Category Archives: 80’s Movies

April Fool’s Day (1986)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: It’s all a prank.

A group of college students get together at an excluded island home of one of their friends Muffy (Deborah Foreman) to celebrate their last year in school together. Then as the weekend progresses they find that a killer is knocking them off one-by-one. Will the remaining survivors be able to escape, or is there something more to these murders that no one realizes?

The film was an attempt to revive what at the time was a lost interest in the slasher genre by creating a irreverent tone to the staid formula and in that regard it does an okay job. The main issue though is that it gets too jokey making it seem more like a misguided comedy that losses sight of its intended horror fan audience completely.

I didn’t mind a few of the pranks, but too much time gets spent on them and 40 minutes seemed to be a ridiculous wait (if you don’t count the injury that occurs on the initial boat ride in, which seemed more like an accident) before we even get to the first killing. The pranks bordered on being too elaborate and something a regular person wouldn’t be able to pull off. For instance one deals with Rob (Ken Olandt) turning off one light in a room only to have another one turn on, all to the amusement of his girlfriend (Amy Steel) who apparently (I guess?) rigged the lights to do this, but where did she  get the electrical background or time to wire the room in this manner?

If the pranks are supposed to revolve around the fact that it’s April Fool’s Day then all the action should  take place within a 24-hour period instead of over several days. The scenery doesn’t have a spring-like look either as there should be blossoms and buds on the trees, but instead, since it was filmed in August, it looks more like late summer.

The cast comes-off too much like crude and obnoxious junior high kids whose only topic of conversation is sex instead of young adults ready to enter the working world and their dialogue doesn’t seem genuine.  One dumb bit has Harvey (Jay Baker) trying to make amends with Nikki (Deborah Goodrich) by trying to prove to her he really isn’t as much of a ‘dick’ as she thinks, but then proceeds to tell that he’d like to ‘plow her field’, which would only convince her otherwise.

Spoiler Alert!

The killings are brief and feature virtually no gore at all, which will disappoint those expecting to see at least a little. The ending, which reveals the killings to being just another gag, was novel, but there still needed to be a secondary twist. In the film’s original cut Skip (Griffin O’ Neal) kills Muffy after everyone else has left the island, but the studio execs nixed this opting for an ‘upbeat’ ending instead. Upbeat endings are fine if it’s a comedy, but a horror film should have a dark undertone and the fact that this one doesn’t have one at all makes it woefully undernourished.

My Rating: 3 out of 10

Released: March 28, 1986

Runtime: 1 Hour 29 Minutes

Rated R

Director: Fred Walton

Studio: Paramount

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

Dad (1989)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Son cares for father.

John (Ted Danson) is a busy executive who learns during one of his business meetings that his mother (Olympia Dukakis) has had a heart attack and rushes back home to care for his father (Jack Lemmon) who isn’t use to doing things on his own. John teaches his father how to do the every day chores while also learning to bond with his own son Billy (Ethan Hawke) who comes to visit. Just as things seem to be getting better and his mother gets out of the hospital it is the father who then gets sick with cancer leading to even further complications.

The film is based on the 1981 novel of the same name by William Wharton, which I’ve never read, but if it’s anything like this script then it’s not too good. One the main problems is the extreme shifts in tone that starts out with elements of Rain Man and then at the halfway mark becomes like a dark satire of incompetent medical delivery in the vein of Hospital and then in the third act turns almost fable-like.

My biggest beef is the pseudo-science that gets thrown in after the father goes to the hospital with his cancer. This is when the old man suddenly without warning starts going delusional and then ultimately into coma only to one day miraculous snap out of it. We’re told that the explanation for this is that the father was so fearful of cancer that the brain produced some sort of enzyme that acted as a defense mechanism that shut off the mind so it wouldn’t have to deal with it and it was the love shown by the son that ultimately allowed the dad to come back to consciousness, but what reputable medical journal has ever discussed this phenomenon?  Things get even more ludicrous when the old guy starts thinking he’s on a farm in a different time period and we’re told this is a schizophrenic condition caused by the cancer and everyone needs to play along with it, or he’ll go back into a coma.

