Category Archives: Court Drama

The Onion Field (1979)

onion2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Guilt over partner’s death.

Los Angeles police detectives Ian Campbell (Ted Danson) and Karl Hettinger (John Savage) are on-duty driving around in an unmarked police car when they spot two men, Gregory Powell (James Woods) and Jimmy Smith (Franklyn Seales), driving suspiciously, so they pull them over. While Campbell is talking to Powell, Powell is able to pull out a gun he had hidden in his trousers forcing Campbell to drop his weapon. Hettinger is then told to give up his weapon as well, which he does, or risk seeing his partner get shot. The two cops are then taken at gunpoint to an remote onion field where in the darkness of night Campbell is shot and killed, but Hettinger escapes and manages to run 4 miles until he finds someone and gets help. While the two criminals are eventually apprehended and found guilty it is Hettinger that suffers the most from the guilt of surviving when his friend and partner didn’t and from the humiliation of being the subject of a police video detailing what not to do when stopping a vehicle, which leads him to a severe mental breakdown in both his personal and professional life.

The story is based on the actual incident that occurred on March 9, 1963 with the traffic stop happening on the corner of Carlos Avenue and Gower Street in Hollywood and the murder happening off of Interstate 5 near Bakersfield. It was written into a novel by former cop turned author Joseph Wambaugh in 1973. I remember reading it when I was 14 and finding it captivating from beginning to end. While the film stays faithful to it I still felt it wasn’t as effective and in a lot of ways not as gripping. Even though it was a long time ago I remember the part about Powell’s ‘disguise’ where the only thing he changed about his features was putting a distinctive mole on his left ear lobe, which sounded completely absurd. This is discussed in the movie, which gets a subtle eye roll from Smith his partner, but the irony is, which is talked about in the book and not the film, is that the witnesses from the robbery that Powell was in described the mole to the police and this litrerally threw the detectives off for awhile as they kept searching for a man with a distinctive mole that Powell had since removed, so as silly as it sounded, his idea had actually worked, but the movie never gives this pay-off.

The chase through the onion field is also really hurt. I remember finding this section the most captivating part of the book and finding it a truly tense and horrifying moment that seemed to go on forever and a major element of the story, but in the movie this moment gets trimmed down significantly. Years ago, when I first saw the movie on TV, I thought it was because they had edited it down due to time constraints in order to get more commercials in, but when I finally viewed the full version on DVD I found this wasn’t the case. For whatever reason the chase in the onion field lasts for only a few minutes and not done from Hettinger’s perspective, which is what made it such an intense reading and it’s a real shame as it makes the movie much less impactful then it could’ve been. It turns the whole onion field incident into a side story instead of the main event.

The performances by Woods and Seales are outstanding and the element that really gives the film its energy they also look exactly like the people they’re playing to the point it’s almost freaky. Woods is especially creepy and he literally demands your attention with each moment he’s in it. Seales though, whose career never really took off and he died at the young age of 37 from AIDS, is excellent too as he plays someone who is very timid especially when initially with Powell, but brazen at other points and the way his and Powell’s relationship evolves both through their criminal and then when behind bars is quite fascinating. The scream that he lets out when Campbell gets shot, which was not in the script and completely improvised, has a very riveting effect and the one thing about the film that I had remembered from watching it decades earlier.

Unfortunately the two leads, the people we’re supposed to be the most connected with, are quite boring. It’s not like it’s the actors faults either. Danson, this was his film debut, is not bad, but his character isn’t fleshed out enough. Other than enjoying playing the bagpipes we don’t learn much else about him and nothing he says his captivating, or interesting. The same with Savage his inner turmoil and mental breakdown really doesn’t have the intended emotional impact in fact his moments bogs the movie down and you can’t wait until they get back to the bad guys who as rotten as they are what gives the movie its liveliness. I realize that Wambaugh felt it was very important to get Hettinger’s story out there and it was the whole reason that motivated him to write the book, but I came away feeling, at least movie wise it would’ve worked better had it just focused on the two crooks and their weird ‘friendship’.

