Category Archives: 80’s Movies

Nothing in Common (1986)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Father needs his son.

David Basner (Tom Hanks) is leading a happy life as a successful advertising executive yet he’s forced to put it all on hold when his parents (Jackie Gleason, Eva Marie Saint) of 36 years announce that they’re getting a divorce. His father also loses his job as well as being diagnosed with diabetes forcing David to give him round-the-clock care despite the fact that they don’t get along.

The best thing about the film are the performances of its two stars. For Hanks this marked his transition from comedy to more serious roles, but for the most part his charm still comes from his comic edge especially with the way he greets each of his co-workers when he returns to the office after a vacation. It’s really Gleason though, who was dying from cancer as he performed in this, that is the most compelling and he should’ve been in the movie more and better yet made the star as he literally owns every scene that he’s in and despite his cantankerous personality manages to elicit a lot of sympathy from the viewer.

Unfortunately the script doesn’t focus enough on the father/son relationship and instead goes off on many tangents like David’s struggles to come up with a creative ad for one of his clients, which isn’t as compelling or interesting. There’s also several running jokes that digresses the whole thing down to almost a sitcom level especially with Hector Elizondo’s, who plays David’s boss, desperate attempts to come up with a suitable hairpiece. The bits involving David’s pranks on an office receptionist in order to try and get her to laugh makes him seem more annoying than funny and she would’ve been justified to have him reported for harassment.

Dwelling into David’s love-life dilutes the story even further. Initially I thought his courting of Sela Ward had some spark as she played-hard-to-get and part of what makes potential relationships so interesting is the chase itself, but after putting up a cold front for a few minutes she then jumps into bed with him, which just takes the air out of everything. Bess Armstrong, who plays his former girlfriend, seemed more his type. However, the scene where he barrages into her apartment drunk late at night and hassles her and the new guy she’s sleeping with made him seem extremely obnoxious to the point that I was hoping he’d get punched in the face.

Saint’s character does nothing but add to the dramatic clutter in a bland role that  offers little to the story. It would’ve been more effective had she died instead of divorcing the husband, which would’ve offered more of a catalyst for Hanks and his father to get together.

The film ends where it should’ve began with Hanks deciding to move in with his father in order to help him with his health problems. Watching these two with very diametrically opposed personalities trying to get along inside this very cramped apartment could’ve been quite revealing and insightful and yet we see none of it. Instead we’re treated to a rambling narrative that offers generic drama and little else.

My Rating: 4 out of 10

Released: July 30, 1986

Runtime: 1 Hour 58 Minutes

Rated PG

Director: Gary Marshall

Studio: TriStar Pictures

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

Simon (1980)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: College professor becomes brainwashed.

An underground group of scientists who enjoy playing elaborate pranks decide to brainwash a college professor named Simon Mendelssohn (Alan Arkin) into believing that he is an alien from another planet. After he is successfully brainwashed he then escapes from the institution and gets in with a religious cult who have a transmitter that can block the TV airwaves and allow him the ability to be seen by the entire nation where he tries to reform American culture while also becoming a celebrity sensation.

This extremely odd comical satire  seems out of place for a studio backed film and more in tune with a independent project as it’s unclear what specific type of audience the filmmakers were hoping to attract as mainstream viewers will most likely find the humor off-putting. One could describe it as being ahead-of-its-time, but the banal potshots at such overused targets as TV and American consumerism makes it seem more dated instead.

The movie would’ve worked better had it remained focused on one intended target and then ravaged the hell out of it instead of soft jabs at various safe targets, which makes its overall message muddled and unclear. There are some funny bits including watching Austin Pendleton, who is the head of the research group, making love to a giant telephone receiver, whose voice is supplied by Louise Lasser. It’s also funny having a brainwashed person such as Simon trying to brainwash others via the airwaves, which could’ve been really hilarious had they gone farther with this idea.