Danson, for what it’s worth, gives a strong performance here, probably the best in his otherwise lukewarm film career. I found it frustrating though that his character doesn’t have all that much of an arch. Supposedly he’s self-centered at the start and needs to learn to be caring, but this only gets explained by the character during a long soliloquy during the middle part, when the viewer should’ve instead seen the transition play out. I also thought it was wacky that he’d be allowed to bring in a cot and stay with his father inside his hospital room as I’m pretty sure most doctors would not allow this.

Lemmon’s performance is good too, but I didn’t like how a tuft of white hair was kept on his otherwise balding head as I found it distracting. While it was nice that his character wasn’t a crotchety old man, which has become a bit of a cliche, I found his extreme dependency on his wife, to the point where he allowed her to dress him and even butter his toast despite the fact that he was physically able to do it himself, as pathetic. His later transition to laid-back hippie who wears colorfully garish outfits as he takes on a whole new perspective on life is too jarring and extreme.

The film never comes together as a whole and if anything could’ve been shortened with the first half dealing with the mother’s heart attack taken out and just started with the father’s cancer diagnosis as that’s when the main plot gets going. In either case it tries too hard to be cute while compromising too much on the believability.

My Rating: 2 out of 10

Released: November 10, 1989

Runtime: 1 Hour 57 Minutes

Rated PG

Director: Gary David Goldberg

Studio: Universal Pictures

Available: DVD, Amazon Video, YouTube

Raising Arizona (1987)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Childless couple kidnap baby.

Hi McDunnough (Nicholas Cage) is a repeat offender who goes in and out of the state penitentiary. It is there that he meets Edwina (Holly Hunter) an officer in charge of taking his mugshot each time he gets rearrested for holding up convenience stores. Eventually the two form a bond and when he finally gets released they marry, but find that she’s unable to bear children. They then hatch a plan to kidnap one of the quintuplets of furniture store owner Nathan Arizona (Trey Wilson), but find this leads to more complications than they were prepared for.

While the Coen’s directing is sharp and on-target there were still those that criticized it as being overly stylistic and, as critic Vincent Canby stated, outside of the technical expertise the story has no life of it’s own, which is kind of true. The editing does give the film a personality, but there were times where slowing it down and allowing the scenes to breathe could’ve heightened the humor. For instance having Cage break into the Arizona residence to kidnap the baby happens much too quickly and there should’ve been a scene showing Cage trying to figure out which window to break into to get to the baby’s nursery as it was a big house, so how exactly would he have known where to go?

With that said there are still plenty of times where the distinct directorial touches spark the comedy and make it years ahead-of-its-time. I particularly liked the Coen’s patented camera tracking during Cage’s dream sequence where he views things from the bounty hunter’s (Randall ‘Tex’ Cobb) perspective as he rides his motorbike over obstacles on the front lawn and then supposedly straight into a bedroom. A chase sequence that starts out on the street and then winds up going through a person’s private residence is quite ingenious and the running-joke dealing Dr. Spock’s child rearing book is very funny too.

The script offers only caricatures, which would normally be a detriment, but here it just adds to the zaniness. I really enjoyed Wilson as the stereotypical aggressive, brash salesman and the scene where he talks to the police after the kidnapping has occurred I found to be the funniest moment of the movie. John Goodman and William Forsythe are also great as a pair of inept bank robbers and Sam McMurray and Frances McDormand are hilarious as the in-laws from hell.

Spoiler Alert!

My only real grievance, and it’s on a minor level, was the kidnap scenario, which could’ve been played-out more. I also thought it was weird that this rich couple would have all these kids and not hire a nanny to help them care for the babies. It’s a head-scratcher too that when Cage and Hunter decide to return the baby that they were able to break-into the same window that they did before. Wouldn’t you think that after a kidnapping this rich couple would’ve implemented crime alarms and cameras in ever room? Also, Nathan Arizona, catches the couple in the bedroom returning the kid to his crib and then after talking to them a bit he leaves the room with Cage and Hunter still with the baby, but you would think that after they took the kid once that the father would be too paranoid to ever leave the baby alone with them again.

The ending in typical Coen fashion doesn’t equal the same energy and imagination as the rest of the story and is a bit of a letdown. It deals with a dream that Cage has where he imagines having a really big family, but I thought it would’ve been funnier had the dream started out pleasant where he thinks about all the good things about family life only to have it slowly deteriorate into a nightmare where the harsh realities of raising kids come into play making him wake-up in a cold sweat and feeling lucky that they couldn’t have children after all.

