Category Archives: College Life

The Bell Jar (1979)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: She suffers from depression.

Based on the semi autobiographical novel of the same name by Sylvia Plath, the story centers around Esther (Marilyn Hassett) who suffers from various mental health issues and can’t seem to relate to the world around her. After graduating from college she goes off to work at a women’s magazine in New York, but finds that the demands and inevitable compromises of being a writer for a big city publication are not for her. She returns home to her mother (Julie Harris) only to find her emotional situation deteriorating even more. She’s eventually sent to a mental hospital where she goes through treatment.

In 1975 Hassett was picked from over 500 other actresses to play the part of paralyzed skier Jill Kinmont in the film The Other Side of the Mountain. The movie became a big hit and lead to her marrying the film’s director Larry Peerce.  While that film was a decent heartfelt story their attempts to bring Plath’s complex, multi-faceted novel to the big screen was clearly an overreach.

The major reason this doesn’t work is because of Hassett. During the early 70’s she had a youthful appeal, but by the time this was filmed she had hit 30 and no longer looked like a recent college grad in any way. For the story to work it hinges on the viewer seeing this person as someone who is young, innocent and vulnerable and unable to deal with the harsh realities of the young adult world that she’s experiencing for the very first time, but Hassett looks and in many ways behaves like a world-weary middle-aged person, which then loses the intended effect.

The portrayal of the central character is a weak point as well. In the similar themed film I Never Promised You a Rose Gardenwhich came out around the same time, the director of that flick did a good job of getting inside that character’s head and allowing the viewer to see the thoughts and fears that she had, but here we get none of that. We are left with no understanding about what’s really bugging Esther and why she behaves the way she does. Instead of us feeling for her we end up finding her off-putting, confusing and at times just downright selfish and bizarre.

The film does still manage to have a few interesting moments. I liked the scene with Jameson Parker, in his film debut who later went onto fame in the TV-show ‘Simon & Simon’, playing Esther’s fiance who strips in front of her so she can see what a naked man looks like upfront for the very first time. The erotic threesome between Hassett, Robert Klein, and Mary Louise Weller is interesting too as is the segment where Hassett is sitting alone at a late night diner and comes into contact with a disturbed, homeless man (Nicholas Guest) who comes in off the street and begins shouting nonsensical things for no reason, which can be a common, frightening reality living in the big city and not tackled enough in most movies.

While the movie stays pretty much faithful to the book it approaches the material in a shallow, mechanical way that offers no insight into the characters or situations and elicits no emotions from the viewer. It also takes some liberties with the material entering in elements that were never in the novel, or only vaguely touched on like the character of Joan, played by Donna Mitchell, being explicitly portrayed as a lesbian while in the book it had been only implied. She’s also shown making a suicide pack with Esther that was never in the original story. This was enough to get Dr. Jane Anderson, a Boston psychiatrist, to sue the film stating that she had been the Jane character in Plath’s novel, but because the movie distorted the truth it had harmed her reputation and career and she ended up winning a $150,000 settlement.

My Rating: 3 out of 10

Released: March 21, 1979

Runtime: 1 Hour 53 Minutes

Rated R

Director: Larry Peerce

Studio: AVCO Embassy Pictures

Available: VHS

Midnight Madness (1980)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: All night scavenger hunt.

Leon (Alan Solomon) is a geeky college student who comes up with an elaborate scavenger hunt to be played by his fellow students. The object of the game is to pick-up on certain clues hidden throughout the city of Los Angeles and each team must solve the clue given to them before they can move onto the next one. The game is played by 5 teams who have 5 members each: David Naughton heads the preppy Yellow team, Maggie Roswell plays the leader of the nerdy girls red team, Eddie Deezen leads the geeky white team, Brad Wilken leads the green team, which is made up of party animal jocks, and Stephen Furst heads the anti-social/misfit blue team.

On the surface this comes off as just another crude, sophomoric 80’s teen comedy complete with gross out humor of having to watch overweight Furst constantly stuffing his face with food, which is genuinely painful to watch when you realize that in real life he had a big issue with diabetes that made him retire from acting and he ultimately died from the illness. The film fails to have anything all that funny in it and it doesn’t even show any skin from its attractive female cast, which most likely was a result of it being financed by Disney.