On the whole it’s still an adequate production that holds enough interest and makes some good points about an important event that shouldn’t be forgotten, but at times it also seems like an overreach. Wambuagh’s insistence that everything be as accurate as possible gives the narrative a cluttered feel particularly with all the various court proceedings with each one having a different set of attorney’s, judges, and courtrooms which becomes dizzying instead of riveting. Pairing certain elements down would’ve helped as it’s not quite a completely effective, despite the great effort, as it could’ve been and without question another incidence where the book is far better.

My Rating: 7 out of 10

Released: September 19, 1979

Runtime: 2 Hours 6 Minutes

Rated R

Director: Harold Becker

Studio: AVCO Embassy Pictures

Available: DVD, Blu-ray

Melvin and Howard (1980)

melvin1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Melvin meets Howard Hughes.

The film is based on the true story of Melvin Dummar (Paul Le Mat), who on one night in December, 1967 came upon what he thought was a homeless man (Jason Robards) on the side of the road of a lonely desert highway after he parked his pick-up in order to take a pee. He gives the man, who is banged-up from a motorcycle stunt gone wrong, but who refuses medical attention, a lift and they have a long conversation as he takes the man to the Desert Springs Hotel in Las Vegas. During the trip he admits to being Howard Hughes, who at the time was one of the richest men in the world. Melvin does not believe him initially and goes about his life working odd jobs including that of being a milk man. He lives with his wife Lynda (Mary Steenburgen) and daughter Darcy (Elizabeth Cheshire) in a rundown mobile home, but Lynda leaves him and becomes a stripper. Melvin marries another woman named Bonnie (Pamela Reed), but his financial troubles continue until he receives an envelope stating that he’s been given $156 million from Hughes in his final will and testament. Melvin thinks his struggles are finally over, but they’re just beginning as he must go to court and defend himself from those who feel that the document was a forgery.

The star of this film is Jonathan Demme’s superb direction. He first directed while working under Roger Corman and doing a couple of cheap exploitation/drive-in flicks before branching out on his own with the quirky Citizens Band that had plenty of potential, but didn’t quite gel. This one clicks from beginning to end and helped greatly by the Academy Award winning script by Bo Goldman. I really enjoyed the dry, offbeat humor with the funniest moment being inside the little white chapel when Melvin decides to marry Lynda a second time after she gets pregnant. The scene where Lynda almost gives an elderly man (played by Herbie Faye in his final film appearance), who was acting as a witness to the proceedings, a heart attack when she kisses him after the wedding is over, s hilarious as is Melvin and Lynda working as witnesses to other weddings that go on there and being kissed, sometimes quite sensuously, by the other brides and grooms. The film also shows a good understanding of working class people, showing their struggles in life without ever demeaning them. The on-location shooting in both Utah and Nevada where many of the real-life events happened gives it a nice, gritty feel and look.

While I’ve complained about Paul Le Mat’s acting in some of my other reviews his performance here is perfect in a role he was born to play. He looks very much like the real Melvin Dummar, who can be seen briefly standing behind the counter at a bus terminal, and even more ironically is that now, in the year 2022 with his gray beard and hair that he sports as seen in pics from his twitter account, exactly like Howard Hughes in this film. Steenburgen, who netted the Oscar for Best Supporting Actress, is a lot of fun particularly when she strips off her clothes and walks around fully nude in a public bar in a scene that had to be shot 9 different times as she was so nervous doing it. Dabney Coleman, in a small bit near the end, is quite good as the cynical judge, but I was disappointed that Gloria Grahame is given only one word of dialogue. Supposedly she had more lines, but her scenes got cut, but why bother to bring in a famous Academy Award winning actress if you’re not really going to use her?