My Rating: 8 out of 10

Released: April 17, 1987

Runtime: 1 Hour 34 Minutes

Rated PG-13

Director: Joel and Ethan Coen

Studio: 20th Century Fox

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

Vigilante (1982)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Father dispenses street justice.

Eddie (Robert Forster) is a factory worker living in a tough neighborhood of New York who comes home one day to find his wife (Rutanya Alda) beaten and his infant son murdered. Initially he trusts the system will bring the culprits to justice, but then realizes to his horror that the judge (Vincent Beck) is corrupt and with a payout that he receives from the defense attorney (Joe Spinell) he lets the head of the gang (Willie Colon) off with a probation sentence.  Eddie becomes outraged and seeks the help of a neighborhood vigilante group headed by Nick (Fred Williamnson) to set things right.

The film is an obvious rip-off of  Death Wish  that is so uninspired that I’m surprised that the producers of that film didn’t sue the filmmakers of this one for plagarism. Both the good guys and the bad ones are such extreme caricatures that it becomes unintentional camp while the tone has an ‘everything is terrible’ approach that makes it seem like the entire planet has become one big crime-ridden urban hellhole.

The script is full of loopholes like the fact that Alda initially confronts the gang at a gas station and yet when she gets home she finds that the gang is waiting outside in their car, but it’s never explained how they knew where she lived. If they followed her then that needs to be shown and it isn’t. When she calls the police asking them to send over a squad car she neglects to give them her address even though this was long before caller ID and without the address they wouldn’t know where to go.

Although I’ll give him credit for appearing nude while trying to fight off guys who were bigger than him and fully clothed while in the prison’s shower I still felt overall Forster’s performance, who gets billed on the film’s promotional poster as Robert FOSTER, is quite poor. Most of this is due to the script, but I still found it disappointing. Usually he displays a feisty, gutsy tough guy that I enjoy, but here he comes off as transparent and when he finds out his kid has been murdered he shows barely no emotion at all. Williamson conveys a far better edge and he should’ve been made the star while Forster’s character could’ve been scrapped completely.

Carol Lynley, as the District Attorney, is barely seen at all in a thankless bit that lasts less than five minutes, which is a shame as this was the last film that she was in where she still retained her youthful appeal as her film appearances after this she displayed a much more middle-aged appearance. Spinell, who had starred in Maniac just a year before that was done by the same director, is also wasted in a part that is much too brief. Woody Strode appears here as one of the prisoners, but he was clearly aging by this point and nearing 70 at the time make the part where he beats up two younger guys who are much bigger than him look ludicrous.

Spoiler Alert!

The films ends with a nifty car chase, which is probably the best moment in the film even though there’s loopholes here as well like having Forster crash into a patrol car, but he’s able to back away and keep going, but for some reason the patrol car doesn’t continue to give chase. If it was disabled in the crash then it needs to show this and it doesn’t. Forster also plants a bomb in the corrupt judge’s car, but nothing is shown earlier revealing that Forster had the ability to build one, so how did he figure out how to make it? It’s also highly unlikely that a judge, knowing that he was corrupt and people would mostly likely be after him, would pick-up a strange looking red object that he sees on his car and stupidly press a button on it. The bomb, before it explodes, also features a recording of him handing down the light sentence to the gang leader, but how was this recorded because during the courtroom scene no recording device was shown?

End of Spoiler Alert!

William Lustig, who initially started out as a director of porn films under the pseudonym Billy Bagg, showed great promise with Maniacbut here the effort is sloppy with little imagination given to the already stale premise. Everything, even the grisly violence comes off as mechanical and derivative.

My Rating: 2 out of 10

Released: July 23, 1982

Runtime: 1 Hour 30 Minutes

Rated R

Director: William Lustig

Studio: Artists Releasing

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

Oh, God! You Devil (1984)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: God versus the devil.

Bobby Shelton (Ted Wass) is a struggling songwriter who is becoming increasingly frustrated at his inability to make it big. He blurts out at one point that he’d be willing to sell his soul if it could get him success and this catches the attention of the Devil (George Burns) who goes by the name Harry O. Trophet. He offers to become Bobby’s agent as long as Bobby signs a contract that gives him his soul after an indefinite period of time. Bobby, so desperate to reap the benefits of fame and fortune that has alluded him all his life, decides to take him up on the offer and soon becomes a world famous rock star named Billy Wayne. Yet Bobby misses his girlfriend Wendy (Roxanne Hart) who he can no longer see because he’s inhabiting a different identity. He longs to go back to his old way of life and tries to contact the services of God (George Burns) to dissolve the contact he signed and return him back to the way it was before.

