André Gower and Ryan Lambert talk The Monster Squad

André Gower and Ryan Lambert

Ever since those fateful Easter weekend screenings of The Monster Squad at Alamo Drafthouse in Austin, Texas, in 2006, André Gower and Ryan Lambert – who played Sean and Rudy, respectively – have had plenty to do. Coming directly from a 17-day tour that encompassed visiting 17 Alamo Drafthouse theaters across America, their efforts have finally brought them to the cinematic oasis that is the Prince Charles Cinema in London, England.

Located just off Leicester Square, the Prince Charles Cinema has long been known for its eclectic selection of cult films and classics, and it therefore seemed like the perfect location for a 30th anniversary screening. In keeping with the film’s recent surge in the popularity that prompted the Alamo Drafthouse tour, the queue of excited fans snakes its way around the corner from the entrance at Leicester Place into Lisle Street, extending far down the latter. With their trusty documentary crew in tow, Lambert and Gower walk along the long, winding queue to greet people and ensure that no one has mistaken this for the queue for the 30th anniversary screening of Dirty Dancing, which is playing at one of the large cinemas in Leicester Square.

Having gained a significant and very dedicated following of fans both young and old, there can be no question about the lingering appeal of The Monster Squad, not only as a nostalgic gem, but also as a creative work that transcends time. With the script being a cooperative effort shared by Shane Black and director Fred Dekker, the film is saturated with excellent wit and sincere charm, and the studio’s faith in the production was not missed on Lambert during production.

Ryan Lambert: “I grew up like everyone in that era; I watched Raiders of the Lost ArkStar WarsE.T.Close Encounters, all those things. Then I’m suddenly of the set of The Monster Squad, and I remember thinking to myself that I was probably in one of those films and that I was going to be a frigging action figure! I thought all of these things were going to happen, especially in the last 20 minutes of the film with the big climactic ending; they’d yell action and then 15 gigantic wind machines would turn on and they’d throw debris at us, stop signs would be hitting us in the face… And we were harnessed up, flying through the air or shooting things and killing stuff – it was huge! It was something I thought I would never get to do, and it did feel like this giant budget, Spielbergian action piece.”

And there is indeed no moment as you are watching the film that you ever get the sense that this was going to be marketed as anything less than the more well-known 1980’s action adventure films featuring kids as the main cast. A such, it is highly evident from the final product that the $12,000,000 budget was competently put to use, suggesting that the studio had enough confidence in the film that the idea of The Monster Squad having multiple sequels seemed highly plausible.

Unfortunately, in spite of the excellent creative efforts put into The Monster Squad, it would be almost 20 years before the film would find success and Lambert would finally get his own action figure. With such a substantial delay from release to recognition, it begs the question why the film initially flopped in spite of having so many components that not only seemed to match the zeitgeist of the 1980’s, but have also proven to be sufficiently competent and intriguing to enable such a noteworthy resurgence, a question that Gower has also considered.

André Gower: “I think the reason was kind of twofold. Firstly, our marketing campaign was really… odd. It was kind of a rad marketing campaign that was like a call to action, which would’ve been great if there had been the internet or somewhere else to go, because the main marketing push was ‘wanted’ posters of the monsters.”

However, the marketing department clearly had not thought the campaign through, as Lambert adds that the Dracula poster did not even feature Duncan Regehr, who portrayed the bloodthirsty count in The Monster Squad, but instead a random guy in subpar makeup and cheap plastic fangs. Gower agrees that a photo shoot with Duncan Regehr would have been awesome before further elaborating on the wanted poster campaign.

Gower: “They listed these corny crimes for all of them, which didn’t make sense in the first place because this wasn’t a police procedural movie where we are hunting down the monsters. But the thing that killed me was the mummy one. It listed three crimes that the mummy was wanted for; crossing state lines to avoid burial, arms bandage and statutory wrap…”

The ill-fated ‘wanted’ posters from the marketing campaign for The Monster Squad.

While the 1980s are hardly remembered for their political correctness, it is still baffling to consider that not only did someone think of that problematic pun in the first place, but also that at no point in the process from brain fart to billboard did anyone think to put a stop to this questionable piece of marketing. Awkwardly inappropriate as it was then, one shudders to think about the kind of unbridled outrage such an ad would cause today.

Gower: “The other thing that I really think is the main reason why the movie didn’t do well, is that the trailer is pretty dark and scary, and the ads were as well, so I don’t think parents of 10-year-olds wanted to take them to see the movie because it was rated PG-13. On the other hand, The Monster Squad was too kid-oriented for all the cool kids that were old enough to go by themselves, so they went and saw The Lost Boys instead.”

