Category Archives: Movies with a rural setting

March or Die (1977)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Battle in the desert.

French Foreign Legion Major William Foster (Gene Hackman) suffers from memories of leading 8,000 of his own men into a failed battle, which has driven him to alcoholism. Now he and his regiment are assigned to protect an archaeology dig lead by Francois Marneau (Max Von Sydow) that sits in the middle of the Moroccan desert and is under constant threat  by an army of Arab revolutionaries lead by El Krim (Ian Holm).

The film was a labor of love for director Dick Richards who grew up watching the French Foreign Legion films in his youth and wanted to recapture that magic, but like with his earlier and much acclaimed western flick The Culpepper Cattle Company do it with a revisionist slant. Aesthetically it looks gorgeous and all the more impressive when you factor in that the majority of it was filmed in Nevada, but because the dunes in Morocco had a  different shade of color than the ones in North America the sand was flown in to camouflage this and you’d never know the difference. Watching the harsh treatment that the men had to go through as they trained to become soldiers is quite revealing as well and made the first hour of the film captivating.

Hackman though looks uncomfortable in his role and this could be attributed in large part to the fact that he fell off his horse during filming and was suffering from a great deal of back pain during the shoot. In either case he ends up getting sorely upstaged by Italian star Terence Hill, who up until this time had mainly done comedic styled westerns with his onscreen pal Bud Spencer, but here shines as a soldier who challenges authority and galvanizes the rest of the troops.

Marcel Bozzuffi is equally memorable as the cruel Lieutenant Fontaine who treats the men under him quite harshly most notably Top Hat played by Andre Penvern, but the theatrical/DVD release omits a crucial scene with him that was only shown in the TV print.  In that version he and his men chase after two deserters and then get involved in an ill-advised battle with some tribesmen, which ultimately causes him to break down in fear and kill himself, which would’ve been an interesting transition to witness since for the majority of the movie he remains cold and aloof otherwise.

Despite being a great actor Von Sydow’s presence here is a detriment as it will only remind viewers especially during the archaeology dig sequence of his work in The Exorcist where in the beginning of that film where scenes of him doing essentially the same thing. Catherine Deneuve is another excellent talent who is wasted in a part that doesn’t allow her much to do and only helps to slow down the already sluggish film with each scene that she’s in.

Spoiler Alert!

The film’s most disappointing aspect though is with its ending, which should’ve been its strong point. The final battle is exciting and the shots of hundreds of chanting Arab soldiers coming over the dunes to attack is indeed impressive and even harrowing to see, but watching the systematic slaughter of the French soldiers and ultimately learning that they walked themselves into a trap is quite dispiriting. I know I’ve complained about the formulaic happy endings from time-to-time in some other films, but this one is too much of a downer and offers the viewer no payoff at all for having to sit through it. It’s almost like giving someone a reasonably enjoyable ride only to drive the car off the cliff at the end and expect them to thank you for it.

My Rating: 4 out of 10

Released: August 5, 1977

Runtime: 1 Hour 47 Minutes

Rated PG

Director: Dick Richards

Studio: Columbia Pictures

Available: DVD, Amazon Video

Sunday in the Country (1974)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Farmer holds robbers hostage.

Adam Smith (Ernest Borgnine) is a Canadian farmer living in a rural home who becomes aware via the radio of reports of three bank robbers (Cec Linder, Louis Zorich, Michael J. Pollard) on the run in the area who’ve just killed a young man and his girlfriend who were his friends. He prepares for their arrival and when they come he shoots and kills one of them while taking the other two into his cellar where he hangs them on meat hooks. Smith’s granddaughter Lucy (Hollis McLaren) finds this treatment inhumane and wants to call the police, but Adam won’t let her and the two quarrel until he locks her in her room, but she escapes and runs for help, which enrages Adam even more.

The film almost gets ruined by an obnoxious musical score that is so heavily tinged with country twang that it seems almost like a parody of itself and makes the entire production come off as cheesy and amateurish. It would’ve been better without any music at all as it ends up taking you out of the action like having someone sitting beside you and rudely talking and not letting you concentrate on what’s happening on the screen.

