Category Archives: Movies from Canada

Crossover (1980)

patman1

By Richard Winters

My Rating: 3 out of 10

4-Word Review: He’s slipping into insanity.

Mr. Patman (James Coburn) works as a nurse at a psychiatric ward in Canada. While he enjoys his work and the patients respond well to his methods he’s put-off by some of the other doctors and administrators who he feels don’t really care about the people they’re supposedly trying to help. He’s also carrying on an affair with two women. One is Nurse Peobody (Kate Nelligan) who works at the same hospital he does and the other is Abadaba (Fionnula Flanagan) the wife of his landlord. While trying to juggle these two women and dealing with the pressures of his job he begins seeing strange visions and fears the he may be losing his mind.

This is quite similar to Beyond Reasonwhich starred Telly Savalas. This one though fared a bit better at least for the first 20 minutes. I liked the way the hospital and the patients are portrayed where their impulsive and unpredictable behavior gives it a certain creepy vibe and the staff needs to be high alert at all times, or face the consequences, which for me brought out the realistic stresses of doing a job like that. The bleak, gray, and rainy setting of Vancouver, shot there to take advantage of the Canadian tax concessions that were given to film production companies at the time, helps accentuate the grim elements.

The film though fails to take advantage of what could’ve been an intriguing plot. Not enough weird visions are seen and the few that are, are underwhelming. It should’ve been approached as a thriller and filled with all sorts of nightmarish and surreal imagery that could’ve helped build the tension, but instead it gets treated as a drama with long talky segments between Coburn and his two girlfriends that bogs the whole thing down until you don’t care what happens. John Guillermin, the director, had helmed many successful features before this one including: King Kong, Death on the Nile, and The Towering Inferno, but shows no panache here and seems to be giving the material only a half-hearted effort. It might’ve done better had John Huston, who was the original choice to direct, had been hired instead.

Coburn, who stated that he did the movie due to an interest in the character who decides he finds the crazy world inside the hospital more comforting than the outside one, but later admitted that had he read the script after its numerous rewrites instead of accepting the offer upfront, he most likely would’ve rejected it, is excellent and the only good thing about the movie. Nelligan, who described the film as being a ‘nightmare’ while working on it as well as calling it an embarrassment, is not as interesting and the entire supporting cast is blah though the young woman patient named Miss Montgomery, played by Tabitha Harrington, who enjoys walking around nude at least offers some diversion.

The script was written by Thomas Headly Jr. in 1971 who later went on to write Flashdancewhich storywise is quite different from this. There’s also a twist ending, though I figured it out long before it gets there and others most likely will too. I feel this was the type of concept where it started with the ending and then gotten written from there, but more side elements were needed instead of just relying on the twist to make it interesting, which for a 30-minute episode of ‘Twilight Zone’ might’ve worked, but as a feature film it gets stretched too thin.

Alternate Title: Mr. Patman

My Rating: 3 out of 10

Released: September 5, 1980

Runtime: 1 Hour 37 Minutes

Rated R

Director: John Guillermin

Studio: Film Consortium of Canada

Available: DVD-R (j4hi.com)

Blackout (1978)

blackout

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Criminals invade apartment complex.

Inspired by the actual power blackout that occurred in New York City on July 13-14, 1977 the story centers on a group of felons lead by Christie (Robert Carradine) who are being transported to another prison. Along the way their police van crashes and the van drivers are killed instantly, but the felons survive. When they climb out they find that the city is without power. Using the police uniforms of the two dead drivers as well as their weapons they’re able to sneak their way into a nearby apartment complex under the pretext that they’re policemen and therefore the security guard allows them in only to be immediately killed once he does. The crooks then terrorize the residents by conning their way into each of the apartments the same way they did to get into the complex. Once they’re inside they rob the tenants and at certain points even kill them. Dan (James Mitchum) is an off-duty police officer who breaks into the complex to help save Annie (Belinda Montgomery) who’s being attacked and screaming for help from her balcony. He then single-handily goes about trying to track down the armed group despite being outnumbered.

This was yet another example where the entry in Leonard Maltin’s book does not accurately describe what occurs as whoever wrote the review states that it’s ‘balanced with black comedy’ though there’s really no comedy in it except for a brief exchange between a husband and wife attending a Greek wedding, which occurs at the beginning, but after that it’s all gritty drama.

