Category Archives: 70’s Movies

Rich Kids (1979)

Posted on July 24, 2024 | Leave a comment

richkids

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Dealing with divorcing parents.

Franny (Trini Alvarado) is a 12-year-old who’s learning that her two parents (Jon Lithgow, Kathryn Walker) are getting a divorce. She is unhappy about this and thus turns to her friend Jamie (Jeremy Levy) whose parents also went through a divorce a couple of years earlier. He gives her guidance and tips on how to deal with it. She turns to him as a confidant and begins spending time with him at his place even overnights. Her parents are under the impression that Jamie’s father (Terry Kiser) is keeping a watchful eye on them, but in reality he’s over at his new girlfriend’s pad and not paying the least bit of attention to what the kids are doing who then get into all sorts of mischief including alcohol. Once Franny’s parents do catch-on and head over there along with Jamie’s mother and her new husband (Roberta Maxwell, Paul Dooley) they fear it may be too late especially after Franny’s mother finds the book ‘The Joy of Sex’ that her daughter had hidden away and been reading.

On the surface this film, which was produced by Robert Altman, should’ve been a winner and on the technical end it does everything right.  The color schemes and docu-drama approach gives it a vivid day-in-the-life vibe and captures growing up on the Upper West Side neighborhood quite well to the extent that you feel like you’ve visited the area yourself once the film is over. The acting, particularly Alvarado in her film debut, is terrific though kudos must also go to Lithgow and Walker whose portrayal of fraught parents trying to shield their child from life’s ugly realities while also still attempting to be upfront and honest with her is well done. Director Robert M. Young shows a good eye for detail and keeps things visually interesting particularly when they go to Jamie’s dad’s place and interact with the exotic pets he has and make goofy faces with his bedroom full of wall mirrors on every side, which I felt was the movie’s highlight.

Story-wise there are a few profound moments and everything that occurs rings true, but in the process it’s not particularly riveting either. I sat through the whole thing expecting at some point to be grabbed in and it just never occurred. Part of the issue is that it takes too much of a minimalistic approach. So much effort is put in to keeping it realistic that nothing every stands-out. It’s like one of those 70’s after school specials that gets stretched out to 2-hours length, but could’ve easily said what it wanted to in only half that time. It’s all pleasantly done, but ultimately rather meh.

I didn’t like the sex difference of the two kids as it made me cringe all the way through fearing that even at age 12 things might start to get a little kinky like they’d play a game of ‘doctor’, or get drunk, which they kind of do, and dare each other to take their clothes off. It seemed at that age children still like playing with members of their own sex and are quite clicky about it and don’t really begin to reach out to the other side until maybe 14 or 15, so it would’ve been more believable if Jaimie had been a girl instead of a boy.

The title is a bit confusing as these really aren’t wealthy families sure they aren’t poor, but there’s nothing about their lifestyles or home life that isn’t of the middle-class variety making it misleading to have the word ‘rich’ in there. The promotional poster is awful too as the drawings don’t look anything like the real stars and depicts the two leads like they’re dorky looking, which they really aren’t. It also gives one the impression this might be an animated feature, which it certainly isn’t. Actual picks of the two stars would’ve been better especially since Alvarado has such expressive blue eyes, photogenic face, and wonderfully natural smile that one shouldn’t pass-up the opportunity to have her sweat face plastered on the promotional materials whenever possible.

My Rating: 5 out of 10

Released: August 17, 1979

Runtime: 1 Hour 41 Minutes

Rated PG

Director: Robert M. Young

Studio: United Artists

Available: DVD

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Posted in 70's Movies, Adolescence/High School, Comedy/Drama, Movies that take place in the Big Apple

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Thieves Like Us (1974)

Posted on July 14, 2024 | Leave a comment

thieves

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Convicts escape from jail.

Bowie (Keith Carradine) is a young man stuck in jail due to a murder conviction from when he was a teenager. He teams up with Chicamaw (John Schuck) a middle-aged man to escape from prison and meet-up with T-Dub (Bert Remsen) an older man who has them hide-out at a local auto garage where Bowie meets the owner’s daughter Keechie (Shelley Duvall) and the two start-up a relationship. The three men return to their criminal ways by robbing banks, which goes well for awhile until the quick-triggered Chicamaw shoots and kills a bank clerk, which gets him recaptured and returned to prison. Bowie, who has now gotten Keechie pregnant, feels a loyalty to help get Chicamaw out, but Keechie wants him to settle down and get a conventional job while learning to become a family man. Bowie though resists the urge and after leaving Keechie at a motel cabin owned by Mattie (Louise Fletcher) sets out to help Chicamaw break-out for a second time, but this ultimately leads to tragedy.

The film was based on the novel of the same name written by Edward Anderson and published in 1937. The book had been adapted before in 1949 as They Live By Night, which Robert Altman was not aware of before taking on the project. Joan Tewksbury, his longtime screenwriter, adapted the book in a matter of 4-days, but getting it financied proved challenging and it was only after Altman and two of his other producers offered to mortgage their homes to help bring in needed capital that it eventually got green-lit. Unfortunately once it was completed the studio didn’t know how to promote it and ultimately released it without any advertising budget or fanfare. After a brief 3-week stay in the theaters it fell into obscurity before being resurrected by critical acclaim, which made it do well on cable television and has since gained a small cult following.

