The Boyfriend of the Week
November 4, 2009 [comment on this write-up]
About two weeks ago, I was toiling away over the new Boyfriend of the Week write-up, which was NOT about Sam Raimi, when it suddenly occurred to me, HEY, THIS WRITE-UP IS NOT ABOUT SAM RAIMI!
This epiphany led to an immediate shoving aside of the other fella (sorry, man -- I will make it up to you later this month, I swear) and a mad dash to the video store to stock up on Raimi flicks, which I then spent the last seven days watching and thinking about and laughing at and marveling over. You know what's amazing about Sam Raimi? The guy who made The Evil Dead, complete with knife-to-the-Achilles-tendon scene (gah!), is the same guy who plays the adorably bumbling camp counselor assistant in Big Chill rip-off flick Indian Summer. How is that even possible? Wait, don't answer that. I will answer it for you in just a few moments.
The bizarre range of genres and films Raimi has been involved in over his career so far is fascinating to me. It seems to me the man is capable of making just about any type of movie -- comedy, drama, silly, poignant, gory, tame, meaningful, vacuous. From The Evil Dead (low-budget zombie horror) to The Quick and the Dead (Western), from A Simple Plan (crime thriller) to Spider-Man (huge-budget Hollywood blockbuster), the man has yet to make a movie I haven't found something to love about. And he's even popped 'round the other side of the camera a few times, including in the aforementioned Indian Summer (though, considering the quality of the aforementioned Indian Summer -- terrible! -- I'm wondering if maybe he ought to consider quitting while he's not-quite-ahead on the whole acting thing. No offense, Sam).
And while not every movie he's made has been a smash-hit, enough of them of late have been so hugely successful, he's sort of become the current talk of the Hollywood town. When you go to Raimi's IMDb page, for example, the list of "In Development" projects is now TWENTY-TWO items long and includes things like The Shadow (a dream come true for Raimi -- more on this later), two more Spider-Man installments, another Evil Dead chapter, and an upcoming movie version of the insanely popular MMORPG Warcraft. Dang. Dude appears to be able to do pretty much whatever he feels like doing these days -- and it's about damn time, if you ask me.
To demonstrate the vast range of stuff Raimi has written or directed, I think the best way to approach this write-up is just to hit some of his highlights one by one. You can think of it as a clip-and-save list of all the Sam Raimi movies you ought to go out and rent. Or not, in the case of Darkman. But let's not get ahead of ourselves here. . .
Also, please note that I really, really wanted to watch Crimewave for you guys -- one of Raimi's earliest -- but I simply ran out of time. I'll watch it in the next week or so, though, and do a regular movie review on the blog for you. It's a comedy/crime/horror flick that Raimi made with the Coen Brothers way back in 1985. Costarring, naturally, Bruce Campbell (one of Sam's oldest friends and a frequent player in his films). Looks pretty great. I will let you know!
For fun in the list of movies below, I will also be telling you where in each film Raimi's famous yellow Oldsmobile Delta 88 appears. Raimi puts this car, nicknamed "The Classic," into every single movie he makes, including The Quick and the Dead (nice trick!), which is one of the things I love him for. Almost as much as I love him for inserting a little Bruce Campbell, however cameo'd, into most of his flicks as well. (What the world needs now is love, sweet love. . . of Bruce Campbell.)
Unfortunately, even with my keen eye for detail and my equally-keen internet search skillz, I haven't been able to figure out where the car is in every picture. Where I fail, I hope some of you can fill in. Hit the comments if you can pinpoint the Delta 88's location in any of the ones I miss (or, of course, if I get any of these wrong). It's about time someone made a comprehensive list of these. Let's make it us! Go, go, BotW readers! (By the way, reader Trish also reports that the Delta 88 has been featured in other people's films as well -- including the Coen Brother's Fargo and Stephen King's The Stand -- hot diggity, that's cool! Thanks, Trish!)
The Evil Dead trilogy (The Evil Dead (1981), Evil Dead 2 (1987), Army of Darkness (1993)).
