Working Girl (1988) (Movie Review)

 

 There are hit movies that stay in the main-stream and public conscience for the long run … and on the opposite side of the spectrum are those one-and-done hit movies that are a success upon their release but aren’t talked about that much in the following years. My subject for today is the 1988 Romance picture “Working Girl”, which was a smashing box office success, received critical acclaim, was nominated for six Academy Awards including Best Picture … and I don’t see anyone discussing or even remembering this film. As such, I found myself needing to scratch an itch to shine a little spotlight on this late 1980’s picture and see if it’s still worth taking notice of.

 The film can best be described as a contemporary “Cinderella” story set in the corporate world. That’s not to say it follows the exact narrative beats, but it has the same spirit of any good "rags to riches" story. Tess McGill (played by Melanie Griffth) is a secretary with ambitions to elevate her status in the business world. Things are set in motion when she gets a new, slightly younger boss named Katharine (played by Sigourney Weaver) who puts on a friendly demeaner but is quick to throw her underlings under the bus, especially if it means elevating her status. Case in point, stealing one of Tess’s financial ideas, and pawning it off as her own. After a sudden skiing accident puts the mean boss in the hospital, Tess takes the opportunity to pose as a real Stockbroker, elevate the company’s status with her ideas, and win the affection of a fellow Stockbroker named Jack Trainer (played by Harrison Ford). Thus, we see how far Tess goes on her journey of climbing the corporate totem pole, before her nasty boss finds out the truth, and retaliates with vengeance.          

 It’s a simple story, with all the right ingredients to make for a charming experience. This movie was directed by the late Mike Nichols, who had previously directed the 1967 classic “The Graduate”, in which he won the Academy Award for best director. Once again, he brought his stamp of quality to “Working Girl” and received an Oscar nomination for Best Director. The film was also marvelously lensed by cinematographer Michael Ballhaus, who really knows how to show off the marvels of New York. Of course, in a post 9/11 world, it's always emotional to view these wide city shots with the Twin Towers present. When the movie opens with an orbital shot of Lady Liberty, and paired with a memorable song, it hooks me in right away. On that note, the soundtrack to this movie is fantastic, and gives the film some personality. The main song “Let the River Run”, by Carly Simon is an exceptional piece of music that carries most of the films atmosphere and rightfully won the Academy Award for Best Original Song. Other established songs on the soundtrack include Chris de Burgh’s “Lady in Red”, Harold Arlen’s “The Man That Got Away”, and my personal favorite being The Pointer Sisters “I’m So Excited”.

 Of course, the real strength of the film is Melanie Griffith in the lead role of Tess, who is infectiously lovable, and hits all the right notes between being smart, funny, charming and determined to push herself. 

It’s a case in which most of the film’s strength comes from its lead, and Melanie Griffith rightfully received an Oscar nomination for Best Actress but lost to Jodie Foster in her respected leading role in “The Accused”. Not to be overlooked is Sigourney Weaver as the deliciously wicked boss and is a lot of fun to watch as she transitions from a cheery demeaner to dominate and controlling. Apparently 1988 was a great year for Sigourney Weaver, as her portrayal of the tyrannical boss received an Oscar nomination for Best Supporting actress, and she also had a Best Actress nomination for her leading role in “Gorillas in the Mist” … good for her. Lastly, Joan Cusack portrayed Tess’s best friend Cynthia and gets a very fun scene when she poses as Tess’s secretary. She too received an Oscar Nomination for Best Supporting Actress, but both she and Sigourney Weaver lost to Geena Davis in her respected role from “The Accidental Tourist”.     

 The cast in general is solid, with Alec Baldwin, Kevin Spacey, Oliver Platt and Philip Bosco in minor, but decent supporting roles. Harrison Ford naturally is our leading love interest Jack Trainer, and while he’s a reliable screen presence, this does bring me to my one reservation with the film. For a movie labeled as a romance picture, I found the romantic relationship between our leads the least interesting aspect of the narrative. Melanie Griffith and Harrison Ford are charming on their own, but aside from one or two moments, I didn’t feel much chemistry between them. Honestly, the movie itself feels more interested in Tess’s journey and personal growth, and the romance feels more like an add-on. Even the closing scene of the film is focused entirely on Tess’s solo triumph in the working world, and showing her place in it, with zero focus on her love interest. Quick sidenote: the final closing shot of the film is terrific and highlights that in hindsight, cinematographer Michael Ballhaus should have received an Oscar nomination.

