Category Archives: Black Comedy

Criminally Insane (1975)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: She has to eat.

Ethel (Priscilla Alden) suffers from a eating disorder that has caused her to gain a massive amount of weight. After being sent to a mental hospital she is eventually released into the care of her grandmother (Jane Lambert) with strict orders to keep Ethel away from food. However, her grandmother’s attempts to lock-up the food only gets Ethel hungrier to the point that she goes on the attack and kills her grandma with a knife and then hides her body in an upstairs room. Rosalie (Lisa Farros), Ethel’s sister, shows up and brings along her boyfriend (Michael Flood), but they start to smell the body decay and threaten to investigate what is causing it, so Ethel continues her murder spree in order to hide her secret and have the ability to eat as much as she wants.

These days if even just one person gets offended by something that they see in a movie the filmmakers are obligated to go down on their knees and beg forgiveness while in the 70’s director’s were scurrying to find the next taboo that they could topple. Not only were they unconcerned if they offended anyone, but actually relished the prospect and this movie in many ways goes even further with the shocks than the others. The result, despite the vulgarities, is quite funny and I found myself laughing-out-loud at more than a few places.

The gore is effective too. This was filmed in the Spring of 1973 long before the slasher genre was a thing making this into what’s called a prototype slasher, but the results are the same. In fact I’d say this thing is even gorier than the horror films that play-it straight and I liked the special effects showing the bodies decaying. The second-half also gets rather disturbing including scenes of one victim with a crushed skull still alive enough to try and crawl away while Ethel stands over him and laughs. She even sleeps with her victims, eats in front of them and ultimately does even worse. If you watch this thing for the sick, twisted content you should not be disappointed.

The extremely low budget does create issues though including way too much choppy editing that mainly occurs at the beginning as well as moments where the actors voice is not in sync with their lips. However, Alden’s excellent performance helps and I liked how everything gets filmed in this snazzy house in a nice, sunny neighborhood of San Francisco showing how behind-closed-doors bad things can happen anywhere even in the nice neighborhoods.

In 1987 writer/director Nick Millard and star Alden reteamed for a sequel titled Criminally Insane 2, but this reused a great deal of footage from the first film and was universally panned. Then in 2013 a new director did a remake of this film, titled Crazy Fat Ethel, with a new actress playing the part of Ethel since Alden had already died by that time. That film got shelved for many years when the producer inexplicably died during the production, but eventually it got released in 2016 to genuinely favorable reviews.

My Rating: 6 out of 10

Released: July 12, 1975

Runtime: 1 Hour 1 Minute

Rated R

Director: Nick Millard

Studio: I.R.M.I. Films

Available: DVD, Amazon Video

The Gore Gore Girls (1972)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Somebody’s killing the strippers.

Private investigator Abraham Gentry (Frank Kress) gets hired by Nancy (Amy Farrell), a reporter for The Globe newspaper, to investigate the murder of a stripper named Suzy Cream Puff (Jackie Kroeger). Abraham will get $25,000 to investigate the case and another $25,000 to solve it as long as he gives The Globe the exclusive story. Soon more strippers turn up dead and Abraham starts to have a long list of suspects including Grout (Ray Sager) a Vietnam veteran who enjoys smashing melons with faces drawn on them, similar to how the strippers got their heads smashed, in order to relieve his post traumatic stress disorder.

This was schlockmeister Herschell Gordon Lewis’ final film until 2002 and was meant to be a combination between the lighthearted nudies that he made in the early 60’s and the more graphic gore films that he did in the later part of the decade. The result though is a misguided mess where it seems more like a gag reel with tacky gore thrown in at certain intervals than a horror film.

The production values are really cheap even for a low budget production and contains basically just a few settings. One features the cramped living room of Abraham’s house that looks to be nothing more than a one bedroom apartment, which doesn’t quite make sense since the guy is a world famous detective you’d think he be living in a plush place especially with his elitist attitude. The other setting, which takes up the majority of the story, is the strip club that looks like it was filmed in the corner of somebody’s dingy basement.