After the critical shellacking of Oh, God! Book II the studio realized their mistake and attempted to take the theme in a whole new and hopefully fresh direction. They commissioned both Josh Greenfield and Andrew Bergman to write separate scripts and then ultimately choose Bergman’s over the other one. While the idea may sound funny the way it gets handled is not. All Bergman does is simply rework the Faust legend while offering very little that is new or inventive to it. The plot gets handled in an extremely heavy-handed and melodramatic manner that is neither funny nor engrossing. Bergman shows little feeling for the material and the story plods along in a predictable and boring way.

Wass, who no longer performs in front of the camera and has since 1995 worked exclusively behind-the-scenes as a director, is extremely weak. His performance is one-note and his constant deer-in-headlights expression is annoying. The film doesn’t do a good job of portraying his desperate situation either. Despite making very little money he’s still able to somehow afford a chic-looking apartment and maintain a relationship with a very hot-looking woman. I realize the point of the movie is to show that he already had a good thing going and just didn’t realize it, but his situation should’ve been shown to be more bleak in order to have his signing of the contract make more sense.

Burns is the only thing that saves it. He had never played a bad-guy before, so seeing him fall into the devil character as well as he does is fun and some of the lines that he conveys are the only amusing bits in the movie. However, the big showdown between God and the devil in which the two play a game of poker is not interesting at all and they needed to do something that offered more action, which is badly missing from the film otherwise.

This marked the final movie to date in the Oh, God! franchise. There were discussions a few years back about reviving it with Betty White playing the role of God, but because of her advanced age no insurance company would back it, so the idea got scrapped, which is a shame as this would be one reboot I’d be interested to see.  It would be nice if someone would make a film that more closely resembled the ‘Oh, God!’ novel by Avery Corman, which had a satirical tone that none of the three films replicated.

My Rating: 1 out of 10

Released: November 9, 1984

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Paul Bogart

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

Oh, God! Book II (1980)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: God returns to earth.

Tracy (Louanne) is an 11-year-old girl who one day meets God (George Burns) when he invites her via a fortune cookie into the lounge of a Chinese restaurant where he asks her to help him spread the word that he exists. She then, with the help of her friends, creates posters that say ‘Think God’ which she puts up all over town, but this gets her suspended from school and then her parents (David Birney, Suzanne Pleshette) consider having her sent to a mental hospital after she keeps insisting that she’s spoken to the Almighty directly.

This follow-up to the 1977 hit lacks the freshness and originality of the first. The studio had initially wanted the John Denver character to return, but the producers insisted they wanted a ‘fresh start’ and not just continue the storyline from the first film. While the characters are different, the plot line remain the same causing the film to come-off like a boring reworking of the first one instead of a continuation.

Louanne, who now goes by Louanne Sirota, is adorable, which helps, but her hairstyle looks like something out of the 1940’s. She also believes in God right from the start even before she meets him, which doesn’t allow for any type of interesting character arch. It’s also quite  hard to believe that her ‘Think God’ poster campaign would have any affect and that a nonbeliever would somehow suddenly become a raging theist after spotting one of the amateurish looking signs.

Another issue is the God character who is full of idiosyncrasies. For one thing the concept of evolution gets glossed over and the film makes it like how we see things now in regards to animal and plant life is exactly how God envisioned them when they were created at the beginning of time. He also mentions having to sometimes sneeze, but why would a spirit need to do that? At another point he talks about answering phone calls, but why would there be telephones in Heaven?

It’s also confusing why God, who is supposedly an omnipotent being that knows what each person is thinking and feeling would need the help of a young child in order to ‘reach people’. He also seems like a cruel jerk as he coaxes this girl into this ad campaign, which puts her into a very traumatic situation as it gets her suspended from school and even on the brink of being put into an institution. If God is all-powerful why can’t he simply make himself appear on everyone’s TV at the same time in order to let everyone know that he exists instead of putting a young child through such unnecessary stress?

