This is the ultimate romantic adventure, complete with a great cast, exotic locations, and measured doses of action, humor, and heart. Michael Douglas and Kathleen Turner never looked better. They have that ephemeral “chemistry”, the kind that keeps you glued to the screen, rooting for them.
The screenplay by Diane Thomas is well paced and constructed, giving plenty of breathing room to a romantic relationship that evolves naturally and believably. Director Robert Zemeckis (Back to the Future, Forrest Gump) sprinkles memorable action scenes throughout the journey, including the swing across the gorge, the Bronco chase, and the waterfall. I like the final showdown among all the adversaries, and how a certain alligator figures into the conclusion. I’m also fond of Alan Silvestri’s score. It may not be the traditional big orchestra type, but the contemporary/Caribbean/piano lounge feel (odd as it may be) gives the movie a distinct, appropriate sound.
Steven Spielberg wanted to make a James Bond movie until his buddy George Lucas said, ‘I have a better idea.’ And he did. Lucas created Indiana Jones, a globe-trotting archaeologist who sought treasure for fortune and glory while encountering a variety of adversaries in his travels, starting with the Nazis in Raiders of the Lost Ark. Indiana Jones would become the new name of film adventure in the 1980s, paying homage to the cliffhanger serials of yesteryear while simultaneously elevating them with a bigger budget and more attention to craft and character. Lawrence Kasdan’s screenplay for Raiders of the Lost Ark is a well-oiled machine that never falters or skips a beat, balancing the thrills with a healthy dose of humor and the spectacle with likeable characters with whom you’re more than happy to go the distance.
This was the first blockbuster superhero movie (for better and for worse) and I doubt there will ever be a better film adaptation for the Man of Steel. Under Richard Donner’s (The Omen, Lethal Weapon) direction and good taste, Superman is a winning blend of action, drama, charm, and yes, camp. The first forty minutes are emotionally powerful, more than any other comic book adaptation I’ve ever seen. I get choked up every time I watch this movie, whether it’s seeing Marlon Brando (as Jor-El) say goodbye to his son before sending him away from their doomed home world, watching the Kent family deal with the death of Jonathan Kent, or the gorgeous wheat field scene where Clark tells Ma Kent it’s time for him to go.