As for the story it makes some good observations about just how thin the line can sometimes be between the good guy, or those that feel they’re morally justified to inflict whatever style justice they deem necessary, and the so-called bad guy. Unfortunately the character arch of the protagonist happens too quickly without much of a back story explaining why this otherwise law abiding farmer would deviate so quickly into an abuser. What makes him different from others who would’ve called the police? Just saying that he’s ‘old fashioned’ and ‘from a different era’ I didn’t feel was enough of an explanation.

With the exception of Pollard the robbers aren’t intimidating enough and it some ways came off as pathetic and not like professional crooks at all. This might’ve been intentional on the filmmaker’s part in an effort to make the viewer more sympathetic to their quandary once they are held hostage, but in the process it lessens the tension and makes them seem not as threatening.

Borgnine does a terrific job through his facial expressions of showing the character’s inner turmoil as well as constantly exposing his human side even as he forges ahead to doing some not-so-nice things. McLaren is also superb and her interactions with Borgnine are the most compelling aspect of the film.

Pollard is great here too and I was surprised as he’s not always able to find roles that match his unique talents and sometimes has been relegated to thankless and forgettable supporting parts, but here he’s viscous with a most creepy sounding laugh.

Unfortunately the eye-for-an-eye concept doesn’t get examined enough and the film could’ve gone a lot farther with it than it does. It still manages to bring out many interesting issues but the story should be remade and without the corny soundtrack.

Alternate Titles: Vengeance is Mine, Blood for Blood

My Rating: 4 out of 10

Released: November 22, 1974

Runtime: 1 Hour 33 Minutes

Rated R

Director: John Trent

Studio: Impact Films

Available: Amazon Video

UFOria (1985)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: She dreams about spaceships.

Arlene (Cindy Williams) is a lonely woman living in a small town and working at a local supermarket. One night she starts having dreams about a spaceship landing in town and taking her away. Her new boyfriend Sheldon (Fred Ward), who is a shady drifter always looking to make a quick buck, works with his brother Bud (Harry Dean Stanton), much to her consternation, to use her ‘visions’ to make money off of it by portraying her as communicating with some outer worldly messenger that’s connected to God.

This film was made in 1980, but sat on the shelf for 5 years and it’s easy to see why as it’s difficult to put it into any predefined genre. It’s certainly isn’t a sci-fi flick and in a lot of ways it really isn’t a comedy either. There are a few funny bits, but they get lost inside scenes that go on far longer than they should, which never allows the film to gain any traction or momentum.

Williams is not right for her part and fails to convey the downtrodden look of a lonely woman in a role that would’ve been better served had it been played by an actress with a more plainish, dumpy features like Kathy Bates. It’s also annoying that she has these vivid dreams, but the viewer never gets to see them. Movies are a visual medium and should take advantage of that element as much as possible by showing what’s happening instead of just having a character describe it.

Stanton isn’t right for his part either. In certain films his low-key style is perfect, but here he fails to effectively convey the animated, fiery delivery of a TV evangelist, which is a part that needed to be comically played-up much more.

Ward was the only one that I liked and he really comes into his own with a character that isn’t particularly likable, but has an interesting arch where he goes from being a cynical non-believer to eventually defending Arlene from those who mock her. He also drives his car in the most bizarre way that I’ve ever seen with his feet up on the dashboard and not on the pedals.

Spoiler Alert!

I was hoping that the ending would be a payoff for having to sit through such a slow, poorly paced film, but ultimately it falls flat just like everything else. I liked the idea of a spaceship suddenly appearing, but then the film cuts to the closing credits without examining what happened to the people, how they reacted to it, or what the aftermath was, which I found frustrating.

End of Spoiler Alert!

The small town setting filmed in Palmdale and Lancaster, California gives off just the right rustic look and prime stomping ground for fringey, eccentric people like the characters here.  While the film does have a definite cult appeal the offbeat elements get stymied inside a lethargic pace that never allows it to gel, or become captivating.

