Into the Night (1985)
Directed by John Landis
Ed Okin used to have a boring life. He used to have trouble getting to sleep. Then one night, he met Diana. Now, Ed's having trouble staying alive.
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What critics compared Into the Night to
Max Landis’ script is reminiscent of the one his father, John Landis, did for “Into the Night” in 1985.
At its best, Max Landis’s script channels some of the anarchic energy of Into the Night (which his father, John, directed), but too often American Ultra looks like 17 different movies thrown into a body bag and left to duke it out.
The journey they go on just to get to Nick’s bash is like something out of Paul Brickman’s Risky Business ,John Landis’ Into the Night or Martin Scorsese’s After Hours , only with a feminine twist that’s pleasantly delightful.
Screenwriter Mark Perez (Accepted, Herbie Fully Loaded) has engineered a deliciously anarchic scenario that plays out like the haphazard, devil-may-care composite of fellow subversively absurdist comedies like Into the Night, Adventures in Babysitting, Risky Business, After Hours and Date Night, while directors John Francis Daley and Jonathan Goldstein handle all the chaos and calamity with confidence and flair.
He fails to convince, of course, but with the lines Morrow is given (by writer Ron Koslow, who has few forgettable credits like 1985's "Into the Night") it's hard to tell if he's supposed to be nervous and unsure of himself or a skilled litigator who just chose to argue with the wrong guy.