The-Last-Prydonian

It's 1970s New York and a young ambitious Donald Trump, is determined to make his mark as a businessman. The younger of two sons of his father Fred Trump, a real estate developer. The aspiring entrepreneur meets and becomes dazzled by Roy Cohn, the infamous and ruthless attorney who comes to mold Trump into the renowned cold-blooded shark he is today. Becoming Cohn's client, he also becomes his figurative "apprentice." But before long, his youthful protégé becomes a devious monster who begins to eclipse his master, and whom even he can't control.

It's no exaggeration to say that one Donald John Trump has become the most infamous figureheads in contemporary world history. Infinitely more so than he had been before becoming both the 45th and 47th President of The United States. An unapologetic demagogue whose ruthlessness and ambition are only exceeded by his colossal ego. Now, we have Ali Abbassi, the Iranian-Danish filmmaker, who is contrary to Trump relatively unknown. At least to myself although he has accumulated

a back catalogue, of cinematic work that includes Shelley, Border, and Holy Spider. As well as having directed the last two episodes of the first season of The Last of Us. Contradictory to Trump in terms of his repute though he may, it was he who was chosen to helm this, revealing bio-pic.

Starring Sebastian Stan as the movie's, eponymous "Apprentice," (fitting moniker if ever there was one for obvious reasons) he would have seemed a less than obvious choice to depict the amoral businessman (or the man who would eventually become him). However many balked when Heath Ledger was cast as the Joker in 2008's The Dark Knight. A role that he knocked out of the park and was universally praised for. And needless to say, Stan does rise to the occasion.

Opening in New York in 1973, we see a thirty-something Trump, who while not exactly a Boy Scout, (We, see him threatening to evict an elderly tenant of an apartment building that he owns if she doesn't pay her rent) the man is overall relatively decent and more principled compared to the unconscionable bully he inevitably becomes. Shades of his eventual unseemly character are mirrored in his father, who makes no bones of his disproval of his elder son Fred Jr.'s profession as an Airline pilot. Cruelly, calling him a "bus driver in the sky." Suffice it to say, the younger of the two siblings sought the approval of his father, which was denied to his older brother. A fact confirmed by Fred Jrs. Daughter, who has labeled her Uncle as a "small, insecure man."

It would then seem like kismet that the future mogul's paths would cross with that of Cohn. An amoral attorney and prosecutor who was proudly responsible for sending Julius and Ethel Rosenberg to the electric chair, who believed that all morality was bunk and claimed he was a "patriot", who would do whatever it took to protect his country, including breaking laws to do so. Writer Gabriel Sharman has stated that his inspiration for the movie came from thinking about the Ghost of Roy Cohn possessing Trump. In that respect, The Apprentice is something of a metaphorical Horror movie. A Ghost Story if you will, although Cohn can figuratively be perceived as Dr. Frankenstein creating his monster in his protege.

Indeed, with its' intense, synth score, that has more than a hint of creative influence from Giorgio Moroder's score for Scarface, which thematically Abbassi's movie has certain parallels with. It also underpins the movie with a gothic tone. Especially in a later scene where Trump invites his former master, so to speak, to his home in Mar-a-Lago in Florida. As a means to help him celebrate his birthday. The relationship that exists between both men appears at first to be mutually respectful and cordial. However, this swiftly begins to sour, as Trump's ego becomes more and more uncontrollable, and his behaviour more unpredictable and unbecoming. The movie isn't without its harrowing moments, and is uncompromising in its depiction of Trump. The Apprentice is a portrayal of the dark flip side of the American Dream.

Cohn could be perceived as something of a souless, decadent parasite who robs his apprentice of his own, but there is a genuine aura of tragedy, evoked through Strong's performance. In that he manages to elicit sympathy for him. That his fall from dubious grace is as palpably melancholic. It's to his strength as an actor that he manages to even bring an ounce of humanity to a man who becomes a pitiful figure.

