Review #1,401: 'True Romance' (1993)

It's been many years since I last saw Tony Scott's True Romance, huddled up in my bedroom as a young teenager in fear of being caught with my older brother's VHS. I loved it then and I still like it very much, but it never struck me before just how much of a boy's fantasy the film is. This is a story in which a comic-book store worker forms a relationship with a gorgeous hooker-with-a-heart and successfully avenges her mistreatment at the hands of a despicable pimp, all before riding off to Hollywood with a case full of cocaine and dreams of an early retirement in mind. This is no surprise when you see who was behind the script - a young Quentin Tarantino - who at the time of writing was working in a video store dreaming of bigger and better things. But the fact that this is a fantasy isn't a bad thing. True Romance sweeps you up into its universe of outlaw love, mean-spirited gangsters and the ghost of Elvis Presley and doesn't allow you to pause for breath.

The hero at the centre of the story is Clarence Worley (Christian Slater). We meet him in a bar trying to chat up a woman by expressing his love for Elvis and inviting her to join him in a Sonny Chiba triple bill playing at the local theatre. You can almost imagine Tarantino speaking these words and being hit with a rejection, but Clarence is Tarantino's creation, so he has popcorn spilled over him by an attractive blonde named Alabama (Patricia Arquette) as he sits watching one of The Streefighter films alone. The two hit it off and spend the night together, before she reveals she is actually a call girl hired by his friends (the name should have been a hint). But she actually falls in love with Clarence, and him with her, and the two are quickly married before Clarence's attention turns to the pimp who is still holding her belongings, the milky-eyed and dreadlocked Drexl (Gary Oldman). Their confrontation leaves Clarence in possession of a suitcase chocked full of cocaine, so the newly weds head to Los Angeles to find a buyer, with the help of their clueless contact and aspiring actor Dick (Michael Rapaport).

Their road trip allows the opportunity for some familiar faces to flex their acting chops with the assistance of Tarantino's impeccable screenplay, including the likes of Dennis Hopper as Clarence's estranged father, Christopher Walken as fearsome gangster Don Vincenzo, Brad Pitt as Dick's useless stoner roommate Floyd, and a noticeably thinner James Gandolfini as one of Vincenzo's more sadistic thugs. It's a fast and furious two hours, with so much going on that you're barely given time to stop and realise that nothing much really adds up. The film sweeps you up into its silliness, forcing you to bow down to its own particular brand of cool. If you've seen Tarantino's directorial debut Reservoir Dogs, then many of True Romance's story beats will feel familiar (the story carefully moves its characters into place so they will eventually be in the same room at the same time with loaded guns pointed at each other), but Scott's style and energy make the ride exhilarating. The two leads are charming, with Slater convincing as a geek-turned-loose cannon and Arquette portraying just the right blend of cute and sexy, but the real star is Tarantino, who somehow manages to turn an adolescent fantasy into an exciting thrill ride.


Directed by: Tony Scott
Starring: Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, Christopher Walken, Michael Rapaport, James Gandolfini
Country: USA/France

Rating: ****

Tom Gillespie

Review #556: 'Top Secret!' (1984)

Although it can be argued that they are still being made, the 'spoof' movie really died a death in the 1990's. Recently, there have been tragedies such as Epic Movie (2007) and its various imitations, all of which were the cinematic equivalent of sticking your cock in a blender. They used to be the forte of comedic giants and legends such as Mel Brooks, Carl Reiner and the Monty Python crew. David Zucker, Jerry Zucker and Jim Abrahams made perhaps the last great spoof in Top Secret!, a relentless parody of spy thrillers that seems unfairly forgotten in the wake of ZAZ's (Zucker-Abrahams-Zucker) more popular Airplane! (1980) and The Naked Gun (1988).

With East Gemany planning an attack during a cultural festival, they invite American rock 'n' roll singer Nick Rivers (Val Kilmer) to perform as a distraction for the audiences. Rivers, a sort of Beach Boys meets Elvis Presley, soon gets embroiled in the French resistance movement when he meets the beautiful Hillary Flammond (Lucy Gutteridge) who is searching for her missing father Dr. Paul (Michael Gough). Along with a group of misfit revolutionaries with various French pun's for names, and Hillary's lost-love Nigel (Christopher Villiers), they must break into the high-security prison where Dr. Paul is being held. 

