He’ll probably kill his family over this.

Seinfeld

2.3: The Busboy

Premise

After George accidentally causes the firing of a restaurant busboy, he attempts to make amends. Elaine has an unwanted would-be boyfriend to stay.

Observational

An early example of mixing things up, as George and Kramer team together to visit the titular character. This also stands out as the first not to have a “Jerry” plot. And it’s an episode Larry David cites as inspiring his most successful structures; two (or more) disparate plotlines that converge in the final stages.

If Jerry is in incidental, somehow he still manages to get many of the best lines; perhaps because he’s even more reactive. This is particularly acute during the diner scene the day after the restaurant incident. Not only is he cheerfully flippant regarding the consequences of the busboy’s firing (“He’ll probably kill his family over this”) but he shows complete indifference towards George’s pangs of guilt (“Maybe I’ll try that pesto”).

There are the usual incidents of small talk (“Where was pesto 10 years ago?” spotting someone with a hair transplant) that probably didn’t make it into one of the improv bits (this time we begin with Jerry riffing on the bills placed in a book at restaurants). But the episode really picks up when Kramer sallies forth from his apartment for the first time to visit Antonio (David Labiosa). George’s nervousness and insecurity is perfectly mirrored by Kramer’s exuberance and unselfconsciousness.

The scene is all the more amusing because Labiosa makes Antonio such a dangerous presence; squat and pugilistic, glowering with anger. Michael Richards is on fire, launching into pigeon-Spanish (“Agua?”) and generally making matters worse for George and Antonio; he leaves the door open allowing the busboy’s cat to run off, then he breaks his lamp (and attempts to “re-fix” the broken ceramic). Then, when Antonio asks who left the door open, he makes eye gestures implicating the hapless George.

Elaine’s plotline is all prelude to a scene of magnificent physical comedy as she attempts to get not-boyfriend Eddie (Doug Ballard) packed and dressed so he meets his flight on time. She’s already detailed to Jerry how she can’t stand him, pretending to be on her period so she doesn’t have to sleep with him, with a misanthropic bent that epitomises the show (“He’s a wonderful guy, but I hate his guts”). Her berserk rampage in a huge nightie, attempting to get Eddie into his trousers and throwing his clothes randomly into his suitcase, is a tour de force (Louise-Dreyfus may tut that she could have done it better, but she’s just being picky).

The dovetailing conclusion occurs off-screen, as the now grateful Antonio (an exploding gas main at the restaurant means that George’s act of selfishness saved his life!) has an altercation with Eddie on the stairs to Jerry’s apartment. Jason Alexander plays George’s fear-then-relief that Antonio doesn’t intend to kill him perfectly, while Kramer’s giddy excitement captures his lack of awareness of the potential repercussions for George (“The busboy’s coming! The busboy’s coming!”) And, of course, George and Elaine must suffer the fall-out from the set-to (George has to look after Antonio’s cat, while Elaine is stuck nursing Eddie back to health).

Quotable

George: I didn’t know he’d get fired.

Elaine: I said I’d never eat here again.

Jerry: I didn’t say anything.

Jerry: Kramer, George wants to know when you want to go look for the cat again.

Kramer: Well, it’s been a week. It’s up to the cat now.

Verdict:

You were this amazing occidental samurai.

Ricochet (1991) (SPOILERS) You have to wonder at Denzel Washington’s agent at this point in the actor’s career. He’d recently won his first Oscar for Glory , yet followed it with less-than-glorious heart-transplant ghost comedy Heart Condition (Bob Hoskins’ racist cop receives Washington’s dead lawyer’s ticker; a recipe for hijinks!) Not long after, he dipped his tentative toe in the action arena with this Joel Silver production; Denzel has made his share of action fare since, of course, most of it serviceable if unremarkable, but none of it comes near to delivering the schlocky excesses of Ricochet , a movie at once ingenious and risible in its plot permutations, performances and production profligacy.

No one can be told what the Matrix is. You have to see it for yourself.

The Matrix (1999) (SPOILERS) Twenty years on, and the articles are on the defining nature of The Matrix are piling up, most of them touching on how its world has become a reality, or maybe always was one. At the time, its premise was engaging enough, but it was the sum total of the package that cast a spell – the bullet time, the fashions, the soundtrack, the comic book-as-live-action framing and styling – not to mention it being probably the first movie to embrace and reflect the burgeoning Internet ( Hackers doesn’t really count), and subsequently to really ride the crest of the DVD boom wave. And now? Now it’s still really, really good.

Well, something’s broke on your daddy’s spaceship.

Apollo 13 (1995) (SPOILERS) The NASA propaganda movie to end all NASA propaganda movies. Their original conception of the perilous Apollo 13 mission deserves due credit in itself; what better way to bolster waning interest in slightly naff perambulations around a TV studio than to manufacture a crisis event, one emphasising the absurd fragility of the alleged non-terrestrial excursions and the indomitable force that is “science” in achieving them? Apollo 13 the lunar mission was tailor made for Apollo 13 the movie version – make believe the make-believe – and who could have been better to lead this fantasy ride than Guantanamo Hanks at his all-American popularity peak?