The atmosphere is probably the best thing as Altman achieves an authentic 1930’s setting. Other films that try to recreate the era always come-off a bit affected and cliched, but because Altman actually grew up during the period he’s able to give it the needed grittiness and I felt right from the start I was being transported to a different time versus feeling like I’m looking back at a bygone era through a modern day lens. The film has two very memorable moments. One of them is when Bowie goes to the prison to help Chicamaw breakout and meets up with the prison warden who’s residing in this country-style house and feasting on a large dinner. The contrast of this home cooked meal prepared by his wife like they were peacefully living out on a rural farm versus stationed right in the middle of a prison with dangerous criminals is something I really loved. The bank robbery game that the three men play with Mattie’s children where they turn their living room into a make believe bank with the children playing bank clerks and then the men proceed to ‘rob it’ is quite cute as well.

The acting is excellent by Carradine who starts to come into his own during his moments with Duvall, who is also good and does her very first fully nude scene. Lousie Fletcher, who’s first movie this was after she took a 10-year hiatus to help raise her kids, is supreme and helps give the proceedings a very definite, no-nonsense attitude and it’s just a shame she wasn’t in it more though the segments she does have she makes the most of. Tom Skeritt turns out to be a delightful surprise here. Normally I’ve found his work to be rather forgettable and under the radar, but here he stands-out as an alcoholic father who’s a pathetic character with darkly amusing lines.

The film though does suffer from Schmuck’s and Remsen’s characters seeming too much alike and I found the rapport between them to be quite unenlightening. Altman also takes a page out of Hitchcock’s directing book where like with what Hitch did in Frenzy he has the camera pull back away from the action going on inside the building and focusing instead on what’s going on outside. He especially does this during the robberies, which is initially kind of interesting, but he does it too much and then when he finally does show a robbery in progress he does solely from a bird’s-eye view with the camera nailed to the ceiling, which causes the viewer to feel too emotionally detached from what’s happening. He also completely skips over the part where T-Dub gets shot and killed and Chicamaw recaptured, the viewer only learns of this by hearing it reported on the radio, but these are pivotal moments to the story and the film is slow enough the way it is, so this is the type of action that should’ve been played-out.

Spoiler Alert!

The climactic sequence where the cabin that Bowie is in gets surrounded by Rangers and shot-up doesn’t work at all. This is mainly because it’s too reminiscent of the same type of shoot-up done in Bonnie and Clyde that was more famous and riveting. Here it comes-off like a second-rate imitation of that one and does nothing but make you want to go back and see that one while completely forgetting about this one in the process.

My Rating: 6 out of 10

Released: February 11, 1974

Runtime: 2 Hours 3 Minutes

Rated R

Director: Robert Altman

Studio: United Artists

Available: DVD, Blu-ray

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Posted in 70's Movies, Movies Based on Novels, Movies that take place in the South, Movies with a rural setting, Movies with Nudity, Remakes, Robbing Banks

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F.I.S.T. (1978)

Posted on July 5, 2024 | Leave a comment

fist

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Laborer becomes union leader.

Set in the 1930’s in Cleveland the story centers on dock worker Johnny Kovac (Sylvester Stallone) who becomes so upset at the poor treatment of the employees that he leads a revolt that soon gets squashed by a management when Kovac goes to the office of Mr. Andrews (James Karen) who promises to bring his demands to ownership only for the next day to have Kovac and his friend Belkin (David Huffman) fired from their jobs. Impressed though by their tenacity truck driver Mike (Richard Herd) recruits them into his union telling them they would have a job of going out and recruiter others. Kovac initially refuses the offer until he finds out that a free car would come along with it. Kovac eventually rises up the union ladder until he becomes their national leader, but with the power and prestige also comes corruption and enemies.

This was Stallone’s first film after doing Rocky, which was a bit of a gamble by director Norman Jewison. He had wanted to cast Jack Nicholson in the role, Nicholson would later star in a similar film Hoffa, which came out 14 years later, but was so impressed at Stallone’s performance in the boxing film that he offered the role to him before he was even a household name. Jewison felt Sly was a star in the making just from what he saw in the preview of the film not knowing whether that movie was ultimately going to be a runaway success, or not. Had it not it might’ve put him in an awkward position as the studio wasn’t likely to finance a project that didn’t have guaranteed star power. As it was it became a blockbuster making the tables-turned a bit because Stallone could’ve easily backed out of the deal since it had only been a verbal agreement and he had since then been offered higher paying roles, but he kept to his word and took on this project, which surprised Jewison as many big names in Hollywood don’t always stick to their promises, but then later when the film didn’t do as well as expected Jewison’s blamed Stallone’s casting as part of the problem.

From my perspective I thought Stallone was terrific. His delivery does come-off as a bit monotone, but I felt that’s what added to the authenticity as this was a character with a limited education, so he probably wouldn’t sound real smart to begin with. Seeing Sly fight the system correlated with his real-life struggles as an actor trying to make it big in a competitive business, which helped to make it seem all the more genuine like this was a guy who had really lived the same type of life as the man he was playing.

