Category Archives: Cult

Creepshow 2 (1987)

Posted on October 21, 2024 | Leave a comment

creepshow2

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Three stories of terror.

Due to the success of the 1982 installment Stephen King and George Romero got together to write a second script based on three of King’s short stories and directing duties were turned over to Michael Gornick who had been the cinematographer on the first one. The budget was much lower than the first, which hampered the special effects and critical reception though it still made $14 million at the box office and has garnered a cult following amongst contemporary audiences.

The first, which is the weakest, stars George Kennedy and Dorothy Lamour, in her last film appearance, as owners of a small-town general store that’s no longer making any profit. An Indian tribe elder (Frank Selsado) gives the couple a bag filled with jewelry as repayment for a debt and then later that night three hooligans lead by the long-haired Sam (Holt McCallany) rob the store and kill the couple. The three think they’ve gotten off scot-free, but then the cigar store Indian that stood in front of the store comes to life and avenges the couple’s deaths by murdering the three boys one-by-one.

This segment takes a while to get going and really doesn’t get interesting until the robbery happens, which should’ve occurred sooner. While the effects of showing the wooden Indian moving around is impressive as it really looks like he’s made of wood and not just somebody in a costume it would’ve been more intriguing had it not given away who the killer was. Simply shown the three being hacked by some mysterious, shadowy figure and then only at the very, very end alluded to it being the Indian.

The second story is better and deals with four college friends (Paul Satterfield, Jeremy Green, Daniel Beer, Page Hannah) going for a swim on a remote lake. They leave their car running and then all dive into the water and swim out onto a wooden raft, but then notice a black, gooey substance that surrounds them. The four feel trapped and when one of the young ladies puts her hand into the water the blob sucks her in and drowns her. The blob then seeps its way through the cracks of the raft and kills another one leaving only two left.

This one is genuinely creepy and I liked how it’s shot under a bright sunny sky making the area appear inviting and no need for anyone to be guarded until it’s too late. The constant shots of the running car sitting on the beach not far from where the swimmers are on the raft, but still unable to get to it, heightens the tension as well as the fact that there’s never any answer to just what this substance is, which in this case accentuates the intrigue. The only thing that I didn’t like is that after being stuck on the raft for an entire day the guy holding the sleeping girl lays her down onto the raft floor, but then uses the opportunity to undress her and admire her breasts, but I’d think with the situation they were in he’d be too exhausted and frightened to think about sex. The ‘twist’ at the end, which shows a No Swimming sign posted in a grove of trees, which the young adults hadn’t spotted, doesn’t totally work because if there’s no swimming in that lake then why would there be a wooden raft in the middle of it and who put it there?

The third story is the best and features a middle-aged woman, played by Lois Chiles, who goes on a drive late one night and accidentally kills a hitchhiker (Tom Wright) when her car goes spinning out-of-control. Instead of offering aid to the man she just drives-off, but then becomes plagued by visions of him constantly reappearing during the rest of her trip making her panic as she attempts to ‘re-kill’ the man, so she can be rid of him once and for all.

Initially this one seemed like a redo of the classic ‘Twilight Zone’ episode that featured actress Inger Stevens who went on a car trip and kept seeing the same hitch-hiker at various intervals on her drive, but this one takes it a step further by having Chiles use her car to literally smash the guy again and again, which gives it a gruesome over-the-top quality that deftly mixes in gore and black humor perfectly.

The film was set to have two other stories, ‘Cat from Hell’ and ‘Pinfall’, but due to budgetary limitations it was decided not to proceed with those and they were never filmed. In the ‘Cat from Hell’ one a hitman gets paid $100,000 to kill a cat that’s supposedly killed three other people. The ‘Pinfall’ one deals with competing bowling teams where the one team kills the other one, by tinkering with the van they ride in, and then the dead team coming back to life as zombies and killing the other team in unique ways by using things only available in a bowling alley, which sounded really cool and it’s a shame this segment wasn’t made as it would’ve been the best of the bunch.

My Rating: 6 out of 10

Released: May 1, 1987

Runtime: 1 Hour 30 Minutes

Rated R

Director: Michael Gornick

Studio: New World Pictures

Available: DVD, Blu-ray, Amazon Video, Plex, Pluto TV, Tubi, Roku, YouTube

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Posted in 80's Movies, Black Comedy, Cult, Horror, Movies Based on Short Stories, Movies with Nudity

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Fright Night (1985)

Posted on October 18, 2024 | 1 comment

fright1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Vampire moves next door.

Charley (William Ragsdale) is a teen making-out with his girlfriend Amy (Amanda Bearse) in his bedroom one night when he looks out his window and sees movers carrying a coffin into the home next door. Throughout the proceeding days he becomes convinced, after eyeing what’s going on over there, that his new neighbor, Jerry Dandridge (Chris Sarandon), is a vampire. With the police refusing to believe him he feels his only option is to elicit the help of an actor named Peter Vincent (Roddy McDowall) who has starred in a lot of old movies about vampires and hosts a horror TV-show called ‘Fright Night’. Peter does not believe Charley at first, but when they go over to Jerry’s house for a visit he becomes convinced that Charley is telling the truth when he can’t see Jerry’s reflection in a mirror. Knowing that he’s now been found-out Jerry immediately goes on the offense by turning Charley’s friend Ed (Stephen Geoffreys) into a vampire and then setting his sights to do the same to Amy who closely resembles a woman he was once deeply in-love with.

The film became a surprise runaway hit despite the studio feeling it had no chance and pumped more money into the John Travolta, Jamie Lee Curtis film Perfect that was being shot at the same time. Because the execs were putting more focus on that one they left writer/director Tom Holland alone allowing him full directorial control and not forcing him to have to deal with the usual studio meddling. Holland, who had started out as an actor during the 50’s and 60’s before eventually moving into screenwriting during the late 70’s when his acting offers began to dry up, came up with the idea for this film while working on his Cloak & Dagger script and since he had won accolades for some of his earlier horror scripts that had gone onto success including Psycho II, he was offered the chance to make his directorial debut with this one.

