Jurassic Park

I couldn't remember the last time I sat down and watched 1993's Jurassic Park. In my teenage years -- better known as the late 90s -- this movie was on TV seemingly every day on countless channels....and I watched it a ton. But that whole mildly successful sequel, 2015's Jurassic World, threw me right back into the franchise. Sure, the sequel was a lot of mindless, stupid fun, but the original is almost always better. A true classic. A gem. A must-see. Jurassic Park.

Working at a fossil/dig site in Montana, paleontologist Dr. Alan Grant (Sam Neill) and paleobotanist Dr. Ellie Sattler (Laura Dern) are in the midst of unearthing a huge find...when they're interrupted by a helicopter carrying a bazillionaire philanthropist, John Hammond (Richard Attenborough), who has an odd request for them. He's asking them to come examine, experience and see a new theme park he's spent years building, promising quite the paycheck if they come along. They do, flying out to Isla Nubar, an island in the Pacific off the coast of Costa Rica, not sure what they've gotten themselves in to. Along with them is a brilliant mathematician, Dr. Ian Malcolm (Jeff Goldblum), who's equally curious. What exactly is Hammond behind? The entire group is stunned to find that somehow, some way, Hammond and his bioengineering company, InGen, has managed to create real-life dinosaurs and not just one, but many different species. The plan to open the theme park to the public couldn't possibly work, could it? There are just too many things that could go wrong....right?

My goodness. What a freaking movie. It's hard to believe it has been 22 years since the original and by far still the best of the series hit theaters way back in 1993. It's hard to believe for so many reasons. One, it impacted countless movies after. The technology on display here helped rewrite Hollywood with big, broad strokes. What 'Park' did with its computer-generated effects is nothing short of extraordinary, and almost every movie released since featuring any CGI owes a tip of the cap in this direction. The premise itself? Both inventively genius and criminally simplistic in its entertainment value. You can't say that for too many movies now, can you? Twenty-plus years later, it hasn't lost any of its edge, shock value or entertainment, director Steven Spielberg turning in a true classic, and a profoundly important movie in film history.

This 1993 scientifically-charged thriller is based off a novel from author Michael Crichton. The book is a gem, one of those great examples of what a perfect thriller can be. It's by no means a criticism to say that Spielberg's film is one of the few books as good as its source novel. Instead, it is a compliment to both film and novel. It will come as no shock that Hammond's idealistic park has its faults, resulting in an ever-growing body count, but 'Jurassic' does bring together intelligence and creativity with a straightforward survival story. Doesn't get any simpler than that. Run and get away or get eaten by a prehistoric dinosaur brought back from extinction. Oh, the movie looks great, what's real and what's CGI, and a little musical score from composer John Williams is pretty decent too. Maybe you've heard it? Listen HERE, a score and theme that becomes another character in a generally flawless movie.

Who doesn't love dinosaurs? Anyone? Bueller? Exactly. From kids to senior citizens and everyone in between, DINOSAURS ARE AWESOME. AWESOME I TELLS YA! Spielberg, Crichton and a heck of a crew from Industrial Light & Magic bring the dinosaurs to life, most notably the tyrannosaurus rex and the velociraptor, two of nature and history's most terrifying killing machines. The characters are excellent (more on the cast later), but it is the dinosaurs who steal the show. The T-Rex chasing down a fleeing jeep, the raptors hunting in packs, an attack always a blink away, these scenes of dinosaurs on the bloody hunt are scenes to behold, like Jaws on steroids. Spielberg builds the tension up to unbearable levels, water in a plastic cup shaking as a T-Rex approaches from the jungle. The horrifying realization that a raptor can open a door. These quiet, terrifying moments balance out with the hold onto your seat moments in impeccable fashion. Even knowing where these scenes are going, it....is....damn...frightening.

The best movies bring their stories to life, and that's where Jurassic Park succeeds at the highest levels. Whether it's the hint of the power and vicious hunting of a raptor or a chase across a grassy plain with a herd of gallimimus being chased down a T-Rex, these moments are exhilarating to watch as a moviegoer. All those creatures you saw in books, there they are, big as life, on the screen in front of you. Yeah, it produces some freaking scary moments once the dinos are loose, but from the moment we first see the dinosaurs, there is that feeling of being transported back to your childhood reading those books. We're seeing something that has been extinct for at least 65 million years. It sounds so simple to say that, but that is the simple, elegant beauty of this classic movie and its lasting impression, impact and quality. Just a gem.