 Even when the movie builds to it’s inevitable “Liar Revealed” moment, it glances over any conflict between the characters and moves on … actually, I wish more movies would do that. Less credible is the scene when our leads first meet, as she gets drunk, passes out, and wakes up in his bed … with him sleeping beside her … and they’re not even on a first name bass yet. Somehow, if this movie was released today, I don’t think this scene would meet approval from contemporary audiences. Also, Alec Baldwin’s character does some inexcusable actions that are too easily forgiven. It's too bad Harrison Ford and Alec Baldwin didn't share any scenes together, the fan boy in me could have said that Jack Ryan got to meet Jack Ryan ... that's a deep cut reference for anyone whose watched movies adapted from Tom Clancy Books. Thankfully, the even bigger Sci-Fi fan boy in me got to say that Han Solo finally met Ellen Ripley, which is great. On a final reservation note, I found some of the R-ratted content unnecessary … one topless scene too many.  

  All that said, I do feel “Working Girl” mostly holds up, as it’s charming, engaging and the cast makes it worthwhile. As said in the opening, the film was a commercial and critical success for its time, and received the Oscar nomination for Best Picture, but lost to “Rain Man”. Now days, “Working Girl” doesn’t seem to get much attention or notice, but I think it’s worth looking back on. It feels like a movie of a bygone age, and something that we don’t really get these days. Had this movie been released today, there would likely be more of a focus on big and loud situational comedy as a means to hook viewers, but “Working Girl” for its time didn’t need an obvious hook or gimmick, outside of the recognizable cast and a pleasant soundtrack. That’s not to say it’s any kind of unsung masterpiece, but it’s worth a recommendation. It’s old-fashioned, but appealing in its simplicity, and sometimes, that’s all I really need.

Thanks for reading my review of the 1988 romance picture “Working Girl” … and continue to enjoy the movies you Love!

 

The Mask (1994) (Movie Review)

  Back when I was a kid in the 1990’s and early 2000’s, I was obsessed with comedies … and my golden idle by far was Jim Carry. While Carry would continue to have a healthy career for a while, the 90’s was his decade to reign supreme. For me, his 1994 hit “The Mask” … while not the absolute funniest of his films … was the picture I remember watching and enjoying the most. With the recent and tragic passing of the film’s director Charles Russell, I was hit with sentimental feelings and wanted to look back on what I consider the director’s best film, and one of Jim Carries all-time greats.   

  In the fictional setting of Edge City, local banker Stanley Ipkiss is a nice guy but doesn’t have much of a backbone and wants to be the fun guy who can steal the spotlight … as well as the affection of the beautiful nightclub performer Tina Carlyle. One night, he discovers a mysterious and ancient mask, which brings its wearer’s innermost desires to wild and zany life. In the blink of an eye, Stanley Ipkiss takes on the likeness of a live-action cartoon character with all the bells and whistles to make him the center of attention, a ladies man on the dancefloor, and one for causing mischief to those who pester him. His antics go too far, and soon he’s made enemies with the city police and a local crime ring, who want the masks unlimited power for their own nefarious deeds.

  Before I get lost in the details, let’s take a look at the film’s origins. “The Mask” was based on the Dark Horse comics series, which leaned into full on disturbing horror comedy. New Line Productions took interest in a film adaption, picturing a new supernatural horror flick with a similar tone to their “Nightmare on Elm Street” franchise. In fact, the film’s director Charles Russell pulled out a decent hit directing the 1987 sequel “A Nightmare on Elm Street 3: Dream Warriors”. At some point, it was decided to shift the tone of the film to pure comedy, with a mostly all age appeal, although, the film still retained a pinch of that dark edge. For me, I always felt “The Mask” was a spiritual hybrid successor to both the cartoony appeal of “Who Framed Roger Rabit” and the quirky comic-personality of Tim Burton’s “Batman”, creating a whole new experience all its own. 

