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Following on from the first three films in the 'Tremors' line, the TV series is very much a similar setup: nasty beasties, robust townsfolk and plenty of silly comedy. I've been a fan of 'Tremors' since I caught the original film on TV one night back in the 90s.
The positive side is that several of the original locals are still around. Burt is paranoid, survivalist and a source of humour as always. Nancy remains in town, although her daughter has gone off to college. Jodi runs the shop that her father had before her.
Of course, there's a negative side: Fred Ward and Kevin Bacon (Earl and Valentine, respectively) are no longer around. There are also new faces, most of which unfortunately cater more to the desperate 'political correctness' of television than to the series: an hispanic lady, a native american who works on her farm, the 'hunky' male interest and, of course, the visiting female scientist.
Thankfully, after a few episodes, the actors (who I had never seen before, personally) all settle in nicely and bring their characters to life. Add to this frequent cameos by the truly fabulous Christopher Lloyd as the hermit ex-governmental mad scientist - who also provides the expanding storyline - and it's a formula for light, easy entertainment.
Recommended viewing, but don't expect deep, meaningful television.
The positive side is that several of the original locals are still around. Burt is paranoid, survivalist and a source of humour as always. Nancy remains in town, although her daughter has gone off to college. Jodi runs the shop that her father had before her.
Of course, there's a negative side: Fred Ward and Kevin Bacon (Earl and Valentine, respectively) are no longer around. There are also new faces, most of which unfortunately cater more to the desperate 'political correctness' of television than to the series: an hispanic lady, a native american who works on her farm, the 'hunky' male interest and, of course, the visiting female scientist.
Thankfully, after a few episodes, the actors (who I had never seen before, personally) all settle in nicely and bring their characters to life. Add to this frequent cameos by the truly fabulous Christopher Lloyd as the hermit ex-governmental mad scientist - who also provides the expanding storyline - and it's a formula for light, easy entertainment.
Recommended viewing, but don't expect deep, meaningful television.
At the risk of sounding overly sentimental, this is perhaps one of the most touching films I have ever seen, and also one of the most surprising.
Jane Horrocks, Michael Caine and Ewan McGregor all turn in superb performances, with Brenda Blethyn being a tad melodramatic but remaining within the bounds of believability. It's a real pleasure to see Michael Caine in particular, in a role of a shoddy, second-rate agent who believes he's found his passport to 'the big time' in LV. That man is such a great actor.
Bypassing Jane Horrocks' astounding ability to mimic people, it's also a pleasure to see her on the big screen again: she does a heck of a lot of voice work, but to be honest I haven't seen her in a major role since 'Life Is Sweet'. She's a real star and can play demented, disordered, deranged or simply different people with such style...
As for 'Little Voice', the story is a fairly standard setup: unbearably shy LV has a talent, is discovered by the local agent, the road to riches and stardom opens... but love is in the offing, so which will she choose? That summary, however, is where the similarity to virtually any other 'standard' setup stops: LV does not want stardom. She doesn't even really know she has her talent, which is completely passive. Her choice is not between stardom or love.
Virtually nothing beyond the basic storyline is 'standard' here. There's no "*gasp* Wow!" surprises, but events turn in quite unexpected directions at all times. Many folks even complain at the end because "it isn't an end" or "it isn't what we want". That's another reason to love the film: it doesn't give the viewer a Hollywood (yawn) ending. It doesn't tie up all the loose strings.
It's like life: there's no tidy endings. Look past the obvious images and look at what's underneath. See the film for what it is, and enjoy.
Jane Horrocks, Michael Caine and Ewan McGregor all turn in superb performances, with Brenda Blethyn being a tad melodramatic but remaining within the bounds of believability. It's a real pleasure to see Michael Caine in particular, in a role of a shoddy, second-rate agent who believes he's found his passport to 'the big time' in LV. That man is such a great actor.
Bypassing Jane Horrocks' astounding ability to mimic people, it's also a pleasure to see her on the big screen again: she does a heck of a lot of voice work, but to be honest I haven't seen her in a major role since 'Life Is Sweet'. She's a real star and can play demented, disordered, deranged or simply different people with such style...
As for 'Little Voice', the story is a fairly standard setup: unbearably shy LV has a talent, is discovered by the local agent, the road to riches and stardom opens... but love is in the offing, so which will she choose? That summary, however, is where the similarity to virtually any other 'standard' setup stops: LV does not want stardom. She doesn't even really know she has her talent, which is completely passive. Her choice is not between stardom or love.
