Category Archives: Adolescence/High School

The Prime of Miss Jean Brodie (1969)

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By Richard Winters

My Rating: 8 out of 10

4-Word Review: Teacher influences her students.

Jean Brodie (Maggie Smith) is a teacher at an all-girls school in Edinburgh, Scotland in 1932.  She routinely strays from the core curriculum and instead instills her own quirky value system, like her admiration for fascist dictators, onto her students. She views them as empty vessels there to be programmed to her liking as she routinely will say: “give me a girl at an impressionable age and she’s mine for life”. The school’s Headmistress, Miss Mackay (Celia Johnson) is aware of Brodie’s unorthodox teaching methods, but unable to do much about it, despite the repeated warnings that she gives to her, due to the fact that Brodie has tenure and been at the school longer than she. Sandy (Pamela Franklin) is one of Brodie’s students, who used to admire her teacher, but now has turned on her and comes up with a way to have her fired, which leads to a dramatic confrontation between the two.

One of the first things that struck me about the story, which is based on the play of the same name by Jay Presson Allen that was based on the novel by Muriel Spark that some feel was inspired by a teacher named Christina Kay who taught at James Gillispies School that Muriel went to as a child, is that it works against the grain of most films. In our individualistic culture the modern day movie centers around the rebel, or those that choose to work outside the system of an autocratic institution and the people that uphold those rules and enforce them are usually the villains. Here though it’s the stuffy authoritarians that ultimately become the makeshift heroes while the non-conformist gets exposed as a ‘loon’ that got too far off-base and needed a serious reeling-in.

It’s also the perfect study of someone who seeks control over others and cannot function in relationships were both sides are on equal footing. We see this not only with the way Jean openly humiliates her students by ridiculing them for even minor infractions like having their shirt sleeves rolled-up, but also in her maladjusted love life. Since she cannot have a healthy relationship with them as that would require selfless behavior from her, which she can’t give, so instead she emotionally manipulates two men (Robert Stephens, Gordon Jackson). She enjoys the attention they give her and gives them just enough incentive to keep on doing it, but never more than that. When the Jacskon character finally does get married to someone else, her sad expression isn’t about losing a person she loved, but more upset that she could no longer have this simp at her convenient disposal.

The recreation of the 1930’s girl school atmosphere was impeccable. Too many times I feel movies dealing with a bygone era don’t recreate it in an accurate way, or it gets viewed through a warped modern lens, but here I came away convinced it was accurate and this in large part could be credited to director Ronald Neame, who was alive when the story took place and therefore better able to feed-off his memory and experience. The scene where the girls all get up out of their seats and stand at attention the second the headmistress walks into the room is one of my favorite moments. To some degree it would be nice if kids today could show that kind of respect to an adult figure, but on the other hand it also reveals the dark side to extreme obedience to authority, which creates an atmosphere that allows someone like Jean to incorporate her will and beliefs onto the students without them ever questioning it.

In the end this is a terrific portrait of how teacher’s where viewed back in the day and the tremendous amount of influence they could hold over their pupils. There were no teen idols, singers, celebrities, or social media influencers back then, so the teacher was the center of most children’s lives sometimes even more so than their parents. While some things have changed the debate about what a teacher chooses to convey in the classroom and how far they should be allowed to stray from the core curriculum rages on today. No matter what side of that issue you may stand it just proves that this story is even more relevant now as it was back then.

My Rating: 8 out of 10

Released: February 24, 1969

Runtime: 1 Hour 56 Minutes

Rated M

Director: Ronald Neame

Studio: 20th Century Fox

Available: DVD/Blu-ray

Homework (1982)

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By Richard Winters

My Rating: 2 out of 10

4-Word Review: Mother seduces daughter’s friend.

Tommy (Michael Morgan) is a blonde haired teen who hasn’t yet had sex and feels embarrassed about it. To make-up for it he decides to start-up a rock band with his friend Ralph (Lanny Horn). He wants the lead singer to be Sheila (Erin Donovan), but Sheila is too busy working-out in the pool, so she can be a part of the swim team, so he gets Lisa (Shell Kepler). Lisa though is not as talented and seems more interested in getting the attention of rock singer Reddog (Wings Hauser) who would prefer bedding her instead of hearing her sing. Sheila’s mother Diane (Joan Collins) has issues of her own as she’s stuck in a dead-end marriage and feels like the best sex she had was during her younger years. Then Tommy agrees to help her hang a picture in her living room and his youthful body reminds her of the boys she had sex with during her adolescence and she makes a move on Tommy who’s all too happy to oblige.

