REVIEW COLLECTION: Sidney Poitier

WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. 

Today's profile covers only a fraction of the career of one of our great screen actors. A man who not only broke more barriers than one, but was--and remains--a man of integrity, dignity, and noble character. Ladies and gentlemen, I give you . . . Sidney Poitier. 

Blackboard Jungle (1955)

This controversial, challenging and gripping coming-of-age drama centers on an English teacher (played by an engrossing Glenn Ford) at a rough, inner-city high school, and chronicles the trials and tribulations he experiences and endures during the school year--physically, mentally, and emotionally. This was reportedly one of the first mainstream films to incorporate rock'n'roll music in its soundtrack ("Rock Around the Clock" by Bill Haley and His Comets, long before George Lucas used it in American Graffiti), as well as a breakout feature for a young Sidney Poitier (magnetic as one of Ford's complicated students, and over a decade before he starred in To Sir, With Love). Blackboard Jungle handles its portrayal and awareness of juvenile delinquency (and discussions of race, sex, violence, and gangs) with raw emotion and truth. (5/19/2021) 

Lilies of the Field (1963) 

Sidney Poitier's Oscar-winning performance as a handyman drifter who reluctantly agrees to build a chapel for a group of European nuns found the celebrated actor at, perhaps, his most charismatic and carefree. (Who could forget the "Amen" sequence?) There are some flaws in characterizations and story in this complex tale of conflict and devotion. But its layered themes and visualizations of faith, as well as pride versus humility and teamwork, ring strong in this captivating film, shot brilliantly in black-and-white. (5/13/2021) 

A Patch of Blue (1965)

As I've been discovering the filmography of Sidney Poitier (I know, better late than never), it not only amazes me of the countless barriers he broke in cinema, both as an actor and a person of color; but also that the filmmakers he worked with (particularly in the 1960s) were, perhaps, even more brave and daring when tackling their respective subject matters and social issues that were ahead of their time, and remain groundbreaking and relevant today. 1965's A Patch of Blue, from writer-director Guy Green, is no exception.

I was immediately struck and enchanted by this beautiful and heartbreaking story of a blind, uneducated young woman (Elizabeth Hartman, in a radiant and remarkable debut), living in a run-down apartment with an abusive mother (an Oscar-winning Shelly Winters) and an alcoholic grandfather (Wallace Ford, in his final film role), who meets and falls for a black man (Poitier), all while learning about the world around her. With perfect black-and-white cinematography by Robert Burks (along with Rita Roland and Hal G. Davis's crisp editing, and Green's expert direction), the strength of the film lies in its strong performances, particularly the kind and respectable relationship that blossoms between Poitier's Gordon and Hartman's Selina. Keep in mind this was two years before Guess Who's Coming to Dinner and its own handling of interracial coupling.

The film can be difficult to watch, even for its Sixties setting (a few scenes involve the aforementioned abuse and, at one point, an implied rape). Nevertheless, this is a bold and worthwhile story about tolerance and caring for others, and it does so without resorting to conventional melodrama. This is a true and original hidden gem. (5/10/2021) 

In the Heat of the Night (1967)

Director Norman Jewison's thrilling and daring police drama, centered on two differing police officers (one black and one white) solving a homicide in a quiet Mississippi town in the 1960s, is not only an essential time capsule. It's also represents a radical change that was taking place in the U.S. as far as racial tensions, and how much we have and/or have not changed in retrospect. Carried by strong performances from the great Sidney Poitier and Rod Steiger, the film stands as a masterclass in acting, socially-conscious filmmaking, and challenging storytelling, not to mention powerful illustrations of abused power/authority and maintaining one's dignity. The choices that Poitier makes as an actor, as a character ("They call me Mr. Tibbs!"), and as a human being, are all very bold and genuine. The pivotal scene in the police station involving the wife of the murdered witness is a great case in point. (4/29/2021) 

Guess Who's Coming to Dinner (1967)

A film that was truly ahead of its time, this Stanley Kramer-directed love story centers on an interracial couple (a possible first for a mainstream Hollywood film) as they visit the young woman's parents in San Francisco. It isn't long before the elephant in the room is addressed, considering its Civil Rights era setting. And yet, the directions this story takes with its character dynamics--and its themes on race, social status, generational changes, and family--are really subversive and thought-provoking, even if they can get crass. It certainly benefits from strong performances, with Poitier and then-unknown Katherine Houghton as the central couple, and screen veterans Katherine Hepburn (who won an Oscar for her performance) and Spencer Tracy (who was reportedly ill at the time and passed away shortly after filming wrapped) at the top of their game. A cinematic experience that will leave you speechless. (5/2/2021) 

