It All Starts Today (The Cornfield #37)

From the Sep.-Oct. 2000 issue of Film Comment. A postscript to last week’s reprint of a Tavernier piece.

At the age at which directors are supposed to have settled into stateliness and comfortable shoes, Bertrand Tavernier keeps kicking against propriety. Though capable of working in a classical mode, Tavernier has spent much of the Nineties exploring a rough, jagged style; we might expect this of his young new-new-wave compatriots, but it’s especially refreshing coming from an eminence grise of French movies.

L.627 and Capitaine Conan (both of which I wrote about in FC Nov.-Dec. ’98) are sliced through with disorienting incidents, refusing to pursue a linear narrative. L.627 (1992) drops us into the chaotic and grungy world of police work, and Conan (1996) is the horrific confusion of World War I at trench level. L’Appat (Fresh Bait, 1995) is more conventionally structured, but open-endedly explores the moral void of young Parisians robbing and murdering for absurd reasons. For his latest film, It All Starts Today (Ça commence aujourd’hui), Tavernier’s subject is the maddening state of the modern school system. The style is the same as the war movie and the policier, but it seems more daring here, since there isn’t an obvious genre reason for the approach—the violence expressed in the ragged mise-en-scene is more psychological than physical.

In synopsis, It All Starts Today sounds like a Ken Loach social-work movie. Tavernier’s leading man from Capitaine Conan, Philippe Torreton, stars here as a tough, empathetic grade-school teacher in a depressed town in northern France. (One of the town’s boosters wants to spin its image by declaring, “No more Germinal!”, but the dark cloud of failed industry hangs over the place.) The coal-haired Torreton, a seamless actor, brings some of the ferocity he had as Conan to the teacher’s struggles with the endless cycle of budget cuts, troubled children, irresponsible parents, and smothering bureaucracy. The echo of war is fitting, since It All Starts Today insists that only the toughest soldiers will survive the battles to make a livable world for kids.

Tavernier’s Nineties output has included a couple of documentaries, and those experiences may also have affected the feel of It All Starts Today. In other words, think of the film as having the shape of a war documentary: a handheld Steadicam used throughout, a loose approach to the ABCs of storytelling, the favoring of realism over aesthetics. The Torreton character, Daniel Lefebvre, begins the film by rising early in his country house and musing in a voice-over: “A story can unfold like a dream. You don’t decide when to fall asleep, when to awaken….You want to be caring, help your character, take him by the hand….” These unexpected bits of narration seem to address the film’s seemingly random movements, its life-and-nothing-but flow, as though the movie were out of the control of its director. (Not always: The graceful pan that takes us from a lesson in class to a schoolroom window, beyond which the funeral procession for a dead child passes, is a heartbreaking visual stroke worthy of Griffith or Ford.)

At work, Lefebvre spends at least as much time trying to improve (sometimes save) the lives of his kids as he does teaching them how to read and write. He blames himself for the tragic consequences that befall an alcoholic mother whose daughter is enrolled in his class, a subplot that takes most of the film to unfold. He also has trouble in his own home, when his girlfriend’s son is discovered to have been among the vandals who trashed the schoolhouse one night. (The girlfriend makes sculptures out of awkward pieces of metal, her own way of wrenching beauty out of the industrial past.) It All Starts Today might be read as The 400 Blows from the perspective of a sympathetic teacher.

The film’s dialogue is rife with statistics and complaints about the school system—occasionally a scene will turn into a shouting match, or simply depict teachers sitting around in a circle comparing woes. It’s as though Tavernier is admitting he has too much important information he wants to get out there, and is willing to vent his anger and frustration into undigested dialogue. Some of It All Starts Today plays like one of Godard’s Sixties movies, with a character staring into the camera and delivering unto us some portion of the revolutionary credo. In one scene, also an echo of Godard, an elegant middle-aged teacher speaks with an unseen interlocutor, and gives what appears to be a documentary interview about the decline in schools over the last twenty years. (The title itself, not referred to in the movie, is a stand-alone call to arms.)

