Panic sur Florida Beach

I have a lot of time for Joe Dante. Most of his movies are fairly light-hearted, nostalgic fare aimed at kids or the young at heart, but unlike his occasional collaborator Steven Spielberg he really pulls it off convincingly without getting too sentimental and treacly, and always has enough in-jokes and references in his movies to amuse diehard science fiction and horror film buffs. Dante is a BIG fan of film makers like Roger Corman (who gave him his big break), William Castle (a major inspiration for 'Matinee') and Mario Bava, while one has to wonder if Spielberg even knows who they are. 'Matinee' is a slight, but very entertaining picture, concerning b-grade 50s/60s horror movies, and fans of that era will absolutely love it. John Goodman ('The Big Lebowski') plays flamboyant writer/director Lawrence Woolsey. Woolsey's gimmicks and showmanship are inspired by William Castle ('The Tingler', '13 Ghosts', 'House On Haunted Hill',etc.etc.) though the fictional movie 'Mant' which is part of the plot is quite unlike Castle's output and closer to 50s paranoid monster movies like 'Them!' and 'Tarantula'. Goodman is perfectly cast and loads of fun. I also really liked Cathy Moriarty ('Raging Bull') as Woolsey's leading actress/assistant. The chemistry between the two was enjoyable and made for some nice comic touches. The young kid actors were all pretty good, and Dante regulars Dick Miller ('A Bucket Of Blood'), Kevin McCarthy ('Invasion Of The Body Snatchers'), Robert Picardo ('Star Trek Voyager') and William Schallert ('The Incredible Shrinking Man') seem like they are all having a wonderful time. Trivia buffs note that this movie includes an actor from 'The Thing From Another World' (Robert Cornthwaite) and also one from John Carpenter's remake 'The Thing' (David Clennon'). The movie within the movie 'Mant' is hilarious, but I enjoyed the whole thing. 'Matinee' is another fun movie from the underrated Joe Dante.

"This is Lawrence Woolsey and ...." starts this movie in great style as a 1960's style of movie promo. The movie starts starts very well and only gets bogged down late in the film when a couple of kids get shut into a bomb shelter by mistake.

This film portrait of the 1960's schlock entertainer Woolsey (as portrayed by John Goodman) continues to be his best film role. Goodman who is now one of the spokes people for Duncan Donuts (quickly putting Starbucks out of business), is perfect for the role of Woolsey. He is surrounded by a lot of old time talent & some younger folks who manage to put over an active film story.

Two coups of this are the film within a film setting which is employed successfully with the cutting between them being made smoothly without losing the plot line and the melding of some old timers into the film in support. William Schallert is used very effectively in the MANT film within the film. Jesse White is just as effective as the guy who is trying to evaluate Woolsey's show.

The film is a send up of lots of themes from Civil Defense, to the Missile Crisis, to movies in general, to sci-fi 1950's films, to spoofing life itself. There are even spoofs of characters within the film including a broad send-up of two Liberal Parents and their attitude towards raising their daughter.

This film is loaded with everything including the theater sign which has now failed, "Fight Pay TV". If you like John Goodman, this is his best role to date outside of Dan on Roseanne, a must see film for the Goodman fan.

I had just recently watched Matinee for the first time in a few years. I forgot how much fun and how very funny a film it was. Having grown up watching some of William Castle's and Roger Corman's hokey but very entertaining early horror films it was like a stroll down memory lane on my Saturday's. Goodman captured the essence of a movie showman who always had or wanted to have a gimmick to go with his B movie pictures. Cathy Moriarty is excellent as his favorite leading lady. I must be showing my age because I still remember the duck and cover and other little things associated with everyday life and times during the late 1950's and early 1960's that were in the movie. The movie was entertaining and a very nice parody, if not dedication to the men who made B movies as part of our culture. I have to believe this dedication to men like Corman and Castle would have to be a bit of a tongue in cheek parody for it to be a very sincere dedication. The movie does an excellent job of bring back the life and times and the performances as pretty good. Aaaahhhh the memories. The cold war and much simpler times and classic B movies. It don't get any better than this.

I felt that the advertising for this movie was somewhat misleading. I expected to see a film about John Goodman portraying a loose characterization of showman William Castle. Instead, the main focus of the film is a young boy, Gene Loomis, whose father is a soldier who is dispatched to active duty during the Cuban missile crisis, which is the time period in which this film is set. You have your typical coming-of-age themes revolving around Gene and his friends as they discover their own emerging adolescence, and this consists largely of tired material that has been done to death.

