Category Archives: Adolescence/High School

Gimme an ‘F’ (1984)

gimme an f

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Cheerleaders compete for prize.

Bucky Berkshire (John Karlen) is the proprietor of a local cheerleading camp. He hopes to build an even bigger one with the help of some Taiwanese investors. However, they will only put up the much needed capital if Bucky agrees to sign Tommy (Stephen Shellen), who works as the cheerleading coach at the camp, to a 5-year contract. Bucky and Tommy do not get along and Tommy, who is 25, thinks he has gotten too old for the position and needs to move on. Yet Bucky feels he has no choice but to cut him a deal. If Tommy can get a group of teen cheerleaders known as the Ducks to beat the perennial winners known as the Falcons at the annual cheerleading competition then he’ll pay Tommy a whopping $10,000, but if they lose then Tommy will be forced to continue to work for Bucky for another 5 years.

I remember this film being scheduled on Cinemax in the ‘80’s during its late night hours, which gave me the impression that it was a raunchy T&A feast, but in reality it really isn’t. In fact during its entire runtime there is less than 10 seconds of actual nudity, which isn’t enough to make it worth watching. Some may say that makes me sound like just another sexist, leering male, but when the material is this inane what else is there about it to sell? Certainly not its so-called comedy, which is virtually laughless and on a 5-year-old’s level if even that and the plot is equally trite as it clearly conforms to the age-old David-and-Goliath formula where the viewer knows from the get-go that loser will obviously end up winning the thing no matter how much the odds are stacked up against them and what’s the reason to watch something if you know exactly how it’s going to end from the very beginning?

One viewer, who admits this is not a very good movie, said its one ‘saving grace’ was the cheerleading routines done at the end during its climactic showdown, which he felt were well choreographed, but to me it was just more cartwheels, twirling and dance line routines that if you’ve seen once then you’ve seen it a million times. Even if it had been spectacular it still wouldn’t warrant sitting through the rest of it, which is quite trifling to say the least.

Venerable character actor Karlen, who was the only veteran member of the cast, lends some credibility with his presence, but it isn’t much. Star Shellen is completely transparent in the lead despite having a teen heartthrob of a face. His character is shown doing very little training anyways and seems to shift the majority of the burden off to his assistant Roscoe (Mark Keyloun).

Beth Miller is equally weak as the female lead and although she is very cute she has no ability to effectively do a comic pratfall of which she is required to do several. The only thing she does get right is the way her eyes well up with tears from her embarrassment after she does one.

Although her character isn’t any better written than any of the others I could still tell right away that Daphne Ashbrook, in her film debut, was a far stronger actress than any of the others and it is no surprise that her career continued to flourish while the rest of them disappeared into obscurity. Although for the record Jennifer Cooke, who plays the bitchy character of Pam, did find success later in her life helping to run the Celestial Seasonings Tea chain.

My Rating: 1 out of 10

Released: November 16, 1984

Runtime: 1Hour 40Minutes

Rated R

Director: Paul Justman

Studio: 20th Century Fox

Available: VHS

The Lost Boys (1987)

lost boys

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Vampire gang terrorizes teens.

This review is the first of a series in which each Monday for the month of May we’ll take a look at a vampire movie from the ‘80s with this one being probably the best and most well-known. The story centers on two brothers named Michael and Sam (Jason Patric, Corey Haim) who along with their divorced mother (Dianne Weist) move to California to live with her hippie father (Barnard Hughes) in his ranch-style home. It is here that Michael comes into contact with a boy biker gang lead by David (Kiefer Sutherland). Michael is infatuated with the attractive female member of the gang named Star (Jami Gertz) and thus is receptive to becoming a part of the group and even drinking a strange liquid as part of the initiation. Unfortunately the drink turns him into a vampire like them and it is up to Sam and his two self-styled vampire hunter teen friends (Corey Feldman, Jamison Newlander) to kill them off.

For the most part this film is a lot of fun and has held up well. I enjoyed the way it captures the Santa Cruz boardwalk atmosphere and the eclectic mix of the teen culture that makes up southern California. I also found some of the dated elements to be kind of fun especially when Sam states he can’t be without his MTV even though teens and college kids of today, at least the ones I’ve spoken to, do not feel that MTV is the trendsetter that it was back then, or even hip at all.

