paul2001sw-1 As 'Electric Boogaloo' tells it, Cannon Films was established by two Israeli wheeler-dealers, who came to the United States, established a film production company, and managed to make a huge quantity of low budget, low class movies before eventually their wild ambition caught up with them and they ran out of money. What makes the story more interesting is that this ambition was not just to establish a film-making giant, but also to make movies of at least some distinction: but a combination of unavoidable financial constraints and an inherent belief they could do it on the cheap inevitably sank their grander ambitions. This could make for a riveting film, but in fact, all we get are a succession of clips coupled with talking heads asserting ad nauseam just quite how crazy the company was. How do you actually make a low budget movie? How did the company stay in business for as long as it did, when (according to what we're told), its every film was a disaster? What is the evidence that the founders did, as we're repeatedly told, genuinely love cinema in spite of their abysmal product? We never really learn these facts. Instead, 'Electric Boogaloo' promotes a legend of Cannnon in a way that the studio's own bosses (whose talent for self-promotion is repeatedly attested to) might have envied. In fact, there's an irony here: asked to participate, the two of them made their own movie (and true to their past record, made it first). Without their involvement, there's a hole at the heart of the film they chose to spurn. Although based on the evidence presented here, I'm not sure I'd expect too much of their own effort, either.

Mr-Fusion The name Cannon Films is an evocative one, bringing to mind synonyms like schlock and cut-rate, and it's a well-earned reputation for cheapness. The story of two Israeli guys with a passion for making movies is a noble one, although their questionable business decisions tend to undercut that enthusiasm. Still, their rise and fall make for interesting documentary material, and that's part of what makes "Electric Boogaloo" so good.The other reason is the testimonial side of things. Rounded up before the camera are a wide-ranging group of people that have had dealings with the studio, and each and every one of them is eager to opine on such a reckless outfit. I can only wonder what venom Christopher Reeves would have in store were he still us today, and I would like to have heard Stallone's views after "Over the Top" (good or bad, can't tell). Chuck Norris is a glaring omission, given his 5-picture deal with them . . . or is he merely content with how it all turned out? But there's the ever-charming Catherine Mary Stewart and the surprisingly mocking Alex Winter offering their input, and both are amusing. There's a lot involved in this; it's really a varied roster.This is a hugely entertaining movie that moves at a brisk pace and is funny throughout. A lot easier to sit through than most of Cannon's movie's, that's for sure.Highly recommended.8/10

utgard14 Informative and enjoyable documentary about the rise and fall of Cannon Films, a beloved part of my youth. Cannon made many cheesy and low-brow movies and this doc covers most of them and, yes, insults them...a lot. I admit as a Cannon fan it bristled a bit at first but I know that their films were, more often than not, trash. But they were also, more often than not, entertaining trash. The tone of the documentary is lighthearted, with many people sharing their funny anecdotes about the crazy antics of Menahem Golan and Yoram Globus (particularly Golan). There are some nasty jabs here and there, with the Most Sour award going to former MGM exec Frank Yablans, who pulled no punches in what he thought of Cannon's output (Mr. Yablans passed away shortly after this was released). Most of the talking heads are behind-the-scenes types but there are many actors and directors also interviewed, including Molly Ringwald, Catherine Mary Stewart, Alex Winter, Franco Nero, Dolph Lundgren, Richard Chamberlain, Franco Zeffirelli, and Sybil Danning. Not a lot of time is spent on many of my favorite Cannon movies but that's to be expected given the amount of films they had to cover in the time they had. They did an admirable job of covering the major Cannon films and they told the story of Golan-Globus well. The ample use of film clips is appreciated, as is the brisk pace. I think it's something every Cannon fan should see, although be warned if you're sensitive or protective about their films you may be put off by some of it, such as "Bill S. Preston, Esquire" acting as though he has a leg to stand on commenting on Charles Bronson's acting ability. Minor annoyances aside, it's a fun look back at Cannon with some interesting trivia for those who may not be familiar with what went on during the making of some of their favorite '80s B movies.

kamikaze-4 For the life of me, I can't name at least a dozen Cannon films (Golan/Globus years) I ever liked. I don't think I can even name at least six. Oh well, here is my list of Cannon Films I ever liked. In no particular order, Barfly, Runaway Train, 10 to Midnight, and yes, even Masters of the Universe. Okay, that's four. Hopefully by the end of this review I might come up with a total of five titles. I waited for Electric Boogaloo: The Untold Story of Cannon films with baited breath. I especially liked the fact the makers of Not Quite Hollywood, and Machete Maidens Unleashed were responsible for this documentary. I loved those two documentaries. I finally got my copy of Electric Boogaloo: The Untold Story of Cannon Films in the mail. I sat and watched the title, and was I impressed? Did I have fun remembering the long gone days of the eighties? Uh, No! There wasn't anything interesting about the documentary that was worth putting on film. I already knew about the excesses of the megalomaniacs Menacham Golan and Yoram Globus, and how they would (un)intentionally destroy a film. To watch a group of actors, writers, and directors trash the Cannon Films may have seemed like entertainment, but it became boring after awhile, My favorite was Martine Beswicke trying to convince anybody she didn't know what she was signing onto when she made Happy Hooker Goes Hollywood. I nearly busted a gut laughing when the Cannon cousins thought Michael Dudikoff had screen presence. A stick of wood has more screen presence than Mr. Dudikoff. What I remembered most of the Cannon films is, during the eighties, they would release two-three sometimes five movies a the same time, and almost everyone of them bombed. You would have thought after a few megaton bombs, they would have learned. If anything, this documentary might be considered a cautionary tale for new film distributors that quantity does not mean quality. Oh wait a minute! I came up with a fifth title from the Cannon Library I liked- The Texas Chainsaw Massacre 2. There! Now I got five titles.