Mel Brooks hadn’t directed a movie in six years when he committed to 1987’s Spaceballs, a joke-saturated spoof of Star Wars and other popular genre films of the era. Critics speculated he was a little too late (Return of the Jedi had been released four years prior) and box office at the time was modest, but Spaceballs has since earned its reputation as a cult hit. Force yourself to check out these 14 facts about the Schwartz, robotic ears, and the search for Spaceballs II.
1. IT WASN'T THE FIRST STAR WARS PARODY FILM.
Amateur filmmaker Ernie Fosselius was so enamored with Star Wars in 1977 that he cobbled together a 12-minute short, Hardware Wars, which he shot for just $8000 in an abandoned laundromat. The film embraced its piddling budget by featuring toasters, flashlights, and bits of tin foil to substitute for space debris. Charmingly hokey, Hardware Wars became immensely profitable, earning roughly $500,000 in 1978, and was even declared a “cute little film” by George Lucas. Fosselius had offers to extend it to feature length, but passed; he would later seem slightly perturbed by Spaceballs, saying it "quoted" his efforts.
2. MEL BROOKS WANTED TO CALL IT PLANET MORON.
In the commissary at the 20th Century Fox lot in 1984, Brooks was sitting down to eat when a studio executive abruptly asked what his next project was going to be. “Planet Moron!” Brooks yelled back, possibly referring to his unsolicited interrogator. The title spurred Brooks and his collaborators to develop what would become Spaceballs. Planet Moron was abandoned when a film titled Morons from Outer Space was released; Spaceballs, despite the assumed innuendo, was a result of needing “space” in the title and Brooks considering it one of his trademark “screwball” comedies.
3. GEORGE LUCAS GAVE HIS (CONDITIONAL) BLESSING.
Satire is generally exempt from litigation, but Brooks was an admirer of Lucas’s work and wanted to get his permission before starting on the movie. Working on a “funny” film of his own with Howard the Duck, Lucas agreed—but only on the condition that no Spaceballs merchandising be made available. “The Lucas people were just upset about one aspect of Spaceballs,” Brooks told Starlog in 1987. “They didn’t think it was fair for us to do a take-off and then merchandise the characters.”
4. IT WAS SHOT OVER A GIANT SWIMMING POOL.
Michael Winslow, best known as the “sound effects guy” from the Police Academy series, said in 2012 that Spaceballs was shot on the MGM lot in Culver City, California. In the heyday of movies focused on swimmers like Esther Williams, the studio had constructed a giant pool that could be covered with retractable flooring. Spaceballs also used the same sound stage as 1939’s The Wizard of Oz; the crew would occasionally see stray pieces of the Yellow Brick Road when milling around.
5. BILL PULLMAN WAS BROOKS'S THIRD CHOICE.
According to Bill Pullman, the actor—who had not yet had a starring role—was approached by Brooks only after Tom Cruise and Tom Hanks turned down the role of Lone Starr, the Han Solo-esque lead of the film. Pullman said that hiring Rick Moranis and John Candy freed Brooks up to cast a relative unknown.
6. THE CREW THOUGHT WORKING WITH GREEN SCREEN MIGHT DAMAGE THEIR EYES.
Spaceballs took its effects seriously, and the cast and crew needed to spend a lot of time in front of a green screen. At the time, the process was still relatively new, and the production had a suspicion that the environment might be damaging to a person’s eyesight. With this (unfounded) concern in mind, Pullman and the cast wore sunglasses in between shots.
7. BROOKS HAD A BAD REACTION TO HIS YOGURT MAKEUP.
In addition to directing and co-writing, Brooks had two roles in the film: one as President Skroob and another as Yogurt, a diminutive Yoda equivalent. In 2012, Brooks told The A.V. Club that he had an allergic reaction to the latex, which created a rash that spread to his eyes. Brooks also only gave the team one hour to apply his make-up; if it took any longer, he insisted he'd get out of the chair and leave.
8. DOT MATRIX WAS A FAMOUS MIME.
Voiced by Joan Rivers, the service robot Dot Matrix was actually inhabited by Lorene Yarnell, one part of the largely-forgotten mime duo of Shields and Yarnell. The two had a variety show in the 1970s that featured a recurring skit called the Clinkers, a robot couple that allowed the performers to show off some impressively stilted moves. (In real life, Shields and Yarnell were married for a time; their ceremony was performed in pantomime.)