The gory murders aren’t much fun and would be considered quite sick if they weren’t so tacky and fake. The jump cuts are the biggest problem as the bad guy kills the stripper one second and then in the next frame has seemingly been able to skin their heads completely and crushed their skulls, which is too quick. The ping pong ball sized eyeballs that the killer gouges from their heads are ridiculous looking too as eyes are actually oval shaped and not round as presented here.

The stripping routines take up too much of the runtime and seem put in simply to pad the anemic plotline. I’m not going to complain about watching beautiful women taking off their clothes, although to be honest the women here aren’t so hot, but I got real tired of hearing the same music played over and over again during each different set. Aren’t strippers allowed to come up with their own music and dance routines, or is that a new phenomenon that wasn’t a thing back in the 70’s?

I hate to psycho-analyze a film director and have never done it before, but the misogyny here is rampant. If there had been one strong, smart woman character present then it would’ve have been a issue, but instead females get portrayed here as being incredibly dumb and easily manipulated. The Nancy character is shown to be unable to take care of herself and needs a man present to look out for her particularly when she passes out on a city sidewalk after having only a couple of drinks. She faints and screams at the sight of a dead body too while the man remains stoic and shows no emotional reaction at all. Maybe this was supposed to be a part of the ‘comedy’, but it comes off as severely dated and out-of-touch with the times.

My Rating: 1 out of 10

Released: September 22, 1972

Runtime: 1 Hour 21 Minutes

Director: Herschell Gordon Lewis

Rated X

Studio: Lewis Motion Picture Enterprises

Available: DVD, Blu-ray, Amazon Video

High Anxiety (1977)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: He’s afraid of heights.

Dr. Richard Thorndyke (Mel Brooks) is hired as the new resident psychiatrist at the Psycho-Neurotic Institute for the Very, Very, Nervous where he is to replace another Dr. who died under suspicious circumstances. While there he becomes aware of many odd things occurring making him believe that the people running the hospital, Dr. Charles Montague (Harvey Korman) and Nurse Diesel (Cloris Leachman), have a scheme going on where they take in rich patients and pretend their conditions are worse than they really are, so that they can keep the patients hospitalized for indefinite periods and thus bilk the patient’s rich families for large sums of money. Richard, together with Victoria (Madeline Kahn) who is the daughter of another patient that is being held there against his will, become determined to expose the scheme, but his adversaries use nefarious tactics to try and stop him by taking advantage of his extreme fear of heights.

Per an interview that Mel Brooks gave with NPR in 2013 he revealed that he wrote a letter to Hitchcock in 1976 telling him that he wanted to do a parody of his movies and was interested in getting his feedback. Hitch wrote back saying that they should get together in his office to go over ideas. In fact it was Hitch’s suggestion to have the scene involving the birds pooping on Brooks. When the film was completed he got his own private screening and afterwards he sent Brooks a case of expensive French wine with the note: “A small token of my pleasure, have no anxiety about this.”

Two of my favorite moments include a Psycho parody where a bellhop (played by a young and soon-to-be famous director in his own right, Barry Levinson) who stabs Brooks with a newspaper while he’s in the shower. The afore mentioned Birds parody is good too with the bird droppings made up of mayonnaise and chopped spinach, but because a helicopter was used during the segment it scared a lot of the pigeons causing real bird do-do to get mixed in with the fake stuff.

I enjoyed the bits involving a parody of the ‘gliding camera’ a technique used in many films where a camera shot begins on the outside of a building, but then somehow ‘glides through’ a wall and goes inside a place without any barrier. Here the camera shatters the glass as it tries to ‘glide through’ the window of the hospital, but Brooks almost ruins the moment by having the characters react by looking up to where the noise occurred, but then going back to their conversation, which makes no sense. If a camera operator has just crashed through a window, most people would get up from their seats and inspect the damage, which would’ve overplayed the joke, so they should’ve just had the characters not respond to the crashing noise at all. This same issue occurs at the end where the camera operators are heard talking just before they crash through a wall, but the scene would’ve played better without the banter.