There’s signs that writer/director Marshall Brickman hadn’t fully thought through the quirky story idea to begin with. For instance why would this underground group of scientists allow a video crew in to film what they are doing as the members are seen at the beginning talking directly to the camera and answering questions by some unseen interviewer. Wouldn’t this allow their secret to get out and get them into trouble? The army that takes over the institute is too incompetent as Simon and his girlfriend Lisa (Judy Graubart) are able to escape from it too easily and their inability to locate Simon’s rogue TV transmitter even after days of searching is rather pathetic. I realize this is meant to be ‘funny’, but even a comedy should have some tension to it to make it more interesting and the army’s extreme buffoonery isn’t humorous at all, but just plain dumb instead.

Arkin is the one thing that saves it. His unusual acting style makes him hard to cast, but here he really delivers especially during the segment where he plays out the evolution of man, but without using any dialogue although it might’ve been funnier and more of an interesting contrast had his character not been so kooky to begin with, but instead some stuffy intellectual only to become zany once he was brainwashed.

Judy Graubart makes for a good anchor as the one normal person in the whole movie. She was best known for her work on the children’s TV-show ‘The Electric Company’ and this was her live-action film debut, which should’ve lead to a long line of film appearances, but instead she only had brief bits in two other movies and that was it.

There are signs of a great movie trying to break out and the overall concept has brilliant potential, but this is the type of film where you’ve got to go full-throttle and Brickman seems either unable or too timid to do that making what could’ve been sharp satire into a transparent, benign mess that offers only a few chuckles, but not much else.

My Rating: 4 out of 10

Released: February 1, 1980

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Marshall Brickman

Studio: Orion Pictures

Available: DVD-R (Warner Archive) Amazon Video, YouTube

So Fine (1981)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Jeans that expose ass.

Bobby Fine (Ryan O’Neal) is an English professor at a college waiting to get tenure who inexplicably becomes the head of his father’s clothing company, which produces women’s apparel, when his father Jack Fine (Jack Warden) is unable to pay off a debt that he has with a local loan shark named Eddie (Richard Kiel). Bobby knows nothing about the clothing business, but inadvertently strikes on a hot idea, jeans that look like they’re revealing a woman’s butt cheeks, which becomes a huge fashion sensation. Unfortunately Bobby also starts having an affair with Eddie’s wife Lira (Mariangela Melato) which jeopardizes not only his newfound success, but his life as well.

The film was written and directed by Andrew Bergman who was just coming off great success as the screenwriter for The In-Laws and was fully expecting this film to do just as well, but instead it had less than a 2-week run in the theaters. Much of this can be blamed on the humor, which is lowbrow and farcical while failing to give any new insights into the clothing business, or anything else for that matter. The jeans themselves don’t look sexy either as plastic gets used in replacement of the real butt cheeks where exposing the actual ass would’ve been far more provocative.

O’Neal’s affair with Melato is both unfunny and dumb. Why would such a good-looking guy, who could easily get women to fall for him,  fall suddenly head-over-heals to a wife of a mobster who will kill him instantly if he found out? This guy teaches at a college, so why not get into a sexual relationship with one of the coeds, who are most likely younger and better looking than this middle-aged woman and does not have the baggage of a marriage?

The climactic sequence, which takes place at an opera is when this thing really jumps-the-shark as it features Melato coming out of the audience and agreeing to replace the leading lady on stage when she falls ill, but how would Melato have known all the words to the music without having been to any of the rehearsals? This segment also features Kiel getting on stage and becoming a part of the opera as well where he sings in fluent Italian even though it was never established earlier that he knew the language.

It was fun seeing Kiel, who built a career by playing a lot of mindless hulks most notably in the James Bond films, being given more speaking lines than usual, but I noticed the very apparent lump on his forehead, which in his other films I didn’t. Maybe this was because in the Bond movies he was given metal teeth, which is what got the viewer’s attention and took away from the lump, which here I found became a distraction.

Melato, who was a big star in Italy particularly with the films she did with director Lina Wertmuller, gets completely wasted in a thankless, one-dimensional role of an over-sexed vamp that is neither funny nor interesting. O’Neal, whose best bit may just be the perplexed expression he conveys in the film’s poster seen above, is adequate, but upstaged by Warden who is far funnier and the movie would’ve worked better had he been the star.