In support I was highly impressed with David Huffman. This was an actor, whose career and life were sadly cut short in 1985 when he got stabbed to death, who I had always found quite bland. He had an attractive looking face, which I figured is what got him his foot-in-the-door, but his acting always came off as blah, but here he puts a lot of emotion into his role and it’s interesting to see the way his character grows and morphs throughout. James Karen and Tony Lo Bianco both have small parts, but there sinister facial expressions and ability to mug to the camera without it seeming obvious is what helps them stand-out. I was surprised though with Rod Steiger who gets second billing, but doesn’t appear until 1 Hour and 33 minutes in. His part, as a powerful senator, does ultimately become integral to the proceedings, but the fact that he underplays instead of his usual over-acting is what got me.

I thought the way Jewison captured the setting was great. It was actually shot in Dubuque, Iowa because by that time Cleveland no longer looked the way it once did, but the flavor and vibes from that period come-out strong and you feel right from the start that you’re being swept away to a bygone time. Stallone’s ascension into the ranks of union head prove riveting, but his corruption and downfall get glossed over and seemed rushed. I did though appreciated the way it examines worker’s unions from all angles both the good and bad making it seem less like a propaganda movie than Norma Rae, which came-out at around the same time, but only focused on the positive aspects of unions.

Spoiler Alert!

The ending, in which Kovac gets shot and killed while in his home came-off like a cop-out. It was intended to reflect at the time the recent disappearance of union head Jimmy Hoffa, but seeing the main character get assassinated without telling who was behind it proves unsatisfying. Sure we could probably surmise who the culprits were, but having to sit through a long movie only to be left with more questions than answers makes the viewer feel like watching it had been a big waste of time.

My Rating: 7 out of 10

Released: April 13, 1978

Runtime: 2 Hours 25 Minutes

Rated PG

Director: Norman Jewison

Studio: United Artists

Available: DVD, Blu-ray

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Posted in 70's Movies, Drama, Movies Based on Conspiracy Theories, Movies Based on Short Stories

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Paradise Alley (1978)

Posted on June 28, 2024 | Leave a comment

paradise

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Promoting brother as wrestler.

Cosmo (Sylvester Stallone) is a local street hustler in Hell’s Kitchen who will attempt just about anything to make a buck even pretending to be a homeless person begging for money. Eventually he gets the idea of turning his younger brother Victor (Lee Canalito) into a wrestler and then promoting his bouts inside the ring with others. Victor, who’s strong and well built, initially resists, but he eventually grows tired of his job hauling ice blocks and decides to give in. Cosmo’s other brother Lenny (Armand Assante), a war veteran who walks with a limp, is not keen to the idea either, but through prodding comes onboard as Victor’s manager. Things start out well, but the despite winning the contests Victor’s body takes quite a toll and Cosmo ultimately believes it’s time to give up on it, but Lenny, who begins to enjoy the money he’s making as manager, refuses to let up and pushes Victor into more and more dangerous matchups, which Cosmo’s worries may be putting Victor at too much risk.

The script was written by Stallone that was initially started as a novel. He wrote this before Rocky, but couldn’t get anyone interested in financing it though he was at least able to get it optioned. He then had an acting audition with two producers, Irwin Winkler and Robert Chartoff, while he didn’t get the part he did mention, as he was walking out, about this script. The two men were interested in looking it over, but the other producer who Stallone had optioned it to refused to give it up, so Sly instead wrote Rocky, which he then handed over to Chartoff and Winkler, which was green-lit. Then when that became a runaway success the producers agreed to finance this one even allowing Stallone to not only star, but also direct.

Unfortunately the result here is a mish-mash with things being off-kilter right from the start. The absurd race that Stallone has with another man, done over the opening credits, where the two jump from one tall city building to another seemed hard to believe. At some point one or both are going to miss hitting the other side and fall most likely to their death, which does happen eventually, but the guy is lucky enough to conveniently hang onto an outdoor clothes line though with no explanation for how he got down from that and Stallone, supposedly his friend, just laughs at him dangling there and struts away. Stallone also sings the opening song, which is dreadful.

Things really don’t improve much from there. There are a few nice camera angles and provocative close-ups here and there, but the scenes meander to the point there doesn’t seem to be any momentum, or story. The tone shifts precariously from gritty realism to romanticized idealism. The characters aren’t consistent either. Stallone is the one that initially involved in pushing his reluctant brother into the ring while Assante is very cautious and then for some inexplicable reason this gets reversed with Stallone warning of the danger while Assante becomes overly driven. However, for it to make sense there needs to be an explanation for this big change between the two and none is given making their mutual character archs poorly fleshed-out.

Stallone is certainly engaging though his likability gets tested especially with the segment where he ties up a live monkey, even puts a gag in its mouth, and then dangles it from the ceiling. Anne Archer is fun and virtually almost unrecognizable sporting a red hairdo while playing a sassy Italian love interest. Kevin Conway is highly amusing as the heavy who talks tough when surrounded by his henchmen, but proves wimpy when all alone and his climatic pants pulldown is a hoot. Noted real-life wrestler Terry Funk is quite memorable as the muscled bully and the arm wrestling match-up between he and Victor where the mounting sweat glistens off his body as he struggles to keep his arm from hitting the table is one of the movie’s highlights.

The climactic wrestling match done inside a building with a very leaky roof where the action is done in slow-motion with water splashing all over does have its moments though it eventually becomes redundant. While there’s flashes of occasional brilliance it never fully comes together. A tighter script and more consistent tone were sorely needed and Victor, who’s the only likable guy of the bunch, required more of a multi-dimensional context. The fact that he could beat-up anyone and do it in such a humble way while never having to pay the ultimate price either physically or mentally just isn’t believable.