The production was directed by Eddy Matalon who started his career doing music videos for Bridgette Bardot during the 60’s before graduating to soft-core porn in the 70’s under the pseudonym Jack Angel. He eventually, in 1977, tried his hand at horror with the universally derided Cathy’s Curse before following-up with this one, which fares better and as a grim thriller even succeeds though it’s not perfect.

My biggest complaint is that it cuts out too many pivotal moments. It shows how they enter into one apartment and even choose another because it has triple locks cluing them in that a rich person with a lot of expensive stuff must live there, but there’s other times when it does not show why they break into the apartments that they do. There’s hundreds of dwellings inside the complex and they weren’t going to be able to bust into all of them, so the reason for why they choose the ones that they do needed to be shown each time. There’s also a segment where Mitchum shoots and kills one of the perpetrators in the hallway, but it’s never documented where they take the body, or if they just leave it there for all to see.

Some of the stuff gets a bit over-the-top like when they kill the guard and then stage it to look like a suicide, but why would these desperate crooks care to take the time to do that? They’re in a rush to rob as many residents as they can before the power comes back on, who why not just put the dead guard’s body into a back room and be done with it? Tying Mitchum up into a contraption that would electrocute him once the power came back-on seemed too similar to the campy predicaments that would be the cliffhanger for each episode of the ‘Batman’ TV-show. These two-bit thieves wouldn’t have the care, or sophistication to do that. Either kill the guy, or tie him up the conventional way, but getting excessively overboard with it seemed too theatrical and predictably gives him just enough time to escape.

Mitchum is enjoyable. I liked how at the beginning he tries to chase down a purse snatcher, but fails, which shows that he’s not perfect and relatable, which makes you want to root for him even more to stop the bad guys. I did though have misgivings with Montgomery’s character who gets raped, but immediately after that she saves two people trapped in an elevator and even delivers a baby, which is too quick a recovery from such a traumatic event.

Aging stars from Hollywood’s gold era appear as the residents, but are given little to do especially June Allyson who’s seen for less than 5-minutes. Ray Milland’s segment had potential as he plays this rich, stuffy guy who refuses to give the intruders the combination to his safe even as they torture his wife. Eventually he gives in, but it would’ve been fun had he remained stubborn. They’d burn-up his place, which they do anyways, and kill his wife, but he’d still refuse to give it out. Then when the cops finally do arrive he could say in his last dying breath amidst the burned cinders “At least they never got the combination.”

My Rating: 6 out of 10

Released: August 25, 1978

Runtime: 1 Hour 32 Minutes

Rated R

Director: Eddy Matalon

Studio: Cinepix Film Properties

Available: DVD, Blu-ray

The Rubber Gun (1977)

rubber1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Making cash dealing drugs.

Steve (Stephen Lack) is a cash-strapped would-be artist who hasn’t made any money with his art exhibits in the past 5 years and has turned to drug dealing in order to bring in some income. He lives in a cramped, rundown studio apartment in Montreal with his makeshift ‘family’ who are also dealers as well as addicts. Bozo (Allan Moyle) is a student at nearby McGill University who is doing a thesis paper on drug use with the controversial position that it has positive effects and chooses Steve’s family as his subject, but without letting them know what he’s doing. Steve though is beginning to have second thoughts about being in the business as he sees what it does both on himself and those around him especially Pierre (Pierre Robert) a bi-sexual heroin addict who’s the father of a young daughter that he doesn’t seem able to take care of and whose addiction has caused him to become a narc with the police feeding him heroin in order to get info on Steve and the family.

Fascinating, experimental film that’s quite similar to Dealingbut with much more of an avante-garde flair. Director Allan Moyle, whose first film this was, takes the Paul Morrissey approach where he gives the actors a general idea of what the scene was about, but then lets the performers ad-lib the lines. The result is much more of a conversational quality where discussions ramble on a bit, much like in real-life, but remain revealing and amusing throughout.  Instead of feeling like you’re watching a movie it seems more like a documentary giving one a rare vivid view of the counterculture movement north of the border.