The Apprentice doesn't always make for easy viewing, and indeed makes for disturbing viewing given that the current status of one of the worlds key political figureheads. It's no less complelling as we witness Trumps evolution into the ruthless Frankenstein Monster that Cohn shapes into his own image. Albeit it of greater proportion. Its the American Dream descending into the American Nightmare.

Jack Foley is a seasoned bank robber, who with the help of his friend, Buddy breaks out of prison. Things are however complicated when his escape is witnessed by a female U. S. Marshall named Karen Sisco who they both kidnap. When the two criminals make their way to Detroit to make one last major score, Karen sets out to track them down. However, Karen finds herself attracted to Jack, making her feel conflicted about bringing both men in.

One of the three more well-known novels by Elmore Leonard to be adapted for the big screen behind, Get Short and Rum Punch which was renamed Jackie Brown. Out of Sight was the third movie that Steven Soderbergh who was then relatively unknown as a director and screenwriter. It would also mark the first of several collaborations between the filmmaker and George Clooney. A comedic crime flick, the impetus behind the source novel was when Leonard had seen a picture in the Detroit News of a beautiful young female federal marshal standing in front of a Miami courthouse with a shotgun resting on her hip.

Owing something of a stylistic debt to the work of Quentin Tarantino. Not following a linear narrative, intercutting between flashbacks and the present. Less gritty and provocative than anything Tarantino has or will ever produce, Out of Sight is pretty much a case of having ample style and verve but little in the way of substance. Essentially an unconventional love story, it coasts off of the undeniable sexual chemistry between Clooney and Jennifer Lopez in what was her first major starring role. Both It's stars positively sizzle when they're on screen together, adding an air of credibility to their unlikely romance.

Clooney, who although not a great actor (for my money he's a more talented and capable director) still makes for a charismatic leading man. A charming screen presence with something of the charm and presence of the late Cary Grant. He's wry as he is a likable anti-hero. This is perhaps punctuated when Karen, having just been abducted by Jack and Buddy, is forced to share the confines of the boot of Buddy's car alongside Jack who is hiding in it. The felon arguably trying to abate what is an intense experience for the fearful U. S. Marshall, by making small talk. Dropping movie references into the conversation (Network and Three Days of the Condor), again echoing traits of Tarantino's oeuvre.

As the plot unfolds, additional characters are thrown into the mix comprising of, Don Cheadle's Maurice "Snoopy" Miller. The archetypal small-time, 'gangsta', and the movie's main bad guy. A role that he quite simply was born to play, and is the unsung hero, as he owns every scene he is in. While Albert Brooks is on hand as Richard Ripley. A character who although mentioned in the novel, never actually makes an appearance with his tenuous relationship with Jack making for a welcome addition. In fact, both Jack and Buddy's past history going back to Lompoc prison is an invention that adds an added volatility to their relationship, if that's what it can be called, between them and Miller.

What hampers Out of Sight is that slightness in plotting aside, is the character of Glenn Michaels. Essentially the significant comedic relief of the movie, and played brilliantly to the hilt by Steve Zahn, in what was then to date his most prominent supporting movie role. A loquacious, incompetent stoner thief who has criminal aspirations that overstep his meager talents. His incorporation into the story making sense in the flashback scenes at Lompoc makes sense, as It's down to him that Foley and Buddy learn of the fortune in diamonds that Richard has stored away in his home. Beyond that, his presence in present-day scenes him surplus to requirements. Why, Miller, has him join in with him and his crew's criminal machinations is anyone's guess.

Then there's the more relatively, minor character of Chino (Luis Guzmán). A fellow inmate of Jack's at Glades of somewhat ambiguous sexuality, who like our anti-hero tried to make his escape and almost had it hampered by him. Undoubtedly, he's supposed to be a hardened criminal. However, he's undermined by a bit of the eccentric, comic handling of his personality. Undermining him as any credible kind of threat. It's really, only Miller and his crew that really resemble any real, perceptible aura of menace. Especially his right man Kenneth (Isaiah Washington), a misogynistic rapist and brood killer.

