Category Archives: Black Comedy

Eraserhead (1977)

Eraserhead

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Couple has deformed baby.

In David Lynch’s first feature length film, a movie that took almost 5 years to make and had a good deal of it financed by Sissy Spacek and her husband, we have a surreal almost cryptic-like tale detailing a lonely man named Henry (Jack Nance) and his ultimate descent into a madness as he is forced to take care of severely deformed child while also harboring the dark urge to kill it.

It is hard to say whether one can like or dislike this as it goes so far out of the conventional form of film narrative that it seemingly defies all genres and puts itself into a category all its own. On a sheer technical level it is quite impressive especially when you factor in its shoestring budget and array of production set-backs. Each scene is meticulously detailed with wild and unsettling imagery that on a purely visual level will be more than enough to leave an impact. Overall the film is cold, ugly and unyielding, but helped tremendously by Nance’s presence as a sort of detached everyman who seems as confused and aloof to his surroundings as the viewer.

To me the most jarring image is the baby, which is incredibly lifelike. Had it came off looking fake, or like some puppet or Claymation attempt the film would’ve been a failure, or deemed laughable, but this thing is freaky looking to the extreme and Lynch spares no expense in getting the camera close up to it, which could force some viewers to turn away. Supposedly it was made from the embalmed fetus of a calf, but no one knows for sure and the crew was forced to blind fold themselves when Lynch set it up, so the secret would never come out. Either way it is effective and it manages to move its eyes and mouth almost like it were real and coming off as far more authentic than any computerized effect.

Spoiler Alert!

Of course the most confounding thing about the film is its story and symbolism’s that can be interpreted in a million different ways depending on the viewer’s own perspective. For what it’s worth I’ll give you my interpretation, which isn’t that complicated. To me the deformed baby symbolizes Henry’s soul, which has been mangled by the soulless world that he lives in, which would explain why he is so extremely passive because he is simply a walking zombie. The scene where his head pops off and the ugly child’s head pops into its place only reinforces this. The lady that he sees in the radiator is an angel from heaven and the beautiful lady that lives across the hall from him is the devil who entices him with sex, but when she realizes he has no soul to take, just an ugly mangled remnant of one, which gets exposed to her when she sees him standing in the doorway, she quickly loses interest and moves onto someone else. When he finally kills the baby he is essentially killing himself, which then explains why he ends up in the final scene in heaven with the lady in the radiator.

The man in the planet that we see at the beginning represents Henry’s own subconscious as he quarrels within his mind at the thoughts of killing the child. The man could also represent the world at large and how it controls everyone with its levers, which when Henry finally kills himself they start to have sparks fly from them and the man struggles in containing them, which shows that Henry has now ‘broken free’ from the man and this world by taking his own life.

End of Spoiler Alert!

Some consider this a horror pic, but I found certain parts of it to be quite funny in a darkly humorous way particularly the segment where Henry goes to visit his girlfriend’s parents. To me the most horrifying thing about is the way it challenges the viewers to question their own morality by forcing them to face the difficult quandary or what they would do if put into the same situation as Henry and forced to care for a hideous looking baby that some would consider would be better off dead.

My Rating: 6 out of 10

Released: September 28, 1977

Runtime: 1Hour 29Minutes

Not Rated

Director: David Lynch

Studio: Libra Films International

Available: DVD (Criterion Collection), Amazon Instant Video

A Zed & Two Noughts (1985)

zed 3

By Richard Winters

My Rating: 6 out of 10

4-Word Review: They’re really into decay.

Oswald and Oliver (Brian and Eric Deacon) are twin brothers working at a zoo who become devastated to learn that both of their wives have died in the same freak accident in a car driven by Alba (Andrea Ferreol) who survives, but without her leg. Initially the brothers’ are angered with her, but this slowly grows into a strange attraction, which eventually forms into a ménage a trois. To help with their grief they begin doing time-lapse photography of the decaying process. They start with dead animals before deciding on a human subject with Alba as their chosen ‘star’.

From a completely visual level this film can be considered a great success. This was the first of ten projects that Director Peter Greenaway and cinematographer Sacha Vierny collaborated on and the result is stunning. The vivid contrasting colors, lighting and symmetrically designed sets make each and every shot look like its own painting. This is also one of the few films that completely transcend its era. Usually one can tell what decade a movie is from by watching it for only a few minutes, but this film is unlike any other ‘80s movie made, which is an achievement unto itself.