 Even the film’s memorable music score by Randy Edelman feels akin to something Gothic and operatic, as opposed to zany and wild, which helps complement the dual tones of the film. Going back to our director Charles Russell, he certainly helped give this film its own distinct look and feel. Since the character of the mask is a colorful figure that can only come out at night, the personality of the city shines through with its night club settings, laid back lunge/swing music, and subtle use of colors. I adore the look of this film, as it’s light greens and purples decorate the film without being too outlandish in the same vein of the late 90’s “Batman” films. Also, quick shout out to the late makeup artist Greg Cannom who brought the iconic look and design of the Mask to life in this film.

   Of course, Jim Carry in the leading role was the biggest draw to this film, and while I always felt his star turn in 1994’s “Ace Ventura: Pet Detective” generated the biggest laughs out of me, I feel his portrayal of Stanley Ipkiss is the best of Jim Carry as a whole. While he’s bombastically fun as the titular Mask, his down-to-earth Stanley Ipkiss role highlights his subtle charms and appeal as a screen presence when he’s not going over the top. He’s got the heart of a child, but isn’t obnoxious, which works to hold viewers over when he’s not in Mask form. On that note, in the hands of a lesser talent, the special effects and cartoonish mayhem of the character could have dwarfed the lead, but Jim Carry keeps the energy high and is perfectly in sync with the bombastic visual gags of the character. In short, this was the role that solidified his star power and set the stage for his upcoming hits like 1994’s “Dumb and Dumber”, and especially 1997’s “Liar Liar” … which is my other favorite of his.

  With all my initial praises to Jim Carry, he’s in truth only half the appeal of this movie … the other half is Cameron Diaz as love interest Tina Carlyle. 

In short, she’s a firecracker on screen, with the looks and demeaner of a shady femme fatale, but deep down is very lovable and a comforting presence … like someone you can sit down with and be happy to have as company. It’s a perfect marriage of good looks and likability. Her solo night club performance of "Gee Baby, Ain't I Good to You" (dubbed by Susan Boyd) still lives rent free in my mind as one of the great femme fatale movie moments. Unlike Jim Carry, this movie marked Cameron Diaz very first acting role and hit her star career out of the gate, setting the stage for her leading roles in 1997’s “My Best Friend’s Wedding” and “A Life Less Ordinary”. Also, Amy Yasbeck, whose probably best known for her comedy roles in Mel Brooks pictures like “Robin Hood: Men in Tights” and “Dracula: Dead and Loving it” is also memorable in her supporting role of friendly reporter Peggy … who turns out not so friendly.   

  On that note, even with the star appeal of both Jim Carry and Cameron Diaz, this supporting cast is excellent and help to add some flavor to the picture. As far as I’m concerned, the dog Milo is one of my favorite movie dogs and steals the show when on screen. Peter Riegert and Jim Doughan are perfectly paired as two polar opposite detectives eager to catch the Mask, one stern and straight faced, while the other is a goof. The Lieutenants single phrase … “DOYLE!” … still makes me chuckle. Ben Stein is likewise memorable in his minor role as a doctor who is familiar with the origins of the Mask itself. Finally, Peter Greene is terrific as this film’s lead villain Dorian Tyrell, and plays it straight faced, like a real criminal from a grounded crime thriller.  

 At the end of the film, Dorian takes ownership of the Mask and becomes an evil cartoon of sorts. It’s worth noting that Dorian as the Mask was played by the late pro wrestler Jeep Swenson, who’d go on to portray Bane in 1997’s “Batman and Robin”. I have to say that while Dorian as the Mask looks cool, I always felt he was underutilized in what he could do with his powers and distinct visual gags. Putting that aside, the film builds too satisfying night club finale, in which the dog Milo puts on the Mask, which gives us some welcome variety in both hummer and fun. This sequence also focuses on our hero Stanley spending most of the fight without his powers, showing how far he’s grown from the spinless man he was at the start.