My complaint comes mainly with the TV game show that Melvin and Lynda enter that works as a talent contest and called ‘Easy Street’. It was meant to be a hybrid of the ‘Gong Show’ and ‘Let’s Make a Deal’ where a contestant does some sort of act showcasing their talents and if the audience is pleased with it the contestant wins a prize by choosing what’s behind one of three doors. The problem here is that it’s made too look too easy as Lynda’s tap dancing should’ve gotten her booed off of the stage instead of cheered. Having them get lucky and win a big prize, $10,000, negates the hardship theme. It doesn’t propel the plot either as Melvin quickly misspends the money and they end up in the exact same situation there were in before with Lynda walking out on him, for a second time, which comes-off as redundant. The satirical elements of the game show isn’t played-up enough and the segment is more surreal than amusing.

I also felt the opening sequence where Melvin picks-up Howard should’ve been saved until the end. In the real-life event there was speculation that Melvin was a part of the ruse as his second wife Bonnie had worked for a magazine called ‘Millionaire’ that had access to Hughes memos and signature and some had felt that she had used this inside knowledge to forge the will, which was rife with spelling errors and other discrepancies. The film though doesn’t bring any of this up and acts like Melvin is totally innocent where as adding in some nuance where the viewer isn’t completely sure if Melvin is complicit could’ve added some interesting intrigue and then having the scene where he picks-up Howard, showing that he was telling the truth after all, be the surprise reveal instead of giving it all away right at the start. The title is also misleading. Makes it seem like it’s going to be some sort of buddy movie when really Howard is in it only at the start and then pretty much disappears.

My Rating: 7 out of 10

Released: September 19, 1980

Runtime: 1 Hour 35 Minutes

Rated R

Director: Jonathan Demme

Studio: Universal

Available: DVD, Blu-ray

Scandal (1989)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Politician has an affair.

Based on the Profumo affair that rocked the British parliament in 1963 the story centers around an exotic dancer named Christine Keeler (Joanne Whalley-Kilmer) who catches the eye of Stephen Ward (John Hurt) a doctor with a thing for attractive young ladies. She moves in with him and the two share an unusual relationship where he pimps her and her friend Mandy (Bridget Fonda) out to members of the conservative party. Her sexual affair with one of the high-ranking officials of parliament, John Profumo (Ian McKellen) eventually reaches the attention of the press and leads to far-reaching ramifications for all involved.

Part of why this movie didn’t work for me and may not for others is that politicians getting involved in a scandal is no longer a big deal. We’re living in an age where political figures have been caught having affairs, even while in office, and it isn’t enough to have them removed. Yet this film expects the viewer to be in jaw-dropping shock from the first frame to the last even though in this cynical age it would be more shocking if one actually lived a squeaky clean life.

The first hour meanders along from one racy sex scene to the next until it almost seems like a soft core porn flick with no story. I had no idea where any of this cavorting around was going to lead and wasn’t really all that intrigued in finding out either. First time director Michael Caton-Jones takes too much of a detached approach to his characters. They all come off like wild sexual animals unable to control their inner urges, but with no other discernible differences making everything that goes on seem like one giant frolicking blur with no point.

Hurt gives a great performance, but I didn’t understand the motivations of his character. Why doesn’t he want to sleep with Christine and instead get more turned-on listening to her stories about her having sex with other men? What about him makes him this way, which the film should’ve helped answer, but doesn’t.

Whalley is too old for her part as she was supposed to be playing someone who was 19, but in reality was already 29. Having a true 19-year-old play the part, and have a definite look of innocence about her, may have given the provocative material a little more bite.  Her character also has the same issues as with Hurts. I got how she wanted to get away from her impoverished surroundings and sleeping with rich influential men could help her do that, but I didn’t understand why she liked her Hurt, or their unusual relationship.

The film ends with the court proceedings, which like with everything else doesn’t have the impact that it should. While the attention to detail and accuracy is impressive it would’ve worked better had it began with the trial and then worked backwards through flashback showing how they all got there instead of the linear narrative that it does take, which is too plodding. Focusing on only one of two characters would’ve helped too instead of trying to encompass so many of them where none of them are all that interesting or distinct.

My Rating: 5 out of 10

Released: March 3, 1989

Runtime: 1 Hour 46 Minutes

Rated R

Director: Michael Caton-Jones

Studio: Miramax

Available: DVD, Blu-ray (Region B/2)

Music Box (1989)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: She defends her father.