To Sir, With Love (1967)

One of three landmark films to be headlined by Sidney Poitier in 1967 (the other two being Guess Who's Coming to Dinner and In the Heat of the Night). Here, Poitier plays a replacement teacher assigned to an undisciplined school in London, to educate a classroom of rebellious and troubled students. It doesn't take long for Poitier's Mark Thackeray to realize that his approach must involved treating his pupils not as children, but as developing adults. An unconventional coming-of-age story that examines 1960s youth (though not as dated as it seems) from abroad, generating discussions that range from work to marriage, sex, life, death, and facing the world's many adversities. As with many of Poitier's films, To Sir, With Love wisely avoids the melodrama and cliches that generally dodge this genre. Superb and ingenious. (5/11/2021) 

REVIEW COLLECTION: Terrence Malick

WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. 

Today's profile covers roughly the first half of the career of one of our most radical, challenging, and poetic filmmakers. 

Badlands (1973)

The debut feature film of legendary and enigmatic auteur Terrence Malick. An intriguing but provocative take on the Charles Starkweather killing spree of the late 1950s, four things caught my attention right away: the stunning cinematography (set in Texas, impressionistic and almost folk-like), George Tipton's offbeat score, and the performances of a young Martin Sheen (emulating James Dean) and Sissy Spacek (three years before she immortalized Stephen King's Carrie) as a young couple on the run from authorities across the American landscape. The use of Spacek's engrossing voiceover narration and Billy Weber's stream-of-conscious editing juxtaposed with a shocking true story is strange and haunting to say the least, considering the complex thematic undertones of nature, humanity and adolescence involved. Malick (known to have a very private life) makes an extremely rare appearance, as a yellow hat-wearing architect. (4/12/2021) 

Days of Heaven (1978)

Having now officially seen Terrence Malick's impressive-yet-provocative 1973 debut feature film Badlands, I found his 1978 sophomoric follow-up to be a more challenging piece to wrap my head around. Sure, it features standout and breakthrough performances from Richard Gere and late playwright Sam Shepard (plus intriguing narration from a young Linda Manz), as well as striking cinematography by Nestor Almendros with Haskell Wexler and John Bailey (the eponymous house was a real practical set) and a haunting score by the legendary Ennio Morricone (incorporating the "Aquarium" movement from Camille Saint-Saens' "Carnival of the Animals"). On the other hand, its unconventional narrative and impressionistic tone (with a story set against turn-of-the-century labor, a central love triangle, spiritual elements like a plague of locusts, and a tragic American idyll) requires more than one viewing, not to mention deep philosophical conversations (generally the case with Malick). I can only imagine what those conversations in the editing room were like. Days of Heaven is, perhaps, the one film from the 1970s, other than Stanley Kubrick's 1975 period drama Barry Lyndon, to use such distinct naturalism. (4/20/2021) 

The Thin Red Line (1998)

After being out of the Hollywood scene for two decades, Malick made a surprise return to the director's chair with this stirring and challenging adaptation of James Jones' 1962 novel centered on the WWII battle for Guadalcanal. Boasting an incredible ensemble cast (with standout performances from Jim Caviezel, Sean Penn, Nick Nolte, and Elias Koteas--voice over narration comes from various characters throughout the story as well), this is one of the most unique war films I've ever seen. Considering it was released the same year as Steven Spielberg's Saving Private Ryan, Malick's film is more impressionistic and philosophical by comparison, with themes on life, death, violence and war, nature, and eternity; not to mention stunning, poetic imagery (as is common with Malick's filmography, and with support from Hans Zimmer's haunting and ethereal score).

TRIVIAL FACT: Several A-list actors and up-and-coming stars auditioned for the film and even initially had supporting roles (from Martin Sheen to Billy Bob Thorton, Lukas Haas, and Mickey Rourke), but their respective scenes were left on the cutting room floor. Only a few of these scenes can be found on the Criterion bluray and DVD editions. (7/20/2021) 

The New World (2005)

Terrence Malick's singular take on the Virginia Company's voyage to America and their settlement in Jamestown in the early-1600s may be one of the acclaimed director's most overlooked films. Centered primarily on the relationship between Captain John Smith (a superbly-restrained Colin Farrell) and Powatan tribe daughter Pocahontas (a revelatory debut from Q'orianka Kilcher), as well as the latter's subsequent journey to England, the film is thoroughly meditative in its ever-changing period setting, with themes of love, war, nature, spirituality, and colonization. It slows down in its second act (especially in the extended cut), while the apparent and significant age difference in the central romance will be off-putting for more discerning viewers. Those elements notwithstanding, the experience is uncompromising, complete with a stellar supporting cast (Christopher Plummer, Christian Bale, August Schellenberg, Wes Studi), Emmanuel Lubezki's stunning cinematography, and Jack Fisk's genuine production design.

