One of the greatest unintended consequences of the whole COVID debacle involves what theater owners had to do for a long while to keep their businesses open.
For those who don’t know it, motion picture production simply fell off the map. If actors and actresses weren’t allowed to be in the same working space, then how could stories be captured on film, rendered in post, and released to the masses-at-large? The pandemic had storytellers racing against the clock to figure out creative ways to assemble their products, but as the plague stretched on ridiculously longer than “30 days to slow the spread,” it became very clear that the cineplexes were damn near doomed to endless repeat engagements of what had was completed, even if it was a healthy handful of titles that would’ve otherwise been released direct-to-DVD. Thankfully, somebody somewhere got the bright idea to pull some of the silver screens latest and greatest classics, giving a solid sampling of flicks from the 1960’s, 1970’s, 1980’s, and beyond a wonderful chance to stretch their legs with a return to the shadows and the light. The original Star Wars hit the marquees again, along with such crowd-pleasers as Back To The Future, The Lord Of The Rings, Ghostbusters, and more, all of which brought great joy to film fans around the world.
Furthermore, this trend wasn’t just reserved for the big-name outlets. Smaller venues and bargain theaters picked up on it, many of them crafting their very own classic series to the delight of patrons living on a tighter budget. No longer were such screenings the province of the holiday season, themed throwbacks, or some special engagements, these flicks became part and parcel of the status quo, often times selling more tickets than the latest Disney schlockbuster. I, for one, hope this fad never ever goes out of style, as I do prefer watching so many fabulous motion pictures up on the big screen as was originally intended.
In fact, I recently had the chance to re-experience one of the better films from my high school days: the Joe Dante and Steven Spielberg collaboration Gremlins was something I saw several times in my hometown cinema, and the wifey and I couldn’t pass up the opportunity to see this one together again.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A young man inadvertently breaks three important rules concerning his new pet and unleashes a horde of malevolently mischievous monsters on a small town.”
For those who don’t know it, motion picture production simply fell off the map. If actors and actresses weren’t allowed to be in the same working space, then how could stories be captured on film, rendered in post, and released to the masses-at-large? The pandemic had storytellers racing against the clock to figure out creative ways to assemble their products, but as the plague stretched on ridiculously longer than “30 days to slow the spread,” it became very clear that the cineplexes were damn near doomed to endless repeat engagements of what had was completed, even if it was a healthy handful of titles that would’ve otherwise been released direct-to-DVD. Thankfully, somebody somewhere got the bright idea to pull some of the silver screens latest and greatest classics, giving a solid sampling of flicks from the 1960’s, 1970’s, 1980’s, and beyond a wonderful chance to stretch their legs with a return to the shadows and the light. The original Star Wars hit the marquees again, along with such crowd-pleasers as Back To The Future, The Lord Of The Rings, Ghostbusters, and more, all of which brought great joy to film fans around the world.
Furthermore, this trend wasn’t just reserved for the big-name outlets. Smaller venues and bargain theaters picked up on it, many of them crafting their very own classic series to the delight of patrons living on a tighter budget. No longer were such screenings the province of the holiday season, themed throwbacks, or some special engagements, these flicks became part and parcel of the status quo, often times selling more tickets than the latest Disney schlockbuster. I, for one, hope this fad never ever goes out of style, as I do prefer watching so many fabulous motion pictures up on the big screen as was originally intended.
In fact, I recently had the chance to re-experience one of the better films from my high school days: the Joe Dante and Steven Spielberg collaboration Gremlins was something I saw several times in my hometown cinema, and the wifey and I couldn’t pass up the opportunity to see this one together again.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A young man inadvertently breaks three important rules concerning his new pet and unleashes a horde of malevolently mischievous monsters on a small town.”
Folks watching closely will notice that there are a great number of shots from Joe Dante’s Gremlins that seem eerily familiar. The streets have this feeling that we’ve been here before. The buildings? Why, I know I’ve seen that one, this one, and the other one, too. Though the faces are different, the whole setting and ambiance carries with it an overwhelming sense of déjà vu … but the truth is that when this picture first aired in theaters quite a bit of this familiarity didn’t quite exist yet … yet it would. Today, a good deal of viewers certainly know these small town streets as being those from the fictional Hill Valley, the setting for the widely popular Back To The Future trilogy – another Steven Spielberg production … one that wouldn’t hit screens until 1985.