The game itself though is kind of interesting and posses some legitimate logic oriented clues that force both the viewer and participants to think it through in order to solve. There is also some interesting on-location shooting done in famous landmark locations throughout Los Angeles including the Griffith Observatory, Grauman’s Chinese Theater, and the Westin Bonaventure Hotel, which helps give this otherwise low budget production a bit of a visual spark.

Even with these elements in place the film fails to take full advantage of its setting. If this is all supposed to take place during the wee hours of the night then there really shouldn’t be such large crowds present at the locations they go to including tours going on at the Pabst Blue Ribbon beer plant. It would’ve been more of a surreal ambiance had it just been the players of the game roaming around an otherwise shuttered city while everyone else was fast asleep. The final part of the game takes place in the daytime, which again ruins the nightime/midnight theme and effort should’ve been made to have the entire story take place while it was dark.

The story is also full of a ton of logic loopholes including never explaining how Leon was able to get his face painted on the side of beer cartons at the beer plant as well as a wide assortment of other issues. One also had to wonder why Leon goes to such great lengths to create such an elaborate game that doesn’t really seem to benefit him directly. If this kid is so smart to create such an intricate game then why doesn’t he put his creative energies into forming a profitable business so he doesn’t have to live in a rundown apartment that has paper thin walls and a crabby landlady screaming at him every time he makes any noise?

The cast has some familiar faces in small roles including Paul Reubens (aka Pee Wee Herman) in a bit part at a game arcade and Marvin Kaplan, an aging character actor best known for his work in Adam’s Rib and the TV-show ‘Alice’, as an overwhelmed hotel desk clerk. Kudos also go out to Irene Tedrow as an elderly and quite obnoxious landlord and Dirk Blocker, who is the son of famous ‘Bonanza’ star Dan Blocker and looks just like him, as a dim-witted party animal who just can’t get enough beer.

Naughton though is quite stale in the lead and doesn’t seem to have much acting talent at all although I did like the in-joke of seeing him drink a Dr. Pepper since he’s probably best known for singing the ‘I’m a Pepper’ jingle in TV commercials during the 70’s. This also marks Michael J. Fox’s film debut who plays the younger brother to Naughton though the subplot dealing with his anger at being taken for granted by his older sibling is misplaced and heavy-handed in a film that is otherwise super silly.

My Rating: 4 out of 10

Released: February 8, 1980

Runtime: 1 Hour 52 Minutes

Rated PG

Director: Micheal Nankin, David Wechter

Studio: Buena Vista Distribution Company

Available: DVD, Amazon Video, YouTube

Gotcha! (1985)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Spy game turns real.

Jonathan (Anthony Edwards) enjoys playing the make-believe spy game of Gotcha on his college campus by shooting his fellow students with paint darts of which he is quite good at. For a vacation he goes to Paris, France and meets Sasha (Linda Fiorentino) who is a real-life spy transporting undercover documents from behind the iron curtain. She gets Jonathan to travel with her to East Berlin where he reluctantly finds himself caught-up in the spy action and having bad guys shoot at him with bullets instead of paint balls.

The film has its engaging moments, but the plot gets played-out in a haphazard way. The beginning comes off too much like just another banal coming-of-age comedy with guys using all sorts of corny lines to get women to go to bed with them and a lot inane dialogue and comedy bits are used to help string it along.

Things do improve once he meets up with Fiorentino who puts on an effective foreign accent and adds much needed chemistry. The vivid on-location shooting avoids the well known landmarks and instead focuses more on the hotels and restaurants, which makes the viewer feel like they’re traveling alongside the characters.  Jonathan’s transition from cocky college student to scared kid in way over-his-head is interesting too, but something that I wished had been played up more.

Edwards’ performance helps the viewer remain sympathetic to his quandary despite the fact that it was his own naivety that got him into his jam. I didn’t like his hairstyle though, which to me looked more like a wig and, since he’s shown to be openly bald in his later years, it probably was. He was also older than his character and looking very much like the 23 years of age that he was, which is what Fiorentino guesses when she first meets him and not like 18, which is what his character supposedly is making the opening conversation that the two have unintentionally ironic.

The third act in which Jonathan returns to the states, but the Russian spies continue to chase after him, is when this thing really goes south. It would’ve worked better, and been more believable, had the entire spy scenario remained in Europe instead culminating on the same college campus where it began making the intended irony too forced and too cute for its own good.

