Carl Reiner
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Connections, in both directions
Otras, como The Goonies (1985), C.H.U.D (1984) y The Man With Two Brains (1983), son referencias ricas para comprender de dónde salió la extraña inspiración de Jordan Peele.
An opening sequence depicting an 80s-vintage home entertainment console adorned with VHS tapes of C.H.U.D., The Goonies, A Nightmare on Elm Street, and The Man With Two Brains (in which Steve Martin is telepathically linked with a separate brain), serve to twitchily wink at the film’s notion of a bifurcated underworld/overworld structure.
Film fans may notice the VHS tapes framing the television, including C.H.U.D. , The Man with Two Brains , The Right Stuff , A Nightmare on Elm Street , and one of three Corey Haim references in the picture, The Goonies .
Clues are scattered throughout that ask us to look for some deep, hidden meaning – starting with the row of 1980s VHS tapes visible at the start of the film's prologue, from The Goonies to The Man With Two Brains .
The television set is framed by VHS tapes of '80s genre movies like C.H.U.D., The Goonies , and The Man With Two Brains , and the artifacts serve to make her reflective silent stare even more arresting.
On the shelf next to the TV are VHS tapes of C.H.U.D., The Goonies, and, perhaps most prophetically, The Man with Two Brains.
A riff on classic body-sharing fantasies dating back to Dr. Jekyll and Mr. Hyde — you could also think of it as “All of Me” with aliens — the movie tells a stale, workmanlike origin story, cursorily updated with drive-by references to climate change and fake news, and outfitted with cheaply serviceable visual effects.
It’s a good gimmick, mismatched buddies in one frame, as Steve Martin demonstrated in All of Me (1984).
And the central idea -- a journalist forced to share his body with an alien symbiote, whose presence grants him extraordinary powers -- actually brings to mind less the fringes of the Marvel universe than the 1984 comedy "All of Me," in which Steve Martin and Lily Tomlin found themselves in a similar squabbling predicament.
Think of this as an intensely violent version of “All of Me,” the 1984 comedy in which Lily Tomlin’s soul ends up in Steve Martin’s body.
It reminded me of All of Me, that movie where Steve Martin's body is possessed by Lily Tomlin.
From the moment we hear the inner voice from Melanie, the film derails from its attempt to be a combo rip-off of "The Invasion of the Body Snatchers" mixed with "All of Me," and heads down the path of unintentional laughs.
Ronan is one of our most promising young actresses, but listening to her wrestle for command of her own brain made me yearn for Steve Martin's antic duels with Lily Tomlin in "All of Me." Martin's bisexual split personality spilled out into the way he held himself, the way he walked, and ate, and urinated.
Director Andrew Niccol (who also adapted Meyer’s novel) dramatizes this by having Melanie speak telepathically to Wanderer, who in turn responds with spoken dialogue — which, for a while, gives “The Host” the strange tenor of a 1950s women’s psychodrama crossed with a 1980s body-switching comedy: “The Snake Pit” meets “All of Me.”
And so, with nods to classic comedies of spiritual transmigration like “All of Me” and “Heaven Can Wait,” “Soul” becomes an out-of-body buddy movie, an odd-couple jaunt that slips freely between this world and the next.
Most of the script’s ideas are recycled – or rather, reincarnated – from A Matter of Life and Death and All of Me , but Soul has its own visual elegance, and an appealing line in pet-based humour.
Joe’s plan is to re-enter his body and complete his quest, but before you can say All of Me – or any other body swap movie ever made (there have been loads) – things don’t quite work out the way he wanted.
The Wolf of Wall Street (2013)
Directed by Martin Scorsese
influenced by All of Me (1984)
Characters
I don’t think I’ve seen an actor go through such elaborate physical contortions in portraying a man with limited control over his motor functions since Steve Martin in “All of Me.” Also turning in an extraordinary performance is Hill, seemingly borrowing Stanley Tucci ‘s veneers from the “Hunger Games” movies, as DiCaprio’s faithful sidekick.
