Fred Ward

Artwork by edgarascensao on DeviantArt

The year is 1989 and Brent Maddock and S.S. Wilson finally have their screenplay. The two men – established purveyors of family-friendly science-fiction with 1986’s Short Circuit and 1987’s *batteries not included – have been kicking around a script based on Wilson’s idea of land sharks; during one desert hike, he suddenly became obsessed with the idea that he couldn’t leave the rock he stood on, and jotted that idea down for future development. A few years go by and Maddock and Wilson have put everything on paper and are determined to produce the film themselves. In a brief introduction to the shooting script for Tremors, Maddock wrote about his goals for Tremors: Our crafty little plan was to fashion a low- enough-budget idea that a studio would actually allow us to produce and, even less likely to happen, allow Ron Underwood, our old filmmaking partner from our educational film days, to direct (…) Inspired by 50s monster movies such as Them and Tarantula, we decided to put a twist in the old formula. What if the guys who usually get killed in the first reel (sacrificed to demonstrate the deadly threat of that film’s particular creature) were, instead, our leads? Despite its “low-enough-budget” premise, Tremors was something of a gamble for almost everyone involved in the project.



30 Minutes or Less is a movie that takes risks. In a flat landscape of studio movies that seem mostly to be shoved into a formula that doesn’t quite work anymore, watching this film is like drinking an ice cold lemonade on a hot summer day that’s been spiked with stuff that would put hair on your chest. For all the laughs and gore of Zombieland, director Ruben Fleischer seems to have taken this comedy about a pizza boy forced to rob a bank simply to further prove he can get away with anything he wants. And he gets away with it, because the movies he makes are damned funny. This is a film for adults that grabs its anatomy, goes about its business, and doesn’t care to cater to any particular sensibility. It’s because of that attitude that it all works so well. The direction, the actors, and the writing commit fully to the premise, and sells us on the bit by sheer willpower (and a healthy amount of adult language and situations).



Remo Williams is heading back to the big screen… just not in the way I had hoped.



‘Management’ gives Steve Zahn the lead role he deserves, but it’s otherwise a standard coming of age dramedy.

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published: 01.27.2015
published: 01.27.2015
published: 01.27.2015
published: 01.27.2015

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