Somewhat in the background we have John Goodman as old-fashioned showman Lawrence Woolsey, a vaudevillian stuck in the age of cinema who wants to put the show back in picture shows. He is tied into the film because Gene enjoys Woolsey's showmanship as a way to forget about the world around him which seems to be on the brink of self-destruction. Woolsey pulls such stunts as having his girlfriend (Cathy Moriarty) dress a a nurse and ask patrons to sign a waiver releasing Goodman's character from liability in case they die of fright during the movie. This is based on a similar stunt by William Castle and his movie "Macabre". Woolsey also wires the seats to produce a mild electric shock during a key moment in a film, which he labels "Atomo-Vision." That antic is based on what William Castle did during the showing of "The Tingler". Then he rigs still another device to shake things up as buildings on the screen are tumbling and calls it "Rumble-Rama." Again, these are all very similar to the showman-like stunts of William Castle during the 50's and 60's.

The best part of the movie is when Woolsey comes up with an atomic-age monster movie entitled "Mant" that is a composite of cheesy 50's horror films such as "The Fly," and "Them!". "Mant" is about a mutant that is half-man and half-ant and is a total riot. Woolsey's schlock merchant displays just the right mix of con-man materialism and childlike glee at his own bogus movie magic. It's too bad that Goodman's character and his showmanship weren't the main focus of the movie - Goodman was truly born to play the part of Lawrence Woolsey.

Watching this movie really made me happy that some of William Castle's films have finally been coming out on DVD in the last couple of years, through both traditional DVD releases and through the Warner Archive manufacture on demand program. At any rate, enjoy.

When a light-hearted, nostalgic comedy opens with a nuclear explosion, you know you're onto something weird and original. Yet it's also comfortingly familiar. Matinée was made seven years after Back to the Future and is set (in 1962) seven years afterwards. In its style and tone it echoes Robert Zemeckis's blockbuster, but it wasn't embraced nearly so warmly by audiences.

Maybe it's because the backdrop is the harder sell of the Cuban Missile Crisis. Gene (Simon Fenton) is a young teen who lives on a naval base, and he's coming to terms with an absent military father who may never return. Some solace is arriving, however, as the B-movie tycoon Lawrence Woolsey (John Goodman) is coming to town to show off his new half-man/half-ant opus… "Mant".

The film establishes a broad cast of characters to populate Key West, including Gene's buddy Stan (Omri Katz), who's obsessed with the flirty Sherry (Kellie Martin). Gene himself, meanwhile, is courting the CND-conscious Sandra (Mrs Doubtfire's Lisa Jakub). While the parents panic about the impending nuclear annihilation, the schoolboys bicker and talk about girls.

The first half of the movie focuses on establishing the many characters, while the second half is dominated by the premiere of Mant itself and the (mostly) orchestrated chaos surrounding it. Suffice to say, the build-up – which does suffer slightly from minor character overload – is justified by the pay-off. The kids must sign a waiver before entering the theatre, and with good reason. "This crowd is turning into a mob," the producer yells at Woolsey – "congratulations!"

Writer Charles S. Haas has a brilliant ear for taut, funny dialogue that doesn't rely on punchlines, and the teenage dynamics are brilliantly observed. (The boys, anyway – the girls are more thinly sketched.) At the core of the film is Woolsey, whom we first see in Hitchcock-style silhouette, warning the audience about "atomic mutation". Goodman absolutely relishes his role, gleefully feeding his "AtomoVision!" and "Rumble-Rama!" to an audience hungry for event movie gimmicks.

Woolsey sees a business opportunity in the lightning-in-a-bottle moment of the Missile Crisis, keen to capitalise on the heightened national anxiety. Yet rather than making him the monster, the film skilfully presents Woolsey as a hero. Through him the film puts forth its paen to cinema as entertainment, and also a philosophical argument for the cathartic value of movie monsters as a way of exorcising a society's demons.

As with Tim Burton's masterpiece Ed Wood, director Joe Dante displays total affection for his subject matter, namely the monster flicks of the 1950s and '60s. Every period movie you can think of is referenced, but particularly Kurt Neumann's The Fly. We see plenty of footage of Mant and it is entirely convincing (by which I mean appropriately unconvincing), and avoids mocking its myriad sources.

"Put the insect aside!" one character begs the half-man/half-ant, to which he replies, "Insecticide? Where?!" Meanwhile, in the world of Dante's film, Woolsey is hurling special effects around the auditorium, spilling smoke and rumbling seats, literally bringing the house down. When the Mant cast start directly referencing the Matinée audience, who are in turn being watched by us, it feels like Amblin's answer to Inception.

For those who enjoy the smart satire of The 'Burbs and the frenetic farce of Gremlins, this is a similarly genre-dodging yet relatively overlooked Dante classic. It's a film about films they don't make anymore – and, in our less kind-spirited age of comedy archness, they really don't make them like this anymore.