The stars are the dinosaurs, but the human actors aren't too shabby either. I've always been a Neill fan, mostly because of this part as the pragmatic, highly intelligent Dr. Grant, amazed by what he sees but wary of these scientific developments. His chemistry with Dern's Ellie is spot-on, and the questioning trio is complete with a scene-stealing, never better Jeff Goldblum as questioning mathematician, Ian Malcolm. Throw in Attenborough (in his first acting role) since 1979, and you've got some thump at the top of the order. Also look for Samuel L. Jackson and Wayne Knight as park employees, BD Wong the bioengineer who helped create them, Bob Peck as Muldoon, the game hunter and park's game warden, Martin Ferrero as the $-for-eyes lawyer, and Joseph Mazzello and Ariana Richards as Tim and Lex, Hammond's grandkids visiting the island.

As an old man of 29 watching this -- as opposed to a know it all 12 year old -- I was able to appreciate the kick-ass dinosaurs, but also the intelligence, creativity and general smarts of the movie. I loved Malcolm's non-stop criticism, the destructive nature of the park no matter what it was intended for, leading to his immortal line 'Nature finds a way' in a phenomenal monologue. His chaos theory says that in the end, well, chaos will reign. You can't truly control what doesn't want to be controlled, especially dinosaurs. Creatures from literally millions of years ago, recreated and controlled? No way. As well, the way the dinosaurs are created is beyond ingenious, a credit to Crichton's writing ability and Spielberg's ability to flesh it out (and with some twists along the way about dinosaurs that are supposedly unable to reproduce). Yes, this is a huge action/thriller blockbuster, but it is also an incredibly intelligent and creative film. It works pretty effortlessly on basically every level possible.

Spielberg is an all-time great, a director with classics Jaws, Schindler's List, Saving Private Ryan, and the Indiana Jones movies to his name (among others). This is a film that definitely belongs on that list. A true classic on all levels. This will be a movie that down the road people still look back and marvel at it. Can't say enough about this classic. A gem, and a movie you most definitely should have seen by now.

Jurassic Park (1993): ****/****

Paul

Way back in 2004, audiences were introduced to Simon Pegg and Nick Frost in 2004's Shaun of the Dead. The comedy duo worked with director Edgar Wright again in Hot Fuzz and World's End, the trio's odd, smart sense of humor resonating with audiences. Pegg and Frost branched out in 2011, starring in Paul, a movie any science fiction fan will get a kick out of.

Lifelong friends with a love of science fiction, Graeme Willy (Pegg) and Clive Gollings (Frost) have traveled from England to San Diego for Comic-Con. That's not all for the trip though, the friends renting an RV and planning a trip across the southwest, hitting all sorts of extraterrestrial spots like Area 51 and Roswell. The trip goes pretty much as planned....at first. One night driving along, the RV crashes and when they get out to investigate, Graeme and Clive are stunned at what they find. An alien is standing in front of them, and he speaks English quite clearly (and with some attitude). The alien's name? Paul (voiced by Seth Rogen), and he's on the run from government agents. Paul has escaped from the facility he's been held at, and he intends to go home to his own planet. He bonds immediately with nerdy Graeme and Clive, but he needs their help. Will his two new friends help him get away and get to his spaceship?

I really do try to be honest with my reviews so here goes. When I saw the trailer for this sci-fi comedy a few years back, I thought it looked dumb. No, that's not enough. D-U-M-B. I avoided it the last couple years, finally caving and getting it on Netflix. The cast proved to be quite the motivating factor in the end! Well, as is so often the case, my complete refusal to listen to the "Don't judge a book by its cover" premise ended up being very, very wrong. I liked this movie from director Greg Mottola (Superbad, Adventureland). A lot. It was funny, surprisingly smart, and pretty sweet in the end -- with some dark, stupid humor mixed in for good measure. Yeah, the pretty deep, very talented cast helps, but there's more to it than that. With Pegg and Frost writing the script, you know you're getting a good final product.