I saw The Evil Dead for the first time my freshman year of college, over ten years after it was made. Hey, late bloomer, what can I say? I don't actually remember that much about my first experience with it, other than that I thought it was completely awesome. It was showing in the TV lounge of my college dorm on Halloween night, and a bunch of us had gone down to watch it while we drank what we told everyone was orange juice, but which was actually screwdrivers (hi, Mom!). This was also one of my first-ever drinking experiences (see above re: late bloomer), so a lot of what happened after I quaffed that first quaff was merely a blur the next morning. Mostly what I remember about my first Evil Dead experience was marveling over the hilarious cheesy gore (and cringing, as does everyone, at that Achilles tendon scene, gah, gah, double-gah!), and when I started to get into hilarious cheesy gore more seriously, I revisited The Evil Dead several more times (sober!), and it quickly became my benchmark for the genre.
A few years ago, I read ex-but-never-really-EX-Boyfriend Bruce Campbell's delightful memoir, If Chins Could Kill, in which he wrote a lot about his experiences making The Evil Dead with his best pal, director Sam Raimi. After reading the book, I tracked down a copy of The Evil Dead on DVD and watched the movie with Bruce's commentary track turned on (something I generally don't do, by the way -- I find movie commentary kind of annoying, unless it's coming from my mother as she's sitting next to me on the couch dissecting the terrible science in a terrible disaster movie we're watching together. Oh, Absolute Zero. You were so fun).
But The Evil Dead is one movie where you absolutely MUST turn on the commentary, because not only is Bruce funny as hell, he also gets into a ton of detail about the film-making techniques and tricks used to craft each individual scene in the film. I find that kind of stuff fascinating, especially when the movie being talked about is a super low-budget "do it yourself-er" type thing. This week, when I watched the movie again with Bruce's commentary activated, it finally hit me -- I COULD MAKE A HORROR MOVIE. A short, anyway. I mean, if those two goofballs could do it. . . right? And you know what? This is, in all seriousness, my new goal for 2010. I will keep you posted.
In any case, once I'd watched The Evil Dead, I sort of HAD to move onto its two sequels, Evil Dead 2 and Army of Darkness. I say that without much enthusiasm because I'd only seen each of those movies once before (I know, lame! I know!), and I didn't like either one of them at the time (I know, lamer! I know!). I thought Evil Dead 2 was confusing and too slap-sticky, and Army of Darkness. . . well, to put it succinctly: WTF?
As it turns out, now that I'm older and I've seen more camp, I ended up thinking both ED2 and AoD were pretty great. Still confusing, but pretty great nonetheless. Evil Dead 2 is actually far more of a horror movie than I remembered it being. The first time I'd seen it, I almost bailed during the "attack of the hand" scene because I thought it was just ridiculous and silly and I wanted HORROR, not GOOFBALL. But this time around, I found it both hilarious and horrifying. And, if nothing else, you have to give it up for Bruce in that scene, because making it look like your hand is trying to kill you -- and it really did look like that! -- cannot have been easy. Acting. Brilliant! Thank you.
Army of Darkness remains my least favorite of the bunch, though it was definitely better the second time around than it had been the first. I confess I don't really get that one, though. Why does Ash get sent back in time to the Dark Ages? And why is it I suspect the answer to that question is, "Because Sam Raimi always wanted to make a movie with knights and armor and maidens and stuff"? It's still hilarious and weird and fun, but I'm not sure I'll be watching that one over and over from here to eternity like I will be with the original.
That said, in terms of film-making alone, all three of these movies are pretty damn amazing; The Evil Dead the most so because they were pretty much making up all the effects as they went along -- the camera techniques, sound, creature make-up, all of it. By the second film, Raimi had started to perfect a lot of his signature moves, like the whip pan, the way he often shows the film from the point of view of the creature, the sort of frenetic or wild camera motions, the almost-stop-action-but-sped-way-up trick, stuff like that (obviously, I lack knowledge of the technical jargon, sorry!). Army of Darkness had a much bigger budget than the other two, but even if you didn't know the story or who Bruce Campbell was (not that that's possible, right? RIGHT?), you would still be able to tell in just a few minutes that you were watching a Sam Raimi movie. His moves are that distinctive. Very cool.
In any case, if you've never seen any of the Evil Dead movies, you at least need to rent the first one. The other two can probably be reserved for big fans of Bruce, Sam, or campy horror flicks. But the original? The original is a classic film that everybody who wants to appreciate cinema needs to see. I am dead serious about that.
Or, perhaps more appropriately, I am UNdead serious about that. Either way, rent it or I will come to your house and read The Book of the Dead aloud in a chanty, spooky voice. You don't want that, trust me.