TRIVIAL FACT #1: For the Criterion edition, three versions of this film exist: an extended cut (170 min, with specific chapter titles), the first cut (150 min.), and the theatrical cut (135 min.). If I had to go with one version--and since I've recently been invested in "director's cuts" and artistic integrity vs. studio interference--it would be the 150-minute one.

TRIVIAL FACT #2: This is the first of Malick's films to include opening credits since 1978's Days of Heaven, complete with background illustrations. (7/27/2021) 

The Tree of Life (2011)

Terrence Malick has made some very unconventional films in his fifty-plus years as a writer-director. But perhaps no project in his filmography is more ambitious or challenging as his 2011 Palme D'Or-winning drama The Tree of Life. Juxtaposing the creation of the universe (a visually stunning sequence, to be sure) and a family in 1950s Texas, the centerpiece of Tree of Life poetically and provocatively embodies nature and grace, love and hate, innocence and rebellion, physical life and the afterlife. The experience may be experimental--and will easily try the patience of more traditional viewers--but it's also thoroughly meditative, sensory, and personal/subjective. The use of practical, groundbreaking special effects in the aforementioned sequence (with consultation from effects veteran Douglas Trumbell), along with Emmanuel Lubezki's captivating cinematography and Jessica Chastain's breakout performance as the family matriarch, have helped make this one of the most acclaimed (and divisive) films of the 21st Century.

TRIVIAL FACT #1: Like The New World, the Criterion edition of The Tree of Life contains both the theatrical cut and an extended version (featuring fifty minutes of new footage), as well as an intriguing supplemental feature where music critic Alex Ross discusses Malick's unconventional use of classical music in his films.

TRIVIAL FACT #2: If there are at least two images from this film that stand out, they include Chastain gently catching a butterfly and Pitt holding out his baby boy's feet. (8/10/2021) 

WRITER'S CUT: Expect the Unexpected, Part II--Hughes Goes "Home Alone" Again and Into the Nineties

"WRITER'S CUT": A collection of previously-published posts that have been thoroughly re-examined and re-edited by yours truly. The following is a combination of two pieces that were originally published on June 19, 2016, and December 17, 2017, respectively. 

Even before the holiday comedy classic Home Alone was released in 1990, writer-producer John Hughes had several other theatrical projects in the pipeline for the following year. These included the crude road trip comedy Dutch, the romantic comedies Career Opportunities and Only the Lonely (the latter being a rare occasion where Hughes served only as producer), and his eighth directorial effort Curly Sue (about a con artist father-daughter duo). All of these films ended up performing below expectations, while Curly Sue ended up being the last film Hughes would ever direct in his lifetime.

When Home Alone became a surprise sleeper hit, its success not only led to becoming the highest-grossing live-action comedy at the time--as well as Hughes being named "Producer of the Year" by the National Association of Theater Owners later that spring--but also guaranteed a sequel. And a sequel (and sure-fire blockbuster) is what audiences and critics got in 1992 with Home Alone 2: Lost In New York, with most of the same cast and crew returning. It also confirmed a radical (though not as influential) shift that Hughes had been making, from stories of young adults and into broad family comedies. 

The formula was the same: the McCallister clan accidentally leave behind the black sheep of the family (Kevin), who eventually faces off against two burglars. Only here, he gets on the wrong plane after a mix-up, lands in New York City at the famed Plaza Hotel (where he encounters a snooty concierge and bellman, played by a scene-stealing Tim Curry and Rob Schneider, respectively), befriends a mysterious stranger (Oscar-winner Brenda Fricker plays the "Pigeon Lady") and a kind-hearted toy store owner (played by the late Eddie Bracken a.k.a. Roy Walley from National Lampoon's Vacation), and eventually runs into some old foes (the Wet Bandits). 

Many should agree that the film's title is misleading, as Kevin is not really "home" alone this time around. (An alternate title like "Alone Again" or "Alone in New York" would've been more legitimate.) In fact, the only reason Home Alone 2 exists--as is the case with many sequels--is to capitalize on the success of its predeccesor, as well as the growing star-power of its young lead. It was also the first of many copycat films that occupied "family entertainment" throughout the decade, some written and produced by Hughes himself. These included Dennis the Menace (1993), Baby's Day Out (1994), the second sequel Home Alone 3 (1997), and even Disney-distributed live-action remakes of 101 Dalmatians (1996) and Flubber (1997).