 Lastly, unlike most comic book adaptations today, which are built on wall-to-wall fight scenes, “The Mask” is a refreshing reminder that it’s energy can run on personality and individual highlights as opposed to non-stop action. Jim Carry’s big musical sequence “Cuban Pete” was initially met with skepticism from the studio but turned it a major highlight of the film. My personal favorite sequence is the show stopping dance club number “Hey Pachuco”, which is still a riveting set piece all these years later. Not only is the song wildly upbeat, but everything from the staging to the editing, to the overhead shots are all popping with energy. As far as funny highlights are concerned, the Masks fake out Oscar death still delivers the giggles as an adult.

 In the end, “The Mask” won’t be a movie for everyone … but everyone should give it a single viewing just to see if it’s something they’ll enjoy. For me, this film meant the world to me when I was a kid, it still sits comfortably among my favorite comedies, and by extent is still one of my favorite comic-book adapted pictures. It manages to stand apart from the repetition of current Comic-Book blockbusters with its own distinct voice, personality and fun factor. It’s not one of the absolute funniest comedies, but easily rewatchable thanks to its visual flare, and of course Jim Carry and Cameron Diaz in two of the best roles of their careers. Finally, I feel comfortable in saying “The Mask” is director Chuck Russell’s finest offering. He certainly directed other decent movies that I have fondness for … but this is the one that I feel best complimented his personal style and vision.      

Thanks for reading my review of the 1994 comedy “The Mask” … continue to enjoy the movies you Love … and of course …

Rest in Peace Charles Raymond (1952-2026)  

Godzilla x Kong: The New Empire (2024) (Movie Review)

 

 When it comes to established characters in long-running film franchises, the giant monsters King Kong and Godzilla remain two of the most flexible, with no set-rules on what can be presented in their films. On the rare occasion, they can be mature and thoughtful with their films and deliver something that goes one step above cheap B-Movie entertainment. However, more often than not, their films like to embrace fun and disposable entertainment. 

For me, there’s no right or wrong method for either tone or style, as long as there’s variety. Following after the surprisingly grounded and emotional “Godzilla: Minous One” from 2023 … and by extent, the best giant monster themed movie since the original classics … I felt the franchise earned the right to bounce back with an all-out spectacle driven romp. Such is the case with the 2024 crossover picture “Godzilla x Kong: The New Empire” … a film that doesn’t aim for anything higher than straightforward escapist entertainment, with monster brawls and fantastical wonderment front in center. It almost does its job too well, but let’s tackle this crossover creature feature one monster step at a time.

 Following after the events of the 2021 crossover “Godzilla vs Kong”, we see that the giant lizard has made his bed living among humans and only gets up when a random new monster pops out from the ground. The mighty ape Kong meanwhile lords over “Hollow Earth”, which is a subterranean world of giant creatures discovered during the previous adventure. He’s seemingly stronger than ever, but lonely, and eager to share his domain with others. 

Things get set in motion with the sudden arrival of a new “Mini-Kong”, who leads the big guy on a journey through the uncharted areas of his realm to find more of his kind. Simultaneously, we reunite with the young deaf girl Jia, who bonded with Kong in the previous film, and is the last known descendant of the extinct Iwi tribe. As she adjusts to living among people, she begins to have dreams of her late heritage, and their mysterious connection to Hollow Earth. Thus, she too is beckoned on a journey through the mysterious world of monsters, in hopes of reuniting with her long-lost culture. Both Kong’s and Jia’s ventures collide with the discovery of a new threat, another giant ape called the Skar King, who’s eager to dethrone Kong, and establish his dominance over both worlds. As such, it’s time for Kong and Godzilla to put their rivalry aside and join forces to face this new opponent.

 To get right to the point, no-one should go into a movie like this expecting high art … it’s a silly monster movie, and it never once aims to be anything more than that. The good news is that there’s a lot of personality to this picture, which for me places it one step above disposable, destructive entertainment. 

I love the setting of Hollow Earth, which is bright, colorful, wonderous, and gives the film an anything goes sense of fantasy. The designs are great, they’re numerous original creatures on display, and the film is constantly presenting something new, which keeps the energy and excitement high as we go on the journey. At times, the film admittedly threatens to go too far with its fantastical content, especially when we discover portals that can conveniently transport our giant monsters anywhere on the planet. As the film goes on, it constantly asks its viewers to stretch any sense of plausibility in favor of spectacle and enjoyment, which is the make or break deal this film presents. I’ll admit that the film almost lost me with some of its outlandish moments and leaps in logic … but pulled me back in with enough details that I admired.