My Rating: 4 out of 10

Released: October 1, 1985

Runtime: 1 Hour 35 Minutes

Rated PG

Director: John Binder

Studio: Universal

Available: VHS

They Only Kill Their Masters (1972)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Dog turns on owner.

Abel Marsh (James Garner) is the police chief of a small west coast seaside town who’s put in charge of investigating a baffling case where a dog inexplicably turned on its owner and killer her. The clues though don’t match up convincing Abel that the dog is innocent and used simply as a ruse to cover-up an even more sinister crime.

This is the first of four films all written by Lane Slate to feature the character of Abel Marsh. All of the subsequent films featured the same small town setting and quirky themed murders, but where made for TV instead featuring Alan Alda in the role of Abel for Isn’t it Shocking and then Andy Griffith playing the part in The Girl in the Empty Grave and Deadly Game.

The mystery here has its share of intriguing elements and I liked the methodical pace, which is reminiscent of actual police work where the clues don’t just come easily and quickly. I also liked how the viewer remains just as in the dark about who did it as the investigator. The subplot involving the doberman is interesting as well and like in the film To Kill a Clown, which came out the same year, the dog ends up being the ultimate scene-stealer from his human counterparts.

Due to this being the last film made on MGM’s famous backlot many former stars from Hollywood’s golden age agreed to appear in small roles including Ann Rutherford in an amusing bit as a old-school secretary who can’t figure out how to work an electric type writer. The best bit though comes from June Allyson who doesn’t have any speaking lines until the very end where she gets a bravura-like finale similar to Betsy Palmer’s in Friday the 13th and even sports the same type of hairstyle as hers and sweater/pants, which makes it all the more ironic.

The thing though that I found annoying was the formulaic romance that starts almost immediately between Garner and Katherine Ross. For one thing the mystery could’ve worked just as well had Ross’ character not been in it at all, but if they did feel the need to throw in a romantic subplot it’s always more interesting when there’s some friction or resistance at first only to have it evolve into a relationship later versus making it a ‘love at first sight’ scenario, which is too quick and unrealistic especially when there’s a 15-year age difference between the two.

What gets even more aggravating is that after spending the night with her Garner then starts to suspect that she may know more about the crime than she lets on, so the next day he storms into her apartment and quite literally starts strangling her to get the info. Then when he realizes he may have jumped to the wrong conclusion he leaves her place in a huff without even bothering to apologize. Several hours later he sheepishly returns, but instead of slamming the door in his face she asks if he’s alright?!

Later near the end of the film she returns to his office and acts like somehow it was all her fault and seems to leave things open to rekindling the romance, but why? Unless she’s desperate (and she’s way too beautiful for that) or has extremely low self-esteem she should’ve ended things right when he attacked her because it was an obvious red flag and the fact that she doesn’t shows how dated and out-of-touch the film is in regards to modern day relationship dynamics.

The scenery is nice especially the Malibu location of the victim’s house and seeing it get burned quite literally to the ground is kind of cool too. However, the quirky elements don’t gel and overall the film ends up being transparent and flat.

My Rating: 5 out of 10

Released: November 22, 1972

Runtime: 1 Hour 37 Minutes

Rated PG

Director: James Goldstone

Studio: MGM

Available: DVD-R (Warner Archive), YouTube

The Great Outdoors (1988)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Friends ruin their vacation.

Chet (John Candy) decides to take his wife (Stephanie Faracy) and two kids (Chris Young, Ian Michael Giatti) on a well deserved family outing up to a lake resort town in Wisconsin. Unfortunately their fun excursion  gets crashed by their obnoxious friend Roman (Dan Aykroyd) and his wife Kate (Annette Bening) who along with their two creepy twin daughters (Hilary Gordon, Rebecca Gordon) proceed to turn the pleasant vacation into a nightmare.

Calling this John Hughes script paper thin is an understatement and it reminded me of an interview I once read where Hughes bragged that he could write his screenplays in a matter of only a day or two although with this one I’m surprised it took even that long. Not only is the premise devoid of any original ideas, but it seemed more like material for the Griswold family and I was confused why it wasn’t just made as part of the Vacation series although I preferred Candy over Chevy Chase as he’s much more likable without the sneering sarcasm, and his presence here helps make it at least modestly enjoyable.