The best part of the movie is its depiction of the real-life decaying process captured in time-lapse form. I realize this may sound extremely morbid and ‘sick’, but it’s a natural process of the world we live in and if taken from a purely scientific perspective quite an interesting and fascinating phenomenon to watch. It gives the film a unique one-of-a-kind edge and something I wished had been shown even more.

The film’s drawbacks are the characters that come off as too weird and twisted, which is an issue in a lot of Greenaway’s movies that are always technically brilliant, but lacking in emotion or empathy. A good movie, no matter how ‘artistic’ it may be still needs relatable characters to help propel it and instead this movie has what amounts to mouth pieces in disguise as people who are simply used to relay a concept, but in no way connected to anyone you’d ever meet in real life. This results in leaving the viewer cold and making the film more of an ‘Avant-garde experiment’ than an actual story.

My Rating: 6 out of 10

Released: October 4, 1985

Runtime: 1Hour 55Minutes

Not Rated

Director: Peter Greenaway

Studio: British Film Institute

Available: VHS, DVD, Blu-ray

The King of Comedy (1983)

king of comedy 1

By Richard Winters

My Rating: 9 out of 10

4-Word Review: Struggling comic craves fame.

Rupert Pupkin (Robert De Niro) is a lonely 34-year-old still living in the basement of his mother’s home while fantasizing about one day appearing on the top-rated Jerry Langford show as a stand-up comedian. When he tries to contact Langford (Jerry Lewis) he’s given the blow off, so he decides to plot an elaborate plan with an equally obsessed fan named Masha (Sandra Bernhard). Together they kidnap Jerry at gunpoint and take him back to her apartment where they tie him up with duct tape. They then call the show’s producers and demand that Rupert appear that night as a guest comedian on the show or Jerry’s life will be ended.

Paul D. Zimmerman’s script, which was originally written in the late ‘60s and intended as a vehicle for talk show host Dick Cavett, is nothing short of brilliant and the main reason for its success is that it takes an outrageous idea and adapts it to realities of modern day life while pinpointing with amazing clarity all the absurdities of today’s celebrity worship culture. The story is told by people who’ve worked in the entertainment business, which makes the viewer feel like they’ve experienced life from inside after watching it.

There are so many ingeniously funny moments that it is hard to pick only one in fact you have to watch the movie several times in order to appreciate all of its subtly and satirical nuances. I loved the scene where Rupert talks to cardboard cutouts of Liza Minnelli and Langford as he pretends to be on their show or when he imagines doing his routine in front of an audience while speaking to a blown-up picture of a crowd of people. The segment in which Rupert arrives at Langford’s home unannounced is equally good and was entirely ad-libbed by the cast. The scene involving Langford’s kidnapping and subsequent ‘ransom’ note, which he must read from cue cards is also hilarious and Rupert’s wedding that he imagines being done live on the Langford show is a terrific send-up of the real-life wedding between Tiny Tim and Miss Vicki that occurred on ‘The Tonight Show’ on December 17, 1969.

Director Scorsese does a masterful job of jumping from the real to surreal as well as allowing the viewer to get inside Rupert’s head and appreciating the warped logic that many obsessed fans like him have. I also enjoyed the inspired casting including having Scorsese’s own mother playing the voice of Rupert’s mom and De Niro’s real-life wife at the time playing Rupert’s would-be girlfriend. Frederick De Cordova who was the producer of ‘ The Tonight Show’ during its run with Johnny Carson essentially plays himself as Langford’s producer and even Scorsese can be spotted during a brief bit with actor Tony Randall.

Lewis is interesting in his first serious role and it’s fun seeing a picture of him when he was only 12-years-old. Comedian Sandra Bernhard is surprisingly good and I enjoyed the fact that even though her character was nutty she still came off as being quite sensible when compared to Pupkin. De Niro though steals it by making psychotic character seem strangely likable.

The few drawbacks include why at 34 would Rupert suddenly decided to break into the entertainment business and what was he doing before this. The Bernhard character also needed more of a backstory especially when we find that she’s living in a luxurious apartment and apparently loaded with money, which goes against the grain of most celebrity stalkers who are almost always on society’s fringe.

The humor may not resonate with everyone, but if one is a fan of dark comedy then it doesn’t get much darker than this. The twist ending, which blew me away when I first saw this years ago, now doesn’t seem quite as believable, but the rest of it is on-target in what is clearly a top comedy to of the ‘80s.