And like gender-swapping flicks such as "Switch," "All of Me" and "The Hot Chick," that's exacerbated by suddenly being in the possession of different sorts of body parts.
When you think about it, it’s a little bit strange there’s an entire genre of body-switching movies, from the “Freaky Friday” iterations to “18 Again!” to “All of Me” to “The Change-Up” to “Heaven Can Wait” to “Face/Off” to “Dream a Little Dream” and you could even include the likes of “Big” and “13 Going on 30” as a sub-genre in which there’s not technically a body switch per se, but a kid is living inside a grown-up’s body.
(He’s on a par with the quality of physical comedy that Steve Martin and Lily Tomlin showed in “All of Me.”)
In a world with “Freaky Friday” (1976, 2003), “Vice Versa” (1988), “All of Me” (1984) – and please don’t forget “Big” (1988) and “13 Going on 30” (2004) too – a deranged sicko switching bodies with a self-esteem-challenged teenage girl is a textbook case of out-of-the-box thinking.
Crowe's portrayal of Nash is initially engaging for its crass belligerence and unintelligible West Virginia cum Wellington (Foghorn Leghorn cum Crocodile Dundee?) mumbled invectives; it degenerates when Crowe loses the accent and affects the twitches and jerks of movie disability (think Steve Martin post-possession in All of Me simultaneously channelling Ratso Rizzo).
It reminded me of Steve Martin in "The Jerk," where his parents were black, and it never occurred to him to question the matter).
Unlike, say, Steve Martin and Lily Tomlin in 1984's excellent body-sharing comedy All of Me , every attempt at a similar situation here -- such as Eddie ducking into a women's bathroom to argue with Venom -- falls completely flat.
Instead of being an exciting comic book movie, director Andy Sirkis and writer Kelly Marcel try turning this into a twisted version of the 1984 Steve Martin/Lily Tomlin comedy All of Me .
At its best, “Venom: Let There Be Carnage” feels like a superpowered version of the minor Steve Martin/Lily Tomlin classic “All of Me.”
Fear and Loathing in Las Vegas (1998)
Directed by Terry Gilliam
influenced by The Jerk (1979)
Characters
He's like Steve Martin in The Jerk, only much, much less inspired.
Initially it takes time for man and rat to get coordinated, thus leading to the kind of missteps suffered by Steve Martin when his body is occupied by Lily Tomlin’s ghost in the comedy “All of Me.”
Remember when Steve Martin was possessed by Lily Tomlin’s ghost in All of Me ?
Despite being a retread of the old John Candy formula ( The Great Outdoors and Summer Rental come to mind), Grown Ups does have its moments, mostly thanks to the cast's undeniable chemistry.
Buckley anchors this thing, delivering a full and nuanced performance which also requires — nay, demands — that she run rampant, like the Batman villain version of Steve Martin and Lily Tomlin in “All of Me.”
In the tradition of Steve Martin's The Jerk, Carrey here plays a guy who just couldn't be any more stupid and not drown in a rainstorm.
What follows is a macabre variation on the Steve Martin-Lily Tomlin comedy "All of Me," as the body runs around butchering people while the brain tries to stop it.
The malfunction leads to an engrossing drama as these two souls compete in a war neither is prepared for — think All of Me (1984) but instead of pratfalls and physical comedy you get splatter and physical violence.
Like Steve Martin in All of Me , he manages to act while performing physical feats that surprise even him, including struggling against his own body.
There’s something inherently comic about a face that’s entirely removed from what a body is doing, and Whannell wisely leans into the humor; it plays, in spots, like “All of Me” as directed by Gareth Evans.
I'm thinking of such scenes as his daft weather forecasts in "L.A. Story" and his wild gyrations in "All of Me" after Lily Tomlin's spirit invades his body.
Unless this is meant to be a kind of half-assed remake of 1987's Summer School; honestly, right now I just don't know.
She has the wit and whimsy of a younger Steve Martin, making this her Dead Men Don't Wear Plaid – a campy detective flick that truly loves the genre.