9. THE GUY PLAYING PIZZA THE HUTT REFUSED TO COME BACK.
Though Dom DeLuise voiced Jabba stand-in Pizza the Hutt for the film, he was not required—nor was he likely willing—to be covered in pounds of fake molten cheese. That honor went to actor/effects man Richard Karen. When additional shooting was required, however, Karen simply refused to climb back into the suit. Effects artist Rick Lazzarini took his place.
10. BARF'S EARS UPSTAGED THE ACTORS.
John Candy, who played half-dog/half-man Barf, was usually trailed on-set by Lazzarini and the effects crew, who had to control both his tail and his ears. At one point, Lazzarini was told by Brooks that he didn’t “have to move the ears so much!” They were too active in scenes focused on other characters. (Candy, incidentally, performed with a 40-pound battery backpack strapped to him to control the animatronics.)
11. LUCAS LOVED IT, PERHAPS BECAUSE BROOKS PAID HIM OFF.
One of Brooks’s strategies to ensure continued cooperation from Lucasfilm was to book their services for post-production work worth nearly $5 million. “You know what I did not to have any real trouble?” Brooks said. “I called Lucas and I said, ‘I want you guys up in San Francisco—at the ranch or whatever—to do all the post-production of the movie.’ And he said, ‘Oh, great, great.’” Lucas later wrote Brooks a note saying how much he loved the movie.
12. R.L. STINE WROTE A NOVELIZATION.
Film comedies—particularly those relying on broad, visual gags—are rarely fodder for tie-in novelizations, but perhaps that was the joke. To accompany the release of the film, a pre-Goosebumps R.L. Stine wroteSpaceballs: The Book, a young adult version of the story that substituted some of the stronger language and bits for child-friendly content. It remains the only exclusion to Lucasfilm’s “no tie-in” mandate.
13. THE ANIMATED SERIES SPOOFED THE PREQUEL TRILOGY.
While Spaceballs performed modestly during its initial release, it was “rediscovered” by audiences by following in the wake of persistent interest in all things Star Wars. When Lucasfilm’s prequel trilogy was wrapping up in 2005, Brooks produced and directed a 13-episode season of Spaceballs: The Animated Series; Daphne Zuniga (Princess Vespa) and Joan Rivers (Dot Matrix) were, along with Brooks, the only returning cast members.
14. RICK MORANIS WAS OFFERED A SEQUEL.
Rick Moranis, who played Dark Helmet, retired from acting in the 1990s to focus on his family and his musical career. In 2013, he toldHeeb magazine that Brooks was interested in a sequel, which Moranis suggested could be titled Spaceballs III: The Search for Spaceballs II. (The film had, by this point, done very well on home video.) Brooks was only lukewarm on the idea, and Moranis found the financial offer underwhelming.
Brooks, who has never done a sequel, joked during the film’s production that a follow-up would be titled Spaceballs II: The Search for More Money.
If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.
As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.
The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.
Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.
With thousands of titles available, browsing your Netflix menu can feel like a full-time job. If you're feeling a little overwhelmed, take a look at our picks for the 45 best movies on Netflix right now.
