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What the Hell Happened to Jason Patric?

Jason Patric

Jason Patric

Jason Patric was supposed to be a movie star.  He was good-looking and talented.  He starred in a hit movie and dated America’s Sweetheart.  Critics loved him.  And yet somehow Jason Patric never became a star.  In fact, I’m willing to bet most people reading this article won’t remember who he is until they read the article and see which movies he starred in and who he dated.

What the hell happened?

Jason Patric is the son of Academy Award-nominated actor and Pulitzer Prize-winning playwright Jason Miller.  You probably know Miller as Father Damien Karras from The Exorcist.  Patric’s full name is Jason Patric Miller.  His mother is  Linda Mae Gleason, daughter of the legendary comedian Jackie Gleason.

Jason Patric - Toughlove - 1985

Jason Patric – Toughlove – 1985

TV in the 80’s was a steady stream of TV movies warning viewers of the dangers of drugs.  Patric made his debut in one such “Just Say No” movie of the week.  He played a drug-addicted teen in the movie Toughlove.  Lee Remick and Bruce Dern played Patric’s frustrated parents who turn to an organization called Toughlove for help because back then there was no Dr. Phil show to write into.  The organization tells them they should love and support their son no matter what.  Just kidding.  They tell him to exercise some tough love.  D’uh.  It’s right there in the title people.  It may be heard to believe today when the term “tough love” is overused to the point of cliche but in the mid 80’s the idea of not enabling your loved ones was a new one.  Thank goodness we had movies like Toughlove to set us straight!

Want to know what else is significant about Toughlove?  Nothing.  Moving on.

Patric - Solarbabies

Jason Patric – Solar Babies – 1986

Patric made his big screen debut in the 1986 sci-fi schlock, Solarbabies.

Patric starred opposite Jami Gertz and Lukas Haas.  They played a bunch of space orphans living in a dystopian future,  Because really, what other kind is there?  In this future, the orphans are force to participate in a game that is kind of like lacrosse only on roller skates.  What is it with future sports and roller skates anyway?  The roller-boogie orphans locate a magical space orb that may be able to bring much-needed rain.  If not, they can hang it as a disco ball in their roller skating rink.  That would be pretty rad.

It’s basically The Road Warrior meets Rollerball starring a bunch of kids.  How can that not be a hit?  Critics blasted the movie for being a cheap rip-off of better movies.  Roger Ebert wrote “This movie owes so much to the Road Warrior pictures that I doubt if it could have been made without them.”  Solar Babies currently holds the dreaded zero percent approval rating on Rotten Tomatoes.  Audiences didn’t like it any better than critics so the movie flopped.

Patric - Lost Boys

Jason Patric – Lost Boys – 1987

In 1987, Patric scored the lead role in Joel Schumacher’s teen vampire movie, The Lost Boys.

Patric and Corey Haim played brothers who move to the fictional beach community of Santa Carla, California.  Patric’s character, Michael, falls for a local girl played by his Solarbabies co-star, Jami Gertz.  Through Gertz’s character, he becomes involves with a gang of teenage vampires lead by Kiefer Sutherland.

According to Patric, he turned down Lost Boys more than once:

Joel Schumacher will tell you, I turned that role down twice. I didn’t want to wear teeth and makeup – that’s just not what I wanted to do as an actor. He convinced me.

The Lost Boys was produced by Richard Donner.  The original script was about “a bunch of Goonies-type 5th-6th grade kid vampires”.  The screenwriter,  James Jeremias, came up with the idea that Peter Pan – a character who flies, visits children at night and never ages – could be a vampire.  Originally, the script included more obvious references to Peter Pan.  The brothers were named Michael and John, their mother was named Wendy and Sutherland’s character was named Peter.

Donner, who directed The Goonies, originally intended to direct The Lost Boys himself.  But when he committed to make Lethal Weapon, he hired Schumacher to direct instead.  Schumacher hated the script and only agreed to direct if he could age the main characters to teenagers.

The end result was a very hip, stylish vampire movie. Patric thinks that it would be and even bigger hit if it was released today:

The truth is, if it came out today, it would have made half a billion dollars. It would be Twilight.

The mix of horror and comedy was a hit with critics and audiences.  Schumacher tried for years to make a sequel, Lost Girls.  Eventually, two direct-to-video sequels were made.

Patric - The Beast

Jason Patric – The Beast – 1988

In 1988, Patric starred in the war movie, The Beast.

Patric played a Russian tank driver during the Soviet invasion of Afghanistan.  His tank gets separated from the rest of the unit after an assault on a village.  They find themselves lost and beseiged by a band of Mujahadeen guerrillas.

The film was originally titled The Beast of War.  After a regime change at Columbia Pictures, the studio was no longer interested in promoting the movie.  The new studio head dumped The Beast in a limited number of theaters with little to no advertising.

The movie was largely ignored by critics and audiences alike.  But eventually, it gained a small cult audience when it was released on video.

Next: After Dark My Sweet and Frankenstein Unbound

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Posted on May 27, 2013, in Movies, What the Hell Happened?, WTHH Actor and tagged , , , , , , , . Bookmark the permalink. 177 Comments.

  1. Career Assessment: The Lost Boys:
    http://spectrumculture.com/2010/03/careeer-assessment-the-lost-boys.html/

    Character: Patric’s Michael Emerson and his family have just moved to the seemingly sleepy California town of Santa Clara. Like a lot of new kids, he gets caught up with the wrong crowd, a bunch of leather wearing, creepy goths who turn out to be vampires. He’s drawn to the girl (Jami Gertz) and undergoes some initiation rites, including maggot eating and blood drinking, before he’s turned into a vampire. Emerson is brooding and sullen, with awesome ’80s rock star hair, and he doesn’t want to be a vampire. He eventually kills bad boy vampire Kiefer Sutherland with a pair of antlers.

    Before: An Afterschool Special-esque made for TV movie called Toughlove, which is about drug addiction. The tagline: “Being tough on your kid may be the most loving thing you can do.” There was also 1986′s Solarbabies, which sounds like some kind of an inane, adolescent Mad Max. It’s about a band of teenagers in a post-apocalyptic, water-starved world who play some kind of hockey game on roller skates and fight evil guys. Notable for also featuring Patric’s Lost Boy’s co-star Jami Gertz.

    After: Patric went on to become a semi-respectable actor with a penchant for darker, grittier material. He was in the neo-noir After Dark, My Sweet, based on a Jim Thompson novel, played a strung out undercover cop in Rush, co-starred with Brad Pitt in Sleepers and did a couple of westerns, The Alamo and Geronimo: An American Legend. He also turned down the lead in The Firm (whoops) and dated Julia Roberts, shortly after she broke off her engagement to Lost Boys co-star Sutherland. In 1993, “Entertainment Weekly” ran a cover story with the question “Why isn’t Jason Patric a Star Yet?”

    Career High: His monologue in Neil Labute’s acrid, ugly Your Friends and Neighbors, in which Patric plays a womanizing asshole alpha male. In a twist on the usual locker room talks, Patric and his bros are exchanging their best sex moments and Patric’s is about a guy. As his shocked friends listen, he calmly relates the story and waxes rhapsodic about anal penetration. He won best actor for this role at the Las Vegas Film Critics Society Awards.

    Career Low: Does replacing Keanu Reeves for Speed 2: Cruise Control count as a low or as a brilliant move?

    Where Are They Now? The ’00s have not been kind to Patric. He played Jim Bowie in The Alamo, another undercover cop in Narc and appeared as himself on an episode of “Entourage.” At least people have heard of those, which is more than can be said about some of his recent work, such as the perhaps prophetically titled Expired and The Losers.

    Grade: C+

    http://www.celebitchy.com/147089/jason_patric_bashes_lady_gaga_ashley_judd/

    On how he supposedly decided against being a big star

    I chose not to become a movie star for movie star’s sake at a time when there weren’t a lot of movie stars and that opportunity was presented to me. After the success of something like Lost Boys with Kiefer, I didn’t choose to keep making those movies. I mean, I made Rush when I was 24 years old. Shocks me when I look back it. I mean, 24 … kids are still in high school these days. Before I did Narc, I hadn’t worked in three years. I just didn’t find things I wanted to do. I had just produced Your Friends and Neighbors, which was exhausting and good, and I didn’t find anything worth working on for three years. That’s suicide in this business because you have to remain in the forefront of people’s minds and certainly onscreen, but I didn’t care about that. Early, the movies I was interested in, people’s work is what propelled their career. That has changed vastly, immeasurably. It started to change when I started and now it absolutely makes no sense of difference whatsoever. Doesn’t matter if you have talent. Doesn’t matter what you’ve done before and, frankly, the people with a lot of talent don’t give a shit if they make crappy movies for money because it’s actually more respected than their better movies.

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  2. This is very interesting. Lebeau is right on the money as usual. I had that exact reaction, who is he again? I forgot all about the Roberts wedding drama and have not seen hardly any of the movies Patric was in. It’s even more interesting that he was tapped for the role of the young lawyer in The Firm. When reading the book I remember thinking that the author was probably working on a screenplay at the same time (have no idea, of course, it just felt that way) and had Tom Cruise in mind for the lead. Rising star Cruise was good in the role but from what can be seen in the clips above, Jason Patric could have nailed it as well. Plus the actress cast as Cruise’s wife, Jeannie someone, might have had better chemistry with Patric. I don’t understand why he turned that one down. The Firm was not a crap movie, it was actually very good.

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    • I don’t think Patric was interested in being a Hollywood leading man at that point (The Firm). He flirted with the idea later on when his indie career wasn’t going according to plan. But even with Speed 2, his heart wasn’t in it. He just collected a big paycheck to fund his next project.

      I think there’s some wasted potential there. But Patric seems pretty happy with how things turned out. In a lot of ways, he was kind of the male Jennifer Jason Leigh although I think her indie career has been more successful than his. I also think it is somewhat interesting that a guy who is notoriously private is probably best known for his personal life.

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      • Craig Hansen

        As I was getting ready to comment on Jason Patric, I was thinking he is the male counterpart or version of Jennifer Jason Leigh and ready to post it….. but you beat me to it Lebeau. Odd that I was thinking that though and then see you said it first.

        Sleepers is an excellent film with a great cast, I highly recommend it to anyone who hasn’t seen it. Speed 2 is his obvious one shot at being a movie star, who knows maybe if the film had actually been a really entertaining film and taken off like the original Speed, it’s just possible we’d be looking at a different career trajectory for him. As it is, Speed 2 was a big-budget bomb and probably soured him forever on working on typical big-budget films (and it probably prevented him from getting more offers of that type from studios, I’m sure it goes both ways).

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        • Great minds 😉

          Around the time of Rush, Leigh and Patric definitely seemed to be on the same career trajectory. She had a bit more luck with her mainstream attempts and a bit more acclaim for her indies. But the similarities are inescapable.

          Had Speed 2 not been a cautionary tale, I doubt it would have changed Patric’s career all that much. He made the movie to fund the movie he really wanted to make. I’m guessing he would have done that more often. So maybe he would have made a few more mainstream movies to fund his own projects. And maybe he would have been in the running for a few more interesting indies.

          Mostly, I think Patric had the career he wanted. He doesn’t seem to have many regrets career-wise.

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        • You can also make the argument that Jason Patric kind of falls in line w/ a young Mickey Rourke in the sense that because of their good looks and acting chops, they should understandably be a much bigger star. But never really seemed to be into a whole lot of commercial/mainstream work:
          http://whatculture.com/film/10-awesome-actors-who-fell-hard-from-the-spotlight.php/9

          If you wanted a crash course in how to throw away a career, look no further than Mickey Rourke. Here was a guy that was critically acclaimed, loved by the studios, loved by directors, and loved by fans (mainly female). The guy had it all – looks, acting chops and cool. He was commanding million dollar pay days despite his films not making that much money at the box office.

          Roles in seminal classics like Body Heat, Diner and Rumblefish helped propel him into the spotlight – and the spotlight couldn’t get enough, culminating in him starring in Nine 1/2 Weeks with the sultry desire of my teenage years, Kim Basinger.

          Unfortunately, Rourke (like Kilmer) was never really into the commercial and turned down high profile roles in 48 Hours, Top Gun, Platoon, Beverley Hills Cop, Rain Man, The Silence of the Lambs and Pulp Fiction in favour of projects he was passionate about. Angel Heart was a supernatural noir – hence it tanked – and No Prayer for the Dying tackled even less appealing fare: an IRA terrorist tormented by blowing up a busload of school children. And if that wasn’t enough, he then featured in Barfly – a morose tale of sitting in a bar, drinking copious amounts of whiskey as he refuses to fit into what society expects of people.

          Then came the strangest turn of anyone’s career in this article – he quit acting (tortured artist that he was) and became a professional boxer. But then, in a resurrection of biblical proportions, he storms back with a film-stealing turn in the fan favourite Sin City. The critically acclaimed The Wrestler cemented his resurgence and he’s since starred in the blockbuster Iron Man 2 and The Expendables.

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        • The 25 Worst Summer Movie Blockbusters of All Time:
          http://www.complex.com/pop-culture/2012/05/the-25-worst-summer-movie-blockbusters-of-all-time/speed-2-cruise-control

          9. Speed 2: Cruise Control
          Release date: June 13, 1997
          Director: Jan de Bont
          Stars: Sandra Bullock, Jason Patric, Willem Dafoe, Temuera Morrison, Glenn Plummer

          Keanu Reeves has made some poor decisions throughout his career, but one right choice that deserves the utmost respect was his refusal to cash an easy paycheck and star in Speed 2: Cruise Control, the sequel to his 1994 runaway action hit. Our guess: He read the script.