My Rating: 5 out of 10

Released: September 22, 1978

Runtime: 1 Hour 47 Minutes

Rated PG

Director: Sylvester Stallone

Studio: Universal

Available: DVD, Blu-ray, Amazon Video, YouTube

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Posted in 70's Movies, Comedy/Drama, Movies that take place in the Big Apple, Sports Movies

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Wild Horse Hank (1979)

Posted on June 22, 2024 | Leave a comment

wildhorse

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Teen girl saves horses.

Based on the novel ‘The Wild Horse Killers’ by Mel Ellis the story centers around a teen girl named Hank (Linda Blair) who while tracking down her escaped stallion comes upon a group of men abusing some horses. She later learns that these men plan on destroying them in order to resell their meat for pet food. Hank becomes determined to herd them along treacherous terrain to the safety of a federal park where the horses will be free to roam without danger of being hunted. The problem is that it will be 150-mile trek and her father (Richard Crenna) doesn’t feel she’ll be up to the job, but Hank isn’t use to taking no for an answer and decides, with rifle in hand, to take on the challenge.

What stood out for me was the gorgeous western Canadian setting filmed on-location at both Dinosaur Provincial and Waterton Lakes National Park in the province of Alberta. The vast open view gives one a true sense of the outdoors and the rugged elements. The portrayal of the towns folk particularly the girlfriend of one of the bad guys, played by Barbara Gordon, who refers to her toddler son as her ‘popcorn fart’ and allows him to sip beer while complaining to everyone that he’s ‘a burden’ displays in raw fashion the economic hardship of country living and how fringe some in that region are and what levels they’d be willing to resort to in order to try and get out of it. It also gives a motivation for why the men are as savage as they are and it isn’t so much that they’re just ‘evil’, but more because other opportunities in such isolated areas are sadly few and far between.

The men are portrayed differently than in most other films where bad guys are given menacing looks and threatening presence. Here though they’re more like non-descript jobos you might find at the neighborhood bar, who on their own don’t pose much of a threat and like with the culprits in the classic film Straw Dogs don’t really become scary until they band together showing how otherwise benign people can become dangerous through peer pressure and financial insecurity, which in a way ends up making them even scarier.

Blair can certainly be a great actress if given the right material and knowing how much she loves animals I’m sure she took on this project because the theme was close to her heart, but the character doesn’t offer her much acting range. Normally the protagonist is supposed to grow and change in some way during the course of a movie, but here she’s one-dimensional. She’s super head-strong right from the start and remains that way to the end making her personal journey static. Had she been insecure at the beginning and then learned to overcome those feelings would’ve at least given the character a genuine arch.

I was surprised too that Crenna, who’s only adequate in his role and borders on being miscast, doesn’t go along with his daughter on her trek. He argues with her about how dangerous it is and yet ultimately waves her on her way and stays home. Had he tagged with her there could’ve been more opportunity for conversation and learned more about these people instead of long segments of silence, which makes the viewer more emotionally detached from what the character is going through instead of engaged.

I know I’ve complained about other adventure movies that throw in a hooky romance as a subplot, which I usually find annoying and yet this is a rare case where I wish it had been done. There’s a young good-looking guy named Charlie, played by Michael Wincott, who’s related to the poachers, but teeters the fence on whose side he’s on. He has some interactions with Blair during her trek and seemed like he was a potential love interest, but then he disappears only to come back later. He should’ve stayed all the way through as they made an interesting and cute couple with just enough animosity to keep it spicy.

Spoiler Alert!

There is a scene where Blair’s horse gets injured and she’s forced to shoot it, which I found powerful and the climactic sequence in which her father, who conveniently reappears again, gets all the truckers to create a roadblock, which stops the traffic, so the horses can cross the road. Overall though the film lacks subtext. The formula is too simple and straight forward. It may interest preteens especially those who love horses, but the main characters aren’t multi-dimensional.

My Rating: 4 out of 10

Released: May 15, 1979

Runtime: 1 Hour 35 Minutes

Not Rated

Director: Eric Till

Studio: Canadian Film Development Corporation

Available: DVD-R

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Posted in 70's Movies, Action/Adventure, Foreign Films, Movies Based on Novels, Movies from Canada, Movies with a rural setting, Obscure Movies, Outdoors

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White Line Fever (1975)

Posted on June 16, 2024 | Leave a comment

white

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Truck driver fights corruption.

Carrol Jo (Jan-Michael Vincent) has returned from a overseas trip in the Air Force and is now set to marry his sweetheart Jerri (Kay Lenz), but to do so he must get a job. Since he grew up in the trucking business where his father was a long haul driver he decides to buy himself a rig by getting a loan at the bank. Once purchased he drives to the Red River company in town to find cargo to haul, so that he can quickly start making money and get out of debt with the bank as soon as possible. However, he realizes that the company has become overrun with corruption and if he wants to work there he must agree to haul contraband, which he refuses. He tries going into business for himself, but the folks at Red River, who secretly have deep connections to some very influential and rich people, are determined not to let his start-up get-off the ground and stymie his efforts at every turn, which causes Carrol Jo to take matters into his own hands and proceeds to instigate an elaborate revenge.

