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The Movie Itself: Our Reviewer's Take Most of you remember that mid-80's action-comedy featuring the African American cop and his wise cracking Caucasian partner that is set in the big city during Christmas time. No, I'm not talking about, I'm talking about the movie that came out a year before that one did – the Gregory Hines/Billy Crystal team-up of 'Running Scared'. While the movie never became as beloved at that other buddy-cop flick mentioned above, there's no doubt that 'Running Scared' helped launch the big-screen career of Billy Crystal in what was his very first starring role. Up until this point in his career, he was primarily known for his stint on 'Saturday Night Live' and his role as a gay character on the TV series 'Soap'. In fact, an argument can be made that 'Running Scared' wouldn't have worked without Crystal, as he's the jet fuel in a machine that otherwise feels pretty familiar, even by 1980's Hollywood standards. Set in Chicago and directed by Peter Hyams, 'Running Scared' focuses on police partners Danny Costanzo (Billy Crystal) and Ray Hughes (Gregory Hines), who find themselves on the trail of a local drug dealer, Julio Gonzales (Jimmy Smits), who wants to become 'the Spanish Godfather' of the city. They manage to bust him, but in the process screw up a sting operation that a pair of other cops in their district have been working on for a long time.

Put on paid leave, Danny and Ray decide to take a vacation in Key West, Florida, during which they decide to quit the police force and buy a bar for themselves. They still have to put in 30-days' notice back in Chicagoand when they return, they learn that Gonzales has been released and is back to his criminal activity.

Naturally, the duo's final days on the force are spent trying to bring Gonzales to justice. As these kind of movies go, 'Running Scared' is pretty by-the-numbers stuff, enhanced by the chemistry between Hines and Crystal, as well as the latter's skills for both comic timing and ad libbing. Download Naruto Shippuden Eps 345 Sub Indo Mp4 more.

There's also a nice reminder of the way they used to make movies 'back in the day', as the film contains a number of big action sequences, including a car chase atop Chicago's elevated train tracks and a movie-ending showdown inside Chicago's James R. Thompson Center (which was brand new when this movie was shot). Of course, there's no CGI or miniatures here – all the stunts are 'practical', which helps add to this movie's appeal. While 'Running Scared' marks the point where Billy Crystal turned from a TV personality into a full-blown movie star, it's also a good reminder of what Gregory Hines could bring to a role, as well as how much he's missed.

It's surprising that a sequel to 'Running Scared' never materialized, although rumors over the years have been that several scripts were pitched, but Crystal and Hines never thought the proposed stories were worthy of the characters. Sadly, Hines died from liver cancer back in 2003, so any chance for an on-screen reunion vanished with his untimely passing.

'Running Scared' is still far from a 'great' film, but it's a good one and a fun reminder of the kind of movies many of us spent our summers going to back in the 80s. The story contains everything you remember about movies back then – lots of action, comedy, big action pieces, and that ever-present soundtrack that would have you going to pick up the album (or cassette!) at National Record Mart after the credits rolled. It's a nice piece of nostalgia, and worth picking up on Blu-ray for that reason alone.

The Blu-Ray: Vital Disc Stats 'Running Scared' races onto Blu-ray in a standard Elite keepcase, which houses the 25GB Blu-ray, with no inserts. There are no front-loaded trailers on the disc, whose menu consists of a still of the same image on the box cover, with menu selections running along the bottom of the screen. The Blu-ray in this release is Region A locked. Since 'Running Scared' has been released on a single-layer 25GB disc, potential viewers might be worried about compression or other problems with the image.

However, thanks to Kino making all the bonus features standard definition (not something I'm necessarily applauding), there's plenty of room for the movie, which clocks in at a bit rate averaging around 24Mbps. While I can't say the picture here sparkles with detail, I'll give Kino credit for not over-sharpening the image. This 1986 film retains all the grain and grittiness of the original theatrical exhibition, while avoiding any issues with banding, aliasing, or the like. While colors are often muted due to the Chicago locale, scenes that take place in Key West are full of color – proving that the rest of the movie retains the intended look of the filmmakers. There is some dirt and other defects still evident in the print (mostly apparent in the opening credits and in scenes with solid backgrounds), but for the most part the image is remarkably good for a movie rapidly approaching its 30th anniversary with no major restoration work.

Despite the at-times heavy grain, black levels are fairly strong throughout, although some scenes do wind up looking softer than others. The most important thing here, though, is that this film still looks like film, which no doubt fans of the movie will be pleased to hear.