The film has a wonderful tongue and cheek approach, which keeps it consistently entertaining and lively throughout. While it’s funny at times it also has some really impressive special effects done well before the advent of CGI, but in many ways better. The best one and possibly best moment of the whole movie is when Ed morphs into a wolf and attacks Peter and Peter is able to pierce the dogs heart with a broken chair leg forcing the injured and dying Ed to slowly return to human form, which is both gory and realistically handled and creepy visually. If there’s definitely one part to watch again and again and never get tired of it would be that one.

The acting is stellar particularly Sarandon who displays a casual and very frightening menacing quality that makes all of his scenes unnerving. Supposedly he attempted to try and humanize his character by adding in certain traits that were not in the script like him eating apples to show how he was using it to help ‘cleanse his pallet from all the blood he had sucked’, but to me he just came off as this constant evil presence and one of the scarier film villains in horror movie history. Bearse, who has become better known for her work in the TV-show ‘Married with Children’, is entertainingly feisty as the teen girlfriend despite being already 28 at the time of filming though you really couldn’t see it.  Though not as well known Dorothy Fielding is very amusing as Charley’s daffy mom and I wished she had been in it more and of McDowall is absolutely perfect in a role that was originally intended for Vincent Price.

While the film has a lot going for it I did find its logic to be problematic. I found the fact that Amy so closely resembles Jerry’s past love from long ago to be too much of a coincidence and felt there should’ve been more of a backstory. The idea that these kids would choose some two-bit actor in their quest to defeat this vampire made no sense as an actor is just reading words off of a script and would have no more insight into vampires than your local junkman. Having Peter be some self-promoting vampire hunter and advertise his ‘vampire eradicator services’ in TV-ads, even if he was just a huckster, would’ve at least been a better choice than expecting someone starring in low budget movies from years ago to be the solution that will ‘save them’. Also, him bringing along a gun that he used in a past movie, in order to deploy it to shoot Jerry’s bodyguard, played by Jonathan Stark, is another head-scratcher because movie guns are props that shoot blanks instead of real bullets.

The use of the cross to ward off vampires gets confusing. When Peter attempts to use it on Jerry it isn’t effective and yet when Charley tries it it works. Jerry says this is because ‘you have to have faith’, but what type of faith? Faith that it will work, or faith in a deity? To help clarify this Charley should’ve been shown earlier, even briefly, as having some spiritual leanings, or just a quick shot showing the Holy Bible in his room would’ve been enough. Also, when Peter uses the cross against the vampire Ed it’ works, so why is this, or does Peter’s ‘faith’ go flip-flopping back-and-forth?

Spoiler Alert!

Having Amy transform into a vampire and to be advised by Peter that if Jerry gets destroyed before dawn  the process will reverse seems like its making up rules as most vampire movies I’ve seen seem to say the opposite like once they’re bitten there’s no going back. Having the two then go back just a few nights later after the big ordeal is over and be snuggling together in his room didn’t seem believable to me. Personally if I were Charley I don’t care how deep my feelings were for her I’d still be frightened to be alone with her especially after seeing her face turn into such a scary bloodthirsty monster. In the back of my mind I’d be paranoid it could happen again and who’s to say it wouldn’t. I realize American audiences are conditioned to expect everything to ‘work-out’ in the end and if it doesn’t they get cranky, but having things here go back to normal was too quick and seamless. Psychologically there would’ve been post traumatic stress by all and this overly smooth resolution is phony.

My Rating: 6 out of 10

Released: August 2, 1985

Runtime: 1 Hour 46 Minutes

Rated R

Director: Tom Holland

Studio: Columbia Pictures

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

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Posted in 80's Movies, Black Comedy, Cult, Horror, Vampire Movies

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Gloria (1980)

Posted on September 15, 2024 | 2 comments

gloria

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Protecting a young boy.

Phil (John Adams) is a young boy whose father (Buck Henry) works as an accountant for the mob and has become an informant for the F.B.I. causing him and his family to become marked for retaliation by the criminal underground. In desperation Phil’s mother (Julie Carmen) pawns the child off on Gloria (Gena Rowlands) who’s their neighbor from across the hall. Gloria initially refuses to take the child as she’s adverse to kids, but eventually agrees as she takes the boy away and into her apartment just as the mob moves in on the hit. Phil was also handed by his father the ledger listing in detail the mob’s incriminating financial corruption and when they’re unable to find it after annihilating his family they then go after the pair. Gloria, who has mob connections from her past including having been in relationship with a mob kingpin, feels she can’t go to the police and must defend the child on her own using only her street savvy and gun, but where ever they go in the city the hit men remain right behind them.

John Cassavetes, who has described this as “a thoughtless piece about gangsters and I don’t even know gangsters” was never intending to direct it and though it’s become his most popular work among mainstream audiences it was one of his least favorites and something he felt embarrassed about doing. He wrote the script simply to sell it and make enough money from it to help him finance his other projects. He completed it in early 1979 and was meant as a vehicle for Ricky Schroeder who was just coming-off doing The Champ and MGM studio was looking for other projects for him to do. Cassavetes intentionally gave it a very commercial feel, much more than any of his other scripts, because he felt it would give it a better chance to sell, but when Schroeder and Barbara Streisand, who was the original choice for Gloria, both turned it down Cassavetes then shopped it around to Columbia Pictures who agreed to take it on, but only if Rowlands played the lead and since she was his wife he then reluctantly took on the directing duties.