Delta 88 appears: As Ash's car. Yep, even when he goes back into the Dark Ages, where he converts it into a steampunk vehicle equipped with huge, deadly spinning blades. Good god, I love Sam Raimi.
I had a friend in college who once told me his favorite movie of all time was Darkman. I had never seen it, which made him utterly aghast, so one evening, he invited me over and plunked it in. Mostly, all I remember about that night, despite the fact I was NOT drinking, Ma, was that I was surprised Liam Neeson and Francis McDormand were in a crap movie like that one. I'm pretty sure I did NOT express that opinion to my friend using quite those same words, however. In fact, knowing me, I probably told my friend it was one of the best movies I'd ever seen.
Oh, what a tangled web we weave. . .
Anyway, I rented it last week on the off chance it was secretly great and I just hadn't "gotten" it when I was in my 20's. It happens. Often, actually. But no, I'm sorry. Let me repeat that: I AM SORRY, DARKMAN FANS EVERYWHERE. But this movie is TERRIBLE. It's absolutely TERRIBLE! It's terrible, terrible, terrible, and if you don't agree with me, it is because you are WRONG. That's all there is to it. That is all.
For those of you who have escaped this one (luckies), Darkman is about a ridiculously named scientist, "Peyton Westlake" (gak), played by an overly-sincere-to-the-point-of-ham Liam Neeson, who is working on the development of synthetic skin. One night, a group of vicious criminals (you can tell they are vicious by their sneers and the way they methodically crack their knuckles) break into his lab and burn it to the ground with him still inside. Miraculously, Peyton survives. But in order to keep him alive after he's been burned from head to toe, the doctors must sever a nerve in his spine that mercifully deadens his ability to feel pain, but also makes him prone to violent outbursts and gives him super-human strength. You know the Insta-Hulk nerve we all have in our spines. That one. Riiiiiight.
Determined to seek revenge on the evil-doers who tried to kill him, Peyton returns to his lab, gathers up his stuff, and gets back to work on his magic epidermis. Once he's gotten the skin perfected, he makes himself a series of faces and sets out to bump off the bad guys one by one. Overly-long fight scenes, excessive special effects, painfully cheesy tortured love scenes (complete with a "Nooooooooo!!!!" at one point), stupid villains -- it's everything I hate about bad superhero movies, all wrapped into one. Beeyuck.
It would be one thing if we were supposed to think of it as camp. But we're not. Darkman is the movie Sam Raimi made after he was denied the rights to his favorite superhero story, The Shadow. Incredibly disappointed, he decided to channel his grief into the creation of his OWN dark superhero story. But working from scratch, Raimi seemed unable to come up with much of anything that was interesting or new. Instead of being thought-provoking or even moderately emotionally complex, Darkman is absolutely loaded with cheese and cliché, and yet takes itself so completely seriously you can't just relax and laugh at it. Darkman-the-man is suffering in so many truly wrenching ways -- he's horrifyingly disfigured, he watched his friend get shot right in front of him, he's lost his ability to be a scientist, he's lost the love of his life (Francis McDormand's character). And because he can no longer control his anger, he's afraid to interact with people at all in a normal-relationship kind of way. There's a lot of room in there for real exploration of character. But instead, it's just your typical vengeance movie, with no real heart to counterbalance the violence.
The one thing about Darkman I DID like were all the little tips of the hat to Alfred Hitchcock -- camerawork, mostly, like spiraling shots and dolly zooms (where the camera quickly pulls a far-off object into the main focus). After it was over, I looked up Raimi and Hitchcock to see if that was intentional and it turns out it was -- Raimi is a huge Hitchcock fan, to the point where he often wears a suit and tie on set, like Al did, and occasionally even gives himself a coy little cameo in his own films. All the more reason to love, love, love Sam Raimi. Though, unfortunately, not really enough reason to love, love, love Darkman.
Delta 88 appears: Ha HAH, there you are, Delta 88! In one scene, as Darkman is dangling off the bottom of a helicopter, he bangs right into it. That's gotta hurt! (Unless, of course, you've had the Insta-Hulk nerve in your spine severed, in which case, bang away.) Incidentally, that's Bruce Campbell's face Darkman is wearing in the very final scene. Watch for it!