Haim gives another engaging performance and deserved to be top billed. He outshines his Corey counterpart by a mile and in fact Feldman comes off as quite boring and has only one funny line, which doesn’t come until the very end.

Sutherland is effective as the baddie, but the guys that make up the rest of his gang are quite transparent and do nothing but laugh on cue and wear outfits that make them look like they are leftover members of some bad-boy ‘80s rock band.

Patric is bland as well and the way Keifer and his gang can so easily manipulate him into doing just about anything they ask during their first encounter with him makes his character seem too passive. I also thought it was ridiculous the way he goes back to the gang’s hideout and makes love to Star while the rest of the boys aren’t there. Don’t get me wrong having sex with a beautiful woman certainly tops every red-blooded male’s list, but here it gets shown in a cheesy, clichéd music video type way and I also thought he would be too emotionally freaked out to have any type of sex as this occurs just after he had found out he had turned into a vampire and even levitated in the air.

There are similar problems with the behavior of the Weist character. One of them is when she goes to her boyfriend’s house and has dinner with him while his dog sits at her feet even though this was the same animal who had tried to viciously attack her earlier, which would’ve been enough to scare anyone else from ever wanting to get close to that dog ever again. Her job as a clerk at a video store is another joke as most people who worked at those places, back during the dark ages when they actually existed, did it as a part-time gig as the pay was low and wouldn’t be enough to support one person let alone a mother and her two sons. There is another scene, albeit brief, in which Sam, who is a teenager, asks her if he can sleep with her in her bed as he is afraid to be alone and she agrees, which most viewers will consider to be quite inappropriate.

Yet despite these issues and even a few others it’s still a good movie with some exciting and imaginative special effects. Director Joel Schumacher creates a creepy atmosphere and infuses a good deal of humor although it could’ve worked even better had it been played-up as a straight horror film.

Spoiler Alert!

I do though have to also quibble about the Edward Herrmann character as the boys initially think he is secretly the vampire ringleader, but then when he is invited over to their house for dinner he does not react adversely to the garlic or water that gets thrown at him. In the end though it turns out that he really was a vampire and the only reason those things didn’t have an effect on him, at least according to his explanation, is because when the owner invites him into their home those things then have no effect. Yet it was the Patric character who had invited Herrmann inside even though it was actually Hughes who owned the place, so the logic of his explanation doesn’t work.

Also, earlier in the film we see Herrmann’s dog growl at Kiefer and his gang when they walk into Herrmann’s video store. This is before we learn that Herrmann is a fellow vampire and secretly familiar with the boys, so if that was the case then his dog most likely would’ve been familiar with them too and therefore wouldn’t have growled, but instead would’ve been friendly and even receptive to them when they entered.

End of Spoiler Alert!

My Rating: 7 out of 10

Released: July 31, 1987

Runtime: 1Hour 37Minutes

Rated R

Director: Joel Schumacher

Studio: Warner Brothers

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

The Legend of Billie Jean (1985)

legend of billie jean 1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Teen becomes media sensation.

Billie Jean (Helen Slater) is a teen living in a small Texas town who one day decides to take a ride with her brother Binx (Christina Slater) on his motor scooter to a lake for a swim. Along the way they come into contact with some red neck boys who harass the two and damage the scooter. The police do nothing about it, so Billie Jean decides to approach Pyatt (Richard Bradford) who runs a convenience store and is the father to one of the boys. When she asks him for the money that it will cost to repair it he attempts to sexually assault her and Binx ends up shooting the man in the shoulder. This causes the two to go on the run and creates a statewide car chase, which makes Billie Jean a media hero to thousands of teens nationwide.

The movie is a real mixed bag with strong shifts in tone and no clear point-of-view. It starts out as a rather boring, run-of-the-mill teen bullying flick only to turn into a whimsical tale as the teens go out on the road and have one quirky adventure after another. It’s similar to Steven Spielberg’s The Sugarland Express as both lead characters are females and go on the run from the law in Texas while become inadvertent media darlings in the process. Spielberg’s movie is the better film, but this one delves more into the media angle and could’ve made some strong statements, but unfortunately pulls back and keeps things on too much of a lighthearted, innocuous level instead.

Slater is fantastic in the lead and it’s great seeing the boyish Slater in his film debut. I felt though that Martha Gehman and Yeardley Smith as two teen gals who tag along with the other two on their adventure added nothing and should’ve been cut out completely.