The most interesting aspect about this production is what occurred off-screen as Collins and her co-stars Lee Purcell and Carrie Snodgrass, as well as Betty Thomas, who has a brief part as Reddog’s secretary, all sued to have their names removed from the credits as they felt the story had been doctored during post production changing the theme in an attempt to become more like Private Lessons and My Tutorwhich had been hits around the same time and both had plots dealing with older women and adolescent boys. Collins though was most upset about the fact that a body double, played by Joy Michael, was brought in to do nude scenes.

For the most part Collins doesn’t really have much to offer except talk to what’s supposedly her husband, who’s never seen and only briefly heard. At one point she calls him George and then later-on she refers to him as Warren. These segments gets mixed-in with scenes of her when she was younger, again played by Joy Michael, and her getting-it-on with guys in the backseat of cars, but despite the nudity these moments are rather boring and don’t add much other than showing how sexually repressed she is now.

Snodgrass barely has any screen-time playing Tommy’s school counselor, which to me seemed a little weird as I would think most guys wouldn’t feel comfortable, nor would women for that matter, talking about their sexual hang-ups with a member of the opposite sex and therefore the part should’ve been played by a man. Purcell is funny as a nervous French teacher, but having her invite male students to her home for after-hours tutoring was ridiculous. The film plays it like she has only innocent intentions, but what kind of sensible grown woman would invite 16 and 17-year-old guys with notoriously raging hormones into her place and not be concerned that they might get the wrong idea, or take advantage of the situation make a move on her, since she lives alone.

The film’s weakest link though is Morgan, who’s too good-looking. This role should’ve been played by a scrawny geek, or a chubby one, with bad acne and thus making his inability to approach women make more sense. Instead with the male model features of Morgan most of the girls would be approaching him and not ignoring him like they do here. His character’s naivety is played-up too much like when he states that by the time kids reach the age of 12 most of them are sexually active, or his belief that his friend Ralph became sexually active at age 7, which is just too dumb to believe anyone would actually think that.

There are a few funny lines, but the story is unfocused and the plot poorly paced. Even with the brief runtime and sexually charged fantasy segments the film still gets quite draggy. The teens are the biggest issue as they’re broad composites rather than three-dimensional people. It’s been awhile since I’ve been in high school, but I don’t remember the kids of the day being quite this wide-eyed. Instead of going-off of their middle-aged presumptions of adolescence the filmmaker’s should’ve interviewed actual high school kids and got their input, which might’ve helped avoid the flat and unconvincing characters that we end-up getting.

My Rating: 2 out of 10

Released: August 27, 1982

Runtime: 1 Hour 29 Minutes

Rated R

Director: James Beshears

Studio: Jensen Farley Productions

Available: VHS

Deadly Weapon (1989)

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By Richard Winters

My Rating: 5 out of 10

4-Word Review: Geek acquires lethal laser.

Zeke (Rodney Eastman) is a high school student frequently picked-on by his jock classmates as well as an abusive alcoholic father. As a refuge he imagines that he’s secretly an alien from another planet and writes stories about it. One day he comes upon a military weapon in a river bed near his home that landed there when the train it was being carried on crashed. He takes it home and begins using it to scare away all of those who harassed him and this catches the attention of Traci (Kim Walker) who used to date the jocks, but now finds Zeke and his newfound laser gun far more interesting. However, Lieutenant Dalton (Gary Frank) is the military official assign to retrieve the weapon and he’ll stoop to any low ball tactic to get it back.

