Category Archives: Offbeat

Simon (1980)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: College professor becomes brainwashed.

An underground group of scientists who enjoy playing elaborate pranks decide to brainwash a college professor named Simon Mendelssohn (Alan Arkin) into believing that he is an alien from another planet. After he is successfully brainwashed he then escapes from the institution and gets in with a religious cult who have a transmitter that can block the TV airwaves and allow him the ability to be seen by the entire nation where he tries to reform American culture while also becoming a celebrity sensation.

This extremely odd comical satire  seems out of place for a studio backed film and more in tune with a independent project as it’s unclear what specific type of audience the filmmakers were hoping to attract as mainstream viewers will most likely find the humor off-putting. One could describe it as being ahead-of-its-time, but the banal potshots at such overused targets as TV and American consumerism makes it seem more dated instead.

The movie would’ve worked better had it remained focused on one intended target and then ravaged the hell out of it instead of soft jabs at various safe targets, which makes its overall message muddled and unclear. There are some funny bits including watching Austin Pendleton, who is the head of the research group, making love to a giant telephone receiver, whose voice is supplied by Louise Lasser. It’s also funny having a brainwashed person such as Simon trying to brainwash others via the airwaves, which could’ve been really hilarious had they gone farther with this idea.

There’s signs that writer/director Marshall Brickman hadn’t fully thought through the quirky story idea to begin with. For instance why would this underground group of scientists allow a video crew in to film what they are doing as the members are seen at the beginning talking directly to the camera and answering questions by some unseen interviewer. Wouldn’t this allow their secret to get out and get them into trouble? The army that takes over the institute is too incompetent as Simon and his girlfriend Lisa (Judy Graubart) are able to escape from it too easily and their inability to locate Simon’s rogue TV transmitter even after days of searching is rather pathetic. I realize this is meant to be ‘funny’, but even a comedy should have some tension to it to make it more interesting and the army’s extreme buffoonery isn’t humorous at all, but just plain dumb instead.

Arkin is the one thing that saves it. His unusual acting style makes him hard to cast, but here he really delivers especially during the segment where he plays out the evolution of man, but without using any dialogue although it might’ve been funnier and more of an interesting contrast had his character not been so kooky to begin with, but instead some stuffy intellectual only to become zany once he was brainwashed.

Judy Graubart makes for a good anchor as the one normal person in the whole movie. She was best known for her work on the children’s TV-show ‘The Electric Company’ and this was her live-action film debut, which should’ve lead to a long line of film appearances, but instead she only had brief bits in two other movies and that was it.

There are signs of a great movie trying to break out and the overall concept has brilliant potential, but this is the type of film where you’ve got to go full-throttle and Brickman seems either unable or too timid to do that making what could’ve been sharp satire into a transparent, benign mess that offers only a few chuckles, but not much else.

My Rating: 4 out of 10

Released: February 1, 1980

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Marshall Brickman

Studio: Orion Pictures

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

After Hours (1985)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Don’t stay out late.

Paul (Griffin Dunne) is a single man living in New York, who’s bored with his job and looking to spend his Friday night on the town in hopes that he might hook-up with an attractive woman. While at a late night cafe he meets Marcy (Rosanna Arquette) who tells him that she lives with a sculptress who makes and sells paperweights. Paul decides to use the excuse that he wants to buy one as his ruse to go over to her apartment in hopes of ‘getting lucky’. Yet when he arrives things quickly become surreal where everybody he meets behave in strange ways making his night-on-the-town a nightmarish event.

The film is based on a screenplay by Joseph Minion, who has written two other produced screenplays 1999’s On the Run and 1991’s Motorama that play off the exact same theme, and was done for the screenwriting class that he was taking at Columbia University, which got the attention of Dunne who optioned it as a project he felt would be a perfect fit for his acting style. Unbeknownst to him though was that the first part of it was based on a 30 minute-monologue piece called ‘Lies’ written by Joe Frank and broadcast on NPR radio in 1982 and when the film came out the studio was forced to pay Frank an out of court settlement because of it.

Many have felt the film’s theme is Paul’s emasculation by all the women that he meets, and to an extent that’s probably true, but for me I found it more interesting to see how despite the film’s surreal quality it’s still not that far off from truth. It’s like going out on a first date with a really attractive person who your’e excited about only to find as you get to know them that they’re really screwed-up, or meeting a new group of people who you initially think you have something in common with only to learn as you talk to them that you really don’t. It also nicely satirizes the hip/happening patrons of the club scene who walk around with a perpetual arrogant attitude of coolness, but in reality are quite hollow.