Bradford makes for a pretty good heavy, but I had major issues with Peter Coyote as the sheriff. For one thing when Billie Jean reports that her brother’s bike has been stolen he does not immediately pursue the case, but instead decides to ‘wait on it for a few days’, which seemed like he was not doing the job that the tax payers put him into position to do. Then when the chase expands across the rest of the state he somehow gets in charge of tracking her down, which is ridiculous. Once she crosses over the county line, or gets outside of his jurisdiction then it is up to the authorities from that region to handle it, or the state highway patrol and certainly not some two-bit sheriff from a no-name, hick town.

The scene where Billie Jean saves a boy from his abusive father while hundreds of teens look on is great, but everything else is so-so. The film would’ve worked better had it taken a consistent satirical tone from the beginning and not have been so compelled to conform itself to the more simplistic sensibilities of its targeted teen audience.

My Rating: 6 out of 10

Released: July 19, 1985

Runtime: 1Hour 36Minutes

Rated R

Director: Matthew Robbins

Studio: TriStar Pictures

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

Nobody Waved Goodbye (1964)

nobody waved goodbye 1

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Teen learns hard lesson.

Peter (Peter Kastner) is 18 and looking to spread-his-wings, but doesn’t like what he sees in the adult world. Everyone seems trapped by their dull jobs and mundane routines, which is something he doesn’t want to fall into. He has big dreams. He wants to run away with his girlfriend Julie (Julie Biggs) and live a life based completely on his own whims while never becoming a slave-to-the-system like everyone else. Then he gets in a fight with his parents and they kick him out and after struggling to find work without even a high school diploma his attitude quickly changes.

If you can get past the wretched opening song, which is sung by Kastner and played over the credits, then this film really hits-the-mark. I was impressed with the camera work especially during the dinner time conversations amongst the family members where director Don Owen shoots it with a hand-held camera and zooms in and out on the person’s face as they are speaking. This is something that is quite common today especially on TV-shows, but back then was rarely if ever used, which makes this well ahead-of-its-time and even groundbreaking. I also enjoyed the conversational quality of the dialogue and having two conversations going on at the same time, which again didn’t come into vogue until years later when Robert Altman did it in M*A*S*H.

The film also clearly allows for ad-libbing amongst its actors. There is a scene in which Peter and Julie go paddle boating and come upon a large sofa submerged in the water and then comment on it. Clearly the filmmakers didn’t put the sofa into the lake simply to film the short scene that has nothing to do with the rest of the story, but it still helps set the tone for keeping things fresh and real.

Kastner is great and it’s refreshing to have a protagonist in a film that you like at some points and feel like wringing-his-neck at other times. Too many movies today, especially Hollywood ones, create lead characters that are politically correct caricatures while this movie instead has real human beings that are not tailored made to conform to the likings of any particular demographic.

It’s a shame to say that a movie that came out over 50 years ago is still considered cutting-edge, but compared to the tired, formulaic glop coming out today it really is. The script is uncompromised and holds-no-punches while keeping things gritty and stark and making profound, universal points along the way. I also found it fun that the main character here, who was clearly a baby boomer, displays the same anti-establishment, anti-work attitude that now gets placed squarely onto the ‘dreaded millennials’ and yet it seems the boomers were just as reluctant to get into the rat race as all the generations that have followed them and therefore shouldn’t be waiving their finger at anyone.

nobody waved goodbye 2

My Rating: 8 out of 10

Released: August 13, 1964

Runtime: 1Hour 20Minutes

Not Rated

Director: Don Owen

Studio: National Film Board of Canada

Available: None at this time.

Pretty in Pink (1986)

pretty in pink

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Poor girl dates preppy.

Andie (Molly Ringwald) is a teen girl from the poor side of town who one day while working at a record store meets Blaine (Andrew McCarthy) a rich, handsome, preppy kid that she immediately takes an interest in. A few days later he asks her out much to the dismay of her geeky friend Duckie (Jon Cryer) who has a secret crush on her. Blaine’s friend Steff (James Spader) is also angered about it because he had asked Andie out earlier and been rejected and these two factors cause a strain on their relationship and forces both of them to consider ending it.

