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  • O captain, my captain! ... before you leave Robin, I think I speak for everyone here when

  • I say... we'll miss you. // Thank you boys... thank you. // This isn't going to be easy...

  • but this is Movie Night!

  • Hello and welcome to Movie Night, in-depth spoiler-free reviews in under four minutes.

  • I'm your host Jonathan Paula. Tonight we'll honor the wonderful life and work of the late

  • Robin Williams, a man was unfortunately no stranger to suicide. A number of his films,

  • including The Fisher King, What Dreams May Come, and World's Greatest Day focus on death

  • as a central plot element... but I don't actually want to talk about those movies, they're all

  • very good and worth watching, sure - but tonight I want to review my favorite Robin Williams

  • films.

  • Although I don't have any specific or personal connection to Williams - I have always been

  • a big fan, and his death definitely hit me pretty hard, as it has affected many others.

  • I spoke about all my thoughts and emotions last this week in an episode of "The World

  • According To Jon", if you'd like to hear more. But for now, we celebrate his life by reviewing

  • some of his best performances, beginning with "Good Morning Vietnam".

  • Released just before Christmas in 1987, this good-natured comedy film set against the backdrop

  • of the escalating Vietnam crisis of the mid-1960's managed to gross nearly ten times its small

  • $13-million dollar budget. In the first of his four nominated-roles, television icon

  • turned dramatic actor Robin Williams stars as a boisterous radio DJ for the fledging

  • Armed Forces radio station in Saigon. The unstructured plot follows his attempts to

  • inject humor and American rock-and-roll into his hugely popular daily broadcasts, at the

  • chagrin, and later direct orders of

  • his infuriated superiors. Simultaneously, we follow Williams as he adjusts to life in

  • the middle of a war-zone, while he attempts to win the affection of a local Vietnamese

  • girl played in a rather unmemorable performance by Chintara Sukapatana. Forest Whitaker is

  • along for the ride in a yes-man sidekick type role, whereas Bruno Kirby and J.T. Walsh walk

  • around with a permanent stick-up-their ass, constantly acting like a wet-blanket. The

  • 120-minute picture was directed by Barry Levinson... but since so much of Williams' manic performance

  • was reportedly improvised on the spot, perhaps "wrangled" is a more apt description of Levinson's

  • duties. Set during a time and place when radio deejays had influence and power, Williams

  • embraces his position as he attempts to entertain and inform the troops of current events - beginning

  • each broadcast with his trademark phrase, "Good Morning Vietnam!" ... the titular greeting

  • piercing the pre-show silence like a bullet from a gun. Before this, Robin seems like

  • a quiet and reserved individual... but once the mic is hot, and the red light is on, he

  • transforms into an energized improvisational machine... spitting out dozens of jokes, voices,

  • and sound effects every minute. His timing and skill flow so naturally, it's hard not

  • to watch in awe as he bounces from a loud Ethel Merman impression to doing a spot-on

  • Walter Kronkite. The R-rated story is loosely based on the experiences of a real Armed Forces

  • DJ... and while this is an interesting and unique angle, it just isn't a particularly

  • dramatic one, even after our protagonist narrowly survives a bombing attack. Indeed, while enjoyable,

  • the film never quite kicks into second gear... with little resolution to the film's biggest

  • conflicts, or any real theme or message. That being said, a violent montage of riots and

  • death is hauntingly juxtaposed against Louis Armstrong's "Wonderful World", creating a

  • powerful moment late in the film. Although the script meanders a bit, and the romance-angle

  • never really works - the politics of radio in a war zone is decently fascinating, if

  • only because I'm reminded of my own time working as an on-air radio DJ in Boston. An entertaining

  • comedy that works because of its impressive leading man, this isn't a movie I'll be re-watching

  • anytime soon... but I'll rate "Good Morning Vietnam" a SEVEN out of ten.

  • Oh, you may have noticed I skipped right past my five-word summary, comment reviews, and

  • the factor-facts there. In an effort to simplify and streamline the show, I've decided to remove

  • those elements... but as we continue the show, let me know what you think of the changes.

  • Second up tonight, my review for "Dead Poets Society".