Home Alone 2 does have its moments. Culkin still delivers, complete with a signature wardrobe, demeanor, and trusty Talkboy recorder (a must-have among Nineties kids). He even peaks through a mail slot at one point, recalling one of his famous scenes from Uncle Buck. There's also some clever meta humor referencing events from the previous movie, such as rushing to the airport, ordering cheese pizza, and burglars attempting to outrun various (sometimes familiar) traps. And Kevin's montage through New York for the first time (ending atop the Twin Towers, and perfectly set to Darlene Love's "All Alone On Christmas") is a noteworthy time capsule, as well as something of a travelogue for the Big Apple (much like Chicago was in Ferris Bueller's Day Off).

Joe Pesci and Daniel Stern in Home Alone 2: Lost in New York

It's the subplot involving the Plaza Hotel where the movie has more originality and could of benefited more from, instead of just simply retreading the same characters and cliches from the last installment. With that in mind, the sentimentality and dilemmas throughout the rest of this sequel feel forced and unconvincing, from discussions about Christmas trees to family conflicts and the meaning of life. The sentimentality in the original, by comparison, was more believable, even tear-jerking, thanks in part to John Williams' unforgettable score and the more sincere performances. 

The fact that Kevin (perhaps inevitably) encounters the same crooks as before (Joe Pesci's Harry and Daniel Stern's Marv) only adds to its unoriginality. This time, both characters are a strange combination of dim-witted, cartoony, and vengeful, as they plan a huge holiday heist at a popular toy store. (Stern is a natural when it comes to physical comedy, that's for sure.) Kevin's response: "You can mess with a lot of things, but you can't mess with kids on Christmas." Furthermore (and think about it), instead of defending his home, Kevin uses another place (his uncle's residence, under renovation) to lure the burglars in as an excuse to set the infamous traps on them. 

One of the biggest criticisms the original film received was for its violence, which film critic Leonard Maltin described as "a bit extreme." Lost in New York takes those extremes to a whole new level, becoming more sadistic, dangerous, and even weird. Instead of just paint cans and iced turfs, there are kerosene explosions, staple guns, bricks to the face, two-story falls, and on and on it goes. So much so, that it gets to the point of feeling abusive. To be fair, the gags in the original (while edgy and sometimes problematic) were unexpected and clever. Still, YouTube channel "Screen Junkies" consulted a real-life medical doctor to describe what would really happen in these situations. 

Perhaps the biggest disadvantage that the first Home Alone had, certainly as far as the box-office and Hollywood were concerned, was the belief that a "family comedy" needed to have Three Stooges-style slapstick in order to be a hit--which would explain the aforementioned films Hughes made in the decade, and why they didn't work as a result. The same goes for the silly motif of adults constantly getting outsmarted and brutally mauled by plucky tykes.

For instance, along with the aforementioned levels of violence, the expectations and timing of the gags throughout these comedies became longer and more predicable, resulting in humor that was ill-timed, overwhelming and repetitive. The protagonists in these movies seemed to age down as well, from pre-teenagers to babies, as well as animals (remember 1992's Beethoven?) and even bouncing green goo. Meanwhile, adult characters (whether Mr. Wilson or Switchblade Sam from Dennis the Menace, or Jasper and Horace from 101 Dalmatians) would continue to be the butt of the joke. Ironic, considering Hughes had previously been known for his authentic portrayals of young adults. Because of this trend, Hughes seemed to appeal to the lowest common denominator in film and entertainment. According to Watchmojo, many critics felt that Hughes "had traded his sharp writing and dialogue [from his teen movies of the 80s] for crude, broad-based humor." 

Macaulay Culkin in Home Alone 2: Lost in New York

There's a moment in Home Alone 2 where Kevin tells himself, "I don't ever want to take a vacation like this again." Many viewers probably wouldn't want to either, as the franchise formula started to wear thin so soon. The following year, Macaulay Culkin would star in the dark thriller The Good Son, followed by the live-action/animated fantasy The Pagemaster in 1994. He eventually took a hiatus from acting and never returned to the Home Alone universe (save for an episode of the web series "DRYVRS" in 2015, as well as a terrific Google Assistant commercial in 2018).