The film doesn’t seem like the usual Cassavetes material as I was quite impressed with the location shooting, which takes the viewer to all sorts of New York City locales and makes you feel like you’re right there with Gloria and the boy as they try to maneuver their way around the unpredictable and very dangerous urban jungle. The opening bird’s-eye shot that tracks from the city’s skyline to Yankees Stadium is downright breathtaking and the grimy, rundown interiors of the family’s inner city apartment building effectively illustrates on a purely visual level the fear, stress, and tension of living in the inner city is truly like. Leonard Maltin, in his review, labeled this as being possibly done ‘for laughs’, but I didn’t find anything funny about it except for one amusing comment Gloria makes when she gets stuck in a slow elevator, but otherwise it’s a nail-bitter all the way through.

Rowlands gives her usual stellar performance, but I was hoping for more of an arch with her character. She states right up front to Phil’s mother that she hates kids and yet is pretty much warm and friendly to the child the second she takes him back to her apartment and it would’ve been more interesting to see her cold and indifferent to him initially only to slowly warm-up to him as their shared adventure went on. Buck Henry is also surprisingly good in an unusual casting choice as he’s typically known for his deadpan humor and had very little dramatic acting in his background. It was strange though why such a small, squirmy guy who was hitting 50 would be married to such a hot young Latino woman who looked to be only 24 and I felt this needed to be explained, but isn’t. I also felt the shooting of the family should’ve been shown, it gets implied, but that wasn’t enough. Seeing them shot in graphic style would’ve really hit home how dangerous and serious these people were and would’ve made the tension even stronger.

Critics at the time of the film’s release didn’t like the kid nor his acting and in fact Adams got nominated for the first razzie award for worst actor, which traumatized him so much he decided never to pursue anymore roles and to date this has been his only film appearance. I for one happened to like the kid and yes his character isn’t exactly ‘cute and cuddly’, but real children rarely ever are. They can be as rude, indifferent, and crabby as any adult and since he was brought-up in a troubled neighborhood having him be a bit ‘rough-around-the-edges’ made sense and was realistic. The only acting that I really didn’t care for was from Basilio Franchina who plays a crime boss that Gloria used to date and while he may have looked the part his performance is stiff like he’s just regurgitating lines he’s memorized and there’s no sign of a chemistry between them and their conversation is stilted and unconvincing.

Spoiler Alert!

The mob’s ability to be constantly on the pair’s tale no matter where they went seemed a bit implausible especially being in such a big, congested city, but I was willing to forgive it since the rest of it is so good. The ending was a little problematic too as it has Gloria reappearing disguised as an old lady after it was presumed she was dead. She then reunites with the kid in the middle of a cemetery, but it leaves more questions than answers like how did the two evolve? Did they become like mother and adopted son and where did they ultimately move to since New York for them was no longer safe? This might’ve gotten answered in the sequel that Cassavetes had written, but unfortunately never got green-lit. Remade in 1999 with Sharon Stone in the lead.

My Rating: 8 out of 10

Released: October 1, 1980

Runtime: 2 Hours 2 Minutes

Rated PG

Director: John Cassavetes

Studio: Columbia Pictures

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

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Posted in 80's Movies, Cult, Gangster Movies, Movies that take place in the Big Apple, Thrillers/Suspense

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The Hit (1986)

Posted on September 8, 2024 | Leave a comment

hit

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Not afraid to die.

Willie (Terence Stamp) turns states evidence against the criminal underground that he’d been apart of, which then sends his former partners away to prison, but before they go they sing ‘We’ll Meet Again’ just as he leaves the court room. Ten years later Willie is living the quiet life in Spain as a part of the witness protection program only to have his home invaded by a group of teens who kidnap him and take him to hitman Braddock (John Hurt) who was hired by the kingpin that Willie helped put away. Braddock along with his young partner Myron (Tim Roth) are instructed to take Willie, via a car, to Paris where the kingpin hopes to inflict harm on Willie before eventually killing him. However, things don’t go quite as planned as Willie shows no fear of death insisting that he’s accepted it as a part of the cycle of life and this throws the two hit men off convinced that he must have something up-his-sleeve, but does he?

This is another example where a movie I enjoyed when I first watched it years ago, but doesn’t quite live up to expectations upon the second viewing. For the most part this doesn’t happen that often and there has been some cases where a movie I didn’t like when I first saw it I’ve come to appreciate when seen a second time. This one though is definitely a case of the former and I came away a bit miffed on what its point was. When I first saw it I was impressed by the scene at the waterfall where Willie, who had a chance to escape, but doesn’t and instead decides to spend his time appreciating nature’s beauty until Braddock catches up to him, I found at the time to be quite memorable and unique moment as it revealed that the bad guy in this instance was the one more afraid and insecure of death than the intended victim.

However, there’s a lot of stuff that doesn’t mesh, or could’ve been more convincing. I had a hard time understanding why this sophisticated criminal group would hire a bunch of teen boys to break into Willie’s home (hideout). How could they trust these novices to get the job done and the fact that they’re able to do it so easily makes it seem that Willie’s ‘protection’ as it were wasn’t too impressive. It also negates the effect of the criminal unit. They’re supposedly this cunning, evil, underground group relentlessly pursuing their man against this supposedly intricate government program, but if literal kids can just break down the door with just a bit of effort then the whole operation from both sides comes-off as rather amateurish.

The casting of Hurt as the bad guy isn’t effective mainly because of his meek stature. Stamp was originally intended for that role and with his big build and piercing blue eyes would’ve been perfect, but it was ultimately decided for both actors to play against type and thus the parts got reversed, but it really doesn’t work. Hit men should have an intimidating presence, but with Hurt’s slim figure and quiet, exhausted looking demeanor that doesn’t happen. Roth as his quick-triggered, youthfully naive henchmen makes matters worse as he’s a walking cliche of a teen in over-his-head just biding time before his knee-jerk reactions to do them in. Thus the psychological games that Willie plays with them are not that interesting, or impressive since these two come-off as badly dis-coordinated right from the start and like any average person could easily outfox them.

