Zoo Radio
(1990)
Director: M. Jay Roach (see UPDATE
2)
Cast: John Martin, Doug Mears, Jennifer Dorian
In my constant search for unknown movies that begin with
letters that
I haven't already covered - and to possibly scoop Stomp
Tokyo before its next "Month of Z" comes along - I recently looked
at the "Z" movies in the various genre sections at my neighbourhood
video
store, finding Zoo Radio in the comedy section. Hmm -
I'd
never heard of this movie before, and none of the actors listed in the
credits on the box seemed familiar to me. However, the director...could
it be...? I checked, and found out that M. Jay Roach is the same
director
now known as Jay Roach - the director of the two Austin Powers movies.
Ah, this should be an interesting movie to review, I thought, though I
was puzzled that the IMDB listed the name of the producer as the
director.
All I can assume is that maybe Mr. Roach is trying to suppress the fact
that he directed it - that's because Zoo Radio is one awful
movie,
bad in every filmmaking aspect that you can think of. What is worse is
that although this movie was a 1990 production, its attitude, style,
and
sense of fashion is pure '80s. That may not be bad by itself, but all
of
these aren't taken from the cooler or even amusingly campier parts of
the
decade. Instead, this movie chose the aspects that make people
embarrassed
about the decade, resulting in the movie becoming instantly dated. It's
hard watching this movie through a '90s perspective, though it would
have
been almost as hard in the '80s.
Believe it or not, this movie seems to have taken its
inspiration from
the previous year's Weird Al Yankovic movie, UHF. Now,
I'm
a fan of Al, and I did enjoy that movie, though I found it sloppy and
quite
uneven at times. It's not exactly the kind of movie you'd think would
be
imitated by a low budget studio. Anyway, the plot: In Los Angeles, two
brothers are running separate radio stations owned by their father.
KWIN
station is doing the best, having high ratings as well as beautiful
WASPish
people in its big building. The other radio station, KLST, is not
having
anywhere that amount of success, working in a cramped building with
not-so-beautiful
people, and lousy radio shows to boot. When the father of the men dies,
they go to his will reading, where they discover their father left them
a challenge. The two stations are to compete during a time period, and
the station at the end of the period that has the highest ad revenue
will
not only get the father's multi-million dollar fortune, but ownership
of
both
radio
stations. KLST, as you can imagine, is low in morale, and doesn't think
they can win. But when they put Billy (Martin), their new DJ, on the
air,
ratings soar and the ad revenue starts coming in. Naturally the snots
at
KWIN don't take this lightly, and make plans to fight dirty.
Quoting from one of Robert Reed's infamous memos(*),
"It's been done a thousand times, and if well written, could probably
work
again, at least in a dated sense." - even UHF wasn't
the
first to follow the basic premise. That's true, but Reed should have
also
added that it should also be well made - and Zoo Radio isn't.
I wouldn't be that surprised if I learned the backers of this movie
raised
the budget by making several visits to the blood bank during the week,
then they afterwards called all their friends that Friday night to ask
them to help them make a movie that weekend. The unbelievable crudeness
of the movie makes it a chore just to look at. There's a
headache-inducing
redness in every shot that makes it look like a colored filter was
slapped
on the camera lens. The microphone poked itself into the top part of
the
frame about every five minutes. During one of the uncountable sequences
where the camera shows us people on the street supposedly listening to
the radio station (with some dubbing by the DJs - an easy way to
extend the movie's running time), a reflection of the cameraman sitting
in the back of a pickup truck is clearly seen in a passing store
window.
Almost all of the movie is shot in two or three small rooms in the
radio
station, which have been set dressed in dusty and beat-up electronic
equipment.
One of these rooms looks suspiciously like the area on a sound stage
found
behind the walls of the set on-stage. When the camera goes outside, it
usually doesn't venture beyond the surrounding area. One time it does
venture
further away is when the camera is taken to the surrounding hills, to
get
a shot of the burning radio station after it blows up. Actually, it's
clear
this shot isn't faked - it's apparent that the director lucked out by
getting
to shoot a building that was actually burning down during the shooting
of the movie. (I think this can be considered a new kind of
exploitation.)
There's also the scene where two people go party it up at a nightclub,
which is accomplished by showing a long montage of close-up Polaroid
photos
of the two characters supposedly partying it up at this high-class
nightclub
(which isn't seen, due to the dark backgrounds of the photos.) I've
only
covered the tip of the iceberg when describing the technical
helplessness
here.