The only option here is a 2.0 English one, but it's provided via a lossless DTS-HD Master Audio track. While the track is obviously limited in what it can do, dialogue here is crisp and clear, and the musical soundtrack (both the songs and the score) sounds great without ever drowning out the spoken word. There are no obvious glitches, either, such as any dropouts or hissing in the audio. All in all, this is a pretty good rendition of what the movie sounded like in theaters back in 1986and perhaps a tad better, thanks to the lossless quality of the track. In addition to the DTS-HD lossless audio, English subtitles have been provided. • Audio Commentary by Director Peter Hyams – One of the highlights of this release, this is a brand-new commentary with the director, who passes along some wonderful stories about how the movie came to be and what happened during the shoot, as well as many other behind-the-scenes tidbits.

The Darkest Day Britt Bury Epub more. • Featurette (SD, 6 ½ min.) – This is a classic 'On Location' vignette that includes archival interviews with Billy Crystal and Gregory Hines. • Billy Crystal Outtakes (SD, 4 ½ min.) – This isn't so much bloopers/outtakes from the movie (although there's a little of that), but rather an on-the-set 'video diary' from Crystal filled, of course, with a lot of humor. • Selected Electronic Press Kit Scenes (SD, 6 min.) – These are just a collection of different clips/scenes from the movie, shown full-frame and in standard definition, so their inclusion on this disc seems rather pointless and odd. • Theatrical Trailer (SD, 1 ½ min.) – The original theatrical trailer for the movie, which is in standard def, but has been anamorphically enhanced.

This Sunday marks the 30th anniversary of the classic supernatural action-comedy “,” which hit theaters on Friday June 8th, 1984. One of the most beloved films of its generation, the Ivan Reitman-directed movie is remembered for its sharp, funny, tight script (co-written by the late Harold Ramis), still-superb visual effects, great performances from the likes of Bill Murray, Dan Aykroyd, Sigourney Weaver, Ernie Hudson and Ramis, and being a rare example of the successful blend of blockbuster fantasy and comedy. It’s also, for better or worse, remembered for Ray Parker Jr’s iconic theme tune, a smash-hit at the time, which earned an Oscar nomination. We’re in an era where the movie theme song is something of a dead art (though the recent success of “ Skyfall” and “Let It Go” from “ Frozen” might see that change), but in the 1980s, it was in its prime, and many of the decade’s biggest sellers were directly connected to some of its biggest movies. So, to celebrate the 30th anniversary of “Ghostbusters” and Parker Jr’s song, we’ve trawled through the archives to select 20 of the best, or at least most memorably iconic, theme songs from 1980s movies, because we ain’t afraid of no ghosts.

The only rule: they had to be songs written specifically for the film, and not released prior to the movie, ruling out cover versions and the like. Watch, listen, and disagree below, and for more on “Ghostbusters,” “Ghostbusters” – Ray Parker Jr – “Ghostbusters” Essentially inseparable from the film from which it came (try and look at the logo or DVD cover without hearing a snippet from the song), the theme tune to the fantasy comedy smash is undoubtedly one of the best known theme tunes in cinema history, even if it is (whisper it), a bit naff. Penned and performed by erstwhile Raydio frontman Ray Parker Jr, it topped the Billboard charts for three weeks, and was nominated for an Oscar (though lost to Stevie Wonder’s “I Just Called To Say I Love You” from “ The Woman In Red“). It caused friction with another 80s idol: Huey Lewis sued over similarities to his track “I Want A New Drug,” the matter eventually being settled out of court).

“Eye Of The Tiger” – Survivor” – “Rocky III” (1982) When his request to use “Another One Bites The Dust” was turned down by Queen, Sylvester Stallone needed an inspirational theme for the third in his boxing franchise, and turned to relatively little-known rock band Survivor, whose first Top 40 hit “Poor Man’s Son” had caught the writer/director/star’s ear. The band delivered: their inspirational “Eye Of The Tiger” will forever be associated with the franchise, even if it’s the most memorable part of the third film (the one that Mr.

T as the adversary). The song was a monster hit, the second biggest selling of that year, and even went on to inspire its own film, 1986’s Gary Busey vehicle of the same name. “Call Me” – Blondie – “American Gigolo” (1980) As with so many of the songs on this list, “ Call Me” might not even exist had someone else not turned down work: electronic legend Giorgio Moroder, who was composing the score for Paul Schrader’s “ American Gigolo,” initially approached Stevie Nicks to write a song for the soundtrack, but contractual issues prevented the Fleetwood Mac star from coming through. Instead, Debbie Harry and Blondie teamed up with Moroder: the result, “Call Me,” provided the perfect introduction to Schrader’s film, the Doctor Who bassline and growly Harry vocals helping bring viewers into a new 1980s of Jerry Bruckheimer-produced excess. The song also turned out to be the biggest seller of the year. “Fight The Power” – Public Enemy – “Do The Right Thing” (1989) Has there even been a more perfect match of movie and pop song than Spike Lee’s classic “ Do The Right Thing” and Public Enemy’s furious fuck-you anthem “Fight The Power”?

