J.D. Hansel

Frank Oz

An American Werewolf in London Review

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My appreciation of great horror films is always a little bit limited by the fact that I don’t really care for being scared all that much.  There is still some horror out there that I like, but this film doesn’t have that much of it – most of this film’s horror portions are simply slow builds to jump-scares.  Sometimes fun builds, but the point is still the “startle,” which isn’t my kind of horror.  This film does, however, offer my kind of humor.

Most of the movie is really a sort of bizarre ’80s comedy about a college kid and his buddy having a strange experience abroad, and the character comedy is absolutely delightful.  John Landis knows how to make the minor characters funny as well; the casting of Frank Oz here is perfect, and sometimes finding the right character actor is all it takes for great comedy.  I think that’s what I like so much about this film: Landis brings together different elements that don’t usually get put together, but his careful combination creates a rare and beautiful emotional effect on the viewer – an effect of uneasy laughter.  It’s simply a work of really smart craftsmanship, and while not all of it is the kind of entertainment I’m used to, this film is already inching its way closer and closer to my heart.

What About Bob? Review

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I generally try to be a really tough critic.  I never give five stars, and I only give four and a half stars to the movies that grab me in the most intense and personal ways possible or impress me such that I would not object to considering them the greatest films of all time.  Naturally, I try to keep the list of films that get this most esteemed rating as small as possible, with only a few such reviews every year so they only make up about 10% of my reviews.  As I watched What About Bob?, I could tell that this film was in the 4 to 4.5 zone, but I wasn’t sure where, and I regrettably remained unsure even after the film had ended.  Over time, however, I found myself leaning towards 4.5 not only because its particular story and comedy style grab me personally, but because I kept laughing at its comedy after weeks had passed since I watched the film.

I do believe that this film is truly (and perhaps objectively) good, but the reasons why I love it are more subjective.  I have a personal connection to What About Bob? because I love Frank Oz, who directed the film, and I’ve grown fond of his style as a filmmaker and humorist.  He also cast fellow Muppet performer Fran Brill as a fairly significant character in the film, which I greatly appreciate – it’s not every film that pairs Bill Murray with Prairie Dawn.  I also just like comedic stories about craziness, mental illness, anxiety, psychology, and the brain, which is why films like High Anxiety, Silver Linings Playbook, Crazy People, and Inside Out are among my favorites.  I also like comedy that focuses on the dynamic between characters that each have distinct and understandable personalities, a la the early Harry Potter films and certain Muppet movies.

To be more objective, however, the story is cleverly written, and the performances are absolutely excellent. Richard Dreyfuss in particular clearly had a difficult task in that his character must become progressively and consistently less sane, while staying somewhat relatable during most of the film, and I think he handled it very well, delivering most of the film’s best comedy.  I will say that the extent to which I empathize with Dreyfuss’ character does at times get in the way of the comedy, and it is perhaps a consequence of this that the film’s ending feels a little weak, but overall, What About Bob? offers the high level of cinematic craftsmanship that I’ve come to expect from Frank Oz.  I don’t think this movie gets a lot of credit as one of the greats – although it did make Bravo’s list of the “100 Funniest Movies” and a quote from the film is in my movie quotes daily calendar – but regardless of what anyone else might think of it, I cannot recommend it highly enough.

Bowfinger Review

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Frank is the best Frank that’s ever happened to me.

There are a few master craftsmen in the world of film direction that are rarely recognized as such, making for cranky rants from snobby movie buffs like me.  Generally, if a filmmaker is good at getting good reviews, and has done some memorable work, people associate his or her name with his/her film-making.  Frank Oz, on the other hand, has had quite the career as a director, and yet this is largely overshadowed by his time spent as a Muppet performer back in the day.  Seeing as how I am one of the geeky “Hensonites” who just adores the various skills that Frank has, it is important to me that people appreciate both his work as a puppeteer and as a director.  So, I’m adding his  to my Missionary List – the list of movies I promise to spread the word about at any opportunity like a missionary shares the gospel – where it will join the ranks of other underrated triumphs like Phantom of the Paradise, The Twelve Chairs, Play It Again, Sam, and even the Marx Brothers’ Duck Soup.

This is one of those movies that is done in such a careful way, with such remarkable precision, that the knowledgeable spectator will be constantly aware that he/she is watching a master at work.  It’s special when a film carries an aura of craftsmanship that is always present, but never too disruptive of the feelings that the spectator is supposed to be experiencing.  The jokes, overall, do work well, even though I think that the same screenplay – perhaps eve with the same cast – could have made for a mediocre movie.  Heck, it would even be easy to hate the main character for being so sleazy.  Frank seems to be the element that makes everything about the film work the way it’s meant to, from the pacing to the mood.

While it’s not necessarily the funniest film I’ve ever watched, it has a number of very strong comedic moments, and is pleasant and fun throughout.  The performances from Steve Martin and Eddy Murphy are some of their best, and the story is written very cleverly with a smart resolution and satisfying ending.  It also has the benefit of being both a good movie on first-viewing and a good “Hindsight Movie” – a film that becomes more enjoyable when thinking about it in retrospect, or when watching it again.  I suspect this may not be uncommon for Oz films, since I really liked Little Shop of Horrors the first time I saw it, but over the years I have grown to obsess over it, and it has become a big part of who I am.  I can’t say for sure that I’ll ever love Bowfinger on a level that’s very close to how much I love Little Shop, but I can say that this is a movie I’ll happily sit down and watch again with whoever would be willing to join me.

If anyone is ever in need of a fun comedy film for movie night, this is one of my top recommendations.

127 Bowfinger