bregund What is it about the 1980s and really bad films? This cinematic misfire manages to ignore all the implied requirements of good filmmaking such as plot, decent acting, a cohesive storyline, and believable characters. The main problem with this movie is that it doesn't know what it wants to be: is it a dystopian future, a satire about consumerism, an allegory about capitalism, a fractured romance, a cautionary fable about oppressive government oversight, a musical? It tries and fails to be any of these things. Dan Akroyd appears for about two minutes of welcome comic relief. Bill Murray's role is a little more substantial, but not enough to rise above the cheap special effects or ultimate pointlessness of the trip to the moon so the seniors can buy things. See, when you push satire on an audience, you need to nurture relatable elements and draw them as broad allegories with which the viewer can connect; excellent writing can accomplish this, even with the obviously limited budget of a film like this; Terry Gilliam knows how to do this with films such as Brazil, my go-to example for an effective presentation of dystopia. We can connect with Sam because he's caught up in a bureaucratic nightmare. In Nothing Lasts Forever, we're given a never-ending parade of disconnected elements that don't form a cohesive whole or relate to anything. On top of all that, Zach Galligan's limited range renders an unconvincing hero, one who, by the way, doesn't learn anything other than how to play the piano. Yes, you read that right, that's the whole point of this film. He learns to play the piano.I had never heard of this film until I saw it on TV last night. Someone rightfully decided to bury this piece of junk, and it should have stayed buried. It's not the worst film ever made, but it's hard to imagine that, somewhere along the line, the people who worked on it didn't stop to realize they were laboring over mediocrity.

Joseph Sylvers Zach Galligan of Gremlins fame, stars in this strange lost film, from a former SNL writer, Tim Schiller, in the 80's. This was produced by Lorne Micheals, and features cameos from Dan Akroyd as a Holland Tunnel inspector (who uses the only instance of profanity, this movie is PG) and Bill Murray as the villainous Captain of an interstellar bus which transports the elderly to the moon. Galligan is a young man whose been abroad for years, and returned home only to find that the New York Port Authority has seized control of the city, due to traffic problems. Galligan is a naive but kindly upstart who knows only that he wants to be an artist. After failing the mandatory "art test" used to determine, who is an artist and who isn't, he is forced to work at the Holland Tunnel with Akroyd, but not for too long, as he meets a fellow artist, falls in love and is taken through a short montage of the new york art world. The setting is essentially timeless, at one point, it suggests the thirties, at another they mention the 50's as part of the past, and at one brief moment, there's a strong hint of 80's, but the film is shot in black and white mostly, and made to resemble a science fiction from an earlyish period from the last century, 30's, 40's??? The plot takes a few turns from here which are surprising and fantastical and not to give away too much, but unfortunately since this movie has NEVER been released on home video or DVD(and doesn't seem likely too), I'll give a way a little more of what's to come...New York as you know it may be an illusion, the homeless are the secret masters of the city and possibly more, and the elderly have been taking routine bus trips to the moon since the 50's, they have chips in their heads which make them say "Miami" every time they even think the word "Moon", so they can't tell anyone. All of these plot elements are told with a matter of factness and a touching sweetness, at no point does this film become cynical, mean, perverse, or pretentious (not something most films as rare and surreal as this can claim). Others have rightly compared it to both Terry Gilliam and Woodey Allen at their most fanciful, but there's a sweetness to this, which gives it a charm all of its own. It's completely unique, very clever, and unusually heartwarming. See it by any means necessary, and as the secret society of bums commands,"Fear not, love all".

zmaturin This was one of those neat little movies that I had never heard of, but when I saw it I knew it was something special, like "Forbidden Zone", "The Big Crime Wave", or "The Projectionist". It's one of those movies that must be experienced as it's full of weird surprises, odd tangents, and imaginative details. It starts out like a perfect imitation of an old 1950s black and white movie, and I might have thought it was if not for the presence of a fresh-off-of-Gremlins Zach Galligan. It blends old stock footage with new stuff seamlessly, and slowly gets more and more strange, until the film starts fading in between B&W and color as Galligan discovers a secret society under New York City and ends up being sent to the moon to find his true love. It was directed by Tom Schiller, who did short films for Saturday Night Live, and features a surprising cast including Dan Ackroyd, Bill Murray (who's great as always), Imogene Coca, Lauren Tom (currently the voice of Amy Wong on "Futurama"), Mort Sahl, Eddie Fisher, Calvert DeForest, and Lawrence Tierny. Everyone in the cast acts as if they were in a "normal" movie.So if you can find this, it's worth watching. I liked it. Yup. Sure. It was good. Uh-huh. Yeah. Affirmative. Yes-sirree-bob-a-roonie. It was SWELL. Great. Cool. Ginchy. Yup. It was super-duper, superlative, and neat-a-rific. Yup. Sure. It was good. Uh-huh. Yeah. Affirmative. Yes-sirree-bob-a-roonie-doonie-woonie. It was sweet. Great. Cool. Ginchy. Yup. It was phat, super-duper and tip-top. Yup. Sure. It was both pleasant and quality. Uh-huh. Yeah, yup, yes-sirree-bob-a-roonie. It was SWELL. Great. Cool. Ginchy. Yup. It was super-duper, superlative, and neat-a-rific. Did I say that already?

barfly99 It is rare that you find a film that is truly unique, but NOTHING LASTS FOREVER is one of those films. It looks at times like a 'thirties romance, at others like a 'fifties B-movie, but plays like neither. Clever, witty dialogue is spiced up with pretty songs, and Zach Galligan is surprisingly likeable as the aspiring artist in a surreal New York. Although in many ways a slight and insubstantial film, its gentle, off-the-wall charm makes it a quite unforgettable viewing experience. After all, how many other films have you seen recently featuring an Hawaiian dance routine set on the moon?