Category Archives: Movies Based on Stageplays

Americathon (1979)

By Richard Winters

My Rating: 0 out of 10

4-Word Review: Time for a telethon.

The year is 1998 and the nation is suffering from an oil shortage, which forces everyone to get around using bikes and roller skates while cars are now nothing more than immobile objects lived in by those with little money. Due to the energy crisis President Jimmy Carter and his administration are lynched by an angry mob and replaced by a young, new-wave type politician named Chet Roosevelt (John Ritter). Chet’s first order is finding a way to save the country from bankruptcy and he decides to do it by broadcasting a national telethon hosted by B-celebrity Monty Rushmore (Harvey Korman).

The film is based on a skit done by The Firesign Theatre, which was a popular satirical group that poked fun of the politics and issues of the day by performing live action stories with a stream of consciousness narrative. The group was made up of four men who wrote all of their material together and no line of dialogue, or joke was allowed to be included in their scripts unless all four of them agreed on it.

While much of what they did was original and cutting edge this movie fails to capitalize on it. I was confused as to what the intended focus of the parody was supposed to be on. It seemed to be aiming for light satire, but the references and potshots that it does take in connection to politics, television and celebrities are quite sterile and the film is in desperate need of more edginess.

The pacing is also quite poor. The characters are nothing more than broad caricatures and the plot too over-the-top to take seriously, so the emphasizes is clearly on the humor, but the jokes needed a rapid-fire delivery like in Airplane to work instead of gags that are so subtle and drawn out that you barely even notice them.

The casting is off too. John Ritter is an engaging actor, but here he displays no energy at all and comes off like he’s been tranquilized with some sort of drug. Harvey Korman is talented in a sketch comedy setting, but annoying as a lead. The film seems to be aiming for the college crowd and 20-somethings, so why cast someone like Korman, who was in his 50’s at the time, and considered completely out-of-touch with that generation?

I did like Peter Riegert, who is appealing simply because he plays the only normal person in the cast, which should’ve been enough reason to give him the most screen time, which he doesn’t get, in order to help offset the misplaced ‘zaniness’ around him. I was also confused why George Carlin narrates the film instead of Riegert since he seems to be speaking through Riegert’s character.

Out of the entire runtime there are only two segments that are actually semi-funny. One includes a bit where Meat Loaf takes on a driverless car and defeats it like a matador battling a bull. Jay Leno plays a fighter in another segment who takes part in a boxing match against his own mother who continually taunts him by calling him ‘poopy butt’. Unfortunately everything else falls flat and nothing is worse than a comedy that thinks it’s being ‘hip’ and ‘edgy’ when it really isn’t.

Strangely both IMDB and Wikipedia list Cybill Shepherd in an uncredited role as the ‘Gold Girl’, which is very brief. Although the woman playing the part certainly looks and sounds a bit like Cybill I’m convinced that it really wasn’t her.

My Rating: 0 out of 10

Released: August 10, 1979

Runtime: 1 Hour 24 Minutes

Rated PG

Director: Neil Israel

Studio: United Artists

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

That Championship Season (1982)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Their reunion turns sour.

On the 25th anniversary of when they won the state high school basketball championship four members of the team get together with their coach (Robert Mitchum) to celebrate. George (Bruce Dern) who made the winning shot is now the town’s mayor and up for reelection. James (Stacy Keach) is a high school principal while his younger brother Tom (Martin Sheen) has become a vagabond alcoholic. Phil (Paul Sorvino) is the most successful of the group even though his business methods aren’t always ethical. It’s his revelation that he has had an affair with George’s wife that sends the gathering into a freefall where long dormant secrets from all the members slowly come to the surface.

The film was written and directed by Jason Miller, best known for playing Father Karras in The Exorcist, and the play version, which he also wrote won him the Pulitzer Prize. Despite the rave reviews of the play I was genuinely shocked how lifeless and boring the film is. It takes 35 minutes before any real conflict is introduced and once it does it’s all very contrived. The opening half-hour is nice as it was filmed on-location in Scranton, Pennsylvania, which was Miller’s hometown, but the second half is done completely inside one home, which makes it very stagey. Flashback sequences were done to help make it more cinematic, but unwisely cut by the film’s producer.