Stamp’s character is baffling as well. During the courtroom moments he states his testimony is an almost hammy way like he’s making fun of the whole situation, which maybe he is, but it’s not clear as to why and his ulterior motivations are never answered. It’s hard to tell whether he really is a good guy, or maybe secretly a bad one as there are scenes where he puts other potential victims in definite danger and then feigns ignorance about it afterwards. He spends the whole time telling everyone how death doesn’t scare him and yet when a gun does finally get pointed at him he panics and tries to run while also pleading for his life, so which is it? The same goes for Roth’s character who during the course of the movie he seems to be falling for the lady hostage, played by Laura del Sol, and even protective of her and yet when the time comes for Hurt to shoot her he puts up no fight, or resistance, which defeated the momentum and missed-out on what could’ve been an interesting confrontation.

I like movies with multi-dimensional characters and the film does have that and certainly humans can be a bag full of contradictions. However, at some point it kind of needs to explain itself and it fails on that end. Intriguing elements about these people get thrown-in, but the story fails to follow through with it ultimately making it too vague, ambiguous to be full satisfying and in many ways it will most likely leave most viewers frustrated and scratching their heads as they ask themselves what the point of the whole thing was supposed to be.

I did though really enjoy the scenes with Australian actor Bill Hunter who is marvelous in support playing a man who takes over one of Hurt’s friend’s apartments while on vacation only to get the shock of his life when the hit man and his entourage show up unexpectedly. His rather pathetic attempts to mask his fear and trying to somehow carry-on a casual conversation knowing full well he could be blown away at any second is dark comedy gold and by far the film’s best moments.

My Rating: 5 out of 10

Released: May 18, 1984

Runtime: 1 Hour 38 Minutes

Rated R

Director: Stephen Fears

Studio: Zenith Entertainment

Available: DVD, Blu-Ray (Criterion Collection), Tubi, Plex

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Posted in 80's Movies, Black Comedy, British Movies, Cult, Foreign Films, Gangster Movies, Kidnapping Movies, Road Movies

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Meatballs (1979)

Posted on September 2, 2024 | 1 comment

meatballs2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Shenanigans at summer camp.

Tripper (Bill Murray) has been assigned to lead a new group of counselors-in-training while simultaneously pulling pranks on camp director Morty (Harvey Atkin). He also takes shy camper Rudy (Chris Makepeace) under his wings and giving the kid some confidence, so that he can play in sports and feel that he has a chance to win. Tripper also gets involved in the annual Olympiad between his camp, Camp North Star, and their rival Camp Mohawk, which sits across the lake from theirs. Camp Mohawk has won the title the past 12 years, but this year Tripper thinks things will be different mainly because he’s trained Rudy on how to be a cross-country runner due to their early morning jogs together and assigns him, much to the disagreement of the other campers, to run against Mohawk’s top runner in the crucial final race.

This was the fourth film directed by Ivan Reitman and while he went on to direct a lot of big hits I felt here he was still learning the craft and it would’ve been a better movie had someone with more experience been at the helm. Originally it was intended for John Landis to direct, but he was too busy working on The Blues Brothers, so Reitman reluctantly took the reins, but the pacing and tone is all off. To some degree it seems to want to be an Animal House wanna-be filled with off-color humor and slapstick, but at other points it tries for sentimental drama. Nowhere is this more evident than it’s eclectic choice of music featuring bouncy tune by Rick Dees and then turning around and having a sappy song by Maureen McGovern that seems out of place for a film that most of the time dwells in low brow humor.

Story-wise it’s incredibly vapid and seems to almost be plotless most of the way. The main crux of the script is apparently centered around Rudy and Tripper’s attempts to help him find some confidence in himself, but even these moments come-off as trite and thrown-in at haphazard intervals. In-between we get treated to a lot of silly hijinks and benign characterizations that mostly fall flat. There’s a lot of potential story threads that the could’ve been funny, but the movie fails to follow through on.

There’s a segment where the parent’s come to visit for a day, but this lasts for a minute and then it’s over. I also wanted to see the reluctant Rudy give out the morning messages of the day via an intercom set-up that had been traditionally done by Tripper. Since Tripper was going to be out he handed over the duties to Rudy who seemed nervous about the responsibility, so it would’ve been interesting to watching how he ended up approaching it and how the other campers responded, but instead we aren’t shown any of it. The same goes for a little boy who brings a frog with him that doesn’t ever move because he’s ‘tired’ yet we never get any follow-up to this, so why even have the scene, which isn’t funny or interesting anyways, if it has no real point to the plot?

The running gag involving the camp director named Morty who’s constantly referred to as ‘Mickey’ gets overblown and rather dumb. It has him being such a sound sleeper that the other campers, under Tripper’s guidance, move him and his bed, along with his bedside table, out of cabin and into various other parts of the campsite including at one point on a raft on a lake. When he wakes up he then finds himself in a very precarious situation, but it’s hard to believe that someone could sleep that deeply that they would’ve wake-up while they were being moved. Even if that were the case you’d think they’d come-up with some way to prevent it occurring in the future like bolting their door shut, or constructing some sort of booby trap that would catch the pranksters in the act. This could actually make it even funnier as it would be upping the ante each time versus just replaying the same old prank. At the very least you’d expect an ultimate angry confrontation between Morty and Tripper who he knew was behind it, which at one point he threatens to do, as he states ‘we’ll talk about it later’, but we never see the ‘talk’ actually happen, which again makes it seem like the movie really isn’t going anywhere.