It is, then, a somewhat unstable film. An American counterpart might be John Sayles’ City of Hope, which also shook an impassioned fist at crumbling civic infrastructure, though the visual and rhythmic busy-ness of It All Starts Today feels more organic—not merely a depiction of the gutters but right down there in them. It must be said that this brand of social-action picture runs the risk of undramatized issue-mongering, and Tavernier does not avoid the pitfalls: there are scenes that sit there, hectoring, while we may be forgiven for breathing, “Yes, Bertrand, we got it already,” under our breath. Thanks to the unmitigated pleasure of schoolkids putting on a show, and the un-handsome dynamism of Torreton, these lapses fade away by the time the film reaches its lovely conclusion.

The fact of the director taking this disorienting tack as he moves into his seventh decade is interesting in itself. He may be wary of the model of Ladmiral, the aged painter in Tavernier’s A Sunday in the Country, who never achieved the depth and breadth of his contemporaries, the Impressionists, because of his inability or unwillingness to change his safe style. Say what you want about Tavernier’s recent work, but he has not been playing it safe.

Attack the Crazy, Stupid Cowboys (Weekly Links)

Daniel Craig vs. Alien

Links to reviews I wrote for the Herald this week, and etc.

Cowboys & Aliens. “The genre-bending weirdness of it all might make your head spin.”

Crazy, Stupid, Love. “Wacky humor and emotional authenticity in equal doses.”

Attack the Block/Sarah’s Key. “A string of hilarious one-liners and slangy non sequiturs”/”I didn’t buy it.”

On KUOW’s “Weekday,” I talk with Steve Scher about modern alien invasion films such as Cowboys & Aliens and Attack the Block, and the GOP’s use of movie metaphor (Tea Party debt-ceiling intransigence=Alec Guinness in Bridge on the River Kwai, for instance). Alas, this was broadcast just before House Republicans watched The Town for inspiration. The conversation is archived here; the movie bit kicks in with the “Colonel Bogey March” around the 14:20 mark.

At What a Feeling!, we split the goal posts with a lovely sports movie, Roger Spottiswoode and Ron Shelton’s The Best of Times.

Movie Diary 7/28/2011

Film Socialisme (Jean-Luc Godard, 2010). He certainly has gone beyond needing or wanting to be understood, but J-LG hasn’t stopped being an artist. And he still has the ability to look at things like nobody else. (full review 8/5)

Higher Ground (Vera Farmiga, 2011). It should not surprise you that this actress might turn out to be a talented director. In casting, timing, behavioral detail, the skills are on display here. (full review 9/9)

At What a Feeling!, the 1980s spew forth reviews of R.W. Fassbinder’s Berlin Alexanderplatz and Albert Pyun’s Cyborg. Without, you know, missing a beat.

Movie Diary 7/26/2011

Cowboys & Aliens (Jon Favreau, 2011). As the title suggests, there is little for me to not like in this picture. Everybody involved looks like they had a good time making it, so I find it hard to complain. (full review 7/29)

The Reef (Andrew Traucki, 2010). The boat capsizes, the people have to swim for it, but sharks are around. It is what it is, but I have to say there are a couple of shark-in-the-same-frame-as-people shots that I’d really like to know how they did that.

Blow Out (Brian De Palma, 1981). Thought I’d give this another shot after about 30 years or so, and I can say that I’d really have to stretch to convince myself this is a great movie. Many scenes are extremely skillfully done, and it’s kind of fun that the Seventies paranoid political outline gets a blast of B-movie gunk. But compare it to another ’81 paranoid thriller, Cutter’s Way, and this movie comes up very short.

At What a Feeling!, I continue sifting through Eighties reviews with a 1986 take on Band of the Hand, a “Miami Vice”-era piece of the Michael Mann world.

Movie Diary 7/26/2011

On the Beach (Stanley Kramer, 1959). I dunno, maybe it’s the doomsday mood (in place from the very first scene), the lived-in melancholy of Peck and Gardner and Astaire, and the occasional goodies from DP Guiseppe Rotunno, but the movie overall is fairly haunting, even if Kramer can’t resist pounding a point. And while six years after its release Pauline Kael could write, “Does anybody remember it as anything more than a lousy movie?” it’s now a time capsule of a certain scary moment, which gives it interest.

Strange Days (Kathryn Bigelow, 1995). Pulp script and propulsive direction; maybe not quite as good as the first time seeing it, but for Bigelow an authoritative showcase. Ralph Fiennes is an excellent actor in every way, but in this kind of thing, he’s no Richard Widmark.

Over at What a Feeling!, a review of School Daze, Spike Lee’s sophomore effort with a fittingly collegiate setting.