This was Jonathan Kaplan’s 5th film effort and he got hired onto the project when one of the producers mistakenly thought the film he did before this one, Truck Tanner, had been about truck driving, which it wasn’t, but Kaplan decided to just take the offer without bothering to correct the confusion. His directorial instincts helps a lot particularly at the beginning where he uses some interesting montages including showing actual pics of Vincent and Lenz as children and then progressive photos as they age into adulthood. There’s quick edits, which gives it a breezy pace and never allows it to get boring.

However, the story itself is quiet pedestrian as there’s no interesting twists. Small town bigots running a questionable trucking operation is about as cliched as it gets and it’s hard to get emotionally invested in the proceedings when you know exactly how it’s going to work out. No new angles get added in and everything from the one-dimensional characters to the paper thin plot is so painfully predictable it becomes genuinely irritating.

The story has more of a herky-jerky structure than a linear one. I thought the whole first two acts would be Vincent dealing with the repeated harassment until he’s had enough and implements a vigilante style response, but instead it becomes more violent vignettes with the bad guys doing something underhanded and then Vincent immediately responding making it seem episodic and like the plot is moving in a circular fashion instead of forward. Shooting it in Tucson, Arizona is alright though the barren, sandy wintertime desert landscape isn’t exactly eye-catching. Having police cars fitted with Confederate flags and cops behaving like southern hicks is out-of-place as Arizona is a western state far removed from the deep south as most of the people living there have come from the north to escape the cold winters and certainly not from places like Alabama like the movie seemingly wants you to believe.

The supporting cast is certainly engaging especially Slim Pickens who manages to always be fun no matter what B-movie he is in, but Vincent is weak. This was reportedly when he first started using cocaine, which culminated in both the downfall of his career and eventually his life. He mentioned that he never felt comfortable with the fame and I suspect it’s because he knew deep down he maybe didn’t really belong. He’s a good-looking guy who in supporting parts had some potential, but as someone trying to carry a film he’s incredibly blah and doesn’t add anything other than the basic reaction shots. Lenz shows a far more interesting energy and the script should’ve been rewritten to make her the truck driver trying to fight a male dominated industry, which would’ve given the movie the unique spin that it needed.

The villain side gets botched as well. Pickens would’ve been okay, but he amounts to being just a throwaway henchman as does Martin Kove, who years later would get remembered as being the mean coach in The Karate Kid. L.Q. Jones though had strong potential and had he been the so-called brains behind the thing it could’ve been forgiven and there’s even a long, drawn-out foot chase between he and Vincent near the end that isn’t bad, but the ultimate culprits turn-out to being this group of non-descript old guys headed by Don Porter best known for playing Sally Field’s widowed father in the TV-Show ‘Gidget’. Now, R.G. Armstrong, who plays Porter’s shyster lawyer, isn’t bad, but Porter doesn’t have enough sleazy flair to give the part any panache making him come-off more like he’s just another stock character. In films like these there needs to be one really nasty mastermind that needs to be taken down and having it get assimilated to an entire group of otherwise non-descript old guys dilutes it too much.

Spoiler Alert!

Even the action seems a bit lacking. Granted there are a few edge-of-your-seat moments like when Vincent gets on top of a moving rig in order to fire a rifle at the driver of another vehicle that’s chasing them and Pickens death scene, in which he gets runover by a truck is pretty shocking too, but other than that the stunts are run-of-the-mill. The ending was a particular letdown as it has Vincent driving his truck through the gate of Porter’s residence and then into the marquee that sits out front, but I wanted him to go all the way and crash through the walls of the plush mansion. I’m sure that would’ve been deemed too expensive to pull-off, but it would’ve given it a more dramatic conclusion and if done in slow motion could’ve been really cool to see and might’ve made sitting through the rest of it worth it.

My Rating: 5 out of 10

Released: July 16, 1975

Runtime: 1 Hour 30 Minutes

Rated PG

Director: Jonathan Kaplan

Studio: Columbia Pictures

Available: DVD-R, Amazon Video, Tubi

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Posted in 70's Movies, Action/Adventure, Fast Cars/Car Chase

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Remember My Name (1978)

Posted on June 7, 2024 | Leave a comment

remember

By Richard Winters

My Rating: 7 out of 10

4-Word Review: His ex-wife returns.

Neil (Anthony Perkins), who works as a local carpenter, is married to Barbara (Berry Berenson). While the two have their share of ups-and-downs they mostly find a way to work it out and get along. Then comes Emily (Geraldine Chaplin) whose been recently released from jail. She begins harassing the couple for no apparent reason. After she breaks the window of their home Barbara insists on pressing charges. Neil though resists while divulging that he had previously been in a relationship with her and because of certain things that occurred has a misplaced sense of guilt to cover-up for her actions. Barbara does not understand this and the two break-up while Neil decides to rekindle things, but while Emily initially seems receptive she may actually harbor ulterior motives.

Alan Rudolph does a marvelous job of directing this emphasizing the working-class existence with a pale color scheme and great use of on-location shooting, which gives the viewer a vivid and intimate portrait of the character’s lives and their environment. The use of showing that Emily had previously been in prison without actually saying it by simply using certain sounds and visuals as she sleeps is a genuinely inspired moment as is the use of the brief dialogue that reveals things slowly and deliberately using subtle hints that achieves a certain fragmented narrative.