Virtually nothing beyond the basic storyline is 'standard' here. There's no "*gasp* Wow!" surprises, but events turn in quite unexpected directions at all times. Many folks even complain at the end because "it isn't an end" or "it isn't what we want". That's another reason to love the film: it doesn't give the viewer a Hollywood (yawn) ending. It doesn't tie up all the loose strings.
It's like life: there's no tidy endings. Look past the obvious images and look at what's underneath. See the film for what it is, and enjoy.
I've just read through most of the comments here and felt compelled to put in a good word (or several) for this film. Having watched it several times, I'd place it somewhere between Grosse Pointe Blank and the original Batman movies, although not as smart as either. It's a lightweight, very amusing comic-book ride through the lives of several awfully underpowered 'superheroes', struggling for recognition in a town overwhelmed by Captain Amazing (Kinnear, who is absolutely marvellous).
First things first... in reply to criticisms:
1. No, it's not deep. You really want a comic-book movie to be as profound as The Seventh Seal? Look at what happens when that's attempted: the awful Batman follow-ups, Daredevil... and we still haven't seen what nastiness awaits in The Hulk or X-Men 2 (although the latter at least looks amusing enough).
2. Yes, it's camp, tongue-in-cheek nonsense. Anyone who actually believes Mystery Men attempts to be serious, has a message to convey (other than 'believe in yourself') or is anything more than a couple of hours of smiles should reconsider why they're watching it in the first place. It's in the same vein as Flash Gordon or anything Schwarzenegger has made in the last ten years. Enjoy it, and stop analysing it.
3. The script isn't too hot. This is entirely true, but how many comics in the 1970s had decent scripts or stories? It's only really since their evolution to high-budget productions, such as graphic novels and so on, that comics have developed any real depth. My personal memories from almost thirty years ago are of week-in-week-out battles with yet-another-supervillain. No major crises of conscience or anything... this is old-style fun.
Bearing all this in mind, the film is wonderful. William H. Macy is, of course, outstanding (when isn't he?), and the rest of the cast are superb in their roles. Yes, The Spleen is the adolescent humour, Invisible Boy is almost the token black guy and poor old Ben Stiller really does have a one-dimensional character... but hey, switch off the analytical part of your brain and enjoy it for what it is: a film one can watch time and again, chuckle heartily throughout and even enjoy with kids who won't be inundated by rappers thinking it's clever to swear all the time.
Recommended viewing, particularly if you have an off-the-wall sense of humour, enjoy the absurd or simply like watching Macy triumph in small roles.
First things first... in reply to criticisms:
1. No, it's not deep. You really want a comic-book movie to be as profound as The Seventh Seal? Look at what happens when that's attempted: the awful Batman follow-ups, Daredevil... and we still haven't seen what nastiness awaits in The Hulk or X-Men 2 (although the latter at least looks amusing enough).
2. Yes, it's camp, tongue-in-cheek nonsense. Anyone who actually believes Mystery Men attempts to be serious, has a message to convey (other than 'believe in yourself') or is anything more than a couple of hours of smiles should reconsider why they're watching it in the first place. It's in the same vein as Flash Gordon or anything Schwarzenegger has made in the last ten years. Enjoy it, and stop analysing it.
3. The script isn't too hot. This is entirely true, but how many comics in the 1970s had decent scripts or stories? It's only really since their evolution to high-budget productions, such as graphic novels and so on, that comics have developed any real depth. My personal memories from almost thirty years ago are of week-in-week-out battles with yet-another-supervillain. No major crises of conscience or anything... this is old-style fun.
Bearing all this in mind, the film is wonderful. William H. Macy is, of course, outstanding (when isn't he?), and the rest of the cast are superb in their roles. Yes, The Spleen is the adolescent humour, Invisible Boy is almost the token black guy and poor old Ben Stiller really does have a one-dimensional character... but hey, switch off the analytical part of your brain and enjoy it for what it is: a film one can watch time and again, chuckle heartily throughout and even enjoy with kids who won't be inundated by rappers thinking it's clever to swear all the time.
Recommended viewing, particularly if you have an off-the-wall sense of humour, enjoy the absurd or simply like watching Macy triumph in small roles.