Four by Tavernier (The Cornfield #36)

From the Nov./Dec. 1998 Film Comment, an article titled “The Filmmaker of St. Paul”: Four movies (released together as a home-vid set from Kino) by director, critic, and mensch Bertrand Tavernier.

Movie directors become brand names; it’s one of the peculiar things about the business of film watching and film comment. Such a level of recognition can come from a body of work, of course, but it helps if the filmmaker creates a sharp, strong, single work at the beginning of his or her career—the way 400 Blows and Breathless fixed the names Truffaut and Godard in the cultural imagination. Regardless of the vagaries of their subsequent working lives, they could always be identifiable from those first-strike masterpieces. It doesn’t have to be the debut. Lars von Trier is a secure brand name now, having had his breakthrough movie at a young age; he can stumble a few times over the next decade, but he’ll always be “the guy who made Breaking the Waves,” a singular, original movie personality.

If a director becomes a brand name, it’s easier to talk about him or her, easier to organize a film series at the art museum or university, easier to write an article that paints a portrait of the artist. For some reason I feel bad when a really interesting talent lacks that identifiable, defining movie (though they may well be better off not being a brand name, for all that’s worth). I want more people to know about, for instance, the English director Michael Winterbottom, the young and disgustingly prolific director of Family and Jude and Welcome to Sarajevo. Winterbottom hasn’t put it all together yet for a breakthrough film, yet he certainly deserves more attention than “the guy who made The Full Monty,” or a dozen other under-forty British directors. Alerting people to someone like this is one of the uses of the supposedly dead craft of film criticism, as Michael Atkinson proved in his excellent appreciation of Winterbottom in the Jan-Feb 98 issue of Film Comment.

Though he had some arthouse success and earned a great deal of respect over the years, Bertrand Tavernier was never blessed with a brand name. He was not a fast starter, for one thing: born in 1941, just nine years after Truffaut, he worked as a publicist and a critic, made short films, and directed his first feature in 1973. He wasn’t as obviously iconoclastic as his predecessors in the French New Wave, with a style that tended toward invisibility and a wide-ranging taste in subject matter. (Once when I proposed Tavernier as the subject for a film series—this was around the time A Sunday in the Country came out—a colleague placidly asked, “Wouldn’t that be sort of boring?”) It was not until 1986, and the release of Round Midnight, that Tavernier had a film that could be characterized as a breakthrough, and even then the attention focused on the jazz milieu and Dexter Gordon’s performance. He might have had an interesting Franco-American career as “the guy who made Round Midnight,” but his films since then have included a brutal look at the Hundred Years’ War (Beatrice), two challenging World War I pictures (Life and Nothing But and Capitaine Conan), a rambling reverie of a father and daughter (Daddy Nostalgia), and two or three films that have barely registered in the American market. Nothing that fits a single style, and nothing as easy as a recognizable “Tavernier movie.” The two WWI films, for instance, couldn’t be more different from each other; Life is a flowing, deliberate contemplation, while Conan is barbaric and chaotic.

Tavernier is also a film buff, an author, and a fixture on the festival circuit. A lot of people seem to think of him like Octave in The Rules of the Game: big, bearlike, full of enthusiasm. Like Octave, however, there is more to Tavernier than that image. I interviewed him in 1997, while he was in America doing publicity, and it was great fun to talk about our shared appreciation of the lusciousness of Julia Adams, that fine-boned blond Fifties starlet from The Creature From the Black Lagoon, but Tavernier also burned with very committed political fire. The word he kept using during the interview was “fight,” as in fighting for the release of a small film, fighting for the continued existence of French cinema, fighting for a more compassionate government. Tavernier’s film often have such a civilized, elegant veneer that we might not identify the director as a fighter. But it’s always there in Tavernier’s work, the fight for a cause or a person, or just the tough trench warfare within families trying (or refusing) to understand each other.

Getting Bertrand Tavernier in focus is easier now, thanks to Kino on Video’s new foursome of Tavernier movies. A new letterboxed version of the director’s first feature, The Clockmaker (L’Horloger de St.-Paul, 1973), leads the collection. A Georges Simenon story of a Lyons clockmaker (Philippe Noiret) whose son is accused of a murder, The Clockmaker deftly balances the generic necessities of a mystery plot with a thrumming interest in politics. And a political undercurrent is common in Tavernier’s movies—not necessarily a Godardian explicitness, with diatribes against the right, but a quieter, no less agitating insistence that the choices one makes in life are political, whether one knows it or not.