The humor is lacking and the only funny lines are the ones dealing with the big breasts of David Birney’s girlfriend (Denise Galik). I also didn’t understand why the word book gets put into the film’s title as there was never any second Oh God! novel written. Was this supposed to be a play-on-words in regards to the books of the Bible? If so then that joke, like just about everything else in the film, falls flat.

My Rating: 3 out of 10

Released: October 3, 1980

Runtime: 1 Hour 34 Minutes

Rated PG

Director: Gilbert Cates

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

Private Resort (1985)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Teens hit on women.

Jack (Johnny Depp) and Ben (Rob Morrow) are two teen pals staying at a luxury resort in south Forida. They enjoy all the bikini-clad women there and make every effort to hit on as many as they can. They become attracted to the middle-aged Bobbie Sue (Leslie Easterbrook) whose boyfriend is The Maestro (Hector Elizondo) a master jewel thief. When she leaves her hotel key on a beach chair the boys mistakenly think she did it on purpose in order to invite them back to her room. They sneak into the room, but come into contact with The Maestro instead who thinks Ben is the hotel barber there to give him a haircut. When Ben ruins Maestro’s perm he goes on a vengeance swearing that he will kill Ben if he ever sees him again and forcing the two boys to go into hiding.

Obviously the only reason to watch this thing is to see the early work of its two stars who have since both disowned their participation in this and reportedly swore that they would burn every negative of this movie that they could find after they first watched it. For the most part though their presence here is amiable and for the women and gay viewers you get ample views of both of their bare behinds including one brief bit where old lady Dody Goodman swats Morrow’s bare ass cheeks with her hand. I was surprised though why the two stars weren’t featured on the film’s promotional poster seen above instead of two bland, smiling male models that it does use.

The supporting cast features a bevy of hot-looking women who may look good in a swimsuits, but lack discernible personalities and play-up the bimbo act too much. Elderly actress Goodman is good for a few chuckles and even does some karate. It was also interesting seeing Phyllis Franklin, who has a small bit as the ‘Dog Lady’ who looks almost exactly like Alice Pearce, the original Mrs. Kravitz in the TV-show ‘Bewitched’ and could easily pass off as her daughter. Elizondo though should be embarrassed about being in this one and I hope he was paid well for having to play a part that was so shamelessly campy.

The scenery, which was filmed at the Ocean Reef Club in Key Largo, Florida, is pleasing, but the story is lacking. I admit I chuckled at it more than I thought and I suppose the ending, which features Elizondo shooting up the place with a machine gun deserves some mention, but it’s still pretty lame. Calling this an ‘adult comedy’ is an oxymoron as you take away the nudity and sexual innuendos and you’re left with a mindless plot that is sillier than a Saturday morning kiddie cartoon. I was also confused why Depp and Morrow were even at this resort in the first place. They looked like they could still be in high school and even if they were college age I couldn’t fathom how, with the income most college kids have, how they could’ve afforded a room there as the place looked pretty swanky and made for adults who were well-off.

My Rating: 3 out of 10

Released: May 3, 1985

Runtime: 1 Hour 22 Minutes

Rated R

Director: George Bowers

Studio: TriStar Pictures

Available: DVD, Amazon Video, YouTube

Summer School (1987)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: No vacation this summer.

Freddy Shoop (Mark Harmon) is not happy about having to teach remedial English to nine students during the summer break. He was about to fly off to Hawaii with his girlfriend, but then got picked at the last minute to teach the class when Mr. Dearadorian (Carl Reiner) who normally teaches it wins the lottery and decides to quit his job. At first Freddy lets the kids goof around and even takes them on a few field trips, but when his tenure gets threatened unless all the kids pass the test he decides he better take it seriously and make deals with the kids to do the same.

The biggest surprise here was finding that Mark Harmon could actually be funny. He was the son of a former Heisman Trophy winner and a quarterback himself at UCLA during the 70’s who I always felt had the doors open for him in the acting biz simply because of his chiseled good looks and nothing more. I remember first watching him in the 80’s TV-show ‘St. Elsewhere’ and finding him to be quite boring there and yet here he shows a whole new side of himself and in a lot of ways is the most engaging thing about the movie.

The film also manages to avoid the pitfalls of other 80’s comedies by not aiming for the gross out, sophomoric humor that permeated so many other teen films from that decade. Everything here is surprisingly restrained and in a lot ways this helps to make it funnier because it keeps things at a more realistic level. It’s also great to see a teen film that doesn’t deal with the generation gap or portray the adults as being overly stuffy, or out-of-it as Harmon comes off as being just as cool as the students.