One of the problems that I had right away with the film is the fact that with the exception of Ringwald, the majority of the cast who are playing these so-called teenagers were in reality way past adolescence and looking too mature. Kate Vernon, who plays a snotty girl named Benny, actually looks older than her female instructors. McCarthy and Cryer were also in their 20’s and manage to pull it off, but Spader who was 25 at the time doesn’t. He gives a great performance nonetheless, but I kept wondering with so many star struck teens out there dying to get into the business that the producers couldn’t have gotten performers that were more at the actual age of the characters.

Ringwald is fantastic in a vehicle tailored made for her and one that she really cruises with. I particularly liked her facial expressions while she attended a frat party and the moment where she decides to go to the prom despite not having a date simply to show them that they can’t ‘break her’ is fantastic. However, I wasn’t so crazy about the inferred idea that she was dating Blaine simply because he was from a rich family and could help her escape from her otherwise poor/ humble surroundings as it toys with the concept of ‘marrying-into-wealth’ which is too old fashioned. A young lady today should feel that she can work her way up the social/economic ladder on her own and not be dependent on some guy to do it for her.

I had equally mixed feelings involving Duckie. Cryer certainly gives an engaging performance, but the character’s excessive and constant need for attention-seeking humor gets overdone and I wished it had been toned down and the character made to be a little less geeky. The part where he has an instant meltdown when he finds out that Andie is dating someone else is also too extreme as it makes him seem dangerously possessive especially since he and Andie were just friends. Later when he is rude to Blaine at a nightclub only helps to make him look even more emotionally unstable.

I had this same issue with Steff who gets aggressively angry at Blaine for dating Andie and even threatens to end their friendship because of it, which to me was a complete overreaction. Sure he might be upset about it, but in real-life I think he would’ve expressed his displeasure in more subtle ways,or even just gotten over it since he was apparently sleeping with Benny who was a lot hotter looking than Ringwald anyways. In reality people generally want to hide their hurt feelings and not respond so overtly when things don’t go their way because they are usually smart enough to realize it will just make them look like a sore loser otherwise.

The Blaine character has problems too although different from the other two. The first issue is when he is at the record store and hands Andie an album cover showing Steve Lawrence, a famous crooner from the early ‘60s and frequent guest star on the old ‘Carol Burnet Show’ and asks Andie if he’s ‘hot’ or ‘trendy’. Now, I was teenager myself during the ‘80s and was in no way ever affiliated with the ‘hip crowd’, but even I and my nerdy friends where savvy enough to know that Steve Lawrence would never be considered an idol with ‘80s teens nor humiliate ourselves by asking anyone if he was. The fact that he does ask makes him seem almost mentally ill or someone who’d been living in a cave, which would be enough for most young women not to want to date him because they would think he was ‘weird’ or strangely disconnected.

The scene that takes place in the school’s library where he sends her a message via the school’s compute and even somehow manages to upload a picture of her is also dumb. Remember this was BEFORE the internet and sending emails and communications via a computer weren’t common or likely especially when they weren’t even their own, but public ones instead. In a later conversation this gets described as a ‘computer trick’ that he knows, which I guess suffices as being screenwriter John Hughes’ feeble attempt at ‘explaining it’.

In a lot ways this seems like just a basic reworking of the formula that was already used with much better success in Sixteen Candles with Cryer playing an off-shoot of Anthony Michael Hall’s character and Harry Dean Stanton as Ringwald’s sensitive father substituting for the one played by Paul Dooley in the first film. I was also disappointed that we never even briefly get to see Andi’s mother who was divorced from her father but gets discussed quite a bit and there’s even a picture of her sitting on Andie’s bedside table, which to me should’ve been enough to justify some sort of appearance by her at some point.

I liked the scene, at least on an emotional level, where Duckie physically attacks Steff after he makes a disparaging remark about Andie, but on the logical end it’s off-kilter. For one thing Andie wasn’t aware of the remark and for Duckie to take on some guy who was clearly much bigger than him it would’ve made more sense for her to have heard it and been hurt by it in order for him to come so aggressively to her defense. A later scene that takes place at the prom where a super-hot girl turns around and out-of-nowhere shows an immediate interest in Duckie who’s just standing there seemed too dream-like and fanciful.

I never saw this film when it first came out and only reviewed it now at the suggestion of some female friends in order to commemorate the 30th anniversary of its release and I have to be honest I was expecting something a lot better especially since it has attained such a strong cult following. Maybe it’s the nostalgic value that gives it its allure, but on a purely cinematic level it’s average at best with a screenplay that only touches the surface of the teenage experience while relying too heavily on age-old and very obvious dramatic devices to help propel it.