The plot, as thin and goofy as it is, has some interesting moments. I especially enjoyed the segments done inside the lobby of the Hyatt Regency in San Francisco and the way it takes advantage of the glass elevators there. The scene involving actor Ron Carey blowing up a picture that he took there in order to solve a crime is cool because it goes back to the old way of developing film, which will be a good education for today’s younger viewers who are more used to digital.

The performances are first-rate with Brooks in an uncharacteristic straight part though he still gets in a few zany moments including a segment where he’s a baby who falls from his high-chair. Leachman though steals it in a brilliant send-up of Nurse Ratched from One Flew Over the Cuckoo’s Nest. In fact it’s her contorted face with no make-up and a faint mustache that leaves a lasting impression. She has stated that she disliked doing the role, but it’s so hilarious that I wished her part had been given a wider storyline.

My Rating: 7 out of 10

Released: December 25, 1977

Runtime: 1 Hour 34 Minutes

Rated PG

Director: Mel Brooks

Studio: 20th Century Fox

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

Cops and Robbers (1973)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Cops become the robbers.

Tom (Cliff Gorman) and Joe (Joseph Bologna) are two New York City policemen who are tired of their jobs and want to retire from the working world, but can’t because they need to support their families. They decide the only solution is to commit a heist by working with a local mob boss (John P. Ryan) to rob a Wall Street brokerage firm out of  bonds that cannot be traced. The two come up with an elaborate scheme  to pull it off during the day while the place is still open and they’re still in uniform. At first things go smoothly, but then two other cops show up forcing Tom and Joe to destroy the bonds they’ve just gotten their hands onto in order to avoid getting caught. While this helps them out of their immediate jam it still gets reported to the press that the place was robbed making the crime boss believe he has been taken advantage of and compelled to get revenge.

What stands out is how different this is from the conventional cop flick. Instead of having a loud, pounding score the music here is soft and tranquil like the breezy, warm climate of a tropical island, which is where both Tom and Joe wish they were. The cops aren’t portrayed as being authority figures either or compromised victims of a corrupt system, but just regular suburbanites trapped in a dead-end job like many people and looking for a way out.

The crime is done differently too. Usually, in most other cop flicks, once the robbery gets going you’ll see the pace speed up with fast edits, but here it gets played-out in real time, which actually makes it more intense. I enjoyed the camera cutting back and forth from showing things from Tom and Joe’s point-of-view as well as from the black-and-white monitor seen by the security guards. The authentic office atmosphere has many of the employees not even knowing a robbery is going on while the two main people who do realize what Tom and Joe are up to, well played by the elderly Shepperd Strudwick and a much younger African American actress named Ellen Holly, display odd reactions and facial expressions that doesn’t conform to the situation, but eventually gets explained by the big twist that comes later.

Gorman gives an awesome performance, which is made all the more impressive when you realize just 4 years earlier he was the highly effeminate gay character in The Boys in the Band, but here he’s a macho heterosexual. I kept waiting for him to reveal mannerisms of his past role, but instead he successfully pulls off being two diametrically different people with no connection to the other a feat not every actor, even some of the good ones, are able to do.

Bologna goes against type too. Usually he’s loud and brash, but here more quiet and nervous. In the Kino Lorber DVD bonus section he recounts a funny incident that happened to him during the production when he was forced to make a call home to his wife (actress Renee Taylor) in real-life. Since there were no such things as cellphones at the time he had to go to a nearby phone booth while still wearing the cop uniform of his character. It was there that he noticed a thug beating up a victim on the sidewalk and he shouted at the man to stop it. Since the man presumed Bologna was a cop it was enough to get him to run away, but then the other pedestrians started to harass Bologna for not chasing after the bad guy and arresting him. He tried to explain that he was just playing a policemen in a movie, but no one believed him.