The comedy also avoids becoming too farcical or lewd, which was nice, and manages to keep things semi-believable to what might occur to a regular family in the woods including my favorite part where the two men try to kill a bat that has gotten into the cabin. The setting, which was filmed on-location in Lake Bass, California is scenic and the woodsy cabin, built specifically for the film on a studio backlot, is impressive because you would never know the difference.

However, the animosity between the two characters, which is supposedly the heart of the humor, is not played-up enough or as half as much as I was expecting. In many ways it seemed almost like it was Candy who was more the obnoxious one particularly when he tells a scary story that gets everyone upset. The scene where he puts a candy bar on the hood of his car to attract a bear makes him look really stupid, and something that should’ve been done instead by the supposedly dopey second-banana character like Aykroyd.

The kids, especially the twin girls who seemed spookier than the twins in The Shining, are annoying and I thought it was weird that they are played-off as creepy for the majority of the film only to then near the end have the viewer expected to suddenly start caring for them when they get trapped in a cave.  As for the two boys they’re dull and transparent and the scenes dealing with the romance that the oldest one has with one of the teen waitresses (Lucy Deakins) are extremely formulaic and unnecessary and almost like it were put in simply to pad the runtime.

The running gag dealing with the talking raccoons is childish and the one dealing with a man (Britt Leach) constantly getting struck by lightning is completely ridiculous.  The story is nothing more than a procession of gags that lacks momentum or pace. The laughs are sporadic and subside after the 45-minute mark making the final half a chore to sit through and that includes the climactic bear attack, which is forced and over-the-top.

My Rating: 3 out of 10

Released: June 17, 1988

Released: 1 Hour 31 Minutes

Rated PG

Director: Howard Deutch

Studio: Universal 

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

To Kill a Clown (1972)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Couple harassed by veteran.

Timothy (Heath Lamberts) and Lily (Blythe Danner) are a couple suffering through a rocky marriage. In an attempt to try and save it they decide to rent a beach house for a summer where they hope the quiet seaside scenery can help mend the friction. Their landlord is Evelyn (Alan Alda) a crippled war veteran with two dobermans who resides in a large house next to theirs. Evelyn considers Timothy to be effeminate and ‘unfocused’ and decides to challenge him to a psychological game where he will put Timothy through the rigors of army training. Initially Timothy finds this challenge amusing, but the game becomes much harsher than he expected and when he tries to get out of it Evelyn won’t let him, which eventually leads to Timothy and Lily becoming hostages inside their own home where Evelyn’s two ferocious dogs guard them.

The film is based on the short story ‘The Master of the Hounds’ by Algis Budrys that appeared in the August 1966 edition of the Saturday Evening Post. The plot certainly has some intriguing qualities, but the pace is too laid-back and I spent much of the time rather bored with it. The tension comes in spurts and when it does get going it cuts away just as it gets interesting. The Timothy character is overly smug and to some extent I actually enjoyed some of the harassment that Evelyn gives him, which ultimately minimizes the ‘horror’ that the viewer is supposed to be feeling.

In the story the setting was supposed to be the Jersey shore and in the film it’s somewhere off the New England coast, but in actuality it was filmed in the Bahamas and in an attempt to mask the tropical surroundings they found one of the blandest looking beaches to film it on. The lack of scenery gives the film no visual flair and it ultimately comes off like something done on the cheap end by a director lacking talent of vision.

The only interesting aspect is seeing Alda, who was known throughout the 70’s and 80’s as being a very liberal, ‘sensitive’ male, playing someone who is the exact opposite and to a degree he does it well, but it could’ve and should’ve been played-up much more. Lamberts is good too, but it would’ve been better had the character been an actual army deserter, which would’ve then made the men’s contrasting personalities even more vivid.

