I don't know the last time I felt like a kid at the movies, but while watching Journey to the Center of the Earth 3-D this past week, I honestly reverted to my 8-year-old self. That isn't to say the movie is necessarily as good as the movies that astonished me as a kid -- because of the subject matter, I'd think about comparing it to Indiana Jones and the Temple of Doom and The Goonies, both of which came out when I was around that age, and neither to which this film holds up in terms of originality or storytelling craft. But as far as holding onto my sense of wonder, Journey is up there.

Of course, it's necessary to point out that Journey would be nothing without the digital 3-D factor. It's actually the first live-action narrative feature to be shot and released in the new format (the non-fiction concert films, U2 3D and Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour were technically the first live-action 3-D features), and while it's far from perfect, it is a terrific pioneer. I shall continue favoring the look of animated 3-D films, especially those directed as well as Monster House, and I anticipate that James Cameron's Avatar will blow away all live-action 3-D films released prior to its arrival. For now, though, I'm telling you, with the utmost cinemaphilic urgency: you need to see this ASAP.

Lara Croft learns the trade from a very old Indiana Jones


Most Hollywood blockbusters spawn their share of low-budget ripoffs, but only a few really successful movies are influential enough to be followed by big-budget copycats. Usually these followers get media-infused taglines such as "Die Hard on a ... " or "Aliens in a ... ", with the labels likely originating at the studio pitch stage.

Though Raiders of the Lost Ark and its sequels were already derivative and referential works, the Indiana Jones franchise also inspired derivatives of its own, some that were exploitive, some that paid homage and some that are only linked through minor elements. So, in celebration of the latest Indy movie, Indiana Jones and the Kingdom of the Crystal Skull, here's a look back at all the "Indiana Jones as a ... " knock-offs that Hollywood has delivered in the last few decades:

1. Indiana Jones as a woman: Lara Croft: Tomb Raider (2001)

The real source of this and its 2003 sequel, Lara Croft Tomb Raider: Cradle of Life, were the Tomb Raider video games, which were clearly inspired by the Indiana Jones films. In the movie we have an archaeologist who seeks a mystical object, which she must keep out of the hands of an evil society. There's an Asian temple, a reunion with a disappeared estranged father and a finale involving the crumbling self-destruction of an elaborate set piece. It's like all the initial three Indiana Jones films wrapped up in one, with added sex appeal in casting Angelina Jolie in the Harrison Ford role. Yet Jolie as Croft is too serious to be the female counterpart to Ford's Indy. Also, while the Indiana Jones films deal with some level of magically religious fantasy, they're at least grounded by "real" or familiar artifacts such as the Holy Grail and the Ark of the Covenant. And they tend to remain just realistic enough to avoid things like giant six-armed statues that come to life.

In Drillbit Taylor (which opens tomorrow), three kids hire a low-budget bodyguard (Owen Wilson) to help protect them from the school's bully. This got us thinking: What are some of the great on-screen bullies? Those kids you just love to root against because they're written extremely well, offer up top-notch performances and/or remind you of someone from your past. A bully is different from your average movie villain -- they don't tend to carry lethal weapons, or run with a group of deadly terrorists. These are just regular kids with a little too much power thrown their way. Your run-of-the-mill Hollywood bully usually hangs with a group of about two of three of the same sex; guys or girls who don't have many lines, and serve only to make the main bully appear tougher.

Ideally, a great movie bully should have one or more of the following: 1) At least three classic lines. 2) A memorable downfall. 3) Hottie girlfriend or boyfriend. 4.) A name that just says it all.

We put our heads together and came up with seven of the greatest bullies on film. Check them out after the jump ...

As the son of an illustrator, I grew up appreciating movie poster artists more than probably do most movie geeks. And John Alvin, who passed away last Wednesday, was one of the artists I idolized. Alvin is considered one of the most important poster artists of the past 35 years, and it's no wonder. From E.T. to Gremlins to Blade Runner to The Goonies* to numerous Disney films, his art is as recognizable and iconic as poster design gets. The Smithsonian even named one of his works, for Brian De Palma's Phantom of the Paradise, one of the best posters of the 20th century.