The production was filmed at night, which forced the crew to work for 10-straight weeks from sundown to sun up and then catch-up with their sleep during the day, but the effort was worth it as it helps create this underworld feel with no connection to the ‘proper’ daytime one. I also loved how it tries to explore New York’s club scene and the artsy SoHo district with all the eccentric personalities that make up that subculture, which helps to make New York the unique place that it is and which gets criminally ignored in most other movies that take place there.

The acting is excellent with everyone perfectly cast although the scenes I enjoyed the most involved Dunne’s exchanges with some lesser known performers like Murray Moston as a subway attendant and Clarence Felder as a nightclub bouncer. Credit must also go to Dunne himself who plays the normal guy role perfectly. Had he been too over-the-edge with it, or too nerdy it wouldn’t have worked as the character had to be someone the viewer could relate to while behaving/reacting to things in plausible ways in order to feed off the paradox that the more rational he was the more irrational everything else around him  became.

Spoiler Alert!

The ending proved to be the toughest part for director Martin Scorsese to implement. Originally Dunne’s character was driven away in the van still trapped in a the plaster sculpture that Gail (Verna Bloom) had put him in, but this got a negative response from the test audience, so they then considered having Dunne crawl into Bloom’s womb to hide and then getting ‘reborn’ out on the highway, but that was too bizarre.

The one that they finally came up with, which was suggested by director Michael Powell who came on as a consultant, has Dunne ending up at the office where he worked, which has added irony since most offices are boring places that people usually can’t wait to get out of.  However, it never shows how these experiences changed him and a scene should’ve been added showing Dunne afraid to ever leave and continuing to work late in the night after everyone else had gone before finally getting dragged out by the security guards.

The film also fails to explain how Dunne ever got back into his apartment since the bartender (John Heard) had taken his keys to his place earlier. A good alternative ending would’ve had Dunne falling out of the van not at the office, but at his apartment instead where he would’ve then be let in by his landlord. He would fall asleep in his bed feeling safe only to awaken with everyone that had been chasing him earlier now standing around his bedside having been let in by the bartender with the keys.

Overall this is the type of film that you wished had gone on longer as it gets funnier the more it goes on. My only quibble is that Dunne should’ve been forced to get the Mohawk when he was at the club as seeing him with one would’ve accentuated his beaten down mindset and made his appearance when he returned to work even more absurd.

My Rating: 8 out of 10

Released: September 11, 1985

Runtime: 1 Hour 37 Minutes

Rated R

Director: Martin Scorsese

Studio: Warner Brothers

Available: DVD, YouTube

Nekromantik (1987)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: They like dead bodies.

Rob and Betty (Robert Schmadtke, Beatrice Manowski) are a couple into necrophilia. Rob’s job as a street sweeper allows him to steal human body parts, which he brings home and stores in jars. One day he is able to sneak home a decomposed body and his wife makes love to it, which makes him jealous. Then he loses his job causing his wife to leave him and forcing him into an even darker mental spiral.

Director Jorg Buttgereit has stated that he never intended to be a serious filmmaker and made this simply as a means to rebel at the German film rating system, which would routinely edit out violent scenes from their films and ‘to shock as many people as possible.’ In that category it does succeed, but what I got most out of it was how funny it is with the ‘romantic’ sequence where a couple throws a severed head back and forth between each other in  a sort of playful, loving way while soft, romantic music plays in the background being the funniest.

There’s also an interesting film-within-a-film concept here where it makes pointed observations on the effects of horror movies on the general public while using its characters to inadvertently convey that message. The best scene here involves Robert going to a horror movie inside a theater, which shows  a woman onscreen getting ambushed by her attacker and then cut up by his knife, but the camera then cuts back to the movie audience and observes their detached and ambivalent  expressions even as the screams of the woman continue on the screen, which to me was the film’s most frightening and revealing moment.

The gore factor is of course quite high uses the technique first done in Cannibal Holocaust  where it cuts back and forth between an actual animal killing to that of a human getting cut open until you can no longer differentiate the real from the fake. The special effects are quite authentic looking despite the minuscule budget and even features a cat death although thankfully I think that one was improvised.

The acting by Manowski is excellent as she shows no hesitation or restraint with her role in a demanding part most other actresses would’ve refused. Her onscreen presence adds erotic energy and it’s too bad she didn’t remain in it for the whole duration as it’s only when the two leads interact that it gets  the most interesting. In fact a backstory showing how they first met and what started them off into their sick habit would’ve been nice.

If you’re into trashy gore this flick is for you although it’s more sickening than scary and in fact I don’t consider it a horror movie at all, but more a dark comedy, a very dark one. This was followed 4 years later by a sequel, which continues the story right where this one leaves off,  has the same director and star, and I’m told is even more graphic.