Adam Sandler is Howard Ratner, a gambling addict who sees opportunity in every game and in every customer who walks into his Diamond District jewelry store. When NBA player Kevin Garnett insists on taking a rare opal out on loan and giving his championship ring as collateral, Howard can't resist the urge to use it as fuel for his vice. Directed by Josh and Benny Safdie, the film has been called among the best of Sandler's career. —Jake Rossen
Martin Scorsese’s long-in-the-making epic brings together three of the mob genre’s heaviest hitters in Robert De Niro, Al Pacino, and Joe Pesci. But the story of Frank Sheeran (De Niro), who alleged he befriended and then betrayed union leader Jimmy Hoffa (Pacino), isn’t your typical organized crime movie. It takes its time to examine the toll of a criminal life, from the alienation of Sheeran’s family to the fate that awaits old men no longer capable of resolving their problems with violence. The de-aging effects aren’t always convincing, but Scorsese’s ability to weave a captivating gangster tale remains timeless. —JR
Eddie Murphy ended a brief sabbatical from filmmaking following a mixed reception to 2016's Mr. Church with this winning biopic about Rudy Ray Moore, a flailing comedian who finds success when he reinvents himself as Dolemite, a wisecracking pimp. When the character takes off, Moore produces a big-screen feature with a crew of inept collaborators. —JR
Fans of the Coen brothers get a trail mix of stories in this anthology set in the Old West. A gunslinger (Tim Blake Nelson) proves to be a little too arrogant when it comes to his skills; an armless and legless man (Harry Melling) who recites Shakespeare for awed onlookers begins to grow suspicious of his caretaker’s motives; a dog causes unexpected grief while following a wagon train. Knitted together, the six stories total are probably the closest we’ll get to a Coen serialized television series that this feature was once rumored to be. —JR
Spider-Man may have been in the middle of a Disney and Sony power struggle, but that didn't stop this ambitious animated film from winning the Oscar for Best Animated Feature at the 2019 Academy Awards. Using a variety of visual style choices, the film tracks the adventures of Miles Morales (Shameik Moore), who discovers he's not the only Spider-Man in town. —JR
Alfonso Cuarón’s tribute to his upbringing in 1970s Mexico City tells the story of a housekeeper (Yalitza Aparicio) watching over the children of her employers after their father runs off with his mistress. Cuarón’s film is a living photograph, an intensely personal story that holds no major surprises aside from the sheer craft it took to make it a reality. —JR
Greta Gerwig received acclaim—and two Oscar nominations—for her directorial debut about a young woman (Saoirse Ronan) who struggles with family commitments and a desire to head to college across the country. —JR
Jon Bernthal (The Walking Dead) turns in a reserved performance in this quiet character drama about a broken-down rodeo rider who manages a motel in Alaska. When a killer (Christopher Abbott) comes to town, Bernthal will have to find the courage to protect the life he's built for himself. —JR
Aaron Sorkin (The Social Network) adapted the book by Molly Bloom, a former Olympic skier who shifted her focus to high-stakes card games for Hollywood's elite. Jessica Chastain is a force as Bloom, who orchestrates a thriving underground business before she's forced to orchestrate a way out of the legal consequences. Idris Elba co-stars as the lawyer who assists her. —JR
If you didn’t think the adventure of a young girl and her super pig could make you pump your fist in the air, it’s time to check out this quirky firecracker from Parasite director Bong Joon-ho. Thought-provoking and breathtaking? That’ll do, super pig. —Scott Beggs
Here's a film that starts with an uncomfortable arrangement (a young punk band has booked a gig for a den of Nazi skinheads) and descends from there into expertly crafted cold-sweat terror. Though it's primarily a siege scenario, the band barricading themselves in the dressing room after witnessing a skinhead-on-skinhead murder, the story goes in more directions (figuratively and geographically) than you'd expect. Writer-director Jeremy Saulnier never lets it get stagnant. He barely lets you catch your breath. —Eric D. Snider
Barry Jenkins’s trailblazing film, which won the Oscar for Best Picture, chronicles the life of Chiron (Alex Hibbert, Ashton Sanders, Trevante Rhodes each play the character at different ages) as he grows up under the burden of his own and others’ responses to his homosexuality. It’s a stirring portrait anchored by phenomenal performances (including an Oscar-earning turn from Mahershala Ali). —SB
Vibrant, effervescent, and deeply weird, Paul Dano stars in this musical collage as a depressed loner stranded on an island until he finds a talking, farting corpse played by a very post-Harry Potter Daniel Radcliffe. They save one another and, together, attempt to get back to civilization while singing the praises of Jurassic Park. —SB