          Without his original leading man, returning director Jan de Bont cast Jason Patric, who’s somehow blander than Reeves, to join Sandra Bullock in a paint-by-numbers snoozer that replaces Speed’s unstoppable bus with an ocean liner, and Dennis Hopper’s wicked villain with a shamed Willem Dafoe’s hackneyed rabble-rouser.

          The 50 Worst Movie Sequels of All Time:
          http://www.complex.com/pop-culture/2013/05/worst-movie-sequels-ever/speed-2-cruise-control

          1. Speed 2: Cruise Control (1997)
          Director: Jan de Bont
          Stars: Sandra Bullock, Jason Patric, Willem Dafoe, Colleen Camp, Tamia

          For all of the flack Keanu Reeves receives about his vapid acting, we’ve got to give the man some credit: He was smart enough to forego Speed 2: Cruise Control, the horrendous sequel to 1994’s action sensation Speed, one of the actor’s best movies. One could imagine that Reeves read the idea-less script and said, “Didn’t I make this exact movie three years ago?” Preceded by a “Whoa,” of course.

          Sandra Bullock wasn’t as wise as your boy Keanu, though, voluntarily associating herself with not only one of the worst sequels ever made, but one of the worst “event” movies ever conceived. Instead of a speeding bus, Speed 2: Cruise Control features an out-of-control ocean liner, but that’s where the switch-ups end. As returning director Jan de Bont calls the shots, Bullock reprises her original character, and she’s paired with a wooden and woefully miscast leading man a la Reeves (this time it’s Jason Patric), while Willem Dafoe does his worst impersonation of Dennis Hopper’s terrorist/villain from the ’94 flick.

          The whole thing leads up to an elaborate finale in which more innocent shipboard passengers die than get saved, though, naturally, Patric and Bullock emerge from the wreckage with pulses intact. The nameless corpses are the lucky ones.

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        • 10 Dumb Movie Sequels That Had Nothing To Do With The Originals:
          http://whatculture.com/film/10-dumb-movie-sequels-that-had-nothing-to-do-with-the-originals.php/3

          9. Speed 2: Cruise Control (1997)

          It’s A Sequel To… Speed (1994)

          I guess in the sense that it’s about a “vehicle that might explode” there’s a loose link between Speed and its sequel, Speed 2: Cruise Control, but there’s such a thin layer of comparison to be had here that these movies don’t deserve to be tied together. Fact is, Speed 2 is about a cruise ship programmed to crash into an oil tanker. A cruise ship. Is “speed” the first thing that comes to mind when you think of a cruise ship? Probably not.

          Keanu Reeves didn’t sign on for this one, presumably because he has a brain somewhere in that head of his, but Sanda Bullock decided to reprise her role, ’cause Sandra Bullock. So she’s in this, which I suppose justified the fact that they could bill it as a continuation of the original. Somebody called Jason Patric fills in for Keanu Reeves this time around, which – despite sounding like it – is not a good thing at all.

          Mostly bizarrely, though, the idea for Speed 2 apparently came to director Jan de Bont (that’s a real name, I swear) in a series of reoccurring dreams he had about a ship crashing into an island. Almost as if he was destined to make this picture, huh? I’ve had dreams about things crashing into things, where’s my $110 million to make a movie out of it?

          10 Most Disappointing Sequels Ever:
          http://whatculture.com/film/10-most-disappointing-sequels-ever.php/3

          9. Speed 2: Cruise Control

          With Speed proving to be one of the best action films of the 90′s (as I am writing this I have just realised Speed is 20 years old next year and it has made me feel ancient.) with its combination of Keanu Reeves on board a speeding object, the sequel tried to improve on the original by trading up from a bus to a cruise liner but unfortunately it had to trade down from Keanu Reeves to Jason Patric. The studio obviously thought retaining Sandra Bullock and that bloke who gets his car stolen would be enough to recreate the quality of the original, but they were very much mistaken.

          Without wanting to mince words, Speed 2 is crap. Rubbish acting, sub-par action and full of so many unintentionally hilarious moment’s that had this been a Hot Shots film we would celebrate it’s comic genius, it is just not a patch on the brilliant original. For all the stick Keanu Reeves gets for his wooden acting style, he does make some solid career choices and avoiding this mess was definitely amongst his best.

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        • Bad Sequels: Speed 2: Cruise Control (1997):
          http://bmoviedectective.wix.com/b-movie-detective/apps/blog/bad-sequels-speed-2-cruise-control-1997

          Bad Sequels: Speed 2: Cruise Control (1997)

          The basic plot: Befuddled civilian Annie Porter (Sandra Bullock) is back after her near fatal bus ride and is now dating SWAT Officer Alex Shaw (Jason Patric) since breaking up with SWAT member Jack (the non-returning Keanu Reeves). Annie and Alex embark upon a cruise vacation, only to have the ship hijacked by the megalomaniacal villain Geiger (Willem Dafoe), who has placed explosives throughout the ship.

          Det. Abilene’s rating: ZERO (out of 5)

          Analysis: The original Speed will never win any awards for great depth or originality, but it was a well-done and suspenseful action-thriller that ’95 audiences loved. As a result, the $30 million budgeted film became a $350 million-grossing smash at the box office! Speed may have been little more than “Die Hard on a bus” (Under Siege and Passenger 57 were similar Die Hard knock-offs that were released within a few years of each other), but director Jan de Bont and screenwriter Graham Yost kept things simple, direct, and reasonably realistic in aura. The script focused on several near-universal fears (being trapped on an elevator, a speeding bus, and an out-of-control subway car) and smoothed over any plot holes and implausibility with it’s lean, stylistic approach.

          Considering the success of the original film (and the fact that studios are always looking for profitable franchises), it is not surprising that Fox green-lit a sequel almost immediately. Keanu Reeves and Sandra Bullock had become A-list stars thanks to the first film, but Keanu shocked the entertainment press at the time by refusing to reprise his role for Speed 2. Panicked by the non-returning Reeves, Fox coughed up a cool $12 million paycheck to ensure Bullock’s return. Returning director Jan de Bont announced that the sequel would take place on a cruise ship, based on a recurring dream that he once had, and hired the then-novice screenwriter Jeff Nathanson (coming off his 1995 independent debut For Better or Worse) with the bulk of the screenplay chores.

          Unfortunately, the resulting film is beyond terrible, a movie that is as boring as it is preposterous. While the original film was lively reprise of Die Hard, Speed 2 plays like the worst elements of the subpar Irwin Allen-like disaster knock-offs in the last half of the late-seventies crossed the empty pageantry of a below-average episode of “The Love Boat.” That description may make the film sound like campy fun, but it’s much too plodding and lifeless to even provide many unintentional laughs. Insanely gonzo scenes come and go (Annie chain-sawing down a cabin door, Geiger getting his plane stuck on the mast of oil tanker, and the overblown finale all immediately come to mind) but this glacially slow, poorly-paced turkey is so characterless and detached that such ludicrous moments don’t even provide the expected unintended giggles.

          I’m glad that Sandra Bullock received a big payday for this, as her plucky Annie has been neutered (or is that spayed???) to a whiny damsel in distress who delivers virtually every line in a nasally-voiced manner. The talented Willem Dafoe fares even worse with woefully self-conscious hysterics that would be better suited to an inbred caricature in a Farley Brothers-type outing – although Dafoe would later be more successful in villainy with 2002’s Spider-man. Alex is a completely bland role which leaves the usually solid Jason Patric with no real character to play. However, hunky Patric is sexy as hell and looks great shirtless, so I easily prefer him in this film to either Bullock or Dafoe.

          Shockingly, Speed 2 was actually a reasonable box office success, recouping it’s hefty $110 million budget with $165 million in world-wide box office grosses. My guess would be that the popularity of the original film and enduring star power of Sandra Bullock (I guess she was worth that $12 million after all) managed to sell enough tickets to break even before the bad word of mouth led to film’s short shelf life. Believe it or not, highly respected film critics Siskel and Ebert both actually enjoyed this putrid non-film! This would have made me permanently lose faith in legitimate film criticism if virtually every other film critic in the world had not also justifiably hated the movie.

          Bottom Line: Even worse than it’s reputation, the joyless, lifeless and tensionless Speed 2 is easily one of the worst Hollywood films ever made!

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        • The Top Ten WORST Sequels of All Time:
          http://haphazard-stuff.blogspot.com/2013/07/the-top-ten-worst-sequels-of-all-time.html

          Go to the 20:43 mark to here about “Speed 2”. Jason Patric’s performance is singled out as being absolutely lacking in charisma and joyless.

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        • 15 of the most unnecessary sequels ever made:
          http://www.hitfix.com/galleries/overlay/15-of-the-most-unnecessary-sequels-ever-made/10#

          ‘Speed 2: Cruise Control’ (1997)

          Sequel to: “Speed” (1994)

          Did it kill the franchise: It appears so.

          Why it was so unnecessary: In theory it wasn’t. The first “Speed” was a word of mouth surprise hit that turned Keanu Reeves into a legitimate leading man and Sandra Bullock into a leading lady. One of Reeves’ bizarre career turns though (and perhaps a smart one) was to get out of starring in the sequel. Instead, director Jan DeBont brought the lifeless Jason Patric into the mix. And, of course, the indie actor turned out to have zero chemistry with Bullock (which is really hard to do). Inexplicably, 20th Century Fox greenlit a $160 million plus budget (rumors were it was closer to $200 million) for a storyline set on a runaway cruise liner…set for release the same summer the studio had another ship disaster movie in the fold, “Titanic.”*

          *Paramount actually released “Titanic” in the United States, but 20th Century Fox produced the movie and released it worldwide. Until Cameron’s editing needs forced an end of year release the two ship disaster flicks were on Fox’s international release schedule back to back. Eke.

          In hindsight, it didn’t matter. The marketing was terrible. The title was terrible (“Cruise Control” with no car in the story, huh?). The movie was terrible. The box office was terrible. Luckily for Fox (and the rest of us), the extraordinary ticket sales and critical response to “Titanic” made everyone forget “Speed 2” even existed…until it popped up on HBO the following summer.

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        • 15 Laziest Movie Sequels Of All Time:
          http://whatculture.com/film/15-laziest-movie-sequels-time.php/11

          1. Speed 2: Cruise Control (1997)

          20 years on, Speed remains one of the greatest action movies ever made. Brilliantly high-concept, the movie became one of the biggest hits of the year and earned over $350m against a $30m budget. Of course, that made a sequel a foregone conclusion. Taking the basic premise of the original and moving it onto a boat must have seemed like a good idea at the time, but almost everything about Speed 2 screams of a studio cash-in.

          The first warning sign came when Keanu Reeves opted not to return, and was instead replaced by the incredibly bland Jason Patric. The lo-fi ingenuity of the original was replaced by a budget north of $100m, almost half of which was spent solely on the salaries of director Jan de Bont, star Sandra Bullock and the climactic set-piece. Then there was the inherent problem of having a movie with ‘speed’ in the title take place on a slow-moving cruise ship that was traveling at the terrifying speed of… 33 kilometers per hour.

          The basic idea for the movie was reportedly inspired by a nightmare that the director had, which was ironically how people felt after watching this turgid sequel. Speed 2 harks back to the superior original via a couple of cameos and in-jokes, which just points out how badly the movie pales in comparison.

          It’s a project that bears all of the hallmarks of a lazy sequel in that it believes that reusing the same premise in a different location with a bigger budget will yield similar results. Well, it didn’t.

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        • 10 Perfect Movie Endings That Sequels Ruined:
          http://whatculture.com/film/10-perfect-movie-endings-that-sequels-ruined.php/6

          Speed 2 Immediately Destroys The Romantic Payoff From The First Film

          The first Speed, starring Keanu Reeves and Sandra Bullock, was a phenomenal hit when it was released in 1994. It was like a guidebook on how to perfectly execute an exciting film built around one simple hook. After a couple of hours of breathless action, the film timed its wind down moment just right so that the audience could see a payoff to the romantic chemistry that had been bubbling under the surface between Reeves and Bullock throughout. It was an appropriately silly ending for a film as bombastic as Speed.

          In the second film though, this relationship is brushed off within minutes through throwaway dialogue by Sandra Bullock’s character as she is getting a driving lesson. There is no real explanation, and the audience is just expected to suddenly care about some guy they haven’t even seen before. Who, to make matters worse, is completely charmless.

          Even if audiences could ignore everything else that is wrong with Speed 2, there would have at least been some sort of enjoyment if the romance everyone invested in the first time round was there. Removing that element so cheaply and lazily meant the whole platform of the film was doomed.

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        • Stars with careers that have unfairly gone down the toilet:
          http://www.worldofkj.com/forum/viewtopic.php?f=2&t=9025

          #20 – Jason Patric. The guys a very underrated actor. Other than The Alamo hes mostly in low budget stuff like Narc in which he was excellent. I think he tried to make a bit of a reach with Speed 2 which hurt his potential. Now hes relegated to small pictures.

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  3. “Speed 2: Cruise Control” should’ve been retitled “Speed 2: Dead Stop” since it was certainly that for Patric’s career (although Bullock’s career survived it seems).

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    • It derailed De Bonts career more than any body. He was a hot director after the first Speed and Twisted. Stupid Kindle making me misspell things. The auto correct on this thing sucks. Anyway, Patrick could have bounced back from Speed 2 if he had wanted to. But he did not even try.