The acting/writing duo actually came up with the idea for 'Paul' when they were filming Shaun of the Dead, and then it was just a matter of time until they could make it. The elements that worked in 'Shaun,' 'Fuzz' and 'World's' all translate here in an easy-going, natural chemistry. It never feels like Pegg and Frost are acting. This plays out like two old friends who know everything about each other -- some think they're gay, much to their surprise -- and are enjoying a vacation they've long talked about. Then throw in Rogen (who's excellent), and we've got quite the trio of characters. An alien who's been on Earth since the late 1940s, Paul is a great character. He's picked up all sorts of human touches from personal interactions to his often dirty conversations. Rogen even provided the motion capture movements for Paul, adding an oddly appropriate slacker look to the alien's actions. I loved the dynamic among the three, that chemistry providing the best laughs and carrying things throughout the 104-minute movie.

As a movie nerd, it was cool to watch this one develop. Pegg and Frost have said in countless interviews this movie was intended as a tribute of sorts to all the science fiction movies they love. It's a tribute to all those great science fiction movies from the 1970s and 1980s. By my count, I saw scenes with nods to Close Encounters, E.T. (obviously), Indiana Jones, Star Wars, Star Trek, Back to the Future and probably countless others I'm forgetting. The ending especially gives a big old nod to Close Encounters and E.T., a pretty cool ending overall. Even director Steven Spielberg makes a voice cameo, Paul serving as his unofficial "technical adviser" as he makes E.T. back in the early 1980s. And in a quick but essential cameo, sci-fi icon and Alien star Sigourney Weaver makes a fun appearance late. Science fiction fans will definitely get a kick out of this one.

There's more to that pretty cool cast that's worth mentioning. Jason Bateman has some fun as Agent Zoil (a kinda-sorta Men in Black), a government agent in pursuit and trying to bring Paul back. Bateman looks to be having a lot of fun in the tough guy part and with a good twist late. He's got two bumbling, inexperienced agents working with him, played nicely by Bill Hader and Joe Lo Truglio. Kristen Wiig puts a fun spin on the love interest, a woman who was raised highly religiously and is beginning to think she's got it all wrong. Her rookie attempts at swearing and cursing are especially good.There's also fun parts for Jane Lynch, David Koechner, Jeffrey Tambor, Blythe Danner, John Carroll Lynch and Jesse Plemons.

If you read some reviews about 'Paul,' you'll no doubt fall into quite the religious quagmire. The script from Pegg and Frost takes some digs at religious folks, those who believe what they believe even if evidence is presented that directly counters what they believe. I lean toward the non-believers side so I wasn't offended, but it's easy to see why some resented this movie's message. The religious characters are loony, crazy, off-the-wall individuals. As well, the action gets ratcheted up to some crazy levels over the last 30 minutes, goofy and over the top but never too much. A very pleasant surprise from beginning to end. Highly recommended.

Paul (2011): ***/****

Jaws

The ocean is a big old place. Anything could be lurking in that water, right? It's a criminally simplistic fear, that of the unknown and the ocean is a perfect example. In a film that was the first real example of a summer blockbuster, 1975's Jaws is the rare perfect movie. Scared of the water? I am, and I won't be going anywhere near the water after watching this one.

Amity Island is a quiet, little resort town off the coast of New England, a town readying itself for huge crowds of tourists and vacationers on the upcoming Fourth of July weekend. The new police chief, Martin Brody (Roy Scheider), has a problem though as the bloody remains of a teenage girl wash up on shore. The culprit seems obvious; a shark, but no one else is willing to back the Chief up. He gets help -- and a confirmation on the shark -- from marine biologist Matt Hooper (Richard Dreyfuss) who recommends the beaches be closed with the immense, hunting shark in the waters. More attacks come fast and furious though, leaving Amity no choice but to pay for an experienced, grizzled shark hunter, Quint (Robert Shaw) to kill the great white shark once and for all. But as the trio heads to open waters, even they can't imagine what awaits in their hunt.