Delicately crafted with an eye toward historical accuracy, this existential horror film focuses on a New England farming family in the wilds of 1630 who believe a witch has cursed them. Anya Taylor-Joy’s standout performance acts as a guide through the possessed-goat-filled insanity. —SB
Colin Farrell stars in this black comedy that feels reminiscent of screenwriter Charlie Kaufman's work: A slump-shouldered loner (Farrell) has just 45 days to find a life partner before he's turned into an animal. Can he make it work with Rachel Weisz, or is he doomed to a life on all fours? By turns absurd and provocative, The Lobster isn't a conventional date movie, but it might have more to say about relationships than a pile of Nicholas Sparks paperbacks. —JR
Years before Bong Joon-ho made Oscar history in 2020 with Parasite, he adapted French graphic novel Le Transperceneige into Snowpiercer (which was recently turned into a television series with Jennifer Connelly). In a dystopian future—in sci-fi, there may not be any other kind—a train carrying cars separated by social class circles the globe. Soon, the have-nots (led by Chris Evans) decide to defy authority and get answers from those in charge. —JR
Director Paul Thomas Anderson delivers a steady but absorbing tale of a World War II veteran (Joaquin Phoenix) who falls under the spell of a charismatic philosopher (Philip Seymour Hoffman) whose teachings soon become the focus of a cult movement. Both Phoenix and Hoffman were nominated for Academy Awards. Of the films he has directed, which include 1997’s Boogie Nights and 2004’s There Will Be Blood, Anderson has said The Master is his favorite. —JR
On paper (like in the pulp novel it's based on), Nicolas Winding Refn's tale of a taciturn getaway driver whose life spins out of control is familiar. But on the screen, the combination is uniquely intoxicating—a fresh, lurid, melancholy neo-noir with a hint of existential crime thriller and, for some reason, an '80s-ish techno-pop soundtrack. Spinning its uncommonly entertaining yarn out of perilous characters and nightmarish scenarios, it feels dazzlingly original. —EDS
Matthew McConaughey is Mick Haller, a lawyer who likes doing most of his business from the back seat of his Lincoln Town Car. When he accepts a case involving the son of a wealthy family, Haller discovers some disturbing similarities with an older case. —JR
Ben Affleck stars in and directs this deftly-constructed heist film about a career criminal who puts his team at risk when he begins a relationship with the employee of a bank he recently robbed. Going straight won't be easy—not with a Fenway Park robbery on deck. —JR
This exhilarating account of how a total jerk started Facebook is even more alarming given what we've learned about Mark Zuckerberg and Facebook since then. Jesse Eisenberg's crisp lead performance, Aaron Sorkin's verbose dialogue, and David Fincher's energetic direction combine to make this a cautionary tale of Shakespearean proportions. It might be the best document of how the internet and social media have fundamentally changed us. —EDS
A rare adaptation for writer/director Edgar Wright brings Bryan Lee O’Malley’s popular graphic novel series to life. Michael Cera is perfectly cast in the title role as an awkward young man who is determined to win the heart of the woman he loves (Mary Elizabeth Winstead) by literally winning video game-style battles against her “Seven Evil Exes.” Wright throws every trick in his book at the screen, and the result is a film you can watch again and again. —Matthew Jackson
Fashion designer Tom Ford turned in an impressive directorial debut about a closeted gay man (Colin Firth) in 1962 California who tries to keep himself together after the death of his longtime companion. Firth is incredible as an aching heart who can't bear to share the truth of his life in a world quick to judge him. —JR
Larry Gopnik (Michael Stuhlbarg) is a man whose faith is being tested at home, at work, and all points in between. A Serious Man is equal parts dark comedy and existential drama, and it’s a perfect encapsulation of why the Coen brothers are masters at their craft. —Jay Serafino
It was Citizen Kane for the new century: a sprawling epic about a flawed, wealthy man who lets his own power destroy him, directed by a wunderkind already revered by most of Hollywood. Paul Thomas Anderson and stars Daniel Day-Lewis and Paul Dano all do some of their best work in the story of a duplicitous oilman who meets his match in the fiery son of a preacher. —EDS
Following the end of the Spanish Civil War, a young girl (Ivana Baquero) escapes the turmoil of her militant stepfather and ill mother by exploring a hidden labyrinth that houses a variety of strange creatures. Director Guillermo del Toro was praised for his specialty: weaving a fairy tale with sharp edges. —JR