We’ve got the best ball and chain in the world. Your ass.

Wedlock (1991) (SPOILERS) The futuristic prison movie seemed possessed of a particular cachet around this time, quite possibly sparked by the grisly possibilities of hi-tech disincentives to escape. On that front, HBO TV movie Wedlock more than delivers its FX money shot. Elsewhere, it’s less sure of itself, rather fumbling when it exchanges prison tropes for fugitives-on-the-run ones.

I can’t be the worst. What about that hotdog one?

Everything Everywhere All at Once (2022) (SPOILERS) It would have been a merciful release, had the title card “ The End ”, flashing on screen a little before the ninety-minute mark, not been a false dawn. True, I would still have been unable to swab the bloody dildoes fight from my mind, but at least Everything Everywhere All at Once would have been short. Indeed, by the actual end I was put in mind of a line spoken by co-star James Wong in one of his most indelible roles: “ Now this really pisses me off to no end ”. Or to put it another way, Everything Everywhere All at Once rubbed me up the wrong which way quite a lot of most of the time.

Drank the red. Good for you.

Morbius (2022) (SPOILERS) Generic isn’t necessarily a slur. Not if, by implication, it’s suggestive of the kind of movie made twenty years ago, when the alternative is the kind of super-woke content Disney currently prioritises. Unfortunately, after a reasonable first hour, Morbius descends so resignedly into such unmoderated formula that you’re left with a too-clear image of Sony’s Spider-Verse when it lacks a larger-than-life performer (Tom Hardy, for example) at the centre of any given vehicle.

So, you’re telling me that NASA is going to kill the President of the United States with an earthquake?

Conspiracy Theory (1997) (SPOILERS) Mel Gibson’s official rehabilitation occurred with the announcement of 2016’s Oscar nominations, when Hacksaw Ridge garnered six nods, including Mel as director. Obviously, many refuse to be persuaded that there’s any legitimate atonement for the things someone says. They probably weren’t even convinced by Mel’s appearance in Daddy’s Home 2 , an act of abject obeisance if ever there was one. In other circles, though, Gibbo, or Mad Mel, is venerated as a saviour unsullied by the depraved Hollywood machine, one of the brave few who would not allow them to take his freedom. Or at least, his values. Of course, that’s frequently based on alleged comments he made, ones it’s highly likely he didn’t. But doesn’t that rather appeal to the premise of his 23-year-old star vehicle Conspiracy Theory , in which “ A good conspiracy theory is an unproveable one ”?

Twenty dwarves took turns doing handstands on the carpet.

Bugsy (1991) (SPOILERS) Bugsy is very much a Warren Beatty vanity project (aren’t they all, even the ones that don’t seem that way on the surface?), to the extent of his playing a title character a decade and a half younger than him. As such, it makes sense that producer Warren’s choice of director wouldn’t be inclined to overshadow star Warren, but the effect is to end up with a movie that, for all its considerable merits (including a script from James Toback chock full of incident), never really feels quite focussed, that it’s destined to lead anywhere, even if we know where it’s going.

He’ll regret it to his dying day, if ever he lives that long.

The Quiet Man (1952) (SPOILERS) The John Wayne & John Ford film for those who don’t like John Wayne & John Ford films? The Quiet Man takes its cues from Ford’s earlier How Green Was My Valley in terms of, well less Anglophile and Hibernophile and Cambrophile nostalgia respectively for past times, climes and heritage, as Wayne’s pugilist returns to his family seat and stirs up a hot bed of emotions, not least with Maureen O’Hara’s red-headed hothead. The result is a very likeable movie, for all its inculcated Oirishness and studied eccentricity.

I have done some desperate, foolish things come 3 o'clock in the morning.

Sea of Love (1989) (SPOILERS) It’s difficult to imagine Sea of Love starring Dustin Hoffman, for whom Richard Price wrote the screenplay but who bowed out over requests for multiple rewrites. Perhaps Hoffman secretly recognised what most of us don’t need telling; there’s no way he fits into an erotic thriller (I’m not sure I’d even buy him as a cop). Although, he would doubtless have had fun essaying the investigative side, involving a succession of dates on the New York singles scene as a means to ensnare a killer. Al Pacino, on the other hand, has just the necessary seedy, threadbare, desperate quality, and he’s a powerhouse in a movie that, without its performances (Ellen Barkin and John Goodman may also take bows), would be a mostly pedestrian and unremarkable entry in the then burgeoning serial killer genre. Well, I say unremarkable. The rightly most-remarked-upon aspect of the murder mystery side is how unsatisfyingly it’s resolved. Sea of Love is so scant of r

Now In Full Color, with a Happier Ending

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