Hughes, meanwhile, had practically given up making movies by the end of the 1990s, and spent his remaining years with his family in Illinois (and reportedly took up farming). Some of his scripts were occasionally produced, including 1998's widely-unseen Reach the Rock, before his unexpected passing in 2009. His final film credit (as a story-writer, under the pseudonym "Edmond Dantes") was the 2008 Judd Apatow-produced comedy Drillbit Taylor starring Owen Wilson. Though his latter films weren't as impactful (namely, those in the 1990s), John Hughes will nevertheless be remembered for his defining mark on the coming-of-age genre, which continues to influence contemporary cinema today.

As far as Home Alone is concerned, the lesson there is that, sometimes, what works the first time around doesn't necessarily (nor always) work the second time around or so forth. In other words, some franchises are best left at one installment. And that's something no cinephile (or Hughes fan, for that matter) should forget about. 

WRITER'S CUT: Expect the Unexpected--There's No Place Like "Home Alone"

"WRITER'S CUT": A collection of previously-published posts that have been thoroughly reexamined and re-edited by yours truly. (The following is a combination of two pieces that were originally published on June 19, 2016, and December 17, 2017, respectively.) 

There's a scene in the 1989 film Uncle Buck where the titular character's nephew peaks through a front-door mail slot and interrogates a potential babysitter. This scene reportedly inspired writer-director John Hughes to create another family vehicle, this time with that same boy (a then-unknown child actor named Macaulay Culkin) in the lead role. The premise was simple: an eight-year-old is accidentally left behind by his family when they head to Paris for Christmas vacation, and defends his home from two burglars who try to break in. This high-concept plot that eventually became Home Alone went on to become--quite unexpectedly--a wild commercial success and a pop-culture phenomenon when it was released in November of 1990. 

Hughes had been transitioning from his original teenage stories of the mid-1980s (i.e., Sixteen Candles, The Breakfast Club, Ferris Bueller's Day Off) to more adult-oriented fare (i.e., Planes, Trains & Automobiles; She's Having a Baby), before eventually settling on edgy "family" entertainment. He even made time to write a sequel to his 1983 road trip comedy, National Lampoon’s Vacation--aptly titled, National Lampoon’s Christmas Vacation--which, like Planes, has since become a seasonal watch every year. Home Alone has been a part of that same watch cycle as well, despite its darker undertones. 

From the opening credits, Home Alone already has a spooky atmosphere, like one of those "scary ghost stories" we hear Andy Williams singing about every holiday season. Chaos ensues as the McCallister clan packs and prepares for their flight the next morning, leading to a mix-up that leaves young and neglected Kevin (looked down on as the troublemaking black sheep of the family) by himself. I mean, who couldn't identify with growing up and feeling neglected at times by others, including family? As one character tells us, families can be complicated. 

Then there's the subplot involving the possible murderer-neighbor next door. It's no spoiler, really, that this turns out to be an urban myth. Still, one such scene involving Old Man Marley used to scare me as a child; or maybe it was just Culkin’s reaction that did so. The advertisements with Kevin’s famous scream (recalling Edward Munch's aptly-named painting) certainly traumatized me. Yet, unlike director Chris Columbus's previous holiday blockbuster Gremlins (which featured mischievous, even murderous, creatures terrorizing a small American town on Christmas Eve), Home Alone isn't mean-spirited or as nightmarish in comparison. In fact, the themes here have more to do with holiday memories rather than consumerism. As everyone will certainly agree, Culkin is half the reason Home Alone struck a chord (and continues to) with audiences; ditto John Williams' unforgettable score, recalling a similar effect the legendary composer had on Steven Spielberg's 1975 summer tentpole Jaws. With enough emphasis on the joys of having a house to himself and eventually realizing the importance of family, Culkin carries the film splendidly. Sure, it’s implausible that any other child could do all the things his character does (this is surreal fantasy, after all), but we still feel for him anyway.

The famous "home" in Winnetka, Illinois

In spite of scarring me as a young boy, I nevertheless credit this film for introducing me to several other Christmas staples, ranging from classic tunes like Chuck Berry’s “Run Run Rudolph" and Brenda Lee’s “Rockin’ Around the Christmas Tree,” to clips of the animated Grinch television special. Home Alone even created some iconic moments of its own, from the front yard statue constantly getting knocked over by the pizza delivery man, to Kevin's mannequin diversion (complete with a life-sized cardboard cutout of Michael Jordan) and the bathroom scene featuring the film's central image. And then there are, of course, the booby traps. 