For instance, watchmaker Philippe Noiret talks politics with his friends at the café, in the time-honored tradition of French discourse. But his own life is mild and fastidious—he dresses in conservative brown and waits for the lights to change before crossing the street, despite the absence of traffic. (“Are you Swiss?” chides a friend.) This portrait of a complacent bourgeois shaken by family tragedy is beautifully captured by Noiret, who would go on to become the director’s alter ego in many key works. Noiret is matched by Jean Rochefort, as a police commissioner who seems less inspector Javert than Lieutenant Columbo. There’s a scene between the two men, having dinner on a train, that embodies the humanity that can emerge from simple actions and rituals. The film also has a confident (and not even slightly nostalgic) view of Lyons, Tavernier’s home town.

A Sunday in the Country

A Sunday in the Country (Un Dimanche a la Campagne, 1984) ought to have nostalgia, yet this is a film that spikes its golden bittersweet subject matter with a generous dollop of country vinegar. An elderly, renowned painter named Ladmiral (Louis Ducreux) welcomes his children to his country house in the early years of the century. On this Sunday he is disappointed by them, as we suspect he is always disappointed by them. The son, a man who keeps his jacket on during a stifling hot day, is living a tidy middle-class existence, which clearly horrifies the father; yet we eventually see how similar they are. Ladmiral’s own career, parallel to the Impressionists, did not advance and grow in the way his contemporaries’ did, probably because of his own fear of changing or experimenting.

Ladmiral’s daughter Irene (Sabine Azema), his favorite, is an unmarried woman caught in her own melodrama of huge passions and l’amour fou. She drives an automobile, she speaks on the telephone to an indifferent lover. Her father dotes on her, and she encourages his attention. Their relationship is caught in a heart-rending moment: as Irene chatters in the garden, she reaches to pluck a rose. Tavernier cuts to a second-long shot of Ladmiral, about to tell her not to take the flower—then cuts back to Irene, thoughtlessly snapping off the stem and slipping the red rose into her dress. The old man, wounded and charmed and defeated, never says anything.

Even to name these themes and undercurrents is to disturb the delicacy of Tavernier’s design. Much of the uneasiness of the family comes from things not spoken, and the director simply withdraws to allow the rhythms of a Sunday to unfold in their usual way, without great revelations or explosions. The Kino video, though nice to see in letterbox, doesn’t quite capture the luminescence of the film’s sun-drenched summer garden.

L.627 (1992) is a policier that unfolds to an engagingly staccato beat. The film is crammed with the stuff of a narcotics cop’s life, but without the usual through-line; there’s no great case to be solved, and the peripheral characters are picked up and dropped like numbers in a case-book. The hero, Lulu (Didier Bezace), doesn’t look like a cop, he looks like a schoolteacher, all glasses and frizzy hair, but he can beat up a suspect as well as anybody in his ramshackle precinct.

This cop is married, but he has a tender and somewhat mysterious relationship with an HIV-positive prostitute named Cecile, with whom he may or may not have had an affair. Away from his job as a policeman, apparently to make extra money, Lulu videotapes weddings. During a touchy scene in which he asks his wife to undress while he films her, she teases him about being a voyeur. Tavernier draws a parallel between being a cop and being a watcher, which adds an autobiographical tinge to the film. When we first see him, Lulu is on a stake-out, watching life go by through the smoked windows of a van; and like a voyeur, or a movie watcher, he jumps from one story to the next without getting involved too deeply in the lives that pass in front of him. Until he loses track of Cecile.

The film’s roundabout way of not tying up its loose ends is both a fresh approach to genre storytelling and a way of suggesting the frustrations and absurdities of the big-city police system. The title refers to a kind of Catch-22 in the police code, a rule about the treatment of drug users that basically guarantees the continued survival of a miserable status quo. L.627 is bracing enough on its own terms, but there is something especially exciting in realizing that, in his sixth decade, a director capable of the lyrical meditations of A Week’s Vacation and A Sunday in the Country is also happy to blow the roof off the joint. And there’s nothing studied or academic about L.627’s harshness; this isn’t slumming.