Probably the biggest surprise is Stephen Lack, who also co-wrote the screenplay and co-produced. I saw him in Scannerswhich he did 4 years after this one, and felt he gave one of the worst performances of a leading man I had ever seen and one of the main reasons that film didn’t succeed as well as it could’ve. Here though he’s amazingly engaging. Maybe it’s because he’s playing an extension of himself as I have no doubt that this is loosely based on his own experiences as a struggling artist, but the guy is quite funny in virtually everything that he says and does and I enjoyed how we see all different sides to his character from his partying one to more of a responsible one and by the end disillusioned with dealing. He even has a scene where he talks about regularly visiting his parents each week, who are quite conservative and unaware of his ‘occupation’, though it would’ve been even more fun to see the actual visit versus just discussing it.

My favorite character was Rainbow a small child, the daughter of Pierre and his girlfriend, who couldn’t have been more than 3 who goes on with her playing as the grown-ups in the room talk about drugs and other things. The image of innocence inside a room of jaded debauchery is darkly amusing. What’s better is that unlike most other movies she’s not given any cutesy lines to say and simply allowed to be herself, which makes her all the more engaging. Despite what’s initially perceived as ‘bad parenting’ you still get the feeling that these fringe adults do love the kid and in their dysfunctional way care for her, which ultimately makes the characters more appealing to the viewer instead of less.

The film has an obvious low budget look, with faded color, grainy stock, muffled sound, and choppy editing. Some may consider this a detraction, but it also helps accentuate the fringe realism with a kick-ass soundtrack to boot. In an era now where everyone his trying to make a movie on their phones with virtually no money this film should be used as a prime example on how to get it done by creating multi-dimensional characters and then allow the actors to fill-out the details through their improvisation, which helped lead writer/director/star Moyle to a Hollywood contract where he went on to make even more interesting movies on a bigger budget.

My Rating: 6 out of 10

Released: April 24, 1977

Runtime: 1 Hour 26 Minutes

Not Rated

Director: Allan Moyle

Studio: St. Lawrence Productions

Available: None

The High Country (1981)

high

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Escaping into the mountains.

Jim (Timothy Bottoms) is arrested for dealing marijuana and taken by police car to jail when the brakes in the vehicle go out and the car overturns, which allows him to escape, but not before being shot in the arm by one of the officers. Kathy (Linda Purl) is an adult woman, who can’t read while also suffering from other learning disabilities. She leaves the family that she’s been staying with and goes hitch-hiking when she comes upon the injured Jim. Initially the two have nothing in common, but she’s able to help him with his injury and guide him over a rugged mountainous terrain, which will be out of reach to the authorities who are after him and in the process the two begin to form an unlikely bond.

While the film doesn’t have much to cheer about I did at least like the mountain scenery, filmed on-location at the Banff National Park in Alberta, Canada. There’s also a few marginally tense moments where the two scale the side of the mountain, where like in the movie Deliverance, it’s the actors doing the actual climbing and not stunt people. I also enjoyed the offbeat humor of having Jim attend a bar where a sign hangs that read’s ‘absolutely no profanity allowed’ (what sort-of self-respecting bar would have this rule. I guess only in ‘nice’ Canada) and a brawl breaks-out when one of the patrons decides to swear.

The performances are engaging especially Purl’s whose blue-eyes exude the perfect look of innocence. I was though frustrated that we never get to see these ‘cigarette trees’ that she mentions and says is somewhere in the mountain country as I was expecting the movie to have an answer since the script brings it up. The film also initially shows Kathy reading a story to some children making it look like she can read, but we’re told later that she was only ‘telling’ the story, but a good director would clue the viewer in right away that something isn’t right with her reading and those around her can sense it.

Bottoms is strong too though it’s surprising how far his career had tumbled where in the early 70’s he was getting starring roles in acclaimed Hollywood movies, but by the 80’s was relegated to low budget indie projects and foreign films. His character here is a bit snarky and he’s hard to warm-up to though the scene where he saves Kathy helps remedy this. The fact though that he has a bullet lodged in his body and is initially in great pain with a bad infection and yet this all magically gets healed without ever receiving proper medical care seemed dubious.

Spoiler Alert!