The plot thread dealing with Sorvino’s character having an affair with Dern’s wife seemed so utterly contrived that I literally had to roll my eyes when it gets brought up. It’s almost like they had to throw in something to keep it interesting so why not just make it the oldest, most clichéd soap opera-like thing they could think of. What’s worse is we never see this woman in question despite her being the catalyst for all the drama nor any explanation of where she is or what she is doing.

The acting is good for the most part, which is the only reason I’m giving this thing even 2 points, but at times the performers have trouble rising above the melodramatic material including the scene where Keach tries to put on a cry while describing his mistreatment by his father, which sounds very fake and unintentionally laughable.

Sorvino walks around with jet black hair except for a big white patch on the back of his head, which is distracting and gets shown a lot, but never mentioned by any of the other characters. I’ve never seen anyone with that condition, except for someone who intentionally highlighted it like that and even so I don’t think that was the case here. The producers should’ve had that spot dyed black like the rest of his hair to avoid the distraction, or had one of the other characters joke about it in passing, so the viewer didn’t have to keep wondering why they are the only ones seeing it and nobody else was.

The final scene where the men listen to a tape of when their team scored the winning shot, which brings tears to their eyes, is the only segment that rings true and hits home how high school for some people can be the highlights of their whole lives and everything afterwards is all downhill. The rest of the movie though is an exercise in boredom and filled with sterile characters dealing with generic issues.

My Rating: 2 out of 10

Released: December 9, 1982

Runtime: 1Hour 50 Minutes

Rated R

Director: Jason Miller

Studio: Cannon Film Distributors

Available: DVD

The Ritz (1976)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Hiding out in bathhouse.

On the run from is homicidal brother-in-law (Jerry Stiller) heterosexual businessman Gaetano (Jack Weston) decides to hide out inside a Manhattan bathhouse unaware that it’s for gay men only until he’s already stuck inside. While there the overweight Gaetano gets harassed by an amorous chubby-chaser (Paul B. Price) as well as an aging starlet named Googie (Rita Moreno) who thinks Gaetano is a Broadway producer who can finally give her the long-waited break that she feels she deserves. Things get even worse when his brother-in-law finds out where Gaetano is hiding and proceeds to shoot up the place until he is finally able to weed him out.

For a farce, which is based on the hit Broadway play by Terence McNally and has much of the same cast recreating their roles for the movie, this thing is pretty much dead-on-arrival. The plot is thin and predictable and not enough happens to justify sitting through it. There are a few snappy lines here-and-there, but overall it’s effect is flat while filled with a lot of mindless running around that eventually grows quite tiring. Director Richard Lester has had success with this genre before, but the material here is unimaginative and second-rate and having everything confined to one setting gives it a claustrophobic feel.

The supporting cast gives the proceedings a boost and to some extent saves it from being a complete misfire. F. Murray Abraham nails it as a flaming queen and manages to elicit laughs with every scene he is in. Treat Williams is quite good as an undercover detective who’s a very well built man, but stuck with the voice of a 5-year-old. Jerry Stiller is surprisingly effective as the gun-toting bad guy and this also marks the film debut of John Ratzenberger.

Kudos must also go out to Moreno whose hilariously bad rendition of ‘Everything’s Coming up Roses’ is a film highlight. I also liked the precarious way that she puts on her eyelashes and the fact that her so-called dressing room is inside the building’s boiler room. The only performance that doesn’t work is Weston’s as his character is too naïve and his over-reactions to everything that occurs around him quickly becomes one-dimensional.

There may have been a time when this type of storyline would’ve been considered ‘fresh’ over even ‘daring’, but that time is long gone. In fact I couldn’t believe how tame and shallow it was. Whatever passed for farce back-in-the-day is no longer tangible, which makes this one relic that deserves its place on the back shelf of obscurity.

My Rating: 3 out of 10

Released: August 12, 1976

Runtime: 1Hour 31Minutes

Rated R

Director: Richard Lester

Studio: Warner Brothers

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

Chapter Two (1979)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Trying to start over.

George (James Caan) is a famous author who has just lost his first wife. His brother Leo (Joseph Bologna) gives him the phone number to Jennie (Marsha Mason) who has recently gone through a divorce. After an initially awkward first encounter the two form an attachment and quickly decide to get married. Then on their honeymoon the memories of George’s recently deceased wife comes back to haunt him, which jeopardizes his new marriage.

The film, which is based on the hit Broadway play that ran for 857 performances and was written by Neil Simon, is largely inspired by the events of his own life as he lost his first wife, Joan Baim, on July 17, 1973 and then quickly married actress Marsha Mason on October 25th of that same year. Mason is essentially playing herself and her performance here is one of the movie’s stronger points.

