Watching the documentary Memory: The Origin of Alien from director Alexandre O. Philippe during this COVID-19 pandemic is astonishing because this timeless masterpiece speaks to the political and social fabric of the late 70s. Imperialism was the foundation that allowed for those political, economical and social issues to bloom when Alien was released. The Vietnam war was already behind director Ridley Scott and the rest of his film crew and they were entering the beginning stages of a Cold War with Russia. Communism was the evil regime that needed to be stopped primarily by Westernized or developed nations. Times were uncertain when Alien was released because the battle with communism only begun and still continues today with communist China and the coronavirus. The levels of uncertainty and anxiety that swept across the globe once patient zero was detected and documented in Wuhan was historical and like no other.
The ship of Nostromo in Alien is a representation of Western thought and inadvertently imperialism. It journeys into uncharted territory when it receives a distress signal from an alien vessel on a moon LV-426. Company policy is for the crew to investigate any distress signals so a team of three is assembled. Kane who is played by John Hurt is then attacked by an alien life form that attaches to his face and has to be brought back to Nostromo for further investigation. The protocol sounds familiar as when the first discovery of COVID-19 in Wuhan occurred when Chinese authorities had to quarantine and isolate patient zero before the worldwide spread of the virus. As the story goes, the virus was transmitted from a bat in a wet market in Wuhan or that it was created at a bioweapons lab near the wet market.
It’s sensible that the virus came from a wet market in Wuhan because its been there for many generations serving the livelihood of the Chinese people and being part of a billion-dollar industry all across the globe. Live animals have been captured and killed and sold at wet markets for consumption and entertainment purposes. It has never been acknowledged that the wet markets are highly unsanitary and unethical because of the way animals are treated. We have neglected to think that wet markets pose a serious threat to global health which is why it never surfaced into mainstream media until now when we are in a pandemic.
We have not experienced anything like this since the Spanish Flu of the early 1900s. The difference today is the technology that has enabled us to gain all the information that surrounds COVID-19 and how to prevent the infectious disease from spreading. It has caused the type of panic that unravels on Nostromo and its crew once they received that distress signal from an alien vessel. Kane, Dallas, played by Tom Skerrit, and Lambert, played by Veronica Cartwright, explores LV-426 where the nest of eggs of the mother Alien is discovered. It is synonymous with the wet markets of Wuhan where it is slimy, dirty, mystic, unethical and historical. Animals are in distress in wet markets because they are locked up tightly in cages with many more of its kind causing a high probability of transmitting an infectious disease with flu-like symptoms. Distress is a foreshadow of what is to come and unfortunately for Kane who had a baby alien attached to its face, the rest of the crew of Nostromo were not in for a happy ending. Patient Zero would have experienced that same distress from a bat in which the animal was able to transmit COVID-19 and also being in a distressed state.
The struggle to let back Kane into the vessel is exemplified in a scene between Dallas and Ripley, played by Sigourney Weaver. Ripley is in for the defence of the ship and having no one infected whereas Dallas believes the alien can be contained and eliminated while life is preserved that is Kane. In this scene, the film presents a stigma about infectious diseases and a protocol to follow quarantine procedures in which Ripley stands firm. This is the type of conversation that had to been discussed in Wuhan at the beginning stages of the pandemic amongst those involved with patient zero and all Chinese authorities. Our knee jerk reaction remains the same when an infectious disease shows up in our backyard. Our fear of it from spreading in such a form that it would impede any form of our liberated life will cause us to live in extreme and desperate measures.
Ripley’s decision is overridden by the cyborg Ash, played by Ian Holm, who tries to preserve the alien lifeform to fulfill his agenda. He represents our global yet powerless technological infrastructure which has unintentionally allowed the coronavirus to grow and develop into a pandemic. This is through our left and right-wing media narratives, our lack of research and funding on infectious diseases, lack of ventilators, masks, PPEs and our lack of preparation of a pandemic. We have allowed it to become the entity that it is because of the fear that has set in on the human race. COVID-19 is conquering our domain which no longer belongs to us. It has made us our bitch just like the way the Alien made the members of Nostromo hers.