The film’s final segment, which takes place in Central Park, is well choreographed and features a unique car chase.  It’s just a shame that Aram Avakian who burst onto the film scene with the provocative, ahead-of-its-time cult favorite End of the Roaddidn’t go on to direct more movies as he did only one more, 11 Harrowhouse, after this one before retiring to become the head of the film department at the State University of New York where he worked until his death in 1987. His approach here makes all the difference as he relies not on the typical cop formula action, but instead on the nuance.

My Rating: 8 out of 10

Released: August 15, 1973

Runtime: 1 Hour 29 Minutes

Rated PG

Director: Aram Avakian

Studio: United Artists

Available: DVD

Stroszek (1977)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Germans relocate to Wisconsin.

Bruno (Bruno S.) has recently been released from prison and while warned to stop drinking as a condition for his parole he immediately goes to a local bar. It is there that he meets Eve (Eva Mattes) a prostitute in an abusive relationship with her husband (Burkhard Driest). Bruno offers to allow her to move into his apartment, but this angers her husband and her pimp (Wilhelm von Homburg)  who break into the apartment and terrorize Eva and Bruno making them believe that the only way they can escape the harassment is by moving to America, which we they do along with their elderly neighbor Scheitz (Clemens Scheitz). They presume everyone is the USA is rich and life will be easy, but find that not to be the case.

The story was based loosely on the real-life experiences of its star and the script  written specifically for him by director Werner Herzog as a conciliation for not casting him in Woyzeck as originally intended. Since Bruno had already taken a leave of absence from his job at a steel mill to star in that one Herzog decided to make it up to him by writing this script in a matter of 4 days and then filming it on-location in Plainfield, Wisconsin because that was where the notorious serial killer Ed Gein had lived.

The story should’ve been a complete downer as it focuses on some very depressing realities, but instead, thanks to the genius of Herzog, one comes away from it feeling almost upbeat at all the quirky humor that gets incorporated in. The most memorable moment, which the rest of the crew found highly offensive and refused to film forcing Herzog to do it himself, happens near the end when Bruno travels to North Carolina and uses the last of his money to insert coins into arcade exhibits featuring chickens inside cages that dance and play the piano. The amusing element from this comes when the police finally arrive on the scene and are more concerned with getting the chicken to stop dancing than with the welfare of Bruno.

I also enjoyed the moment when an auto mechanic (Clayton Szalpinski) decides to do his own oral surgery by using the same pliers that he fixes cars with to remove a painful tooth in his mouth. While more blood was needed, as there should’v been streams of it coming out of his mouth, but isn’t, it’s still quite darkly funny and was ‘inspired’ by a true-life scene in the  1972 documentary Spend it All in which a Cajun in Louisiana does the same thing to his teeth, which amazed Herzog so much when he saw that movie that it compelled him to work the scene into one of his stories.

The jabs at America are expectedely negative and to some degree are on-target while at other points goes too far. Watching the trio become overly excited at seeing their new trailer home driven onto a vacant lot and acting like this was a sign that they had finally ‘made it big in America’ is certainly sardonically funny. Yet the scene with two farmers holding rifles as they plow a field in their tractors ready to shoot the other one if either dared touch a small strip of disputed land played too much into the stereotype that Europeans have of Americans and really wasn’t needed especially since it had nothing to do with the main story.

Bruno S.’s performance, who was never formally trained as an actor, is boring as he conveys the same facial expression all the way through where a more seasoned actor could’ve given the role more needed nuance. Scheitz was an amateur actor as well, but his short stature and overall goofy appearance made him a fun part of every scene he’s in while with Bruno that same quality doesn’t exist. If anything Eva has the widest character arc and the film should’ve evolved around her instead.