I was not so happy with the father character who arrives pretty much out of nowhere in the third act and is somehow able to track the two down when no one else can. It’s never clear whether this guy is meant to be a nemesis, or not and he should’ve been introduced earlier and made a stronger impression upfront. He also looks way too young to be Kathy’s father, who’s clearly in her 20’s and yet he doesn’t have any gray hair and with his big bushy mustache and muscular physique looked better suited for a 70’s gay porno.

The dumbest thing though is how at the end it implies that Jim and Kathy get into a romantic relationship, which defies all credibility. There’s too much of an extreme mental disparity between the two. It will always be a parent-child scenario versus that of two people on equal footing. In fact that’s one of the reasons I got bored with it as there’s clearly limits to how far this quasi friendship, with Kathy being stuck with the mind of a 10-year-old, can go and the fact that the film creates this idea of a wondrous romance is just too absurd to swallow. The start of a nice little friendship where they become pen-pals would be cute enough, but anything more than that; no!

My Rating: 2 out of 10

Released: March 20, 1981

Runtime: 1 Hour 38 Minutes

Rated PG

Director: Harvey Hart

Studio: Crown International Pictures

Available: None

By Design (1981)

by design

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Gay couple wants baby.

Helen (Patty Duke) is a fashion designer who’s in a relationship with Angie (Sara Botsford). Despite running a successful clothing business together Helen still longs to be a mother. Angie isn’t so excited about having a kid, but if it makes Helen happy she’ll go along with it. The coupe initially consider artificial insemination, but turn it down when they see the type of male clientele that are allowed in and the adoption agency rejects them outright due to being gay. They eventually set their sights on Terry (Saul Rubinek) an obnoxious and sleazy photographer who works for them and has been hitting-on Helen for years unaware that she’s a lesbian. Helen hopes to have a one-night-stand with him simply to get impregnated, but as the planned event draws near she begins to have second thoughts.

The story certainly has potential and was ahead-of-its-time, but the way director/writer Claude Jutra approaches the material by implementing ill-advised silly humor and trying to turn it into a basic sitcom is all wrong. The one thing that I did surprisingly like was Saul Rubinek. Normally he’s not a favorite of mine, but here he plays the scuzzy, lecherous male on the prowl perfectly. I found it interesting too at seeing how much things have changed. He gets reported for touching a woman in her private area on the job without her consent, which would mean immediate termination today, but the two protagonist women bosses don’t do that. Instead they brush-it-off with a boys-will-be-boys mindset inadvertently making the woman who brought it to their attention feel embarrassed and even humiliated for coming forward.

What I didn’t like was his extreme transformation at the end where he becomes this kind and caring soul that’s too much of a change that wasn’t earned and makes him seem like two different people. The fact that he was unaware that Helen was gay even though everyone else knew seemed a bit preposterous. In keeping with the character’s arrogance and conquest nature he should’ve been fully aware of her being lesbian, but convinced he could ‘cure’ her of it if she simply went to bed with him. His relationship with one of the models, Sonia Zimmer, who for whatever bizarre reason has romantic inclinations for him even though during one photo session he says some of the most degrading and demeaning things I’ve ever heard a guy say to a woman, so unless she’s a masochist there’s absolutely no reason why this beautiful woman should desire him and thus making this romantic side-story completely stupid and unnecessary.

The story starts out okay and had me hooked for a little bit, but it quickly goes downhill. The jump-the-shark moment is when Helen has sex with Terry and at the same time for some inexplicable reason Angie has random sex with some guy (Alan Duruisseau) that she meets in a parking lot, but she’s a confirmed lesbian, so why the sudden/extreme shift? If she’s pan-sexual, or bi-sexual or just has some latent desire to sometimes ‘swing-both-ways’ is fine, but that needs to be introduced earlier and not suddenly thrown-in, out-of-nowhere without warning. The scene also culminates with Angie and Helen calling each other on the phone and professing their love for the other as they continue to have sex with the other men, which I know the director thought would be a ‘hilarious’ moment but comes-off as incredibly dumb instead.

Had this been handled in an intelligent manner it could’ve been ground-breaking, but the director was clearly insecure with the material and thus decided to just give it the jokey treatment, which ruins it. Duke also seems miscast though shockingly you do get to see her nude in a couple of scenes of which she looks pretty damn good.