From a screenwriting standpoint, Home Alone is actually well-written. Even when it's silly, Hughes's trademark wit, vernacular ("Don't you know how to knock, flem-wad?") and fourth-wall breaking (“I made my family disappear”) are all genuine, and the story follows a typical three-act structure brilliantly. Again, its premise is simple, and yet there's a timeless quality that permeates the film, from Julio Macat's unforgettable cinematography to the subtle color schemes of reds and greens. As The Breakfast Club and E.T. did previously, Hughes really makes the most out of Home Alone's titular setting, making a suburban neighborhood and home feel like an epic, adolescent adventure, as well as a universal experience. "To me, this was always an A picture," Hughes once told the New York Times, "and I didn't want to see it treated as a B kiddie picture." In her 2010 book, "You Couldn't Ignore Me If You Tried," author Susannah Gora writes, "Hughes's genius was not only coming up with the simple idea . . ., but knowing it would work . . ." 

The casting remains irreplaceable as well. Along with Culkin and "Wet Bandits" Joe Pesci (the same year he played Tommy DeVito in Goodfellas) and Daniel Stern (equally remembered for screaming with a tarantula on his face), there's Second City veteran Catherine O'Hara and the late John Heard (both convincing as Kevin's parents), late character actor Roberts Blossom (as the forbidding neighbor, whose pivotal scene in a church is endearing), and John Candy (whom I honestly keep forgetting cameos as a polka musician). Home Alone was also a turning point for Columbus, who went on to direct Robin Williams in Mrs. Doubtfire (1993) and a then-unknown Daniel Radcliffe and company in the first two Harry Potter films (2001-02), as well as produce the Oscar-winning The Help (2011).

Director Chris Columbus and Macaulay Culkin on the set of Home Alone

At the time of its release, Home Alone was only the third highest-grossing film worldwide, behind Star Wars (1977) and E.T.. It even stayed in the top ten at the box-office for twelve consecutive weeks and (adjusted for inflation) holds the record as the second highest-grossing live-action comedy of all-time (behind Ghostbusters [1984]). Like the previous year’s box-office champ Batman, Home Alone garnered mixed reviews from critics, and represented an exponential trend in mass entertainment that would dominate the second-half of the decade with tentpoles like Independence Day and Star Wars: Episode I--The Phantom Menace.

Taking recent tragedies into account, however, the fake movie-within-the-movie, "Angels With Filthy Souls" (along with Kevin branding a Red Ryder-style BB gun a la Ralph Parker) is, in retrospect, a bit disturbing to watch. And some of the booby traps during the climax (particularly the pasted nail, blow torch, and heated doorknob) really test the film's PG-rating. Stern's Marv even loses his shoes and socks, and walks around barefoot like Bruce Willis in Die Hard. Some parents were reportedly upset about this level of violence, and the stamped “Parental Guidance Suggested” label in poster advertisements was rightfully deserved. Not as much emphasis is placed on a brief moment where Kevin discovers a Playboy magazine in his older brother's bedroom. (To his credit, he discards the magazine as "sickening.") 

This is the kind of film that could never be made today--at least, not the way it was back in 1990. It does suffer from a few drags, such as when Kevin's mom tries to get countless flights back home. Even so, Home Alone remains a classic piece of cinematic nostalgia, not to mention a now-seasonal comedy that's still making a scream years later, for better or worse. It's also proof that some of the most original ideas can come from anywhere, even from a mail slot. 

REVIEW COLLECTION: John Hughes

WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. 

Today's profile: the late writer-director-producer JOHN HUGHES

The Breakfast Club (1985) 

Of all of the films John Hughes made as a writer-director, this angst-ridden, coming-of-age, ensemble comedy-drama from 1985 is most certainly one of his best, most unforgettable, and most challenging. An unconventional filmmaking approach, considering its singular high school setting and its dynamic and raw characters (who have more layers and commonalities than we think). You couldn't ignore it if you tried. (1/14/2021) 

Pretty in Pink (1986) 

Pretty in Pink certainly wasn't the first movie that Hughes wrote but didn't direct. But his sensibilities are certainly evident and this 1986 coming-of-age story about economic class differences and anxieties, including a love triangle with more layers than most other related stories put together (I'm looking at you, She's All That). Personally I didn't identify with the culture of rich kids. But the emotional struggles and anxiety these characters generally go through are relatable and understanding (especially Molly Ringwald's Andie and Jon Cryer's Duckie). "His name is Blaine?! That's a major appliance, that's not a name!" The film's ending remains controversial, and a reason why Hughes reportedly wrote the similarly-themed although tonally-different Some Kind of Wonderful in 1987.

