“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.
“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.
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.