This was another Charles Band production who was notorious for making a lot of low budget sci-fi/action flicks during the 80’s/90’s that were of a dubious quality. This was originally intended to be a sequel to Laserblast, a much maligned bottom-of-the-barrel stinker from the 70’s, but budgetary reasons caused them to pull back on that idea and turn it into a separate story. For what it’s worth this is far better than that one and surprisingly has enough of a budget to mask its shortcomings and even comes-off like it could’ve been Hollywood studio produced. There are though some over-the-top moments like a one-eyed vice principal who beats Zeke with a paddle inside his office and a cliched drunken father who acts like a stereotypical hayseed straight out of the local trailer park that made it seem like it either wanted to be a campy comedy, or unintentionally funny, but it’s hard to tell which one.

The script isn’t realistic as the kid is able to open up the crate that houses the gun with his bare hands without having to use a crowbar even though you’d think such a dangerous weapon like this would be packaged more securely and not so easily accessible to just anyone. Zeke is also able to figure out how to operate it much too quickly. Again, such a dangerous weapon should have a safety feature to make it difficult for unauthorized personal to use, such as having to put in a secret code before it’s operational.

The segment where Zeke and Tracy force four men into the trunk of their car and drive around with them as hostages is kind of funny, but the two able to open the trunk door from the outside too easily. If the men are truly locked into the trunk then a key must be placed into the keyhole to open it, but instead they’re able to raise the door open with their hands and not having to bother to unlock it, which means the men inside should then be able to easily kick the door open and escape.

The film is mostly known for the two stars who are more famous for their appearances in two other cult hits. For Eastman his best remembered for playing Joey in the Nightmare on Elm Street series while Walker’s signature role is that of the snotty Heather Chandler in HeathersWalker is the more interesting of the two as she performs her role in a duplicitous fashion where you’re not sure if she’s a genuinely nice person trying to help Zeke, or just a narcissistic brat looking for attention and escape. Her character though is poorly fleshed-out as she sees Zeke blow-up a building with his gun, which scares off the other jocks, one of whom she is dating, but she then invites Zeke into her car, but how would know she could trust him and he wouldn’t use the gun on her? Why too would this beautiful teen be into a geek like Zeke anyways? To have it make more sense she should’ve been a nerd, who had been bullied by the cool kids and now connected with Zeke’s need to ‘get back’ at them.

Spoiler Alert!

The film’s best moment is the ending, which has a surprisingly surreal vibe as Zeke sees the lights of the military vehicles and thinks it’s from the mother ship of some outer space aliens and goes towards it like they’re going to ‘take him home’ and away from earth where he doesn’t feel he belongs. While this intriguing theme has strong similarities to Liquid Sky and Shirley Thompson versus the Aliens it doesn’t fully gel. Had it been approached with a better realized manner of what genre it wanted to be (satire/sci-fi/action/dark comedy) then it might’ve succeeded, but trying to juggle all four genres together gives it a convoluted feel that’s not quite able to cross the finish line and be fully satisfying.

My Rating: 5 out of 10

Released: August 15, 1989

Runtime: 1 Hour 29 Minutes

Rated PG-13

Director: Michael Miner

Studio: Empire Pictures

Available: dvdlady

Slumber Party Massacre II (1987)

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By Richard Winters

My Rating: 1 out of 10

4-Word Review: Singer haunts teen survivor.

Courtney (Crystal Bernard), who along with her older sister Valerie (Cindy Eilbacher) survived the slumber party attack from 5 years earlier, is now a senior in high school, while Valerie, unable to deal with the trauma that she went through, is locked away in a asylum. Courtney tries to convince her mother (Jennifer Rhodes) to let her go to a slumber party at her friend’s place that is part of some new condominiums that have just been built and after some reluctance her mother agrees, but once there Courtney begins seeing strange visions of a rock star (Atanas Ilitch) with a drill on the end of his guitar that he threatens her with. Initially her other friends don’t see him, but eventually he comes to life and begins killing them off one-by-one.

This is an in-name only sequel that barely has any connection to the first installment other than the Courtney and Valerie characters, but even this is botched because the parts are played by different actors, which wouldn’t have been as much of a problem except Crystal speaks with a southern accent. Many viewers will recognize her from the 90’s TV-series ‘Wings’, but I remember her better as a contestant on the 80’s game show ‘$25,000 Pyramid’ where she was supposed to give clues to her partner in order to have them guess what the secret word was, but she was unable to do this because she didn’t know what the word, which was ‘buoy’, meant. In either case the Courtney character from the first film never had a southern accent, so why then would she have one now?