Writer Dan O. Bannon and designer H.R. Giger helped Ridley Scott in making this horrifying xenophobic creature that became the iconic Alien. The creature was rooted in Greek and Egyptian mythologies, underground comics, parasitology, H.P. Lovecraft weird fiction and the art of Francis Bacon. As mentioned in the documentary Memory, Alien wasn’t only a science fiction adventure into the future but it was also an exploration of an ancient past of the repressed and the forgotten. COVID-19 was repressed and forgotten because it came in another form belonging to the coronavirus family called SARS at the turn of the century. We were able to contain SARS and we quickly forgot about it not knowing that it would surface again in a deadlier form nearly two decades later.林美玲哪国人林美玲哪国人,橘猫q版图片橘猫q版图片,搞定岳父大人搞定岳父大人
COVID-19 is downright scary when you catch it and its a body horror that you don’t want to imagine. Not being able to breathe, violent coughing, having high fever, being stuck on a makeshift ventilator and people in hazmat suits taking care of you is not the scenario you want to be in. Just like the Alien, the coronavirus starts within your body and makes you a host to the disease. Then it mutates within your body in hopes it will find another human to infect. Once the disease becomes widespread it continues to make humans and the rest of the world its domain or host. That’s what Aliens and diseases do.
We are experiencing a body horror amongst each other otherwise known as social distancing. The virus is considered an airborne disease requiring us to remain to be six feet apart from each other to prevent the transmission of COVID-19. It’s almost a coincidence that many of us who do wear masks to prevent transmission look like Kane when the baby alien is attached to its face. The baby alien that comes that is born out of the stomach of Kane in the infamous dinner scene was influenced by the art of Francis Bacon. He was obsessed with logistics of the mouth in which he drew many pictures throughout his career. These resembled that of the Alien in which Bacon wanted to scare people which reflected his other obsession with our phobia with the human mouth.
We are frightened of what is to come out of someone’s mouth and ironically our own. Coronavirus has made us more mindful of someone else’s germs and how violent they can erupt from their systems. Whether it is a cough or a sneeze, it puts us in heightened attention to defend our immune systems. As creator Tim Boxell says in Memory, ”You never know when the wheels are going to fall off. We’re all one kiss, one cough, one scratch away from global disaster.” And here we are in this pandemic being told to cover our mouths and cough and sneeze into your elbow. We don’t want to get infected like Kane because it can make us our bitch. Even when he coughs as soon as the alien is removed from his face, we all know that he is not well just like the people who have become a case or recovered from COVID-19.
Imperialism factors in the oppression and exploitation of the human race and the film comments on those issues that continue today. The film industry was becoming conscious of female oppression and patriarchy at the time Alien was being made. This is a film based on the guilt of men as they speak of in Memory such as male rape, male fantasies, male pregnancy and male penetration. The film is a love letter to the women who have been oppressed in the film industry in the past century. It’s the reason why we have the main character of Ripley take over the reins in this film in which the writers had her originally planned to be male. The result of this guilt comes in the form of the Alien acting like a karma by wiping out all the crew members of Nostromo.
COVID-19 is not only the result of the exploitation of people and land but our mother Earth in which we continually neglect. The way we run our lives has been in an extravagant, excessive and exponential manner to which cannot be sustainable. Whether COVID-19 was transmitted from a bat because it was being sliced for consumption or was biologically manufactured in a bioweapons lab, the virus exists because we continue to exploit mother nature. We have let this virus and the pandemic to evolve what it is today because of the technology and infrastructure that we built and haven’t built on this planet. It’s the little things that count and unfortunately, the coronavirus is counting deaths.
It’s like saying that you are not listening to your mother and she then separates you from her or your sibling or your even your father. Even in the crisis in Alien, you see a separation of the class system within the ship which is monitored by a ruling computer system called Mother. Parker, played by Yaphet Kotto, and Brett, played by Harry Dean Stanton, represent the blue-collar workers of the ship and they yearn throughout the film for extra money to be paid to them for their extra hard work, They have no say in the matter when they enter into a state of emergency while the Alien is spreading itself all over the ship making everyone its prey. COVID-19 has done the same in that it has disabled the lower class and their access to resources thus leading them in having no voice like Parker and Brett. Yet they agree to disagree with the orders of Dallas in hopes that they will keep their job rather than losing it like front line workers in a hospital. When a crisis evolves those that stand to lose the most are the poor and the lower middle class who at these times have no voice in the matter because they’re thinking of how they are going to put food on the table.
Memory gives us further insight into how the film Alien speaks to the family makeup of life in the late 70s. You get a great sense of a family on Nostromo and how they all interact especially in the scenes where you hear no one talking over each other at the dinner table. But when the Alien comes out and starts running amok on the ship you can see that their bonds start to deteriorate because they spiral into a crisis. Films of the late 70s like Kramer vs Kramer and Manhattan were acknowledged in Memory to comment on the families that were breaking apart and how the rate of divorces started to surge because of that continued oppression on females. It was a time of uncertainty and panic and the makeup of the American dream and the American family had begun to dwindle and a lot of it had to do with money.