There were times when I did get caught-up in the intrigue, but film ruins the tension by always answering it with a comical twist that makes it come-off as too gimmicky. There’s also no explanation as to what was on the film role that Jonathan and Sasha were trying to smuggle out and the Russians were so eager to get back, which makes the plot transparent instead of exciting.

The one moment though that I really did like and even found quite memorable is when a caged tiger is brought into a classroom to show the veterinarian students how to shoot a sick animal with a sleep dart. The animal seems to be in very real pain and with genuine moans of discomfort and the part where he gets hit with the dart forces him to leap up in his cage in a very startled manner. I’m not sure how they were able to pull off getting a legitimately hurt tiger into the scene, but it’s the one segment where the movie isn’t silly and it’s too bad the rest of the script couldn’t have fallen in-line with that same type of approach.

My Rating: 6 out of 10

Released: May 3, 1985

Runtime: 1 Hour 41 Minutes

Rated PG-13

Director: Jeff Kanew

Studio: Universal Pictures

Available: DVD

April Fool’s Day (1986)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: It’s all a prank.

A group of college students get together at an excluded island home of one of their friends Muffy (Deborah Foreman) to celebrate their last year in school together. Then as the weekend progresses they find that a killer is knocking them off one-by-one. Will the remaining survivors be able to escape, or is there something more to these murders that no one realizes?

The film was an attempt to revive what at the time was a lost interest in the slasher genre by creating a irreverent tone to the staid formula and in that regard it does an okay job. The main issue though is that it gets too jokey making it seem more like a misguided comedy that losses sight of its intended horror fan audience completely.

I didn’t mind a few of the pranks, but too much time gets spent on them and 40 minutes seemed to be a ridiculous wait (if you don’t count the injury that occurs on the initial boat ride in, which seemed more like an accident) before we even get to the first killing. The pranks bordered on being too elaborate and something a regular person wouldn’t be able to pull off. For instance one deals with Rob (Ken Olandt) turning off one light in a room only to have another one turn on, all to the amusement of his girlfriend (Amy Steel) who apparently (I guess?) rigged the lights to do this, but where did she  get the electrical background or time to wire the room in this manner?

If the pranks are supposed to revolve around the fact that it’s April Fool’s Day then all the action should  take place within a 24-hour period instead of over several days. The scenery doesn’t have a spring-like look either as there should be blossoms and buds on the trees, but instead, since it was filmed in August, it looks more like late summer.

The cast comes-off too much like crude and obnoxious junior high kids whose only topic of conversation is sex instead of young adults ready to enter the working world and their dialogue doesn’t seem genuine.  One dumb bit has Harvey (Jay Baker) trying to make amends with Nikki (Deborah Goodrich) by trying to prove to her he really isn’t as much of a ‘dick’ as she thinks, but then proceeds to tell that he’d like to ‘plow her field’, which would only convince her otherwise.

Spoiler Alert!

The killings are brief and feature virtually no gore at all, which will disappoint those expecting to see at least a little. The ending, which reveals the killings to being just another gag, was novel, but there still needed to be a secondary twist. In the film’s original cut Skip (Griffin O’ Neal) kills Muffy after everyone else has left the island, but the studio execs nixed this opting for an ‘upbeat’ ending instead. Upbeat endings are fine if it’s a comedy, but a horror film should have a dark undertone and the fact that this one doesn’t have one at all makes it woefully undernourished.

My Rating: 3 out of 10

Released: March 28, 1986

Runtime: 1 Hour 29 Minutes

Rated R

Director: Fred Walton

Studio: Paramount

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

Soul Man (1986)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Pretending to be black.

Mark Watson (C. Thomas Howell) has been accepted into Harvard Law School, but just before he’s ready to attend his father (James B. Sikking) states that he won’t help to pay for it forcing Mark to try and find other avenues of funding. He eventually decides to take some tanning pills, which makes his skin darker and then apply for a scholarship only available to African American students. After getting the money he continues with the charade, but encounters many problems along the way that he wasn’t expecting.

This is one comedy that hasn’t aged well at all. At the time of its release it wasn’t considered too great to begin with and I avoided it, but now almost 30 years later the blackface plot line has made it a bad stain on the careers of those involved particularly the producer, writer and director who were all white and apparently thought they were ‘woke’ and making something ‘socially relevant’, but really weren’t. However, even if you get past the politically incorrect scenario this is still a really bad movie either way.