An aspect of the film though that I found even more interesting is the fact that it reteams Mason and Caan just 6 years after they had starred in Cinderella Liberty. The romantic angle here though is much more realistic as both people are on a more equal footing as a relationship cannot work if one person is too severely dependent on the other. I also enjoyed seeing how Mason, a highly underrated actress, could effectively play both an emotionally weak person as she did in the 1973 film and a very strong one as she does here. My only quibble is that her character is again portrayed as being an actress just like she was in The Goodbye Girl, but there she was wracked with anxiety and struggling financially as most artists do while here she seemed too financially secure and more like a woman working in the corporate business world.

The film has a nice breezy pace and the romance is allowed to blossom naturally without ever feeling forced, which along with the excellent on-location shooting I really liked. The problem though comes with the fact that the leads are quite bland when compared to their supporting counterparts, which are played by Bologna and Valerie Harper. Bologna seems to steal any film he is in and he really should be given more starring vehicles. Harper is equally strong and nothing like her more famous Rhoda Morgenstern persona. Their characters have engaging flaws and the banter between them is far more comical. The film shifts uneasily between scenes featuring Caan/Mason to those with Bologna/Harper until it seems like two completely different movies going in opposite directions.

Having Caan’s character go from being really crazy about Mason to suddenly and quite literally overnight becoming aloof towards her is too severe and comes off like he is afflicted with a Jekyll and Hyde disorder. Likewise Mason is too forgiving with it when most people would simply get a quickie divorce since they had known each other for only 10 days. Yet even with all of these weaknesses I still found it a soothing and easy-to-take movie that should please romance aficionados everywhere.

My Rating: 7 out of 10

Released: December 14, 1979

Runtime: 2Hours 4Minutes

Rated PG

Director: Robert Moore

Studio: Columbia Pictures

Available: DVD (Sony Choice Collection)

Buddy Buddy (1981)

buddy-buddy-2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Suicidal man hampers hit.

Trabucco (Walter Matthau) checks into a hotel intent on completing a hit by shooting a mob informant before he can testify at trial. He’s already killed the two other informants with relative ease, but now finds this one to be much more complicated due to having to deal with Victor (Jack Lemmon) who resides in the adjoining room. Victor is upset that his wife Celia (Paula Prentiss) has left him for a sex therapist (Klaus Kinski) and proceeds to try to hang himself by tying the noose around the water pipes in the bathroom, but all he succeeds at doing is busting the pipes and creating a flood. Trabucco decides to ‘befriend’ the man in order to keep an eye on him and prevent him from trying to kill himself again, which he feels will only lead to unwanted attention from the authorities. However, Jack causes more problems for him than the police ever could.

This was the last film directed by Billy Wilder who stated in more than a few interviews that he considers this movie to be his poorest effort and his least favorite. Matthau and Lemmon have pretty much said the same thing as well. The film was a critical flop and lost 3.5 million at the box office, which helped to prevent Wilder from ever helming another movie again.

However, I was delightfully surprised at how funny I found this movie to be. It’s not exactly laugh-out-loud hilarity, but on a low-key level it works. The part where Lemmon gets tied to a chair and his mouth gagged while he screams at an ambivalent housekeeper (Bette Raya) to free him is quite good and the part where the two men going gliding down a clothes chute is fun too.

The whole thing is a remake of the French film A Pain in the A__, but it implements changes to the plot that improves it from the original. For one thing the dialogue is funnier, the two men have more genuine conversations and they even develop a bit of a bonding. The film adds more characters too like the beleaguered Captain Hubris played by Dana Elcar who tries in vain to protect the witnesses from Trubacco, but with little success. The distinctive musical score by Lalo Shifrin is also big improvement.

Lemmon is quite funny as he plays a sort-of hyped-up version of his Felix Unger character. Matthau seems a bit stymied in a role that allows for very little expression, but he still manages to make the most of it. My favorite performance though was that of Kinski who takes a rare comic turn and utters the movies best line: “Pre-ejaculation means always having to say you’re sorry.”