The jeans angle, which features a TV-ad that has Anita Morris as one of the dancers, is brief and more of a side-story while the emphasis is on O’Neal’s fling with Melato that isn’t very inspired and no surprise why this ultimately failed at the box office.

My Rating: 2 out of 10

Released: September 25, 1981

Runtime: 1 Hour 30 Minutes

Rated R

Director: Andrew Bergman

Studio: Warner Brothers

Available: DVD-R (Warner Archive), YouTube

She-Devil (1989)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Jilted wife gets revenge.

Ruth (Roseanne Barr) is an overweight, plain-looking woman who is married to Bob (Ed Begley Jr.) a womanizer who can’t keep his eyes or hands off other beautiful women that he sees. At a party he spots Mary (Meryl Streep) a wealthy author of romance novels and the two quickly begin a torrid affair. Ruth becomes jealous of all of this and plots a very elaborate, multi-step revenge.

This film marked a change of pace for director Susan Seidelman who burst onto the movie scene during the early 80’s with indie tinged/punk themed films like Smithereens and Desperately Seeking Susan that were subtle on the humor and heavier on the character development. Here it’s the exact opposite as the emphasis is on camp, which is fun for awhile especially the gaudy color schemes that permeate each and every shot, but eventually the broad caricatures become too one-dimensional.

Streep’s  performance as a prissy, stuck-up rich lady is the main part of the entertainment, but the motivations of her character were confusing. I didn’t understand why such a beautiful woman that was loaded with money and could get virtually any man that she wanted would want to settle for such a bland, dopey dweeb like Begley. I also couldn’t understand why she’d stick with him after his kids move into her mansion and turn her life into a living hell. She wasn’t married to him, so why not just throw him and his litter out instead of going through the torment that she does?

I liked that fact that Barr truly fits her part physically. Too many times Hollywood casts good-looking women in roles that require someone homely and feels that by cropping up their hair and putting glasses on them will do the trick, which it doesn’t, so at least here we get someone that more than looks the part especially with the giant mole that gets put on her upper lip.

However, I had issues with her character intentionally setting her house on fire by overloading the circuits and putting aerosol cans into her microwave, which would be easily detected by an inspector once the fire gets put out, so why doesn’t she end up getting arrested for arson? Also, she gets a job at a senior living facility despite not having any experience. Doesn’t anyone check an applicant’s references anymore?

The film is based on the novel ‘The Life and Loves of a She-Devil’ by Fay Weldon, but the movie strays from the original story in many ways. In the book Ruth has  sex with various men, which doesn’t get touched on here at all. She also through plastic surgery ends up resembling Mary and ultimately becoming her after the real Mary dies, which the film doesn’t show at all, but should’ve since it would’ve given it some much needed irony. Weldon also insisted that her story was about envy and not revenge, which is a point that Barry Strugatz’s script misses entirely.

Eccentric character actress Sylvia Miles gets perfectly cast as Streep’s obnoxious mother, which is great and dwarf-looking actress Linda Hunt is enjoyable as Barr’s pal, but the film comes off as a one-note joke that doesn’t know when to stop and ultimately becomes annoying.

My Rating: 3 out of 10

Released: December 8, 1989

Runtime: 1 Hour 39 Minutes

Rated PG-13

Director: Susan Seidelman

Studio: Orion Pictures

Available: DVD, Blu-ray, Amazon Video

Deathtrap (1982)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Playwright turns to murder.

Sidney Bruhl (Michael Caine) was at one time a top playwright, but his latest play is a flop. To add to his depression he finds that one of his students who attended his writing seminar, Clifford Anderson (Christopher Reeve), has on his first attempt written a brilliant sure-fire hit. Something that makes Sidney jealous. He decides to invite Clifford over to his secluded cottage and while there, and with the help of his wife Myra (Dyan Cannon), kill Clifford and then steal his script and treat it as if it’s his own. Things though don’t work out quite as expected especially when their neighbor Helga (Irene Worth) arrives who has psychic visions that could ultimately implicate Sidney for doing the dirty deed.