Still, I think such recognizability probably gives Gremlins the feel and texture suggesting it could co-exist in the same universe of the Robert Zemeckis’ directed hits. Small towns, after all, aren’t ever all that different from one another, and that’s certainly a sentiment that elevates a good many pictures from the 1980’s. Those of us who grew up in them know such streets by heart – in fact, we might all be still running around in them in the dreams that fill our heads at night – and Gremlins definitely taps into that nostalgic hometown vibe wherein the ideals that built America still means something.
But Chris Columbus’ script actively tried to turn such opinions as much on their head as they paid respect to them.
American ingenuity is openly mocked as inventor Randall Peltzer (played by Hoyt Axton) has neither the brains nor the skills to craft his contraptions so they’ll last beyond their initial usage. Town mogul Mrs. Deagle (Polly Holliday) apparently maintains the property rights on everything in Kingston Falls and exists solely to make everyone’s adult lives a living Hell, even stooping to the threats of killing cats and dogs if it’ll advance her personal agenda. Town fuddy-duddy Mr. Futterman (Dick Miller) can no longer suppress his racist tendencies, and he spouts wild and wilder theories about foreign intervention being the curse the United State has to bear. Up’n’coming yuppie Gerald Hopkins (Judge Reinhold) is willing to pull out whatever stops he must in order to get ahead at the bank, even if that means destroying small-town life in favor of maximum profits. Even local sweetheart Kate (Phoebe Cates) can’t bear another holiday season because it’s a dark reminder of that time her dear dad snapped his neck trying to play Santa Claus himself while climbing recklessly down their own chimney. Long gone are the wholesome apple pie times that built this country; in it’s place is an exposed underbelly bursting at the seams.
Yeah, yeah, and yeah: I realize maybe I’m overthinking it, but I’ve always been the type of sees messaging in every decision – there’s no such thing as coincidence, remember – and I’ve no doubt that these were conscious choices made on Columbus and director Joe Dante’s part. Pull back the glossy veneer and show us what’s truly hiding in the American heartland because, then, we’re really going to mess it up further … this time with Gremlins!
Still, I think such recognizability probably gives Gremlins the feel and texture suggesting it could co-exist in the same universe of the Robert Zemeckis’ directed hits. Small towns, after all, aren’t ever all that different from one another, and that’s certainly a sentiment that elevates a good many pictures from the 1980’s. Those of us who grew up in them know such streets by heart – in fact, we might all be still running around in them in the dreams that fill our heads at night – and Gremlins definitely taps into that nostalgic hometown vibe wherein the ideals that built America still means something.
But Chris Columbus’ script actively tried to turn such opinions as much on their head as they paid respect to them.
American ingenuity is openly mocked as inventor Randall Peltzer (played by Hoyt Axton) has neither the brains nor the skills to craft his contraptions so they’ll last beyond their initial usage. Town mogul Mrs. Deagle (Polly Holliday) apparently maintains the property rights on everything in Kingston Falls and exists solely to make everyone’s adult lives a living Hell, even stooping to the threats of killing cats and dogs if it’ll advance her personal agenda. Town fuddy-duddy Mr. Futterman (Dick Miller) can no longer suppress his racist tendencies, and he spouts wild and wilder theories about foreign intervention being the curse the United State has to bear. Up’n’coming yuppie Gerald Hopkins (Judge Reinhold) is willing to pull out whatever stops he must in order to get ahead at the bank, even if that means destroying small-town life in favor of maximum profits. Even local sweetheart Kate (Phoebe Cates) can’t bear another holiday season because it’s a dark reminder of that time her dear dad snapped his neck trying to play Santa Claus himself while climbing recklessly down their own chimney. Long gone are the wholesome apple pie times that built this country; in it’s place is an exposed underbelly bursting at the seams.
Yeah, yeah, and yeah: I realize maybe I’m overthinking it, but I’ve always been the type of sees messaging in every decision – there’s no such thing as coincidence, remember – and I’ve no doubt that these were conscious choices made on Columbus and director Joe Dante’s part. Pull back the glossy veneer and show us what’s truly hiding in the American heartland because, then, we’re really going to mess it up further … this time with Gremlins!