My Rating: 3 out of 10

Released: May 16, 1981

Runtime: 1 Hour 32 Minutes

Rated R

Director: Claude Jutra

Studio: Astral Films

Available: DVD-R

Goldenrod (1976)

goldenrod1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Injured champ seeks comeback.

Jessie (Tony Lo Bianco) is a successful rodeo rider who’s idolized by his oldest son Ethan (Will Darrow McMillan). His fortunes though take a turn for the worse when he’s seriously injured by a horse who stamps on his hip. Doctors tell him he’ll never be able to ride again, which causes him to become depressed. His wife Shirley (Gloria Carlin) leaves him for another man (Donnelly Rhodes) forcing him to go searching for other employment. After doing odd jobs he finally gets hired by John (Donald Pleasance) a alcoholic who lives alone on a farmstead and promises big things, but delivers little. Jessie’s depression worsens and he even attempts to kill himself, but his son Ethan saves him. Ethan then tells him that he wants to be a rodeo rider, hoping that the money he wins can help get the family back on track, but Jessie worries that Ethan will face the same hardships that he did and tries to talk him out of it, but to no avail.

This Canadian entry, which was filmed on-location in the province of Alberta, and partially shot at the world famous Calgary stampede, works off the same formula as the Canadian classic Goin Down the Road, which focused on two losers with big dreams who get in way over-their-heads. Jessie character is the same way. When he’s winning he’s arrogant and thinks he’s above the common man only to then learn a hard lesson. This type of character arc though isn’t interesting as the viewer shares no emotional connection in the protagonist’s plight and in some ways delights at seeing his misfortune since he was so diluted at the start that it all seems like a good comeuppance to bring him back down-to-earth.

Lo Bianco plays the part surprisingly well being that he was an Italian-American born and raised in Brooklyn, so why the producers felt he’d be a good pick to play a Canadian cowboy is a mystery, but he pulls it off and even manages to speak in a Canadian accent while losing his Italian one that he spoke with in The Honeymoon KillersThe character though is almost cartoonish with a child-like optimism that you’d think by middle-aged would’ve been vanquished. He starts to show some humility towards the end, but more of it should’ve come-out already at the beginning in order to make him appealing and relatable.

The film focuses quite a bit on the wife at the start only to have her disappear and then eventually come back at the very end, but this is too much of a departure and the movie should’ve cut back and forth, at least a little bit, showing how she was getting along with her new hubby while Jessie struggled raising the kids. Also, you’d think if she really loved the kids she’d want to stay in contact with them and not just abandon them, which is how it comes-off. Pleasance, who spent the 70’s dotting-the-globe working on films in three different continents, gets wasted in a role that starts out with potential, but ultimately doesn’t lead to much.

The picturesque scenery is nice, but the benign story doesn’t have anything unique or memorable. The dialogue lacks a conversational quality and used more to help narrate the story and describe what’s going on that in a good film should’ve been shown visually. I was surprised too that it takes place in the 50’s because it wasn’t until halfway through when a poster advertising a rodeo and the date on it is 1953 that I had even became aware of this. Up until then it could’ve easily been the 70’s. The only two things that give it a bit of a period flavor are the older model cars, but since some people like to drive these refurbished vehicles I didn’t consider it a tell-tale sign that it was a bygone decade. There’s also brief shots of the Canadian Red Ensign, which was the Canadian Flag before the Maple Leaf one, which didn’t come into effect until 1965. Otherwise this could’ve easily been a modern day story and probably should’ve been as setting it in the past doesn’t give it any added insight.

My Rating: 4 out of 10

Released: September 22, 1976

Runtime: 1 Hour 37 Minutes

Not Rated

Director: Harvey Hart

Studio: Ambassador Film Distributors

Available: None

Skip Tracer (1977)

skip1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Highly motivated debt collector.

John (David Petersen) enjoys his job working for a collection agency and going after people who are delinquent with their loan repayments. He has achieved ‘Man of the Year’ honors at the company and is motivated on attaining that title again. Brent (John Lazarus) is a young trainee who’s having a hard time getting the hang of it. He asks John for guidance by following him around and observing how he gets things done. John is reluctant at first, but eventually agrees. However, as their partnership evolves John starts having second thoughts about the ugly side of the business.