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      • I’m very convinced that Jan de Bont is a particularly lousy director (at least from the standpoint of controlling the production) when given a huge budget. Apparently as highlighted in the WTHHT article on Helen Hunt, “Twister” was a very troubled production too:
        https://lebeauleblog.com/2012/09/08/what-the-hell-happened-to-helen-hunt/

        In 1996, Hunt starred opposite Bill Paxton in Jan de Bont’s disaster movie, Twister, about a group of “storm chasers” tracking a tornado.

        Twister was an infamously troubled production. It was de Bont’s first film as a director after having a hit with Speed. And apparently, that hit went to his head. At one point during production, the camera crew left claiming that the director was out of control. A new camera crew needed to be hired.

        There were several injuries on the set of Twister. Hunt seemed to get the worst of it. At one point, she and Paxton had their retinas burned by special lighting. They were both temporarily blinded. Later, both stars were required to get hepatitis shots after filming a scene in a contaminated ditch. Hunt was repeatedly hit in the head and possibly suffered a concussion. De Bont attributed these injuries to Hunt’s “clumsiness”.

        Twister went over-schedule and over-budget. Paul Reiser actually delayed shooting of Mad About You by two weeks to accommodate Hunt’s movie schedule. All the hard work and suffering paid off. Twister was a massive hit at the box office despite mixed reviews.

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        • The Sandra Bullock Files: Speed 2 Cruise Control (1997):
          http://suite101.com/article/the-sandra-bullock-files-speed-2-cruise-control-1997-a393348

          Speed 2 is a very bad film. Certainly one of the five worst films of Sandra Bullock’s long, mixed road of a career. Is the 1997 action flop as bad, though, as many of the blockbuster duds that have been wading in and out of multiplexes these last few years? Not so much. There’s a certain charm to many of those overdone summer action films of the late 1990’s, a sense of fun that seems to have been erased from at least fifty percent of the bores that we see in the theatres week in and week out. Speed 2: Cruise Control is a major disappointment mainly because it should have been so much better. And it’s not.

          The Original Speed was Such a Huge Success That a Sequel Was Inevitable

          In the summer of 1994 the biggest surprise sensation was Jan de Bont’s Speed, a rousing, kinetic action yarn that was pushed up from late August to early June to become one of the biggest hits of the year. It made a star out of Sandra, gave Keanu Reeves a jump-start to his leading man career, and allowed cinematographer-turned-director Jan de Bont to become one of the most sought-after filmmakers of his time. The three years that followed were very kind to Sandra, with three more big hits (While You Were Sleeping, The Net, and A Time to Kill)—by the time Speed 2 was released, Sandra Bullock was a mega-star, a household name, and one of a select few Hollywood actresses who could open a movie based on her name alone.

          But then everything came crashing down. If the previous winter’s In Love and War was a disappointing misfire for Sandra, Speed 2: Cruise Control should go down as one of her most fatal career mistakes. While she bounced back immediately the following year with the underrated Hope Floats, the majorly promoted Speed 2 became so bashed and so maligned that by the end of 1997, there might have been some doubt as to what Sandra would do next. After A Time to Kill opened so big, Sandra was on the top of the world, and the following year should’ve been her time to put out a project of great commercial and dramatic success. Instead she gave us Speed 2. Without Keanu. Without a script. Without much… Speed.

          Speed 2 Fails at Almost Every Aspect that Speed Handled So Well

          Sandra Bullock told Pete Hammond at the Santa Barbara International Film Festival in February 2010 that she signed on for the project, traveled to the Bahamas, started shooting the movie, and kept asking the director, the producers, “Where’s a script? Can I see a script?” And apparently she never saw one, or at least, a full one. Speed 2 does feel rushed and slapped together, like there was never much of a screenplay but more like an outline. It’s easy to imagine de Bont (who has a story credit) asking, “What if we opened on an ice cream truck chase?” Let’s be honest—the opening fifteen minutes or so of the movie is its worst, with an action scene that is awkwardly shot and poorly constructed. Worst of all, Sandra’s character Annie, who never really feels like the same character from the first movie, is introduced as not just a bad driver, but the world’s worst driver. Her cluelessness is played for laughs, but it all feels forced.

          It’s disheartening to think of what could have been, with a script, with a different local, with Keanu back. It was probably impossible to make a sequel as exciting as the first film, but Speed 2 doesn’t even feel like a continuation. Sandra’s Annie looks and acts different; Keanu is replaced by Jason Patric, a great actor in other productions but who is all wrong for this movie and mostly just gives blank looks throughout the movie; the flick is PG-13, not R; and so much of the movie is goofy, versus the more serious nature of the first film. Another detriment is that we don’t care about any of the characters on board the Seabourn Legend, while in the original Speed we came to know and love many of the passengers on that doomed bus. There’s one action scene after another in Speed 2, but nothing ever gels, nothing’s ever exciting. Sandra gives maybe her most annoying performance in this film (well, next to her Razzie-winning acting in All About Steve), Jason Patric is a bore, Willem Dafoe does what he can with a one-dimensional villain role. Almost nothing works.

          Even Sandra Bullock Herself has Called Speed 2 a Big Piece of Crap

          Having said that, Speed 2: Cruise Control isn’t a complete waste of time. While many of the action scenes ring false, the cruise ship crashing into the oceanfront town still looks awesome. While there’s probably three too many dumb jokes spread throughout this sequence, it still after eleven years, looks very real. There are some funny lines throughout the movie, and Sandra, while annoying in spots, does have some cute moments, like when she’s wielding a chainsaw around, and when she has to remove a grenade from a door. Glenn Plummer returns as Tuneman from the original Speed for the final boat chase, this time as the owner of a 150,000 dollar boat, and he gets some funny lines. Most of all, Mark Mancina’s score, so memorable in the original, is given a Jamaican twist in this sequel, and despite the film’s shortcomings, his score is top-notch.

          Speed 2 opened on June 13, 1997, to dismal box office and even more dismal reviews (although the film still ended up making nearly 150 million worldwide, and received two thumbs up by Gene Siskel and Roger Ebert). The film often pops up on worst-sequels-of-all-time lists and Sandra herself has called the movie “the biggest piece of crap ever made.” Jason Patric went on to have an underwhelming career, and Jan de Bont pretty much disappeared from movie-making. Sandra was able to salvage her career—obviously, since she had her best year ever in 2009 and is considered one of the biggest movie stars in the world. But no matter how many Oscars she wins, no matter how many more movies she’ll be able to make, Speed 2 will haunt Sandra Bullock forever. As George Lopez said to Sandra at the 2010 People’s Choice Awards, “You thought she couldn’t top her work in Speed 2!” The movie’s there. She, and we, can’t deny it. And while we can do our best to avoid it, it will always be there, that ugly little wart on a beautiful woman’s back, a disappointing sequel to a marvelous action epic, what is universally considered Sandra’s worst movie (although she made an even worse sequel eight years later with Miss Congeniality 2: Armed and Fabulous).

          Thankfully Sandra’s Career Would Never Dip This Low Ever Again

          Probably the best thing that came out of Speed 2: Cruise Control was Sandra’s desire after the fact to do better work. Despite much of the mediocrity that came out of her career over the next few years, at least she picked smaller, more intimate projects, and would finally with Crash and some later roles (to this day) find the kind of work she was meant to do (i.e. this Christmas’s Extremely Loud and Incredibly Close). While it’s disappointing that Sandra has refused to do another action movie since Speed 2 (although her upcoming Gravity might have some action in it, we will wait and see), it’s encouraging to note that eventually, her work did get better. And it was worth the wait.

          BEST SCENE: The cruise ship crashes into the harbor.
          BEST LINE: “Who’s ready to par-tay on the big boat besides me?”

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        • Craig Hansen

          Jan De Bont seems a lot like Michael Bay to me. De Bont and Bay can do big budget spectacle, but that seems like all they can do. At least with De Bont, I did find Speed and Twister to be big, dumb, but fun action flicks. I agree with Lebeau, with two blockbusters in a row in the mid-90’s De Bont was on his way to becoming a big name director to some extent, and Speed 2 probably did hurt his career more than anybody else.

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        • There is a reason De Bont took the fall for Speed 2. It revealed him for what he was.

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        • Also, “Speed” when you really think of it, wasn’t exactly a film that was ready made to be turned into an on-going franchise. What I mean is, the premise is way too unique and/or gimmicky that if there were to be a sequel, you really have to suspend your disbelief to an extreme degree. I think one fundamental mistake that Jan De Bont made when approaching the sequel, is thinking that we needed another means of transportation (from a bus to a cruise linear) as the focus. De Bont could’ve easily focused on the SWAT squad that Keanu Reeves’ character work for getting into another crisis/terrorist situation (it didn’t necessarily have to be focused on a vehicle).

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        • Speed was part of the “Die Hard on a genre. That genre got so over-used that eventually Die Hard movies stopped being set on a .

          I think it was probably a good idea to keep the formula for the sequel. But the choice of a cruise ship – which is not remotely fast – is mind-boggling misguided.

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        • 10 Major Blockbusters You Knew Were Doomed Before Release:
          http://whatculture.com/film/10-major-blockbusters-knew-doomed-release.php/3

          1. Speed 2: Cruise Control (1997)

          Speed is one of the greatest action movies ever made, a pulsating high-concept adrenaline ride that earned over ten times its $30m production budget. Director Jan de Bont’s next movie was Twister, which would gross almost $500m to become the second highest-grossing movie of 1996. Unfortunately, the contractually-obligated sequel would turn out to be one of the biggest misfires in the history of blockbuster filmmaking.

          The first warning sign came when star Keanu Reeves opted not to return to the franchise, and was instead replaced by the bland Jason Patric. Next came the news that a movie with ‘Speed’ in the title would take place on a cruise ship, not renowned as the fastest mode of transport. Thirdly, the cringeworthy pun was added as a subtitle. Get it? Because they’re on a cruise ship! The sequel was given a hefty $110m budget, of which a whopping $25m was spent solely on the final scene where the ship crashes into the island of Saint Martin.

          It was obvious that Speed 2 wasn’t going to be very good based solely on the trailer, which comes equipped with poor dialogue, steel drum music, a portentous voiceover and constant references to the first movie. Widely regarded as one of the worst sequels ever made, the movie made less than $50m domestically and earned just $164.5m worldwide. Speed 2 would also go on to claim eight Razzie nominations and become acknowledged as terrible on numerous occasions by star Sandra Bullock.

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      • 10 Directors Who Peaked With Their First Movie:
        http://whatculture.com/film/10-directors-who-peaked-with-their-first-movie.php/2

        9. Jan de Bont (Speed)

        Speed is a film so confident in its construction that it’s amazing to believe it came from a first-time director; after all, who would trust such a loony – not to mention expensive – project in the hands of an amateur?

        Nevertheless, Jan de Bont used his skills as a cinematographer to deliver a thrilling, intense, breakneck-paced action classic that is generally regarded as one of the greatest action movies ever made. Hell, it even gets a passable performance out of Keanu Reeves!

        And yet, it appears to have been a bit of a fluke for the director, because while he followed Speed up with the entertaining Twister, everything else – the horrid Speed 2: Cruise Control, The Haunting and an execrable Tomb Raider sequel – were all dead-on-arrival duds. Living up to a film as esteemed as Speed is an undeniable challenge, but it feels like de Bont has never really tried…

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        • 5 Directors Who Are Still Living Off The Good Will Of One Film:
          http://whatculture.com/film/5-directors-who-are-still-living-off-the-good-will-of-one-film.php/2

          4. Jan De Bont
          AKA – “The Man Who Brought You Speed”

          Now, I know what you’re thinking,”He hardly counts, he hasn’t made a new film in over a decade!”

          True, but what you are looking at is an inspiration.

          Not to filmmakers, but to myself as the reason for writing this article. When going through a few older films, I happened across an old DVD copy of The Italian Job remake, which due to it featuring the always watchable Jason Statham, I decided to give a second chance. I had just pressed play when the trailer for Tomb Raider: Cradle of Life came on.

          This is when I was hit with the reminder that the man who made Twister and Speed also made one of the two, awful Tomb Raider films.

          If you look at his back catalog, he has one film to his name that will always be thought of as a classic; Speed.

          You might cry Twister, but I always thought that was always a bit hokey. (Why were they driving a van into a hurricane?)

          From the success of that one film, he made The Haunting (dire), Tomb Raider(boring) and not forgetting the low water mark to which all sequels will be forever held; Speed 2: Cruise Control.

          Thankfully he’s retired for the time being, but I always worry that he’ll pick up the camera for one more shot.

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        • 10 Directors Who Should Never Be Trusted With Giant Budgets:
          http://whatculture.com/film/10-directors-never-trusted-giant-budgets.php/8

          Jan De Bont

          After over 20 years as a cinematographer that had lensed studio hits including Die Hard, The Hunt For Red October, Basic Instinct and Lethal Weapon 3, Jan de Bont stepped behind the camera and made one hell of a directing debut. Made for just $30m, Speed would go on to earn over $350m at the box office and establish itself as one of the greatest action movies ever made. Sadly, from here there was nowhere to go but downhill for the Dutch film-maker, with his last three movies earning a combined 16 Razzie nominations.

          A hot property after the success of Speed, de Bont’s next effort was the similarly high-concept $92m blockbuster Twister. As pure spectacle it is a serviceable piece of hollow, effects-laden entertainment that would go on to become the second biggest movie of 1996 with almost $500m in box office takings, seemingly turning de Bont into the go-to guy for studio tentpoles. And then came Speed 2, which earned less than $165m on a $110m budget, and earned its reputation as one of the worst sequels ever made; poorly written, badly acted and thoroughly tedious.