  • This Peter Weir drama film was released in June of 1989, which shares the seemingly uncomplicated

  • story of an English teacher who inspires his students with poetry. Produced on a budget

  • of $16-million, the PG-rated film would score four Oscar nominations, and $220 million in

  • profit. In his second nominated performance, Robin Williams is graceful as the kind, patient,

  • and motivational leader... who instructs his adolescent troops to "make life extraordinary",

  • and "seize the day." Robert Sean Leonard, Ethan Hawke, John Charles, and a dozen other

  • young actors make up the group of prep school students at the elite Welton Academy, who

  • overcome their hesitations and begin craving everything life has to offer... by throwing

  • parties, reading sonnets, and reveling in each other's camaraderie. Weir even had the

  • young actors all room together during production, to strengthen their on-screen chemistry. And

  • it certainly worked, their charm and eagerness make their characters easy, and believable

  • to root for. Meanwhile, Norman Lloyd and Kurtwood Smith play older gentlemen, who despite being

  • reasonable in their own actions, only serve as an obstacle for the growing desires of

  • the teens. A confrontational scene between Leonard and Smith, as father and son, is particularly

  • powerful, bordering on difficult-to-watch a times. It's easy to empathize with the dutiful

  • child, afraid to disappoint a loving father who doesn't understand what his son really

  • wants. It goes without saying that both individuals give brilliant performances in that scene,

  • as well. The unrushed narrative unwinds throughout a single-school year, as we learn more and

  • more about these interesting and nuanced characters. Without any showy cinematography, action scenes,

  • or memorable music... the entire 128-minute picture rests on its writing and characters:

  • and thankfully, the film more than excels here. This is light-hearted, but serious look

  • at adolescence, self-discovery, and challenging authority. The marvelous script gives us insight

  • into their fictional lives, but what makes the film stand out is how it allows, and practically

  • asks the audience to reflect on their own lives. The qualities these men embody will

  • surely resonate... when you wonder if you're doing enough to make your own life extraordinary.

  • A wonderful, moving, and uplifting experience that should be required viewing for all students,

  • I loved this film when I first saw it in my early twenties... and still do today. "Dead

  • Poets Society" only gets better with age, and I strongly consider it to be an AWESOME

  • film.

  • Now this next film is one I've already reviewed... but for competitions sakes, here again are

  • my thoughts on "Aladdin".

  • Released just before Thanksgiving in 1992, this $28-million dollar animated musical fantasy

  • was the most successful of the year, eventually grossing over half a billion at the worldwide

  • box office. Ron Clements and John Musker adapt the ancient Arab folktale for the big screen

  • with a cast of familiar voices, led by Scott Weinger of "Full House" fame. The 90-minute

  • story follows Weinger as the title character, a poor street urchin who uncovers a magical

  • genie after falling in love with a beautiful princess. He's motivated early by a passing

  • prince who reminds him, "You were born a street rat, you'll die a street rat." As one of the

  • all-time great animated characters in cinema history, Robin Williams is perfectly cast

  • as the bright blue genie - hilariously rattling off a string jokes, sight-gags, anachronism

  • impersonations, and even singing a song or two. In fact, the famous comic improvised

  • so much, the movie recorded over 15 hours of material for his role, and prevented the

  • script from being eligible for a Best Adapted Screenplay nomination. It may seem common

  • place today, but twenty years ago, having a major movie star voice an animated character

  • was a relatively new concept - but thankfully it paid off, Williams' manic and memorable

  • performance alone makes this worth seeing. Particularly fantastic is his introductory

  • song and dance number, "Friend Like Me"... which flies by with some extremely unique

  • and inventive animation, backed by Alan Menken's wonderful music. Jonathan Freeman, Linda Larkin,

  • and the annoyingly foul-mouthed Gilbert Gotfried portray the rest of the colorful, if stereotypical

  • cast. Special mention needs to be made for Frank Welker, an extremely talented, but generally

  • unknown voice-over artist who has nearly 1,000 credits to his name... mostly all specializing

  • in animal sounds and other unique vocal effects. Here, he provides personalities and voices

  • for Abu the monkey, and Rajah the tiger, among other characters. His career has been so prolific

  • that the combined gross of all his projects is second all-time behind only Samuel L. Jackson.