Danner though, in her film debut,  comes off best by acting as a buffer between the two men. The dobermans though are the real stars and I wouldn’t have minded seeing more of them. In fact the film’s best moment involves one of them standing guard as it holds the frightened couple hostage in their living room and growling threateningly if one of them even moves their head in he slightest.

Unfortunately the action takes too long to get going and the whole thing gets misguidedly underplayed. I found the freeze-frame shots, which the film uses to transition from one scene to the next, distracting and overly artsy especially for a movie that is supposedly trying to be reality based.

My Rating: 3 out of 10

Released: August 23, 1972

Runtime: 1 Hour 44 Minutes (Reissued at 1 Hour 26 Minutes)

Rated R

Director: George Bloomfield

Studio: 20th Century Fox

Available: VHS

Clownhouse (1989)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Clowns terrorize three kids.

Three brothers (Nathan Forrest Winters, Brian McHugh, Sam Rockwell) find themselves alone late one night in their big house when their parents are away on business. They try to scare each other by telling spooky stories involving clowns, but little do they know that three mental patients (Michael Jerome West, Byron Weible, David C. Reinecker) have escaped from a nearby insane asylum. They kill some men working as clowns at a local circus and then disguised as clowns themselves sneak inside the home where the boys reside and try to kill them.

This film has become better known for what went on behind-the-scenes as writer/director Victor Salva was convicted of having sex with the 12-year-old star Winters (no relation) during the production and ended up serving 15 months of his 3-year prison sentence at which point he was then released and has since gone back to filmmaking. To some extent even without having known this one could almost suspect that idea because, like in the movie Salo, or The 120 Days of Sodom where the director featured a lot of underage nudity only to later be convicted of a similar charge, this filmmaker does the same thing by opening the movie with the boys walking around in their underwear and at one brief point capturing the young star’s naked behind, which was not needed and comes off as intentional voyeurism.

If you can get beyond the production’s notorious backstory then as a horror movie it’s not too bad as Salva shows a good ability at building a creepy, surreal-like atmosphere particularly the scenes done at the circus and then later at the large, ominous house. The only problem is that the setting is supposed to be a couple of weeks before Halloween even though all the leaves on the trees are green, which doesn’t exactly resemble fall.

The plot though is weak and it would’ve worked better had it not given away who these men in the clown costumes were until the very end, or maybe not at all. Having lunatic characters escape from a mental hospital is generic and it would’ve been more intriguing had the viewer suspected these clown as being a part of the child’s imagination instead.

Despite the short runtime the pace still bogs down with a premise that builds too slowly and drags out the suspense longer than need be. The mental patients behave more like professional clown performers and never even say anything once their make-up is applied, which is not believable and all the more reason for the film to have taken a surreal turn by portraying the clowns as figments of the boy’s imagination who have inexplicably come to life.

Ultimately it plays itself out too soon and lacks any type of final twist. Winters appears to be the same age as McHugh who was playing his older brother and at age 12 behaved more like a 6-year-old making me feel the the part should’ve been given to a younger performer. It is however fun seeing Sam Rockwell in his film debut and still looking very much like an adolescent.

My Rating: 4 out of 10

Released: January 28, 1989

Runtime: 1Hour 21Minutes

Rated R

Director: Victor Salva

Studio: Zoetrope Studios

Available: DVD

The Fog (1980)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Ghostly fog haunts town.

As the town of Antonio Bay gets ready to celebrate its 100th year of existence a mysterious fog creeps into the area at midnight and then strange unexplained events begin to occur. The town’s priest Father Malone (Hal Holbrook) finds a secret diary detailing how 6 of the town’s founders intentionally sank a ship 100 years earlier. Now the ship’s ghostly victims have returned seeking revenge by insisting that 6 people from the community must die in order to make-up for the 6 that originally killed them.

John Carpenter’s follow-up to his highly successful Halloween has gained a fervent following, but in the end it really doesn’t amount to much. Maybe my expectations were too high as I had a friend who talked this up as being great, but the scares are lacking despite a good first act that nicely builds the atmosphere and has some effective visuals particularly the shots of the fog rolling in.