Even more raw is Capitaine Conan (1997), transferred by Kino in an especially crisp widescreen version. Tavernier has said that he wanted the battle scenes to have the confusion and immediacy of actual warfare, where you don’t know where you are, where the enemy is coming from, or what direction to look. He succeeds almost too well, as the early scenes in Conan are a largely bewildering experience. The fighting is truly frightening, with scenes of hand-to-hand combat and shrapnel flying at the camera that bear comparison to the visceral warfare Spielberg creates in Saving Private Ryan. This film prefigures Private Ryan in a few ways: the quickness of death, barely acknowledged before the camera moves on to something else, and the convention of the cowardly soldier, who, given a chance to come through in the clutch, utterly fails to redeem himself.

Conan (a ferocious performance by Philippe Torreton) is the leader of a fearless band of commandos in the Balkans during the Great War. They go on fighting after the war, too; though the armistice ends, it suits the French army to continue battling the Russian troops. Conan is contrasted with Lieutenant Norbert (Samuel Le Bihan), a student of literature, who is cajoled into becoming a military prosecutor. Conan sees this as a betrayal, since some of his own wild men will be on trial, but Norbert is an idealist, believing that he can actually help more people by being a part of the system. An echo of The Man Who Shot Liberty Valance here: Conan and Norbert are like the John Wayne and James Stewart characters, representing the old ways of lawlessness and the new ways of civilization—though it is an open question as to which is more damaging. Their rocky friendship culminates in a beautiful epilog scene in which Norbert visits the retired Conan in a bar in Conan’s village. The tiger has been de-clawed; he practically disappears into the shadows. This is where cowboys go to die.

Like another filmmaker-scholar, Martin Scorsese, Tavernier often makes movies that seem open-ended, slightly incomplete. He admires the classical form, but he can’t quite believe in it for himself; it’s one of the things that make him a modern. Perhaps it is less important to create a perfect work than to carry on the overall fight. Probably Tavernier sees himself more as the modern Norbert than the barbarian Conan, but he surely appreciates the importance of the Norberts, the men who do not get movies named after them yet have their role in the struggle. So for Tavernier, the fight goes on.

(For more on Tavernier: a review of Coup de Torchon at my other website.)

Captain Eternity (Weekly Links)

Links to reviews I wrote for the Herald this week, and etc.

Captain America: The First Avenger. (Dead link; review below)

By Robert Horton

Inside “Captain America: The First Avenger” is a snappy, clever “origin story” of a classic Marvel Comics superhero. Well-placed humor and a game lead actor add to the appeal.

The only thing holding that movie back is that it’s contained within a larger project, as part of Marvel’s multi-movie interlocking universe that will culminate in 2012’s “The Avengers,” which will assemble Iron Man, The Incredible Hulk, Thor, and assorted heroes.

Including Captain America. And that makes “The First Avenger” an odd duck. It has a framing story set in the present day, which will allow Cap to eventually hook up with his fellow crimefighters. The bulk of the movie is a flashback to WWII-era action, as a scrawny young man named Steve Rogers desperately wants to join the war effort. Enlisted in a secret medical experiment by a German-American doctor (Stanley Tucci, playing it loose), Rogers is transformed into the musclebound Captain America, a shield-wielding hero with super-regenerative powers.

Chris Evans, a playful actor (he was the Human Torch in “Fantastic Four,” another comic-book movie—is there any other kind these days?), is Rogers. To play the short, skinny version of the character, Evans is aided by some “Benjamin Button”-style digital trickery. Tommy Lee Jones plays the military top gun of the project, Hayley Atwell provides duty as the uniformed love interest. The villains have the best parts in these things, and “Matrix” star Hugo Weaving (channeling Werner Herzog’s voice for his heavy German accent) relishes every moment as the Nazi scientist who believes himself to be a true uber-mensch.

For the first hour-plus, director Joe Johnston (“Hidalgo”) has good fun with all this, finding clever ways of defusing the absurdity of Captain America’s star-spangled outfit—it’s invented as a war-bonds come-on for the folks back home—and creating some decent 1940s visions (the movie cheats by putting the 1939-40 New York World’s Fair in 1943, but some artistic license must be allowed).

It’s all the more disappointing when the final act goes a bit flat. After it’s over, you begin to think the whole thing was just an exercise to set up “The Avengers,” which makes it oddly unsatisfying in retrospect. (Fanboy alert: there’s no extra scene after the long end credits. They take care of all that in the movie itself.)