The rest of the cast is okay and looks more age appropriate than in the first film though the nudity is much less. The humor though is missing, which is a big problem. The script tries to make up for it by giving the characters names that are connected to people from other horror films, but this ends up being too obvious and not as cute and inspired as the filmmakers clearly thought it was. The only amusing bit is Sally, played by Heidi Kozak, who obsesses over pimples on her face even when none are visible and yet still puts on acne treatment, but the real kicker is when Courtney, having one of her weird visions, visualizes Sally’s entire face turning into a giant zit and then having it pop out a long stream of puss, which is genuinely funny.

The rest of it though doesn’t click mainly because there’s no clear understanding for why any of this is happening. Who the hell is this Elvis-like rock star and why is he haunting Courtney and her sister? Some people have said this was the killer from the original film, but why then does he get reincarnated as a singer? Unlike Nightmare on Elm Streetwhich this is clearly trying to emulate, there’s no blueprint to the rules. In the Freddy movies he could only terrorize his victims in their sleep, but here the killer jumps out of the dreams and becomes real, but how? Having a killer, whose tacky get-up makes him resemble Vinny Barberino from ‘Welcome Back Kotter’ or the 50’s revival group Sha Na-Na, able to virtually do anything isn’t interesting. There needed to be some limitations and rules, but the film fails to supply any and seems content to just make things up as it goes, ultimately causing the whole thing to be quite inane and pointless.

My Rating: 1 out of 10

Released: October 16, 1987

Runtime: 1 Hour 17 Minutes

Rated R

Director: Deborah Navarra-Brock

Studio: Concorde Pictures

Available: DVD, Blu-ray, PlutoTV, Tubi, Amazon Video

The Slumber Party Massacre (1982)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Escaped killer crashes sleepover.

Trish (Michelle Michaels) is a high school senior who decides to hold a slumber party at her place while her parents are away. She invites Kim (Debra Deliso), Jackie (Andree Honore), and Diane (Gina Mari). She tries to invite Valerie (Robin Stille), who lives right next door to her, but she declines after overhearing the other girls talk about her in a catty way while in the locker room. As the girls prepare for the party they get harassed by Neil (Joseph Alan Johnson) and Jeff (David Millbern) who try to scare them by fiddling with the fuse box and turning the power in the home off, but none of them are aware that a real killer named Russ Thorn (Michael Villella), who has escaped from prison, and his quietly stalking them while using an electrical drill as his weapon.

The script was written by feminist writer Rita Mae Brown, who intended for it to be a parody, but when producer Roger Corman read it he saw as a conventional slasher and hired Amy Holden Jones, who had worked for his company for many years as a film editor, to direct it. While some will complain that the parody concept should’ve been left in I actually think it works better and in some ways is even funnier to have genuine scares and gore mixed in with the laughs. Too many other horror comedies try too hard to be funny, like with Pandemonium, where so much effort gets put into the humor that there’s no scares to be had, which will alienate a true horror fan, but here audiences who like a little of both should enjoy it.

I’ll admit that the movie does start out rocky. While I liked the organ soundtrack everything else comes-off as painfully amateurish.  Having one of the students, played by Brinke Stevens, run back into the school that is closing to retrieve a book from her locker is dumb. For one thing the building was completely locked up, so how did the killer get inside? Chaining the doors shut from the inside such as here isn’t done and illegal as it’s considered fire hazard. The victim is also too passive as the killer drills a small hole through the door of the room that she’s hiding in, but he’d have to drill many, many more holes for him to break down the door, which should’ve given her, albeit injured, but still mobile, plenty of time to figure another way out like crashing through a window, but instead she screams and essentially gives up.

Some critics complained about the gratuitous nudity especially for a film directed by a woman though it does try to equalize this by also showing the naked backside of a man while two of the girls, Valerie and her kid sister Courtney, page through an old issue of Playgirl, which I found amusing. What bugged me though was that the women looked too old to be playing high school students and appear to be far like 25, or even older. They also have terrific figures, like models in a soft core porn flick, and for the sake of balance there should’ve been at least one that was heavy-set, perhaps Valerie, and this could’ve explained why she was rejected and not invited to the party because she wasn’t ‘pretty enough’ to be in their clique.