Bill Murray, who reportedly wasn’t sure if he wanted to do it due to his SNL obligations at the time, but finally did show up to the shoot on the third day of production, is genuinely quite funny and the only things that saves it from being a dud though it comes close to being one anyways. However, his character does prove to be a bit problematic in the scene where he aggressively tackles an attractive counselor he wants to have sex with, played by Kate Lynch, which would be deemed sexual harassment in this day and age and not the ‘good natured, boys will be boys’ fun that it was considered at the time.

The film though does manage to elicit nostalgic homage to the camping experience, so those that look back to their summer camp days with fond memories may bond to this better. Otherwise I found it highly overrated and genuinely surprised that it did so well at the box office.

My Rating: 3 out of 10

Released: 1 Hour 34 Minutes

Rated PG

Director: Ivan Reitman

Studio: Paramount Pictures

Available: DVD, Blu-ray, Amazon Video, Freevee, Pluto, Roku, Tubi, YouTube

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Posted in 70's Movies, Campy Comedy, Crude Comedy, Cult, Foreign Films, Movies from Canada

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Bone (1972)

Posted on August 4, 2024 | Leave a comment

bone

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Black man terrorizes couple.

Bill (Andrew Duggan) is a slimy used car salesmen residing in Beverly Hills with his bickering wife Bernadette (Joyce Van Patten). He spots a rat in his pool and initially thinks a black man, who calls himself Bone (Yaphet Kotto), is there to remove it. However, Bone has other ideas as he accosts the couple and forces them back inside their luxurious home and begins ransacking it in an effort to find some money. When he is unable to he instructs Bill to go to the bank and take out all the money he has there and come back with it, or he’ll rape his wife. Bill immediately does as he’s instructed, but along the way starts to think he’d be better off without her and decides to not to take the money out and instead goes on ‘a date’ with a young woman (Jeannie Berlin) that he meets while standing in line at the bank. When the other two realize they’ve been had they then conspire to track Bill down and kill him in an effort to collect on his life insurance money.

This was the directorial debut of Larry Cohen who up until this time was mainly known for writing teleplays for many popular TV-series from the 60’s. While he is now famous for doing campy, low budget horror flicks this feature was far different from those and leans more in the arena of black comedy without much suspense. The story though is laced with a lot of social commentary, which is what stands it out and it’s just a shame that this has gotten lost in shuffle with all of his other efforts, some of which were quite cheesy, while this one has some impactful moments and signs of a serious filmmaker with strong potential.

The film though does have a few drawbacks, which I’ll get out of the way first. An ethically dubious car salesman is probably the oldest cliche out there as well as a bickering rich, white couple making the premise seem a bit predictable. The husband and wife are shown to be at odds immediately and thus there’s no surprise then when hubby decides not to try and save her.

While Kotto is certainly a big guy he still should’ve come with a weapon (a gun, or at the very least a knife) and the fact that he’s able to take control, so quickly without one makes it seem a bit too easy.  He just pops-in as if he were a genie, a few shots showing him casing the neighborhood would’ve helped alleviate this, and he should’ve been wearing a mask to disguise his identity, unless he was planning to kill them, but without a weapon that wasn’t likely to happen. He’s also able to find incriminating financial information about the hubby a bit too conveniently as this is a big house and yet within a matter of two minutes he comes upon it, which seemed too rushed.

The excellent acting though more than makes up for these other issues. Duggan certainly looks the part of an aging, compromised suburban businessman whose eaten up with guilt and depression. While only 49 at the time he appears more like 69 and I could’ve done without the scene where he runs down the street topless making his sagging skin and chest muscles quite evident. Van Patten is equally terrific and surprisingly goes fully nude in a well-shot and edited assault moment. Jeannie Berlin has some fine moments too as a gal Duggan picks-up who initially seems quite ditzy, but eventually reveals a very sad and painful experience from her past, which manages to be quite profound. Kotto too is good particularly his sinister smile even though Paul Winfield was the original choice and I think would’ve been better, but Cohen found his acting to be ‘too genteel’, so he went with Kotto instead.

What I really liked were the segues and intermittent cutaways that help reveal the darker side to the Duggan character like his imaginary car commercials were he starts to see bloody crash victims inside the vehicles he’s trying to sell. The imagery showing a German Shepheard dog that he used for those commercials and what he ultimately does with him is also quite alerting. The shots dealing with their adult son in jail and the climactic sequence in some sand dunes are quite strong to the extent it gives the movie a powerful punch at the end and makes it almost criminal that this isn’t better known.

Alternate Titles: Housewife, Dial Rat for Terror

Released: July 22, 1972

Runtime: 1 Hour 35 Minutes

Rated R

Director: Larry Cohen

Studio: Jack H. Harris Enterprises

Available: DVD, Amazon Video, Tubi

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Posted in 70's Movies, Black Comedy, Cult

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The Island (1980)

Posted on March 23, 2024 | Leave a comment

island

By Richard Winters

My Rating: 0 out of 10

4-Word Review: Journalist investigates pirate hideout.

Blair (Michael Caine) is a newspaper reporter who becomes intrigued about the reports of missing boats in the Caribbean. He gets the permission from his editor to travel down there to investigate and he takes along his 12-year-old son Justin (Jeffrey Frank). The trip proves dangerous right from the beginning when the plane they’re traveling in crashes on one of the islands when the wheels of the craft fail to operate as its trying to land. They then go on a fishing trip only to be attacked by some pirates living on an uncharted island. Justin is brainwashed by the head of the group, Nau (David Warner), to become heir while Blair is put to the task of being the resident scribe and in the process becomes the source of romantic affection to Beth (Angela Punch McGregor) whose husband he killed earlier during the attack on their fishing boat. While Blair desperately searches for an escape he becomes even more worried about his son who no longer shows any loyalty to his father and instead considers himself a descendant of the pirates.