On the lighter side, there's Karen's relationship with her unnamed father, ( the late Dennis Farina) himself a former U. S. Marshall now retired. Although their relationship is fairly harmonious. Undoubtedly a loving parent. He is critical of her adulterous tryst with F. B. I. Agent, Ray Nicolette (Michael Keaton reprising his role coincidentally enough from Jackie Brown), and acts as her conscience as does Buddy to Jack. Farina brings an understated, unassuming, authority to the aged patriarch.

As it approaches Its finale, the movie does take a more dramatic shift in gears, and one memorably blackly chucklesome moment aside it becomes relatively more somber. With, the ultimate question as to where its two-lead lover's romance is going to go coming to ahead. Needless to say, the movie's denouement deviates substantially from the novel. And one that may divide fans of the book. That however may be dependent on whether you prefer your endings to be more upbeat or more dark and cynical. Either way, this adaptation of Leonard's crime novel, doesn't entirely cut the mustard, although it outshines Barry Sonnenfeld's tailoring of Get Shorty. It more or less gets the job down, thanks to the shared spark between Clooney and Lopez.

The Mayor of New York changes the hiring policy of the city's police force. Eliminating the standard criteria which includes height, weight sex, education, or physical strength much to the chagrin of some police officials. Hundreds of applicants apply, one of whom is the reluctant Carey Mahoney. An underachieving misfit who has just been arrested for a petty misdemeanor. He's given a choice by Captain Reed, a friend of his late father's. Either enroll in Commandant Lassard's Police Academy or face prison time. Becoming one of a collective of motley misfits, who are trained by the irascible, uncompromising Captain Harris who has nothing but disdain for the recruits under his tutelage. Mahoney stops at nothing to get himself expelled from the Academy. However, it proves nigh impossible because Reed has ensured that Mahoney is treated as a special case and cannot quit or be thrown out. But when the otherwise good natured rogue falls for another recruit, the beautiful rich girl, Karen Thompson he swiftly has a change of heart.

It's probably safe to say that Police Academy, which hit movie theatres back in 1984 owed some inspirational debt to National Lampoon's Animal House. Although, Producer Paul Maslansky hit on the idea for the movie when filming The Wright Stuff in San Francisco. Reflecting on the experience he said:

"I noticed a bunch of ludicrous-looking police cadets being dressed down by a frustrated sergeant. They were an unbelievable bunch, including a lady who must have weighed over 200 pounds and a flabby man well over 50. I asked the sergeant about them, and he explained that the mayor had ordered the department to accept a broad spectrum for the police academy. "We have to take them in,"...he said ..."And the only thing we can do is wash them out.""

This had all the comedic potential for a comedy that would be in a sophomoric vein, and although it was and appealed to the more youthful market. Its appeal proved broader, so much so that it grossed just under $150 million at the box office on a budget of no more than $5 million. Earning itself the No. 06 position in the top 10 highest-grossing movies of 1984. And going on to spawn six sequels, a kid's cartoon series, and a live-action one to boot.

But is it really, as good as Its cult reputation may suggest? The nostalgic movie fanboy in myself, and I dare say those of the same generation would like to think so. But when all is said and done, Police Academy is a serviceable if unremarkable comedy of its ilk. Comprising of an ensemble cast of lower-tier actors. At least in terms of stardom. It would be the movie that was the breakthrough role for a youthful Steve Guttenberg, whose biggest achievement up until then was having a small supporting role in 1978's The Boys From Brazil. Catapualting, him to prominent celebrity status throughout the 80's. Although it was short-lived. No one can pretend that Gutternberg is an actor of startling range. That being said, in the part of Mahoney he radiates an affable, smart-alec charm despite his character's delinquent behaviour. A wry, and on the face of it, cocky anti-hero. He also exhibits a kind-hearted benevolent side. This is when he's not butting heads with GW. Bailey's Captain Harris, who consequently steals practically every scene he's in. Along with the obnoxious suck up's, Cadets Copeland and Blankes, who are chosen as squad leaders by the Captain.