Chaplin is brilliant and convincing in the lead and her unique colored eyes helps build a riveting psycho-like effect though with her extremely thin frame it’s hard to imagine she’d be able to take-on and even beat-up the Alfre Woodard character as she does though one could possibly justify it by saying she learned fighting skills while in jail. Perkins is also quite good, but the use of his real-life wife Berenson, who didn’t have a lot of acting training, hurts as her time on screen is rather blah including the otherwise tense confrontation that she has with Emily when Emily invades her home, which might’ve been a more interesting scene with a better qualified actress in the part.

While the first-half is quite slow I was thoroughly gripped and found the whole thing fascinating, but this tapered-off by the third act when Perkins and Chaplin rekindle things while at a restaurant. The scene gets done in amusing way as the couple keeps ordering alcoholic drinks one after the other, much to the consternation of the waiter, played by Terry Wills, but having Perkins go back immediately to Chaplin with almost no apprehension kills the intrigue. This is a woman that supposedly murdered someone before, so how does he know she can be trusted? Having him more defensive and cautious and even conflicted as he was technically still married would’ve helped continue the tension instead of deflating it.

Spoiler Alert!

The scene in which the Moses Gunn character, who was having a bit of a fling with Emily, goes back to her apartment apparently to murder Perkins who had been temporarily staying there, could’ve been done better. It’s only intimated that Gunn kills him as we see a nervous look on Perkins face as he hears somebody at the door and then it cuts away to the outside of the building with loud crashing music to display that there was violence, but I really felt it should’ve gotten played-out visually. Perhaps it could’ve been done Rear Window-style with it being captured through the windows, which would’ve stayed consistent with the film’s detached tone, but to leave the story’s most crucial moment up to speculation was a letdown.

The same can be said to Alfre Woodard’s character who promises revenge on Chaplin, but it never comes. A good physical confrontation between the two could’ve added some much needed action, which otherwise is sorely missing and makes the film seem incomplete. Having Chaplin terrorize the couple by messing up their flower garden is a bit too tame as any squirrel or raccoon could’ve done the same thing while putting a bloody animal on their doorstep, or nailing a graphic picture of the person she had killed before would’ve been far more frightening.

Overall I liked the style, but the attempt to keep things buttoned-down all the way through doesn’t work. At some point, just like with the ticking time bomb mentality of its main character, it needed to explode with violence that would’ve awakened the viewer with a shocking effect. The fact that this is only slyly hinted at is a letdown and doesn’t give the movie the strong pay-off that it should.

My Rating: 7 out of 10

Released: October 1, 1978

Runtime: 1 Hour 34 Minutes

Rated R

Director: Alan Rudolph

Studio: Columbia Pictures

Available: DVD-R, Tubi

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Posted in 70's Movies, Drama, Moody/Stylish, Obscure Movies, Thrillers/Suspense

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Magic (1978)

Posted on May 19, 2024 | 1 comment

magic

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Ventriloquist has split personality.

Corky (Anthony Hopkins) is an aspiring stand-up magician who’s finding it hard to play in front of live audiences. After a particularly disastrous effort he comes upon the idea of adding in a ventriloquist dummy named Fats into his act. The addition helps him become a top act and soon gets him the attention of well known agent Ben Green (Burgess Meredith). Ben wants to get Corky a TV contract, but first Corky must undergo a health physical, which Corky refuses to do. Ben insists that Corky has no other option, so Corky leaves the city and drives via a cab to the Catskills where he grew up and rents a lakeside cabin from his former high school sweetheart Peggy (Ann-Margaret). The romance between the two quickly renews, but then Ben finds out where Corky is staying and catches Corky alone in his cabin having an animated argument with his dummy convincing Ben that Corky has mental issues. Ben tells Corky that he’s going to get him psychiatric care, but Corky fears that if it gets out that he’s mentally ill he’ll never get another job offer and thus resorts to drastic action in order to keep Ben quiet.

The film is based on the novel of the same name by William Goldman who also wrote the screenplay. The novel was unique in that it was told through the voice and point-of-view of the dummy. While there had already been several stories and movies dealing with the ventriloquist/dummy persona including the film Dead of Night starring Michael Redgrave and a famous episode of ‘Twilight Zone’ where actor Cliff Robertson played a ventriloquist that gets tormented by his dummy. This film takes a slightly different approach where upfront the protagonist is clearly shown as having a major personality disorder and thus he’s the real threat while the dummy only symbolizes his inner turmoil between the ego and the id.

The film definitely has some creepy moments especially the dummy, whose spooky appearance is what makes it worth catching. It was modeled after Hopkins with oversized blue eyes, head, and mouth gives it an almost monstrous presence. Supposedly when it was completed and Hopkins first took it home to rehearse he got unnerved by it in the middle of the night and called Goldman to come over and pick-it-up or he was going to destroy it. The placid, gray setting of the isolated cabin, which was actually filmed in California despite it looking like northern New York, is perfect for this type of story and the serenity helps accentuate the suspense.

I really liked too the opening bit where a sweating Corky is seen bombing on stage in front of a apathetic crowd, which realistically hits home how nerve-wracking being up onstage for the first time can be though I wish we could’ve heard what Corky angrily shouted at the audience instead of having the sound of this blotted out by a voice over. It is though hard to believe that a man in his 40’s would get so addicted to his dummy, something he hadn’t used before then, that he couldn’t communicate without it and would have to take it everywhere he went. For a relationship to become this deep seated I’d think he’d have to have been doing a ventriloquist act from childhood on and thus the alter-ego of the dummy became meshed with his own as he grew older.