Anne Talbot (Jessica Lange) works as a defense attorney in Chicago and is shocked when her kindly father (Armin Mueller-Stahl), who immigrated to the US from Hungary many years ago, is threatened at having his citizenship revoked due to being accused of committing past war crimes.  Several witnesses have come forward to identify him as being ‘Mishka’ a man who headed a Nazi terror unit known as the Red Arrow that systematically tortured and killed Hungarian Jews during WWII. Anne refuses to believe this and immediately volunteers to defend him in court, but as she researches the case she finds many unsettling elements that makes her question whether her father really is the victim of mistaken identity as he claims, or actually the man responsible for committing heinous acts against humanity.

The film was inspired by the true-life case of John Demjanjuk who immigrated to the US in 1952 and worked as an auto worker for many decades before being identified by 11 Holocaust survivors as being Ivan the Terrible who tortured and killed many Jewish prisoners while working as a guard at a concentration camp. Script writer Joe Eszterhas also adds his own experiences into the story by channeling the emotions he felt when he found out that his father had been involved in disseminating anti-semitic propaganda during WWII.

The plot had all the hallmarks of being a trenchant courtroom drama especially since it was directed by Costa-Gavras who has shown a knack for helming political thrillers with a psychological bent, but it all ultimately falls flat. Much of the problem is that we learn little about Mueller-Stahl’s character as his face never shows any emotion. At first this makes it interesting as he comes off like this kindly old man who seems the complete opposite of what he’s being accused of, but after awhile we need to see what’s going in his mind and beneath the facade. Whether it’s anger, fear, madness, or evil at some point it needs to get conveyed in his face as the trial goes on, but instead all the viewer sees is a constant blank stare that keeps the character frustratingly transparent.

Having a male model pose as the younger version of him in the wartime photos was a mistake too. Googling images of Mueller-Stahl when he was young shows that he looked much different than the model in the movie making the portions where the witnesses positively identify Stahl from the photos seem off-kilter since the guy in them even when given the realities of aging doesn’t look anything like the man sitting in the courtroom. To avoid this they should’ve cropped an actual pic of Mueller-Stahl into the war time photos.

The court case itself ends up becoming quite draggy because instead of focusing on one witness they put in several of them one after the other who essentially retell the same type of story, which gets redundant. There’s also some Hollywood theatrics that get thrown in like when Mueller-Stahl physically confronts one of the witnesses in the courtroom with no one attempting to restrain him before he collapses to the floor in a completely over-the-top fashion. Having everyone in the trial then get flown across the Atlantic to a Hungarian hospital to hear testimony from a dying witness only helps to turn the entire thing into a misguided spectacle.

Lange, who was Hollywood’s darling at the time and constantly offered first dibs at every ‘important’ movie that came out, gives a good performance, but her emotional character arch is predictable. The focus should’ve been on Mueller-Stahl’s character and what made him tick, but no insights are ever given even during the climatic final confrontation, which ultimately cements this as being a big disappoint.

My Rating: 5 out of 10

Released: December 8, 1989

Runtime: 2 Hours 4 Minutes

Rated PG-13

Director: Costa-Gavras

Studio: TriStar Pictures

Available: DVD

A Dry White Season (1989)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: He fights social injustice.

The story centers on South African schoolteacher Ben (Donald Sutherland) who has led a peaceful law abiding suburban existence and has no idea about the social injustices around him. One day his black gardener (Winston Ntshona) comes to him complaining about how his son was beaten by police simply for attending a peaceful rally. Ben initially dismisses the claims and insists the son must’ve done something wrong, but when he investigates the issue further he finds some startling revelations about how far the authorities are willing to go to stop dissent and when Ben decides to challenge the police on this his life and security get put on the line.

The film is based on the novel of the same name by Andre Brink and directed by Euzhan Palcy who became the first Black woman to direct a film that was produced by a major Hollywood studio. For the most part the film is polished and well made and at the beginning emotionally effective as we see first hand the brutal treatment of the protesters by the police. I also liked how it shows both sides of the issue by having Ben’s wife Susan (Janet Suzman) admit that apartheid is wrong, but too afraid for its abolishment as she fears it might put the whites at too much of a disadvantage.