I still had a good time with a lot of “Captain America,” and it should be fun to see Evans return to the role next year. But unlike, say, the first “Iron Man” movie, this film doesn’t truly stand on its own.

Into Eternity. “Regarding a cave of forgotten dreams.”

Tabloid. “There may be something a little too gleeful about this movie.”

Snow Flower and the Secret Fan. “A story of friendship in which the friendship must be taken on faith.”

If a Tree Falls: A Story of the Earth Liberation Front. “A reasonable treatment of fanaticism.”

A Not So Still Life. “One wishes that a wacky person like Ruffner could get a more creative movie treatment.”

On KUOW’s “Weekday,” I talk with Steve Scher about the eerie Into Eternity and its long, long view; plus some stuff on Tabloid. It’s archived here; the movie bit begins at the 14-minute mark.

If you’re in Seattle, an indie company is playing a new feature based on The War of the Worlds, which looks just bizarre enough from the trailer to inspire real curiosity. It’s at the King Cat theater on Saturday.

At What a Feeling!, my vintage reviews of 1980s films offer up Red Heat, including a few quotes from director Walter Hill, who came for a publicity tour and wore sunglasses during the interview.

Movie Diary 7/21/2011

Crazy, Stupid, Love. (Glenn Ficarra, John Requa, 2011). The whole movie isn’t just the stuff in the trailer about Ryan Gosling showing Steve Carell how to get the Knack, which is a good thing. From the directors of I Love You Phillip Morris, but calmer. (full review 7/29)

Captain America: The First Avenger (Joe Johnston, 2011). This Avengers build-up is beginning to take its toll. But there are some clever bits in here, Chris Evans is a good sport (you knew that already), and Hugo Weaving steals Werner Herzog’s accent. (full review 7/22)

At What a Feeling!, the Eighties spotlight turns to Roman Polanski’s Frantic and Don Coscarelli’s Phantasm II. I have no punchline.

Movie Diary 7/19/2011

Snow Flower and the Secret Fan (Wayne Wang, 2011). As much as critics like to moan about how many car chases there are in movies, sometimes you see something that makes you wish for a good car chase. Produced by Wendi Murdoch, quick-jabbing wife of the owner of the studio. (full review 7/22)

Minority Report (Steven Spielberg, 2002). Enjoyed this the first time ’round; it seems like distinctly minor Spielberg on second view, albeit with a few haunting moments. Tonal issues nag: did the jetpack chase through the apartment have to include the insert of the burgers getting grilled by the afterburn?

In a Better World (Susanne Bier, 2010). Missed this the first time around. Can see why it won the Oscar. Some worrisome indications (the pacing, for instance) that suggest Bier is becoming increasingly aware of doing something important – yet still a strong film with fine performances. Still: beware Stanley Kramer syndrome.

At What a Feeling!, I hark back to a guilty pleasure from the Eighties: License to Drive, starring the Two Coreys.

Movie Diary 7/18/2011

Westworld (Michael Crichton, 1973). It doesn’t really fulfill the promise of the TV ads that saturated the market when it opened, as it turns out. Still a choice casting coup to get Yul Brynner in there. For all the hi-tech stuff that went into the fabricated worlds, they really had some lousy video monitors in the control room. 

Sleeper (Woody Allen, 1973). Allen beginning to work some emotional authenticity into the series of gags. A lot of those gags are classic, and the futuristic imaginings are surprisingly lively. Costumes by Joel Schumacher.

The Tree (Julie Bertucelli, 2010). Note the title; you will be seeing a lot of that in the film. Charlotte Gainsbourg in a more or less normal role, although she still doesn’t seem normal. (full review 8/13)

Klute (Alan J. Pakula, 1971). In texture, editing, performance style, this sure is a movie of its time. Also a very good one. One of the cinema’s periodic great evocations of a New York apartment.

Fantastic Voyage (Richard Fleischer, 1966). You know, seeing it again after many years of settling into the conclusion that it’s strictly a kitsch experience, one must observe that this is a rather enjoyable movie. Wacky premise, fun sets, Raquel Welch getting attacked by the antibodies. At some point the miniaturization operation blends in the mind with Sleeper‘s nose-cloning.

At What a Feeling!, there’s no stoppin’ the 1980s: the bad memories come flooding back with a review of Police Academy 5: Assignment Miami Beach.