The Quick and the Dead (1995)
From Darkman and Army of Darkness to. . . a chick-focused Western? I'd probably seen this movie at least three times before I noticed that Sam Raimi was the director. Because, really, who would stop for a moment during a SHARON STONE WESTERN and think to themselves, "You know, I bet this was directed by that guy who made The Evil Dead"? Not me, that's for sure. As it turns out, Raimi was selected to direct this film for one reason and one reason only: Sharon Stone was a huge fan of Army of Darkness. I think I might love her for that. Even though I sorta hate her.
This flick is about a small town in the Old West that has a shootin' match every year, led by the town patriarch, the evil John Herod (Gene Hackman, naturally). As the story opens, this year's match is about to get its first female contestant, a beautiful young woman (Stone) known only as "The Lady," who, we find out later, has signed up for the sole purpose of killing Herod, the man responsible for the death of her father. Also signed up is "The Kid," a young boy (Leonardo DiCaprio) also with an eye towards an encounter with Herod, this time because he believes Herod is his father and wants to earn his respect (by dying? Yep, it's a Western, all right. . .). Rounding out the group of interesting contestants is former-Herod-henchman-turned-preacher Cort (Russell Crowe, also cast because Stone was a fan), arrested and forced to compete by Herod himself.
The plot is completely predictable -- using the setup I just gave you, you could write the rest of the script yourself without getting a single detail wrong -- and my god, of all the actresses in the world to choose from to play "The Lady," I cannot think of one more wrong than Sharon Stone (except maybe Drew Barrymore, who actually got to chew up some Western scenery herself a few years later in Bad Girls). That said, I love Westerns, and I'll put up with a lot of crap to see one (which is why I've seen all of Wyatt Earp, for example. TWICE). I thought the film looked great, and it's also full of loads of sweet homages to classic spaghetti Westerns. For that alone, I'd say it's definitely worth a gander, though it is certainly unlikely to end up on anybody's list of "Ten Best Westerns of All Time."
Except maybe Sharon Stone's.
Delta 88 appears: For a long time, fans suspected this was the one movie where Raimi was lying when it came to inclusion of the Delta 88. But he insisted -- it's in ALL my movies, and it's in that one too, "Somewhere. . . Somewhere hidden. Only I know. I'll never tell," he said. It wasn't until a few years back that we finally got a clue when, in 2005, Bruce Campbell let it slip at Comic-Con that the chassis for the car was removed and used in the construction of one of the movie's wagons. Is it true? Who cares? It's a great story, which is more than I can say for the movie itself. (Zing!)
The Gift (2000)
A lot of critics were pretty hard on this one. It's a supernatural thriller that, yes, is a little on the predictable side. Actually, I'm starting to notice I've been using that word "predictable" a lot in this write-up -- perhaps it's time we all agree that what makes Raimi movies great is NOT typically their stories? Agreed. Moving on.
Of course, when it came to critics and The Gift, it also didn't help that it features Keanu Reeves as an abusive husband and Katie Holmes as an oversexed floozy. Not to mention Greg Kinnear as Principal Boring McDullerston. I'm sorry, that's just NOT going to work, casting agent! (Well, okay, it kind of works for Kinnear, *duck*.)
Despite the wretched casting job, though, I confess I really like this film a lot. Cate Blanchette plays a psychic named Annie Wilson, recently widowed and left to raise her children on her own. Though she has a steady clientele, not everybody likes Annie, and that goes double for the violent, abusive husband of one of her clients, an arsehole named Donnie Barksdale (Reeves). When a young woman in her small town goes missing, Annie is called in by the victim's fiancé, Wayne "McDullerston" Collins, in the hopes that she'll be able to "see" something. Coincidentally, what Annie "sees" is the young woman drowning in Donnie Barksdale's pond. But though it looks pretty clear at first that Donnie's the killer, Annie continues to receive clues in the form of visions -- clues that eventually lead her to an entirely different murderer.
There are two things I really like about this movie. The first is the acting by both Cate Blanchette and Giovanni Ribisi, who plays a troubled young man named Buddy Cole who looks after Annie in his own weird, spooky way. This was one of the first movies in which Ribisi caught my eye, actually, and he's truly remarkable in it (in my opinion, anyway). The other thing I like about this movie is the overall mood and appearance of the film itself. I think it's beautifully made, with lots of misty bayou shots that create an ethereally spooky feel to the entire picture. And while I wasn't that impressed by the other actors in this film (understatement, Mr. Kinnear), I have now seen it several times and still haven't gotten tired of it. If you are a fan of either Blanchette or Ribisi, or if you like spooky supernatural mysteries, I think you'd really like this one too. Try it out and let me know what you think.