While the film does have its share of amusing moment, with the driving lesson that Harmon gives to one of his students (Kelly Jo Minter) being the funniest, there are a lot of potential comic ideas that it never follows through on, which limits it from being as funny as it could’ve been. It also never bothers to explain where Harmon’s car keys were as one of the students took them on the first day forcing Harmon to go looking for them, but never shows how he found them, or where they were hidden.

The character of Chainsaw (Dean Cameron) I felt was a bit on the lame side. For one thing he looks too old for a high school student and was in fact already 24 when he played the part, but what annoyed me more was his obsession with the movie The Texas Chainsaw MassacreNow don’t get me wrong it’s a great movie, but it’s also very well known and obvious. It’s not all that gory either and it was the gore factor that supposedly his character like the most. If the kid was a true horror fan then he’d be aware of the obscure horror movies that the others wouldn’t be and if gore was truly his thing then the Italian giallo films would be more likely something that he’d obsess over.

The film’s feel-good ending in which Harmon is able to reach and inspire each student in some way hurts the film by not portraying the teaching profession in a realistic way. There will always be those students that a teacher will not be able to reach no matter how hard they try, which is one of the more frustrating aspects about the job, but the film never bothers to tackle this issue. Some may argue that this would’ve hurt the otherwise lighthearted tone, but good movies are able to sneak in serious side-issues and still make it work and the fact that this one doesn’t makes it glossy and forgettable.

My Rating: 5 out of 10

Released: July 22, 1987

Runtime: 1 Hour 37 Minutes

Rated PG-13

Director: Carl Reiner

Studio: Paramount

Available: DVD, Amazon Video, YouTube

Resurrection (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: She can heal people.

Edna (Ellen Burstyn) manages to survive a car crash and briefly finds herself in the afterlife, but ends up coming back to this world along with an amazing power to heal sick people with the simple touch of her hands. This makes her a celebrity in the small Kansas community that she lives, but others question her ability and wonder, especially since she refuses to acknowledge religion, if it may have a satanic origin. Her newfound boyfriend Cal (Sam Shephard) thinks she may be the second coming and becomes determined to get her to admit this even if it’s through violent means.

The story is loosely based on the life of Rosalyn Bruyere a self-described clairvoyant and medical intuitive who also acted as a consultant to the film. Although initially conceived as a thriller the script by Lewis John Carlino instead takes a more spiritual route, which I found refreshing. I also enjoyed the way director Daniel Petrie captures the vast Texas landscape, which despite the setting being in Kansas, was fully shot inside the Lone Star state.

The scenes of the afterlife are interestingly captured, but I found it baffling why Edna would just write this off as being ‘weird dreams’ and not connect it to any religious connotations. Having these visions then get ‘interpreted’ by her Grandmother (Eva Le Gallienne) seemed heavy-handed as even if a person was not religious themselves they would still be able to connect-the-dots on their own without it having to be explained.

The healing scenes work off of a murky logic. Edna is told after the accident that she is paralyzed from the waist down due to a blood clot in her spine and yet after she learns of her healing ability she places her hands on her legs to help her walk again, but if the root cause of the issue is actually in the back shouldn’t that be where she places her hands instead? The scene where a woman (Madeline Sherwood) who suffers from 2 degenerative vertebrates in her back, but is able to stand-up  after she sees Edna doesn’t make sense either. Standing with missing vertebrae is liking walking without a knee or cartilage. It’s just not scientifically possible, so unless Edna’s healing can cause bone mass to grow where they isn’t any then I’m not sure how they her powers actually work.

I thought it was a bit loopy too that when Shepherd’s character gets injured in a bar fight his buddies take him to Edna’s isolated farmhouse miles away for her to stop the bleeding, but this is when Edna’s healing ability had not been fully established, before this she had only stopped the nose bleed of a young girl, which some might consider simply a fluke, so the most rational thing would’ve been to take him to a nearby hospital instead. The scene would’ve worked better had Edna been in the bar when Shepherd got injured and then jumped in to heal him after he got stabbed.