This was another one of Caine’s ‘paycheck projects’ where he’d do the film simply on the basis of the monetary offer regardless of the script quality. He has since regretted this decision and refuses to talk about it in any of his interviews while privately labeling it the worst film of his career. The script was written by Peter Benchley and based off of his novel of the same name. Since Benchley also wrote Jaws he was for awhile deemed a hot commodity in Hollywood, but after this movie tanked his status diminished completely and he was never offered another script deal again though his 1991 novel ‘Beast’ did get adapted into a TV-movie.

The main problem is the disjointed tone that comes off at times as a thriller and at other moments a comedy. The scenes of violence, which start out right away, are completely botched. The first one has what’s clearly a mannequin put in place as the victim and thus makes the stabbing sequence unintentionally laughable. The second violent episode where the pirates raid another boat has the victims not making a single sound as they’re being hacked and thus allowing their daughter to sleep through it, but I feel men and women will definitely yell out in terror as their fighting for their lives. The third raid features one of the victims trying to take on the pirates, one-by-one, karate style, but this turns the thing into a farce and makes the pirates engaging in a weird sort of way, which saps away all the suspense.

The concept that this pirate community would be inhabiting an uncharted island for centuries and not found out is unbelievable to the extreme. They come-off like people lost in a time warp who are confused and baffled by modern technology, but they’re clearly able to get off the island whenever they want, so why wouldn’t they travel to other islands, or even the mainland where they would come into contact with the modern day civilization? Even if the whole group didn’t go there would most likely be a few who’d be curious enough to want to explore what else was out there. Having the pirates get into a time machine from the 1600’s to the modern day, or be the ghosts of pirates from long ago, as wacky as those concepts may be, would still be better than doing it the way it gets done here.

The Caine character is boring and the way he gets put on this assignment is ridiculous as his boss just tells him ‘to go’, without putting up any provisions like how long he’ll be staying, where exactly will he be traveling to, how many articles would he be writing and when would they be due, or even whether the newspaper would even be compensating him for the cost. With terms this loose a person could frolic away on some tropical vacation and his employers wouldn’t have known the difference. He’s also never shown writing anything on a notepad, or typewriter, or dictating into a tape recorder, so it barely seems like he’s a journalist at all. The idea that Caine would be the only person on the planet intrigued by these disappearances is absurd too as relatives of the victims would be demanding answers and there would be other news reporters wanting to travel there in an effort to be the first to get the ‘big scoop’.

It’s also odd that a father would choose to take his son on such a dangerous mission knowing full well that others who have traveled to this area have disappeared without a trace making it seem like he’s an  irresponsible parent. The kid also gets ‘brainwashed’ too quickly, literally overnight, making it seem like he might have some sort of mental disorder if he’s able to change personalities and allegiance that fast. The idea of putting match sticks in his eye sockets and thus not allowing him to sleep would most likely dry his eyes out and blind him instead of getting him to come onto their side and like them. The pirates are also able to do the same ‘brainwashing’ with another young girl they kidnap, but how is this primitive group so adept at child psychology in ways that modern man isn’t?

Spoiler Alert!

The ending, which features Caine annihilating the entire group via a M2 machine gun is cool though it should’ve been done in slow motion to fully accentuate the violent depravity. The subsequent chase through the dark bowels of the ship between Caine and his son and Nau where you hear the creepy splashing of the sea water hitting against the ship’s bottom isn’t bad either. Unfortunately everything that comes before is a wretched mess making it by all accounts one of the worst and most inane films I’ve ever seen.

My Rating: 0 out of 10

Released: June 13, 1980

Runtime: 1 Hour 54 Minutes

Rated R

Director: Michael Ritchie

Studio: Universal

Available: DVD-R, Amazon Video, YouTube

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Posted in 80's Movies, Action/Adventure, Black Comedy, Cult, Drama on the High Seas, Kidnapping Movies, Movies Based on Novels, Movies with Nudity

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A Boy and His Dog (1975)

Posted on February 14, 2024 | 1 comment
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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Surviving after nuclear holocaust.

The year is 2024 and the landscape of the U.S. has been turned into a wasteland due the after effects of a nuclear war that occurred in 2007. Vic (Don Johnson) is an 18-year-old that wanders around with his telepathic dog named Blood (voice of Tim McIntire). Blood helps Vic find women to rape while Vic scavenges for food for their survival. One night while watching an X-rated movie at a makeshift theater Blood is able to gain the scent of a woman nearby named Quilla (Susanne Benton). Quilla and Vic eventually have sex, but then she disappears to the underground society that survives inside a biosphere. Vic decides to follow her there while Blood remains above ground waiting for Vic’s return. Once Vic arrives he finds everyone there to be in whiteface and dressed like people living on the farm during the turn-of-the-century. He meets Lou (Jason Robards) along with Dr. Moore (Alvy Moore) and Mez (Helene Winstone) who all three run things. They convince Vic to stay there as he has a ‘purpose’ of becoming a stud and impregnating the young women since the men there can no longer do so. At first Vic is excited about his newfound ‘job’ as he is always quite horny, but after he finds out the details of what he must do he relinquishes his duty, but realizes it may be too late.

The story is based on the novella of the same name by Harlan Ellison who wrote the original screenplay that was later finished by director L.Q. Jones who used his own money to help get the film financed. While the movie does have some intriguing and memorable visuals, logic-wise there are some holes. One of the biggest ones is that, at least hypothetically, there would most likely have been a nuclear winter, which is what would be created after a nuclear war due to so much soot being blown into the atmosphere that it would block out most of the sunlight for several decades and create a night time effect and for this reason the outdoor scenes should’ve been filmed at night in order to replicate the ongoing darkness.