The director wanted a song that would recur throughout the film, most notably when played on the boombox of crucial character Radio Raheem ( Bill Duke), saying that he “wanted it to be defiant, I wanted it to be angry, I wanted it to be very rhythmic. I thought right away of Public Enemy,” then coming off their classic second record, It Takes A Nation Of Millions To Hold Us Back.

The resulting track, all abrasive Elvis-dissing lyrics, thundering loops and unexpected sax solos, was an all-time classic, topping the Village Voice’s Pazz & Jop poll, and becoming an African-American anthem. “Fame” – Irene Cara – “Fame” (1980) Most movie musicals have a track that’s most associated with them, but not all have theme tunes as such. Alan Parker’s 1980 stage-school tuner is certainly the exception, with a title track that helped the film to wait for it live forever.

Penned by Michael Gore and Dean Pitchford for the film (though within the story, written by Lee Curreri’s shy composer Bruno), it scores probably the film’s most iconic sequence, where Bruno’s proud dad plays it in the streets, inspiring much dancing on cabs. Performed by the film’s star Irene Cara, it hit number four in the Billboard charts, and won the Oscar and the Golden Globe that year. “The Power Of Love” – Huey Lewis & The News – “Back To The Future” (1985) Patrick Bateman favorites Huey Lewis & The News had their best known hit with wedding-disco staple “The Power Of Love,” penned for Robert Zemeckis’ mega-smash “ Back To The Future,” but what’s less well known is that it was their second attempt at writing a song for the film: the track “Back In Time,” which actually refers to the film and its characters explicitly (“Get back, Marty!”), was the original plan, but rejected by Universal. They were much keener on “The Power Of Love,” which features in the film both in an original version and as a hard-rock cover rejected by Lewis himself in a cameo, and went on to crop up in both of the film’s sequels. “Danger Zone” – Kenny Loggins – “Top Gun” (1986) Through to the 1990s, when he inflicted the likes of Trisha Yearwood’s “How Do I Live” (from “ Con Air”) and Aerosmith’s “I Don’t Wanna Miss A Thing” (from “ Armageddon”) on all of us, Jerry Bruckheimer was a pioneer of melding soft-rock soundtrack hits to his blockbusters, and the nine-times platinum soundtrack to “ Top Gun” might have reached something like his peak.

Along with Berlin’s ballad “Take My Breath Away,’ “Danger Zone” is probably the most enduring musical contribution from the movie. Co-written by Giorgio Moroder, it was turned down by Toto, Bryan Adams and REO Speedwagon before 80s soundtrack superstar Kenny Loggins stepped up.

The track’s Tony Scott-directed video was once described by the U.S. Navy as “the most effective recruiting poster ever produced.”. “Kiss” – Prince – “Under The Cherry Moon” (1986) Prince’s second starring movie role, in “ Under The Cherry Moon,” is no “ Purple Rain” to say the least: ill-advisedly directed by the superstar himself, with a paper thin plot that sees him romance a young Kristin Scott Thomas (!) despite the disapproval of her father Stephen Berkoff (!!), it’s basically terrible from start to finish. But the film’s soundtrack, Parade, is terrific, one of his best records, and not least because of its biggest single, “Kiss.” Winning a Grammy, proving the artist’s third number one record, and once named by the NME as the fourth greatest single of all time, it’s an effortlessly sexy, incredibly cool cut that even survived. There aren’t many reasons to be thankful for the existence of “Under The Cherry Moon,” but this is one of them. (No video available, sorry) “Don’t You (Forget About Me)” – Simple Minds – “The Breakfast Club” (1985) The curse of so many bands is despising the song that proved to be your biggest hit.

That’s the case with Simple Minds. After Keith Forsey and Steve Schiff penned “Don’t You (Forget About Me)” for the soundtrack to John Hughes’ “ The Breakfast Club,” Cy Curnin, Bryan Ferry and Billy Idol all turned down the chance to record, as did the Jim Kerr-fronted band, only to eventually relent, putting the track to tape in just three hours. Despite it being their only U.S. Plus: Could Disney’s acquisition of Fox’s film and television properties be good news for Fox Searchlight?

Helms reflects on his time with ‘The Daily Show,’ and how the country has become even more divided; why he’s satirizing cable news; and his uncanny resemblance to CNN’s Jake Tapper. Plus: Screen Talk’s co-hosts debate the awards season prospects for “The Post” and “Phantom Thread.” How do the NYFCC, NBR and Gotham awards impact the Oscar race? Plus: Screen Talk’s co-hosts debate their top 10 lists.