From a director who would go on to create a halfway decent name for himself, Steven Spielberg, 'Jaws' seemed doomed almost from the start. Based off a novel by Peter Benchley (the rare film better than the book here), the production went overbudget, over schedule and over everything as issues with a mechanical shark delayed shooting. A $4 million budget turned into $9 million. The end result? A classic film that audiences loved, the final product making $470,000,000 million in box office. It spawned three sequels -- none of them even remotely as good -- and changed the way films were made and the type of films Hollywood looked to make, market, and release for audiences. Not a bad formula for success, huh? Not at all.

On a very basic level, 'Jaws' is a horror movie. What is scarier than a creature that seemingly can't be stopped? The dark, gloomy, shadowy water can hide anything, and in this case it is an immensely terrifying 25-foot great white shark. As Hooper explains, all this oceanic creature does is swim and eat, eat and swim, nothing else. Maybe the best thing that could happen to Spielberg's famous film is the mechanical issues he had in shooting the shark. Because there were such issues, Spielberg tried to minimize the shark's actual on-screen time. We don't even get a really clear look/view of the shark until 80 minutes into a 124-minute movie (and it's a doozy of an appearance, watch the iconic scene HERE). It's all about the dread and impending doom. We know the attacks are coming, but that doesn't take away from that sense of doom hanging over every scene. It becomes almost unbearable at times, but more on that later.

I'll get to the actors and more focus on the story, but an additional star here is composer John Williams and his score, maybe the most instantly recognizable score EVER. Who doesn't know the dun-dun-dun-dun-DUNNA-DUNNA! theme that's paired with all of the shark's attacks? What separates a really good score from a great score is that ability to bring you into a movie. Williams' score succeeds on that level in epic fashion. You hear that theme, and for me, I get goosebumps right up my back (and I've seen this movie a ton of times!). It is moving and epic, unsettling and adventurous, a score that runs the gamut over the course of the entire flick.

From the opening scene -- skinny-dipping teenager eaten in pre-dawn darkness -- through the attacks and up to the finale, there's not really a weak point. Are there some parts that are better than others? Yes, most definitely. As good as the first hour is, the second hour is by far the best thing going here as Brody, Hooper and Quint board Quint's beat-up, shark-hunting ship, the Orca, and head out on the hunt. The next hour produces some of the most exciting chases and action scenes ever; just three men on a small boat doing battle with a shark of epic proportions. On a more personal level, the chemistry among Scheider, Dreyfuss and Shaw is phenomenal. It is perfect and simple and natural, three very different individuals forced to work together to accomplish a pretty suicidal mission. The movie is at home most on the high seas, Spielberg filming the entire shark hunt on the ocean. It sounds simple to do so, but it doesn't feel like a studio. It looks and feels like....the OCEAN!

When you think 'blockbuster,' you don't normally go to hugely impressive acting. Working with a scene-stealing shark, the cast here is spot-on and without the benefit of huge A-list stars, just hugely talented, reliable actors. I love Scheider as Brody, land-loving, water-hating Chief who wants to do right by the people nothing else. Dreyfuss as the highly intelligent Hooper is a perfect mix between inexperienced Brody and highly experienced Quint. Shaw of course is the biggest scene-stealer of them all, his grizzled veteran of the sea who's seen it all and done it all. Shaw's monologue explaining his involvement with the USS Indianapolis is a scene to behold as well (watch it HERE). Talk about a captivating, eye-popping scene, it's unreal and unsettling to watch. Kudos Mr. Shaw. Also look for Murray Hamilton as Amity Island's greedy mayor and Lorraine Gray as Ellen, Brody's wife.

It's easy to look past it when we're talking about the shark, the characters, the music and such that Spielberg at a young age is already showing a knack for the director's chair. If it gets lost in the shuffle, it's a shame, but this is an interesting visual movie to watch as Spielberg keeps us on our toes with his camera. Calm, cool long shots with little editing. Close-ups of Quint's eye, of the equipment clicking as the shark goes for the bait, the little things. The moral of the review is simple, I love this movie. It's got it all and features several of the greatest one-liners ever (my personal favorite being the subtle, perfectly delivered 'We're going to need a bigger boat.') It is a classic that deserves any and all of the accolades its received over the years. Look for reviews in the coming weeks of the sequels too.