How this resonates in the pandemic is you are seeing families breaking apart because of finances. Many of whom are unemployed at this time are more likely to be involved with alcohol and substance abuse causing surges in domestics. You see members of the family being too close for comfort especially in small spaces or starter homes. What should be a time where families could spend more time together becomes more of an illusion as spouses are showing their true colours and not knowing what to do with their children when it comes to homeschooling. So there is no breathing room either as if it’s not already enough that COVID-19 hits and damages the respiratory system. COVID-19 has many households cornered causing families to the point of no return.
It is fear that director Ridley Scott builds up in his audience the very second the film begins. He lets your imagination run wild with dark settings, eerie sounds, slow movements, tense moments, hot settings and the list can go on and on. It is like what the mainstream media has done with us which has built up the day we discovered COVID-19. The media has shown the panic and anxiety that everyone is experiencing and they have stirred that pot by using ingredients such as the number of deaths, cases, unemployment, homelessness and city shutdowns. Fear has made us do silly things like hoard toilet paper, watch Tiger King and eat and drink like there’s no tomorrow. Furthermore, within our four walls, we worry about our health, our family, our children, our friends, our jobs, our present and our future. Alien is prophetic as to what is happening today with the pandemic but it just goes to show that we can never be entirely ready or prepared for a crisis of this nature. It is the thing that makes us human and makes us grounded and put in our place. We should not fear our evolution with COViD-19 but rather embrace it for there are good changes ahead despite being at the expense of others. If fear continues to linger during this pandemic, it will ruin us and the only way that it will pass is to be like Ripley and call fear, “You Bitch.”
The 98-year old toy inventor has no signs of slowing down
Most of us when we were children would have come across or played with one of Eddy Goldfarb‘s toys. The man who has invented over 800 toys has not only made a name for himself but has brought many families together who have played with his inventions. It did not all start on the right foot for Eddy who served on the submarine Batfish in WWII before becoming a toy inventor. He met his wife Anitas June Stern in 1947 and knew that she was the one and quickly married her afterwards. She supported him for two years after his service in the war when he was unemployed. Eddy worked diligently on his inventions in this downtime and in 1949 he had three toys in the New York City Toy Fair which included the Yakity-Yak Teeth, the Busy Biddy Chicken and the Merry Go Sip.
The wisdom that Eddy shares with the audience about leading a meaningful life is charming and inspiring. He gets up every morning to create something in his garage in California where he has a 3D printer along with all the tools to make his magic. This key to keeping on enduring in his life is simply stated. Eddy has been disciplined behind his mantra even after going through tumultuous events such as his service in WWII and the death of his wife. Incredibly, a man of his age of 98 can keep on doing what he loves without missing a beat. Where many would have thrown in the towel by now, Eddy Goldfarb is still to this day works to achieve a fulfilling and meaningful life. He is currently in a relationship with Greta Honigsfeld whom he met six years ago and is also involved in a writing group where he writes 100-word stories. These stories uplift his colleagues.
His daughter Lyn Goldfarb who directed this short biopic Eddy’s World gives the audience a most charming perspective on the life journey of her father. They get a fresh look at life from watching Eddy’s consistent and inspirational work ethic. He makes you think that the only person that is stopping you from achieving success in life is you. Now Eddy does not come out and say that to the audience in the film but his actions do the talking. For many of us who feel that there is not enough support to help you achieve in life then it’s time to watch Eddy’s World. He makes no excuses and produces results and of course magic. That’s the key.
Army Ranger Jon Jackson sets up farm to help veterans with PTSD.
Comfort Farms will be available on December 8th by Gravitas Ventures on all major VOD platforms
There has been much propaganda when it comes to war especially as of late now that we are living in a technological and digital chapter. War is seen to be patriotic and is the act that seeks freedom and peace but there is many downsides. Aside from death which is the most fatal negative aspect of war, the aftermath for those who come out of it alive is a very difficult process and transition. Army Ranger Jon Jackson has set up Comfort Farms in Milledgeville, Georgia to help veterans transition back to a normal life. Much takes place here on the farm where these unlikely veterans are teamed up with animal-loving butchers and chefs to form a positive community. Not only do they conduct an ethical way of eating they inspire all the veterans who are having trouble with PTSD and thoughts of suicide.