Unfortunately somewhere along the way it starts to lose steam and ends on a whimper that is nowhere near the emotional level that it began with. Part of the problem is that it suffers from a weak main character. Sutherland plays the part well, but it’s hard to understand how someone could live well into his middle age years and still have such extreme naivety to what was going on in the country that he resided in. He’s also dependent on those around him to do most of the legwork and you have to question what difference does our hero’s actions ultimately make anyways since apartheid continued on for many years after this film’s setting, which is 1976.

All of this could’ve been resolved had Marlon Brando’s character been made the protagonist. Brando came out of retirement to take on the supporting role and agreed to do it at union scale, which was far below his usual salary demands. His presence adds zest to the proceedings as a lawyer who is quite attuned to the corrupt system, but decides to give it a fiery court battle anyways and it’s a shame that he’s only in it for a brief period and then just completely disappears during the second half.

Spoiler Alert!

The ending differs a bit from the book and was added in by director Palcy, which has a black cab driver Zakes Mokae taking the law into his own hands and shooting the Jurgen Prochnow character, who plays a policemen, after he intentionally ran Sutherland over with his car. Palcy did this to show how even decent people can be pushed to violence, which I agree with, but she seems to feel the need to justify this by having a flashback ‘replay’ of all the previous events that drove Mokae to pull the trigger, which comes off as heavy-handed. If we’ve watched the movie then we already know what happened and don’t suddenly need a ‘refresher course’.

End of Spoiler Alert!

As a drama it’s an adequately compelling, but there’s other movies on the same subject and I can’t say this one stands out from those. I was also disappointed to find that the book from which this is based was fictional as I initially thought it was a true story since it takes place in a very specific year. I’m not saying some of what goes on here didn’t happen in a broad sense, but having it centered on verifiable events gives it more relevance and makes it seem more like telling a story as opposed to just making a political statement.

My Rating: 6 out of 10

Released: September 20, 1989

Runtime: 1 Hour 46 Minutes

Rated R

Director: Euzhan Palcy

Studio: MGM

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

…and justice for all. (1979)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Lawyer fights the system.

Arthur (Al Pacino) is a defense attorney who becomes increasingly more frustrated and disillusioned with the court system. He’s fighting to get one of his clients, Jeff (Thomas Waites), out of jail as he’s been sitting behind bars for over a year simply because he was mistaken for somebody else while also being forced to defend Judge Fleming (John Forsythe), a man that he vehemently hates, from a rape allegation.

The script by the husband and wife team of Barry Levinson and Valerie Curtain is chockfull of great insights into the American legal system and how messed up and prone to corruption it can sometimes be. Defense lawyers have in the past been glamourized in TV-shows like ‘Perry Mason’, but here the viewer gets a more stark assessment of their profession as they watch them being forced to defend those that they know are actually guilty. Yet it also balances this by showing how public defenders can also be the lone voice to those who are truly innocent and have no one else to speak up for them.

The film has a weird comedy/drama mix that doesn’t work and ends up getting in the way. When I first saw this many decades back I liked the humorous undertones as it gave production a surreal, satirical edge, but upon second viewing I didn’t find it to be as amusing. The script makes good hard-hitting points and adding in the humor only diminishes this message and takes away from the seriousness of the subject matter.

The side-story dealing with the suicidal judge, played by Jack Warden, should’ve been excised. I’ll admit the images of him eating lunch while sitting out on a ledge of a tall building, or trying to kill himself with a rifle are memorable, but pointless and by coupling this judge character with Forsythe’s crooked one seems to imply that all judges are either bad or crazy, which isn’t fair.

The storyline dealing with Arthur visiting his senile grandfather, played by Lee Strasberg, should’ve been cut out as well as it has nothing to do with the main plot. It also brings up many unanswered questions like why is Arthur close to his grandfather and not to his own parents and why did his parents apparently ‘abandon’ him? This backstory never gets sufficiently addressed and seems like material for a whole different movie altogether.