I didn’t feel Shepherd’s character had the right chemistry to make Edna want to have a relationship with him either. His beady-eyed stare made him look creepy and his father (Richard Hamilton) had accused Edna of being satanic, so why would she want anything to do with that family? He also came off too much like a nondescript redneck like all the other rednecks that made up that small town. Edna was clearly an outsider, so for her to be attracted to someone I would think that person would need to be an outsider as well.

I could never understand why Edna was so resistant to religion, or so completely confident that her powers weren’t heavenly sent. I got that her Christian zealot father (Roberts Blossom) may have turned her off from religion altogether and she didn’t want to deal with the pressures of being considered Christ-like, which is understandable, but I’m not sure Burstyn was the right choice to effectively pull off that type of character. I love Ellen and think she’s a great actress, but she’s also a very spiritual woman in real-life and it pretty much gets conveyed in her performance here whether that was the intention or not. An actress that displayed more of a cynical, snarky attitude, only to have her outlook change once these powers took hold would’ve created a more interesting and dramatic arch.

The third act has Edna going to Los Angeles where her powers are tested by researchers, but these scenes don’t have any satisfying conclusion to them, which I found frustrating. However, the scene that Edna has with her dying father I felt were strong and the best moment of the whole film.

The spiritual element gets left open to interpretation depending on one’s own perspective, which is good. It also has a really great, and to some degree, surprise ending, but I didn’t like the freeze-frame shots taken from the film shown over the closing credits, which cheapens it as this is typically something done on TV-shows and not movies.

My Rating: 6 out of 10

Released: September 26, 1980

Runtime: 1 Hour 43 Minutes

Rated PG

Director: Daniel Petrie

Studio: Universal

Available: DVD

Summer Rental (1985)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Family vacations in Florida.

Jack (John Candy) is an over-worked air traffic controller who’s given a 5-week vacation to rest up. He decides to take his family down to Florida, but things prove to be even more chaotic there. First they move into the wrong rental property and then Jack has a confrontation with local sailing champion Al Pellet (Richard Crenna) who is a longtime resident that openly disdains the renters who visit during the summer. When Pellet gets ownership of the property that Jack is renting and threatens to throw Jack’s family out Jack decides to challenge him to a sailboat race even though his experience in sailing is limited.

Initially this movie comes off as a welcome change of pace from the typical 80’s comedy that usually dwelt too heavily in crude jokes and adolescent humor. Outside of one segment where a neighbor lady wants John to touch her breasts, which the viewer doesn’t see, to see how much he likes her new implants there’s no sexual innuendos at all, which is genuinely surprising since most 80’s comedies, even the tamer ones, seemed to feel the need to throw at least a few in. I even like the kids here. In most films they’re played-up in too cutesy of a way, or they’re obnoxious brats, but here the balance is just right.

The story though goes nowhere. The original idea was based on a vacation experience that producer Bernie Brillstein had in Southern California where he was a father of 5 children that rented a beach home that had two elderly sisters and a mentally challenged son as his neighbors on one side and a group of gay men on the other side, but none of these elements appear in the movie, which for the most part is uneventful.

Candy’s confrontations with Crenna, whose portrayal of a snobby, rich man is too broad of a caricature, are forced and not funny. Their climactic sailing race doesn’t work either. Sailing can certainly be a relaxing excursion, but watching it as a sporting event is not exciting. It also has Candy and his crew dumping out the contents of a freezer and eventually the entire freezer itself into the lake in an effort to get their boat to sail faster, but this is also obvious water pollution and not something a protagonist in a film should be doing.

Candy gives an appealing performance as usual and Rip Torn is fun as an aging ship captain although having him walk around with an actual hook for a hand is a bit much.  Some may even enjoy seeing Joey Lawrence when he was still a cute kid, but the plot, much like stagnant water, just sits there and the pace is too breezy making the material hardly worthy of a feature length production.

There’s also a glaring logic loophole that involves Candy and his family staying at what they think is their rental property only to be awoken in the middle of the night by the homeowners and told they were at the wrong place, but how were the keys that they were given able to open the locks on the doors if it was not the right home? They also were able to retrieve the keys from the mailbox of the place, which is where they were told they’d find them, but if that wasn’t the right house then the keys should not have been there.

My Rating: 4 out of 10

Released: August 9, 1985

Runtime: 1 Hour 27 Minutes

Rated PG

Director: Carl Reiner

Studio: Paramount

Available: DVD, Amazon Video, YouTube