Pretty Good

Am I Missing Something?

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

A clunky actioner with a handful of cool moments.

Okay, you have to take in account this is a Lifetime movie. The editing and transitions weren't great. The voiceovers weren't necessary and sometimes it felt like a documentary instead of a movie. I think this is the movie Corey Feldman did crowdfunding to get made. He did the best he could do on his budget. With that said, this was a good movie if you take those factors into consideration. The actors were great. The guy who played young Corey Feldman was pretty good even though he did not look exactly like Corey Feldman. But the other actors did favored the younger and older version of the Two Coreys. It's a good story about the sexual deviant behavior in Hollywood with the homosexuality and the pedophilia. Instead of allowing these two boys to be teenagers, they were exposed to an endless supply of drugs, assigned pedophiles to chaperone them. Haim's parents were unaware of the things he went through on the film set. Feldman's parents saw him as a meal ticket instead of treating their child like normal parents would. It seemed like Feldman had to raise himself including fired his father as his manager when he realized his father was stealing from him and making bad management decision that assisted in shortening Feldman's career. When the King of Pop can't reason with you, then you know you're a bad managerI liked how Feldman showed us a glimpse of Michael Jackson through their unique friendship. I don't know why Hollywood and mostly white people are obsessed with labeling Michael Jackson as a pedophile even when Feldman, Macaulay Culkin, Emmanuel Lewis, and even his alleged victims all said he never sexually abused them. Yes, Michael was weird and a man child, but he also had a heart of gold like Feldman allowed us to see in the bathroom scene at Neverland. This was a great movie with the budget Feldman had. It was great honor to Michael Jackson, Corey Haim, and even Carrie Fisher, who tried to give Feldman some words of wisdom on the set of the Burbs movies. Based of what we know from Corey Haim from the biographies, the documentaries, and the scripted reality TV series is that he would have loved this movie and wanted to be apart of it. Even though the ups and downs the Coreys experience through their twenty year off again on again friendship, I am glad that the two Coreys reconciled with each other and that Haim was in a good place when he left this world. Overall, it was a good movie.

Don't bother with this movie there is no moral to the story what's so ever, no climax to story, simply BLAND! Wasted an hour and a half of my life.......

This is one of the first movies to come out dealing with sexual abuse in Hollywood since the Weinstien scandal broke. Unfortunately the movie has a bit of a cheap feel and rather stilted acting. It does show some abuse but it doesn't show what the viewer would want to see like the successes or famous romances of the 2 Coreys. Also Corey Haim's death is just glossed over in the post script. Maybe the next movie dealing with such a subject matter will be better.

Last night I watched the Lifetime movie "A Tale of Two Coreys," yet another tiresome story of promising Hollywood careers derailed by drug use. The promising Hollywood careers that got derailed were those of young actors Corey Feldman and Corey Haim, who met while appearing in the film "The Lost Boys," became bosom buddies and were frequently bracketed in teen-idol magazines as "The Two Coreys." The Lifetime movie about then was directed by Steven Huffaker from a script by an even larger writing committee than usual: the story is credited to Feldman himself along with Tejal Desai, Jeffrey Schenck. Peter Sullivan and Henry Wassenburger, and Schenck, Sullivan, Wassenburger and Jessica Dube are credited with the screenplay (and on screen the writers' names are linked with ampersands rather than the word "and," meaning that they all worked on the script together instead of taking it over relay-style one from the other). It's narrated in flashbacks by both Feldman, who's still alive and sat for an interview that was taped and aired after the movie; and Haim, who died from pneumonia in 2010 after a lifelong struggle with drug abuse. The producers and casting directors Dean E. Frank and Donald Paul Penrick double-cast the parts of Feldman and Haim, with Elijah Marcano and Justin Ellings playing Feldman and Haim (in that order) as teenagers and Scott Bosely and Casey Leach playing them as adults. Elijah Marcano is a hauntingly beautiful young man who doesn't look either like the real Corey Feldman in his teens - quite frankly, his ethereal baby face and long brown hair would have made him better casting for a biopic of David Cassidy than of Corey Feldman - and he also doesn't look like he'd grow up to be the nice-bodied but rather hatchet-faced Scott Bosely. Justin Ellings doesn't look like he'll grow up to look like his adult counterpart, Casey Leach, though for my money Leach was by far the sexiest of the four: tall, blond, muscular, butch and also quite strikingly reminiscent of the surviving film of the older Corey Haim. For the most part "A Tale of Two Coreys" is a pretty-standard issue "Behnd the Music" story of a promising young talent (in this case, two promising young talents) wrecking their careers by partying, clubbing, sex, drinking and, most destructively, drugging. But there are two distinguishing characteristics that set it apart from most addiction narratives. One is how vividly it demonstrates that child actors are really commodities, controlled both by their bosses and their parents; in one chilling scene, Feldman comes home after three classmates bullied and badly beat him when he bragged to them about landing a major movie role - and his mom sees the bruises on his face and, rather than say anything supportive, chews him out for having got into a fight that bruised his highly valuable face and risked him getting replaced in that big role. Both Feldman and Haim came from broken homes; Feldman's parents divorced before he started his career and Haim's broke up while he was just taking off as a young actor - and Feldman's dad was an aspiring rock musician and his son's manager until Feldman abruptly fired him after realizing his dad was just taking his money and pushing him off into quick-buck projects that would bring in short-term income but be bad for his long-term career. The breaking point came when Feldman's good friend Michael Jackson told him it was stupid for Feldman to appear on the quiz show "The Hollywood Squares" because "that's something you do at the end of your career," but dad remained firm that Feldman do that show and not even Michael Jackson himself, dressed in the costume he wore on the cover of Bad and played by Brandon Howard (who looks "blacker" than the real Jackson did at that point but gets the famously whispery speaking voice down pat), can talk Feldman père out of pushing his son onto a humiliating gig. The other unusual part of this film - and one which makes it particularly relevant in the so-called "moment" in which America in general and Hollywood in particular are becoming more aware of, and more sensitive to, charges of sexual harassment and the heads of once-powerful people are rolling as they get ousted from their jobs and positions of power following revelations of their records of sexual misconduct over the years - is the allegation that both Feldman and Haim were raped early in their careers, before they were over the age of consent, by the people who were supposedly on the sets of their films to chaperone and protect them. Indeed, though the story is only obliquely hinted at in the movie itself, Feldman is more explicit about it in his post-film intervie2, saying that both straight and Gay pedophilia is the real dark secret of Hollywood. Though he's still too scared of the man who raped him to mention his name - he says the man is still a power player in the industry and could literally have him killed, which is why, he told his interviewer, he has at least one bodyguard (and usually more than one) on duty all the time, including at home when he sleeps - he describes himself as "a man on a mission" to expose the rampant pedophilia in Hollywood and drive its perpetrators from power. Given that memoirs of classic Hollywood have exposed such legendary names from the past as David O. Selznick, Arthur Freed and John Huston as pedophiles, I can readily believe everything Feldman is saying. Both the film and Feldman's post-film interview make clear that not only is the "casting couch" alive and well, but young men are as likely to be the victims of it as young women