Top Secret! is a film of such effortless hilarity, it's a wonder how and why the three directors behind it parted ways and made such drivel as Jane Austen's Mafia! (1998), Rat Race (2001) and Scary Movie 3 (2003), highlighting just how much they needed each other. It offers near to non-stop sight-gags that vary from the inspired (a train station pulling away from the train) to the downright ridiculous (a character gets crushed in a car then is seen later with his arms and legs sticking out of it, still alive), nearly all of which hit the mark. But there's also clever word play, and that lost art - embracing the stereotype. Would a film nowadays get away with calling it's only black character Chocolate Mousse? 

There are literally too many funny scenes to mention, but the one that had me in stitches is the scene in which Nigel and Du Quois (Harry Diston) dress up as the rear and front of a cow, when a real cow comes to suck on its udders, much to the pleasure of Nigel. They stop, with Du Quois insisting they make haste, and Nigel replies "you're always in such a bloody hurry!". It's marvellously old-school, headed by a wonderful performance from Kilmer, who as well as getting plenty of belly laughs himself, also proves himself to be a bloody good dancer in the few performance scenes he has. But it is also a sad reminder of just how good this sub-genre used to be.

Directed by: Jim Abrahams, David Zucker, Jerry Zucker

Starring: Val Kilmer, Lucy Gutteridge, Jeremy Kemp, Christopher Villiers, Michael Gough

Country: USA/UK

Rating: ****

Tom Gillespie

Review #552: 'Top Gun' (1986)

Following his shocking suicide earlier this year, director Tony Scott's legend was cemented, with actors and fellow directors flooding to pay tribute to the man that delivered the likes of The Last Boy Scout (1991) and Crimson Tide (1995). Personally, with the greatest respect, I feel his death has overshadowed what was a relatively average career, in which his finest achievement, the Tarantino-scripted True Romance (1993), was possibly his most low-octane film, given that he is most fondly remembered for his work in the action field. Therefore, it seemed the perfect time to re-visit his most popular film, Top Gun, the high-fiving homoerotica-fest that cemented the careers of both Scott and star Tom Cruise, a film that they are still, 26 years later, best remembered for.

With top fighter pilot Cougar (John Stockwell) losing his nerve during a dogfight and dropping out of the Air Force, hot-shot pilot Pete 'Maverick' Mitchell is offered the chance to join the Top Gun flight school. Fancying himself as the best of the best, Maverick, along with his RIO lieutenant Goose (Anthony Edwards), sets about establishing a name for himself with grand stunts and a cocky attitude, almost coming to blows with his fellow elite students, namely Iceman (Val Kilmer). He even finds time to romance instructor Charlie Blackwood (Kelly McGillis). But when a tragic accident occurs, Maverick must do a bit of soul-searching, and question his ability to live up to the legend of his father.

For a film that remains so immensely popular, Top Gun is shockingly bad. The almost unbearable swagger of the now slightly creepy Scientology dwarf Tom Cruise leads to many moments of teeth-grinding anger-inducement, with the much-imitated You've Got That Lovin' Feeling karaoke moment being simply embarrassing. But with most square-jawed, Reagan-era 1980's action films comes much hilarity, with the best-selling soundtrack proving to be the king of synthesised cheddar, and the near-constant homoeroticism questioning the era's view of a 'man's man'. The volleyball scene is especially jaw-dropping, with slow-motion arse-slapping and greased-up torso's aplenty, playing out like a pre-sex ritual by Cruise and Kilmer.

The film is real justification of Tony Scott's reputation as a great action director. The dogfight scenes are filmed beautifully, with rapid editing and spectacular framing generating real excitement between all the crud (especially impressive given the cost of flying these machines and the heavily-restricted time-frames in which the crew had to shoot within). Yet whenever the film is in danger of getting quite good, it delves into another cliche or shifts the focus back to the uninvolving romance between Maverick and Charlie, with scenes involving Maverick's inner-demon fighting especially causing the fists to clench. With a film having the ability to be so bad and rather good in equal measures, it's hard to really justify it's massive fan-base and endless imitations, yet it's also difficult to deny.


Directed by: Tony Scott
Starring: Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards, Tom Skerritt, Michael Ironside
Country: USA

Rating: ***

Tom Gillespie