I worked briefly in the bill collecting business and can say first-hand this film gets it right. Director Zale Dalen must’ve worked in it himself in order to recreate it so accurately and what makes this film so good is the way it reveals the business to those who aren’t familiar with it to the extent that it’s like you’re not viewing it, but instead visiting it. The script smartly stays away from jazzing-up the storyline for the sake of drama and keeps everything on a believable level, which makes the graphic ending all that more startling. Even though it was made 45 years ago it’s still quite accurate to what could easily occur in collections offices today with the only difference being that there would be computers on the desktops now versus typewriters.

Petersen, in his film debut, is excellent, I’ve personally known people just like his character and their obsession with rising up in the company overshadows everything else even if it means becoming a complete jerk. What I didn’t get, and the one element that hurts this otherwise strong film, is that he lives in a rundown apartment and drives a beat-up car. If money is his drive and he’s won Man of the Year honors then I’d think he be living in a far ritzier place. Having the company demote him by taking away his office didn’t jive either. This seems like the type of guy who’d be arrogant enough to walk out of a company that didn’t show him the respect he felt he deserved and with his debt collection skills he could easily find another position at another collection agency, so watching him put up with the abuse from his boss undermines the character.

Spoiler Alert!

The film’s shocking ending is strong and comes as a complete surprise, but I wanted to see more of a transition to the character. He essentially walks away from the job and down the street, but no idea where he ultimately ends-up. I would’ve preferred seeing him begin a new job, something that was much different than bill collecting, in order to make the transition complete because what’s to say he doesn’t just get another job, especially if his experience is in that area, that isn’t much different than the one he left? Keeping things as wide-open as it does isn’t as satisfying as seeing him working some lowly position even at lower pay, which would hit-home to the viewer that no matter how bad things were now we’d know he’d still never go back to his old ways.

End of Spoiler Alert!

This is one of the better films to come-out of Canada when it tried to jump-start its fledgling movie industry back in the 70’s. For his efforts Petersen won the Best Actor award at the 1977 Canadian Film Awards and Dalen won it for Most Promising Newcomer. The film also manages to achieve the amazing feat of making Vancouver, one of the rainiest and gloomiest cities in the world, look sunny and inviting.

My Rating: 7 out of 10

Released: August 17, 1977

Runtime: 1 Hour 35 Minutes

Rated PG

Director: Zale Dalen

Studio: International Film Distributors

Available: Blu-ray

Spasms (1983)

spasms3

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Giant snake uses telepathy.

Years earlier millionaire philanthropist Jason Kincaid (Oliver Reed) got attacked by a giant serpent snake while on a trip in Micronesia. His brother, who went with him, died from the attack, but Jason survived and in the process began acquiring a telepathic connection to the snake. He pays some poachers to capture it and have it brought to his mansion. He also tries to use the services of Dr. Brasilian (Peter Fonda) who specializes in ESP research to help end the ongoing communication that the snake has with him.While Kincaid’s private lab is being constructed the snake is kept at the university lab run by Brasilian, but the reptile escapes and begins killing anyone it sees.

The film is based on the novel ‘Death Bite’ by Michael Marky and Brent Monahan, who wrote it in hopes of cashing in on the Jaws craze and having it made into a movie. The two were excited when a Canadian production company decided to produce it, but quickly became disillusioned with all the production delays and rewrites. When the original studio went bankrupt and the new one insisted on adding in a supernatural element the two writers to walk-off the set and disown the project.

Despite the film’s checkered history I found the production values to be quite impressive especially for a horror movie. The on-location shooting is varied and authentic, particularly the island setting and the main character played by Reed is less cardboard than in most other scary movies. Unfortunately the pacing is slow and not enough happens. I was expecting more scares and blood, but there really isn’t much of it.

The film’s biggest downfall is that you never get to see the snake. Initially during the attacks everything gets shown from the snake’s point-of-view by having a blue filter put over the camera lens, which doesn’t work because it’s done via a tracking shot making it look like the snake glides through the air instead of slithering like a real one would. Outside of a few seconds of seeing its head pop-up, which looks like a hand puppet, we’re never shown the beast in its entirety. Originally the idea was to use live snakes, which would’ve been great, and a 14-foot Indian Python was brought in, but this was found to be too costly and time-consuming, so it got scrapped. They then tried to use animatronics, but director William Fruet didn’t like the way it looked onscreen, so this was shelved too essentially making this a snake movie, but without any snake.