Delta 88 appears: As Annie Wilson's car, and perfectly cast as such, because it looks like hell and she's supposed to be dirt poor. One of only three casting decisions Raimi got right on this one, come to think of it -- nice work, Sammy!
A Simple Plan (1998)
Now THIS is a great movie, people. The first time I saw this one, I had no idea it was a Sam Raimi movie -- It's got nary a trace of any of the exaggerated over-the-topness (redundant, I know, shut up) of many of the Raimi movies I was familiar with by 1998. Instead, this is an incredibly sharp thriller that combines a powerful feel of suspense and dread with some seriously authentic violence. In that regard, I think it's a really great example of Sam Raimi's range as a director.
This one, based on a novel by Scott Smith, is about two brothers, Hank and Jacob (ex-Boyfriend Bill Paxton and Boyfriend-Jury's-Still-Out-On Billy Bob Thornton) who are out hunting with their buddy Lou (Brent Briscoe, who, in my opinion, should always be named "Lou") when they come across a crashed plane in the snowy woods. Inside that crashed plane? Four million dollars!
The three quickly decide to make off with the cash, but while the smartest of the bunch, Hank, tries to convince the other two that the only way to pull off the theft is to SIT ON THE MONEY, the other two aren't smart or strong enough to stick with the (simple!) plan. Lou, constantly in debt, can't resist diving into his share almost immediately. And Jacob, who is mentally challenged, is overwhelmed by the urge to help renovate their parents' farm. As an FBI agent starts sniffing around, the three men start to get increasingly anxious and angry, quickly moving from friends to frenemies to full-on nemesis-es-es (name that Buffy episode). Thence quickly to blood.
Even though you know exactly where this movie is headed the moment those three idiots make off with the money, you can't help but stay glued to your seat for the entire ride. They're doomed -- you know they're doomed. But just how they go from giddy to DEAD is, well, it's worth watching to find out. This movie, as with all of Raimi's others, is also just masterfully shot. I read that while prepping for work on the snowy set, Raimi consulted frequently with his pals Ethan and Joel Coen, who had just made Fargo and thus had extensive experience at shooting in the snow. Gotta love a man who is willing to stop and ask for directions, you know?
Delta 88 appears: Where, oh where, are you, Mr. Delta 88? I don't remember seeing the car in this one, though I'm sure it's there and probably somewhere obvious. Like driven by the main character. Anybody have the 411 on the 88 in The Simple Plan? Update! Reader Trish reports that if you watch very closely during the opening credits, you can see it parked on the side of the street when Bill Paxton is walking by. Thanks, Trish!
I almost didn't include mention of Spider-Man in this write-up because I know there are bazillions of comic geeks out there ready to hammer me on anything I get wrong, and one of those comic geeks is my brother. Why ask for trouble? I already know HE'S got my numbah.
So, instead of talking about the story, details of which I am sure to get wrong, I'm going to focus on the message. Because what really elevated this film for me above the standard comic book flick fare was its moral: With great power comes great responsibility.
Spider-Man, like any comic book movie, is about the battle between good and evil. So was Darkman, really. But comparing those two movies in my head, I'm just amazed at how far Sam Raimi had to come before he could make a film like Spider-Man. Spider-Man is, at its heart, a story about the complicated emotions that come when a completely awkward teenage nerd finally finds himself imbued with power beyond his imagination. And while I felt like the first movie didn't QUITE tackle the initial confusion and fear Peter Parker must surely have felt when he first woke up and realized he was a super-freakin'-hero, I thought it did a great job at showing his struggle with the urge to misuse (or waste) his new strengths. Ultimately, Peter comes to realize that he can't just ignore the fact he now has the power to do a lot of GOOD. And with that realization comes a very heavy sense of responsibility to follow-through.
Darkman's message, if it has one, seems to be that with great power comes the ability to kill everyone you hate and be miserable forever. It's not a movie that leaves you feeling inspired. It doesn't make you think. You can't relate to it in any way. Peter Parker's plight, though, IS something I think we can all relate to. As teenagers becoming adults, we all got a taste of what it's like to suddenly have more control over our universe. Some of us used that control wisely. Others of us used that control to drink to excess while watching horror movies in the TV lounge of their dorm rooms. We all had to learn, often the hard way, what real responsibility actually is.