Vic’s conversations with his dog, which all gets done telepathically, is odd too and never sufficiently explained. How does this dog attain this ‘gift’ and why is it only him and not other mutts that can do it too? It would’ve been better had it been explained that some modern invention had been created that would allow communication between owners and their pets, but even this fails to explain how the dog manages to be so incredibly smart. Don’t get me wrong the voice-over work by McIntire is delightful, but how did the animal get so well-read that he even knows the Latin origin of words? Is there a dog college that teaches them this?

Vic’s extreme urges to have sex all the time seemed out-of-place too. Granted he’s a young guy with raging hormones, but psychologically when a person is in a desperate situation, in this case simply trying to survive in a hostile environment with very little food, then a person’s most basic needs come first and it’s all they’ll think about. Finding something to eat, they’re forced to go out each day and hunt for something, and acquiring shelter for sleep, would be their pressing needs and what would occupy their minds most day-in and day-out while the sex need would become secondary and only have his focus once the other needs were met, but in this story the sex urges seem to take precedent, which doesn’t make sense from a human behavioral perspective, nor where he’d get the energy to do it since he’s pretty malnourished to begin with.

The X-rated movie that they watch at a ‘theater’ is goofy too as it amounts to nothing more than a grainy black-and-white stag film from the 50’s even though technically by 2007, which is when the bombs dropped, there was porn on the internet and explicit DVD’s some of which would’ve probably survived the blast and thus they’d be watching those instead of something found in grandpa’s ancient collection. Though this is what makes the movie entertaining not so much for what it gets accurate in their predictions, which isn’t much, but more what it gets wrong.

The one thing though that really stands-out, at least for me, and makes the movie memorable, though this apparently wasn’t the case with the film’s initial test audience who called these scenes ‘slow’ and ‘boring’, are the moments that take place in the underground society. The look of everyone walking around like robots and resembling farmers from a bygone era has a kitschy flair like something out of a Federico Fellini movie. Hal Baylor, as one of the main menacing robots that can’t seem to ever go down even when being directly shot at, steals every scene he is in and helps create some definite tension. I also got a kick out of everyone wearing white face, which I thought was to explain their pale complexions due to not be out in the sun, but it seems to be instead obviously painted on, so I’m not sure what that was meant to represent.

The twist ending is terrific and the film’s final line, which Ellison detested and tried having taken out, is a keeper. While its attained a cult following there are still the detractors who feel its ‘misogynistic’ though I don’t really see it.  Sure Vic sees women as sex objects and ‘conquests’, but there’s guys out there that are like that. Quilla is conniving and duplicitous, but some women are like that too. The movie isn’t saying that all men and women are like this, but in environments that are as desperate as this one it will tend to bring out the worst in human nature, which was all the film was trying to convey from my standpoint.

My Rating: 7 out of 10

Released: May 15, 1975

Runtime: 1 Hour 31 Minutes

Rated R

Director: L.Q. Jones

Studio: LQ/Jaf Productions

Available: DVD, Blu-ray, Amazon Video, Pluto, Roku, Tubi, YouTube

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Posted in 70's Movies, Black Comedy, Cult, Movies Based on Short Stories, Movies with Nudity, Sci-Fi

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Strange Shadows in an Empty Room (1976)

Posted on January 5, 2024 | Leave a comment

strange

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Cop’s sister dies mysteriously.

Tony (Stuart Whitman) is a tough-as-nails veteran cop who gets the shocking news that his younger sister Louise (Carole Laure) is found dead at a party she had attended. Initially he presumes it’s George (Martin Landau) a middle-aged doctor whom she’d been having an affair with and who gave her a injection at the party, but later he realizes there might be more to the story than he thought and begins investigating other avenues that leads him to a wild and completely unexpected conclusion.

The film was directed by Alberto De Martino who had done other Italian produced films that were rip-offs of better known Hollywood hits with this one clearly being inspired by Dirty Harry. It was filmed in Montreal and Ottawa, Canada, but done by an Italian film crew making it seem more like an overseas production with very little Canadian elements to it. Overall the quality looks cheap and the story has a lot of twists that don’t make a lot of sense, or are believable.

Two that stood out right away to me is during the party scene where Louise fakes illness simply to get George’s attention to make him come over there and away from his wife. Then when he tries to help her she lets him know it was all a gag. A few minutes later she passes out for real and he responds in a worried way, but you’d think since he got taken advantaged of just moments earlier he’d presume this was just another prank and not take it seriously. Also, at her funeral Tony begins to suspect there’s more to her death than what is known and requests an autopsy be done, but an autopsy is standard procedure that should be done after any unexplained death, especially since the victim was so young, and thus seems absurd that he should have to request it only as her body is already in the casket and ready to be buried.

Whitman, who was nearing 50, looks too old for this kind of thing and it’s hard to imagine he would, in reality, be able to physically keep up with these much younger suspects who force him to chase them around in airports, along crowded city sidewalks, and even in hospitals. He’s not the most ethical guy either as he has no problem drowning one of the men he’s questioning in a sink of water as a method of interrogation, which should normally get an officer in trouble. There’s also no glimpses of his personal life, so we never learn anything about him, or see any other dimension except for his rough cop persona. Most other cop movies, or at least the good ones, do have a few scenes dealing with the policeman’s private side, but here there’s none, which makes the character flat and uninteresting. Having the victim be his sister didn’t make too much sense since she was clearly quite a bit younger than him and making her his daughter would’ve been more believable and more devastating when he has to come to terms with her darker side.