If Zoo Radio had a script with a story
that was complete,
coherent, and funny, it might have been enough to compensate for its
Neanderthal
producing. Sadly, it doesn't, and it's what really dooms this movie.
When
(finally) the movie returns to the plot, you'll be frequently asking
yourself
just what the hell is going on, since the dialogue is incomprehensible.
Though you'd think that the plot should mainly concern itself with the
KLST dealing with various kind of attacks from their rivals,
surprisingly,
the bad guys only make two moves against KLST in the entire movie. The
bulk of this movie is consisted of long sequences of Billy and his
fellow
radio show hosts making "wacky" and "hilarious" hijinks for both their
listeners and each other. None of this is the least bit funny,
especially
Billy's character, who does some of the worst celebrity impersonations
I've ever heard. I also don't understand why during these scenes, Billy
and his fellow hosts dress up in goofy costumes and cook food during
cooking
shows, when no one in their audience could possibly see these wacky
antics.
Speaking of these characters, they are hopelessly
written. They are
written in a way that makes them all seem like clichés, even if
there haven't been characters like them in movies before. For example,
there's a blind DJ, "Chester Drawer", who has a problem with
stuttering,
especially when he's on the air. You can't just settle for a character
like this to screw up on air and smash into objects when walking, or
have
another character eating corn flakes soaked in beer; anyone watching
can
do these things. You need characters that have some kind of
personality,
some sort of history in them, to make these things funny. It's not the
situation that makes something funny, but how it is done.
Billy
comes off the street with no past, nor any situation that shows what
his
character is like. He's constantly a slick dude who is supposed to be
funny
because he is slick. He may have a "how" with his slick attitude, but
he
has nothing play off it, because of his empty character, and
subsequently
his empty character can only come up with bland dialogue that no slick
delivery could pull off.
All the actors do show a little talent, though they are
ill served by
this movie, to say the least. The actors seem greatly demoralized by
being
in this movie, and subsequently place no heart in their performances.
As
well, none of these actors seem capable of carrying lead performances
like
the ones they have here; they seem they would be best suited for minor
roles. The one exception is Ron E. Dickinson, who plays the role of
Otto,
the John Belushi-inspired beer drinking and burping tubby guy who hangs
around the station (his role is never clearly defined.) In, sadly, his
only role to date, he puts what little life there is in the movie,
somehow
making his crude character surprisingly likable despite his burps and
crude
remarks. His scenes are the better ones in the movie, and that's maybe
why he, and not Martin, is pictured on the video box. Also, his
character
is wisely the one chosen to narrate and make jokes in several segments
in-between the actual movie. I noticed that in one of these segments, a
woman sharing the screen with the Otto character screwed up, calling
him
Ron,
instead
of his character's name.
There's another funny thing about these segments; Otto
is see sitting
in a director's chair that clearly reads the title of the movie, Zoo
Radio. But in the outtakes that run during the end credits, the
director's clapboard states the movie is called KLST.
There's
only one plausible explanation for this; Dickinson was called back some
time after the main shoot had passed to participate in shooting some
new
material - material that might possibly cover some gaps in the story.
And
looking at those outtakes explains perhaps why there were some problems
with the story; there are a few bloopers seen, but we mostly see clips
from a number of scenes that never made it to the final cut. The movie
isn't playing with a full deck, so you shouldn't expect a fair play
from
putting this into your VCR. It is one of the saddest excuses for a
movie,
and everyone involved should be embarrassed - no wonder you altered
your
name, (M.) Jay Roach. But come back, Ron E. Dickinson - all is
forgiven.
UPDATE: I received this very interesting
letter from Craig Saavedra:
"I stumbled upon your terrific site quite by accident
and have had
a blast reading your insightful reviews. I particularly enjoyed your
spot-on
comments regarding Zoo Radio, a film in which I (sadly)
participated.
Yes, Jay Roach is the same director of Austin Powers, and we've
all been running and hiding from Zoo Radio since it was made in
1989 for under $100,000. It was indeed originally called KLST,
as you noticed in the outtakes. Even though I was one of the
producers
(and reluctant actor due to no funds to pay a real actor), I've never
seen
the completed film out of embarrassment. (I was told that I was
revoiced
by someone else due to lost soundtracks in two scenes!)
"I was surprised to hear outtakes were run over the
end credits,
as I would have guessed the mistakes far outnumbered the actual running
time
of the film itself. (Perhaps 5 minutes of story and 85 minutes of
outtakes would have been more enjoyable!)
"I just wanted to say that Jay was not to blame on
the film.