Jaws (1975): ****/****

Twilight Zone: The Movie

Airing for five seasons on CBS between 1959 and 1964, The Twilight Zone is one of the all-time great television shows. A mix of horror, science fiction, paranormal and all sorts of wackiness, almost all the episodes were able to deliver some shocker/twist in the end. It's been revived several times in TV reboots, and even received a big screen adaptation, the much-maligned 1983 Twilight Zone: The Movie, a film shrouded in controversy even before its release.

The story is broken down into four separate segments, including a prologue. The first segment follows Bill Connor (Vic Morrow), a despicably racist middle-aged man who finds himself in a variety of different situations where he's the one being prejudiced against. The second takes place at a retirement home where one of the residents, Mr. Bloom (Scatman Crothers) offers his fellow residents a chance at a new life of sorts. In the third, a young woman, a teacher, Helen (Kathleen Quinlan), is on a road trip west when she meets Anthony (Jeremy Licht) with a strange hold and ability to control his family. And last, John Valentine (John Lithgow), a man who hates flying, is on a cross-country flight and struggling mightily as the plane flies through a storm. Looking out the window, Valentine is absolutely convinced that something is out on the wing, tearing up the engine. No one else on board sees it though. Is he nuts?

I loved the original Twilight Zone episodes from creator/writer Rod Serling so I went into this movie with some at least modest expectations. As a result, I was more than a little worried as I watched the prologue, two men (Albert Brooks and Dan Aykroyd) driving at night on a road trip out in the desert. The tone was okay -- feeling like a set-up -- if a little odd, but a really stupid twist (supposedly a shocker?) comes completely out of left field. If it was supposed to be a shocker, it came across as laughable. Thankfully, it wasn't a complete harbinger of what was to come. For the most part, the movie does what it's supposed to do. It's creepy, unsettling and plays like a tribute to the original show. Is it perfect? No, not at all. Of the four segments, one is really good, two only good, and one really bad.

Beyond the actual movie, 'Zone' is known for a horrific accident that claimed the lives of three cast members on-set, including star Vic Morrow. Filming the movie's opening segment, Morrow and two child actors were killed when a helicopter crashed onto them after several explosions sent the helicopter out of control. There is actually some horrifically brutal footage of the accident via Youtube if you're curious. It's sickening stuff. The accident put the film in limbo, producers and the studio debating whether to continue with the film. The first segment's director, John Landis, took a ton of heat for the accident (understandably so), even getting through a lawsuit that ruled no one was at fault for the accident. With absolutely no disrespect meant to Morrow or the two child actors, a cloud hung over the film's production and eventual release. The opening segment with Morrow is one of the "only good" segments, but it's difficult to watch it without thinking about what actually happened in bringing this portion of the film to life.

Almost as a novelty, the four segments were divided by four different directors, Landis, Steven Spielberg, Joe Dante and George Miller. The odd part? Spielberg -- the most accomplished of the four by far -- delivers the weakest segment of the film by far. Apparently Spielberg was greatly affected by Morrow's death and debated even continuing the film. He did stick with it, but biographies claim the director just mailed in the effort, and it shows. While Crothers does a good job in his part, the segment plays like a happy go-lucky after school special. In other words? Nothing like the best Twilight Zone episodes, not even the average ones. Directing the prologue and the opening portion, Landis' parts are hit or miss. The Morrow story is good, but it had to be edited on the fly following Morrow's death. The end result is a rather abrupt ending.

Thankfully, the final two portions make up for the somewhat slow start. The Joe Dante portion is based off a Zone episode titled 'It's a Good Life' with the original star, Bill Mumy, making a quick appearance. Quinlan does a fine job as Helen, the young teacher thrust into something she can't even comprehend at first. 12-year old Licht is incredibly creepy as young Anthony, a boy with special powers. Also look for Kevin McCarthy and William Schallert in key parts. The highlight though is George Miller's segment, based off maybe the most well known and classic Twilight Zone episode ever, 'Nightmare at 20,000 Feet' starring William Shatner. Lithgow's performance as an obsessed, possibly paranoid airline passenger is the best performance in the entire movie. It is a truly unsettling segment, also delivering the biggest and best twist of all the four stories.