The film is based on the Broadway play of the same name written by Ira Levin that ran for 1,793 performances from February 26, 1978 to June 13, 1982. The play was well received by critics and audiences alike including director Sidney Lumet who put up some of his own money to get it made into a film, but ultimately he relies too heavily on the twisting plot while failing to add any cinematic element to it.

The exterior of Sidney’s home was the picturesque DeRose Windmill Cottage, which sits in East Hampton, New York and helps add a visual flair, but the interior of the home was shot on a soundstage and the film becomes quite claustrophobic as almost the entire story takes place in this one setting. The movie desperately needed more cutaways, even some minor breakaway bits like Helga’s disastrous guest spot on the Merv Griffin Show, which gets talked about, but never shown, in order to make it seem less like a filmed stageplay, which it ultimately ends up being.

The script brings up some potentially interesting insights like how sometimes the characters in a writer’s play can closely parallel the authors themselves. In fact many people that knew him felt that the Sidney character here strongly resembled the real Ira Levin, but the film fails to pursue this in a satisfying way and is devoid of any interesting subtext or nuance. The characters end up being just boring one dimensional caricatures that are wholly unlikable. You could care less which one of them killed who, or whether any of them even survive.

Christopher Reeve is the film’s only real bright-spot and the way he plays a gay man is effective and believable. His onscreen kiss with Caine was considered controversial and daring at the time and even upsetting to fans to the point that purportedly one audience member in a Denver theater screamed out “Superman, don’t do it!” just as the kiss occurred. Irene Worth is fun too and her accent is so believable that I was convinced that she must’ve been born in Eastern Europe and was shocked to learn that instead she was from, of all places, Nebraska.

Caine is good, but his presence will remind many of the movie Sleuth, which he also starred in and is quite similar to this one. In fact a lot of viewers thought this was a sequel to that simply for that reason and because of this somebody else should’ve been hired to play the part.

Cannon on the other hand is annoying as the hyper wife and shares no onscreen chemistry with the other two actors. Marian Seldes had played the role on Broadway in every one of its 1,793 performances, which garnered her a citation in the Guinness Book of World Records as most durable actress and because of that alone she should’ve been given the part here.

Johnny Mandel’s soundtrack gives the proceedings a highbrow flair and I wished it had been played more. The plot twists may entertain and surprise some, but not if you think about them for too long, which ultimately makes this just a second-rate Sleuth.

My Rating: 4 out of 10

Release: March 19, 1982

Runtime: 1 Hour 56 Minutes

Rated PG

Director: Sidney Lumet

Studio: Warner Brothers

Available: DVD, Blu-ray, YouTube

History of the World, Part I (1981)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Making historical events funny.

In 1979 Mel Brooks was riding high after directing 4 hit movies and as he was walking across a studio parking lot a man who had worked on his crew from his previous films asked him what his next project would be. Brooks, feeling the pressure to come up with something big and splashy, told him it was going to be about the history of the world. This film ended up being the result of that conversation although it’s hard to call it a movie at all since it’s really just a collection of vignettes dealing with 4 specific periods: The Stone Age, The Roman Empire, The Spanish Inquisition, and The French Revolution.

At first glance it’s almost shocking that something this overreaching could’ve been produced to begin with. Had anyone but Brooks approached the studio heads with this concept it would’ve been slapped down immediately and the person told not to come back until they had an idea that was more focused, but because of Brooks’ prior success these same executives decided to swallow their better judgement. Not only did they unwisely give it the green light, but they threw more money at it than any of his previous film budgets combined; a whooping 11 million, which all pretty much goes to waste.

It’s not like there aren’t a few funny moments here and there: the musical number during the Spanish Inquisition, the Last Supper parody, and the Jews in space all elicit a few chuckles, but the rest of it’s lame and corny like skits from some mediocre variety show. An overarching character that would’v been in all of the scenes was needed like a time traveler from the modern day who goes back and interacts with all the people from the time periods, which could’ve been a riot.

A lot of familiar faces pop in-and-out, but many of them are onscreen for only a few seconds. A better idea would’ve been to whittle down the cast list to only a handful of performers and then having them play the different roles in each time period instead of just introducing more stars into the mix, which only helps to give the already bloated production a very cluttered feel.