There is much dedication that is put into Comfort Farms that no individual seeks to find an end to its means or means to its end. Comfort Farms is one of those grassroots programs that no government would pay much mind to because there is nothing in it for them. There is a lot in it for founder Jon Jackson who has been spiritually enlightened for all those who are participating in this farm especially those who have shared his experience with war. FERNTV spoke to director Carlisle Kellam about the true health and wellness behind Comfort Farms and why it takes a lot more than anyone would think to help veterans with PTSD.
FERNTV: There is much inspiration when it comes to Jon Jackson and Comfort Farms to document this into the film. What was the turning point when it came to actually give this film the “GO”?
Carlisle: I was asked to take some photos for a culinary publication at Comfort Farms. At that point, all I knew about it was that it was a therapy farm founded to help veterans suffering from PTSD. The first light bulb went on for me while listening to Jon, the founder of the farm, offer his perspective on PTSD. His perspective was that PTSD, although a real problem – and definitely not to be marginalized – has, for a lot of people, become a generic term to refer to anything afflicting a veteran. And it’s not uncommon for a veteran to be diagnosed with PTSD when that’s not necessarily what’s going on with them, simply because, although PTSD is a real thing it’s not the ONLY thing. In fact, a lack of purpose, missing the camaraderie, going from a black and white world with a clear mission to a world of grey were the types of things I heard mentioned most while making the film. The phrase I remember most was that “most veterans don’t want to be coddled, pitied, or worshiped, they just want a chance to serve again.” I knew almost right away I wanted to make a short film about the farm, simply because the work being done there is so important and unique, but I didn’t quite see a full feature.
After talking to Jon and some of the other folks at the farm, I learned a lot. I was disabused of a kind of cliched understanding of the veteran experience. Something I hadn’t given a ton of thought to all of the sudden became profoundly interesting and started to make a lot of sense. And after exploring a little bit I realized soon after that that being at Comfort Farms, the place, although it deals specifically with veterans or veterans’ issues, brings up several interesting questions about the human condition as a whole. For example, I started to piece together the idea that being in the military, or war, in and of themselves, do not necessarily create a specific set of issues, but more than the nature of these environments can quickly magnify issues that all walks of life are capable of experiencing. Through war and military life one can learn a lot about the nature of mankind. And I think that’s one of the most important things when it comes to understanding this film. When I sat down to contemplate the place, and the people I met there, the overall takeaway for me was a better understanding of human nature. When all of these things came together is when I knew I wanted to make a full feature.
FERNTV: PTSD is a difficult experience for veterans. Before actually making this film, can you explain how you prepared for the stories these veterans wanted to share with you in regards to PTSD?
Carlisle: Honestly I didn’t know what to expect or how to prepare. A lot of that was because, as a director, I was used to dealing mostly with actors. Until then I’d had limited experience sticking a camera in someone’s face and asking them about their true-life experiences. The thing I was most afraid of was getting wrapped up in the filmmaking process and forgetting I was dealing with real stories and the people that really experienced them. Going into the interviews I’d only met the founder, Jon. But he instantly comes across as genuine and someone who says what he means. I told him I’d like to do some interviews but I wasn’t really sure how to handle doing them respectfully. He told me there was nothing to worry about and personally recruited the guys to do them.
FERNTV: When you interviewed your subjects, the shots were close-up to their faces. Can you explain why you did it this way?
Carlisle: My first instinct was to shoot them that way but I contemplated shooting them that way for some time before finally settling on it. I knew it was a little risky. But as the place is unique, I decided to design and compose the film that way. I decided to employ certain stylistic choices to help try and capture the essence of what I was picking up on. As a professional photographer and director of photography, I’ve shot more portraits and interviews than the average person. Almost all of them have used longer lenses to avoid distorting the face. Medium close or close-ups were typically used for b-roll. I’d consider that to be the standard. And being standard it feels comfortable. With this film, I chose a wider than typical focal length to try and capture a certain intimacy and also a certain intensity. It’s kind of in your face and personal. And that’s purposeful because the stories and the place are kind of in your face and personal. The place, Comfort Farms, is meant to take people out of their comfort zone. I wanted to add an element of this without stylizing so much as to end up taking people totally out of the film.
FERNTV: This film also shows the ethical practices of raising animals for consumption which is actually a lot better as opposed to the ways that corporate farms do it today. Can you comment on that?