The basic premise is the biggest problem as Howell never ever effectively looks black, Egyptian maybe, but more like some white guy wearing a tacky wig and who stayed under the sun lamp too long. The fact that anyone could believe that he was really black for even a second is patently absurd as his skin is more of a dark beige color and his other facial features never change, which makes the scene where his own parents don’t even recognize him all the more stupid.

The idea of having him intentionally overdose on tanning pills just brings up even more questions. For instance if he takes more than the recommended dosage wouldn’t that cause some dangerous side effect and how exactly is he able to turn white again at the end as overdosing on the pills would’ve most likely have caused some sort of long term health risk to either his system or skin.

The fact that he’s able to get the scholarship right away is pretty ridiculous too. Don’t applicants have to go through some sort of background check before they get accepted or do they simply get handed the money the minute they walk in and ask for it like it seems here and wouldn’t this background check then expose that he was really white?

This also has to be the dumbest guy ever to get accepted into Harvard. I’m not saying the character has to necessarily conform to the nerd stereotype, but the guy comes off like a world class slacker from the beginning who proceeds to say and do one clueless thing after another until you wonder if he’d ever be accepted into junior college let alone an Ivy League one.

James Earl Jones’ performance, where he channels the black version of Professor Kingsfield from The Paper Chase, is one of the film’s few bright spots. I also enjoyed Rae Dawn Chong who plays Howell’s potential love interest and who comes off as far more real and multi-dimensional than any of the other characters in the film to the point that she should’ve been made the star while scrapping Howell and his silly shenanigans completely.

Not only does the film fail to offer any true meaningful insight into race relations, but it manages to stereotype white people in the process particularly the two white male students who are constantly getting caught making racist jokes about black people. Is the viewer actually supposed to believe that this is all these two guys ever talk about as it certainly is made to seem that way, which is just one more example as to why this has to be one of the clumsiest, most unfunny and most poorly thought out satires ever made.

My Rating: 1 out of 10

Released: October 24, 1986

Runtime: 1 Hour 44 Minutes

Rated PG-13

Director: Steve Miner

Studio: New World Pictures

Available: DVD, Amazon Video, YouTube

So Fine (1981)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Jeans that expose ass.

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

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

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

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

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

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

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

My Rating: 2 out of 10

Released: September 25, 1981

Runtime: 1 Hour 30 Minutes

Rated R

Director: Andrew Bergman

Studio: Warner Brothers

Available: DVD-R (Warner Archive), YouTube

Love Story (1970)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Romance and then death.

Oliver (Ryan O’Neal) is attending Harvard Law School where he meets Jenny (Ali MacGraw) a student studying classical music. The two don’t hit-it-off at first, but eventually fall in love and marry despite the objections of Oliver’s father (Ray Milland). Just as things seem to be falling into place Jenny gets diagnosed with a fatal illness, which sends Oliver’s world spinning out-of-control.

Erich Segal’s script, which he later turned into a best-selling novel, is simplistic, but the on-location shooting done in and around Harvard is outstanding and helps give the film, along with some well done hockey footage, an added energy. This is one of only a few films to be allowed to shoot there and they were kicked out after only a week due to being too much of a distraction, but it was just enough to give the movie a good authentic college vibe. The snowy landscape plays a big part of it and there’s even a scene where the two play in it, but some shots feature a lot of it in the background only to have a few scenes spliced in where there is none of it on the ground, which makes it a bit visually jarring.

On the romantic side I liked the fact that Jenny is initially prickly towards Oliver and he has to work at getting her to soften up. Men actually do enjoy a challenge and having a woman just throw herself at a guy, or having the relationship start out seamlessly is just not as interesting or realistic. However, having Oliver profess that he ‘loves’ her after only the first date glosses over the courtship aspect too much and essentially ruins the intrigue in the process.

O’Neal is excellent here and he was picked over a lot of other big name stars simply for his ability to react to a situation in effective ways, which he ends up doing quite well. Yet I felt it would’ve worked better had he been the one from the poor-side-of-town as he’s more convincing as a rugged blue collar type instead of a studious student, or their contrasting economic backgrounds not been played-up at all since for me it didn’t really add much.

Spoiler Alert!

The film’s most notorious flaw though, and one that was parodied in a very funny send-up of the movie on ‘The Carol Burnett Show’, is the whole mystery illness thing (supposedly it’s leukemia, but never explicitly stated) that comes out of nowhere without Jenny ever showing an symptoms and having her die in a sudden car accident would’ve solved this issue and been more believable.