          Deciding to switch genres, de Bont next directed the $80m remake of The Haunting and managed to waste a massively talented cast in a laughably cliched ‘horror’ full of admittedly-impressive effects but thin characters and awful dialogue. Despite these two notorious misfires, de Bont was then hired to helm the $95m video game sequel Tomb Raider: The Cradle Of Life. Poor reviews would see the movie gross almost $120m less than its predecessor, and 11 years on de Bont is yet to release another feature. For a man that saw the total cost of his post-Speed output reach $377m in studio funds, the end results weren’t great.

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    • WE CAN FIX IT: ‘Speed 2: Cruise Control’:
      http://www.craveonline.com/film/articles/171355-we-can-fix-it-speed-2-cruise-control

      2. MAKE KEANU’S REPLACEMENT LESS LIKE KEANU

      Keanu Reeves did not return for Speed 2, but his character did. They just changed the name. Literally, if you cut out a few lines of dialogue in the first act about how Sandra Bullock broke up with Keanu and how she met his replacement, Jason Patric, you could have dropped Keanu back into the movie and nobody would have batted an eye. Sure, his dialogue wasn’t as clever, but Joss Whedon wasn’t around to polish the screenplay like he did the first one. It’s hard for an actor to step out of somebody’s shadow if the filmmakers tell you that the shady spot is your mark.

      Jason Patric replaced Keanu Reeves for Speed 2, and despite Stewie Griffin’s disdain (“Jason Patric. Ewwww…!”) he’s not a bad actor. He had just come off of a successful turn in Barry Levinson’s Sleepers. He can handle a different role than Keanu’s. What’s weird is that the film gives him one, but pulls it out from under him.

      Sandra Bullock is happy at the start of Speed 2 because her current boyfriend isn’t the adrenaline junkie that Keanu Reeves was. Jason Patric is introduced as a beach cop, prone to catching minor bad guys like purse-snatchers and litterbugs. The “gag,” as it were, is that he’s been lying to her this whole time and is exactly like Keanu Reeves after all. But if he wasn’t like Keanu Reeves, and wasn’t prone to acts of daring heroism all the time, both the character and the movie would have taken on a different personality. A reluctant hero would have been a change of pace, albeit a lot more like Die Hard. But by making Patric into a slightly dorkier police officer, one who actually requested beach patrol, the contrast would have been humorous and his eventual daring-do would have been more exciting, since the odds would have been against him succeeding. He could have a military history if necessary, providing him with an excuse to know how to handle explosives and the like.

      We settled on this take on the character because it’s already in the film, but really anyone who didn’t have the exact same background as the first film’s protagonist would have been an improvement. If you have to change actors, let them make the film their own. The James Bond franchise did this with spectacular success, and Sean Connery, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig were all playing the same guy.

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      • 10 Films You Didn’t Know Were On Joss Whedon’s CV:
        http://whatculture.com/film/10-films-you-didnt-know-were-on-joss-whedons-cv.php/4

        8. Speed (1994)

        As a script doctor in Hollywood, it was often Whedon’s job to look at the screenplays that someone else had written, and make them better without getting credited for it. Speed is the first of those scripts that was made into a film with a good chance that you’ve actually heard of it. Although his work wasn’t credited by 20th Century Fox on the final product, it has to be noted that that the writer who was, Graham Yost, freely admitted that ”Whedon wrote 98.9 percent of the dialogue”. Perhaps being uncredited isn’t all bad however, as the film led to Yost later being referred to in Hollywood as the “Bus Guy”.

        Although it isn’t known as a film he was involved with, Speed is one that everyone remembers fondly. Back in 2001 Whedon himself stated that it was “one of the few movies I’ve made that I actually like”, but if you want praise from a more objective writer/director though, then that comes from Quentin Tarantino. The noted cinephile placed it on his list of top 20 favorite films, which, containing entries from all over the globe, makes Speed’s appearance even more illustrious.

        In a world where imitation is the sincerest form of flattery however, perhaps the greatest testament to the film’s legacy is one particularly classic episode of Father Ted, Speed 3.

        Whedon hallmark: “Oh Darn” – It has also been acknowledged that Whedon greatly overhauled Alan Ruck’s character of Stephens, who at one point relays messages between Keanu Reeves’ Jack Traven and Jeff Daniels’ Harry. His decision to tone down Jack’s passionate expletive upon finding the 50mph bomb is a great example of Whedon’s comic understatement in the face of adversity.

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    • 8 Actors Who Turned Down Crazy Money To Appear In Movie Sequels:
      http://whatculture.com/film/8-actors-who-turned-down-crazy-money-to-appear-in-movie-sequels8-actors-who-turned-down-crazy-money-to-appear-in-sequel-movies.php/6

      Keanu Reeves Turned Down $11 Million To Star In Speed 2

      Whilst Speed is often thought to be one of the greatest action movies of the ’90s, Speed 2 is regarded as one of the worst movies ever committed to celluloid.

      Thank God, then, that Keanu Reeves had the foresight to bail out before he became entangled in its awfulness (unfortunately Sandra Bullock didn’t turn down the movie; it’s one of her worst career mistakes, and she has made quite a lot of those over the years). “He didn’t want to do two action movies back-to-back,” said Reeves’ agent.

      In the process of denying to reprise his role, however, Reeves passed on a whooping $11 million, the sum of cash that Sandra Bullock ultimately received for her role. Now, $11 million is a lot of money, but have you seen Speed 2: Cruise Control? It’s like they took everything that was good about Speed and just did the opposite of that, casting the terrible Jason Patric as the male lead. $11 million really might not have been enough.

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    • 6 True Stories That Explain Why Famously Bad Movies Sucked:
      http://www.cracked.com/article_23130_6-true-stories-that-explain-why-famously-bad-movies-sucked.html

      #6. Speed 2 Gets Completely Rewritten To Match A Dream The Director Had During Production

      Everybody loves the original Speed. It was like Die Hard, but with public transportation instead of an office building, and Sandra Bullock instead of the dad from Family Matters. Since it made a ton of money at the box office, the studio was quick to rush a sequel in production and strike while the “Keanu Reeves riding exploding vehicles” iron was hot.

      The Moment It All Went Wrong:

      Graham Yost, the guy who wrote the original Speed, had some ideas for a sequel — one involving a plane that had to stay at a low altitude in the Andes, the other involving a boat with “Vietnam-era munitions that would explode if they came into contact with water.” Both ideas maintained the same element of the original movie, in that they both involved vehicles that had to remain in motion because of some highly improbable set of circumstances. But Jan de Bont told him in no uncertain terms that his ideas were no longer welcome, because he (de Bont) had just had a billion-dollar nightmare.

      You see, de Bont had a dream about a runaway cruise ship, and rather than simply investing in some rubber sheets and moving on with his life, he became obsessed with it. The screenwriters were thus forced to write the script for Speed 2 “backward from that image,” meaning everything in the movie had to lead up to an extended sequence of a cruise ship smashing into shore.

      Keanu Reeves didn’t like the cruise ship idea, possibly because it was terrible, so he declined to return. However, de Bont insisted it was because Keanu didn’t want to be a movie star. Because nothing but stratospheric stardom could have resulted from his cruise ship vision — which caused the budget to balloon to 100 million dollars. The five-minute sequence of the ship crashing into shore that de Bont had glimpsed in his dreamworld wound up costing $25 million alone, which was almost as much as it cost to make the original film.

      To be fair, the original production probably saved a lot by paying Dennis Hopper in bull adrenaline and rattlesnake venom.

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  4. I don’t know about rich after the trade he made with his ex. But clearly he is comfortable enough to be selective. His dad was also quite successful. Lord knows Patric never went after money. He worked for next to nothing and spent his one big paycheck funding another gig.

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  5. The CineFiles – TWILIGHT SUCKS! or MODERN VAMPIRE MOVIES:

    Edwin, Jeff and Eric discuss four vampire flicks released during the ’80s and beyond: FRIGHT NIGHT, LOST BOYS, NEAR DARK and STAKE LAND.

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    • How The Lost Boys made vampires sexy way before Buffy or Twilight…
      https://t.co/8MK3hrNYIt

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      • I’ve honestly never heard of “Stake Out”, but I’m a big fan of the other titles named (although I hear that “near Dark” is more of a werewolf/vampire hybrid. Doesn’t matter; they still keep odd hours). Yeah, I always thought “The Lost Boys” was pretty hip, but not in an annoying way (love the Grandpa character, with his out of tune vehicle horn, “old fart” fridge compartment, using windex as aftershave, his TV Guide comment, “going to town” with his vintage vehicle, and his one complaint about Santa Carla).

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  6. I don’t know, Lebeau… These articles deal with former A-listers who, for whatever reason, fell from grace. You’ve made a few questionable choices along the way (Jennifer Jason Leigh?!), but never has this been the case so much as here. Patric started as nothing, went nowhere, and pretty much stayed there.

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    • No argument here. Over the last couple of years, I have broadened the scope of the series. I used to have a separate series for actors who showed A-list potential but never achieved it. I came to realize that those articles would be more popular if I folded them into WTHH. About a year ago, I came to the realization that WTHH was far more popular than anything else I was doing. The Walking Dead articles are popular while the show is on the air, but WTHH is a draw year round. It just made sense for me to give the readers what they wanted. Also, with limited time for blogging, I figured I should spent my time on the articles that were going to have the biggest impact on the hit count. So I refocused on the WTHH series and threw out most of rules for who is eligible for inclusion. I’ll write-up just about anybody these days so long as there is some kind of rise and fall involved.

      With both Patric and Leigh there was a sense that in the 90s they were going to become A-list box office draws. In Patric’s case, this perception was so prevalent, it made the cover of Entertainment Weekly. So both of these articles would have been filed under the old series before I combined them. Am I selling out for hits? Yeah, probably. Am I okay with that? Absolutely.

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      • Don’t worry about “selling out”. Patric is interesting because for a couple years he seemed likely to become A-list; I even remember that Entertainment Weekly issue in the mid-90’s asking why he hadn’t done so yet. That he never did is an interesting topic unto itself, and it winds up that unlike the countless people in this world that would just about sell their souls to become a “Star”, Jason Patric couldn’t have cared less for it. He made some interesting choices that were based on being an actor, and I give him a lot of credit for that. Along the way we got one big-budget stinkaroo that was Speed 2 to chuckle and roll our eyes at. We need an occasional left-field choice like this to keep all this from seeming like the same rise-peak-fall thing over and over again.

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        • It is an interesting career- I just wonder if Patric was being 100% honest in him making a rational choice. Maybe if Speed 2 had been huge he would have stayed on that career path. He might have been an American Richard Burton- some art, some popcorn movies- whatever he felt like.

          As it is- we just have to take his word at face value- especially since his choices were much more artistic than mainstream.

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        • Yeah, you never really know. But Patric’s choices back up the theory that he wasn’t really trying to be a movie star.

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  7. Not that I’ll ever tire of the rise-peak-fall story, mind you. 🙂

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    • The next article is the 50th in the series and I have chosen someone who fits the more traditional rise and fall model. I wanted a real train wreck for the 50th installment, so I have been saving this one for a special occasion.

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  8. Also there’s not always agreement, among critics, among fans, bloggers and even within the industry as to the definition of A list. That’s been discussed here. Lebeau has his own formula and it works.

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    • That’s for sure. Aside from your Tom Cruises and Julia Robertses (the plural of Julia Roberts?) there is always someone trying to argue that an actor is A-list when I say they are not or vice versa. A while back we had the idea of “permanent A-list” which I find to be a contradiction in terms. It’s open to interpretation. Although in Patric’s case, we can probably all agree he never got there. And that seems to have been a conscious choice on his part.

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  9. I guess I’m one of the few that never forgot about him. Not that I spend my days pining over what happened to him mind you. 😉 I have not seen all of these movies you profiled, but I have seen a few: Narc, Geronimo, Rush, Sleepers, Lost Boys of course, heck I even saw Expired on IFC or something. He is a great character actor. Quiet. Kind of brooding. Thoughtful. He’s the kind of actor who may have a bit part, but can wind up stealing the whole show when you’re not looking. Based on your write up it seems like he’s one of those souls in Hollywood who doesn’t want to sacrifice his art for a paycheck. I can respect that, but wish we’d been given more over the course of his career. That last bit about him being fired for not taking direction kind of surprises me. Got to be more to the story than that I would think. That’s basically calling him lazy which doesn’t seem to fit his history. Anyway I’m a fan and A-lister or not I could be drawn to a movie based on his name alone…maybe.

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  10. I really enjoy these discussions regarding these entertainers. I tend to remember my life not by dates, but by movies. Phoebe Cates came along about the time I had my first daughter, and almost named her Phoebe. She is an articulate beautiful woman and Kevin Kline is lucky to have her as a wife. She represents a time in my life that was happy.
    Jason Patric will always be remembered as “scary” when sitting next to my son at the movies. And when Jason Patric and Jennifer Jason Leigh where shooting up in Rush I was holding hands with my wife sharing a bag of popcorn. I could go on and on, but overall I remember these people, these human beings, trying to tell a story, sometimes under difficult circumstances, that trigger a memory of my life; mostly good, but sometimes not so good. But such is life.
    Human beings do things that cannot always be understood by outsiders. I suspect a good many of these actors run out of money sometimes and take roles to pay the bills. Others don’t care what the public wants and tell stories they need to tell. Some are geniuses but mostly they are talented men and women who are good at their jobs just like you and me. But then, I suspect there are some who are there just for the party….
    Jason Patric grew up in the business. Who knows what wisdom he received from his grandfather, or his father about the movie business? I would be willing to bet he knows more about it then a lot of these studio executives. I think he does exactly what he wants to do.
    I also know that you cannot win two Academy awards by being lazy. Hillary Swank has worked her ass off for many years. In my opinion she has always provided my money’s worth at the box office. But when the Gods choose to provide her with the right material at the right time, with the right support, then she shines. And then everybody can shine. But you have to be available, in the right place, at the right time to have the opportunity to participate in that one great project.
    My question is about the stories. I watch some of these movies and wonder who approves the script? I get the sense that a good story is brought to the studios by an earnest writer and then the bean counters and executive hacks begin to over analyze, and then change the plot to maximize profit. By the time they are done with the rewrites the story is ruined. Glitz and glamor cannot make up for a poor story. They convince one of these actors to take the part, by whatever means, and when the movie fails, it is the actor’s fault. Everything is based on how much money the movie makes, not by the story, or the wisdom it imparts to the watchers. I suspect that nice, well intentioned actors get use used up pretty quickly in this business. It is a sad commentary for our society.