The acting is excellent by not only Hopkins, but also the supporting cast. Meredith is especially enjoyable playing the caricature of a Hollywood agent, which was modeled after the real-life one of Swifty Lazar, with his best moments coming whenever he takes out one of his expensive cigars, which are each separately incased inside a glass cannister. When he pulls the cigar out he then flings the cannister away, which can then be heard shattering onto the floor. Ann-Margaret known for her beauty and flair plays down her looks here as she wears no make-up and takes on a more earthy persona. Ed Lauter is also interesting playing her husband. Normally he’s a tough guy/bully and I thought this was going to come-out when he takes Corky out on a boat in the middle of a lake where he was going to threaten him to stay away from ‘his girl’, but instead he surprisingly displays a more vulnerable side and makes an emotional appeal to Corky to leave Peggy alone versus a strong-armed one.

Spoiler Alert!

The pacing is slow and the suspense builds very gradually though ultimately there are a few good spooky moments including a brief moment when Fats begins moving itself without the help of an operator and when Corky’s face suddenly begins to resemble the wooden dummy’s. Yet I felt it could’ve gone farther. The segment which has Corky crawling on the floor doing whatever the dummy tells him is certainly unnerving, but could’ve been accentuated more by showing it from Corky’s perspective where the dummy’s head would’ve grown to giant size as it looks down on the meek Corky as it gives him the orders.

The ending, at least when I first saw it, had me confused. The film climaxes with Corky returning to his cabin having stabbed himself and bleeding to death where he and Fats then slowly die together, but outside of the cabin Ann-Margaret appears telling Corky she has now changed her mind and wants to go away with him. Initially though it had been made to seem like Corky had killed her, so seeing her reappear as she does comes-off as almost dream-like. She also begins to speak in the dummy’s voice making it seem like his spirit had transferred to her.

Upon the second viewing many years later I came to the conclusion that this scene was meant to only be ironic. That if Corky had simply held-out longer Peggy would’ve agreed to go with him and thus him killing himself was a horrible waste, but in retrospect since he was suffering from such severe mental issues it was unlikely a long lasting relationship would’ve happened, so having her come back the way she does doesn’t really make much sense since she had been deeply offended by what he had said earlier, via the dummy. It would’ve been more horrifying had he chased her around the house and then killed her and the viewer seeing that get played-out.

My Rating: 7 out of 10

Released: November 8, 1978

Runtime: 1 Hour 47 Minutes

Rated R

Director: Richard Attenborough

Studio: 20th Century Fox

Available: DVD, Blu-ray, Amazon Video, YouTube

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Posted in 70's Movies, Movies Based on Novels, Movies that take place in the Big Apple, Movies with Nudity, Thrillers/Suspense

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Bug (1975)

Posted on May 17, 2024 | Leave a comment

bug

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Underground insects set fires.

A small, rural California community becomes besieged by a violent earthquake that opens up large cracks in the ground that allows a type of bug to come up through them that can start fires by rubbing its two legs together. Soon fires begin everywhere and there are many casualties. Professor James Parmiter (Bradford Dillman), a local scientist, is put in charge to research these new insects and see if there’s a way to control them. He eventually learns that their time is limited because they can’t handle the low pressure of our climate, but then one of the bugs kills his wife (Joanna Miles) and this creates an obsession in him to save the last of the species and breed it with a cockroach to create a new hybrid, which he successfully does, but with horrifying results.

The film’s greatest achievement, which was the last to be produced by famous horrormeister William Castle, is the photography of the bugs, which is sure to make anyone who is queasy about insects to be squirming in their seats. My favorite moment is when the professor stabs the bug’s underbelly and all of this white puss explodes out of its insides in slow motion. Some may also enjoy the weird electronic score by Charles Fox, but for me its the quiet moments that were far more effective with my favorite part coming right at the beginning during the opening credits where we hear nothing but the wind blowing off the open prairie while a white church can be seen in the background.

The fatal flaw is the fact that the characters are dull and one-dimensional with none of them standing-out, or having any discernable personalities. In order for the viewer to get emotionally wrapped-up in their fate they need to be interesting enough to save and these people clearly aren’t. What’s worse is that the protagonist, whom we are supposed to bond with and root for, begins behaving in stranger and stranger ways until he becomes as creepy as the bugs he’s fighting.

There’s just so many fires one can watch before it becomes redundant, so during the middle of the second act the film takes an awkward transition from being a disaster flick into a mad scientist one, but the way it gets done is confusing. Why would the professor want to keep the bug species alive as they’ve just killed his wife, so you’d think he’d be happy that they were dying off, but instead he saves one by putting it into a pressure chamber and then tries to mate it with another bug species. His motivations though needed to be better explained, but aren’t, which makes the whole second-half off-putting. Some fans of the film in their reviews on IMDb say it’s because the man goes ‘insane’, but why? Some may argue it’s because the death of his wife, which causes a breakdown, but there’s many people who survive the death of a spouse and it doesn’t turn them into a nutjob. If the man does have weak mental state that could collapse under a stressful event then this needs to be eluded to, or hinted at right at the beginning, so the viewer can be clued into the idea that the individual has mental issues, but it never is.

There are also those that say in the novel version, ‘The Hephaestus Plague’ by Thomas Page, which the film is based on, better explains the reason for the professor’s mental decline, which I don’t doubt, but the filmmakers cannot depend on the audience having read the book beforehand, nor should it be needed. The film needs to make the inner-workings of it’s lead character clearer on its own and in that respect the movie fails.