Not only does Brooks cast himself into too many of the film’s major roles, which makes the thing seem like a vanity project, but he also relies too heavily on his aging Hollywood friends in supporting parts instead of introducing a young vibrant talent into the mix that could’ve helped attract new, younger fans. It also doesn’t help that Richard Pryor was set to play a big role in this, but then just two days before shooting he suffered a serious accident that burned his face and forced him to bow out leaving Gregory Hines to replace him who is not nearly as funny or dynamic.

I couldn’t help but connect this thing with Bill Cosby’s mega-flop Leonard Part 6.  Apparently many people on the production crew of that film felt the material was subpar, but too afraid to approach Cosby, who was such a big star at the time, to tell him. I can only presume there were also people on the crew of this film who felt the same way, but didn’t want to jeopardize their careers by speaking up, which is too bad. While this movie did ultimately make money it was mainly during its first week and enthusiasm due to bad word-of-mouth quickly dwindled afterwards. Brooks reputation never fully recovered, which is why no one even a big star should be above constructive criticism, which  might’ve helped modify this clunker into becoming something better.

My Rating: 3 out of 10

Released: June 12, 1981

Runtime: 1 Hour 32 Minutes

Rated R

Director: Mel Brooks

Studio: 20th Century Fox

Available: DVD, Blu-ray

Shoot to Kill (1988)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Chasing killer through wilderness.

Warren Stantin (Sidney Poitier) is a veteran police officer who goes after a jewel thief when he kills his hostages while the two were negotiating for their release. Stantin feels like he failed them (the hostages) and must make restitution by personally seeing their killer brought to justice. The problem is that he doesn’t know who the killer is as he never saw his face. In an attempt to escape the authorities the killer then joins a group led by Sarah (Kristie Alley) who are hiking through the rugged forest terrain of northern Washington. Stantin joins forces with Jonathan (Tom Berenger)  an outdoorsmen who knows the area well and can lead Stantin on foot to where the hikers are as no one in that group realizes that one of them is a dangerous criminal.

The story is the inspiration of Harv Zimmel who wanted to incorporate his lifelong enthusiasm for hiking into a an exciting police story and for the most part it works. The story itself is kind of formulaic as cop thrillers go, but the vivid wilderness setting adds an extra element with a lot of hair-raising scenes including the point-of-view shots of Berenger dangling hundreds of feet in the air on a thin rope over a gulch and getting swung violently into the side of a rocky hill.

One of the coolest aspects of the film is the fact that the viewer, at least for the first half, has no idea who the killer is, which lends extra intrigue as you try to guess which one of the group members he is. In order to make it more interesting director Roger Spootiswoode cast actors who had played villains in past thrillers although I would’ve done the opposite by hiring actors who didn’t seem like killers at all and therefore making the ultimate reveal even more surprising and it’s a shame that the killer’s identity couldn’t have been kept a secret until the very end.

Poitier, who had spent the previous decade working behind-the-scenes as a director, is excellent in his first acting role in 11 years. He was 60 when he did this, but you’d never know it and he gets a few comical moments here too. It’s also nice that his skin color never comes into play as most of his other film roles always made his race a center issue. Berenger offers adequate support, but I was actually much more impressed with Alley who comes off as tougher and more resourceful than all of the other men.

There’s very little to complain about although one of my quibbles is that we never get to see Stantin’s personal life. Most cop films will always show a brief glimpse into a policeman’s home life in order to make him more ‘human’ or multi-dimensional. Here we see briefly Poitier talking on the phone with someone, supposedly his wife/girlfriend, but it would’ve been nice to have had a scene  showing the face of his significant other.

The film also has way too much music that lacks distinction and gets played over just about every scene. The story is exciting enough and there’s no need for a booming score to accentuate what we’re already caught up in. Since the majority of the pic takes place in the outdoors it’s best to allow the natural ambiance to work as the background sound and adding in anything above that comes off as heavy-handed.

Overall though the film is slick and exciting that starts strong and never lets up and includes a very unique final shootout that takes place underwater.