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    • You packed a whole lot of good stuff in that comment!

      In general, I am always reluctant to engage in nostalgia. But as we get older, it becomes almost unavoidable. I have been surprised writing these articles how many memories they bring back. As I retrace the steps of a career I used to follow, all kinds of things come back to me. It’s been a big part of the fun of writing this series.

      I definitely agree that for the most part, the actors and actresses in this series are no different than anybody else. They have certain skills and attributes that make them well-suited for a job that may be different from our jobs. But it’s still a job. While I have been known to have fun at the expense of my subjects, I wouldn’t be writing about them at all if they hadn’t achieved something that was pretty spectacular.

      As for the state of movies as story-telling, I think the truth is even more bleak than what you described. These days, movies get a release date before a script is even written. It’s no wonder most of them are incoherent. But it’s easier to throw together a familiar intellectual property with some CGI and coast to a big opening weekend than to gamble on a good story connecting with an audience.

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  11. Why Is Jason Patric Still An “Outsider”?

    http://frettsonfilm.com/2014/01/21/why-is-jason-patric-still-an-outsider/

    Twenty years ago when I was writing for Entertainment Weekly, we published a cover story with the line, “Why Isn’t Jason Patric a Star Yet?” Even more pointedly, the piece—penned by future EW head honcho Jess Cagle—asked “Who the hell is Jason Patric?” and answered, “with only marginal argument, Hollywood’s best actor under 30.” I’m not sure that was true, but he was inarguably the most pretentious: To play his lead role in the legendary Western flop Geronimo: An American Legend, for which he was being featured, Patric explained, “I have to find the brown part of me, and the black part, and the white part that yellows at the edge…You sequence them…and that sequence makes its own sort of music.”

    It was the beautiful music he made with Julia Roberts, who pulled a runaway-bride act and ditched Kiefer Sutherland at the altar in favor of Patric in the summer of 1991, that had briefly made Patric a household name. He had ditched his surname, Miller, to distance himself from his father, That Championship Season playwright/The Exorcist actor Jason Miller. His relationship to his maternal grandfather, Jackie Gleason, was even more distant. Patric didn’t want the media attention; he wanted to be known for his work (well, some of it—he dissed Solarbabies and The Lost Boys), and he’d given impressive performances as a punch-drunk ex-boxer in After Dark, My Sweet and a smack-addicted undercover cop in Rush. “I hate doing interviews and stuff like that,” he told EW. “I also hate people who say they hate doing interviews. It’s all self-promotion. Five percent is the movie and the rest is people selling themselves, in their living rooms, smiling, with their personal life…Celebrity is an occupation unto itself, one which, frankly, I don’t want to be a part of.”

    His wish soon came true: His celebrity ship sailed with the disastrous decision to replace Keanu Reeves in the water-logged ocean-liner sequel Speed 2: Cruise Control. Sandra Bullock’s career hit the rocks as well—Hope didn’t Float, Practical was less-than-Magical, Forces of Nature blew and movie audiences remained Gun Shy—but she recovered a few years later with the winning Miss Congeniality. The title of Patric’s next role proved prophetic: He went Incognito, earning little attention for The Alamo (which no one remembered), Walker Payne, Expired and Downloading Nancy. True, he won a few minor critics’ awards for convincingly embodying a creep in Neil LaBute’s Your Friends and Neighbors and he attempted to recpature some of the gritty grandeur of Rush with Narc, but most of his movies could be summed up by the title of his 2010 bomb The Losers.

    Now Patric’s back with another aptly monikered flick: The Outsider. That perfectly describes his standing in the Hollywood community these days. Although he’s given top billing for the film’s U.S. release (it’s already available on VOD and hits theaters on Feb. 7), the painfully generic movie’s true star is British hooligan Craig Fairbrass, a kind of poor man’s Jason Statham—with whom he costarred in The Bank Job, one of the few Fairbrass films American audiences are likely to have seen, along with Sly Stallone’s Cliffhanger. Fairbrass and director Brian A. Miller cowrote the script, about an English tough guy who travels to L.A. to find his missing daughter and crosses a burnt-out L.A. cop (Patric, phoning it in) and a crime boss (James Caan, faxing it in).

    Will Patric ever get his mojo back? Not likely. I saw him on Broadway a few years ago in a revival of That Championship Season (opposite the once-cuckolded Sutherland, ironically, as well as the vastly superior Brian Cox, Chris Noth and Jim Gaffigan), and Patric gave easily the worst performance in the ensemble, overplaying the bitter drunkard; it almost felt like he was flipping off his late father. And his next film sounds like a virtual remake of The Outsider: The Prince concerns a crime boss who’s searching for his missing teenage daughter. It’s also directed by Miller (Brian A., that is, not Jason) and costars Bruce Willis, John Cusack and 50 Cent—at least two of whom seem to have given up trying to be serious actors a decade or so ago. Forget The Lost Boys: Jason Patric has become a lost man.

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  12. I respect Jason Patric’s approach to his film career; he was being true to his own nature. What is that phrase, “happiness must come from within”?
    On a sillier note, I think Jason Patric and Dennis Miller look similar.

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  13. Jason Patric Beat His Baby’s Mother:
    http://www.crazydaysandnights.net/2014/05/jason-patric-beat-his-babys-mother.html

    Jason Patric recently won a court ruling which will allow him to try and get visitation with the child he fathered with Danielle Schreiber. Jason Patric had been denied visitation because he fathered the baby through IVF and was not married to Danielle. It sounds like keeping him away from the baby might be the best thing. In court papers filed by Schreiber she claims that Patric once beat her on the face and head with a telephone and has called her a Jew ct. Oh, and one of the times he called her ctish in front of staff at the preschool of his son. Yeah, so not a nice guy at all. Patric’s lawyer says this is all made up garbage, but, a lot of it sounds real. Schreiber managed to obtain a restraining order against Patric back in November.

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  14. Lets bid Jason a happy 48th today!!!

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  15. i think he should even have article about him this about actors who went from alist to bad career jason never had a hit movie therefore he never went from top to down. Hell even dennis quaid had better career then this guy and quaid never reached a list. out of the people on this website he has the worst career

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    • Originally, I was pretty strict about the criteria for WTHH. The actor or actress had to have achieved the A-list and basically disappeared from the public eye. But that was limiting. So slowly I began expanding my scope.

      For a while, I had another series I called “So Fetch”. It was where I wrote up actors or actresses who seemed like they were going to be A-list but never quite got there. Mira Sorvino, Jude Law and Bridget Fonda were originally all “Fetch” articles. But since WTHH was so much more popular than “Fetch” I eventually decided to meld the two series together.

      These days, WTHH has a very wide scope. Because really, you can ask “what happened” about any actor who has ever worked. Something happens to everyone. The series is really just a career retrospective with a bit of good-natured joking around.

      Although I do think you are giving Patric short shrift. After Lost Boys, he was a pretty big deal.

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      • Oh yeah, Jason Patric was hot property after “The Lost Boys” (another one of my favorite films from my early childhood). I feel that he was exceptional in “Rush” as well, but then after that, it looks like his career took a backseat to his off-carema life.

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        • I wouldn’t necessarily say his career took a backseat. He still got a big payday for Speed 2. That was a notorious turkey that probably killed his chances of being a big name A-list movie star. But I doubt Patric cared. He only seemed interested in the money so he could use it to make Your Friends and Neighbors. He didn’t stop working or anything. He just shifted into supporting roles and movies that really interested him.

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        • Yeah, I think that’s an accurate assessment. I grew up in the “golden age” of independent films, so I always had a tremendous amount of respect for those who practiced a more artistic bent (I keep on forgetting about “Your Friends and Neighbors”, tet I always remember the film “Incognito”. Baffling!). However, I’ve matured over the years (just a little) and don’t hold it against performers who go for the brass ring either.

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  16. do u think quaid ever made a list

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    • I think Dennis Quais was. Overall, I think he’s had a solid, womanlike career, but their was that moment after “The Big Easy” (loved that film as a kid; I recorded it and everything. i still think it’s an excellent fim) when he could’ve done what he wanted. Unfortunately, he chose the remake of “D.O.A.” (which I liked actually, but haven’t seen it in a long time either) and I think that film cooled his momentum.

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      • Quaid was one of those actors who was always on the brink of being A-list. But he never opened a picture. He couldn’t get a movie greenlit because his name alone didn’t sell tickets. During the 80s when Quaid was at his most popular the A-list consisted of guys like Tom Cruise and Eddie Murphy. Quaid was never in that league as a movie star. He was strictly B-list. And that’s fine. Doesn’t make him a bad actor. He just wasn’t in the upper echelon of mega movie stars.

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  17. i think u are giving jude the short list he was briefly a list had sucess in lead roles like cold mountain and been in hit movies if he has never been a list he was alot closer to it then patric

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  18. big easy was not a hit i dont remember him ever being talked about alot i remeber people refering him to the poors man harrison ford. Quaid has a worse filmography then most of the actors on the site.he has a few hits but most of movies are critical flops and box office too the lost boys did decent business however was one of the movies that found audience after its release . But it wasnt a hit and patric never really had a breakthrough role.

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    • Yeah, I looked it up, and “The Big Easy” didn’t make the top ten in box office profit in 1987. To be fair though, “Dirty dancing” was only 10th, and I remember people being nuts about that film. I still think “The Big Easy” is an excellent film, but I suppose Ellen Barkin got as much attention for that picture ad Dennis Quaid did.

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  19. ill give quaid credit he was closer to a list and had more sucesss then patric

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  20. quaid was never popular in the 80s big easy and breaking away were hits but not enough to pull him into alist he might be on the website sometime. he is poormans harrison ford.last hit was day after tommorow it did ok at best his movie did ok

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  21. to be honest if did the research they would know patric is the only actor who never had a box office hit every actor and actress in the list has been in been at least 1 movie that has grossed 100 million or over not to insult him lebeau but you have to put out of the actors you wrote about on the list he is not the biggest name. Can you think of of any actors on the list that had a worse careern then him cause so far every actor on the list has at least 1 box office hit i might find actress who has worse career but not actor

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    • I won’t say Patric had a bad career. I think Patric had exactly the career he wanted to have. Of all the subjects I have covered, Patric seems to be the least interested in being a movie star. He actively avoided it. There’s nothing wrong with that. But yes, your point still stands. He has the weakest box office performance in the series. But a fine career as an actor.

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  22. i think ever actor dreams of being an a list no one of them want to admit to sound humble kevin bacon had an interesting quote one time that relates to what iam saying is there are two types of actors those who dont want to be famous and liars. A lot of actor aim to be a list but after a few flops i think he gave up trying i think he thought being in speed 2 gave him the idea it would give his stardom a push never happened i dont think he has a great career iam not talking about in terms of box office and iam talking about terms of quality his movies are critically panned and to be honest i found him boring of an actor

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    • I don’t think EVERY actor dreams of being A-list. I agree with you that a lot of actors make that claim after the fact. All you can do is look at the choices they made. Particularly when they were in a position of power. When Patric was the next big thing, he was still taking indie movies. I suspect he got a taste of it after Lost Boys and decided it didn’t suit him. He’s one of the few cases where I actually believe him when he says he didn’t want fame.

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  23. i did research lost boys did decent business great reviews was never a huge hit its somewhat of a cult classic but to be honest is forgotten now

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  24. he probably thought those indies would having Oscar potential. I have a feeling when actors choose a role in their mind they will this help my career. He did accept speed 2 so iam sure he thought sequel to a smash would bring him to a list. How you know a movie is talked about when a line from it is quoted lost boys never had it. There no memorable scenes people parody. Afi dosent have it any of there lists not saying its a bad movie i never seen it just saying its not really considered a classic now compare it which to say forrest gump which stand the test of time

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  25. he did take supporting roles in big budget like that western with hackman sleepers

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  26. Alamo too he does have a big budget movie called prince coming up with bruce Willis so maybe that might do good however bruce willis is not the box office star he used to be john cusack is in it although talented hes never been a huge draw not to insult and say box office is everything but him and penn are the only actors off the top of my mind who have never been in 1 movie that grossed 100 million or over. again not that its a bad thing. However penn gets numerous Oscars so it makes up for his movies that don’t make money. Even in suportting roles his movies dont make money

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  27. he made a comment that firm would not make money with him in it not sure if hes right cruise was a huge draw in93 still is but hackman movies make alot of money too it would have been sold on hackmans name hackman can sell a movie on his name alone

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  28. i did research and the only actors i think of on your website that never been in a movie that grossed 100 million is patric steven segal,bridget fonda, molly ringwal and hannah how ever his movies still gross less then all of them and all of those other actors i mentioned above have at least more then 1 hit patric has 1 hit lost boys and thats hit that movie wasnt even that huge of a success

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    • To the be fair to some of the actors named (especially Daryl Hannah, who starred in “Splash” and had a role in “Wall Street”) 100 million $ wasn’t necessarily the gold standard at the box office during the peak (however brief it was) of their careers.
      On a separatee note, I heard some newscaster recently call “Ghostbusters” (in the news because of it’s re-release in theaters) a “cult classic”. Cult classic? That film was a nationwide phenomenonm!