Having the two actually work together to complete the hit and then make an escape from the cops is good and something that did not occur in the original. The resolution, which takes place on a tropical island, is a bit of an improvement over the first one though it’s still not perfect. In either event it’s a relatively solid comedy that offers a few good laughs and deserves more attention especially for fans of Lemmon/Matthau.

buddy-buddy-1

buddy-buddy-3

My Rating: 7 out of 10

Released: December 11, 1981

Runtime: 1Hour 36Minutes

Rated R

Director: Billy Wilder

Studio: MGM

Available: VHS

A Pain in the A__ (1973)

pain-in-the-ass-1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Loser irritates hit man.

Ralf (Lino Ventura) works as a hit man and is hired to assassinate Louis Randoni (Xavier Depraz) who plans to testify against the mob. Ralf checks into a hotel room and plans to shoot Louis as he tries to enter the courthouse from his hotel window, which sits across the street from the court building. As he prepares for the hit he becomes distracted by Francois (Jacques Brel) in the neighboring room who attempts to kill himself after his wife leaves him. Ralf is concerned that Francois’s actions will elicit unwanted attention, so in an attempt to quiet him he ‘befriends’ him, which leads to many ironic scenarios.

The film was written by the prolific Francis Veber and based on his play. Ultimately it’s just a one-joke premise, but what makes it work are the two characters particularly the hit man who is portrayed in a serious way and never once betrays the essence of who he truly is, which is that of a cold blooded killer intent on doing his job and then moving on to his next. The comedy comes from his perturbed reactions at having to deal with a loser that despite his best intentions he can’t seem to ever get rid of.

Famous singer Brel does quite well as the clingy pest who is so wrapped up in his own personal quandaries that he fails to notice that his new ‘friend’ really isn’t his friend at all. Brel’s boyish looks plays well off of Ventura’s constantly stern expression and the plot becomes almost a constant play on errors as each one misreads the other.

The overall set design though is boring and the majority of action takes place solely inside the two hotel rooms, which eventually makes the proceedings quite static. It would’ve been nice to have had more of a conversation between the two as Brel does almost all of the talking while Ventura simply remains quiet while looking bored and angered, which is fun for a while, but more of a character arc could’ve been implemented.

The ending is a cop-out and not satisfying at all. I also felt Ventura was a bit too old and the character would’ve been more intimidating had it played by someone younger and more rugged although for the record Ventura plays the role perfectly especially when he gets injected with a drug that makes him tired and reluctantly  dependent on Brel’s guidance.

In 2008 Veber directed a remake of this film, which met with some success. Also in 1981 director Billy Wilder did an American version of this with Jack Lemmon and Walter Matthau playing the two leads. That film ended up adding a few changes and will be reviewed tomorrow.

pain-in-the-ass-2

My Rating: 6 out of 10

Released: September 20, 1973

Runtime: 1Hour 31Minutes

Rated PG

Director: Edouard Molinaro

Studio: Mondex Films

Available: VHS

Down and Out in Beverly Hills (1986)

down-and-out-in-beverly-hills

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Bum befriends rich family.

Jerry (Nick Nolte) has been living on the streets for years to the point that he has become used to it. One day his dog that is starving runs away from him and befriends a lady on the sidewalk who gives him food and eventually takes him home with her. When Jerry realizes that his pet is gone he panics and goes throughout Beverly Hills on a mad search. When he can’t find him he decides to drown himself in a pool of a posh household. Dave (Richard Dreyfuss) is the owner of the home who saves Jerry before he can kill himself and the two begin an awkward friendship. Jerry is even invited to move in with the rest of Dave’s family, which quickly sends the household out-of-control.

This film is a remake of the 1934 French classic Boudu Saved from Drowning and director Paul Mazursky nicely weaves the theme of the rich befriending the poor into the tapestry of Reagan’s ‘80s capitalism. The pace is breezy and non-confrontational and shows the wealthy as actually being the weaker of the two as they are much less able to adjust to harsh elements while trapped in their sterile surroundings and boring livelihoods simply so they can keep up the challenging pace of staying in tandem to the standards of society’s upper crust.

Midler has some funny moments as the snotty wife who doesn’t at all enjoy Jerry’s presence until he is able to give her a type of orgasm that she never had. Nolte is excellent as the bum in one of his best all-around performances. The scene where he eats dog food straight out of the bowl alongside the family’s pet Matisse (Mike the Dog) is an absolute keeper.