His name may not be as familiar as that of Drew Struzan, another well-known movie poster designer whose work is quite similar. And it isn't that strange to (as I did often in my youth) confuse the work of the two illustrators, both of whom attended the same school as my father, Pasadena's Art Center College of Design, and both of whom worked for many of the same clients and for many of the same films. But there's no doubting that Alvin, who got his start with the poster for Mel Brooks' Blazing Saddles and worked on many of Brooks' film campaigns from then on, was a distinctly innovative artist.

In addition to designing original posters for more than 135 films, Alvin produced art for many special edition and anniversary releases, as well as collector's art for popular movies such as Star Wars, The Lord of the Rings and Pirates of the Caribbean. There's probably a good chance that, if you're a real movie geek, you have something of his hanging up in your room or home. I think the closest thing for me is a Blade Runner t-shirt on which his poster art appears. And, of course, I can see a bunch of his talent clearly when looking over at my DVD collection*.

For a good list of his work, check out the filmography on his Wikipedia page, and for a fairly comprehensive look at images of his posters, check out this fan site.

*I just realized that the poster for The Goonies that I'm most familiar with, and which is on my DVD, is the one by Drew Struzan. Oops.

What sounds like the more highbrow date? Going to see the artsy film I'm Not There while sitting on a couch, eating a pizza and drinking a cold beer, or going to see the mainstream blockbuster National Treasure: Book of Secrets while sitting in a VIP section with reserved, "luxury seating," eating a "sophisticated entree" and drinking an "elegant martini creation?" Both options feature wait service, great picture quality and the benefit of not having any youths around. In their own way, each is equally lowbrow and highbrow, but depending on your definition of those terms (dumb vs. intelligent; cheap vs. expensive), you might have said one or the other. To me, highbrow is intelligent and intelligent is cheap; so I pick the former, which will cost a whole lot less.

The first option was what you might have experienced this weekend at Oakland, California's Parkway Speakeasy (other movie choices were Before the Devil Knows You're Dead and American Gangster). Your movie ticket would have been a mere $6, your personal cheese pizza a fair $8.50 and your pint of Sierra Nevada only $4.50. The second choice was one of this weekend's offerings at the new Lux Level of Randolph, Massachussetts' Showcase Cinema (the other available movie was I Am Legend). The movie ticket cost $21.25 (you definitely bought it online and paid that $1 service charge), the personal cheese pizza about $8 (I don't see anything on the theater's online menu appropriately considered to be "sophisticated entrée", though other Showcase Cinema menus feature items such as "Bourbon Street Steak Medallions") and your Raspberry Mocha Tini was about $9.

The last few weeks, No Country for Old Men has been hanging over my head like an ominous cloud of pressure, taunting me from my to-see list. It's the sort of film that has got film fans and casual moviegoers alike buzzing about it, which means that there's lots of Josh Brolin on the brain. His time with the Coen Brothers is just the perfect ending to what has become the year of Brolin -- Planet Terror, In the Valley of Elah, Chacun son cinéma, American Gangster, and No Country for Old Men. After 22 years in the business, the actor has hit his stride and proved that he's a hell of a lot more than just a young, ripped, heart-breaking Goonie. But still, there's nothing quite like the sweet memory of Brolin's start in one of the most beloved films of the '80s. And what's better to follow it then some zombie butt-kicking? Sit back, chew on some popcorn, and finish off 200-Brolin with The Goonies and Planet Terror.

The Goonies



It was only by mistake that I ever happened upon The Goonies, as I had been all set to see some Ghoulies. Nestled in the theater, I waited for the green demons to pop out of toilets, and after the bathroom scene came and went without a ghoulie in site, I realized that I had the wrong movie. Usually, this would be a big bummer, but fortunately, the mistake led me to a much better film -- one of those rare family flicks that everyone loves.