And that’s precisely what happens. Billy (Zach Galligan) never does anything intentionally to set these wicked series of events into motion, but chaos still results when all is said and done. As the film’s only real protagonist, he proves more than capable of standing up much the same way previous generations stood up when history called upon them. The only shortcoming to all of his heroic efforts here is that, ultimately, it’s the cute and fuzzy Gizmo – the story’s cause and its effect – who saves the day, and Billy even loses ownership rights in the last reel when the mysterious Chinese grandfather shows up to repossess the little creature because it’s best for society. America is a gluttonous buffoon on the world stage, and only a magical foreigner can save it from itself.
Setting aside my obvious gripes with Gremlins’ misplaced messaging, the film works in spite of itself – much like America does, too, folks – and delivers the kind of thrills, chills, and spills audiences have come to love from theatrical experiences. It’s easy to follow, wallows in the requisite amount of warm fuzzies involving our fascination with critters and pets, and isn’t afraid of going into some very, very, very dark places not normally reserved for holiday features. Much of this is thankfully tempered by the fact that the most violent Gremlins wind up being explored more as caricatures than authentic monsters: their lunacy is given an almost cartoonish and/or comic book tone, perhaps even challenging viewers to look past the senseless violence and see it precisely as intended … it’s entertainment. Nothing more.
On that level, Gremlins delivers; and I suspect that’s largely why the production continues to delight those who discover decades later. Like a tuft of cotton candy, it looks delicious, it tastes wonderful, and it goes down without a fight. Sure, you’re likely to be hungry later, but the true joy is found with eating it again and again and again. Though one of the creatures gets beheaded, it’s almost as if it’s a harmless beheading. You didn’t think the thing was real, did you? If you did, then you’re the problem. If you didn’t, then you were definitely in on the joke. Now have yourself another stick of cotton candy; it’ll solve all your troubles each time it’s tried.
Gremlins (1984) was produced by Warner Bros. and Amblin Entertainment.
Highly recommended.
While I’m never a fan of live-action chicanery resembling cartoon sensibilities, that’s a small misstep to forgive with Gremlins (1984). It was made with its narrative heart in the right place, and it continues to endure as audiences embrace it as a holiday classic each silly season. Gizmo is delightful, Stripe is about as frightening as critters come, and the entire cast delivers on smaller standout moments whenever Chris Columbus’ script requires it of them. No reboot necessary, Hollywood! Keep this one as it is, and subsequent generations will continue to enjoy it in the years to come.
In the interests of fairness, I’m beholden to no one for this review of Gremlins (1984) as I took it in as a local budget theater in the area.
-- EZ
Setting aside my obvious gripes with Gremlins’ misplaced messaging, the film works in spite of itself – much like America does, too, folks – and delivers the kind of thrills, chills, and spills audiences have come to love from theatrical experiences. It’s easy to follow, wallows in the requisite amount of warm fuzzies involving our fascination with critters and pets, and isn’t afraid of going into some very, very, very dark places not normally reserved for holiday features. Much of this is thankfully tempered by the fact that the most violent Gremlins wind up being explored more as caricatures than authentic monsters: their lunacy is given an almost cartoonish and/or comic book tone, perhaps even challenging viewers to look past the senseless violence and see it precisely as intended … it’s entertainment. Nothing more.
On that level, Gremlins delivers; and I suspect that’s largely why the production continues to delight those who discover decades later. Like a tuft of cotton candy, it looks delicious, it tastes wonderful, and it goes down without a fight. Sure, you’re likely to be hungry later, but the true joy is found with eating it again and again and again. Though one of the creatures gets beheaded, it’s almost as if it’s a harmless beheading. You didn’t think the thing was real, did you? If you did, then you’re the problem. If you didn’t, then you were definitely in on the joke. Now have yourself another stick of cotton candy; it’ll solve all your troubles each time it’s tried.
Gremlins (1984) was produced by Warner Bros. and Amblin Entertainment.
Highly recommended.
While I’m never a fan of live-action chicanery resembling cartoon sensibilities, that’s a small misstep to forgive with Gremlins (1984). It was made with its narrative heart in the right place, and it continues to endure as audiences embrace it as a holiday classic each silly season. Gizmo is delightful, Stripe is about as frightening as critters come, and the entire cast delivers on smaller standout moments whenever Chris Columbus’ script requires it of them. No reboot necessary, Hollywood! Keep this one as it is, and subsequent generations will continue to enjoy it in the years to come.
In the interests of fairness, I’m beholden to no one for this review of Gremlins (1984) as I took it in as a local budget theater in the area.
-- EZ
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