“I always joke that we made the first tween movie, a market that wasn’t a thing then, but now it’s a big thing, so I always make this corny joke that had they known that and marketed it for that, we would’ve made The Monster Squad 11: Breaking Dawn by now.”

To make matters worse, The Monster Squad has a 15 rating in the UK, making it entirely impossible for the target audience to see the film on the big screen. Unsurprisingly, The Monster Squad only lasted a week in London back in 1987, which was absolutely unheard of at the time, not to mention even less time than the two to three weekends the film managed to stay in American theaters. Some very young fans at the 30th anniversary screening in London lamentably learn about the strict reinforcement of the BBFC rating the hard way by being refused entry into the screen, but the cinema and the two actors have prepared for this by keeping the youngsters and their parents entertained in the lobby before the kids are allowed into the screen for the subsequent Q&A session.

However, as discrepancies between the MPAA and the BBFC have long proved to be unavoidable, it is easy to see why the British decided that the film was deserving of a more severe rating; the fish man is breaking necks, vampire brides are being staked, and Dracula has a murderous penchant for lighting dynamite with his mind, but there are also other and perhaps even darker elements at play at a more subtle, thematic level.

One of the these themes is the subplot regarding the increasingly negative tension between Sean’s parents. Going as far as having his parents argue over marriage counselling – which in itself is hardly standard fare for a kids’ action adventure movie – but Gower notes that it did not stop there.

Gower: “Most people will have seen the film in a format with a morphed image. On the big screen, you would be able to see the luggage outside the house near the finale because the mom’s about to leave for good.”

Another unusually dark element is the presence of Scary German Guy; while the words ‘scary ‘ and ‘German’ have certainly been synonymous for yours truly in terms of linguistic studies, the character of Scary German Guy is a lot more than the oft used strange, supporting character whose arc goes from potential threat to helpful ally. A simple, but clever line followed by a pensive expression on actor Leonardo Cimino’s face and a closeup of his forearm adds substantially to not only the arc of that character, but also to the proceedings as a whole, essentially transforming Dracula from a campy, supernatural monster into a parallel of one of the most atrocious human monsters of all time.

“A lot of people refer to that scene where we see his concentration camp tattoo and learn that he’s a survivor of the Holocaust because the movie gets different then; it gets real. It adds this extra layer that’s really impactful because it’s a kids movie, but then all of a sudden you’re bringing in this survival story. And that’s what’s interesting about the character of Scary German Guy; he’s not only the funny, old, weird dude that helps you, he’s seen that kind of evil before, and because of that, he’s one of the only people that recognizes the peril and understands what’s going on in a different context. He’s not in the film much, but even as an older, frail guy, he steps up to face off against Dracula to show that he will not allow such evil to go unchallenged.”

On a lighter note, another aspect that attests to the enduring appeal of The Monster Squad is how quotable the film is. While Gower attributes the great characters and camp factor to Fred Dekker’s imagination, co-writer Shane Black – who was at the brink of stardom with Lethal Weapon – was unsurprisingly the mastermind behind the witty banter and buddy cop comedy dynamic that would make Lethal Weapon such a big success. However, the presence of Shane Black’s career-making knack for snappy dialogue would not only benefit the lingering appeal of The Monster Squad, Black’s involvement with the film would also become the selling point for a Hollywood A-lister to star in one of the best films of 2016.

“There is a great story about The Nice Guys, which a lot of people may not know. Ryan Gosling gets maybe 20 scripts a year, but he specifically chose to do The Nice Guys because he is a big fan of The Monster Squad and wanted to work with the guy that wrote his favorite movie of all time.”

Shane Black, Ryan Gosling and Russell Crowe on the set of The Nice Guys.

While on the topic of the masterminds behind The Monster Squad and considering the amount of reboots and sequels inhabiting the contemporary cinematic landscape, it seems only natural to ask the dynamic duo whether Fred Dekker and Shane Black have discussed revisiting the world of assertive kids who battle evil monsters.

Gower: “They have certainly talked about it and if it was the right situation, they would both want to do something, but it all comes down to timing and availability. Shane has been quoted as saying that he would love to revisit that world because it would be fun to see what that would look like, but it’s up to them or other powers that be to put something in motion.”