My Rating: 5 out of 10

Released: February 28, 1986

Runtime: 1Hour 36Minutes

Rated PG-13

Director: Howard Deutch

Studio: Paramount

Available: DVD, Amazon Instant Video, YouTube

License to Drive (1988)

license to drive

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Driving without a license.

Les Anderson (Corey Haim) is in a jam. He has flunked the written portion of his driving exam and therefore has his license denied, but a really hot girl by the name of Mercedes Lane (Heather Graham) wants to go out with him and he needs some wheels to get there. So, after his parents (Richard Masur, Carol Kane) have fallen asleep he decides to ‘borrow’ his grandfather’s car and chaos results, which forces him to return home with the vehicle in less than pristine condition.

This film was quite controversial when it was first released as it contains a scene involving an intoxicated man (Henry Allan Miller) getting behind the wheel of Les’s car and driving it, which critics felt was ‘promoting’ drunk driving, or at the very least making light of it. To me the biggest problem with the segment is the fact that the driver gets into the car with the keys somehow in the ignition even though Les and his friends are in the back of the car using those very same keys to open up the trunk, so unless they had two sets of keys, which is never stated, it then flunks the logic test. I also thought the scene where Les tries to jump from one speeding car to another while out on the freeway was just as dangerous and more hair raising than funny.

Haim in my opinion is the best thing about the film. I know he got the reputation of being a Hollywood ‘bad boy’, but the kid does have a certain appeal. This was his second pairing with Corey Feldman, who I didn’t like as much as he came off more as a crude ‘80s teen caricature. This also marks Heather Graham’s official film debut since her uncredited appearance in Mrs. Soffel four years earlier did not have any speaking lines and here she is terrific. I also found Masur and Kane to be quite appealing as the parents who resemble real human beings and not like the grown-ups in some ‘80’s teen movies where they are portrayed as being oppressive, overbearing, out-of-touch jerks.

The humor though is only mildly amusing and how the Les character could’ve missed the answers on the test is hard to imagine as they relied on basic common sense that just about anyone could’ve answered. The film also fails to have the same whimsical quality as Adventures in Babysitting which came out around the same time and had the same adventurous night-on-the-town concept.

If you’re looking for an amiable time filler for a slow evening than this may do the trick, but overall it’s just an innocuous ‘80’s teen programmer at best.

My Rating: 5 out of 10

Released: July 6, 1988

Runtime: 1Hour 29Minutes

Rated PG-13

Director: Greg Beeman

Studio: 20th Century Fox

Available: VHS, DVD, Blu-ray, Amazon Instant Video

Deadly Friend (1986)

deadly friend 1

By Richard Winters

My Rating: 1 out of 10

4-Word Review: He resurrects his girlfriend.

Paul (Matthew Labyorteaux) is a teen with a genius I.Q. who teaches classes on robotics at a local university. His next-door neighbor is Samantha (Kristy Swanson) a beautiful teen girl who is tormented and abused by her alcoholic father (Richard Marcus). When she becomes brain dead after falling down the stairs during one of her father’s rages Paul tries to bring her back to life by implementing the microchip from his robot’s brain into hers. However, instead of the pretty, sweet girl that she once was she is now a killing machine getting back at anyone who ever wronged her and Paul becomes unable to stop her.

The film suffers severely as a result of the studio having a different idea on the direction they wanted to take it versus what director Wes Craven or its screenwriter Bruce Joel Rubin had. Craven and Rubin wanted an offbeat love story while the producers pushed for the conventional ‘80s horror. The result is a mishmash of different genres that throws in everything from blood and gore to silly robots that do cutesy things and look better suited for a kid-friendly Disney movie.

The plot has a logic loophole as well as the reincarnated Samantha somehow gains super human strength, which makes no sense. She may have the robot’s brain, but it’s still her same body, so whatever strength the robot had would not transition to her since he was made from mechanical parts. The part where she lifts a biker dude over her head would probably have broken her back and I wasn’t sure what the dark circles around her eyes was so supposed to mean. Was this to represent that she was slowly dying and decaying? If so then her skin should be rotting and peeling off and not just looking like someone who went a little overboard with the eye shadow.