My Rating: 7 out of 10

Released: February 12, 1988

Runtime: 1 Hour 50 Minutes

Rated R

Director: Roger Spottiswoode

Studio: Buena Vista

Available: DVD

The Pursuit of D.B. Cooper (1981)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Hijacker eludes the authorities.

Loosely based on the real-life incident involving a man using the alias of Dan Cooper, but later reported in the media as D.B. Cooper, who hijacked a Boeing 727 as it flew towards Seattle, Washington on the night of November 24, 1971 and parachuted out of the plane with $200,000, but whose remains have never been found. In the film D.B. Cooper is the alias for Jim Meade and is played by Treat Williams as he parachutes into a wooden area and becomes chased by Bill Gruen (Robert Duvall) who was Meade’s sergeant in the army and feels he knows him better than anyone.

Had the film made some legitimate attempt at accuracy it might’ve been moderately intriguing, but right from the start it plays fast-and-loose with the facts including having the jump take places in the sunny daytime when in reality it occurred at night during a rainstorm. The time period is supposed to be late autumn, but many people are shown doing summertime activities like having a couple going skinny dipping in a pond even though it would’ve been too chilly for that. There’s also a ridiculous scene where Paul Gleason, playing a useless character that was not needed at all, going headfirst through the front windshield of a moving car and receiving a slight cut on his right cheek as his only injury.

John Frankenheimer was originally hired to direct, but after having numerous arguments with the producers over the film’s insipid script he was fired. He was then replaced by Buzz Kulik who tried turning it into a topical drama by portraying the Cooper character as being a disgruntled Vietnam Vet. Roger Spottiswoode and Ron Shelton were then brought it to ‘jazz-it-up’ a bit with some stunt-work and the chase scene down the rapids is impressive, but the humor they put in is dumb and the ‘Dukes of Hazard-like soundtrack ill-advised.

I started to feel that it would’ve worked better had it not connected itself to the real incident at all but instead had Williams portray a fictional character all together. It also should’ve analyzed the planning/preparation phase much more and shown him pulling off the actual hijacking instead of just starting out with the parachute jump.

While he doesn’t look anything like the sketches shown of the real Cooper I still found Williams to be fun in the lead and Kathryn Harrold lends great support as his resourceful wife. Duvall is solid as usual and even though it doesn’t take place in the Pacific Northwest, which is where the real incident occurred, I still enjoyed the sunny scenery, but that’s where the good points begin and end in a movie that clearly had misfired written all over it before even one frame of it was filmed.

My Rating: 2 out of 10

Released: November 13, 1981

Runtime: 1 Hour 40 Minutes

Rated PG

Director: Roger Spottiswoode, Buzz Kulik (Uncredited)

Studio: Universal

Available: DVD (Region 2), Amazon Video, YouTube.

A Dry White Season (1989)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: He fights social injustice.

The story centers on South African schoolteacher Ben (Donald Sutherland) who has led a peaceful law abiding suburban existence and has no idea about the social injustices around him. One day his black gardener (Winston Ntshona) comes to him complaining about how his son was beaten by police simply for attending a peaceful rally. Ben initially dismisses the claims and insists the son must’ve done something wrong, but when he investigates the issue further he finds some startling revelations about how far the authorities are willing to go to stop dissent and when Ben decides to challenge the police on this his life and security get put on the line.

The film is based on the novel of the same name by Andre Brink and directed by Euzhan Palcy who became the first Black woman to direct a film that was produced by a major Hollywood studio. For the most part the film is polished and well made and at the beginning emotionally effective as we see first hand the brutal treatment of the protesters by the police. I also liked how it shows both sides of the issue by having Ben’s wife Susan (Janet Suzman) admit that apartheid is wrong, but too afraid for its abolishment as she fears it might put the whites at too much of a disadvantage.

Unfortunately somewhere along the way it starts to lose steam and ends on a whimper that is nowhere near the emotional level that it began with. Part of the problem is that it suffers from a weak main character. Sutherland plays the part well, but it’s hard to understand how someone could live well into his middle age years and still have such extreme naivety to what was going on in the country that he resided in. He’s also dependent on those around him to do most of the legwork and you have to question what difference does our hero’s actions ultimately make anyways since apartheid continued on for many years after this film’s setting, which is 1976.