The second and third act I found, much to my surprise, to be highly entertaining and even clever particularly the scene where Valerie watches a scary movie on TV even as a real horror, unbeknownst to her, is occurring just outside her door. There’s also some really funny lines that were clearly leftover from Brown’s original script and completely hits the target. It also features a nifty emasculation moment, which has all helped to give this a huge and well-deserved cult following. Followed 5 years later by a sequel, which we’ll review tomorrow.

My Rating: 7 out of 10

Released: March 12, 1982

Runtime: 1 Hour 17 Minutes

Rated R

Director: Amy Holden Jones

Studio: New World Pictures

Available: DVD, Blu-ray, Plex, PlutoTV, Tubi, Shout Factory TV, Amazon Video

Assault (1971)

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By Richard Winters

My Rating: 5 out of 10

4-Word Review: Schoolgirls attacked by rapist.

One day after school Tessa (Lesley Ann-Down), a teen who attends a local British high school in rural England, decides to cut through the nearby woods as a shortcut on her way home. As she treks through the forest an unseen assailant attacks her, which leaves her in a catatonic state. A few days later, despite the warnings, another female student goes into the woods and is later found murdered. The police inspectors (Frank Finley, James Cosmo) have idea who it could be and are unable to come-up with any leads, which frustrates the local teacher Julie West (Suzy Kendall). She decides it’s up to her to nab the culprit, so she uses herself and some of her students as bait to lure the killer out. She drives into the woods in a station wagon, but then the car gets stuck. While she tries to back it out she gets a glimpse of the perpetrator’s face as he deposits another of his victims, but when she describes to everybody what he looks like, saying he has the face of the devil, everyone thinks she’s gone mad.

This is another one of those British thrillers where in an attempt to gain more interest in the film the studio would release it under different titles. In the US the film was known as ‘In the Devil’s Garden’ to take advantage of the possession craze that was occurring after the release of The Exorcist and then a few years later it got re-released under the title ‘Satan’s Playthings’ and billed as a provocative story with erotic overtones. In either case the plot, which is based on the novel ‘The Ravine’ by Kendal Young, comes-off more like a cop drama/mystery than a horror flick.

That’s not to say it’s bad as director Sidney Hayers throws in some good touches. The attack on the girl is well handled using a hand-held camera that makes it seem unrehearsed and sudden. For a British thriller it’s even kind of racy. Normally films from England are quite timid about showing nudity, blood, or violence, but this thing does push-the-envelope a bit, far more than I was expecting, while still remaining ‘tasteful’ enough not to come under the ire of the British censors. The pounding music score helps create an urgent mood and grabs your attention at the start though it gets overplayed by the end and resembles a score heard on a cop TV-show.

The acting is good, but seeing Down looking so young and appearing much different from what we’re used to seeing her now kinda threw me off as you’d almost think she’s a completely different person. Kendall, who became a British scream queen for all the horror movies and thrillers that she was in, is quite appealing and I loved seeing her in glasses, which gives her a certain sexy look. The male actors are okay, but there’s more of them than are necessary and I think this was only done to create more suspects to choose from though their 70’s haircuts complete with long sideburns gives the film a very dated quality.

I was able to guess who the culprit was with about 20-minutes to go. It’s not that hard to figure out and the film gives-off a few too many clues to the point that it would be hard for someone not to know who it is. The story itself is standard. Not much thrills or chills though the electrocution via a cable that the victim touches while climbing up an electrical tower is admirably realistic and probably the most impressive part of the movie.

My Rating: 5 out of 10

Released: February 11, 1971

Runtime: 1 Hour 31 Minutes

Rated R

Director: Sidney Hayers

Studio: J. Arthur Rank Film Distributors

Available: DVD, Blu-ray

Slaughter High (1986)

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: High School reunion horror.