Fun fact: Wonderful's Eric Stoltz was originally cast (and filmed some scenes) as Marty McFly in Back to the Future before being replaced by Michael J. Fox. He did eventually work alongside actress Lea Thompson, who, after starring in the critically- and commercially-disastrous Howard the Duck in '86, had something of a career-saving role as popular girl Amanda Jones. (1/17/2021) 

Ferris Bueller’s Day Off (1986) 

"Bueller? . . . Bueller?" Regarded by many as the best film written and directed by John Hughes, Ferris Bueller's Day Off not only boasts a hysterical and hilarious fourth-wall comedy crusade, featuring an irreplaceable Matthew Broderick as the iconic hooky-playing high schooler (even though nobody's really this free-spirited), Alan Ruck as best friend Cameron, and Mia Sara as girlfriend Sloane. And let's not forget Jeffrey Jones' hard-nosed principal Ed Rooney, Jennifer Grey's envious Jeanie, and Ben Stein's droll economics teacher. This classic example of fantastical realism (a trademark of Hughes' filmography) also stands as something of a travelogue for the city of Chicago, Illinois. I mean, who could ever forget the art museum tour, or the parade-crashing sequence? If you haven't seen it yet but will soon ("Anyone? Anyone?"), stay through the credits!

Fun fact: This film and The Breakfast Club are the only John Hughes titles selected into the National Film Registry by the Library of Congress for being "historically, culturally, and aesthetically significant". (1/17/2021) 

Planes, Trains & Automobiles (1987) 

Watching and reflecting on Planes, Trains & Automobiles this week reminded me of how cinematic the late John Hughes was in the 1980s, in a very unconventional, down-to-earth, non-Hollywood way. He also happened to make some of the most unforgettable movies that have since become holiday staples every year. For Christmas, we have Home Alone and, well, National Lampoon’s Christmas Vacation. For Thanksgiving, we have this film. And in terms of working with the late John Candy, Hughes really knew how to play to the beloved actor's strengths and bring out the qualities that made Candy such an admirable actor and person. Cheers, and happy Thanksgiving, everybody. (11/26/2020) 

She’s Having a Baby (1988) 

Before Planes, Trains & Automobiles, Hughes technically made the transition from stories about teenage adolescence into adulthood with She's Having a Baby (released in February 1988, three months after Planes). Narrated and headlined by Kevin Bacon, Baby received mixed to negative reviews from critics and did poor at the box-office, likely due to its polarizing, often-dark take on marriage, love, sex, and childbearing. 

Even though it features some clever surreal/fantasy moments (such as a neighborhood song-and-dance number, complete with lawnmowers and sprinklers) and various celebrity cameo appearances during the credits, it will more often than not have viewers scratching their heads in depression and wondering, "What are we to make of this film?" Nevertheless, Hughes did recuperate with subsequent and successful hit movies starring John Candy, including 1988's The Great Outdoors and our next film. (1/19/2021) 

Uncle Buck (1989) 

John Hughes directed the John Candy in one of his most unforgettable roles, as an obnoxious but endearing uncle who looks after his nieces and nephew during a family crisis. If released today, this 1989 not-really-family-friendly comedy would likely be rated PG-13, due to some surprisingly crass content. Still, this has what most comedies lack today: a genuine balance of humor, heart, and heightened laughs. (Honestly, nobody cooks pancakes or does laundry like Buck Russell!) And nobody but Candy could've pulled off such a tailor-made performance so seamlessly. At its heart, it's a story about an estranged relative who gets a second chance to know his family again, particularly during a complex dynamic with his niece (a brief return to teenage angst for Hughes).

Fun fact #1: Uncle Buck introduced Hughes to a then-unknown child actor named Macaulay Culkin (who plays nephew Miles). Reportedly, Hughes was inspired to write 1990's Home Alone specifically for Culkin, based on a scene where Miles interrogates a potential babysitter through a front door mail slot.

Fun fact #2: This is one of two films from 1989 that featured actresses Amy Madigan and Gaby Hoffman (the other being Field of Dreams). (1/19/2021) 

REVIEW COLLECTION: Robin Williams

WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) throughout the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. 

The following is a tribute to one of my heroes. 