  • Back to the film though... at its heart, it's a fun adventure set in an exotic location

  • with likable characters, a simplistic romance plot, and plenty of goofy high jinks. As expected,

  • Disney's trademark animation style is vibrant and beautifully rendered, especially in the

  • film's Oscar-winning sequence for "A Whole New World". As has been my faux-criticism

  • of all children's films... the quickly paced story is a touch heavy-handed at rushed at

  • times, but the characters and music provide for a lovely experience that reminds kids

  • it's important to be true to yourself, and not get wrapped up in materialistic endeavors.

  • Eventually spawning two sequels, a TV series, toys, video games, merchandise, and a Broadway

  • play, this G-rated movie is a timeless classic people of all ages can enjoy again and again.

  • Since it's so hard to separate this picture from my childhood, I simply won't. I loved

  • it then, and I still do today. "Aladdin" is a wonderful fable with hilarious moments...

  • and an AWESOME film.

  • For tonight's poll question, which of Robin's many films is your favorite? Mine are still

  • coming up... but leave your response as a comment below. Fourth up tonight, let's talk

  • about Mrs. Doubtfire.

  • Loosely based on Anne Fine's novel, "Alias Madame Doubtfire", this comedy drama film

  • by director Chris Columbus was released in November of 1993 where it earned over $440

  • million against its small $25-million dollar budget. Funnyman Robin Williams stars as a

  • recently divorced father who disguises himself as the title character, an old English nanny,

  • so he can spend more time with his family. He must undertake this ridiculous and unorthodox

  • approach only because of his stubborn ex-wife, played by Sally Field. Although she dresses

  • like a grandmother attending a funeral, her character is nothing but an unreasonable bitch

  • - pointlessly vindictive towards the father of her children, seemingly just to spite him,

  • confiding to her new nanny, "The truth is, I didn't like who I was when I was with him.

  • I would turn into this horrible person." Williams however is endlessly patient and adorable

  • in the dual role... fun-loving and wacky as the modern 90's dad, while acting loving,

  • nurturing, and reassuring as his elderly female counterpart. Following a humorous make-over

  • montage that includes a great bit part from Harvey Fierstien, we get our first glimpse

  • at the Academy-Award-winning make-up, that honestly works surprisingly well. Which is

  • important, as the entire believability of the PG-13 rated narrative rests on the disguise's

  • ability to trick this man's own family. The ease and speed at which Williams is able to

  • remove, and re-apply the costume is a bit far-fetched though, as the real make-up took

  • over four hours to apply each day. A scene where Williams slams his face into a frosted

  • cake to maintain the Mrs. Doubtfire rouse to an inquisitive court liason, played in

  • amusing turn by Anne Haney, remains an iconic and absolutely hilarious scene to this day.

  • Even beneath an old-lady body suit, Williams' mile-a-minute energy and charisma pour out

  • of the screen, elevating the talents and timing of everyone around him - especially Pierce

  • Brosnan as the Field's new handsome boyfriend, who isn't normally regarded for his comedic

  • abilities. The actors playing the three children however leave a bit to be desired, Lisa Jakub

  • looks like she's constantly pouting, Matthew Lawrence had a bit habit of entering closed

  • doors without knocking, and Mara Wilson's film debut allows her to look cute and even

  • swear, but none of them contribute much - they're mostly just there as a means to an end. The

  • 125-minute story moves along at an amble pace, culminating with a terrific dinner scene that

  • has Williams attempting to be in two places, as two people simultaneously. The scene is

  • as amusing as it is memorable, rife with loads of dramatic irony and gags. Howard Shore's

  • light and flutely music provides a suitable score, and the plain photography style never

  • distracts from the film's heavy emotional swings. A true favorite from my childhood,

  • and a very re-watchable experience, it's the final coda of the film that truly resonates,

  • as Williams explains the importance of family, regardless of their circumstances or uniqueness.

  • Perhaps a bit dated today, this is a fun, moving, and enjoyable film everyone will love.

  • "Mrs. Doubtfire" is an AMAZING film.

  • Advancing another year forward in Robin Williams' career, let's review Jumanji.

  • Released on December 15, 1995 - this fantasy adventure film by director Joe Johnston quadrupled

  • its $65-million dollar budget. Based on Chris Van Allsburg's 1981 children's book of the

  • same name, the 104-minute story opens with back-to-back prologues (the first of which

  • could have been removed completely), where we learn of a mysterious wooden board game

  • capable of producing magical dangers from an unseen jungle environment. After our pluky,

  • down-his-luck protagonist gets trapped inside the titular adventure, we pick up the story

  • twenty-six years later when Kirsten Dunst and Bradley Pierce stumble upon the game and

  • inadvertently release the trapped boy - now a grown man, portrayed by the affably hilarious

  • Robin Williams. From there, the tight PG-rated script quickly flows from one exciting set-piece

  • to the next; from a violent animal stampede, to avoiding crocodiles in a flooded mansion.