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      • In high school, my love of Casablanca was well known. So my history teacher took great delete when out history text referred to the movie as a “cult classic”. Casa-freaking-blanca.

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        • Well, that history text was wrong: “Casablanca” is legendary (I believe it is film cricket Leonard Maltin’s favorite film).

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        • You have to wonder about who was writing that text book, and what universe they lived in where a Best Picture winner could be referred to as a “cult classic,” especially one as mainstream and commercially successful as Casablanca.

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        • I have wondered that for years.

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  29. 100 million is considered a huge hit its it is a good number to have when talking about box office hit most of the actor i mentioned there hits were successful based on there budget lost boys if u look it up did decent business earned a cult following after its release but not necessary considered a classic now afi never has it in any list as for ghost busters yes it was huge on the list iam not sure if cult classic necessary means more talked about after its release patric still has a bad body of work

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    • Yeah, but in, say, 1984, 100 million $ was unheard of at the box office. I mean, even the price of money (i.e. inflation) was different.

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      • Not completely unheard of, but a lot rarer than today. In 1984, there were a total of four movies that took in over $100 million in domestic box office receipts (according to Box Office MoJo). So far this year, with the year about two-thirds gone, there are 21 movies with over $100 million in domestic receipts.

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        • Wow, 4 films in 1984 that reached 100 million? That’s really good for the time, and more than I thought.

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        • 1984 was a fantastic year at the movies.

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        • Wow, it never occurred to me before that there were only 4 movies in 1984 that broke $100M domestically, but you’re right. It really was still a rare thing for films to earn that much back then, keep in mind it wasn’t until 1975 that the first film broke the magic $100M barrier, and that film would of course be Jaws. 1984 was still in the early years of the blockbuster era.

          Just in case anyone is wondering (and because I love statistics), the 4 films that broke $100M in 1984 were:

          4) Gremlins, $148M
          3) Indiana Jones And The Temple of Doom, $179M
          2) Ghostbusters, $229M
          1) Beverly Hills Cop, $234M

          I love all four of those movies, too. 1984 was a great year for film.

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        • Yeah, $100 million was the magic number mostly in the 90s.

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  30. she was dumb to turn down hangover sure heathers role was short but maybe it would help branch lindsey a bit in adult roles

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  31. patric movies do decent at best

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  32. somewhat true 100 million would kind of be a super smash even back then i guess if a movie doubles there budget even if it dosent hit the 100 million its still a hit

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  33. lost boys
    still did decent yes somewhat large cult following but not a smash it got his name out there but not a huge hit in comparison to the alot of 80s movies out of all 80s classic it pales

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  34. OK you guys. I don’t know much about movies but did someone mention the value of money in 1984?

    It’s impossible to compare movie revenues without including inflation, the wage stagnation of the middle class family, and the increase in population. All these factors combine to influence the real value that is created by a movie. One dollar in 1984 is worth $2.30 today. Another way to say it would be that a $100,000,000.00 movie in 1984 would be a $230,00,000.00 movie today. http://www.dollartimes.com/calculators/inflation.htm.

    How much did tickets cost in 1984? About $3.50? Today I pay $8.50 or so for a ticket about in line with inflation. But the cost of living has increased which creates competition for that ticket. Do I buy a ticket or a gallon of milk?

    In 1984 the population was about 236,000,000 people. Today the population is 317,000,000. That’s a 25% increase in potential movie goers which translate into an automatic 25% increase in movie revenue today. So add $25,000,000 plus adjust for inflation,,,times 2.30 or $57,500,000 to the original $100,000,000.00 so we are at $287,500,000 is equal to $100,000,000 in 1984.

    And lastly, the condition of the economy makes a huge difference in the willingness of a middle class family to pay for Mommy, Daddy, baby sister and baby brother, plus pop and candy. Easy $50 to go to the movies for a typical family. Pure discretionary spending…

    What is not commonly known is that the income for the middle class family has not increased any since the late 1970’s. So while the cost of well, everything, has gone up, the ability of the middle class to buy that stuff has stayed flat making it ever more difficult to have anything extra. Another way of describing it is that the United States has gone from a condition of labor shortage prior to 1975 to a huge labor over abundance in 2014. That’s what happens when we send our jobs overseas. Check out almost anything from Dr. Wolff https://m.youtube.com/watch?v=KjA6Bnh9p5o It’s a real eye opener.

    So all these factors must be incorporated into any comparisons to get any meaningful information. It is clear that the paradigm for the movies are changing. It’s harder for them to make big money today. And the number of movies being made is declining. Back in the 1940’s and 1950’s they cranked out movies one after another, but as the movies get more and more complicated, the number of movies decreases. Just compare the length of the credits from the old days to today.

    Don’t even get me started on the Petro-Dollar…

    Brad Deal

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    • I sure hope you don’t start giving out quizzes! 😉

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    • I mentioned money! Really cerebral comment (I personally have a gripe raising minimum wage, since all that does is raise the price of goods. It’s called “minimum wage” for a reason)., especially concerning the monetary stagnation of the middle class family comment

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      • I went to McDonalds last week and noticed the 18 year old food service employee using an automated machine to fill the soda cups. Put the proper sized cup in the holder, push the button and the machine filled five cups with ice and different sodas in different sizes.

        Our local grocery store now has self serve cash registers for check out.

        The downtown parking lot uses a self serving ATM type machine before allowing access to the lot.

        All these things are designed to eliminate labor and to increase profit. In the next ten years we are going to see an explosion of robotics in this country that will eliminate another 20% of low paying jobs.

        And now we see the use of drones both domestically and overseas….

        On the other hand we see McDonalds with record breaking profits, and obscene profits for banks and the stock market.

        It’s all happening right in front of our eyes.

        The minimum wage is poorly understood by the public and used by big business as a propaganda device to keep all prices down. The public believes this propaganda because it seems to make sense. But minimum wage is a small part of a very large problem that is becoming acute. Just consider this; as the economy becomes more and more robotized, what is going to happen to the employees who find themselves out of a job? It’s not about minimum wage, it’s about providing jobs to the population so they can afford movie tickets. We are in a position of either maintaining the egregious profits for corporations or lowering those profits to create jobs to feed our children. There must be reasonable wages and reasonable profits in order for the economy to be self sustaining.

        We are in the last phase economic colonization of the world. In order to maintain our dominance we will have to release the dogs of war to keep everyone in line.

        Propaganda: the terrorists from Syria are coming to America… I’ve never seen a terrorist but there must be one on every street corner. That’s why the police are being given armored personal carriers?

        But What the Hell Lebeau? I read your column for the same reasons I go to the movies. For some relief from the daily grind. But I am a FHA compliance inspector, and I can tell you that less than 5% of the stuff that goes on is ever reported. Most everything is covered up or spun. WTHH?

        Brad Deal

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        • Brilliant post. I share your concerns.

          I write the blog for the same reason you read it. To escape. For a few minutes, I don’t have to worry about the world my kids are going to live in and how they are going to get by.

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        • Oh, Brad I remember someplace I used to be, when the shiny new self service machines were installed, and the management there stated that they would never replace human beings. Everyone knew this was a lie. I can’t think of any industry where the front line employees are compensated what they should be, and it all comes down to greed. We have an American dream model in place now where no one who makes 85 million as a CEO would even consider maybe only taking home 70 million and paying the workers more. It’s just unthinkable in the current mindset. Whether this means we are headed for some type of collapse or not I have no idea, what is really interesting to me is that in 1930s America, creativity flourished in all the arts. It was truly a golden age of movies, art, radio, architecture and everything else. And people flocked to the movies so Hollywood kept churning them out. This creative spirit kept unfolding for decades, before stalling out in the early 80s when the “reality” aspect of everything started to take hold.

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        • Great post. I’m not going to dive into a conversation on income inequality except to say I believe it is a problem. I worry more about that than I worry about people abusing wellfare for example.

          I don’t think I agree that creativity in the movies stalled out in the 80s. Hollywood changed tremendously from the Golden Age. But even then, it was a machine. When the studio heads got old, the system basically collapsed allowing directors to take over the system in the 60s and 70s which allowed for some pretty original film making. In the 80s, we saw studios starting to be run more like corporations. But realistically, the dollar was always king in Hollywood. That hasn’t changed. I could probably write 100 pages on the evolution of the film industry and how we got to where we are today. But I’ll spare you that. Tell me more about your thoughts on how movies changed in the 80s.

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        • I don’t want to make it sound like i don’t enjoy 80s movies… because I do. What I think started to change in the 80s was a drop in creativity and innovative writing in favor of the rise of techno-glitz and “reality style” filmmaking which devolved into reality TV. I recently watched an early 70s Vegas film, California Split, with Elliott Gould who interestingly later appeared as an aging Vegas developer in the Oceans movies… anyway the tone and direction (Robert Altman) of this movie has what I call the 1970s pre-reality feeling to it. In other words, a room full of people playing cards, you feel like you are in that room. Less about acting and more about atmosphere. Still art but a different form. It’s not like there wasn’t creativity. There was. But it seemed to get outweighed often by the corporate aspect. I have to give this some more thought because I recognize this was less than coherent.

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        • It’s funny, because I’m a huge Quentin Tarantino fan and I heard him in an interview recently where he sort of bashed films in general from the 1980’s, claiming it was a low ebb in Hollywood at the time. Now I myself flinched at that, because when I think of the 1980’s my mind automatically races to movies like Raiders of the Lost Ark, and Back To The Future, and The Empire Strikes Back, and Karate Kid, and Terminator, and E.T., and Blade Runner, and Witness, and Die Hard, and Aliens,….. in other words there’s a ton of great movies I love from the 1980’s. So that was my instinct, how dare you insult films from the 1980’s, my good sir. But then he went on, stating how Hollywood changed drastically from the 1970’s which was a more daring decade for cinema, in the 80’s the Hollywood studios began to be run more by investors and they only wanted straightforward heroes without any real edge to them in their movies, and that sort of made sense. The indie film movement that began in the early 90’s and ran throughout the 90’s was sort of a reaction to that, I suppose. Tarantino did have a point, in retrospect most mainstream Hollywood films from the 80’s did have more straightforward lead characters that you could easily root for than before.

          I don’t want to put words in your mouth, RB, but perhaps is this what you allude to in your comment about 80’s cinema?

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        • Craig, yes, actually, you did a fine job of articulating something I wasn’t able to articulate very well…. plus adding some background info of what investor expectations were. It makes sense.

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        • The biggest problem with the 80s is that it followed the 70s which was a revolutionary period in cinema. The film students-turned-directors were running the show. The old studio heads had all stepped down or decided that they no longer knew what audiences wanted. So they handed over the reigns to the Coppolas and Scorseses. But then you had the success of the spielbergs and Lucases and suddenly, studios had a formula they could follow again. So in the 80s, they got back to more formulaic film-making.

          RB – I can’t draw a line from cinema of the 80s to reality TV. If anything, I think TV influenced movies. The rise of MTV resulted in quicker cuts in editing which resulted in movies becoming long music videos. Case in point, I watched Flashdance this weekend and it’s basically a music video for the soundtrack. That sort of thing became very prevalent in the 80s. See Footloose or even an action movie like Top Gun.

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        • Going along with that, Rocky 4 had what was essentially a 4 minute music video in the middle of what was already a pretty short movie to begin with. Just to stir your memory, Rocky is out driving in his sports car, remembering back to the events of the past 4 Rocky movies to the Top 10-ready song “Burning Heart” by Survivor.

          But yeah, investors taking over Hollywood aside, maybe the biggest problem 80’s cinema had compared to 70”s cinema is that 70’s cinema was largely reactionary to what was happening in the world at the time, so as a result cinema had something interesting to say. You had the Vietnam War, racial conflicts, the President of the United States leaving office amid massive corruption in government, women fighting for equal rights in society, a growing distrust of government and authority, and so on, and mainstream cinema was there capturing that, largely dark and gritty at the time. Heroes were largely gone from the big screen, instead it was the era of shades of grey and anti-heroes, we had Dirty Harry, French Connection, Taxi Driver and Death Wish in place of our usual heroes. It’s little wonder then that when Star Wars came out in summer of ’77, it came off as a breath of fresh air. Here was something that was wildly fun and entertaining. Hollywood wanted to replicate that monster blockbuster success, and what they took from it was that what we really wanted is escapism entertainment. The wrong lesson they took from that was, from their point of view apparently all we want year round is escapism entertainment. Believe me, I love escapism entertainment as much as the next guy, but I also sometimes want meatier fare too. As much as I love 80’s films, I do recognize what we lost from 70’s cinema.

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        • Dude, I almost mentioned Rocky IV. It is a prime example of an MTV movie.

          Totally agree with the rest of your comments. I did feel like in the 90s with the rise of the “indie” movement we got some of that back for a while. Unfortunately, it didn’t last long.