The story is simple -- a group of kids live in a modest neighborhood that's about to be torn down for a ritzy new golf course. Hoping to save their homes, the Goonies place their hope in the treasure map of the pirate, One-Eyed Willy. They face off against the criminal Fratelli family and set out to find the treasure and change their fate. A young, super-cute Sean Astin stars as Mikey Walsh, and a young, 17-year-old Brolin stars as his older brother -- the original and better Brandon Walsh. Of course, there's also Data, Mouth, Stef, Andy, and everyone's favorite Chunk.

There's lots of clips below, but if you're going to revisit Goonies territory, the best nibble you can get is on the DVD, which brings the whole young cast back for an interactive commentary for the film -- a rare an utterly-enjoyable feat. Other than that...

Second Most Important Nibble: The Truffle Shuffle!

Josh Brolin's Brand gets tied up.

Deleted Scenes from the DVD

Josh Brolin messes around with the Goonies 2 rumor mill.

The special 2-part Cyndi Lauper video for "Goonies 'R' Good Enough" w/ Goonies and WWFE wrestlers.

Over on Movie City News, LexG had a thought-provoking post under BYOB last Friday on which of the highly buzzed films of this excellent movie year will actually be remembered down the road. LexG posits that the best test of whether a film will stand the test of time among the film crowd is "whether it's directed by a world-class, etched-in-stone AUTEUR." Much interesting debate ensues in the comments: 1983 -- which do you remember more fondly? The Dresser or Vacation? Which is more revered, Fight Club or Green Mile? LexG argues that There Will Be Blood, Eastern Promises and Sweeney Todd are more likely to be remembered down the road than, say, Michael Clayton.

The discussion that follows is pretty interesting. Which are regarded to be the "best" years for movies (1939, 1975, 1983, 1997?) and which are the worst (the '80s in general?) Of course, it partly depends on what question you're really asking -- are the years and decades being evaluated by which films critics still regard as the best, or the ones they're most likely to pop into their DVD player again now?

I don't, as a general rule, rewatch movies a whole lot. Trying to stay on top of the current fare requires watching a lot of films as it is, especially staying on top of the indies, docs, and obscure foreigns; I just don't have time to rewatch films much. When I look back the movies that really made an impression at defining points of my own life, the ones that stand out are generally there for reasons of emotional attachment that may have nothing to do with how I would review the films critically.

ET, first and foremost, followed by Star Wars, Alien, The Goonies, Indiana Jones, Grease, Ghostbusters, Breakfast Club, Sixteen Candles, Dr. Strangelove, Terms of Endearment, Good Will Hunting -- these are some of the movies that I saw in theaters when they first came out to which I have a strong enough emotional attachment that I'll re-watch them. And course there's a plethora of older films that I had the pleasure of discovering for myself at various key points in my life, all of which, to one degree or another, influenced me growing into a film dork person who loves movies.

Which year (or decade) do you think had the best movies? And what are some of your personal faves?

As a brief coda to an interview about the upcoming No Country for Old Men, Cinematical had the chance to ask Josh Brolin if he had been approached about the rumored Goonies project that's been mused about and hinted at over the past few months. (Sean Astin calls it an "absolute certainty"; noting Astin's post-Rings resume, you might suggest that's wishful thinking on his part.) Brolin, obviously bemused at the line of questioning, stated that he hasn't been contacted -- and offered his thoughts on the possibility. Look for Cinematical's full interview with Brolin about his non-One-Eyed-Willie-related work next week; the full transcript of Brolin's remarks is below.

Cinematical: There's one final thing that my editor basically put a gun to my head and told me to ask you ...

Josh Brolin: ... But it's ultimately your choice ...

Cinematical: ... I know, but I am a little bit curious as well; there have been rumors and rumblings that Warners is going around to the cast of The Goonies and talking to them about getting back together. ...

JB: Haven't heard a word.

Cinematical: If they asked you, are there limits to nostalgia? Or would you go back to it, as a lark?