Personally though I was more shocked by the fact that the Dr. tells Oliver about Jenny’s diagnosis before he informs her. If she were a child that would be fine, but she’s an adult and deserves to know about her own health affairs before anyone else and if this had occurred today it would’ve gotten him into a lot of trouble.

The narrative also gets a bit askew as Oliver takes the news much harder than she does. Shot after shot shows him getting all misty-eyed almost like the viewer should feel worse for him, as he is now losing the object of his affections instead of her for losing her life.

End of Spoiler Alert!

The film is also famous for the line “Love means never having to say you’re sorry”, which to me never made any sense as relationships are dependent on the other party asking for forgiveness when they’ve done wrong and simply presuming they can get away with anything and expect unconditional acceptance doesn’t work. Two of my female friends agreed with me on this, which only proves how placid and shallow this film ultimately is.

My Rating: 5 out of 10

Released: December 16, 1970

Runtime: 1 Hour 40 Minutes

Rated GP

Director: Arthur Hiller

Studio: Paramount

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

Split Image (1982)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Their son becomes brainwashed.

Danny (Micheal O’Keefe) is a struggling athlete who’s feeling overwhelmed by the demands and pressures of college life. He meets-up with Rebecca (Karen Allen) who invites him to a weekend stay at what turns out to be a religious cult run by Kirklander (Peter Fonda). It is there that Danny becomes brainwashed into the organization and cuts off all ties with his parents (Brian Dennehy, Elizabeth Ashley) who decide they have no option but to kidnap him and then have him deprogrammed by a brash, caustic deprogrammer (James Woods) who they find to be rude but helpful

This film is very similar to Ticket to Heaven that was produced in Canada and has the same story and structure. The Canadian production though is a bit better especially with the way it examines the protagonist getting acclimated into the cult. Both films have the young man becoming brainwashed in a matter of one weekend which to me is too quick. The Canadian film though at least examines the different activities that they go through to wear him down and it gets in your face with it, so the viewer feels as exhausted as the young man when t’s over while this film glosses over that part making the transition seem too extreme. The Canadian film also detailed the character’s constant inner turmoil even after he’d been indoctrinated while here Danny behaves like a light switch that completely changes from his old self in a snap and then never looks back, which is less realistic

The B-story dealing with a romance that he has with Rebecca while in the group degrades the the story to a sappy opera level and should’ve been left out. Allen certainly is perfect for her role as her bright, beaming blue eyes gives her character that brainwashed appearance, but the extended conversations she has with Danny are strained making me believe that the scenes inside the cult should’ve been cut as they’re corny instead of compelling and focused instead  solely on the parents point-of-view at trying to get him out.

The film though does score with the deprogramming segment, which gets much more extended here. Director Ted Kotcheff uses elaborate visual effects to convey Danny’s point-of-view and unlike in Ticket to Heaven the deprogrammer doesn’t allow the family and friends to sit-in on his sessions as he feared they won’t understand his methods, which is more believable.

Ashley as the mother is great especially her meltdown near the end with Danny when he tries to physically attack her.  I had some problems though with Dennehy’s character as he seemed much too calm and laid back and even starts singing as they drive to the cult location even though most people would be nervous and then later showing him breaking down and crying as he watched an old video of Danny is too overwrought.

Woods though perfectly captures the anti-hero with his intended brashness being more amusing than offensive. The part where he plays-out a scene to the movie Dr. Jekyll and Mr. Hyde starring Spencer Tracy was I’m convinced ad-libbed and a great example of  how his acting genius gives this movie a needed edge and whose presence keeps it watchable.

My Rating: 6 out of 10

Released: October 3, 1982

Runtime: 1 Hour 50 Minutes

Rated R

Director: Ted Kotcheff

Studio: Orion Pictures

Available: VHS, Amazon Video

Silent Madness (1984)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Mental patient stalks sorority.

Due to the similarities in their names a mute mental patient named Howard Johns (Solly Marx) gets accidently released from a psychiatric hospital and returns to the scene of his crime, a college sorority, whose members he slaughtered years before. Dr. Joan Gillmore (Belinda Montgomery) tries to track him down, but finds no help from the staff at the hospital who are more concerned in covering up the error to the extent that they secretly send out two thugs (Dennis Helfend, Philip Levy) to kill Joan so she won’t be able to tell anyone else about it.