There are also some great supporting performances including ‘50’s rock icon Little Richard who plays Dave’s rich African American neighbor and is just as wealthy as the rest of the people in the neighborhood, but still feels badly discriminated against and doesn’t mind letting anyone he meets know about it. I also enjoyed that Mazursky stays with his ongoing theme of employing his own real-life therapist (Donald F. Muhich) into many of his movies. Muhich had already appeared as a psychiatrist in three of Mazursky’s earlier efforts and here appears again as a mental health counselor, but this time for the family’s dog.

At that times though the film does get a bit too serene and seems to blithely ignore many of the more serious elements of homelessness. Many scenes make it seem almost like they want to be on the streets and even enjoy it. It also would’ve been funnier had Dave been more a rich snob and his personality contrasted more severely with Jerry’s only for him to eventually come down to his level at the end, but overall I still found the whole thing to be amiably entertaining.

My Rating: 7 out of 10

Released: January 31, 1986

Runtime: 1Hour 43Minutes

Rated R

Director: Paul Mazursky

Studio: Buena Vista Pictures

Available: DVD, Amazon Instant Video, YouTube

This Property is Condemned (1966)

this property

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Mother pimps her daughter.

Owen Legate (Robert Redford) arrives in the small town of Dodson, Mississippi in the 1930’s to carry out an unpleasant task. He’s been assigned by his employer to layoff many of the railway workers in the area due to the economic depression. Many in town are not pleased with his presence and want him to go while even threatening him with violence. Alva (Natalie Wood) is the only one who takes a liking to him despite the fact that he consistently gives her the-cold-shoulder in return. She’s been forced by her mother (Kate Reid) to ‘entertain’ the male guests that stay at their boarding house and Owen wants none of it as he finds her dreamy, child-like personality to be off-putting and even an illness. Yet the longer he stays the more entranced with her he becomes, but he wonders if he’ll ever be able to get her away from the clutches of her domineering Mother.

This film was considered by critics at the time to be ‘trash’ and that was most likely due to its provocative subject matter that was clearly years-ahead-of-its-time, but with a script written by Francis Ford Coppola and Fred Coe, produced by John Houseman and directed by Sydney Pollack in a story based on a Tennessee Williams play couldn’t be all that bad and this clearly isn’t and in fact it’s excellent and should be considered a classic instead. The recreation of The Deep South from the ‘30s is spot-on and the on-location shooting done in the small town of Bay St. Louis, Mississippi lends some terrific atmosphere. The dialogue is sharp and the well-paced script leads to emotionally charged scenes of high drama.

Redford’s cool and detached persona is put to great use and I liked seeing a scenario where it’s the girl chasing after the guy for a change. Mary Badham is equally good in her first film after doing To Kill a Mockingbird, but here she is much more attractive with long hair and sans the Tomboy look. There is also solid support from both Charles Bronson and a baby-faced Robert Blake who just three years later reteamed with Redford in Tell Them Willie Boy is Here.

Wood gives an excellent performance as well, but I had a hard time understanding her character as her perpetual flights of fancy didn’t make much sense. The script seems to say that this is her ‘defense’ and escape from her harsh life, but any woman whose been forced into prostitution by her mother and pawed at by literally every man who comes along would most likely become hardened and bitter and learn to distrust and dislike any man who came near her.

Kate Reid as the mother also posed some initial problems as she looks too young for the part and in reality was only 8 years older than Wood who played her daughter. However, there is a birthday celebration where she is given a cake full of candles to blow out, but she refuses as she feels that 43 is getting ‘too old’, which made me realize that back then people had kids earlier even before they were 18 and therefore her still youthful look by our standards could be forgiven and even understood.

The final half is where this thing really comes together and includes a great confrontational moment between a drunken Wood, who really did get drunk in order to get into the scene, as well as her picturesque journey to New Orleans. Like in most movies the odds of her suddenly bumping into Owen after a couple of short days in the city seemed pretty slim, but I could forgive it as the rest of the film is so strong that any minor flaw with it is hardly worth discussing.

My Rating: 8 out of 10

Released: August 3, 1966

Runtime: 1Hour 50Minutes

Not Rated

Director: Sydney Pollack

Studio: Paramount

Available: DVD, Amazon Instant Video, YouTube

Don’s Party (1976)

dons party 1

By Richard Winters

My Rating: 8 out of 10        

4-Word Review: This party gets wild.

It’s October 25, 1969 and the election for Australian Prime Minister is being broadcast all over the nation. Don Henderson (John Hargreaves) is a Sydney suburbanite hoping that the Labor Party will unseat the incumbent Liberal one and invites his friends over to his home to watch the results. Things start out cordial at first, but as the night wears on and the alcohol takes its toll it heats up. Sexual escapades, arguments and fistfights breakout as the veil of civility comes off and their true selves come out.

