Falling Down

“I’m the bad guy?”

Michael Douglas has made a career playing compromised men, always willing to embrace the less-likable side of his characters.

This time out, his middle-aged paper-pusher is a man crumbling from the inside, having seen his job and home life vanish.

At first, he self-righteously vents against what he sees as the hypocrisy of a rapidly-changing world, claiming to be the last true truth teller.

But as he grows more violent, the façade crumbles.

Long before he comes face-to-face with equally-tired cop Robert Duvall, the truth is right in front of him – he always was an ass.

Car Wash

“Hey, hey, L.A., it’s a brand new day.”

With that, we’re off in this very funny day-in-the-life look at the merry band of misfits who work (sometimes) while the action, and music, are at a constant hum.

Written by Joel Schumacher, and featuring everyone from Richard Pryor to George Carlin to Danny DeVito in cameos, the film is maybe best remembered for its disco-heavy soundtrack.

Featuring three Top Ten singles, including the title track hitting #1, it scored a Grammy for Best Score Soundtrack Album.

But don’t sleep on the film supporting the music — it’s a winner in its own right.

 

The Lost Boys

Forever young.

Some movies, like the characters which drive their stories, never seem to age.

Certainly, every frame of this film stamps it as a product of the ’80s, from the clothes, to the music, to shirtless Saxophone Man kickin’ out the oiled-up jams.

But — and this is a but big enough it gets Sir Mix-A-Lot’s interest — the tale of sexy vampires cruisin’ Cali beaches (after dark, of course) remains as fresh now as when director Joel Schumacher first called “action.”

Mope-fests like Twilight enter hot but often fade fast.

The Lost Boys? It’s eternal.