Marty (Simon Scuddamore) is a social outcast at his high school. On April Fools Day the other students decide to play a prank on him by inviting him into the girl’s shower were they mock his naked body. This gets the students into trouble with the coach (Marc Smith) so they decide to play another joke on him by adding a chemical to his science project that causes it to explode, which topples a bottle of nitric acid off the shelf and it splashes onto his face which disfigures him. 5 years later the students reconvene for a  reunion, but find the school has been closed and in disrepair yet they still go in and have a party anyways, but soon they begin getting killed off one-by-one in violent ways. Is Marty lurking in the shadows and doing it for revenge, or is it somebody else?

I enjoyed the way the film works against the formula by having a linear narrative where the horrible accident happens right away instead of using flashbacks, or having it discussed through dialogue like in other slashers. The killings are expertly handled including one where the victim has his intestines blow directly out of his stomach, which is graphic and caught me completely off guard. The tension is good too and had me riveted at the end as Caroline Munro gets chased around the darkened building almost endlessly, which was intentionally prolonged by the filmmakers to give it a longer runtime, but in the process helps make the scenario even scarier by making it seem like the victim is stuck in a nightmarish maze that she can’t get out of.

Some viewers had issues with the cast looking too old for high schoolers, which included star Munro who was already 35 at the time. However, what really impressed me was that it was filmed in England with a mostly British cast, except for Donna Yaeger who plays Stella and a couple of others, and yet all of them with the exception of Munro were able to successfully disguise their accents to make it sound like they were genuinely American.

My only two complaints were the music score, which sounded too playful like it was intended for a comedy instead of a horror and didn’t help add to the tension and in many ways worked against it. The scene were two of the characters (Donna Yeager, Billy Hartman) have sex is ridiculous as this occurs after they had just witnessed two graphic murders and the ongoing threat of a killer lurking about, so for most people sex would be the last thing on their minds nor would they be able to perform even if they tried due to the psychological stress, so having the guy become baffled when he can’t get an erection under those circumstances was laughable as I would’ve more surprised if he had.

The twist ending is cool and even if it had been a letdown I would’ve still given it 7 points as the rest of it is highly entertaining either way. The original working title was going to be April Fool’s Daybut this got changed when the filmmakers became aware that another movie with that same title was set to be released in the US, but this movie is far better than that one.

My Rating: 7 out of 10

Released: November 14, 1986

Runtime: 1 Hour 31 Minutes

Rated R

Directors: George Dugdale, Mark Ezra, Peter Mackenzie Litten

Studio: Vestron Pictures

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

A Hero Ain’t Nothing but a Sandwich (1978)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Getting hooked on heroin.

Benjie (Larry B. Scott) is an African American teen living with his single mother (Cicely Tyson), her boyfriend Butler (Paul Winfield) and her mother (Helen Martin) in a rundown area of Los Angeles. Benjie harbors a low self-esteem at being abandoned by his biological father years earlier and has not adjusted to Butler acting as his surrogate father and the two have many fights. To deal with his alienation he gets into drugs after befriending a local dealer named Tiger (Kevin Hooks). At first he dabbles in marijuana and likes the high it gives him, so he tries heroin, which eventually gets him hooked and it starts a downward spiral. His family tries to help him as best they can, but when he gets suspended from school they feel they have no other choice but to send him to a drug rehabilitation hospital where they hope he’ll recover.

While there were some critics, as evidenced by the film poster above, that did like the film there were also others at the time that labeled it as ‘preachy’ and coming off more like an after school special than a movie. Despite being based on the novel of the same name, which had been highly praised, and with a screenplay written by Alice Childress, who had also been the author of the book, I still came into it a bit leery wondering if the negative reviews had merit and I’d be spending the 2-hours bored, but I came away impressed with how captivating and sincere it overall was.

A lot of the credit goes to Scott, who although was 15 when it was filmed, but effectively looks only 13 like his character, which makes the scenes where he shoots-up all the more shocking. Winfield is also excellent playing someone who’s bitter about life due to a failed music career and reluctant to take on a fatherly role particularly when the kid lashes out at him at seemingly every turn. Glynn Turman is solid too as Benjie’s African studies teacher as well as David Groh, better know as Joe in the TV-series ‘Rhoda’, playing the only white teacher in an all-black school who feels like an outsider himself. Helen Martin though steals it as the elderly grandmother who gets violently mugged by two kids on the street at the beginning and then later on does a provocative dance for the family in remembrance to her days as a young dance hall girl.