Guttenberg receives proficient support from Kim Cattrall as Karen Thompson, who would go on to have greater success with Sex & the City in the late 1990's, and early 2000's, Michael Winslow, David Graf, Leslie Easterbrook, Marion Ramsey, and veteran-pro George Gaynes. Who, only two years before, had starred in another renowned comedy, The Oscar-winning Tootsie, while later finding further renown in the family sitcom, Punky Brewster. The only genuine weak link however was Bubba Smith as gentle goliath Moses Hightower, who is a man of few words. A former professional American Football player cast no doubt because of his physical stature rather than any discernible thespian ability. Which might accounted for the minimal dialogue that was afforded him. These cast members would largely become regular faces in the successive sequels. Only the actors, Martin Donovan and Andrew Rubin as the meek and portly Leslie Barber, and latin lothario George Martin made their sole appearances in this first entry. Presumably, because Maslansky felt they had gone as far as they could with their characters.

Michael Winslow, as with Guttenberg inhabits what is likely the defining role of his career as the human beatbox, Lavell Jones. Gimmicky his schtick may seem, but it works rather well and never feels too engineered. Although it inevitably became more and more contrived with each subsequent follow-up in the franchise. As did David Graf's Rambo wannabe, the gun-toting Eugene Tacklebrry, and Marion Ramsey's and Marion Ramsey's, soft-spoken Laverne Hooks.

To its detriment, the movie hasn't entirely aged well when it comes to Mahoney's antics. His conduct leaves something to desired, as he behaves like a peeping Tom, as he watches female cadets showering through a window and swigging a bottle of beer. We get that Mahoney is trying to get himself expelled but this comes over a bit of a step too far. Even for someone we're supposed to be rooting for. While his treatment of Kate is tantamount to sexual harassment. George's attitude towards the opposite sex also comes across as prehistoric, although to be fair they're consenting participants in his permissive dalliances. Some may balk as well, at the notorious Blue Oyster scene, where thanks to Mahoney, Copeland, and Blankes find themselves unwilling dance partners to frequenters of a gay nightclub. Although I'd be lying if I said it didn't bring a smile to my face this very day. It's certainly not as egregious as Mahoney's questionable attitude towards women at times.

The juvenile low-brow consistent stream of gags and one-liners don't always land. Despite the best efforts of the cast. It's perhaps down to, their dedication to their art as performers, that they manage to carry the movie, even when the jokes fail. It at least has a more regular sum of guffaws compared to the entries that would follow. And would suffer due partly down, to watering down its more edgy material. Opting by Part 3 for more Carry On style, innuendo-laden comedy. Which would hurt the series. A similar fate that befell the Ghostbusters franchise, but not to the same level.

As the movie reaches its final quarter, we get a finale that would become pretty much a cornerstone of the series. With the Police Academy Team having to battle a criminal threat. In this case, a city-wide riot which ironically has been unwittingly started by the bespectacled, accident-prone, Douglas Fackler. Seeing the cadets deployed to tackle the anarchy that has hit the streets. As one would expect it bows to platitudinous conventions with the boys and girls in blue rising to the occasion, and the miscreants (or at least the on-screen head honcho brought to justice). But then, that's what makes the movie what it is. Undemanding, comical fodder that doesn't tax the brain. Bolstered by some sturdy chemistry from its ensemble players. Top of the list are Gutternberg and Cattrall who despite the former's lascivious conduct towards the latter, their later scenes where they, against the odds fall for one another and end up being pleasingly charming.

For some reason, and contradictory to its mediocrity, at least in my personal, estimations. Police Academy, is what it is. A so so precursor, to a slew of cheap imitations and variations like Recruits, Combat Academy, and Maslanky's other attempt to kickstart another similar comedy franchise, Ski Patrol. With talk of a possible remake/reboot in the pipeline, Paul Maslansky would have learned after the embarrassment that Mission to Moscow was, and which killed the franchise stone-dead. It's best to let sleeping comedy dogs lie.