Carlisle: For those who haven’t watched it yet, the film is made up of several narratives that intertwine to form the film. One of those narratives deals with humanely harvesting animals and the effort put into raising those animals with love and care. Also respecting what the animals give to the community in the form of sustenance. They really put a lot of effort into this. Second, helping their fellow veterans and community it’s what they’re truly passionate about and is central to what they do. So accordingly, it’s also a big part of the film. It would be much easier for them to do it a different way. But they choose not to. Someone would be hard-pressed not to respect that.
FERNTV: Much would say that this film cannot relate to them because they never went to war but wouldn’t a film like this relate to many especially during the pandemic that we are facing where we are experiencing much loss and camaraderie disappear?
Carlisle: I think it absolutely relates to people of all walks of life. And I say that for several reasons. But to address the question directly, first, many veterans struggle who have never been to war. What I’ve gathered is that the transition process is hard for many veterans not necessarily because of an event that they experienced while in the military but the process of adapting to the new world once they are out of the military. The military world, according to Jon and some of the others I interviewed, is a world of black and white with a very little gray. You have a mission or an objective, your goal is to accomplish that mission. That goal provides a sense of purpose. You form close relationships with others who are working toward the same goal. When you throw the element of danger in there it starts to get even more interesting and unique.
Finding purpose in the “regular” world of gray is difficult for a lot of these guys who are used to living in the black and white. Now, concerning those who do go to war, these things only intensify on top of the added element of a possible trauma directly related to a combat experience. For some reason, I (before making this film) was one of the many people who seem to view veterans’ struggles as specific to combat veterans. As if there is some war- or military-specific disease. But what veterans experience and struggle with is what anyone is capable of struggling with if given a certain catalyst. I think during the pandemic, isolation, losing loved ones, transitioning from a routine to something unfamiliar are the kinds of things that can be that catalyst albeit maybe on a less severe level. And another way people can relate during a pandemic is that the farm is very much focused on the basics of living – I think during times like these we become more attentive to things like sustainability, self-sufficiency, relationships and supporting the community, working with our hands and getting back to the earth.
FERNTV: After doing this film, what are your primary thoughts in regards to Jon Jackson?
Carlisle: He’s courageous and devoted. He’s an inspiration to so many people.
FERNTV: This film is all about finding getting out of your comfort zone and finding discomfort? Did you as well experience this when it came to your filmmaking career?
Carlisle: I did, yes. In so many ways. I approached this, and put it together, differently than anything I’ve done before. I typically do a lot of plotting and planning. With this one, I kind of went searching in the dark until I found what was there. I could see a straight path – by way of a kind of traditional approach, more like an information piece about the farm or scientific analysis of why people struggle – but I really didn’t want to do it that way. I really wanted to try and capture the essence of this slice of American culture and through analogy show how it has a lot to say about our nature as human beings.
Available on December 8th by Gravitas Ventures on all major VOD platforms
A Year in Film: 1986 brings back my wonder years.
Watching the upcoming episode of A Year in Film :1986 from Hollywood Suite brought back so many memories, feelings and emotions when it came to how things were back then. Much of those memories were fond of the timeless classics that were brought that year in film but I had to be reminded of where we were politically and socially to look at how far we have progressed. The comments and analyses that were made from respected Toronto-based film experts such as Alicia Fletcher, Geoff Pevere and Cameron Maitland just to name a few really put things into perspective and why these films became so intertwined with pop culture. There was so much greatness in film that was all packed into one year. To understand what it was like to grow up as a tween when we ourselves did not know the term even existed was something else when growing up with these films.
For starters, you were not able to watch certain films like The Fly and Aliens which had the label “Restricted”. So a kid who was a decade-year-old was not able to get into these films even with the accompaniment of an adult. Remembering that Aliens would play at the Square One Cinemas in THX Dolby in Cinema 4 and hearing all the loud gunfires that would come out of the closed cinema doors while taking a trip to the washroom would ring up any kid’s curiosity of what the hell is playing in the theatre. There was no way a kid would be able to sneak into these theatres because all of the older looking ushers would spot you out in an instant with their flashlights and tell you to get out of the theatre. Movie classifications were strict back then and all movie theatres took this seriously.