Alas, despite the exchange of ideas, there is therefore no official sequel to The Monster Squad in the works. Likewise, the proposed reboot of the 1987 film was also cancelled to make way for Universal’s Dark Universe, which was supposed to be the vehicle to introduce the classic monsters to a new generation, however, the 2017 version of The Mummy left this new franchise as dead in the water as a victim of the Creature from the Black Lagoon.

Another point of interest when discussing the resurgence of The Monster Squad is of course the current trend of revisiting all things 1980’s, with Stranger Things being in the driver’s seat of the seemingly unstoppable nostalgia train.

Lambert: “I think that the filmmakers, directors and writers that grew up in that era have now reached an age where they make their own content, so the Duffer Brothers are just drawing from their youth; that’s their jam. They’ve taken their influences and made Stranger Things, not as a rehash, but as an homage to the filmmaking associated with a different time period.”

Lambert and Gower at the Prince Charles Cinema, their crew documenting the event.

A significant element of contemporary popular culture is meta content. With some of the more self-aware and tongue-in-cheek elements of The Monster Squad, it is therefore tempting to draw a parallel between the inventive wit of the 1987 film and the current popularity of meta-filled narratives, just as conventions such as the various comic cons across the globe are booming and allowing people to bond through their fandoms. Thus, is it possible that part of the resurgence of The Monster Squad is owed to the film being ahead of its time and only now having a broader appeal thanks to contemporary tastes?

Gower: “I actually think that the resurgence of The Monster Squad pre-dated that a little bit, but it was supplemented by that. Our original fans finally had a place to congregate and talk to each other, and then it just expanded out to events and conventions, which built into that, and now everything’s about that. I think we slid in right before that kind of dynamic happened, but it just reinforced it because now those events and conventions are about what’s new, whereas it used to be about celebrating the stuff that only a few people like; the whole thing has been turned upside down.”

There is no doubt that the surge in popularity geek culture has experienced over the last couple of decades has enabled people to effortlessly find peers who share their interest in all manner of entertainment, be it film, TV, comics or whatever else you can think of. Whether it is huge conventions or packed 30th anniversary screenings at an independent London cinema, celebrating your favorite pop culture content has never been easier. However, in the case of The Monster Squad, Lambert and Gower have embarked on a quest to thoroughly unearth the true reason for the delayed celebration of their film.

Lambert: “We weren’t sure if it was just a one-time thing you could attribute to a bunch of people that got together and decided to go see The Monster Squad, but then there was another screening, and then we went to a convention, and then we went to Comic Con and then the DVD came out and we did the commentary for that. After the DVD came out, we went to San Diego Comic Con and the line was around the block, and it was then we realized that something was going on, something that was different from other fandoms. If a new Captain America movie comes out and Chris Evans is attending, obviously there’s going to be a giant line around the corner, but that’s expected; we wanted to know why this was happening to our movie now as opposed to when it came out. There’s a story there, so what’s that story? It’s just something that became a giant question that I think had to be answered.”

Sharing Lambert’s zest for wanting to explore exactly what it is that draws people to The Monster Squad, Gower would eventually set the wheels in motion to create a documentary about the fandom, the release of which is imminent. Elaborating further on Lambert’s thoughts about the appeal of The Monster Squad, Gower follows up on Lambert’s musings, adding his perception of the appeal of their film.

Gower: “Some people say it’s a cult film, some people say it’s not a cult film, and to me it’s just a classic film because it was a big hit to me right off the bat. So we have this great back-and-forth between fans, academics and industry people who all have a different answer to what this film is and why we are experiencing this resurgence. We have so many people that care so much about this movie, which we appreciate so much, and it kind of gives us new life almost every day that this discussion happens, it just energizes us even more. It is something special and that’s what we’re trying to capture in this documentary; the essence of these experiences that we have and explain what that means to us and what it means to the fans. For 30 years, the fans have been celebrating this film, so what I want to do for the documentary is turn that celebration around and shine it back on the fans because we wouldn’t be here 30 years later without them.”

Ryan Lambert and André Gower all wrapped up in hosting an episode of Short Ends.

As the investigation into the motivations of the fandom spawned from The Monster Squad continues and the release of their documentary looms on the horizon, Lambert and Gower are currently hosting the second season of their show Short Ends. Available on Nerdist’s premium channel Alpha, Short Ends is an online short film festival that sees the duo curate short films, while also engaging in goofy gags and interviewing the filmmakers.


Review: Molly’s Game


It is safe to say that Aaron Sorkin is one of the best screenwriters working today, a status he has deservedly earned thanks to excellent writing credits including the award-winning scripts for The West Wing, Steve Jobs and The Social Network. While Molly’s Game continues Sorkin’s current trend of writing scripts concerning the lives of real people, the film also marks his first time directing.