This is playwright David Williamson’s most famous work and one that was not only a giant hit in his homeland, but has achieved worldwide acclaim. What I loved about the movie and what makes it so funny is that it cuts out the pretense and shows people as they really are while becoming a scathing indictment on suburbia. Most movies tend to pullback and sanitize things, but this one takes the opposite approach with a crude, in-your-face style that pokes holes at every level of suburban lifestyle that is refreshingly honest and totally accurate. The characters are excessively crass and there’s an abundance of sex and nudity, but sprinkled with a definite grain of truth that makes it more revealing about human nature than shocking.

An actual house was used for the setting, which helps avoid the static feeling and director Bruce Beresford does a good job of taking advantage of all the different rooms in the place and uses a variety of camera angles and shots to give it a nice visual flow. The performances are unilaterally superb and the actors appear genuinely intoxicated making the viewer feel drunk with them as they watch them down one beer after another.

The film’s drawback is that the characters lose their inhibitions too quickly and behave in an unnaturally aggressive way right from the start. It would’ve been more fun had they been overtly civil at the beginning only to watch it slowly deteriorate as the film progresses. There are also a few scenes where the background music is too loud and it’s impossible to hear what the characters are saying, which makes this otherwise slick production come off as a bit amateurish.

I first saw this movie back when I was in college and at the time I just didn’t get it. It seemed excessively profane without any redeeming qualities and filled with characters who were hateful and crude, but then I saw it years later after I’d lived in suburbia and become middle-aged it all suddenly made sense. In fact it made a little too much sense as the message it conveys and portrait it creates is not a pleasant one, but I admire the filmmakers for having the tenacity to bring it to light without compromise or hesitation.

dons party 3

My Rating: 8 out of 10

Released: November 10, 1976

Runtime: 1Hour 30Minutes

Not Rated

Director: Bruce Beresford

Studio: 20th Century Fox

Available: DVD

The Removalists (1975)

removalists 1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Cops abuse their authority.

Having just graduated from police training Neville (John Hargreaves) is both excited and nervous about joining the force. His first day on the job working at a small police station with the conservative and boisterous Sargent Dan Simmonds (Pete Cummins) as his new boss gets off to a rocky start and then gets even worse when two sisters arrive to report an incident. Kate (Kate Fitzpatrick) is the older of the two who says that her shy younger sibling Marilyn (Jacki Weaver) has been abused by her husband Kenny (Martin Harris) and will require the services of the two policemen to help move her things out of her apartment and keep Kenny under control while they do it. The two cops oblige, but to everyone’s shock the Sargent immediately becomes physically abusive to the husband when he enters the place and while he has him handcuffed. The beatings escalate throughout the day until Kenny looks to be on the brink of death forcing the two officers into a heated argument over what type of alibi they should use should the victim eventually die.

The film was written by the talented David Williamson and based on one of his stage plays. Williamson is noted, especially in Australia, for his darkly humored subject matter and scathing wit with this one being no exception. It starts out with a caustic tone that just proceeds to get stronger as it progresses. The actions by the Sargent are disturbing and reprehensible, but the fact that the character doesn’t see it that way and expounds on the importance of ‘self-control’ and having a rigid morality shows just how out-of-touch he is with his own contradictions, which makes him quite human and strangely engaging while also making a great commentary on the abuse of police power.

This also marks the film debut of legendary Australian actor John Hargreaves who went on to have a remarkable film career with a wide array of interesting roles before unfortunately dying at age of 50 from AIDS. His portrayal of a nervous and hesitant new recruit is humorously on-target, but the way his character becomes more emboldened as the day wears on is even more interesting.

The film’s downfall is the fact that the sets are visually dull. To some extent this works particularly in the rundown apartment that the majority of the action takes place in because it helps to symbolize how trapped the characters are with their own deteriorating and misguided value system, but it still ultimately gives the film too much of a low budget and unimaginative look. The story itself is predictable and although laced with darkly amusing moments could’ve been funnier and played-up more.

My Rating: 6 out of 10

Released: October 16, 1975

Runtime: 1Hour 33Minutes

Not Rated

Director: Tom Jeffrey

Studio: Seven Keys

Available: DVD (Region 0)