Spoiler Alert!

The way he’s able to create this new type of insect happens too quickly and seamlessly. Normally it should take many generations of breeding for a bug that doesn’t originally have any wings, and neither of the parents do, to finally begin to form them in their offspring and yet here this occurs literally overnight. The bugs are also capable of spelling out words with their bodies, but even a super smart species must learn the English language before they’re able to communicate it. No one has a language imprinted on their minds as they come out of the womb, or in this case the larvae, and yet here that’s exactly what we’re expected to believe.

Personally if I had directed it I would’ve done the storyline in reverse. Started with the professor already  in a secluded room in his house secretly trying to create a new species of bug because he has a God complex and wants to have an insect named after him. Then have the bugs escape from his lab and kill his wife and then go out into the town and start killing everyone else with their fires. I’m not saying this version would be perfect, but at least the narrative would be linear and the action better connected versus here where it comes-off like two different plotlines awkwardly spliced together.

My Rating: 3 out of 10

Released: June 17, 1975

Runtime: 1 Hour 40 Minutes

Rated PG

Director: Jeannot Szwarc

Studio: Paramount

Available: DVD, Blu-ray, Amazon Video, YouTube

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Posted in 70's Movies, Disaster Flicks, Movies Based on Novels, Movies with a rural setting, Sci-Fi, Thrillers/Suspense

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End of the Game (1975)

Posted on May 8, 2024 | 1 comment

endofgame

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Unable to prove crime.

Richard Gastman (Robert Shaw) makes a bet with his young friend Hans (Martin Ritt) that he can commit a crime in front of him, but Hans will be unable to prove who did it. Later Hans’ girlfriend (Rita Calderoni) plunges to her death from off of a bridge. Hans is convinced Gastman did it, but just like he predicted he cannot prove it. 30 years pass and Hans is now a police commissioner with only a few months to live due to suffering from stomach cancer. His Lieutenant Schmied (Donald Sutherland) is found shot to death inside his police vehicle. He’d been assigned by Hans to keep tabs on Gastman as Hans was still intent on making him pay for what he did to his girlfriend, but he again can’t prove that Gastman killed Schmied though he’s certain that he did. Walter (Jon Voight) gets assigned to the case, but Hans can’t be completely honest with him about the case, so instead he sets Walter up to witness firsthand the brutality of Gastman for himself.

The story is based on the 1950 novel ‘The Judge and the Hangman’ by Frederich Durrenmatt who also wrote the screenplay and has a very amusing cameo as a man who plays chess against himself and always loses. The novel was first adapted into a broadcast for German television in 1957 and then again in 1961 for British TV, and then it got adapted for a third time for Italian television and then a fourth as a TV-movie for French broadcast before finally making it’s way to the big screen with this version, which so far has been the last adaptation to date.

The film was directed by Academy Award winning actor Maximillian Schell who was unable to get along with either of his leading actors with Shaw accusing him of being a ‘clockwatcher’ and ‘pocket Hitler’ while Voight described him as being humorless and overly demanding. The film is well directed for the most part, but an unusual reliance on humor almost kills it. The story itself is certainly not meant to be funny, but Schell implements comedic moments particularly in the first half when they’re not needed and almost a distraction. This is particularly evident during Schmied’s funeral and earlier when Schmied’s body is found and another cop drives the corpse to the hospital with Donald Sutherland, in an unbilled bit, playing the dead man and his body twisting around in weird ways as the car goes down the curvy road, which is humorous, but unnecessary and doesn’t help propel the plot. Initially too the corpse is spotted by some pedestrians who stare at it through the car window and seem amused by it, which isn’t exactly a normal reaction people have when witnessing someone who has just died. Possibly this was meant to show the public’s distrust, or disdain for the police, but if that were the case it should’ve been explained and elaborated.

The casting is unusual as it features Ritt in the lead who’s better known as a director, but here ultimately shines and becomes the film’s only likable character though the way he behaves throughout still makes him seem sketchy like everyone else. Shaw, who complained that he never got paid the $50,000 that he was owed for doing this, is commanding as usual, but Voight who wears a shaggy bleached blonde look comes-off as creepy right away. Technically the viewer is expected to side with his character, at least upfront and consider him a ‘good guy’, but right away Voigt telegraphs it in a way that makes him seem ‘off’ and hence kind of ruins the stories eventual twists.

For those who like complex whodunits this might fit the bill. The plot certainly does constantly unravel in surprising ways and no one should be bored, but the characters are cold and unlikable. There’s no one to root for and therefore the viewer is not as keyed into the outcome as they would’ve had they been more emotionally invested. The editing is also quite choppy and there seems to be certain key elements that get left out, which most likely due to the fact that the original runtime was 106 minutes, but the DVD version, the only one publicly available at this time, runs a mere 92 minutes.

My Rating: 7 out of 10

Released: September 21, 1975

Runtime: 1 Hour 46 Minutes (Director’s Cut) 1 Hour 33 Minutes (DVD Version)

Rated R

Director: Maximillian Schell

Studio: 20th Century Fox

Available: DVD-R

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Posted in 70's Movies, Foreign Films, Movies Based on Novels, Movies with Nudity, Mystery, Obscure Movies, Police Drama

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