From the Chicago Reader (June 29, 1990). A more recent look at this sequel shows that it dates badly, even (and perhaps especially) with all its Trump references. Its gibes all remain on the same level, even when they’re funny, so that it never becomes disturbing (as its predecessor does) or provocative. — J.R.
GREMLINS 2: THE NEW BATCH
Directed by Joe Dante
Written by Charlie Haas
With Zach Galligan, Phoebe Cates, John Glover, Robert Prosky, Robert Picardo, Christopher Lee, Haviland Morris, Keye Luke, and Dick Miller.
A cautionary tale set in a Frank Capra universe, Joe Dante’s original Gremlins (1984) gives us a kindhearted, unsuccessful inventor named Peltzer (Hoyt Axton) who buys a furry little creature called Mogwai as a Christmas present for his teenage son Billy (Zach Galligan). He finds Mogwai in Chinatown, in a curio shop run by the sage Mr. Wing (Keye Luke), who doesn’t want to sell it, but Wing’s practical-minded grandson, who says they need the money, arranges the deal anyway. Peltzer is warned to follow three rules of animal maintenance: keep Mogwai out of the light, don’t get it wet, and, above all, never feed it after midnight. After Peltzer brings it home, he names the pet Gizmo, reflecting his own taste in crackpot inventions.… Read more »
I never expected to see any Margarethe von Trotta movie more than once, but Hannah Arendt proved to be well worth a second look. Some of my reasons for going back are undoubtedly personal; Arendt’s husband, Heinrich Blücher, astutely played in the film by Axel Milberg, is by far the greatest teacher I’ve ever had, two of whose seminars at Bard College I was fortunate to take, and Arendt’s Eichmann in Jerusalem, the main focus of the film, appeared in The New Yorker during the same period. The controversy it sparked among New York intellectuals at the time made it the major topic of discussion among visiting speakers; I can recall lengthy conversations I had or overheard with Harold Rosenberg and Dwight Macdonald, among many others who came to campus during that period. (Lionel Abel, perhaps the most intemperate of Arendt’s foes, also came, but as I recall I went out of my way to avoid broaching the subject with him.) And there were plenty of snack-bar dialogues at Bard with Blücher on the same subject.
For me, part of the singularity of both Blücher and Arendt (whom I met only briefly, once in their Riverside Drive apartment) was the degree to which art, politics, philosophy, moral seriousness, and a remarkable passion for ethics interfaced in their discourse and lives with an unflagging intensity, and what I cherish most about von Trotta’s movie is the degree to which she — and, above all, Barbara Sukowa as Arendt — capture this.… Read more »