JB: I don't know; it depends on the story ... I mean, it has nothing to do with (nostalgia); you know, they gave me my break, so that's a huge thing for me. And it's not like Spielberg or Dick Donner are slouches; they're great filmmakers ... I don't know; I haven't heard anything about it. I don't know what those actors are doing; Martha Plimpton, I run into once in a while; I think she's an amazing actress. But would it be smart to do that? Would it take away from the original film, and how great that was? Is it a business decision? Do we feel like we can make some money off it, because it is such a childhood classic? I don't know. Maybe I'll be some great alcoholic homeless character in the boondocks of Astoria, Oregon ... That would be fun.

We've talked ... and talked ... and talked about a potential Goonies sequel, but in the past few months, it's beginning to look more and more like Steven Spielberg and Richard Donner are quietly attempting to put it together. And with the entire original cast! (Well, those who are still alive, mind you.) Both Corey Feldman and Sean Astin recently chimed in, alluding to the fact that they had been approached to work on it. And, now, Empire reports that they've spoken with Jonathan Ke Quan who confirmed that he, along with Jeff Cohen (Chunk), have been made aware of the possible sequel. He says, "We were approached a few months ago by Warner about doing it and asked if we would be interested. They even showed us character designs. It looks very cool."

They have character designs! The good (or bad) news, depending on how you look at it, is that this sequel will be animated and not live action. Empire also mentions that this could be a series, and not just a one-off flick, which doesn't sit too well with me. I don't know, to me Chunk is a little fat kid who loves his ice cream. I can't picture an adult with a child. Of course, I'm sure Chunk's kid will be just like Chunk, and Data's kid will be just like Data, but I would hope this sequel doesn't take anything away from my memories, as a kid, of The Goonies. I usually don't care as much when I hear about all these remakes and sequels, but they're f**king with one of my all time favorite movies here. To me, this is big -- animated, live action, puppets -- however the hell they decide to make it. I mention the parents and kids storyline because that's the one they seem to be leaning toward; the original cast is all grown up with children who go on an adventure of their own. What do you think of all this? And if you had a choice, would you want a straight-up live-action sequel, an animated sequel or an animated series?

Welcome back to The Write Stuff! I'm thrilled that there is such a strong interest in screenwriting out there. Thank you all so much for your comments last week, both here and on my site. All of your questions and comments will be addressed in the coming weeks, so stay tuned and keep them coming!

The first interview for the column is with red-hot screenwriter Adam F. Goldberg. Adam is living the dream. He writes for both television and film, and his upcoming movie projects include Fanboys, the live-action Jetsons movie, and They Came from Upstairs. Cinematical spoke with the incredibly busy Goldberg about his scripts, his process, and Goonies: The Musical.

Cinematical: You said you were being "enslaved by a director," what are you working on? And should I call the authorities?

Adam F. Goldberg: Perhaps call them for my hacky writing! It's called They Came From Upstairs for Fox. It's a family movie, kinda like Gremlins -- but with aliens. The spec was written by Mark Burton and was sold for like $1.7 mil. I believe I am making about .0001212 of that. It's been a really cool project. The movie was in pre-production and the studio realized the script wasn't ready and shut it down pretty late in the game. I came aboard to get the train back on the tracks which is always high pressure and very difficult to do. I handed in 40 pages and they re-greenlit the movie and we're casting and location scouting now. I'm on draft two currently, working next to the director and bringing his vision into it.

Cinematical: Is that an awkward process at all -- being brought in to re-write a fellow writer? Do you ever run into hurt feelings or bruised egos? I guess the $1.7 million makes the pill easier to swallow.

AFG: Well, I come from the TV world, writing on sitcoms and that's very collaborative. You have to sit in the room and watch 10 other writers tear apart your script right in front of you. That bruises your ego. As for movies, more often than not a writer can only go so far and it's your job to bat clean up. It's never a great feeling to have your screenplay rewritten, but hopefully you've moved onto your next project, so it doesn't sting so much. And believe me, that $1.7 payday is like winning the lottery. I hope I can sell a spec one day. I've had little luck in that department.