In the end, the TV show turned movie is a mixed bag. More than a movie that stands on its own, it plays like a tribute without a whole lot originality. Wrapping up at just 101 minutes, it covers a whole lot of ground. Could 15-20 more minutes have aided the cause? Maybe not, but it couldn't have hurt. Also listen for Burgess Meredith as the narrator, transitioning from story to story and keeping us mildly informed....as much as the Twilight Zone will allow!!! Imagine a dun-dun-duh!!! at the end of that statement.

Twilight Zone: The Movie (1983): ** 1/2 /****

Hook

Let's face it. Who among us actually wanted to grow up? It's just more fun being a kid. Less responsibilities, no obligations, and basically? Do what you want. That's part of the long-lasting charm of the Peter Pan character, a mischievous boy who never grows up, causing mischief and enjoying himself wherever he goes. What if Peter did grow up though, forgetting about what he used to be? So goes 1991's Hook.

A ruthless businessman who can scoop up struggling businesses effortlessly, Peter Banning (Robin Williams) takes his wife and kids, Jack (Charlie Korsmo) and Maggie (Amber Scott), to visit his grandmother, Wendy (Maggie Smith), in London. Obsessed with a merger, Peter has lost touch with his family, and one night, they're mysteriously taken from Wendy's home, an ominous note from a JAS Hook left on their bedroom door. It defies a 'Peter Pan' to come back to Neverland and rescue his children. Peter has no idea what to make of it until Maggie reveals a secret; Peter is in fact Peter Pan all grown up, his "childhood" lost since forgotten when he chose to grow up. How can he get his kids back? By embracing who he used to be, visiting Neverland and tangling with the nasty Captain Hook (Dustin Hoffman). 

As a literary character, Peter Pan first appeared in author J.M. Barrie's 1902 book The Little White Bird. Peter would appear in several other Barrie books and since then has become an instantly recognizable literary character from books and plays to stage plays and feature films, even the iconic Disney classic from 1953. It is a character most kids are aware of at least a little, and there is a charm to the boy who refuses to grow up. A story delving into a 'what if?' about said character is an interesting, unique idea. Peter decided to grow up when he fell in love with his future wife, Moira (Caroline Goodall).  And what if a full-grown Peter doesn't remember his past life as the infamous Peter Pan? Well, away we go.

I watched the movie and enjoyed it only to get a rather large surprise as the credits rolled. Directed by.....Steven Spielberg?!? I couldn't and didn't believe it. Not one of Spielberg's best films, Hook is nonetheless a good film. What struck me most was the distinct look of the film, giving an appearance of almost being based on a stage. The sets are all clearly indoors -- especially the outdoor ones on Neverland and on Hook's ship -- but they're busy, cluttered and claustrophobic. There's always lots of action and movement around, filling the screen to the point it looks like it may burst. John Williams' score is okay if not particularly memorable, never rising above the action on-screen.

What I liked most though was the casting, almost from top to bottom. Who better than to play wild man-child Peter Pan than ultra-goofy Robin Williams? He brings the character to life; a business suit executive who can't be bothered with anything fun. Then, he starts to remember what he used to be and watch out! Let the fireworks ensue. Hoffman is a scene-stealer as Capt. Hook, the infamous pirate leader with a hook for a hand after a crocodile bit his hand off. Julia Roberts plays Tinkerbell, the tiniest of fairies who guides Peter on his rediscovery of who he is. Bob Hoskins too is very good as Smee, Hook's right hand man. Of Peter's Lost Boys, the ones that stand out the most are Dante Brasco as Rufio, the new leader of the Boys, and Raushan Hammond as Thud Butt, the rather....round, jovial Lost Boy. Even look for singer Phil Collins in a small part and Gwyneth Paltrow as a young Wendy in a flashback.  

Far from perfect, the movie does have its flaws. At 144 minutes, it's far too long. Here's my issue. The movie never really slows down from its London intro to the majority of the time being spent on Neverland. It isn't really the pacing's fault, but the movie feels incredibly long at times. Some scenes go on for too long without knowing where to cut it off. As well, the use of some computer generated images looks dated now some 20-plus years later. Hard to criticize it too much, but it's certainly noticeable. Still, it's an entertaining story with an iconic character, an interesting visual look, and a deep cast.