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        • I often draw lines that don’t make sense to others 🙂 it’s just based on the feeling I had watching California Split, and then remembering my limited foray into reality TV some years ago before deciding I hated the genre. All in about the same timeframe, one featured an aging and ill Jeff Conaway, another chronicled the relationships of Christopher Knight and another, Scott Baio. Intriguing at first but as things developed, not good shows, and left me feeling empty. It’s not storytelling, acting or creative scriptwriting. You’re just along for the ride with real people, warts and all. And it seems oddly intrusive, whereas good movies and TV shows don’t leave you feeling this way. Well, in Robert Altman’s movie, the gritty realistic portrayal of the gambling world enthralled critics, who eagerly embraced that feeling. Elliott Gould was apparently well versed in the real gambling world, a real life gambling pro was brought in for the card game, plus there was a thin line at times between what the actors were doing onscreen and off. You pick up on this feeling early on in the scene where there is a huge room of tables with people playing cards, arguing and swearing. These aren’t high society people. You wouldn’t want your kids in the same room with them.
          Cal Split was made in the early 70s and represents the creative spark that was happening then with directors like Hal Ashby, Lucas, DePalma, Spielberg, Nichols and a whole raft of others. As Craig mentioned, there was a lot of social and political development that was perfect fodder for these creative types, who, as Lebeau said, were the up and coming forces of Hollywood as the old studio system and studio power brokers were being replaced. What I love about the 70s directors was that most if not all of them, with as much as they contributed to cinema, were allowed to fail at times – they had movies that were duds – yet they kept right on making movies. The 1970s may have been the last decade where people were allowed to try different things and fail without being written off.

          Like

        • When I was a child I used to sit on my grandfather’ slap and listen to his stories. Year after year he would tell the same old stories to the point where the whole family could recite them word for word. Tell us the one about this Pop, or tell us the one about that time…the stories never got old, and they entertained us because he was a good story teller, but also because they pertinent and taught a lesson.

          I bet the cavemen used to sit around the camp fire huddling together half scared out of their wits. They would be see the eyes of the predators in the dark glow with anticipation waiting for an opportunity for an easy meal. The weathered old grandfather would be telling stories about great hunts and killing tigers. I bet those cave kids listened with even more intensity than I because the stories told by the old caveman were about survival. The lessons taught by the old man were necessary for the tribe to survive…

          The key to these stories is that they taught lessons of survival. It wasn’t just a story but a participation. Not only was it a teaching method, it also was a continuation of family and tribe history. Movies like the Godfather series told riviting stories of corruption and moral turpitude. Or Star Wars with its heroism, or Alien with Ripley’s unerring will to survive. Or even a little farther back with Butch Cassidy and the Sundance Kid with their fierce loyalty. And the Wild Bunch with their gunfighter’s code. If I think hard enough I can remember the great movies, the Sting with Paul Newman, or the Wrath of Khan with Richardo Montalban all had powerful stories. I’m sure every reader will have their own list of movies they can remember from their old days.

          I suspect that as the characteristics of the public changed since the 1970’s the movies have reflected those changes. I’m sitting here trying to remember the truly great movies from this last summer and I can only think of American Hustle, Another tale of moral turpitude. As the viewing public becomes more and more shallow so will the movies they watch.

          Brad Deal

          Like

        • I think there are two main reasons on why there are many “things that go boom” films and a certain lack of gravitas and storytelling in many of today’s films: the studios are unwilling to take chances on a script which is a new idea, since there is uncertainty on how it will perform (most offbeat and interesting ideas that break through are considered throwaway films, or it’s a miracle they ever got made anyway), and there is a general lack of imagination, the sense that it’s all been done before (I don’t think it has).
          Oh yeah, I LOVE 1980’s films, but I think the best decade of film was the 1970’s (I think the documentaryA Decade Under The Influence” summed that decade of films up properly).

          Like

        • I’m catching up with comments from the long weekend. Not much to add. I just wanted to say I always enjoy getting your perspective. Any time you feel like writing articles instead of comments, let me know. 😉

          Like

        • Was ET the start of 80s movies?

          http://www.imdb.com/title/tt0083866/board/flat/246835597?p=1

          Prior to ET, films made from 1980-82 largely still had a 70s theme to them imo. Do you think ET was the first genuinely 80s movie that had that unique look and tone synonymous with that era? I think so. It usually takes a couple of years into a new decade for films to start looking of their time.

          I can’t think of any films made before ET that were truly ’80s’. This must be the first.

          Tue Aug 4 2015 04:39:42

          I also believe that every decade has a “hangover” from the previous decade that lasts about two years. Then, as if at once, music, fashion, movies and even politics begin to take the shape that will define that decade for many people.

          E.T. is certainly one of the first “80s” movies, and no doubt became the template for almost every kids film to come. But for me the movie that absolutely could not have been made before 1982 is Tron. Not only the f/x, but because it was at the vanguard of the soon to be mainstreaming of personal technology. Everything about that movie, from its electronic score to its emphasis on video games just screams 80s and could not have been made even two years prior. It’s as if it were born out of the 80s itself. Like the universe after the Big Bang.

          No doubt E.T. was far more successful, but I do believe Tron was the first “80s movie”.

          Wed Aug 5 2015 04:13:56

          I think so. I just skimmed the films released in ’80-’81, and while there are some in there that are definitely “80s”, 1982 really seemed to usher in the era in full, with no 70s hangover present.

          You and I mentioned E.T. and TRON, but there’s also Blade Runner, Firefox, even Rocky III. Just compare it to Rocky II (released in ’79). The cinematography, the rock songs on the soundtrack. The 80s had arrived.

          Sun Jan 3 2016 18:19:50

          E.T. started a lot of trends in the 80’s and so many movies were knock offs. I’m looking at you Mac And Me. Some other movies/shows that come to mind.

          Family Ties started in 1982 and was the first family show that really felt 1980’s

          Magnum PI started in 1980 but never hit me with any kind of 70’s vibe like a lot of other shows in that time frame

          Raiders Of The Last Ark
          Released in 81 and the filming looks so much more advanced compared to action movies filmed only a few years earlier

          Empire Strikes Back is borderline but ROTJ is all 80’s

          Nightmare On Elm Street was the first horror in my opinion that felt 80’s

          Caddyshack and Revenge Of The Nerds also come to mind for comedies

          Sun Jan 10 2016 12:19:16

          Maybe Rocky 3? Compared to the first two, which are both definitely 70’s flicks, it’s a glossy affair, with Hulk Hogan and Mr T. Pure 80’s.

          Like

        • I’m not sure if “E.T.” was the official start of “80’s movies”; what about “Fame”, which was even spun into a television series? It doesn’t get more 1980’s than physical fitness and certain dance routines.

          Like

    • Another big thing that has happened over time is that the moviegoing audience has changed. In the 1930s and 1940s, it would not be stretching things too much to say that everyone went to the movies. In many years from that era, data show that close to two thirds of the US population went to a movie at least once in an average week.

      Today, MPAA data show that about two-thirds of the US population buys at least one movie ticket per year. However, many of that two-thirds consists of “infrequent” moviegoers. About half of all tickets are sold to the 11% of the population classified as “frequent” moviegoers. Those frequent moviegoers are, as some of us are probably aware, disproportionately teenagers or twenty-somethings.

      Like

      • There are too many alternatives to movies these days. Why go out when I can stay home and watch a movie on my own schedule with no worries about bad behavior from other patrons, projection problems or over-priced concession items?

        Like

  35. i doubt patric will ever recover out of the guys on this website he has the least amount of hope

    Like

    • I disagree: what about Steven Seagal (who was likely overinflated in his prime, though I did like “under Siege”. Tommy Lee Jones is almost always good, and Gary Busey was amazing as Buddy Holly, plus I enjoy his character of Phil Cassidy in the two “Grand Theft Auto: Vice City” games)

      Like

  36. segal movies did ok he was a rising action star but never a huge draw his movies do average at best under seige did decent tommy lee jones is an a list his movies makes alot of money

    Like

  37. snipes segal patric snipes out of all actors have horrible chances i consider dennis quaid one of the worst actors ever yet his movie career is better then those that is sad when your career is worse then quaid

    Like

  38. we should do an article on actors that turn down big roles patric turn down passion of christ it would helped give me lead roles in quality movies he would have ruined it i dont think he is a good actor.he came off as wooden he got bad reviews for cat in hot in roof cant act in plays patric has less talent then keanu thats why it flopped

    Like

    • A role of Aaron Eckhart’s that left an impression on me was “Thank You for Smoking”. Sure, I like his Harvey Dent, but I still wish the other “Batman” films continued with what they started with Billy Dee Williams.

      Like

  39. in his film your friends and neighbors he was credited above patric aaron echart funny thing is now aaron hsd dark knight sucess and other films like olympus has fallen which was huge and ben stiller films make money so both there names would be credit before patric whose career is worse even affleck is doing better

    Like

  40. thank for smoking was good but has patric done anything worthy since lost boys

    Like

    • Sure, what about “Rush”, with Jennifer Jason Leigh and Greg Allman (who was with Cher before she wanted to turn back time or became a witch of Eastwick).

      Like

  41. rush wasn’t a hit lost boys was his biggest ( only ) hit movie and that movie wasnt that hit it did ok for its budget got good reviews but compare to say ghostbusters those movies are 2 years apart ghostbusters is remembered more it was even released on 30th anniversary lost boys would never have it its not talk about as much as ghost busters if u ask someone who patric is there mind is blank then u mention lost boys still mind is blank

    Like

  42. I’m a fan of Jason Patrick, so happy to hear he got custody of his son Gus. Shows how much this child is loved. All do respect he should have not had to go thru 2 years of hell to see his son. The mom should be happy he wants to be in his child’s life. There are so many women raising kids on there own cause the father don’t want to be a part of there lives. Truly sad..I’m happy to hear the good news!!! Thinking of you Jason. Sincerely, Constance!! ❤😃

    Like

  43. I learned those tools from watching Jason Patric; as well as learning to be a lost boy, an art thief, and a junkie undercover cop.

    Like

  44. That Championship Season’s Outspoken Jason Patric Has Quite a Few Things to Say About Hollywood, Few of Them Nice:
    http://www.vulture.com/2011/03/jason_patric_interview_lost_bo.html

    What kind of choices?

    I chose not to become a movie star for movie star’s sake at a time when there weren’t a lot of movie stars and that opportunity was presented to me. After the success of something like Lost Boys with Kiefer, I didn’t choose to keep making those movies. I mean, I made Rush when I was 24 years old. Shocks me when I look back it. I mean, 24 … kids are still in high school these days. Before I did Narc, I hadn’t worked in three years. I just didn’t find things I wanted to do. I had just produced Your Friends and Neighbors, which was exhausting and good, and I didn’t find anything worth working on for three years. That’s suicide in this business because you have to remain in the forefront of people’s minds and certainly onscreen, but I didn’t care about that. Early, the movies I was interested in, people’s work is what propelled their career. That has changed vastly, immeasurably. It started to change when I started and now it absolutely makes no sense of difference whatsoever. Doesn’t matter if you have talent. Doesn’t matter what you’ve done before and, frankly, the people with a lot of talent don’t give a shit if they make crappy movies for money because it’s actually more respected than their better movies.

    What star-making roles do you turn down?

    There are a lot of rumors. Look, you become very popular for turning things down until you are no longer popular for turning things down. And either way it doesn’t matter, because you’re not working, you can say, “Yeah, I turned that down,” but so what. You’re still on your couch. It really doesn’t interest me. If I’m not going to see movies, why do I want to be in movies? I’m not going to see them, and unless it’s about keeping your fame up there … and I’m not addicted to it like 99 percent of every actor in Hollywood, even our 65-year-old so-called legends are so addicted to remaining stars that they’re in the kind of movies that would not be toilet paper in their classics. I don’t have to name them.

    I read that you turned down The Firm and The Passion of the Christ.

    I turned down some incarnation of The Firm years ago, but that would make it seem like I turned down the big hit movie. No, the movie’s a hit because Tom Cruise is in it. The shitty script that I got was not going to be a hit with me in it. Trust me. I don’t know where that Passion of the Christ thing came from, but it’s not true. But it means if it’s on the Internet, it must be true. Mel Gibson wanted me to play his part in Braveheart, so maybe that’s where that connection is, I don’t know. I never found out about it until after the fact. He wanted me to do it. The studio wouldn’t make it without him in it, his first major directorial thing, it was expensive, so that’s what happened. I found out afterwards, so I couldn’t really be mad about it. Wow, that sort of would have been nice. Too bad. I thought it was good, but he was too old for it, which he would admit too. But you know that’s the way it goes.

    Like

    • That’s the thing (which has been mentioned on this site in other performer’s articles): A lot of times actors turn down parts in scripts that aren’t up to par, and by the time they are revised to an acceptable level another actor has taken the role, which makes it it look like the previous actor turned down something special.
      From what I understand, that can work the opposite way, in which actors sign up for a project expecting a certain script, then it becomes revised to the point that they no longer identify with the material any longer.

      Like

  45. Jason was good in Rush (1991) and Sleepers (1996) I didn’t care for Narc but he was good in that as well, good actor, shame he didn’t become bigger but not everyone can be Brad Pitt or Johnny Depp. I’d go see a film with him in it

    Like

    • Yeah, I really like both of those films. I few years ago, “Sleepers” was on heavy rotation on HBO, so I viewed it a few times. A strong cast overall, but Jason Patric’s character was the individual who the viewer saw the story from, as he narrated throughout.

      Like

  46. I kind of get the vibe that Jason Patric pisses people off. I’m not going to go into his personal life and what his “baby’s mother” has accused him of doing. What I’m trying to say is that he strikes he as one of those fiercely independent actors, who has no qualms about bluntly speaking his mind or “playing the Hollywood game”. Jason seems the type of person who won’t hesitate to criticizing his co-workers (e.g. Ashley Judd) even if they may have deserved it or movies that he was offered that turned out to be hits (e.g. “The Firm”) and thus would’ve likely advanced his career. It does make you wonder why he signed up to do “Speed 2” (I wouldn’t be surprised if Jason could sense that the movie was going to be crap) in the first place. It’s almost as if being “too high profile” or in-demand would I guess make him some sort of sell-out or no longer a “real actor”.

    Like

    • No doubt in my mind that Patric ruffled some feathers and probably continues to do so. He’s a private guy but when he goes on the record he’s usually pretty blunt. He’s got a very unique relationship with Hollywood. His grandfather is Jackie Freaking Gleason. His dad is a Pulitzer Prize winning playwright who starred in The Exorcist. He’s got all kinds of big celebrity friends who came to his fundraisers to support him. In short, Patric is connected.

      But when he talks about his grandfather he’s very quick to say he didn’t have a relationship with him and doesn’t really think of him as a grandfather at all. He also talks about how his dad’s success came too quickly and he wasn’t prepared to deal with it. And then it was over and he never really dealt with it. He barely wrote again after winning the Pulitzer. I think those experiences probably made Patric a bit leery of the kind of success people expected him to chase as a movie star.

      As for Speed 2, usually I take that sort of movie as a sign that the actor is at least entertaining the notion of playing the Hollywood game. If you don’t want to be a movie star, you don’t typically sign on for an action movie sequel. But in this case, I think Patric wanted the money so he could make Your Friends and Neighbors. Even with the failure of Speed 2, I think Patric could have made more action movies if he had wanted to. But he looked for the least commercial movies out there.

      I do think it’s a bit sad he’s been reduced to making direct to video schlock these days. I can only assume that’s related to his mounting legal expenses.

      Like

    • Future of Movie Stars: Who Will Shine? Who Will Fade Away?

      http://forums.previously.tv/topic/7750-future-of-movie-stars-who-will-shine-who-will-fade-away/page-23#entry1802369

      Jason Patric seems like a pretty awful person, but he also doesn’t seem to give a sh** about being liked or famous. It’s kind of sad that a guy as talented as he was basically is only semi-relevant again because of his custody battle over his sperm donation.

      Like

  47. Speed 2: Cruise Control is #3 on WatchMojo’s Top 10 Worst Action Movies

    Like

    • The original release of “Speed 2: Cruise Control”:
      https://www.datalounge.com/thread/12052493-the-original-release-of-speed-2-cruise-control-

      I love this factoid from the IMDb trivia page:

      “Jason Patric only agreed to make the film contingent on some major script changes being made. However, when he eventually arrived onset three months later, he found that the script hadn’t changed at all and he was contractually obligated to make the film. He found the whole experience to be thoroughly miserable and depressing.”

      LOL, bulls***. This was his big break and he had zero pull to make such demands. Which, again, is why he showed up and no changes were made.

      The fact that he commanded as much salary as he did was shocking. He was terrible in the lead, showed zero charisma, and as awful as the script was, his wooden performance was entirely his fault. No wonder his career sank to the ground after this.
      —Anonymous
      reply 9
      11/23/2014

      Like

  48. Your blog influenced me! (Actually, I get a lot of ideas for movies to watch on here, thanks!) I watched “Rush.” I thought Patric’s and Leigh’s performances were both great. Patric’s performance was pretty unusual, all told. He had a really cool voice and was believable as the cop. The story as a whole seemed pretty forced to me, however. But… worthwhile watch overall, B or so as a grade.

    Like

    • Funny. I rewatched Rush on Netflix myself just this weekend. Yeah Patric did give an interesting performance. I think he was trying to do a Texan accent but I wasn’t sure. At first, I found his voice off-putting but I got used to it.

      The story is actually based on true events although I’m not sure how loosely. I’m glad I rewatched it. It had been a long time and it’s worth watching. Still holds up well.

      Like

      • I think Gregg Allman should have been given more to do. I like that he wasn’t the stereotypical heavy, but he ends up not influencing the course of events at all. So they are not really contending against anyone in particular. By the way, if you like drug movies like this (and I do), have you seen “The Panic in Needle Park” with Pacino? That is truly an awesome movie, probably in my Top 20. “Born to Win” with George Seagal is another good entry in the genre.

        “Rush” also reminded me how totally smokin’ JJ Leigh was. “Miami Heat” is another way to enjoy her in down-n-out mode in that era.

        Like

        • I get what you’re saying about the character played by Allman. But I also thought it was kind of interesting the way they portrayed him. I don’t want to give away any additional spoilers beyond what is already in the article. But while he is suspected of being a horrible drug kingpin and probably is exactly that, he’s not necessarily worse than the politicians and police officers trying to bust him. We see them behave every bit as badly or worse than the drug dealer.

          Definitely agree about JJL. If I have seen Miami Heat all the way through, it’s been too long. I need to track it down and watch it again. I recently rewatched The Hitcher which isn’t a great movie. But it was great to see her in it.

          Like

      • I have been thinking about “The Hitcher” on a regular basis recently, but I had totally forgot that she was in it! That was a movie that I rented a couple times back in the 80s, right after it came out. It left a big impression on me. C. Thomas Howell is great in that too. (And Rutger Hauer of course). Wait, do you have a WTHH for Howell?!

        Like

        • I don’t yet have one for Howell. He’s on my short list. Part of the problem is that he has a very long filmography. So whenever I get around to writing him up, it will be a lot of work. And I hate work. 😉

          My dad was really strict with us. But he also had no idea what movies were rated or anything like that. So when we got a VCR I ended up seeing a lot of movies I wouldn’t have been allowed to see in the theaters. He rented The Hitcher with no idea what it was, who was in it, or what it was about. I actually watched it with him and amazingly he didn’t run me out of the room. I think he was too entertained to notice I was watching. It kind of blew my mind. The french fries. And of course what happens to Leigh. That stuff stuck with me decades later.

          Like

      • I see that “The Hitcher” is available on Comcast, but I’ll have to watch it on the TV. How primitive! Need to review this one though!

        Like

  49. I find it interesting that in a film titled “The Hitcher”, Jennifer Jason Leigh’s Nash character is the one to get hitched; I still think that was a real bummer.

    Liked by 1 person

    • That’s for sure.

      Like

      • I watched it on YouTube, of all places. Somebody thoe’d it up there.

        Great movie! Even better than I had remembered. It seemed rather misunderstood in its time with its over-the-topness. It is deconstructively surreal. Hauer is amazing, the rest of the cast excellent.

        Liked by 1 person

        • I was always surprised that this film received so much flak; I think it’s a good thriller (scred me more than some of those slashers at the the time. I mean, that dog licking the dead deputy? Eww!). Rutger Hauer played it great here; I especially enjoy his first few minutes when the Jim Halsey character picks him up (before he gets threatening), I think it’s chilling. Actually, I feel Ruter Hauer is underrated; the man knows how to bring it.

          Like

        • Yes, he is truly a genius in The Hitcher.

          Like

  50. Fanboy Flicks – Speed 2: Cruise Control (1997)

    Like

    • Episode 253 – Speed 2: Cruise Control

      http://www.whmpodcast.com/2016/06/episode-253-speed-2-cruise-control.html

      On this week’s episode, the Summer Blockbuster Extravaganza hits the high seas for the boring, totally unnecessary sequel, Speed 2: Cruise Control! Why bother going ahead with this movie once Keanu dropped out? But if you are going ahead with it, why not make Sandy the hero? And how about writing a villain with a little more motivation than medical bills? PLUS: Willem Dafoe’s weird, weird leeches!

      Speed 2: Cruise Control stars Sandra Bullock, Jason Patric, Willem Dafoe, and Temuera Morrison; directed by Jan de Bont.

      Like

  51. Jason Patric will star in Wayward Pines Season 2

    http://deadline.com/2016/02/jason-patric-tar-wayward-pines-season-2-fox-1201696521/

    He’ll play the “confident, driven surgeon” for the residents of Wayward Pines.

    Like

  52. roryhames0@gmail.com

    Jason was so handsome when he started out. He did however always seemed bored. While I loved “the lost boys” I really saw his talent in ”

    Geronimo” his Georgia accent was done very well. The way he carried himself as a gentleman was special. I’m glad that he has chosen to live his life. Congrats. Many have starred and many have fallen.

    Like

  53. Back in 2004 I was an extra in this really bad movie called Walker, starring Jason Patric, and there was a scene where he has to say something to the dog while the camera comes up on them really tight. Well the dog was being kind of unruly and they were doing take after take and in between takes these two kid extras sitting next to me were giggling. After about 4 or 5 takes Jason Patric finally lost his s*** and turned around and yelled at them, telling them to either “shut up or leave” and then told the director to “handle your people”. I understand being frustrated, but that was uncalled for.

    Like

  54. #WaywardPines Jason Patric ‘forged a different path’ from famous grandfather http://go.zap2.it/6YxLT

    Like

  55. Obscurus Lupa: Solarbabies (1986)

    Rollerblades and glowing ball space Jesus? I guess?

    Like

    • Out of the tons of films I viewed from/in the 1980’s, “Solarbabies” is one that just never interested me at all (same with 1985’s “The Peanut Butter Solution”). I think part of the reason is that I think the name sounded too corny, and the HBO commercial didn’t do it for me either.

      Like

  56. The Lost Boys

    https://www.datalounge.com/thread/17819548-the-lost-boys

    Let’s see if I remember this correctly…Julia Roberts and Kiefer Sutherland were, as all the tabloids said, in love. They were going to be married; it was all set to go and what does do? She runs off to Ireland…with Jason Patric! What a slut! And what DID happen to Patric’s career? He was a big deal for a while and then poof, he was gone.

    —Anonymous

    reply 16 6 hours ago

    Looking at his credits I’d say Speed 2 really hurt his momentum as a box office star. He seems to still work though and took over the lead on the second season of Wayward Pines.

    He also had that long court battle over his son in recent years.

    —Anonymous

    reply 17 6 hours ago

    Patric was beautiful but didn’t have much charisma. I’ve seen plenty of his movies and he’s forgettable in all of them.

    —Anonymous

    reply 22 5 hours ago

    Like

  57. was sleepers a box office hit it did amazing worldwide

    Like

    • You can’t just proclaim something like that w/o solid proof or evidence!

      Like

    • It was #1 in it’s opening weekend, but it looks to me like overall it did better in markets outside the U.S. In the states, I think it was a modest hit, but probably fell short in the eyes of Warner Bros., considering the weight of the cast and the director. Personally, I think it’s an excellent film.

      Like

  58. William M. Gressus

    Thank you for the update on Jason Patric. I have always been a fan.
    I wish him well. 🍀🍀💒

    Like

  59. Gossip no one in Hollywood Will Say Out Loud: Part 8

    https://www.datalounge.com/thread/18757738-gossip-no-one-in-hollywood-will-say-out-loud-part-8

    The real reason Kiefer left Julia is because she was addicted to heroin and she promised to give it up for him but didn’t. She hooked up with fellow junkie Jason Patric right after. She’s clean now but she smokes weed 24/7. She hasn’t lived with her husband for years and won’t divorce him because she doesn’t want to give him a dime.

    —Anonymous

    reply 321 5 hours ago

    Like

    • https://www.datalounge.com/thread/18757738-gossip-no-one-in-hollywood-will-say-out-loud-part-8

      The rumor I had heard about Julia ditching Keifer was that she had overdosed before the wedding and was actually in rehab, not with what’s his name from Titanic. The story of her leaving Keifer because he was an ass and she found consolation in his best friend was better than America’s Sweetheart with track marks.

      —Anonymous

      reply 360 a day ago

      Like

    • The shady side of Julia Roberts

      http://www.nickiswift.com/15746/shady-side-julia-roberts/

      She hooked up with her ex’s friend

      In 1991, Roberts was set to marry Kiefer Sutherland, who was quite the stud in his pre-Jack Bauer years. She called off the engagement just three days before the nuptials. According to the New York Daily News, Roberts allegedly thought her fiance was cheating on her with a stripper. What’s so wrong about a bride-to-be shutting down a wedding due to fidelity concerns? Nothing.

      It was what Roberts did immediately after she ended the relationship that makes you go hmm. According to People, she fled to Ireland and sought comfort from actor Jason Patric, a friend of Sutherland. On the eve of what would have been her wedding day, she went to a photo shoot reportedly wearing a “Notre Dame baseball cap suspiciously identical to the one worn around town by Patric.” Hell hath no fury like a woman scorned.

      Like

    • 15 Shocking Behind-The-Scenes Secrets Of Your Favorite ’90s Movies

      http://screenrant.com/best-90s-movies-shocking-behind-scenes-secrets/

      HOOK – JULIA ROBERTS WAS NICKNAMED “TINKERHELL”

      Julia Roberts became a household name overnight in 1990, thanks to the massive success of Pretty Woman, which proved to be her breakthrough role. She was portraying Tinkerbell in Steven Spielberg’s Hook during that crazy time, when the media had begun scrutinizing every aspect of her personal life, including (and especially) her relationship with Kiefer Sutherland. The abrupt loss of anonymity, combined with working non-stop, left her exhausted – and apparently, a little cranky. There were also unconfirmed rumors of drug use.

      Whatever the reasons, or combination of them, Roberts was reportedly so difficult and unhappy on the set that the crew started referring to her as “Tinker Hell” behind her back. In a TV interview promoting the movie, Spielberg implied that he wouldn’t be willing to work with her again. She may be one of America’s most popular actresses, but she definitely was not popular with the Hook crew.

      Like

  60. I thought I just saw him in a film, but realized he would be way older. I remember him from “Rush”. I thought he was set to be part of the new era of great actors of the future. Not so it seems.

    I believe that many a great actor lost their careers, not by their own fault, but by hiring really horrible managers, PR reps and the like.

    https://polldaddy.com/js/rating/rating.js

    Like

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