Telling its story by segwaying back and forth between the reality of Molly’s life before and after her arrest in usual, non-linear Sorkin style, all the elements one has come to expect from a Sorkin piece are present in Molly’s Game. The snappy exchanges and tightly-scripted dialogue are as plentiful and as enjoyable as ever, which will likely make Molly’s Game a treat for fans of the writer’s previous works.

Jessica Chastain once again proves that she is the thespian gift that keeps on giving, showing just how well she can deliver Sorkin’s trademark quick-witted dialogue with a panache that will likely thrill fans of another 2017 Chastain offering, namely the Sorkin-esque Miss Sloane. Thanks to the combination of Sorkin’s writing and Chastain’s talent, her turn as Molly Bloom therefore makes for a compelling portrayal of an intriguing woman with an unusual life story.

Idris Elba keeps up with Chastain for the most part, which is a welcome reminder of the presence he can at times muster, something that is painfully needed after Elba severely failed to impress in recent atrocities such as The Mountain Between Us and The Dark Tower. While Chastain’s magnetism is evident throughout the film, Elba’s presence is more restrained, save for a particularly outstanding monologue in the latter half of the film. As such, the two leads manage to spar well with one another, ensuring a dynamic contrast of characters, which elevates the dramatic potency without compromising the necessary balance.

Where the film may fall short for some is in terms of its heavy emphasis on the world of poker. While fans of poker will likely enjoy the film’s suave, yet thorough and competent insights into the game, the various players and their dynamics, it may be too niche for those who have little to no knowledge of poker. Thus, the uninitiated may struggle to maintain their interest through significant portions of the film, even though the poker elements are introduced and portrayed in that rapid-fire style so typical of Sorkin.

In addition to the potential issue of the film’s true target audience being too narrow a demographic, the issue of pacing is unfortunately also prevalent. With its 2 hours and 20 minutes, not only is the film substantially longer than usual Sorkin fare, it is also slightly too long from a more general cinematic point of view. Being a little harsher in the editing room could have left the film flowing better, as the intrigue of the story and writing does dip dangerously low at points, however, thanks to the talent and skill on display, the drawback of the runtime is not too severe.

While not a particularly monumental effort from Aaron Sorkin in terms of his well-known writing and his debut as a director, Molly’s Game does succeed overall. As a film about a strong-willed, intelligent and assertive woman, Sorkin once again excels at writing a great character, which Chastain brings to life like only she can. With its pacing issues and overly specific subject matter, Molly’s Game may not be a cinematic royal flush that will win everyone over, but for fans of poker and Sorkin, the combined elements will likely add up to a game-winning full house.

Verdict: 8 out of 10.

Review: Jumanji: Welcome to the Jungle


As Dwayne ‘The Rock’ Johnson continues his vendetta against iconic elements of 90’s pop culture, no property appears to be safe. Having already tormented cinemagoers with the painful Baywatch film earlier this year, it is therefore understandable that many have expressed their concerns about his involvement with Jumanji: Welcome to the Jungle. Being not quite a sequel and not quite a reboot either, Jumanji: Welcome to the Jungle seeks to show us the inside of the Jumanji board game, which has now become a video game, a change that only spurred further outrage from fans of the 1995 original.

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Review: Star Wars: The Last Jedi


When The Force Awakens was released in 2015, it was met with overwhelmingly favorable reviews, just as the fans for the most part seemed thoroughly pleased by the continuation of the beloved saga. The cause for the success was largely attributed to J.J. Abrams having managed to bring the franchise back to its roots in terms of tone and atmosphere, just as many of the new additions to the cast were also commended for being highly compelling. However, with a change of director and the untimely death of the inimitable Carrie Fisher, people have been wondering where director Rian Johnson would take the saga, as the ominous episode title The Last Jedi and the secretive marketing campaign seemed to suggest that the latest installment would be a much darker outing than its predecessor.

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In The Room: The Francos talk The Disaster Artist

When you walk past the Prince Charles Cinema in the heart of London’s West End, you may notice that the marquee above the entrance has a small, permanent sign that boasts that this is the home of Tommy Wiseau’s The Room. Like a miniature version of his infamous Los Angeles billboard, Wiseau eerily glares down on passersby, but Tommy Wiseau and Greg Sestero can also be witnessed in person at this location, as they visit the cinema at frequent intervals. Here, Wiseau and Sestero introduce the film that brought them cult fame, take questions from the crowd – albeit Wiseau rarely answers any – and throw footballs back and forth to fans in the Leicester Square side street outside the cinema.