Herzog casts a lot of non actors in secondary roles as well. I’m not sure if this was done for budgetary reasons, or just played into his long-standing desire to be experimental, but the results aren’t completely effective. I did however enjoy Scott McKain, an auctioneer in real-life, who plays the part of a bank employee that comes to visit the trio in their trailer home to inform them of their delinquent payments and yet no matter how bad the news is that he must convey he always manages to remain upbeat and peppy when he says it.

The film, which has been rightly placed in Steven Schneider’s ‘1001 Movies You Must See Before You Die’ is original in so many ways that it deserves to be seen just for the oddity it is and I really have no complaints with its avant-garde style, which even today comes off as fresh and inventive, but I was confused about why the Glen Campbell song ‘By the Time I Get to Phoenix’ got played so much. The lyrics are never heard, but the melody is and yet there’s no connection to the city of Phoenix in the story, for awhile I thought that was where they’d ultimately end-up, but they never do, so hearing it played so much is out-of-place.

My Rating: 8 out of 10

Released: May 20, 1977

Runtime: 1 Hour 48 Minutes

Not Rated

Director: Werner Herzog

Studio: New Yorker Films

Available: DVD, Amazon Video, YouTube

Die Laughing (1980)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Cabbie accused of murder.

Pinsky (Robby Benson) works as a San Francisco cab driver during the day, but aspires to being a professional singer and attends numerous auditions, but to no avail. One day he picks up a passenger who gets shot and killed while in his cab and Pinsky is mistakenly tabbed as being the killer. Feeling he has no other options he takes the briefcase that the victim was carrying and hides out at his girlfriend Amy’s (Linda Grovenor) apartment. Inside the box they find a live monkey who has apparently memorized the secret formula for turning atomic waste into the plutonium bomb and it’s now their job to keep him away from Mueller (Bud Cort) and his cohorts who want to kidnap the monkey and use what he knows for nefarious purposes.

The film starts out with some potential as it uses Benson’s wide-eyed, deer-in-headlights persona to good comical use, at least initially. Unfortunately by the second half it pivots too much the other way and the minor laughs at the beginning get completely lost when he suddenly becomes this seasoned spy who can quickly think on his feet and outsmart the bad guys at every turn.

Again, this is just an ordinary Joe whose main drive is to make it into the music business, so why get so emotionally invested in a spy case that does nothing but get him deeper and deeper into a dangerous situation? Why not just give the bad guys what they want, hope it appeases them enough that they’ll set you free and then go to the authorities, who are much better positioned to handle this situation, and let them do the rest?

I also thought it was ridiculous that when the couple are tied up and thrown into some dark backroom that they do not respond to the predicament, like any normal person would, with fear and panic, but instead use the moment to become romantic! The fact that they manage to untie each other by biting down on the thick ropes that bind them is absurd as the only thing that would accomplish is a lot of broken-off teeth.

Benson’s musical interludes are a bore and he ends up singing the same damn song three different times. He also performs at a concert when just a little while earlier he was being surrounded by spies ready to push him off of a ship, which would be such a traumatic experience for most people that it’s doubtful he’d be able to emotional calm down enough to focus on singing, or do anything for a long time afterwards.

The story also suffers from having too many villains, Cort is the main one, but he’s seen only intermittently while a bunch of others busily chase Benson around until it becomes dizzying trying to keep track of them all. The plot itself is overblown, relies heavily on worn-out spy genre cliches making it come off like a cheesy parody of James Bond that will cause many viewers to be rolling-their-eyes almost immediately at the campy, strained gags.

My Rating: 1 out of 10

Released: May 23, 1980

Runtime: 1 Hour 48 Minutes

Rated PG

Director: Jeff Werner

Studio: Orion Pictures

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

The Ninth Configuration (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Insane man runs asylum.