The supporting characters are, just like with Whitman’s, poorly fleshed-out. It’s hard to be intrigued who the suspects are when they all seem alike and say and do nothing that’s interesting. The film does have one long car chase, which has some impressive stunts, but it seemed unnecessary as the man driving away from the cops really didn’t have much to hide and is essentially not interrogated once Whitman catches up to him, and he offers only a little piece to the puzzle, so why tear up the city streets and completely destroy two cars if he’s not in dire trouble? Better to have saved this for the finale with the bad guy who really is the culprit than just some minor player who isn’t seen, or heard of again.

I did enjoy the foot chase through the hospital that comes at the end and even goes through a maternity ward and ultimately onto the roof of the place. The story does feature many twists and I did appreciate the way it shows how policeman can make the wrong guesses on who they think is guilty and go on many long tangents that don’t lead anywhere before they realize their mistake. However, more effort should’ve been made to create unique characters as the ones provided here are wooden and banal.

Alternate Title: Blazing Magnum

My Rating: 4 out of 10

Released: March 9, 1976

Runtime: 1 Hour 39 Minutes

Rated R

Director: Alberto De Martino

Studio: Fida

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

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Posted in 70's Movies, Cult, Fast Cars/Car Chase, Foreign Films, Italian Films, Movies from Canada, Mystery, Police Drama

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Cold Turkey (1971)

Posted on December 20, 2023 | Leave a comment

coldturkey

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Small town quits smoking.

To commemorate the passing of Norman Lear last week at the ripe old age of 101 we decided to review the one film that he directed and was shelved for two years by the studio who didn’t think it would be a hit with any audience and only decided to eventually release it once Lear had success with the classic ‘All in the Family’ sitcom. The story revolves around a small town in Iowa named Eagle Rock. The Reverend Clayton Moore would like a bigger congregation in a more prestigious area as he feels trapped in what he considers a ‘dying’ town with limited employment opportunities. He then hears about a contest that a giant tobacco company is sponsoring where they try to see if there’s a town in America that will make a pledge to agree to quit smoking for 30-days and if they succeed will be awarded $25 million. Merwin Wren (Bob Newhart), who works for a tobacco company, bets that there isn’t a place that would be able to make this pledge, but Clayton, figuring this may be his ticket out and onto greater things, pushes the citizens to sign the pledge, which will then put Eagle Rock on the map.

The location of the film shoot was Greenfield, Iowa, which I traveled to in 2009 and was amazed how similar it still looked after 40 years. The opening sequence showing the town from the south end still had many of the same buildings and the courthouse along with the gazebo in which the reverend makes his fiery speech are all still there and looking almost untouched.

The town itself is really the main star. Lear does a terrific job of showing the people who live there as they really are versus in some idealistic, or romanticized way. Too many other Hollywood productions seem to suffer from the Mayberry effect where the citizens are portrayed as simple and content ‘God Fearing’ folk who are devoid of any complex personality. Here they are frustrated individuals who secretly dream of moving away, or ‘hitting it big’ in some way, but because they don’t have the means to achieve this ultimately find themselves stuck and just trying to make the best of it. The people are no more immune from temptation, or corruption, than the ones living in a big city and if anything are even more susceptible since they haven’t been put in that situation much, but when they are, as evidenced when the place gets spoken about all over the media and everyone from all over descends on it including Lottie (Gloria Leroy) a prostitute under the guise of being a masseuse who services all married men.

Beyond the on-target satire the film also scores with its fabulous ensemble of character actors, many of whom would later star, or guest star, in many of Lear’s TV-shows. Each actor plays a distinct personality from Barnard Hughes the fidgety and nervous doctor who resorts to lollipop sucking, or Graham Jarvis the head of a far-right organization, who preaches about the evils of ‘big government’, but then readily accepts for his group, which is mainly made up of senior citizens, to become a voluntary gestapo-like militia that arrests those who are caught smoking and forcibly search all in-coming vehicles. Pippa Scott though, as Clayton’s much put-upon wife, was my favorite. She encompasses what I think a lot of small town people can feel especially those that weren’t originally from the area, who are stuck in a dead-end marriage and perennially forced to ‘put on a happy face’. Her primal scream, which happens during a dream-like segment on the rooftop of one of the houses while neighbors stand around watching I felt was one of the film’s defining moments.

In the lead roles Dick Van Dyke is terrific mainly because he plays against type. Part of what I felt killed his movie career was that he took too many roles that were just an extension of his Rob Petrie persona in his famous TV-show. Here though he’s the opposite playing an egotistical, narcissists who cares about nothing other than his own career ascension, but manages to do it in a way that’s quite amusing. Newhart plays an unusual role for him as well. Typically he’s a buttoned down, strait-laced guy commenting on the insanity around him, but here he is the nutty one and does a trick with his eyes that gives him a psycho appearance.

Spoiler Alert!

The one flaw is the ending in which all three leads (Van Dyke, Newhart, Hughes) get shot in the middle of a crowd of people standing in the town center. The shootings look fake as they show no bullet hole in their clothing, or blood even just a little bit for authenticity. One shot shows people in the crowd holding the heads of the victims as they lay there in an effort to comfort them, but then in the next shot has the three lying all alone as the crowd essentially abandoned them, which seemed unrealistic that absolutely no one would care. Having an ambulance driver trying to drive-in through the mob, but then maybe stopping to run out and grab the cigarettes that rain down on the town from a helicopter, would’ve been amusing and better explanation for why the three didn’t get the help that they needed.

There’s also one shot showing Newhart sitting up and laughing, but what is he laughing about and why would he be doing this when he’s been injured with a bullet? There’s no answer to this, which makes it come-off as a cop-out ending and like Lear had written himself into a hole that he couldn’t get out of.

My Rating: 7 out of 10

Released: January 20, 1971

Runtime: 1 Hour 41 Minutes

Rated GP

Director: Norman Lear

Studio: United Artists

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

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Posted in 70's Movies, Black Comedy, Cult, Movies with a rural setting, Offbeat, Satire

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