What a child like myself had to do back in the day was to get his cash-strapped single mother to subscribe to First ChoiceSuperchannel to even get a remote chance to watch The Fly or Aliens. Both of these films would from what I remember only play once or twice that month with a late schedule. So you had to plan to watch these films by getting and reviewing the First Choice Superchannel guide that was mailed to you. You had to record these films with your VCR and set it that it would start recording late at night usually starting at 11:00 PM because you were hiding the recordings from your parents. If your mother was not shouting at you to get to bed because she was just way too tired at that time or already sleeping then you were ecstatic beyond belief to watch Aliens or The Fly and it was a taboo underground and sinful experience. When you were a kid you knew who David Cronenberg was because your parents rented Scanners and you accidentally watched a head blow up with an intense pulsating soundtrack in the background throughout the whole film. Maybe your parents were less strict and let you watch it because you wouldn’t be able to understand so it was okay because they probably did not understand either. It was just background noise.
The other manner as to how you were able to get to watch some of these classics is to go to your local video store. Blockbuster Video did not exist at the time but I had to go to the non-corporate Video 99 store where an older Chinese man ran the store and was very strict. He was like the gatekeeper and of course, would not allow you to rent certain movies especially if they were restricted. I was able to get a hold of movies such as John Hughes‘ classics Ferris Bueller’s Day Off and Pretty in Pink because there were so many copies of them that were available. Ferris Bueller’s Day Off was the film that I remember every single line to and would be the conversation piece during recess because we were all inspired to be like him once we got to high school. I would have watch parties at my house because it was such an event for us tweens. No need to re-rent this film over and over again because you had two VCRs going and were able to pirate these films into your own collection and because this film was from Paramount Pictures, it was not a problem. The one thing that struck me at the video store was that there was only one copy of River’s Edge and it was always rented out. I don’t remember if I was not allowed to rent this film or not but this cult classic that starred a young Keanu Reeves had an alternative.
That movie happened to be Stand By Me which almost had the same premise as River’s Edge where a dead body is found or sought after. Already a must-watch for girls in elementary school, because they had the hots for River Phoenix, Stand By Me was a film that sold to tweens because it was the four boy’s desire for adventure and freedom. Again we were all inspired to take those little adventures with our good pals as far away as we could from our parents. It was weird that the film was not marketed towards the fact that Stephen King wrote the story at least from what I can remember. Films like Maximum Overdrive, Christine and Cujo were films that we associated with Stephen King but if us tweeny boppers knew that the legendary author had his hands on this film then we would have looked the other way. Stand By Me had that “Goonies” feel to it that every young tween moviegoer loved and made us all feel comfortable at being that age. One of the major factors that sold Stand By Me was the resurgence of Ben E. King‘s song “Stand By Me” which helped ticket and soundtrack album sales skyrocket.
“If You Leave” by OMD helped market the film Pretty In Pink as well as its soundtrack album sales so this was a great period for soundtracks for films and records stores such as Sam the Record Man or A&A who had these albums smack dab in front of the store. Nothing took the cake more than Top Gun in which Kenny Loggin‘s “Danger Zone” inspired many young boys to become fighter pilots and wear the same type of flight bomber jackets that Tom Cruise wore. “Take My Breath” away from Berlin was one of those songs you would play on cassette at those tweeny birthday parties in elementary school where you wanted to slow dance with your crush. It was the start of being curious when it came to love, sex, romance and relationships in which we had no clue about. The Top Gun soundtrack was heavy and it all made an impact on all of us young people because to us the songs were bigger than the film itself even though it was number one at the box office that year.
If A Year in Film: 1986 did not mention the film Howard the Duck then I would have not remembered how much of a hassle it was to see this film. It was rated AA and nobody in my family wanted to see the film let alone bring me along with them to go see it for reasons I was not too sure of. Even trying to sneak into the Eaton Centre Cinemas to watch the film was not doable. Nevertheless, I had to wait for it to come out on First Choice Superchannel as well to see what all the fuss was about. Low and behold the film was not meant for delinquents like myself and that it had many adult-like controversial moments in it. Excited to see some superhero-like moments in the film, the film did not make much sense to me as I child and why it was even made. For many little boys though, Lea Thompson was our celebrity crush back in the day because of films like Back to the Future and SpaceCamp. Lea Thompson was the redhead that we boys coveted not Molly Ringwald. To see her in her skimpy pink underwear and getting into bed with Howard the Duck was a moment that we could not forget. It was a lot for us back then in which today would be nothing sadly. It was probably the only thing we boys were able to get a hold of.
A Year in Film: 1986 premiering December 13, 2020, at 9:00 pm ET on Hollywood Suite 80s Movies (HS80)
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