Not really a review of this movie but RIP Jonathan Demme all the same. 

There is a wonderful moment in Something Wild, Jonathan Demme’s freewheeling screwball road movie and just about my favourite movie of all time, in which our newly cut-loose yuppie hero, Charles Driggs (Jeff Daniels), in covert hot pursuit of the girl he loves (Melanie Griffith) and the ex-con tough (Ray Liotta) who stole her from him, installs himself in the parking lot of an all-black church in Virginia with a snack and a pair of binoculars, training a tired eye on his marks as they lounge about the pool at a motel across the road. Exhausted, Charlie takes a nap — only to be stirred from…

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It frustrates me when a film establishes itself with a strong premise; one that doesn’t necessarily allow itself to be obviously driven by the Hollywood standards, where things are happening but its pure essence is what remains rewarding. Jonathan Demme’s Something Wild began in such a way where we are introduced to a man with a flaw, which becomes the driving motivation and attraction of a peering stranger, and would fuels them to an adventure that slowly penetrates without plain deconstruction by external forces or inner obligation.

Charlie (Jeff Daniels) belongs in the world of business, one who is recently in a near-pinnacle place, with a recent promotion and a comfortable family. He…

Yes, the soundtrack is great.

The scene where Charlie shows up at the diner and confronts Ray, though, made me so fucking angry. He shows up, and instead of saying, "hey Lulu, let's go, ditch this guy," he speaks to Ray. He says he's taking her back; he spars with Ray over Lulu as if Lulu isn't even there, as if she is literally an object he has to acquire. It's tiresome. Lulu tries hard to redeem the film a few minutes later, throwing Charlie out of the car by the railroad tracks, but of course it doesn't end there. It lets him off the hook. That act of independence is swallowed.

And there's a fight scene with the death…

I don't think there exists a character more endearing than Charles (Jeff Daniels) in all the land of cinema. Equally so, I'd be hard pressed to name a character more sympathetic than Audrey (Melanie Griffith). Combining these two characters in one film is almost unbearably charming. The power dynamic is constantly shifting between them, which makes it endlessly riveting to watch and experience as they reveal more of their flaws and vulnerabilities to one another. Their desire for each other goes beyond romance and lust. It is imperative that the two of them meet in order to move on from their painful pasts.
"I'm setting you free." -- "Maybe I don't want to be free."

Each shot seems to be…

On a reprieve from demons and devils I took a break to watch this proto-MPDG, yuppie-finds-himself road movie. Featuring Ray Liotta as himself! In the context of a week spent thinking about possession, truth and lies, and freedom, this is oddly relevant: this movie is totally of a piece with its 1980's American setting, where conservatism and wealth were treated as its own orthodoxy. Here, the temptation posed comes from outside that straight-laced world, in the worlds of crime, small towns, sex, spontaneity, and, tellingly, a more racially diverse and inclusive world (though the three principals are lily-white). Of course, corporate America and the Reagan administration are complicit in violence, but this movie postulates that there's a kind of psychic…

I saw this back when it first came out and remember that I enjoyed it so I have been looking forward to seeing it again. What I remembered most from the film was Melanie Griffith as a wild thing, the use of colors and the music. It turned out it was in fact all that was worth remembering, especially Melanie Griffith who is wonderful in the film.

This is a film that ticks many sub genres. It's a road movie, a reunion film, a romantic comedy, a thriller, and a "the trap of the middle class" flick. It has some nice moments (mostly when Griffith is getting Jeff Daniels into trouble) but Ray Liotta just ruined it for me. It…