The interesting premise though gets ruined by having things explained too quickly. Sometimes a little mystery can go a long way and not knowing what’s causing the strange occurrences and only having it answered at the very end, or possibly not at all, would’ve made it scarier and more intriguing. The backstory makes the ghosts come off like sympathetic victims looking for justice and therefore less threatening. Instead of being this entity with no known boundaries they become logical, emotional beings that makes the scenario too contained and civilized and less intense than it could’ve been.

You wait for things to finally gel, but it never really does. The victims get attacked in a matter of seconds and the camera then quickly cuts away before any blood or violence is shown. The ghosts aren’t seen much either and amount to shadowy figures from a distance when they are with occasional glowing red eyes, but otherwise they lack visual flair.

Having three heroines was a mistake especially since Jamie Lee Curtis seems bored in her role and almost like she didn’t even want to be there. Her real-life mother Janet Leigh conveys far more energy and she could’ve easily been the star with Curtis cut out completely. The two do share a few scenes together, but frustratingly never any lines of dialogue.

Adrienne Barbeau, who at the time was Carpenter’s wife, is okay as a late night DJ working out of a lighthouse, but her over-the-air pleas to her young son Andy (Ty Mitchell) to get out of his house to escape from the ghosts came off as unintentionally funny. The simultaneous climaxes that occur at two different locations with some cast members fighting off the ghosts inside a church while Barbeau does the same inside the lighthouse doesn’t work and if anything the finale should’ve happened completely inside the lighthouse since that was a more unique setting.

The direction is competent and it’s not like this film, which was remade in 2005, is a bad one it’s just not particularly exciting or interesting. The horror needed to be amped up and the pacing quicker particularly as it got into the second act. The only moment in the film that impressed me had nothing to do with the horror, but instead was the shot showing Barbeau walking down a long, winding outside stairwell to get to the lighthouse, which was filmed on-location at the historic Point Reyes Lighthouse in Marin County, California.

 

My Rating: 3 out of 10

Released: February 8, 1980

Runtime: 1Hour 30Minutes

Rated R

Director: John Carpenter

Studio: AVCO Embassy Pictures

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

Local Hero (1983)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Businessman travels to Scotland.

Mac (Peter Riegert) works for a gas company out of Houston, Texas that wants to buy up the small town of Ferness, which sits on the north shore of Scotland and turn it into an oil refinery. It’s Mac’s job to travel to the town and offer the citizens a generous monetary offer to sell their homes. He is not excited about going as he enjoys doing business over the phone, but once there he grows attached to the more laid-back pace. The townspeople grow found of Mac as well and eager to take the money and become rich. The problem is that through research they find that it is actually Ben Knox (Fulton Mackay) an eccentric man who lives in a ramshackle house on the beach who owns the land and he is unwilling to sell no matter what the price.

This film received positive reviews at the time of its release and one of the few movies to get a 100% positive rating at rotten tomatoes and yet after watching this now twice I’m still mystified over what all the fuss is about. When I first saw it several decades ago I came away feeling like I had just viewed something where very little happens and upon the second viewing I felt the exact same way.

I get that the emphasis is supposed to be on the quirky humor and that’s fine, there’s even a few chuckles, but the script flat lines after its initial set-up.  The eccentric characters and offbeat quality becomes one-dimensional and the story offers no true conflict or tension. Everything gets handled in such a subtle, dry way that there’s barely any drama at all and seems not really worth the effort to watch.

It would’ve worked better had there been one true antagonist, somebody that would be in stark contrast to everybody else and create genuine upheaval to the otherwise benign complacency. Initially it seemed that Lancaster’s character, who owns the oil refinery, would be a perfect foil to the serenity. Most business owners are consumed with the profit margin, but this one is instead more interested in astronomy. I realize that writer/director Bill Forsyth wanted to work against the grain and not portray the typical caricature of a hard-driven business man, but how can a guy run a successful business if the financial bottom line isn’t his main drive? Making the business owner a lovable kook as the rest takes away any potential confrontation of which this movie could’ve used some.