Spoiler Alert!

The storyline involving Judge Fleming is the most intriguing and should’ve been made the film’s primary focus, but I was disappointed with the way the judge glibly admits to his crime, which takes away the mystery angle and I would’ve preferred the truth coming out in a more dramatic manner. The film also has a very old-fashioned take to his situation by saying that just because the character is involved with BDSM activities that somehow makes him ‘deviant’ and more prone to committing rape, which has been proven untrue as there are plenty of people who can enjoy kinky activities with consenting partners and still remain ethical.

End of Spoiler Alert!

Overall the film is worth catching and has many interesting moments including Pacino’s final speech that he gives to a packed courtroom, which is a gem. This also marks the film debuts of Christine Lahti and Jeffery Tambor as Pacino’s lawyer friend who slowly goes crazy.

My Rating: 7 out of 10

Released: October 16, 1979

Runtime: 1Hour 59Minutes

Director: Norman Jewison

Rated R

Studio: Columbia Pictures

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

The Star Chamber (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review:  Judges form vigilante group.

Idealistic young judge Steven Hardin (Michael Douglas) is sickened by the fact that so many known criminals are able to avoid jail time through legal technicalities. His friend and fellow judge Ben (Hal Holbrook) tells him of a secret underground group consisting of nine judges who have a hit-man sent out to kill the criminals who were otherwise able to get off through legal loopholes by the regular courts. Steven initially likes the idea and even sits in as one of the judges, but then he tries to stop a hit when it is later determined that the criminals set for vigilante execution were actually innocent, but finds to his horror that once the ball is set in motion there is no way it can be stopped.

The film is nicely directed by Peter Hyams who makes great use of mood lighting particularly in the scenes showing the nine judge tribunal as well as Steven’s visit to an abandoned warehouse. There is also a terrific foot chase at the beginning that is as exciting and intense as any car chase out there and it reminded me of a similar foot chase done in Busting, which was also helmed by Hyams.

The story by Roderick Taylor is an intriguing one, but it takes too long to get to the second act. The whole first hour is spent dwelling on Steven’s quandary of letting known criminals off-the-hook, which becomes quite derivative and could’ve easily been addressed in only 5 minutes. The story would’ve worked better had it started with Steven already involved in the underground organization and then through a brief flashback shown how he came to be there.

The scenes involving the vigilante tribunal are good, but I ended up having a lot of questions that never got answered or even touched on. For instance only one assassin (Keith Buckley) carries out all of the hits, but who is this guy and how did he come to work for them? Who’s the middle-man who gives him the assignments and how much does he know about the organization and what happens if he gets caught and starts talking to the police? How widespread is this movement and does it cover cases from the entire nation or only a certain area and are there other organizations like this one in other parts of the country and around the world?

I liked the wrinkle that gets thrown in, in which two criminals (Don Calfa, Joe Regalbuto) who Steven thinks are deserving of punishment, but later found to be innocent. Too many times Hollywood films dealing with this theme portray it in too much of a one-dimensional way that fails to bring out how vigilantism can sometimes be just as dangerous as the criminals it hopes to punish. Unfortunately the film fails to tackle the full complexity of the issue and instead just barely touches the surface.

The film also avoids making any clear statement or taking any position, which makes the whole thing come off as quite transparent when it’s over. The ending has no conclusion and leaves everything wide-open, which is a real cop-out. The concept is a good, but it needs to be redone by people who are willing to delve deeper as the effort here is too shallow to be considered satisfying.

My Rating: 5 out of 10

Released: August 5, 1983

Runtime: 1Hour 49Minutes

Rated R

Director: Peter Hyams

Studio: 20th Century Fox

Available: DVD, Blu-ray

Casualties of War (1989)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: He witnesses a rape.

