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Matinee offers one of the best matches of director and screenplay that you're ever likely to find. Raised on a steady diet of 1950s monster movies, Joe Dante later contributed to the genre with such films as
Gremlins and
Explorers, but it was Charlie Haas's script for
Matinee that gave Dante a perfect platform for comedy, dramatic context, and nostalgic homage. Set in Florida during the Cuban missile crisis of 1962, the movie focuses on a schlock-movie promoter named Woolsey (inspired by real-life producer William Castle and played to perfection by John Goodman) who arrives in Key West with his latest Grade-Z extravaganza,
Mant, about the raving half-man/half-ant product of "science run amuck." (This movie-within-a-movie is a perfect tribute by Dante, who cast B-movie stalwarts in the kind of roles they'd built careers on.)
Balancing youthful exuberance with the ominous threat of nuclear attack, Dante finds his alter ego in Simon Fenton, who plays a 15-year-old captivated by Woolsey's cheesy showmanship. This affectionate devotion is matched by Dante, who captures the anxiety of the missile crisis even as Matinee delivers an abundance of humor. Director John Sayles and Dante-movie veteran Dick Miller have cameos as Woolsey's show-biz accomplices, and Cathy Moriarty is brilliant as Woolsey's wisecracking mistress and Z-movie queen. All of this makes Matinee a polished gem that's sweetly entertaining while staying true to the serious context of its story. It's the movie Joe Dante was born to direct. --Jeff Shannon
Joe Dante's film is a big-budget comedy about the joys of low-budget monster movies, and it's not quite cheesy enough to do justice to its subject. The action takes place in Key West during the Cuban missile crisis, of 1962. For the children and teen-agers in town, nuclear anxiety is mixed with anticipation of a different sort: they're psyched for the première of "Mant," a mutant-on-the-rampage picture about a creature who is "half man, half ant-all terror!" The movie's producer, Lawrence Woolsey (John Goodman), is coming to town, too, mostly to help the theatre manager rig the offscreen gimmickry that will give his cheaply made shocker the aura of a big event. (The trailer advertises special processes called Atomo-Vision and Rumble-Rama.) Dante and the screenwriter, Charlie Haas, treat him as a philosopher-king of schlock. The picture has its moments-especially in the black-and-white scenes from "Mant" itself-but it's disappointingly tame. Too often, the filmmakers settle for the gentle, amiable tone of a "Wonder Years" episode. Nostalgia for cultural innocence is a pretty thin emotion to base a feature film on. In the end, this feels like a memorabilia show, a collection of Kennedy-era artifacts preserved in glass cases. Also with Cathy Moriarty, Simon Fenton, Kellie Martin, Jesse White, and Dick Miller. -Terrence Rafferty
Copyright © 2006
The New Yorker