#Twilight zone the movie cast movie#
KICK THE CAN is integrated into the larger TWILIGHT ZONE: THE MOVIE narrative, and doesn’t blatantly announce itself as a Spielberg piece. In that regard, he shows no noticeable growth in his craft here-despite turning in top-quality work.
theme, this ain’t.ĭue to its existence as a short film within a larger anthology feature, KICK THE CAN feels like an exercise in amusement on Spielberg’s part instead of genuine artistic expression. KICK THE CAN is one of the only Spielberg films not scored by John Williams instead, Jerry Goldsmith fills those shoes with a generic, romantic score. In terms of other key collaborators, producing partner Kathleen Kennedy and editor Michael Kamen also return, with the latter back after sitting out cutting duties on E.T. The camerawork, utilizing primarily classical dolly movements, is very reserved and makes for a conservative visual presentation (much like its subjects). Spielberg and Daviau adopt the 1.85:1 aspect ratio once again, and fill the frame with a warm color palette favoring brown and orange. It does help that Crothers is so damn charismatic-that dude could talk me into happily jumping off a bridge.Ĭinematographer Allen Daviau returns, showcasing the same talent for nostalgic, golden-tinged images that gave E.T. Bloom is pitch-perfect in conveying the necessary warmth and friendliness of the character, but it still comes off too much like the “magical Negro” stereotype most of the time. Scatman Crothers anchors the film, who Spielberg no doubt cast after seeing his memorable performance in THE SHINING (1980), directed by his friend and mentor Stanley Kubrick. This soon causes a mix of emotions, with the joy of youth countered by the anxiety of having to grow up all over again. He convinces the houseguests to join him, and sure enough, as they play they find themselves physically transformed back into children. Bloom announces that he can help them recapture their past youth, and all they have to do is play kick the can with him at midnight. After an interaction with his crabby houseguests, Mr. Spielberg’s segment, an adaptation of KICK THE CAN, occurs after Landis’ opening film, and tells the story of Sunnyvale retirement home, where the kindly old Mr. The film also boasts the work of fellow directors John Landis, Joe Dante and George Miller, with Spielberg and Landis serving as the producers shepherding the project to completion. His choice on a follow-up was a surprising one: contributing a segment to TWILIGHT ZONE: THE MOVIE (1983), an anthology feature that updated four of the seminal show’s most popular episodes- each one under the direction of a different filmmaker.
THE EXTRA-TERRESTRIAL (1982), director Steven Spielberg was in a position to tackle any project he wanted. With the one-two punch of RAIDERS OF THE LOST ARK (1981) and E.T.