Despite being reportedly drunk most of the time during the production Reed adds a nice intensity though it made no sense at the end when he begins walking around without a cane even though he had being using one the whole time earlier. The special effects showing the victim’s arms and faces ballooning out after they’re bitten is pretty cool, but the ending is a letdown. It was supposed to feature a violent showdown between Reed and the snake, including having his arm swallowed by the beast, but director Fruet didn’t like the look of the special effects, so these scenes were cut and flashbacks showing things that had happened earlier got thrown-in simply to pad the runtime.

The big lesson here is that if you’re going to make a movie about a giant, monstrous snake then you need to at some point show it. Even if it means spending big on computer effects, or bringing in a real one, the effort has to be made. Trying to do one without actually showing the snake, as the snake here is probably seen a combined 10 seconds and never its full body, and expecting the audience to still go home satisfied afterwards is pretty absurd.

My Rating: 3 out of 10

Released: October 28, 1983

Runtime: 1 Hour 30 Minutes

Rated R

Director: William Fruet

Studio: Pan-Canadian Film Distributors

Available: VHS

Incubus (1982)

incubus1

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Demon being rapes women.

In a small Wisconsin town known as Galen the women are being sexually assaulted by a mysterious being with super human strength. When the victims are taken to the hospital they are seen by Dr. Sam Cordell (John Cassavetes) who notices an extraordinary amount of semen deposited that is reddish in color and doesn’t seem left by a human. Sam argues with the local sheriff Hank (John Ireland) about whether it’s a gang of men doing these crimes, or just one person. The two team-up with Laura (Kerrie Keane), a local reporter who has just moved into town and shares a striking resemblance to Sam’s former girlfriend who’s now deceased, to find the culprit. They begin to think it may be Tim (Duncan McIntosh) a young man who’s still living with his adopted mother (Helen Hughes) and has been dating Sam’s daughter Jenny (Erin Noble). Tim complains about having weird, vivid dreams and every time he wakes up a new crime has been reported, which makes Sam fear that Jenny may be the next victim.

This film approaches things differently from the conventional horror, especially those done in the 70’s, where there’s no character build-up and just jumps right into the attacks, but this doesn’t work because we have no idea who these people are nor care what happens to them making the viewer sit through the whole first half in a rather apathetic manner to what’s going on. The film also makes the mistake of not showing, with the exception of a brief second where we do see the creature’s hairy arm, of who this entity is until the very end though it should’ve been done sooner. Having some mystery is good, but a film has to keep upping the ante otherwise it will get tedious and seeing the attacks get done over and over in virtually the same manner without any new information or twists added soon becomes quite boring.

Listening to Sam and Hank perpetually argue who the culprit is for almost the entire film without much  clues being added in becomes tiresome too. The film though is helped immensely by John Hough’s direction who adds a lot of visual style including a cool tracking shot done from underneath a wheelchair.

I was unhappy though that it wasn’t actually filmed in Wisconsin, but instead Guelph, Ontario, which has homes and buildings that resemble more of a colonial style that you would find in the northeast versus the Midwest. Having movies filmed on-location that’s specific to the story can help give it an added ambiance and sometimes even work as a third character, but since this movie cheats on this we don’t get that here.

Casting Cassavetes, who is better known for directing groundbreaking, independent movies, in the lead was a novel move. His hawk-like facial features I always felt would’ve made him a good bad guy, but his unique acting approach does at least keep his scenes interesting though his relationship with his daughter does border on cringey. One shot has him viewing his naked daughter, who is 17, through a  mirror as she gets out of the shower, which seems to imply, though it never gets played-out, that he may have a perverse sexual interest in her. There’s another scene where he introduces her to Laura as simply being ‘a woman I live with’, which is a very weird way for a father to describe a daughter.

The supporting characters aren’t captivating at all. Laura, who’s supposed to be an aggressive journalist type, breaks down too easily after receiving minor blow back from the sheriff over her reporting, which made her seem too sensitive. If she’s truly the ‘fearless reporter’ as portrayed then she’d have to have a thicker skin and even expect some criticism when it comes. The Tim character is also a bore as we see him in only one emotional state, perplexed and confused, which makes him too one-dimensional.