  • Although he doesn't appear until over 30-minutes in, Williams dramatically turns from elation

  • to despair in a layered role only he could off so effortlessly. Meanwhile, much of Dunst's

  • delivery seems as wooden as the game itself... but her line-reading can be forgiven seeing

  • as how she was only 13 when this was filmed. Bonnie Hunt, David Alan Grier, Jonathan Hyde,

  • and Bebe Neuwirth round out the talented cast - with largely exaggerated, if somewhat appropriate

  • performances - they are being chased by scary lions and poisonous mosquitoes after all.

  • Hyde is especially fun in the dual role of Williams' father, and a merciless hunter...

  • who ends up on the receiving end of some of the more goofier, Home-Alone inspired moments.

  • A recurring theme of bravery is echoed late in the film when Robin remarks to a threatening

  • adversary, "I'm terrified. But my father says you should always face what you're afraid

  • of." Although some of the computerized visuals look too "animated", their integration into

  • the live-action environment was revolutionary for the mid-90's, and holds up considerably

  • well some 20 years later. Using flutes and woodwinds, the jungle-inspired score from

  • James Horner provides an eerie, otherworldly atmosphere to the story, especially the incessant

  • drum beat that signals the nearby presence of the game itself. Given the outlandish sequence

  • of events, some of the dumber, more curious character decisions can be overlooked, but

  • a number of glaring conveniences that advance the story are a bit irksome. It's a tragic

  • family drama, a hilarious comedy, and an action-packed adventure for all ages... wrapped into one

  • unique, and entertaining package. Thanks to some steadfast direction, capable visual effects,

  • and excellent acting, this film has left a lasting legacy. In fact, where the movie was

  • filmed in Keene, NH - an advertisement for the movie's fictional shoe company still exists

  • as a mural there today. An absolute favorite from my childhood, I must have watched this

  • movie at least a half-dozen times, and it's just as memorable as ever. "Jumanji", is an

  • AWESOME film.

  • A reminder now to check out the Movie Night Archive channel for an organized collection

  • of all our reviews, and to hear my thoughts on upcoming releases - earlier this month,

  • I examined six separate movie trailers. Next up, another repeat-review, but I've actually

  • decided to change my final rating on this one. Here again, my review for "Good Will

  • Hunting".

  • Released during Oscar season of 1997, this Gus Van Sant drama film not only scored itself

  • nine nominations, it also made $225 million against its modest $10 million dollar budget.

  • In the role that'd make him a household name, Matt Damon stars as the title character: a

  • math prodigy who is wasting his life away living in South Boston, and working a janitor.

  • The involved plot involves his quarrelsome relationship with his court-ordered therapist,

  • dealing with his townie friend Ben Affleck, his budding romantic involvement with Minnie

  • Driver, and studying under a renowned MIT professor. The infinitely versatile Robin

  • Williams is positively brilliant as the physiatrist, who challenges and battles Damon with long

  • emotional, soul-searching monologues in an Oscar-winning turn. Their adversarial contention

  • begets a loving friendship, and his the absolute bedrock of this 126-minute picture's story.

  • The original screenplay by Damon and Affleck famously won the two young boys from Boston

  • an Academy Award - and rightly so: the dialogue and writing here is nearly unparalleled...

  • one of the all-time best scripts, with Van Sant doing a fantastic job bringing it all

  • to life, framed by extremely lengthy close-ups, and beautiful repetition and imagery. Perfectly

  • paced, this movie flows effortlessly from one long sequence to the next, each one showcasing

  • the magnificent acting talent of the tight-nit cast, and highlighting another dramatic moment

  • from each of them, especially an overwhelmingly powerful exchange where Williams repeatedly

  • reassures Damon that his troubled past is "not his fault". The R-rated movie is also

  • wickedly funny - particularly if you're from the Boston area, and can relate to the antics

  • and camaraderie between Damon, Affleck, and their Southie buddies, like in a marvelous