Writer Charlie Kaufman and director Michel Gondry collaborated on this deeply affecting story of a man (Jim Carrey) who realizes he can cure his heartbreak over a lost love (Kate Winslet) by having the same memory-erasing procedure she had. But affairs of the heart aren't so easily dismissed. Kaufman won an Academy Award for Best Original Screenplay. —JR
Clint Eastwood directs and stars in this film about a talented boxer (Hilary Swank) who rises through the ranks to become an accomplished fighter. Both she and her coach (Eastwood) soon find themselves in a different kind of fight. —JR
The controversially sensual road movie that put Gael García Bernal and Diego Luna on the international map scored an Oscar nomination for writer/director Alfonso Cuarón. It's hard to believe he followed up this drug-and-sex-filled coming-of-age trip with a Harry Potter movie. —SB
Writer Charlie Kaufman reached new dimensions of absurdist humor with this tale of a puppeteer (John Cusack) who finds a portal leading to the mind of celebrated actor John Malkovich (John Malkovich). Naturally, Cusack decides to charge admission for the privilege of being Malkovich for 15 minutes at a time. As always, being inside Kaufman's brain is the real attraction. —JR
Johnny Depp and Al Pacino give knockout performances in this film based on the real-life exploits of Joseph Pistone, an FBI agent sent undercover to gain the trust of the mafia. His way in is Lefty Ruggiero (Pacino), a floundering criminal who puts his trust in Pistone. Their friendship—always with the undercurrent of Pistone's inevitable betrayal—makes for a movie that transcends its mafia genre trappings. —JR
Weird science brings dinosaurs back to life in this classic monster film from Steven Spielberg. Charging through the rain, the rampaging Tyrannosaurus rex is as formidable a natural disaster as the director's infamous shark. —JR
Steven Spielberg won a long-overdue Academy Award for this harrowing chronicle of the Holocaust told through the eyes of Oskar Schindler (Liam Neeson), a German who listens to his conscience and rescues Jewish prisoners destined for the gas chambers by redirecting them to his factories. —JR
Tom Cruise leads an impressive cast—including Gene Hackman and the late Wilford Brimley—in this adaptation of the John Grisham novel. Fresh out of law school, Mitch McDeere (Cruise) takes a lucrative job with a high-powered legal firm without realizing the partners don't necessarily obey the laws they practice. —JR
James Ivory's adaptation of E.M. Forster's 1910 novel tells the story of free-spirited Londoner Margaret Schlegel (Emma Thompson) who befriends a dying woman, Ruth Wilcox (Vanessa Redgrave), who ends up bequeathing Margaret her beloved country home, Howards End. It's a stroke of luck for Margaret, who is about to be ousted from the home she has leased for years, but the Wilcox family feels that something is amiss. As Ruth's widower (Anthony Hopkins) attempts to investigate the situation, he finds himself falling under Margaret's spell. —Jennifer M. Wood
Not only did a gory horror film win Best Picture at the Oscars in 1992, it also won the other four top categories—Best Director, Best Actor, Best Actress, and Best Adapted Screenplay—a feat achieved only twice before (by It Happened One Night and One Flew over the Cuckoo’s Nest). Turns out America has a taste for cannibalism when it’s impeccably acted, smartly directed (by Jonathan Demme), and creepy as all hell. It remains one of the best examples of "art-house" horror. —EDS
Spike Lee’s feature directorial debut also sees him playing one of three men under the thumb of Nola Darling (Tracy Camilla Johns). None of them can stand Nola’s gender-reversing approach to casual relationships, and the three hope to goad her into living a monogamous life. Nola, however, wants to pursue happiness on her own terms, not society’s. Lee’s love letter to Brooklyn is still a standout in his filmography, which quickly grew to include 1989’s Do the Right Thing and 1992’s Malcom X. —JR
All four Indiana Jones movies are on Netflix, but the original still stands its ground as the best in the series and one of the finest action movies ever made. Indy (Harrison Ford) pursues the Lost Ark of the Covenant while evading and diverting Nazis chasing the power the Ark is believed to contain. —JR
Robert De Niro drew justifiable accolades for his portrayal of Travis Bickle, a mentally askew cab driver in the hellscape of 1970s New York City in director Martin Scorsese's gutter noir masterpiece. —JR
The Monty Python team delivers their best-known work, a silly and sharply satirical feature that uses the King Arthur legend as a springboard for sequences that feature brave-but-armless knights and highly aggressive rabbits. Opening to mixed reviews, it has since become a perennial entry in lists of the best comedies ever made. —JR