He's obviously a gifted director. I think we both wish this thing
called video was more forgiving and allowed really bad movies like this
to die a fast, and quiet death.
"Jay knew the script stunk, as did I, but when I
brought him on board
we both agreed to try and make it rise above itself. Well, it
didn't.
It went the other way! Oh well.
"I'm not sure what's happened to Ron. The thing
is, that wasn't
his real name. Most of the cast changed their names (to protect
them
from SAG, if not shame), and I can't even remember his real name."
UPDATE 2: To my surprise, I received an
e-mail from Jay Roach himself! Here's what he had to say about his
experience
with the movie:
"Noticed your site during a credits search. You are a
messiah to
lost films, bringing them back to life.
"As you accurately point out, there is one I wish
remained dead.
Zoo
Radio
"I directed parts of Zoo Radio, but I would
never call myself
"the director." I tried to sue to get my name off, and because I
had no money at the time, I failed (I wasn't in the DGA, so "Alan
Smithee"
wasn't an option). I was never finally paid for my work on the
project,
I have no signed contract with the company that made it, I did
not
get to finish the film, and I had nothing to do with the way it was
edited.
As far as I know, it never came out on film. The producer, "Jesse
Wells," wrote the script, directed the final shooting and did all the
editing.
He is the closest thing to "the director" of the film.
"I started the project because I'd worked in college
radio and "Jesse
Wells" (he uses more than one name) promised me a chance at rewriting
what
was a horrible Animal House rip-off. Just before
production,
he yanked that permission. But I had already persuaded several
crew
member friends and actor friends to join the project. I
felt
obligated to continue since I had brought everyone in, so the cast and
I improvised the scenes each day before Jesse showed up.
When
he arrived, the extras and crew were laughing, so he felt he had to let
us shoot the scenes as improvised (he was raised in the Middle East,
had
some oil money but little familiarity with American comedies -- people
were laughing on our set, so he thought the scenes were funny and let
us
keep shooting).
"He fired me when he finally figured out I wasn't
shooting and editing
to his script. After I was gone, he completely re-cut the film
and
shot large chunks of the movie himself, including all the scenes with
Ron
Dickenson in the director's chair with the women in swim suits, which I
caught on USA cable years after thinking the project had disappeared
(notice
that he was 30 pounds lighter in the director's chair than in the rest
of the movie?).
"There were some hilarious moments in the original
footage, which
were mostly invented by John Martin and Ron and Paul Fieg and Danny
Vilareal
and others, but Jesse thoroughly undermined each one in the editing, in
my humble opinion. Please credit him with directing this film.
That
is the only accurate way to describe its creation."
UPDATE 3: Yet another letter from someone who
worked on the movie!
"It is me, Ron E. Dickinson from Zoo Radio
fame! I too, have stumbled upon your site by suggestion from a friend
while looking for credits. Whew! I seem to be the only actor that
escaped your review unscathed! Truly a horrible movie, Zoo Radio
was my second film of the late 80's, the first being Slaughterhouse Rock with Tony Basil. Blink
during that one and you'll miss me!
"I'm still around, doing a ton of local L.A. theatre, ( I'm a proud
member of Pacific Resident Theatre in Venice) I have a few commercials
under my belt and I'm still doing the auditioning grind as Jay Roach
has not called and put me in any of his films. (I think he wanted to
forget about the whole thing!)
"Despite the film being a disaster, I actually had a great time doing Zoo
Radio. I was in my mid 20's living in Hollywood and having a blast,
I think I was only making a $100.00 a day, but Jay Roach and the rest
of the cast & crew made it fun to just be there and create.
"I agree with Jay when he said most of the actors performances were
undermined by the film's producer (Jesse Wells). I still see a few of
the actors from Zoo Radio working on T.V. & films, and that
makes me smile."
UPDATE 4: John
Abramson sent me this:
"Hi. I just noticed
that during Jay Roach's response to your review of this film he
mentions Paul Feig; this may be the same man who directed this year's Bridesmaids, with Kristen Wiig and
Maya Rudolph (both Saturday Night Live people). Did a Google search on "Paul
Feig" and "Zoo Radio" and got a few hits so it appears it's the
same guy. Just thought you might be interested..."
* Robert Reed - "Mike Brady"
on The Brady
Bunch - loathed the writing on the show, and was constantly
fighting
with the producers. During his battles, he wrote a series of scathing
memos
that are hilarious to read. You can read three of them in the Barry
Williams
book Growing Up Brady.
Check for availability on Amazon (VHS)
See also: Big Man On Campus,
Fire Sale, Flush
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