The misguided nightmare segments are another issue. The scene where Samantha dreams that she stabs her father in the stomach with a broken glass vase that causes blood to rush out of him appears more like an erect penis pissing out blood. The moment where Paul sees Samantha’s dead and burned father’s head popping out of his bed is too reminiscent of A Nightmare on Elm Street and comes off looking like Craven was going to the same well too often.

The characters are dull and poorly fleshed out. Paul is too clean cut and the fact that he is super smart at everything becomes annoying. Samantha seems overly passive and sheltered and her loathsome father becomes nothing more than a walking, talking cliché trucked straight in from Redneckville.

Spoiler Alert!

The ending is by far the worst part as it features Paul coming into the morgue after Samantha has been killed and then having her inexplicable and without explanation turn into a robot. Whether this was simply a dream or a misguided attempt to turn the plotline into some sort of sequel is unclear, but it helps cement this as a complete catastrophe despite its good production values and a perfect testament to what happens when the producer and director are not on the same page.

End of Spoiler Alert!

deadly friend 2

My Rating: 1 out of 10

Released: October 10, 1986

Runtime: 1Hour 31Minutes

Rated R

Director: Wes Craven

Studio: Warner Brothers

Available: VHS, DVD, Amazon Instant Video, YouTube 

Firstborn (1984)

first born 2

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Mom’s shitty new boyfriend.

Wendy (Teri Garr) is a divorced mother living with her two teenaged sons Jake (Christopher Collet) and Brian (Corey Haim in his film debut). She begins to feel lonely and insecure when her ex Alan (Richard Brandon) finds another woman and gets remarried. On the rebound she latches onto Sam (Peter Weller) a drifter who can’t seem to hold down a job and deals drugs on the side. He moves in and begins an antagonistic relationship with older son Jake that spirals out-of-control and turns the once peaceful household into a war zone.

I liked the realism particularly the way the anger and animosity come to a head slowly. The characters and dialogue are believable and the film portrays teenagers far more accurately than most other ‘80s flicks. The violent confrontation at the end is exciting, but in some ways I found the way Jake locks horns with his equally bullying English teacher Mr.  Rader (James Harper) as being just as compelling if not more.

On the negative end the plot is by-the-numbers and does not offer any twist or interesting added angle. The characters don’t grow or change and the film lacks a much needed denouncement where we could’ve seen how the ordeal helped them evolve as a family.

Garr is perfectly cast as a vulnerable character and the idea of a lonely divorcee finding someone on the rebound while conveniently ignoring the red flags until it is too late happens quite a lot. Collet is tolerable, but gets out shined by his younger costars including Sarah Jessica Parker as his girlfriend and Robert Downey Jr. as his school chum as well as Haim who clearly display more on-camera charisma and show why they all ended up with the longer, more memorable careers.

corey haim

sarah jessica 2

Weller is convincing as the heavy, but the film is one-dimensional and fails to offer any insight. If you want to catch this simply to see the young stars before they were famous then it will be a fun flick despite the subject matter, but overall it’s nothing special and has an atrocious music score.

My Rating: 4 out of 10

Released: October 26, 1984

Runtime: 1Hour 40Minutes

Rated: PG-13

Director: Michael Apted

Studio: Paramount

Available: VHS, DVD, Blu-ray

Kes (1969)

kes 1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Boy trains a kestrel.

Billy (David Bradly) is a poor working class youth living in Yorkshire who finds his existence to be bleak and pointless. He is bullied constantly by his older brother Jeb (Freddie Fletcher) and ignored by his burdened mother (Lynne Perrie) while also being picked on at school. As means of some solace he finds a nest of baby kestrels inside an abandoned building. He takes one of them and keeps it in his backyard shed where he trains it, which in return gives him a sense of purpose.

The film is based on the novel by Barry Hines who also wrote the screenplay and although the plot is basically the same it does vary in two major ways. The first one being that in the book everything takes place in one day and with a lot of use of flashbacks to explain the backstory, which I liked better, but here it’s given a linear narrative. The book also explains a bit more about the otherwise absentee father and even has one scene involving him while here the character is non-existent and never even mentioned.

On a purely cinematic level it is well made and nicely exposes Billy’s hopeless working class world without ever being heavy-handed. The drama is fresh and natural with each scene and character ringing true. The segments involving the training of the bird is the most engaging and I wished had been extended.