It’s hard to tell if this movie wants to be a conventional slasher flick or a parody and the cartoon like opening theme music makes it sound like it’s going for the latter. Either way it’s a one-dimensional, low grade, monotonous excuse of a film that essentially has nothing going for it even when compared to other entries from the genre. Supposedly it was made to cash in on the 3-D craze, but there’s not enough action to justify it. There’s a killing at the start, but the middle drags on with Joan’s plodding investigation as to the whereabouts of the killer that the viewer already knows the answer to and watching these cardboard characters spend 80 minutes coming to the same conclusion that we know from the start is extremely boring to say the least.

This is the type of cheap crap that needs to be approached with tongue firmly in cheek, but Montgomery plays it too earnestly acting like she’s in a serious drama, which just helps to make it more intolerable. The killer is equally dull and for that matter really isn’t scary. I felt that the only reason the character was made to be a mute was because the actor who played him was a stunt coordinator with limited acting experience and therefore the less he had to say the better.

The only bright spot is the presence of Viveca Lindfors a talented and aging star whose career peak was in the 40’s, but who still manages to give this second-rate material here an admirable effort. Unfortunately she appears for only about 5 minutes as the sorority house mother, but then later becomes an integral part to the film’s twist ending, which was enough to earn this thing a measly point.

My Rating: 1 out of 10

Released: October 26, 1984

Runtime: 1Hour 27Minutes

Rated R

Director: Simon Nuchtern

Studio: Almi Pictures

Available: DVD

Lost and Found (1979)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Fighting keeps couple together.

Adam (George Segal) is a college professor vacationing in France whose car collides with that of British divorcee Tricia (Glenda Jackson). He tries to get her to write a letter admitting that she was at fault, but she instead writes the exact opposite while doing it in French, so he wouldn’t know. When he finally catches on to this he tracks her down at the ski resort and again collides with her this time on skis. Eventually they find a way to reconcile and even fall in love before finally marrying yet when they return to the states they start fighting again over just about anything until it seems that is all that they do.

Sloppy, poorly structured romance should’ve never been given the green light. The characters are bland and one-dimensional and the humor cartoonish while the couple’s relationship is strained to the extreme. The story has no momentum and the inane fighting seems put in simply to give it some comical conflict that leads nowhere and eventually becomes tiring.

The main problem is that the two reconcile too quickly. Viewers who watch these types of films enjoy wondering whether ultimately the couple will get past their differences and tie-the-knot, which is what compels them to keep watching, but here any suspense of that is ruined when they get married within the first half-hour and thus the arguments that they have afterwards is anti-climactic. The film would’ve worked better had the two remained antagonistic. The conflict could’ve started in the French Alps and then continued onto the college campus by having the Jackson character work as a prof in the same department as Segal and had their animosity only slowly melt away when they’re forced to work on some project together with the wedding bells then coming in only at the very end.

What makes this movie odd is that it reteams Jackson and Segal as well as the writer/director team of Melvin Frank and Jack Rose who all did A Touch of Class together just 6 years earlier. One would presume that this would be a sequel to that one with Segal and Jackson playing the same characters that they did before, but that’s not the case. In retrospect that’s how it should’ve been played and it would’ve then avoided having to show the dumb, over-the-top way that the two meet here, which is so forced and corny that it cements this has being a bad movie before its even barely begun.

The supporting cast manages to add some life. I got a kick out of Maureen Stapleton as Segal’s free-spirited, hippie-like mother, but she was only 52 at the time and didn’t even have any gray hair making her look much too young to have given birth to a middle-aged man in his 40’s and was in fact only 9 years older than Segal in real-life. Paul Sorvino is amiable as a talkative cabbie and the segment where he and Jackson try to resuscitate Segal after a failed suicide attempt is the only mildly amusing bit in the film.

The ski resort scenery is picturesque although it was actually filmed at Lake Louise in Alberta, Canada and not in the French Alps like the movie suggests. You also get to see John Candy in a brief bit and Martin Short in his film debut, but everything else falls painfully flat and I couldn’t help but feel that the entertainment world had passed both director Melvin Frank and Jack Rose by. They had written and directed many successful comedies during the 40’s, but what passed off for funny back then now seemed seriously dated and it should be no surprise that they both only did one more movie after this one.

My Rating: 2 out of 10

Released: July 13, 1979

Runtime: 1Hour 46Minutes

Rated PG

Director: Melvin Frank

Studio: Columbia Pictures

Available: DVD-R, Amazon Video