  • scene where they confront a Harvard student at a bar, hilariously schooling him in front

  • of a potential female conquest. Or, when Affleck serves up sophisticated sounding malapropisms

  • to trick an interviewing board into believing he's Will, the math genius. Danny Elfman's

  • mellow score winds in and out of the picture beautifully, occasionally accompanied by some

  • wonderful acoustic ballads from singer-songwriter Elliot Smith. Taken from afar, the over-arching

  • plot here rarely surprises... but the small moments littered throughout is what makes

  • this experience so rewarding and powerful. An examination of trust, compassion, and finding

  • your true purpose in life - this is a relatable and enjoyable film that resonates with me

  • the more I watch, and the older I get. "Good Will Hunting", is a refreshing, emotional,

  • and uplifting experience with phenomenal acting and writing - I'm updating my earlier score

  • to an AMAZING.

  • Finally tonight, a review of "Bicentennial Man".

  • Released just two weeks before Y2K, this science-fiction drama film reunites director Chris Columbus

  • with Robin Williams, this time for an adaptation of a classic Isaac Asimov novella by the same

  • name. Sadly however, the $100-million-dollar production failed to earn a profit, which

  • Williams attributed to unfavorable budget cuts from Disney. The 132-minute plot follows

  • Williams as the title character, as a metallic android who endeavors to become more human

  • as he gradually discovers his uniqueness over the decades. In a performance that is incredibly

  • reminiscent of Brent Spiner's 7-year-turn as "Data" on Star Trek, Williams' portrayal

  • mayn't be the actor's most memorable role, but it's a delicate and nuanced one. Despite

  • his robotic mannerisms, our protagonist remains decently expressive thanks to some flexible

  • eyebrows that help him emote. The supporting cast includes Sam Neill, Embeth Davidz, Wendy

  • Crewson, and Oliver Platt who all do a great job undergoing massive make-up changes as

  • the age and pass on during the course of the leisurely paced 200-year story. The first

  • act of the PG-rated film unravels like a playful sitcom, as Neil's family humorously deals

  • with their live-in robot nanny. However, the movie makes a departure from this playful

  • first act, and morphs into an almost completely different story - as the title character attempts

  • to adapt to his changing surroundings and circumstances, with his owner Neill defending

  • his uniqueness by declaring, "There is no price for individuality." A particularly effective

  • scene has Davidtz asking for relationship advice from her android friend, while simultaneously

  • hiding her own affections for him. Columbus's slow and steady directorial style lets all

  • of the talented actors and dramatic moments really sink in. Although taking place in a

  • futuristic setting, we only catch the occasional glimpse of the world outside Williams' existence:

  • filled with some of the films' more ambitious visual effects work. While we understand through

  • plot clues that Williams' is one-of-a-king, and world-famous, the story never expands

  • beyond its limited scope to really show us how the rest of society feels about a learning,

  • adaptive, and emotionally capable robot. James Horner provides some light and sporadic piano

  • themes to the reasonably believable narrative. And there's something to be said for a compelling

  • story that succeeds without any sort of traditional antagonist. Rather overtly tackling themes

  • of humanity, and what it truly means to love, live and die... this is inspiring, if overly

  • sentimental experience. The sappy and poetic ending may not work for everyone, but I've

  • always been a fan of Asimov's stories... and "Bicentennial Man" is a wonderful adaptation,

  • I thought it was GREAT.

  • Before we're done, let's take a quick look at what you're saying about films currently

  • playing in theaters.

  • If you see a new movie in theaters, Tweet your review with the #JPMN hashtag. I'll be

  • back next month with another summer special, as I review seven of my favorite comedy satire

  • films, but until then, keep an eye out for more fun videos here on the Jogwheel channel,

  • and on Jon's World. And don't forget, Movie Night's sixth season will premiere around

  • Halloween.

  • If you'd like to watch more Movie Night reviews, check out the "related videos" on the right,

  • or click SUBSCRIBE to be notified of all new content. Also be sure to follow me on Twitter,

  • Facebook, Google+, or Instagram for updates between episodes. Once again, my name is Jonathan

  • Paula, thank you for watching and listening. Until next time, have a good Movie Night!

O captain, my captain! ... before you leave Robin, I think I speak for everyone here when

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ロビン・ウィリアムズの必見作品7選 (7 Must-See ROBIN WILLIAMS Movies)

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