Based on an actual incident that occurred on November 19, 1966 the story centers around five members of an American squadron during the Vietnam War where the pressures and ugliness of battle send their leader, Sergeant Tony Meserve (Sean Penn) over-the-edge. When his squad gets denied leave he decides to have his men kidnap a Vietnamese girl named Oanh (Thuy Thu Le) who is then raped by the four of them while one, Eriksson (Michael J. Fox) refuses.  The young woman is eventually killed and her lifeless body left in a field. When the men return to their base Eriksson tries to report the crime, but finds stiff resistance.

This same incident was used as the basis for another film called The Visitors, which came out 17 years earlier. That movie took a different approach as it hypothesized what would’ve happened once the men returned from doing prison time and came for a ‘visit’ to the man’s home who had turned them in. That film suffered from a lack of a budget, but still managed to have a little more tension and impact than this one. This version takes way too long to play itself out. The audience knows where it’s headed right from the start and thus makes it almost excruciating to have to sit through.

The film would’ve worked better had the story been told in a fragmented style. The horror of the situation gets lost by the plodding narrative that overplays the story’s shock element and seems to take an almost sick delight in dragging out the whole kidnap/rape sequence until it gets agonizing and even tedious.

The idea that Eriksson would mentally be going back through this whole situation while he dreams it during a nap on a bus isn’t believable. The story is supposedly told as a flashback, but people dream in a more surreal, nonlinear way that wouldn’t painstakingly go back through every detail that had occurred to them in real-life. Also, people tend to repress unpleasant experiences that they’ve had. At times certain bits and pieces of it may come to the surface, but most of it would be locked away in the person’s subconscious, which is why the fragmented approach would’ve made more sense because we would’ve seen things in the exact same way that they were being played out in Eriksson’s head.

Fox is miscast and looks more like Marty McFly stuck in a time warp and involved in a situation he has no business being in. His character’s upbeat disposition makes him seem like he’s in some sort of invisible bubble that allows him not to be affected by the horrors of war even though it has clearly taken its toll on everyone else around him.  The character is also a bit too passive and does little to prevent the rape from occurring, which will make some viewers feel that he is cowardly.

Although his character is a bit over-the-top Penn gives a strong and effective performance and the main reason if any to watch the film. John Leguizamo is also good as a shy, quiet type that initially refrains from wanting to take part in the crime only to ultimately cave to peer pressure.

The on-location shooting done in Thailand is good and I liked the way director Brian De Palma uses the point-of-view effect particularly when the men go around the sleeping village looking for a victim to choose, but ultimately the film fails to elicit much of an emotional effect. The quasi, tacked-on ‘uplifting’ ending in which a stranger tells Eriksson to simply ‘let go’ of his horrible memories and in essence ‘move on’ from it is terribly contrived as there are certain experiences one can’t simply leave behind, which only helps to solidify how shallow this potentially penetrating drama really is.

My Rating: 4 out of 10

Released: August 18, 1989

Runtime: 1Hour 59Minutes (Director’s Cut)

Rated R

Director: Brian De Palma

Studio: Columbia Pictures

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

The Good Mother (1988)

good-mother

By Richard Winters

My Rating: 4 out of 10

4-Word Review: She losses her daughter.

Anna (Diane Keaton) is a frigid woman who divorces her husband Brian (James Naughton) of many years and gets joint custody of their 6-year-old daughter Molly (Asia Vieira). After spending some time being single she meets up with an artist named Leo (Liam Neeson) who opens her up to a whole new sexual awakening. Her new liberated lifestyle affects her daughter as well. When Molly catches Leo getting out of the shower naked she inquires if she can touch his penis, which he allows and then later she crawls into bed with the couple as they make love. When Brian hears about this he demands full custody, which pits Anna against Leo as she fights the system to keep her daughter.

Keaton’s performance is the best thing as she plays the mother role for the third time in a decade and the exact reverse predicament of the character that she portrayed just before doing this one where she got stuck with a child that she didn’t want while here she loses one. I enjoyed Neeson’s Irish accent and Vieira is cute while it’s great seeing old-timers Ralph Bellamy and Teresa Wright in supporting roles.