My Rating: 9 out of 10

Released: February 18, 1983

Runtime: 1Hour 49Minutes

Rated PG

Director: Martin Scorsese

Studio: 20th Century Fox

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

Shocker (1989)

shocker

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Serial killer becomes electric.

Horace Pinker (Mitch Pileggi) is a serial killer who’s dabbled in black magic, which allows him to kill people without getting caught. Lt. Don Parker (Michael Murphy) is trying to track him down and when he starts to get too close Horace then kills Parker’s family. Parker’s adopted son Jonathan (Peter Berg), who was not present when the murders occurred, begins to have visions where he appears as Horace is committing the atrocities and he uses his new found ability to track Pinker down and eventually get him arrested, but Horace continues to dabble in black magic even in his jail cell, which allows him to survive the electric chair and go on killing people by entering into the bodies of his latest victims.

I couldn’t help but feel as I watched this that writer/director Wes Craven, in his drive to create another Nightmare on Elm Street franchise, completely sold out on this one by writing a script with a voodoo logic that may satisfy a 13-year-old, but will send any discerning adult’s head spinning. For one thing there is no real explanation of how this sleazy, low-life chump that works as a TV repair man was able to attain the powers that he does and simply saying he ‘dabbled in black magic’ says nothing as many other people have done the same, but never achieved these same cataclysmic results.

There is also the issue of Jonathan’s girlfriend’s necklace being the one thing that can supposedly ‘stop’ Horace, but why as this is nothing more than a flimsy piece of jewelry made by humans. And since when do spirits, evil or otherwise come connected with physical defects as Horace continues to walk around with the limp that he had in his old body even when he goes into someone else’s. Clearly this thing is making up its own rules as it goes along and proceeds to get even more convoluted until it gets downright confusing by the end.

Berg is a complete bore in the lead and it’s easy to see why he subsequently left acting and got into directing of which he has had better success. The role of Pinker isn’t any better, but this is more because of the way the character is written. Having a bad guy behave like a one-dimensional psycho killing machine isn’t scary or interesting and a background to the character was needed, but never comes.

The part where Pinker and Jonathan get stuck inside an episode of ‘Leave it to Beaver’ is funny as is the segment where Pinker inhabits the body of a 6-year-old girl, but otherwise it’s a complete mess. Normally it would’ve been a career killer for most directors, but it still managed to make enough money at the box office to keep Craven’s name off the studio’s black list and the film that he did after this The People under the Stairs is considered by many to be a vast improvement.

My Rating: 1 out of 10

Released: October 27, 1989

Runtime: 1Hour 51Minutes

Rated R

Director: Wes Craven

Studio: Universal

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

The Raven (1963)

raven 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: The search for Lenore.

Dr. Craven (Vincent Price) is a former sorcerer who one night is visited by a talking raven. The raven is actually Dr. Bedlo (Peter Lorre) who has been turned into a bird by the evil Dr. Scarabus (Boris Karloff). Craven manages to concoct a potion that allows Bedlo to turn back into his human form and in appreciation he tells Craven that he has seen Lenore (Hazel Court), who Craven was once married to and was thought to be dead, living with Scarabus in his castle. Craven decides to pay Scarabus a visit to see if this is true and brings along his daughter Estelle (Olive Sturgess) as well as Bedlo and Bedlo’s son Rexford (Jack Nicholson). When they arrive they are greeted by the conniving wizard who at first denies any wrongdoing, but it soon becomes clear that he is jealous of Craven’s powers and wants to attain them for himself, which leads to a climactic cosmic duel between the two sorcerers.

This film marked the fourth collaboration between writer Richard Matheson and director Roger Corman and for the most part it is an entertaining success. The two apparently had so much fun creating the comic story of ‘The Black Cat’ in Tales of Terror trilogy that they decided to do a feature length horror/comedy that is very loosely based on the Edgar Allan Poe poem. Despite being shot in only 15 days the film isn’t as limited by Corman’s usual low budget constraints and I was genuinely surprised how imaginative the special effects where and the overall impressive background sets.

The film’s biggest boost is clearly the three lead actors who are all at their absolute peak. I especially enjoyed Lorre who brazenly steals every scene he is in and ad-libbed many of his funny lines much to the consternation of his co-stars. In fact if Lorre wasn’t in this it wouldn’t have been half as enjoyable. A young Nicholson as his son is equally entertaining and the frosty relationship that the two characters have was apparently a carry-over from how they felt about each other from behind-the-scenes.

Some of the effects are clearly animated, which looks tacky and as the group arrive at Scarabus’ castle one can see that the place is merely a painting matted on the screen. The story also does have its share of lulls, but all of this gets forgiven by the climactic sorcerer’s duel, which is the film’s highlight.

raven

My Rating: 6 out of 10

Released: January 25, 1963

Runtime: 1Hour 26Minutes

Not Rated

Director: Roger Corman

Studio: American International Pictures

Available: VHS, DVD, Amazon Instant Video

Homebodies (1974)

homebodies 2

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Old people become killers.

Senior citizens living in a rundown apartment building are shocked to learn that they will be evicted so that their place can be torn down and turned into an office complex. They resist the move and devise a scheme in which they will create ‘accidents’ at the construction site that will cause fatalities and hopefully impede the building process. They even do away with the project developer (Douglas Fowley) by drowning him in hardening cement, but then one of them, Mrs. Loomis, (Ruth McDevitt) begins to suffer from a guilty conscience. She considers going to the authorities, but the others try to stop her, which soon creates deceit and murder from within the group.

Shot on-location in Cincinnati the film has a neat offbeat concept, but it’s unable to execute it to its full potential. It tries too hard to mix in too many different story elements and shifts awkwardly between drama, dark comedy, horror and even social commentary. The result is a mixed bag that never gets off the ground. There are a few interesting moments, but the first half is slow and barely seems like a horror movie at all.

Part of the problem is that the deaths aren’t novel. Outside of the one where Fowley gets submerged in cement the rest are run-of-the-mill. We never see how the seniors are able to create the ‘accidents’ at the construction site and it seemed hard to believe that they would’ve been agile enough to get around inside a dark building, late at night to set up the booby traps to begin with. It would’ve been fun had the killings been caused by using items connected with old age like bashing the victims over the head with a cane, running them down with a walker, or forcing them to swallow a bottle of Geritol. The filmmakers work hard to create sympathy for the seniors, but portraying them as creepy, scary and threatening would’ve made it more edgy.

Paula Truman is good in the lead as well as Ruth McDevitt as the granny with mixed emotions. Fowley though is a bore as the heavy as his caricature of a brash, ego-driven developer is too one-dimensional and he looks just as elderly as the rest of the cast. Hiring a much younger actor to play the part would’ve created more of an interesting contrast.

Larry Yust’s direction is competent and helps keep the proceedings palatable, but as a whole it’s undercooked and undeserving of the cult classic status that they were clearly hoping for.

homebodies 4

My Rating: 5 out of 10

Released: September 29, 1974

Runtime: 1Hour 36Minutes

Rated PG

Director: Larry Yust

Studio: AVCO Embassy Pictures

Available: VHS

Slapstick (Of Another Kind) (1982)

slapstick

By Richard Winters

My Rating: 2 out of 10

4-Word Review: These twins are extraterrestrials.

Based on the Kurt Vonnegut novel ‘Slapstick’ the story centers on a Caleb and Lutetia (Jerry Lewis, Madeline Kahn)  who are a rich and famous couple that give birth to deformed and ugly twins named Wilbur and Eliza (also played by Lewis and Kahn). The couple immediately disowns the children and has them put away into a home run by Sylvester (Marty Feldman) who acts as the children’s caretaker. Unbeknownst to anyone is the fact that twins are actually aliens implanted inside Lutetia by a race of super intelligent beings from a faraway planet as a way to help earthlings solve all of their problems. When the twins put their cone sized heads together they are super smart, but when they are separated they are dumb making everyone believe that they are mentally deficient and of no use to anyone.

The biggest problem with this disastrous attempt at a movie is the approach. Director Steven Paul who ironically made his acting debut in Happy Birthday, Wanda June, which was another Vonnegut book adaptation brought to the screen seems to have no idea what type of audience he is aiming for. The humor shifts wildly between child-like farce to satirical jabs with nothing in-between, which will alienate both adults and children alike. The grownups will find it incoherent and silly while the children will be frightened by the ugly visuals as well as the cold, callous nature of the characters and plot. There is also a strange side story that make no sense and deals with miniaturized Chinese men who are the size of a human thumb and fly around in a spaceship resembling an eggroll while trying to make contact with the twins in order for them the help make a deal on the sale of gravity?!!!!

Lewis and Kahn are relatively amusing as the snotty couple, but as the twins they are downright embarrassing. The scene where they have a food fight while yammering incessant baby talk is a degrading sight and a career low for both performers. I know Lewis has the reputation of doing some really silly, inane stuff, but even this should’ve been beneath him.

The eclectic supporting cast helps a little and the only reason that I’m giving it 2 points. Feldman is genuinely amusing and it’s great seeing Jim Backus in one of his last acting roles playing the President of the United States and hearing this predominantly kid-friendly performer utter the word shit…twice!

I have never read the novel from which this is based, but have heard that it is far superior, which isn’t a surprise. I’d be interested to know what Vonnegut, who apparently wrote the lyrics to a song sung by Kahn in the film, but then later cut, thought of this catastrophe. Some bad films are fun because you can make jokes about as it goes along, but this thing is so utterly bizarre from beginning to end that instead you sit in a stupor throughout and it becomes a surreal experience instead.

My Rating: 2 out of 10

Released: December 1, 1982

Runtime: 1Hour 22Minutes

Rated PG

Studio: International Film Marketing

Director: Steven Paul

Available: VHS, Amazon Instant Video

Penn & Teller Get Killed (1989)

penn and teller 2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: A killer targets Penn.

During an interview segment on a nationally televised talk show magician Penn Jillette jokes that it would be interesting to have someone out to kill him. After the show is over strange things begin to occur, but he initially thinks its practical jokes done by his partner Teller. Eventually he becomes aware that someone really is after him who even switches his identity so that he resembles Jillette. The two lay low and even hire an attractive lady cop (Caitlin Clarke) to protect them, but things are never quite as they seem in a film that features one crazy twist after another.

For the most part the film works well despite an unconventional structure that may take a while for some viewers to get used to. The script was written by the two stars and I enjoyed the surreal tone and the sort of mind games it plays with the viewer as one is never quite sure what’s real and what isn’t. The humor is offbeat and funny. I enjoyed their opening act that they do while hanging upside down and how the killer (David Patrick Kelly) tries to reenact it at the end of the film while using himself in Penn’s place. The segment where Teller keeps throwing coins at a man inside a casino was my favorite and I also got a kick out of Penn’s conversation with Teller inside a taxi cab after he is stabbed.

Penn seems like a natural in front of the camera and just like with their stage act does all the talking. Teller though gets a lot of screen time and is surprisingly engaging despite his silence. He finally does speak at the end, which I didn’t like as it broke the mystique of the character and really wasn’t all that clever or amusing. The late Caitlin Clarke gives solid support in the dual role as Penn’s girlfriend and the tough talking Officer McNamara. If you look closely you will also briefly spot Jon Cryer as a frat boy, Tom Sizemore as a mugger and famous atheist James Randi as the ‘3rd rope holder’.

Spoiler Alert!

The only real issue that I had with the film is the ending in which all the main characters end up dying either by being shot or committing suicide. I’m sure this may have seemed clever on paper, but it comes off as maudlin and overdone as well as hurting the film’s otherwise playful tone. I also didn’t get why the two characters after having been shot didn’t have bullet holes in their bodies or any type of blood coming out of them. These guys use blood quite liberally in their stage act and it gets used in other parts of the film, so why not have it when it really counts at the end? The female character kills herself by jumping out the window and yet in the very next shot two men are seen walking on the sidewalk just outside of the apartment, but there’s no dead body on the ground, which doesn’t make sense. Penn’s closing narration helps save it a little, but the segment still seems like they wrote themselves into a hole that they couldn’t get out of.

End of Spoiler Alert!

My Rating: 7 out of 10

Released: September 22, 1989

Runtime: 1Hour 30Minutes

Rated R

Director: Arthur Penn

Studio: Warner Brothers

Available: VHS, DVD (Warner Archive), Amazon Instant Video

Witches’ Brew (1980)

witches brew 1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Witch has ulterior motives.

Margaret (Teri Garr) will do anything to help her husband Joshua (Richard Benjamin) get a promotion at a local college, so she decides to resort to witchcraft with the help of Vivian (Lana Turner) who is an expert on the matter. The problem is that two of Margaret’s closets friends Susan (Kathryn Leigh Scott) and Linda (Kelly Jean Peters) also have husbands that are vying for the same position, so they begin to practice witchcraft of their own, which conflicts with Margaret’s and causes Joshua to have a streak of terrible luck and even near tragedy. Vivian comes to their aid, but only because she harbors a dark secret that could cause Margaret her life.

This is a remake of 1944’s Weird Woman that starred Lon Chaney Jr. and Evelyn Ankers, which also got remade before in 1962 with Burn, Witch, Burn! Out of the three versions this one is considered the weakest. The set-up is alright, but the second half in which the cynical Joshua slowly comes to terms with the reality of witchcraft goes on way too long. The comedy and effects are much too restrained and do not take enough advantage of its wild concept. The final third does manage to have some interesting twists, but the climatic sequence is full of loopholes and unfinished story threads that left this viewer feeling unsatisfied and confused when it was over.

I’ve enjoyed Richard Benjamin and his sarcastic wit in other films, but here he comes off as a borderline jerk and has such a radically different temperament from his wife you wonder how they ever got married in the first place. Garr is far more appealing and should’ve been given the most screen time. Turner whose last film this was, doesn’t have all that much to do and locked into a role that is limited and rather thankless.

Director Richard Shorr was fired midway through the production and replaced by Herbert L. Strock, which may explain the film’s disjointed feel that never really comes off as the intended spoof that it wants to be and in some ways far edgier than you’d expect including one scene that has a disgruntled former student climbing to the top deck of a parking ramp and shooting at Joshua below in a Charles Whitman-like attack. There is also another segment that has a giant devil-like bat hatch from an oversized egg that might’ve worked had the special effects been better. In either case this film, which starts out with good potential never comes together and becomes rather flat and forgettable.

My Rating: 4 out of 10

Released: March 10, 1980

Runtime: 1Hour 38Minutes

Rated PG

Director: Richard Shorr, Herbert L. Strock

Studio: United Artists

Available: VHS

Grace Quigley (1984)

grace quigley1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Granny hires hit man.

Grace Quigley (Katharine Hepburn) is an elderly lady living alone on a limited budget who’s being forced out of her apartment due to having a pet bird, which her slumlord (Harris Laskawy) does not allow. She has nowhere to go and feels like ending her life, but has tried suicide before with unsuccessful results including swallowing a bottle of pills and having her stomach pumped, which she promised herself she would never go through again. Then she meets hired hit man Seymour Flint (Nick Nolte) and feels he’s the solution. He can not only bump her off, but her other elderly friends who no longer wish to go on as well. The problem is that Seymour doesn’t want to do it as he has grown attached to Grace and even starts calling her ‘mom’.

The first 60 minutes aren’t bad and even a bit humorous, but the final 30 brings in a weird story thread involving a cantankerous taxi driver (Christophe Murney) that seems thrown in simply to pad the running time. The ending, which was changed from the one in the original cut, is flat and helps to make this potentially tart black comedy a misfire.

Hepburn herself is awesome. She plays against type as she is usually a forceful and independent minded character, but here is much more vulnerable and sympathetic. Her shaking/wobbling head, which became an issue and even a distraction during her later years, is strangely not as apparent. Nolte is okay, but his character is wracked with psychosomatic quirks that are too silly and it would’ve been more fun had the character been played straight as a typically cold, soulless hit man who only softens after his friendship with Grace.

There are a few funny moments with my favorite being the striptease that Seymour’s hooker girlfriend (Kit Le Fever) does in front of Grace’s elderly and shocked friends. The running gag of people getting bloody noses every time they feel guilty does not work and the bloody nose that Hepburn’s character gets almost looks like a giant bug coming out of her nostril. The climatic chase involving five hearses careening down the city’s streets is forced although the slow motion shot of one of them driving into the New York harbor merits a few points.

The idea that people would want to die simply because they are old just doesn’t ring true especially since these folks still had their health and friends (at least with each) and were not bound to a wheelchair. There are many seniors who enjoy their golden years and still excited about life and yet the film doesn’t balance itself by portraying any of those. The attempt at showing the more serious side of aging by having Grace take Seymour on a tour of a rest home exposes little and ultimately helps makes the film’s potential social statement weak and simplistic.

My Rating: 4 out of 10

Alternate Title: The Ultimate Solution of Grace Quigley

Released: October 2, 1984

Runtime: 1Hour 28Minutes (VHS Version)

Rated PG

Director: Anthony Harvey

Studio: Cannon Film Distributors

Available: VHS