Monday, February 25, 2019

Cryptic #10, and some thoughts on "D.C. Cab"

Back to the good ol' cryptic this week, a full 15x15 size in fact! The first entries in the puzzle were 1-Across and 22-Across. I found the full 15x size a fresh challenge to construct - there's room for more entries, and longer entries, and generally the longer the entry the more difficult it is to clue. Hope you enjoy!

Aries Cryptic #10 - PUZ

Aries Cryptic #10 - PDF

Aries Cryptic #10 - SOLUTION

Intro to Cryptics - PDF

Revisiting my "crosswordese movies" bit from a while back, I did get around to seeing D.C. Cab. If my goal of watching these movies was to convince myself never to use these movies again in puzzles, I've so far succeeded with D.C. Cab. What an odd film...first off, crosswords would have it that this is a Mr. T film; of the 56 hits DCCAB gets in Matt Ginsberg's Clue Database, 41 of them include some reference to Mr. T. In fact, Mr. T is a minor character in the movie - even among an ensemble comedy cast, he rarely stands out (well, aside from those pants):

There's one scene late in the film where Mr. T gets to do the "let's band together and fight and win this thing!" pep talk to the rest of our scrappy, underdog gang of misfit cab drivers. It's basically three minutes of Patton sandwiched in the middle of a MadTV episode, and it's Mr. T's time to shine in the movie, but aside from that he's barely a character. But again, those pants....

If D.C. Cab is any one actor's movie, it's probably Adam Baldwin, who plays the lovable protagonist, Albert Hockenberry, who enters the zany world of the D.C. Cab Company in hopes of hitting the big-time as a cabbie in Washington, D.C. Or maybe it's a Max Gail movie; after all, he gets top billing in the end credits. Gail's performance as the owner of the cab company might be the movie's bright spot. Perhaps the main problem with D.C. Cab is that it's nobody's movie, a multi-storylined workplace sitcom written and directed by Joel Schumacher, whose similarly-plotted Car Wash script from a decade earlier surely served as a template for this movie. I'm not the biggest Schumacher fan, and this is the part of his career where frantic comedy seemed to be his niche. His previous film, The Incredible Shrinking Woman, was perhaps the cokiest of all the coky comedies of 1981, a cinematic disaster of hectic direction and shabby writing. D.C. Cab is similarly cocainey in its aesthetic, serving more as a static sitcom than a three-act film - the third act dilemma arises from nowhere and is hastily resolved. At least the gorilla on the loose in the third act of Shrinking Woman was nowhere to be found in this third act.

In the end D.C. Cab was watchable and it got some legit laughs from me, which I can't say about many comedies from this period. But for the most part, I was laughing at the movie rather than with it, and the high quotient of '80s cheese - the hacky comedians the populate the cast (Bill Maher and Paul Rodriguez included), the Giorgio Moroder music, the pants - disqualifies it as any sort of relevant film today. It's a pop culture relic, and a rather forgettable one. But it has its moments, and it has its pants.

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