Leonard Nimoy’s direction is solid for the most part. He was just coming off tremendous success with his earlier hit 3 Men and a Baby, so it was nice to see him take a creative challenge by tackling a different genre.  The story’s sensitive subject matter  is handled well including most importantly the scene showing the girl in bed with the two adults although the various other moments showing Anna’s and Leo’s intimacy is a little uncomfortable, but still captured tastefully without ever feeling that it is being overtly erotic.

The film’s biggest failing is the story itself. Although based on the best-selling novel by Sue Miller it doesn’t have enough twists to be compelling or enough of a visual quality to be cinematic. Too much time is spent at the beginning dealing with Anna’s childhood experiences with her cousin Babe (Tracy Griffith) that only has a thin connection to the rest of the plot and could’ve easily been cut and simply alluded to instead. The courtroom scenes lack impact and offer no new interesting revelations. The film also doesn’t bother to show two of the story’s most dramatic moments, which is when Molly tells her father about her experiences with Leo, or when Anna confronts Leo about it later, which to me should’ve been a must.

The ending leaves little impact making me wonder what point the filmmakers where trying to convey, or why a viewer should sit through it especially since it’s not based on a true story and meanders too long just for it to come to a very vague resolution.

My Rating: 4 out of 10

Released: November 4, 1988

Runtime: 1Hour 43Minutes

Rated R

Director: Leonard Nimoy

Studio: Touchstone Pictures

Available: DVD, Amazon Instant Video, YouTube

The Last Wave (1977)

last wave 2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Suffering from strange premonitions.

David Burton (Richard Chamberlain) is a lawyer working in Sydney, Australia who is hired to defend some aborigines that have been accused of murder. David’s specialty is taxation law and he feels overwhelmed in this new role, but still takes it on with an earnest dedication, but in the process begins to experience strange dreams and even sees one of his clients, Chris (David Gulpilil), in them. This coincides with weird weather events that begin occurring all over the continent including the phenomena of black rain. David can’t help but feel that somehow this is all connected and after doing extensive research finds that tribal aborigines have a belief system involving what they call dreamtime in which spirits from another world communicate with us through our dreams and David has been the chosen recipient due to his lifelong ability to dream of events in his sleep that eventually occur later in real-life.

The film, which is directed by the gifted Peter Weir, has terrific imagery that almost makes-up for its other shortcomings. There have been a lot of movies that have tried to create creepy nightmare segments, but the ones here work much better than most and gave this viewer an effectively spooking feeling. The silhouette of the aborigines in the pouring rain, the shots of a large seismic wave and use of tribal music all get used to ultimate effect. Even the rain storms become fascinating to watch. None of them were actual ones, but instead large firehoses were employed along with giant fans to create a sort-of surreal stormy effect that actually looked better than the real thing.

The story though borders on being convoluted and would’ve worked better had the movie been given a longer runtime. The first hour is spent with the viewer seeing a lot of strange events that make no sense and are given no explanation. It is only after about an hour in that some expert, who’s given no formal distinction to what their line of study is or degree, explains to David the importance that dreams have to the aborigine culture, which helps tie things together, but this should’ve occurred earlier as some viewers will probably find it too confusing and off-putting otherwise.

Chamberlain is his usual bland self, but okay in this type of role as it doesn’t demand anyone who is colorful. The character though is supposed to be this very pragmatic individual, but he seemed to buy into the mystical qualities of the aborigine belief system much too quickly. A person with a practical approach to life would most likely be quite cynical to the events as they first occurred and even reluctant to base any value on his own nightmares, at least initially.

The ending is a major letdown. For one thing we have the main character inside an ancient sacred site beneath a sewer system where he suddenly has to start ‘thinking out loud’ by explaining what he is seeing on the drawings along the wall even though the viewer could’ve figured this out for themselves without the ‘narration’. The ambiguous conclusion is frustrating and makes sitting through the rest of it feel like a big waste of time.

last wave 1

My Rating: 6 out of 10

Released: November 13, 1977

Runtime: 1Hour 45Minutes

Rated PG

Director: Peter Weir

Studio: Cinema International Corporation

Available: DVD (Criterion), Blu-ray (Reg. B), Amazon Instant Video