Col. Vincent Kane (Stacy Keach), a former marine who is suffering from demons of his own, is selected to head a psychiatric institution built inside a converted castle that specializes in military personal who fought in the Vietnam war and now feign insanity. The challenge is to find if these men are truly mentally ill, or just faking it and Kane’s technique, which allows the patients to openly act out their darkest fantasies, is considered unorthodox. He begins to have an unusual friendship with one of them, Billy Cutshaw (Scott Wilson) a former astronaut who bailed out of an important mission with a nervous breakdown just before lift-off. The two begin to debate the existence of God and the correlation between faith and sacrifice.

The film has a rocky tone in which part of it delves into campy humor while the other half is more serious. The reason for this is that when William Peter Blatty first wrote the novel of which this movie is based in 1966 it was called ‘Twinkle, Twinkle “Killer” Kane!’ and told in a darkly humorous vein. In 1978 he rewrote the story with a more serious tone and that version was published with the same title as this film.

For me I found the humor off-putting and not funny at all. The whole first hour becomes a complete waste with comical bits that rely too much on mental hospital stereotypes and overall campiness from the performers. There’s also long drawn-out segments dealing with the patients barging into Kane’s office and going on long circular rants that are quite boring.

The second half improves when the tone becomes dramatic, which is what I wished it had been all the way through. It also features a wild barroom fight, which is a bit over-the-top with the way the biker gang dress and behave, but also features some great choreographed violence and a creepy performance by muscleman Steve Sandor as the head of the gang that torments both Keach and Wilson. The second act also features a few surreal, dreamlike sequences, which are the best moments of the film.

The eclectic cast is interesting, but many of them, including Robert Loggia and Moses Gunn, gets wasted in small roles and little screen time. Wilson and Jason Miller are good as two of the patients, but Neville Brand is the best as a drill sergeant that at times seems to be channeling R. Lee Emery and at other moments a confused, overwhelmed man with a deer-in-headlights expression. Blatty, who casts himself as one of the patients is good too, not so much for anything that he says or does, but for his unique facial features, especially his eyes making him look like a guy possessed and the fact that he wrote The Exorcist is even more ironic.

Keach is also excellent, in  a role that was originally meant for Nicol Williamson, but who got fired from the production early-on. Keach manages to be both creepy and hypnotic at the same time. A guy you fear one minute and feel sympathetic for by the end and he does it here without his usual mustache allowing the cleft lip that he was born with to be on full display.

The setting, which was filmed at Castle Eltz in Germany and done there because Pepsi financed the film under the condition that it had to be shot in Europe, is an impressive site. Yet it’s hard to believe that such a Gothic styled fortress, which began being built before 1157, could ever exist inside the USA, which is were the setting is supposed to take place.

The discussions that Keach and Wilson have in regards to the existence of a supernatural being are fascinating and help push the film forward, but the ending, which features a mystical twist, was not needed. The tone, even with the humor, was quite dark, so having it suddenly finish with an ‘uplifting’ moment doesn’t click with everything else that came before it and comes off like it’s selling out on itself.

Alternate Title: Twinkle, Twinkle, “Killer” Kane

My Rating: 6 out of 10

Released: February 29, 1980

Runtime: 1 Hour 58 Minutes

Rated R

Director: William Peter Blatty

Studio: Warner Brothers

Available: DVD, Blu-ray, Amazon Video

Sweetie (1989)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Sister is mentally ill.

Kay (Karen Colston) has begun a relationship with Louis (Tom Lycos) and things seem to be going smoothly as they move into a home together, but it quickly unravels when he sister Dawn ‘Sweetie’ (Genevieve Lemon) shows up with her boyfriend Bob (Michael Lake). Sweetie has been institutionalized in the past and her wild mood swings and erratic behavior quickly cause turmoil particularly with Kay. She asks her parents (Jon Darling, Dorothy Barry) for help, but her dad refuses to recognize Sweetie’s tragic current state and instead continually hearkens back to her childhood years when she was a cute kid with budding talent who would perform songs and dances to the family’s entertainment and delight.