What I did have a problem with were the scenes inside the drug rehabilitation clinic that get shown through a series of black-and-white photographs. I don’t mind directors throwing in artistic elements into the narrative, but when the film had been working as a straight forward drama for the entire first hour then it kind of needs to stay that way and suddenly changing the approach becomes distracting. I’m not sure why these hospital scenes get glossed over the way they do, but it makes the viewer feel more distant from the character and what he’s going through.

Winfield’s bonding with the kid ends-up being problematic as well. I didn’t have an issue with it at the start as I kind of liked seeing this guy, who clearly had no blueprint on parenting, being forced into a situation that he really didn’t ask for, or know how to navigate. However, he becomes a little too emotionally bonded with Benjie by the end that just didn’t seem genuine. After all this really wasn’t his biological child and he hadn’t even married the mother, so to take on all of this extra responsibility, that should’ve been the mother’s, didn’t seen realistic. Tyson needed to play a stronger role here having her stand side-by-side with Winfield as they help her son through the withdrawal process. Having her instead getting written-off as this kook who’s into voodoo and at one point strips her teenage son naked and throws him into a bathtub filled with potions that she feels will ‘cure’ him and eventually jumps into the tub with him is a definite cringe moment, particularly by today’s standards, and a low point in a movie that otherwise is adequately done most of the way.

My Rating: 6 out of 10

Released: February 3, 1978

Runtime: 1 Hour 47 Minutes

Rated PG

Director: Ralph Nelson

Studio: New World Pictures

Available: DVD, Amazon Video, Tubi, Plex

Der Fan (1982)

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By Richard Winters

My Rating: 8 out of 10

4-Word Review: Rock idol infatuates teen.

Simone (Desiree Nosbusch) is a beautiful teen who harbors an unhealthy infatuation for a rock singer known only as ‘R’ (Bodo Steiger). Even though the two have never met Simone is convinced that they share a deep bond and she writes him fan letters all the time, but never receives a response. She travels to a TV-station where he’s expected to film a music video in hopes of meeting him and starting a romance. During an autograph session R spots Simone and immediately becomes riveted to her beauty and later takes her to an excluded country home, so that he can make love to her. Once the sex is over he proceeds to leave to visit with other friends, which enrages Simone and leads to a psychotic outburst.

The film, to a certain extent, is a refreshing change-of-pace to the usual stalker formula in that the beautiful woman is not the victim here, but instead the perpetrator. The part gets wonderfully portrayed by Nosbusch whose icy cold gaze, which she exudes the whole time, burns right through the screen making her creepy from start to finish. While it’s nice not having her fit into the mold of someone who is fat, lonely, and homely like the Kathy Bates’ character in Misery statistics have shown female stalkers of celebrities predominantly reflect the characteristics Bates has more than Simone’s, which is why they’re having romantic delusions over celebrities to begin with because they’re unable to attain these types of relationships in real-life.

This then brings out the film’s fatal flaw, which is that there’s no explanation for why Simone is this way. If she had an abusive home-life you could reason she turned to a fantasy world in order to cope with her harsh surroundings, but there’s no sign that this was the case. It’s not like she can’t find any boyfriends either as there are people around her who make attempts to be friendly, but she coldly rebuffs them. So, why is she so crazy? What is there about this particular rock singer that gets her so infatuated with him and what is missing in her life that she flies so far off the deep-end? None of these questions get answered. It’s almost like writer/director Eckhart Schmidt didn’t bother to think any of this through, or even care to. He simply came up with a bland prototype of a teen psycho to help propel the plot along without ever bothering to fill-in any of the necessary details.

Spoiler Alert!

While the film is quite weak in that area, saved only by Nosbusch’s excellent performance, it does make-up for it with its incredible, over-the-top ending, which had even me, a seasoned cinephile who’s essentially seen it all by now, in shock. It’s not that it’s particularly gory, even as she cuts the guy up into pieces and then proceeds to eat him limb for limb before grinding up his bones, but more for its sheer audaciousness. If anything the gore could actually have been played-up more as the blood is lacking, you only see a couple streaks of it on the floor while it should’ve been sprayed all over the place. Seeing the room drenched in it would’ve made the horror all the more shocking though her licking the bloody blade does lend a twisted erotic touch.