All of this could’ve been resolved had Marlon Brando’s character been made the protagonist. Brando came out of retirement to take on the supporting role and agreed to do it at union scale, which was far below his usual salary demands. His presence adds zest to the proceedings as a lawyer who is quite attuned to the corrupt system, but decides to give it a fiery court battle anyways and it’s a shame that he’s only in it for a brief period and then just completely disappears during the second half.

Spoiler Alert!

The ending differs a bit from the book and was added in by director Palcy, which has a black cab driver Zakes Mokae taking the law into his own hands and shooting the Jurgen Prochnow character, who plays a policemen, after he intentionally ran Sutherland over with his car. Palcy did this to show how even decent people can be pushed to violence, which I agree with, but she seems to feel the need to justify this by having a flashback ‘replay’ of all the previous events that drove Mokae to pull the trigger, which comes off as heavy-handed. If we’ve watched the movie then we already know what happened and don’t suddenly need a ‘refresher course’.

End of Spoiler Alert!

As a drama it’s an adequately compelling, but there’s other movies on the same subject and I can’t say this one stands out from those. I was also disappointed to find that the book from which this is based was fictional as I initially thought it was a true story since it takes place in a very specific year. I’m not saying some of what goes on here didn’t happen in a broad sense, but having it centered on verifiable events gives it more relevance and makes it seem more like telling a story as opposed to just making a political statement.

My Rating: 6 out of 10

Released: September 20, 1989

Runtime: 1 Hour 46 Minutes

Rated R

Director: Euzhan Palcy

Studio: MGM

Available: DVD, Blu-ray (Criterion Collection), Amazon Video, YouTube

UFOria (1985)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: She dreams about spaceships.

Arlene (Cindy Williams) is a lonely woman living in a small town and working at a local supermarket. One night she starts having dreams about a spaceship landing in town and taking her away. Her new boyfriend Sheldon (Fred Ward), who is a shady drifter always looking to make a quick buck, works with his brother Bud (Harry Dean Stanton), much to her consternation, to use her ‘visions’ to make money off of it by portraying her as communicating with some outer worldly messenger that’s connected to God.

This film was made in 1980, but sat on the shelf for 5 years and it’s easy to see why as it’s difficult to put it into any predefined genre. It’s certainly isn’t a sci-fi flick and in a lot of ways it really isn’t a comedy either. There are a few funny bits, but they get lost inside scenes that go on far longer than they should, which never allows the film to gain any traction or momentum.

Williams is not right for her part and fails to convey the downtrodden look of a lonely woman in a role that would’ve been better served had it been played by an actress with a more plainish, dumpy features like Kathy Bates. It’s also annoying that she has these vivid dreams, but the viewer never gets to see them. Movies are a visual medium and should take advantage of that element as much as possible by showing what’s happening instead of just having a character describe it.

Stanton isn’t right for his part either. In certain films his low-key style is perfect, but here he fails to effectively convey the animated, fiery delivery of a TV evangelist, which is a part that needed to be comically played-up much more.

Ward was the only one that I liked and he really comes into his own with a character that isn’t particularly likable, but has an interesting arch where he goes from being a cynical non-believer to eventually defending Arlene from those who mock her. He also drives his car in the most bizarre way that I’ve ever seen with his feet up on the dashboard and not on the pedals.

Spoiler Alert!

I was hoping that the ending would be a payoff for having to sit through such a slow, poorly paced film, but ultimately it falls flat just like everything else. I liked the idea of a spaceship suddenly appearing, but then the film cuts to the closing credits without examining what happened to the people, how they reacted to it, or what the aftermath was, which I found frustrating.

End of Spoiler Alert!

The small town setting filmed in Palmdale and Lancaster, California gives off just the right rustic look and prime stomping ground for fringey, eccentric people like the characters here.  While the film does have a definite cult appeal the offbeat elements get stymied inside a lethargic pace that never allows it to gel, or become captivating.

My Rating: 4 out of 10

Released: October 1, 1985

Runtime: 1 Hour 35 Minutes

Rated PG

Director: John Binder

Studio: Universal

Available: VHS