As a result, the cinema has become particularly famous for the wild energy that fills it when The Room audiences let loose with endless, heckling roars and a monsoon of spoons – mostly plastic ones, however, cinema manager Paul Vickery does recall a few unfortunate incidents involving metal spoons – which requires the staff to take swift action to get it all cleaned up before the next flock of cult film fans fill the room for yet another of the frequently sold out screenings.

This has clearly not escaped James Franco, as he and his brother Dave take the stage after a special preview screening of their new film The Disaster Artist has just finished to a standing ovation from the sold out screen.

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Review: Justice League


Not only has establishing the DC Extended Universe proved to be an arduous task with the numerous flops threatening to be a deadly counterweight to the one big hit the current film franchise managed to land with Wonder Woman this summer, the production of Justice League itself has also been tumultuous, to say the least. When Zack Snyder decided to step down from Justice League due to the tragic loss of his daughter, Joss Whedon stepped in to cover for Snyder, helming a substantial amount of re-shoots. Among DC fans, concerns understandably grew that Warner Bros. were simply trying to imitate the Marvel formula by bringing in the director of The Avengers, but while it is for better and most definitely also worse easy to see which elements Whedon has been in charge of, Justice League overwhelmingly comes across as the vision of a Snyder who has reined in his preference for angsty bleakness and muted colors and instead attempted to create a more vibrant film with more of a comic book feel than his previous DCEU offerings.

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Review: Paddington 2


In 2014, the first film about Michael Bond’s lovable, jam-obsessed bear managed to impress both audiences and critics alike with its sincere charm and heartwarming themes. As everyone knows, a sequel rarely lives up to the original, and it was therefore understandable that many would have low expectations when settling into their seats for the bear’s second set of adventures in London. However, for those who have already had the opportunity to see Paddington 2, the general consensus is thankfully that the sequel not only lives up to its predecessor, it does, in fact, also surpass it.

From the beginning of the film, director Paul King continues in the same playful, slapstick vein of the first film. Ben Whishaw also continues to prove that he is the perfect choice to voice the eponymous bear, and all the recurring characters are as welcome a sight as they should be. However, once we have been reminded of the things that made the first film so enjoyable, the main storyline comes into full effect, and it is at this point that Paddington 2 truly reveals itself as something very special.

Much like the first film succeeded due to the sincerity of its charming narrative – which  prevented it from falling victim to relying on the kind of schmaltz so often overused in family films to provoke a response – the greatest strength of Paddington 2 is that very same sincerity of the original. Without relying on emotional manipulation, the sequel is brimming with warmth thanks to the combined efforts of the talent both behind and in front of the camera being committed to competently bringing the essence of the endearing source material to life.

As previously mentioned, one is once again thankful that Colin Firth volunteered to step down to allow Ben Whishaw portray the Peruvian furball, however, another standout is Hugh Grant in the role of a self-obsessed, has-been actor. Stating that Grant is superb at portraying a failed actor may sound like a snarky dig, but the enthusiasm with which he portrays this character only attests to his talent and wit. Brendan Gleeson also has great fun portraying the initially intimidating Knuckles McGinty, however, the entire ensemble of prisoners during the films lengthy time spent in jail make this portion of the film so engaging that it is rather unsurprising that it has earned Paddington 2 the nickname The Pawshank Redemption.

Aside from its unadultered Paddington-esque qualities causing equally amusing and charming set pieces and character arcs, the moment our furry protagonist lands himself in jail is also where the technical aspects of the film truly shine. While the film as a whole is brightly colored comfort food for the eyes, the prison sequences are on another level; with visuals reminiscent of Wes Anderson’s The Grand Budapest Hotel, the craftsmanship applied showcases the kind of stunningly beautiful work that elevates a film when set decoration, cinematography and color grading all come together perfectly.

The family film has always been an incredibly tricky genre to master, as achieving a balance that ensures a film can engage and entertain across all ages for the duration of its runtime is an ungrateful task. With more misses than hits in this genre not only in general but also in recent memory, Paddington 2 is therefore a remarkable feat as it manages to tick all the boxes, both in terms of technical aspects and narrative strength. And I am not ashamed to admit that the film is so utterly charming and compelling that I would frankly feel inclined to take Paddington’s example and give anyone who disagrees a very hard stare indeed.

Verdict: 10 out of 10.