Riegert is equally transparent. His yuppie tendencies should’ve been played up more and his dramatic arch from big city businessman to lover of small town life more apparent. I was hoping that after he slowly became fond of the place that he would be one to throw the monkey wrench into the proceedings by refusing to make a deal and fighting to save the town even as the other residents are more than happy to leave it, which would’ve been much funnier.

The townspeople are blah too. The viewer only gets to know a few of them and they’re indistinguishable from the other. The only one that stands out is the lady with a punk look and I was intrigued to learn more about her and how she was able to get along with everyone else despite dressing in such a radical style and yet we never hear her utter a single word.

Ben Knox is the only character that offers a twist as we initially perceive him to be a homeless nobody only to realize that he ultimately holds all the cards and yet it just teases the viewer with a potential confrontation between he and the townspeople that never comes to fruition. I was also disappointed that we didn’t get to see the inside of his makeshift home that looked so rundown and precariously put together that you truly wondered what the interior looked like or how someone could survive living in it for as long as he does. Lancaster goes into the home to negotiate a deal with him and I felt the camera should’ve followed him in.

If you’re looking for lightly amusing comedy that goes down easy then you may take a little more of a liking to this. If you desire a movie with something more than just incessant whimsy then this flick will not suffice.

My Rating: 5 out of 10

Released: February 18, 1983

Runtime: 1Hour 51Minutes

Rated PG

Director: Bill Forsyth

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

Kid Blue (1973)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Bandit tries changing careers.

Bickford Wanner (Dennis Hopper) suddenly realizes that being a train robber is no longer worth the hassle, so he decides to go straight by moving into the town of Dime Box where he does a variety of menial labor jobs that he finds to be thankless. When his former girlfriend Janet (Janice Rule) shows up he gets a hankering to go back to his bandit days when he was nicknamed Kid Blue and acquired a legendary status throughout Texas.

There were a lot of revisionist westerns during the early 70’s and most of them made an impact, but this one got lost in shuffle. Personally I was impressed with the first 30 minutes where the small town residents are portrayed as being prickly, cold people whose personalities reflected the harsh, dry, desolate landscape that surrounded them. The way Bickford gets treated as an ‘outsider’ simply because he wasn’t originally born there is exactly the way anyone would’ve felt in the same situation and thus it creates an accurate and vivid setting environment.

The counter-culture movement of the late 60’s gets puts it into a western motif giving the viewer a firsthand feel how oppressive the establishment (in this case the town’s citizens) were and what a lonely, frustrating experience it is to somehow try to fit into a system that doesn’t want you to begin with. Having this theme captured outside of the modern trappings makes the message stronger and when Bickford finally does lose his cool you relate to his rage and enjoy seeing him lash out.

Unfortunately it loses focus by the second act as director James Frawley can’t seem to decide whether he wants to turn this into a comedy or gritty drama. Both Ralph Waite and Ben Johnson make for good antagonists, but there’s never a satisfying one-on-one moment where Hopper stands up to either of them in any cinematic way even though you sit through the whole thing hoping that at some point he will.

Hopper looks the part of a young man even though he was already 36 at the time, but the character’s motivations are confusing. This was a man who at one point was supposedly a successful train robber, so why does he put up with all the crap and not go back to his old ways sooner? He tolerates their abuse for far longer than any normal person would and for seemingly no reason. Having the character suffer from a physical ailment that wouldn’t allow him to return to his bandit lifestyle would’ve helped make his situation more understandable.

The ending in which Bickford robs the factory and the whole town gives him chase has strong, colorful potential, but the film doesn’t go far enough with it. It also introduces too much of a bouncy musical score that gives the action a lighthearted/slapstick quality that undermines the realism. The third act should’ve focused entirely on the chase while nixing an ill-advised story thread dealing with a love triangle that adds nothing and seemingly put in solely to pad the undernourished plot. Even though the setting is supposed to be Texas it was actually filmed in Mexico.

My Rating: 5 out of 10

Released: September 29, 1973

Runtime: 1Hour 40Minutes

Rated PG

Director: James Frawley

Studio: 20th Century Fox

Available: DVD-R, Amazon Video