What I admired though was how it clearly wasn’t concerned if it achieved mainstream acceptance, or not. There is simply no way a film like this could’ve been made in Hollywood whether it was 1982 or today, as the studios wouldn’t touch it. Too many producers would fear potential backlash, which in turn would hurt profits, but for me this is what true movie making should be all about. Challenging mainstream viewers out of their comfort zone and taking them to a place they thought they’d never go and doing it in such a fluid way that they don’t know what’s coming until it’s too late, which is what really makes this one memorable.

My Rating: 8 out of 10

Released: June 4, 1982

Runtime: 1 Hour 32 Minutes

Not Rated

Director: Eckhart Schmidt

Studio: Scotia International

Available: DVD, Blu-ray

Starstruck (1982)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Teens dream of stardom.

Jackie (Joey Kennedy) is a teen working as a waitress at her mother’s pub, but dreams of becoming a famous singer. Her 14-year-old cousin Angus (Ross O’ Donovan) acts as her manager trying to get her a spot on the local talent TV-show called ‘The Wow! Show’, but Terry (John O’May) the program’s host, refuses to see her, so they decide to have her perform a publicity stunt by walking across two high rise buildings in downtown Sydney on a tightrope while nude. This gets so much news coverage that Terry can’t help but bring her on his show, which initially proves to be a great success until Jackie becomes pressured to cut her backing band and tone down her quirky style. After alienating all of her friends she then tries to win them back by plotting to crash a New Year’s Eve talent contest at the Sydney Opera House where they hope to win the $25,000 cash prize in order to save their now dying pub.

After the success of My Brilliant Career director Gillian Armstrong set out to make a movie that was completely different in style from that one and eventually came up with the idea of doing a musical parody and on that level it works. The musical numbers are not only quite funny, especially the one done inside the pub where all the customers and staff join together to create one long line dance, but impressively staged too. I was literally blown away with the segment done inside Terry’s penthouse pool that was meant to be a take-off on the old Busby Berkley numbers from the 40’s, but in many ways just as good if not better.

The film also gets filled with a lot of humorous moments, most of which, like Angus’ elaborate attempts to try and make contact with Terry and even ditching school to do so, are quite funny. The segment dealing with Jackie’s high wire act I found initially preposterous. How exactly where they able to connect the tightrope between the two buildings, which would’ve been a massive feat in itself and never shown, but the outcome, as silly as it is, still had me chuckling.

The film has a terrific supporting cast especially Pat Evison as the elderly and overweight Nana, who shows exuberant support for Jackie’s ambitions even when the other adults don’t. O’Donovan and his constant scheming is also engaging, but I found Kennedy’s performance in the all important lead role to be flat. Singing-wise she is quite good, which is the whole reason she got the part, but her acting doesn’t have the same energy. Her character really isn’t very funny either and it’s Angus doing all the hard work to get her noticed and she never seems to appreciative it making the viewer not as emotionally invested at seeing her succeed as they should’ve been.

The film gets a bit too quirky for its own good too. It’s got a lot of visual pizazz, but no substance whatsoever and it would’ve been nice had there been some grittiness tied in. Everything happens too easily making it seem like a fairy tale and convincing me that the most suitable ending would’ve had Jackie waking up and realizing it had all been a dream because that’s exactly what it comes-off like.

On a side note I was surprised how much the Sydney Harbour Bridge, which was completed in 1932 and stands as the world’s tallest, gets shown. Not only is it featured in every skyline shot of the city, but there’s also a mural of it on the wall of the pub, a toy model of it on top of the pub’s TV, and even a replica of it put on stage during the film’s climactic dance number. I’m not sure what the exact shot count number is that features it in one form or another, but if you take a shot of whiskey every time you see it you’ll be drunk and passed out on the floor by the time it’s over.

My Rating: 7 out of 10

Released: April 8, 1982

Runtime: 1 Hour 45 Minutes (Australian Version) 1 Hour 35 Minutes (US Release)

Rated PG

Director: Gillian Armstrong

Studio: Cinecom International Films

Available: DVD, Amazon Video, Pluto TV, Tubi