*** 

Good Morning, Vietnam! (1987) 

In reflecting on the incredible career of the greatly-missed-but-never-forgotten Robin Williams, you have to mention this hysterical 1987 military comedy-drama. Very loosely based on real-life radio DJ Adrian Cronauer, I'll never forget one of my high school mentors summarizing this movie. He politely advised me how serious the story gets, considering its setting during the early years of the Vietnam war, but also how funny Williams is every time he's on as a jockey. His voice certainly electrifies the airwaves, even after all these years. (This one's for you, Dad.) (2/24/2021) 

Dead Poets Society (1989) 

Williams' performance as an unorthodox prep school English teacher who inspires his students to rise above conventional wisdom and pressuring social norms still holds up remarkably well. But let's be honest, it's also an emotionally painful film to watch, particularly with the expectations parents had on their children during the mid-20th century, not to mention an aching climax. Still, John Keating is the kind of teacher that challenges and encourages us to understand ourselves, as well as recognize those who have influenced us greatly--in education, in family, and in our own unique identities. "O Captain, my captain!" (1/25/2021) 

Awakenings (1990)

A remarkable yet bittersweet true story based on neurologist Oliver Sack's groundbreaking experiments in the mid-20th century, where several patients "awakened" from decades in catatonic states. Robert DeNiro and Robin Williams both give restrained and believable performances as patient and doctor, respectively. (You completely forget it's DeNiro for the film's first half.) Penny Marshall's direction, Steven Zaillian's screenplay, and Randy Newman's score hit the right notes without getting overtly sentimental. A difficult but profound experience. (2/15/2021) 

Mrs. Doubtfire (1993)

The movie that first made me aware of the immense talent that was Robin Williams. With a hysterical and touching story about a divorced family man who masquerades as a British nanny to be with his children, Williams thoroughly makes us believe his out-of-work actor Daniel Hillard and his housekeeping alias are two fully-dimensional, distinct, and real people. It's arguably the most convincing performance of an actor in drag since Dustin Hoffman in Tootsie, the most unforgettable nanny since Mary Poppins, and a performance Williams will always be remembered and beloved for. (Honestly, you never doubt the stern and endearing titular character for a second.) Like so many of his greatest roles, Williams' improvisational skills and vocal impersonations are on full display ("Yes!"), including an opening animated short directed by the legendary Chuck Jones. (2/2/2021) 

Aladdin and the King of Thieves (1996)

When Williams first signed on to play the Genie in Disney's now-classic Aladdin, he agreed on the condition that his name and character wouldn't be used predominantly in the film's marketing. Unfortunately, when the powers that be (namely, then-CEO Jeffrey Katzenberg) reportedly went back on that promise, Williams had a falling out with the studio. Disney, meanwhile, developed a spinoff T.V. series, starting with the 1994 direct-to-video (and poorly-made) sequel, The Return of Jafar, where Williams was replaced by Homer Simpson voice actor Dan Castellaneta.

Then, when Katzenberg left the studio that same year, newly-appointed head Joe Roth later issued a public apology to Williams, and the actor-comedian make peace with the Mouse House. This second (and final) direct-to-video installment that followed in 1996 is all the better with his involvement, reminding audiences what made the Genie (and the world of Aladdin) so special in the first place. It also helps that the story is a more involving one, as Aladdin and Jasmine ready for their long-awaited wedding while learning that his long-lost father is the king of the notorious Forty Thieves.

But it wouldn't be the last time Williams would shine as the Genie. The character and his voice returned in several education-focused shorts on ABC's Saturday morning programming in the late-1990s, while the actor's subsequent vocal credits included Blue Sky's Robots (2005) and Warner Brothers' Happy Feet franchise (2006, 2011). (2/1/2021) 

Jack (1996)

Some of Williams' films are currently available for streaming on HBO Max, Hulu, and Disney+, like 1999's Bicentennial Man, 1997's Flubber, 1992's Toys, and this 1996 coming-of-age dramedy. In Jack, Williams plays a 10-year-old boy with the body of a 40-year-old man (based on a real but rare condition called progeria, where a person's cells grow faster than normal) as he enters public school for the first time.

The film was savaged by critics, although director Francis Ford Coppola (who has, to be fair, made far more superior films) has defended it, while Williams (who returned to the Walt Disney company after a falling out in the early-1990s regarding Aladdin's marketing) reportedly wouldn't star unless Coppola directed. Agreeably, it's not a great film. It is sentimental and, at times, over the top. Even more sad is its inclusion of sexual references, including a scene of pre-teenage boys looking at pornographic magazines, as well as a strange subplot where single mom Fran Drescher crushes on the grown-up-looking Jack. So, I can't recommend it. Still, nobody but Williams could've brought out his inner child as effectively and fittingly. (Remember his grown-up version of Peter Pan in Hook?) (2/1/2021)