This is a hard film to critique  as it starts off as a quirky comedy, but by the midpoint it becomes more dramatic and filled with a lot of uncomfortable even cringe worthy scenes as Sweetie’s mental decline becomes achingly apparent. Not only do you feel sad for her, but also for how it causes such a severe strain for the rest of her family, which accurately illustrates how mental illness isn’t just a one person issue as their behaviors will adversely affect those around them too.

The fact that the film’s tone switches halfway through, which would be considered a major no-no by Hollywood standards, is part of the reason why it works as it replicates real-life where sometimes you can have a touching, humorous moment only to suddenly get thrown into a troubling one.  This also shapes what life is like living with a mentally-ill individuals who may seem ‘okay’, but can turn erratic sometimes without warning and this ongoing tension vividly comes through for the viewer until they feel the same way as the characters.

I found the father though to be the most entertaining and interesting. One minute he’s scheming to get Sweetie out of the family car, so they can leave on a trip without her and then the next minute he’s driving back to pick-her-up, so they can be ‘one happy family’ again. While this may sound overly contradictory to some I felt it brought out  the inner turmoil many parents feel in dealing with their grown children where at times they can’t stand them, for whatever reason, but at other points can’t stand to be without them either.

Director Jane Campion, in her feature film directorial debut, adds in interesting touches like having the camera frame the characters off-center where instead of seeing them captured in the center of the screen they are shown in the right-hand corner, which helps accentuate the tone of the subject matter. There’s also an odd time-lapsed cutaways detailing a seedling tree pushing its way through the dirt and above ground, which wasn’t exactly necessary to the main plot, but kind of cool nonetheless.

Campion also wisely doesn’t insult the viewer’s intelligence with pat answers to a complex problem. Mental illness cannot be cured or even  always stabilized with medications, so leaving the viewer with a feel-good ending where everything works out and everybody is happy would be a cop-out and thankfully gets avoided here. Instead the we’re left pondering troubling questions, which stays with you long after it’s over and makes this a far better movie than most because of it.

My Rating: 8 out of 10

Released: September 28, 1989

Runtime: 1 Hour 37 Minutes

Rated R

Director: Jane Campion

Studio: Filmpac Distribution

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

Repo Man (1984)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Alien in the trunk.

Otto (Emilio Estevez) has trouble accepting authority, which causes him to get fired from many of his jobs. He eventually gets courted into the car repossession business, which he at first resists, but then, especially with its lure of quick cash, he grows into. This then leads him in pursuit of a Chevrolet Malibu with a $20,000 bounty on it driven by a very strange man (Fox Harris) who harbors a glowing radioactive substance in its trunk that kills anyone who comes into contact with it.

The film’s best selling points is that it gives one a gritty feel of what being stuck in society’s poor underbelly is really like as it traps the viewer inside the inner-city of Los Angeles with its almost non-stop capture of its rundown buildings, which becomes like a dominant third character. The viewer then begins to share the same anxiety, anger and frustrations of the people in a place they don’t really want to be, but with no idea of how to get out of it. The only time the film shows the more vibrant area of L.A. is during a brief shot of the skyline from a distance making it come off like a far away place that’s out-of-reach.

The rebel mystique gets better explored and examined here than in other 80’s films where the term ‘rebel’ seemed to apply exclusively to mouthy suburban teens who didn’t like their parent’s rules and would wear punk attire because it was ‘trendy’. Here you get a much more authentic feeling of being an outsider and the unglamorous, desperate qualities that comes with it.

Writer/director Alex Cox also examines the thin, merging line between being a conformist and non-conformist and the ironic/contradictory results that can occur. This gets best captured with the character of Duke (played with gusto by Dick Rude) who is an in-your-face-I-don’t-like-any-rules street punk one minute only to turn around and tell his girlfriend at another moment that he wants to get married and have kids because ‘everybody else is doing it’.