Spoiler Alert!

The ending is where things get messed-up. For one thing it tries to squeeze an elaborate explanation for what’s going-on into the final three minutes, which is too short of a time period for the viewer to digest it all, or have it make sense. What really got me though is that we find out that the incubus was actually Laura, and the film ends with Sam seeing her kill his daughter, but we never see how Sam responds, or if he’s able to defeat her, which is frustrating. So much time gets spent on the boring investigation only to then abruptly end once we finally get a pay-off.

By having Laura be the ultimate villain also goes against the film’s title. According to mythology an incubus is a male demon that tries to have sex with a female human, but a succubus is a female demon, so hence the title of the movie, the way I see it, should’ve been, when given the way it turns out, Succubus.

My Rating: 5 out of 10

Released: August 27, 1982

Runtime: 1 Hour 33 Minutes

Rated R

Director: John Hough

Studio: Kings Road Entertainment

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

Blue Monkey (1987)

blue1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Giant insect invades hospital.

When an elderly man (Sandy Webster) gets his finger pricked by a foreign plant he’s immediately rushed to the hospital after he goes into shock. At the hospital he regurgitates an insect pupa, which is taken to the lab for observation. It is there that it gets fed a growth hormone by a group of children causing it to escape and take-over the hospital. Jim (Steve Railsback) is a police detective who was already in the hospital overseeing his partner who had gotten shot while on duty. Together with Rachel (Gwynyth Walsh), an on-call emergency room doctor, and Elliot (Don Lake), a entomologist, they go on the offence to trap the giant bug and kill it before it can reproduce.

I was initially not excited about watching this as it’s admittedly a rip-off of Alien and has many of the same shocks while being directed by Canadian horror maestro William Fruet whose other output I’ve found to be only so-so, but this one is surprisingly compelling. It also has some cool effects including seeing the characters running down a darkened hallway that’s lighted from one end with a bluish hue that gives it a surreal vibe. The shocks aren’t plentiful, but the few that they do have work.

This is also one movie where Railsback, who’s excellent playing psychos like Charles Manson and Ed Gein, is effective as a good guy. In other films where he was a protagonist like in Lifeforce he came-off as unintentionally creepy and it hurt his ability to get starring roles, but here his kindly interactions with a group of sickly children help subside that. I also enjoyed Susan Anspach, looking almost unrecognizable in her black-rimmed glasses, as one of the Dr.’s who takes matters into her own-hands without waiting for a male Dr. to tell her what to do. In fact there really aren’t too many men in white coats at the facility that seemed mainly run by females, which I found interesting.

What I didn’t like were the supporting comical characters. Helen Hughes and Joy Coghill as two drunken old ladies was not needed nor was SCTV alums Joe Flaherty and Robin Duke as a goofy couple having a baby. Sometimes in horror movies that are super intense a brief moment of levity is okay, but this movie wasn’t frightening enough for that and if anything needed to play-up the scares more instead of throwing in goofy scenes that makes it seem too much like a jokey-script instead of a scary one.

The actual bug, when seen in its giant proportion, isn’t the chilling sight you’d expect mainly because its made to look like a regular bug, but just bigger, which isn’t imaginative and more reminiscent of the tacky sci-fi ‘creature-features’ of the 50’s where insects suddenly become bigger and most people today find laughable. It also would’ve been nice during the lab scenes for the camera to have focused on the pupa under the glass instead of the scared faces of the people looking at it. We don’t need to see facial expressions to know if something is scary we just need to be shown the scary thing directly and when we don’t see it, it makes the film look cheap like it didn’t have enough money to create an elaborate effect, so it copped-out by doing it this way.

Even with some of these issues it’s still an entertaining ride. It won’t be for everyone’s tastes and it certainly isn’t going to win any awards nor was it intended to, but if you like giant bug movies this one should satisfy your appetite.  It was also filmed entirely in Canada though the setting is supposed to be the US.

My Rating: 6 out of 10

Release: September 25, 1987

Runtime: 1 Hour 36 Minutes

Rated R

Director: William Fruet

Studio: International Spectrafilm

Available: DVD, Blu-ray