 This movie gives its giant monsters a number of lengthy “dialogue-free” moments in which they speak through their jesters and mannerisms, which is great. King Kong once again is very charismatic in his screen presence, and feels alive, despite being a digital creature effect. We also see him do things different from the previous Kong films, like hunting wild creatures and setting up traps. Also, while Kong did have a son in the very early films, they never shared scenes together before … this is the first time we see Kong bond with his child, or surrogate son in this case, and it’s a welcomed addition. The new villain called Skar King is likewise a welcome new addition, with an enjoyably wicked personality that he conveys through his mannerisms and expressions. Allan Henry did the motion capture performances for both giant apes, and dose an admirable job making them feel like completely different entities.   

 Godzilla once again is our top build monster yet has even less screen time then before and less function in the narrative, as his only goal is to gain more power through any powerplant in his path … and gain some colorful new makeovers as a result. The good news is that Godzilla also has personality all his own, and I love how he casually takes ownership over the Roaman coliseum as his own private resting ground. The new creatures on display come in a fine variety of giant bugs, sea serpents, and a new ice dragon called Shimo. With the endless roster of re-used monsters from both franchises, I’m glad this film focused on more original creatures, with the ice Titan Shimo being a striking creature in his own right. Mothra is the only other hold-over creature from the franchise but is given a nice new makeover.

 The brawls between the monsters come in a nice variety, and each sequence helps keep the entertainment going strong without overstaying their welcome. The third act admittedly could use a little more space between set-pieces, as we jump from a battle at the pyramids in Egypt, to an even bigger battle in a zero-gravity section of Hollow Earth, to a final battle in the big city setting of Rio de Janeiro, and there’s very little breathing time in-between. Still, it makes for fun spectacle and mercifully doesn’t go on for too long. All that said, the decent side of me has to question how much I should be enjoying this final battle, as it’s focused entirely on the fun factor of the brawling monsters, and never once addresses the presumably massive casualty count in the city.      

  The last thing I need to address is the human cast, which is noticeably tighter this time around, and just ok enough that they don’t drag down the pacing or get too annoying with their hummer. 

Rabecca Hall and Brian Tryree Henry are back in their leading roles from the previous film, and this time they’re joined by Dan Stevens as a quirky veterinarian for giant monsters, which is silly in concept but charming in execution. However, the MVP of the human cast once again is Kaylee Hottle as the young deaf girl Jia, who effortlessly provides the thoughtful and touching human elements required to balance out all the bombastic monster spectacle. The actress herself really was deaf, but her performance was just as passionate and emotional as any great talent. Her role in the film was even nominated at the Saturn Awards for Best Performance by a younger actor. Sadly, this marked her final acting role in a movie before her tragic and unexpected death in July of 2026 at the age of 18. It’s a tragic loss, especially at her young age, but I hope she’ll be remembered as a credible young talent and as an inspiration for actors with disabilities.      

 On that somber note … I find this a perfectly enjoyable picture, with just enough merit in the details. It’s no masterpiece, and primarily for fans of the genre or casual viewers seeking surface level entertainment. That said, the film delivered exactly what it needed to. 

It’s another satisfying, and entertaining round of giant monsters fighting, as well as exploring a mystical world full of marvels, along with an expanded mythology, and subtle personality touches in the monsters that make them feel like characters first and special effects second. If anything else, I’d recommend this film and its previous instalment just for the late Kaylee Hottle and to experience the amount of heart and soul she provided to a series populated with creatures and eye candy. In the end, I'm one of those fans who can go into either a King Kong or Godzilla movie with set expectations, and when they’re met, there's no disappointment, even though there's no big surprises either.

Thanks for reading my review of the 2024 crossover “Godzilla x Kong: The New Empire” … continue to enjoy the movies you love … and of course …

Rest in Peace Kaylee Hottle (2008 - 2026)