Estevez gives his signature performance here though his excessive cockiness becomes a bit of strain, which fortunately gets tempered in the scene where he gets shot at and panics showing that even a streetwise brash kid like himself has  his limits, which makes it all worth it. Harry Dean Stanton as his partner is terrific and the vast 40 year age difference between the two isn’t apparent at all. Olivia Barash is quite good too without even trying. Her likable unrehearsed quality makes for a refreshing contrast to all the rest who are more compelled to put on a facade and for the this reason I wished she had been in it more.

Honorable mention should also go to Fox Harris who plays Parnell the driver of the much sought after car even though in real-life he couldn’t drive and he got the vehicle in a few accidents and even damaged other props on the set in the process. Normally this would’ve gotten him fired, but because he had been the only actor who was nice to Alex Cox when he worked as a lowly security guard at the Actor’s Studio and before he became a director, he choose to stick with him despite the problems, which shows that if your nice to everybody even those that have very little social standing it can come back in rewarding ways in the long term.

My Rating: 7 out of 10

Released: March 2, 1984

Runtime: 1 Hour 32 Minutes

Rated R

Director: Alex Cox

Studio: Universal

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

Big Trouble (1986)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Insurance agent commits fraud.

Leonard (Alan Arkin) is an insurance agent who does not have enough funds to put his three sons through Yale, which causes him a lot of stress. During a random sales call he meets Blanche (Beverly D’Angelo) who has a sick husband named Ricky (Peter Falk) who has only a week to leave. They hatch a scheme to write-up a life insurance policy that has a double indemnity clause that offers a big payout if Ricky dies by falling off a moving train. The plan starts out fine only to ultimately backfire when Leonard realizes he’s been double-crossed.

At the outset one might assume that this is a sequel to The In-Laws since it has the two stars from that film as well as the same screenwriter, though done under the pseudonym of Warren Bogle, but that’s not the case because Andrew Bergmen got the bright idea of trying to do a parody of Double Indemnity instead. This became a complete disaster for its studio Columbia Pictures because after the script was completed it was deemed a remake of the original film, which Universal Studios still held the rights to, forcing Columbia to give up the rights to Back to the Future and given to Universal as compensation who made a ton of money off of it while this film flopped badly.

A lot of the problem is that unlike in The In-Laws the two stars don’t play off of each other enough and in fact for most of the film they seem to be adversaries. The tone is also inconsistent seeming at times that it wants to be a parody/farce while at other moments it comes off more like a surreal comedy. It doesn’t help matters that John Cassavetes took over directing the production when Bergmen dropped out and his forte was more in drama with a cinema vertite approach causing many of the scenes here to go on longer than necessary while lacking a good comic pace. I also thought it was ridiculous that the plot features many twists, but then ends up telegraphing to the viewer well ahead of time that they’re coming, which takes away any surprise.

Arkin’s character is particularly problematic. Part of why he was so funny in The In-Laws is because he played this sane man thrown into an insane situation, but here he allows himself to get swept up into the nuttiness too easily until he seems almost as crazy as the rest. There’s also no way that a seasoned insurance agent, such as the one he played, would be dumb enough to think he could pull off such a poorly thought out scheme. Being an agent he would know that an autopsy would be done on the dead body and they would find that the victim had been strangled well before he fell off the train and the fact that this all occurs less than 24-hours after the policy was signed would send off massive red flags to anyone working in the industry.

While there are a few funny moments which includes Arkin trying to disguise himself as Falk and even speak in his voice as well as Arkin’s reaction when he takes a sip of Falk’s very exotic liqueur, the rest of it falls depressingly flat. The worst of it is the ending, which throws in a wild coincidence that has no bearing to the main plot nor any forewarning or connection to anything else that came before it, which helps to cement this as a big mistake that should’ve never have been given the green light.

My Rating: 3 out of 10

Released: May 30, 1986

Runtime: 1 Hour 33 Minutes

Rated R

Director: John Cassavetes

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube