2000 in Film

ROAD TRIP: a post-American Pie comedic artefact (2000 in Film #20)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, released on the weekend of May 19th, Todd Phillips’ Road Trip

This week, I’m cheating a little bit, because I’m not talking about the biggest box office hit of the weekend in mid-late May. That honour goes to Disney’s interminably dull Dinosaur, but I’m more interested in Todd Phillips’ Road Trip.

Dinosaur, while boasting a fascinating production history that is far more interesting than the picture itself (Paul Verhoeven was once down to direct it as a live-action, early 90’s mega-blockbuster), the film is about as vanilla Disney as you can imagine, and it romped home at the box office to, by this point in 2000, rake in almost $400 million worldwide. Not quite the haul of the still-dominant Gladiator, but a relatively close second. This is understandable. The competition besides Gladiator, and the incoming Mission Impossible II, was not exactly stellar. Road Trip, the second most successful new film of that weekend, was designed to appeal to a very different crowd.

Being an 18 year old (almost), when Road Trip came out, you can imagine how eager I was to see a film like this. A-Levels were about to come to an end with my final exams in Drama and Media Studies (I had it tough, I know…) and a summer of freedom before University in the autumn beckoned. A film like Road Trip was catnip to my friends and I, despite the fact I attended cinemas regularly myself, more regularly than my compatriots at college. Road Trip was a picture we all went to see and we howled. We were precisely the target audience and we reacted accordingly. Twenty years on, the effect is not the same. The effect wasn’t even the same 13 years on, as I reviewed the film in 2013, and I’m going to turn over to ‘Past Tony’ to lend some thoughts about the film from a distance, and then return to add a modern postscript.

So, 2013-era Tony, does Road Trip hold up down the years?  Continue reading “ROAD TRIP: a post-American Pie comedic artefact (2000 in Film #20)”

Essays, TV

Goodbye DESIGNATED SURVIVOR: Your heart was in the right place

So imagine you’re in a pitch meeting with a major studio (in this case ABC). You have all your ideas stacked up ready to go and then one of the studio heads says “you know what we really want? A mash up of The West Wing and 24. Politics! Action! Conspiracy! Bills! Sounds cool, huh?”. Of course, because you’re a writer who wants to put food on the table, you say: “uh, sure…”.

And there you have it: Designated Survivor is born.

Now, let me be clear: that’s not how Designated Survivor, which has just been cancelled by ABC in what is fast becoming an infamous ‘Cancel Friday’ where several well-known, fairly long-running shows have been axed, came to be. I think. I’m pretty sure David Guggenheim, the creator, didn’t have to be talked into developing a hybrid of Aaron Sorkin’s erudite look at Democratic politics in the White House, and the pulse-pounding, 9/11-reactive action madness of 24 – especially not for an actor as engaging and charismatic as Kiefer Sutherland.

Nonetheless, of all the shows given the axe in this latest cull (including Lucifer and Brooklyn Nine-Nineuntil it was saved last minute by NBC), Designated Survivor is by far the weirdest and, honestly, probably the most deserving.

Continue reading “Goodbye DESIGNATED SURVIVOR: Your heart was in the right place”