ReelReviews #107: It’s Alive III: Island of the Alive (1987)

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MARCH 15, 2017 SCREENING: ISLAND OF THE ALIVE (1987)

The good news: Unlike many other “third movies” in a trilogy, this movie isn’t a complete joke that ruins everything you liked about the first two movies. The bad news? It’s still a disappointment compared to the first two. It’s watchable, yes, but unsatisfying.

Ironically, the third film provided a great setup for building on the universe from the first two movies and giving the audience something much bigger and bolder. The most obvious question from the first two films is what would the killer mutant babies actually be like IF they grew up? Additionally, there is the question of how the evil mutant babies would interact with their own kind, what they would do if left their own devices, and there was very little in the way of actually SEEING the babies in full detail from the first films because of the makeup limitations of those movies. It’s Alive III addresses all those points – and in many cases, it provides a perfectly valid answer to those questions. But alas, something is still missing.

Compared to Basket Case 3 (which shifted the tone so much from the first movie, it was like they were intentionally trying to make a bad joke), Island of the Alive sticks to the style of the first two movies very well. The film opens in a courtroom where they argue over the fate of one of the mutant babies (finally seen in full detail thanks to stop-motion animation). Without going into too much detail, the killer mutant babies are eventually quarantined on an island that is restricted to the public, hence the title. Of course, there wouldn’t be much of a plot if they just stayed there forever and no one ever saw them again, so a few years later, they decide to send an expedition out to track down if the killer mutant babies are still alive on the island.
None of this (aside from perhaps the tense courtroom scene where the father has to “touch” the baby in the cage to “prove” it’s safe) plays out as horrifically and dark as it could from the way it sounds on paper. I think part of the problem is that that Island of the Alive was made a decade after the first two movies, and the late 80s setting simply gives the movie a different feel than its mid-1970s counterparts. (I have no idea why there was such a large gap in time between the filming of the second and third movies). Strangely, 70s cult horror star Karen Black shows up in this one as a disgruntled girlfriend of one of the characters, and I found her role unintentionally funny. Even Rob Zombie couldn’t seem to use Karen Black in a serious role. It’s Alive III just seems to lack the same quiet, creepy, dark vibe of the original movie, despite having the same writer/director.

The film does deserve kudos for an interesting script that eventually reveals that the mutant babies mature at age four and are able to reproduce, and communicate with each other through some type of sign language and/or telepathy. This results in some type of “Captain Phillips” type scenario where one of the characters is held hostage on a boat commanded by the mutant babies. The scene itself, however, was neither funny & campy nor terrifying and creepy, it was just sort of there, and make me shrug, “eh?”

The film provides a satisfying conclusion to its own events, but as part of a trilogy, it’s the weakest of the trio. Whether it’s worth watching is really up to you.

** out of ****

ReelReviews #103: 1980s Best Picture Winner: Driving Miss Daisy (1989)

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MARCH 2, 2017 SCREENING: DRIVING MISS DAISY (1989)

 

Driving Miss Daisy is the ultimate low key movie. It’s easy to see why it’s the kind of film that would win an Oscar, but it’s no Sophie’s Choice or Kramer vs. Kramer type movie that markets itself as an TEAR JERKER MELODRAMA or an HISTORICAL EPIC. Rather, it’s a quiet film about the cultural changes in the deep south from the 30s to the 60s, as shown through the eyes of an elderly white lady and her earnest black chauffeur.

 

The film is almost entirely driven (no pun intended) on character interaction and dialogue between the two main characters.  Dan Aykroyd plays a supporting role as the son of the title character, who has his own life to worry about but functions in this film as a plot device to move the story along (for example, Miss Daisy crashes her car at the start of the movie, prompting Dan Aykroyd to find a chauffeur for her) Given that this movie was made in 1989, it likely started Aykroyd’s transition from mainly comedic roles to mainly drama roles, and it certainly made Morgan Freeman a household name, as it was one of the three iconic movies he starred in that year (the other two were Glory and Lean On Me).  Freeman and Jessica Tandy (as the title character) have to play their characters over several decades, and do so quite convincingly through the help of old age makeup.

 

The film adds a layer of drama by making Tandy’s character a minority herself, as she is a wealthy Jewish widow in the heavily Christian south. This becomes relevant several times in the film, like one December where she finally rewards Hoke (the chauffeur character) with a present, but swears it is not a Christmas present because she is not a Christian. There’s also the drama of one scene where the neighborhood synagogue is bombed. This felt someone forced to me as a plot device to make the main character come face to face with discrimination, but Driving Miss Daisy drives homes its points so subtly that nothing in the film was a distraction or seemed awkward.

 

Like the rest of the movie, Driving Miss Daisy ends not with a bang but a whimper, as the audience is given the suggestion that Miss Daisy died at the end of the film, only to discover (from Dan Akyroyd’s dialogue) that she’s still alive and well in her 90s, but has to go to a nursing home. Hoke has a heartwarming visit with his old boss, and the film simply ends.

 

If Driving Miss Daisy has one sin against it, it’s that the film is quite simply boring. It tells a good story, an important story, and a well made story, but one which I am not compelled to ever see again. Oscar bait, indeed, but a film that does a fabulous job of hiding that behind its humble little “aw, shucks’ presentation.

 

*** out of ****