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me start with the film’s one redeeming quality, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question I might not want to answer.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child, and I sensed awkwardness in the part. Regardless, it did not work.

I did not buy her in the role, and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes about the limited choices in 2014.

Jamie Foxx completely phoned in his performance as Cell-phone technical mogul and mayoral candidate William Sparks.

Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew who, towards the end of the movie, somehow “turns good,” with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, one-note performances as Sparks’s assistant, love interest, and right-hand man.

The film changes so many aspects of the original stage version of Annie that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s; Annie is no longer an orphan but is in foster care.

Miss Hannigan’s first name is changed to Colleen instead of Agatha, and she is now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily don’t appear at all.

The story has zero interest and zero believability.

But the worst part of the film is its corniness. It is so overwrought with contrived scenes that it is hard to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film is full of inconsistencies and is a horrendous modern take on a long-loved treasure; the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, then forgotten for good.