Hook <---trailer (1991): ** 1/2 /****

The Sugarland Express

Before he directed such fan favorites as Jaws, the Indiana Jones series and the Jurassic Park movies or classics like E.T., Schindler's List and Saving Private Ryan, even Steven Spielberg had to start somewhere. After several years directing TV shows and TV movies, the young director got a shot at a feature film with 1974's The Sugarland Express.

Going back to Duel and continuing here, it's obvious Spielberg had talent right away behind the camera. Sure, he refined that talent over the years as he became one of the most bankable directors of all time, but even before he was well known he knew how to shoot a movie. His debut tells the true story of a young couple in Texas trying to get their 2-year old son back after he's been put into foster care. Fresh out of jail herself, Lou Jean Poplin (Goldie Hawn) goes to visit her husband, Clovis Michael Poplin (William Atherton), who's also serving a jail sentence. Lou Jean convinces him to escape so they can work together to get their son back.

It's not long though before trouble arises. At a routine traffic stop, Lou Jean freaks out and tries to escape, starting a car chase that ends with the couple kidnapping a young highway patrol officer, Patrolman Maxwell Side (Michael Sacks). They tell him all they want to do is get to Sugarland, Texas and get their boy back, but nothing goes smoothly, and soon enough a convoy of police cars led by Captain Harlan Tanner (Ben Johnson) is on their tail waiting to make a move.

Going into the movie, I knew the basic storyline, but I had a different movie in mind. The DVD cover makes the movie seem more like a light-hearted romp of a road trip with a young Hawn taking up much of the space. It's really anything but that. There's a darkness to the story I was not expecting that still, fits appropriately. As the Poplins drive closer to Sugarland to get their boy back, the "chase" becomes a media event. Newstrucks and field reporters join in the convoy, and fans begin to appear along the road to root them on in their efforts.

It was late in the movie when Lou Jean, Clovis and Maxwell drive into a town where they're met by hundreds of adoring fans that something clicked for me. I've never read anything to confirm this, but Spielberg must have been influenced by Billy Wilder's Ace in the Hole with his debut here. Both films don't paint the main characters as true villains or good guys, but instead put that on the audience, the people who stop and slow down at a car accident for just one example. The movie serves as much of a condemnation of the American people and our fascination with crooks, criminals, and car chases as it does a condemnation of the Poplins for being lousy parents.

In Hawn as the lead, Spielberg had a rising star who gets to show off her legitimate acting chops, not just being cute, blonde and giggily as she was on Laugh-In. We don't know much about her or Clovis' personal background so it's hard to judge the character, but as a mother who just wants her son back, she gives a strong dramatic performance. She does want custody of her son, but she's still a young woman. Lou Jean gets sidetracked at all the attention and seems to momentarily forget why she's even getting that attention. As her husband, Atherton is somewhat more realistic, knowing that as is their situation cannot end as smoothy as they plan.

Sacks, who was only in a handful of movies in his career, is the third member of the trio in the kidnapped patrol car. He's conflicted from the start, trying to convince the Poplins to turn themselves in, but like Lou Jean this adoration catches him off guard and he begins to see their side too. Call it Stockholm Syndrome I guess, but when trouble arises he knows their plan cannot succeed. In another strong supporting performance, Johnson is nicely cast as a weary patrol captain leading the chase. He wants to help the Joplins, he legitimately does, but all the hoopla and circus-like atmosphere around the pursuit isn't helping his effort.

All that said, the movie doesn't quite know what it is. Is it a straight drama or is it an action comedy? Parts are funny poking fun at the idiocy of the situation. At one point, Lou Jean has to go to the bathroom so the whole convoy, squadrons of police cars too, pull to the side of the road while a port-a-potty is brought in. But then other parts, with car chases and even a chaotic gun battle in a used car lot are too over the top and really, uncalled for. The ending works on some levels, if the whole movie had been played seriously it would fit perfectly. But in general, there's not one tone that Spielberg takes, and because of it the movie is taken down a notch overall.

If you'd like to see the movie, a Youtube user was kind enough to post it all, starting here with Part I. Here's the trailer if you'd rather rent or buy it and you just want a feel for the movie. Looking at the movie as a whole, it's a good start for Spielberg as a director. Flaws aside, he tells the story well, showing both sides of the coin and letting your feelings fall where they may, rooting for the Joplins or for Harlan and his patrolmen. It's a good sign of the things that were still to come.