The children are fantastic without being too cute or precocious and respond to things in ways that are honest to their nature. The adult cast is good as well although not as likable. The teachers and school administrators, with their very old fashioned approach to discipline, come off as genuine jerks. At one point one of them even raps the open palms of the children’s hands with a cane, which makes their eyes well up with tears and is unpleasant to watch.

The worst is the segment involves Billy’s physical ed. teacher Mr. Sugden, which is played by Brian Glover who was an actual high school instructor at the time as well as a former wrestling. Here he plays a coach who brutally bullies his students in a scene that makes its point and then goes on too long with it. I also didn’t like that director Kenneth Loach superimposes the score of the soccer (football) game that the students are playing onto the screen, which wasn’t necessary as who wins the game was not important at all and hurt the film’s realism by distracting the viewer and taking them out of the story.

Some have complained about the thick dialect of the characters, which makes it hard at times to understand what they are saying. Certain American versions have been dubbed to make the lines uttered clearer although the version I watched, which was from the Criterion Collection, seemed to have the original accents intact, which I preferred as it kept it more authentic and for the most part I didn’t have any problem with it.

Spoiler Alert!

The only real issue that I had with the film is its downbeat ending. I realize that it is the same as the one in the book, but felt a bit frustrated that every time there is a movie dealing with a child taking care of an animal it always for some reason has to end in tragedy, which made it a bit formulaic. The kid never gets a break and having the falcon get killed at the end was like rubbing salt into the wound. The bird that actor Bradly buries apparently died of ‘natural causes’ but at the time he was under the belief that it had been killed simply to suit the purposes of the film and the angry reaction that you see on his face was very real.

End of Spoiler Alert!

kes 2

My Rating: 6 out of 10

Released: November 16, 1969

Runtime: 1Hour 50Minutes

Rated GP

Director: Kenneth Loach

Available: DVD, Blu-ray, Amazon Instant Video

One Wild Moment (1977)

one wild moment 1

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Fling with friend’s daughter.

Pierre and Jacques (Jean-Pierre Marielle, Victor Lanoux) are longtime friends who decide to take a vacation together along the French Riviera and both bring along their 17-year-old daughters. One night Pierre and Victor’s daughter Francoise (Agnes Soral) attend a late night wedding party and the revelry and energy of the moment culminates with them having a tryst along the beach. Although Pierre has feelings for Francoise and vice-versa he wants to keep it from going any further for fear that it will jeopardize his friendship with Victor. Francoise though wants it to continue and the two quarrel with their mixed feelings as they ponder telling Victor about it.

Although this is not a great film it is still far superior to its American remake Blame it on Rio. For one thing it works more as a drama while the remake was played strictly for laughs. The dialogue has more of a realistic conversational quality and the characters are better rounded and more dimensional. The structure is  leisurely paced given it a day-in-the-life feel without having every scene forced to conform to contrived comedy like in the other one. The scene where the two make love has much more of a natural quality to it and less stagey. I also enjoyed more of an emphasis on subtly where the characters are not compelled to verbally describe their feelings, but instead it relies on their facial expressions, which is much more powerful.

Marielle gives a far better performance than Michael Caine did in the equivalent role who seemed awkward, stiff and uncomfortable throughout. The rift that the character has with his daughter Martine (Christine Dejoux) gets better fleshed out here while in the remake it is only briefly touched on. I also thought it was interesting that at one point Marielle’s character slaps his daughter during an argument when she comes back well after her curfew, which doesn’t get shown in the American film and I presume this is because of Hollywood’s concern that it might make the character less appealing as they always want to make their protagonists are wholly likable and politically correct, but in the process it also makes them less real.

The two daughters are much more believable and like young women ready to enter adulthood instead of a middle-aged man’s sexual fantasy like in the other one. I also found it amusing how when Francoise tells her father about her tryst he doesn’t immediately become upset about it like in the American film where sexual mores are more stringent, but only after she tells him it was with a man over 40.

Thankfully there is also no silly side-story involving one of the men’s wives having an affair with the other, which was the dumbest part about the remake and in fact there is no wife character here at all. The only real problem with this version is its abrupt ending that leaves open all sorts of loose endings and is quite unsatisfying and becomes unfortunately a major mark against it.

My Rating: 5 out of 10

Released: December 21, 1977

Runtime: 1Hour 28Minutes

Rated R

Director: Claude Berri

Studio: Quartet Films

Available: VHS