Plus, all three of the Spidey movies have had in them real moments of absolute HEART. For me, the scene in Spider-Man 2 when Parker keeps the train from derailing is a real stand-out in that regard. When Spider-Man has finally managed to save the passengers' lives by stopping the train, he's so exhausted he begins to collapse. The camera quickly zooms into his chest where suddenly a group of hands appear, the passengers' hands, reaching en masse through the window of the train to pull him to safety.
Back inside, they lay Peter down, and finally get a look at his face (he'd taken his mask off while desperately trying to stop the train). One of them says with marvel, "He's just a kid! No older than my son!" At that, Spidey sits up abruptly, realizes his mask is off, and panics, but the passengers surround him immediately and begin to soothe him -- it's all right, we won't tell anybody, look, here's your mask, put it back on, you're safe here, you're safe with us. Before Peter has a chance to get his bearings, Doc Ock reappears, ready to take him down. Recognizing their hero is in danger, though, the passengers form a wall between him and his enemy, declaring, "You want to get him, you gotta go through us!"
The realization that even the strongest among us still sometimes also need a hand -- that too is a powerful moral of these stories. And you know what? That scene makes me cry every time I see it. That doesn't happen very often, especially when I'm watching superhero movies. Goddamn you, Sam Raimi. And thank you.
Delta 88 appears: Now, correct me if I'm wrong, but in Spider-Man, the Delta 88 doesn't have a major starring role. There's a scene in which Spidey is zooming around town and he jumps on top of a moving car, and I think that car was The Classic. I think that's it. But hey, that scene made it into the trailer, so The Classic should feel pretty good about itself even though it didn't get a big part this time around. Didn't see BRUCE in the trailer, after all. There, there, Delta 88. Sam still loves you. He does. We all do. Now here, put your mask back on and go kick some ass. Update! Reader Caitlyn reports The Classic was actually Uncle Ben's car! Totally missed that! Thanks, Caitlyn!
Drag Me to Hell (2009)
Let's say you've never seen a single Sam Raimi movie and you find yourself trapped in a parking garage at the mercy of a REALLY angry old gypsy woman who tells you she's going to kill you if you don't tell her the name of the greatest Sam Raimi movie ever. But oh my god! You've never seen ANY Sam Raimi movies! You don't want to die, and you certainly don't want to get thwacked in the head with a stapler (gotta see it to get that one), so here's what you do: TELL HER DRAG ME TO HELL.
This movie, Raimi's first trip back to the horror genre since 1993's Army of Darkness, is absolute frakkin' genius, and I'm not just saying that because I really liked it. I mean, I did really like it, of course. And so did everybody else, including the snarkiest of film-snob critics (miracle!). But independent of that, I'm telling you, this movie is brilliant. It's everything horror-comedy ought to be: insanely over-the-top, absolutely ridiculous, completely unbelievable, tied in some way to modern social issues (so we can relate to it despite its absolute ridiculosity, see?), and covered in buckets and buckets and buckets of blood. The nosebleed scene! Hellaciously awesome!
You can read my description of this movie's plot in my original review of it from earlier this year. And the good news? It's out on DVD now! Christmas shopping: DONE!
Delta 88 appears: Crap, I've only seen this movie once and I was NOT paying attention to the Delta 88. Did anybody else spot it? Update! Reader Trish reports The Classic was is Mrs. Ganush's car, "seen first in front of the bank when Mrs. G gets the boot from the security guards and then again in the parking garage and later at Mrs. G's granddaughter's house." Thanks, Trish!
So, there you have it -- those are the highlights of Sam Raimi's film-making career thus far. Coming up in the next year or so for Raimi will be directing the Warcraft movie, as well as Spider-Man 4 and a reboot of The Evil Dead. I confess I'm a little wary about that last one, in part because I can't figure out if it's a remake or a sequel. Nor can I find out if it will be starring Bruce Campbell, which it better. But hey, you know what? Whatever it is, I'm sure it will be great fun. And in the meantime, there's always the original. Which I'm watching for the umpteenth time RIGHT NOW AS WE SPEAK (or write, or read, or whatever).
Next up for me? Getting to work on the script for my horror movie. Plot ideas welcome. Hitten zee comments and lemmie have it.
MacGyver Factor Score: 94.693%.
Points off for making a Kevin Costner movie.
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