My Rating: 6 out of 10

Released: November 19, 1987

Runtime: 1Hour 15Minutes

Not Rated

Director: Jorg Buttgereit

Available: DVD, Blu-ray, YouTube

It’s Alive III: Island of the Alive (1987)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Killer babies shipped away.

Stephen Jarvis (Michael Moriarty) is the father to one of the mutant babies who agrees to have his child shipped away under a court order to a deserted island where it can live freely among the other mutant babies while no longer being a threat to the rest of society. 5 years later Stephen is then asked to join in on an expedition by a group of doctors who want to go to the island to monitor the growth of the children, but when they arrive the children overpower them and force Stephen to return to the mainland in order to meet-up with Stephen’s wife Ellen (Karen Black) who gave birth to one of them years earlier.

Larry Cohen has stated that he wanted to take the theme to its logical conclusion and see what the babies would become like when they grew older, but it was the killer baby plot-line that is what made it so unique and by his point it no longer represents what it initially did. Now they look like overweight versions of the aliens from Close Encounters of the Third Kind and the setting like a whacked-out revision of The Island of Dr. Moreau and instead of being a horror film it’s more like a sci-fi flick and not a particularly good one at that.

It’s only mildly interesting when it’s on island anyways, but surprisingly the story doesn’t remain there and the  ill-advised humor that gets thrown in does nothing but make this already silly idea seem even sillier. We do however get to see more of the babies than in the first two installments, but this doesn’t help because they end up resembling second-rate clay animation figures, which looks tacky as hell.

Moriarty elevates it with a much needed edge and the fact that he’s staunchly pro-life in real-life gives the part an added layer of genuineness.  The only problem is that the character has the same arch as the father’s in the first two films had, which makes it redundant.

Black isn’t in it much, but manages to come on strong at the finish. I was perplexed however as to why in all three films it was the father who went on a crusading mission to save the babies and never the mother. Why couldn’t the wives/mothers have worked with their husbands as a team on this endeavor and the fact that they don’t seems sexist.

Per Leonard Maltin’s review there’s some ‘serious comments’ here on many modern-day social issues, but when it’s as cheaply made as this you really don’t care. There’s also too many tangents including a poorly staged street gang fight that is unconvincing. The first film was a novelty with a few redeeming qualities, but the  sequels do nothing but drive that original idea into the ground and turn the entire concept into a laughable, forgettable grade-Z farce.

My Rating: 3 out of 10

Released: May 15, 1987

Runtime: 1Hour 34Minutes

Rated R

Director: Larry Cohen

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

It’s Alive (1974)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Newborn is a monster.

Frank (John Ryan) and Lenore (Sharon Farrell) are excited about the birth of their second child, but during the delivery they find to their horror that the newborn is a freakish monster who kills all the doctors in the delivery room and then escapes out onto the streets. The police try to track it down while Frank initially avows to kill it himself, but when his paternal instincts eventually set in he has second thoughts.

This is for the most part a fascinating, offbeat look at the abortion issue that seems to be a continuing theme with writer/director Larry Cohen who also co-scripted Daddy’s Gone-a-Hunting. In many ways it’s less of a horror film and more of a character study as the main focus is on Frank and the way his feelings on the baby change during the course of the story. In fact it’s Ryan’s intense performance that’s the film’s mainstay and what really propels it.

The baby itself offers intrigue and I liked how his appearance is kept mostly a mystery throughout, which helps build even more fear, but then we never end up getting to see it up close, which is a big letdown. Instead it’s just fleeting long distance shots and even then that doesn’t happen until the very end. The only reason to see a movie like this is to get a genuine look at the thing and when that only gets teased it’s a rip-off.

The baby’s super intelligence had me confused too. Supposedly it’s deformed due to the mother taking some contraceptive pills, but how does this make the child super smart to the point that he is able to find the school that Frank and Lenore’s child goes to, in crowded L.A. of all places and then eventually Frank and Lenore’s house? This thing is just a few days old, so how is it able to read street signs and find places and be ‘pre-programmed’ as it were to know which school/house to go to?

I was also confused at how the baby was able to attack people by biting into their necks. If it’s a crawling baby shouldn’t the feet and ankles of the victim be the place that suffers injury? And how was the baby able to kill all the doctors and nurses in the delivery room? If he was attacking one of them couldn’t the others have ganged up on the little guy and overpowered him or even just ran out of the room and yelled for help or did they all just stupidly stand there as if frozen while the baby jumped onto each Dr. and bit into them one-by-one?

Never getting a clear consistent view of the baby, nor properly explaining what the ‘logic rules’ were was a big turn-off for me when I first saw this decades ago and I came away considering it a Grade-B schlockfeast with little redeeming value. Upon second viewing I’ve softened on it a bit and appreciated Cohen’s efforts especially on such a limited budget, but the screwy loopholes and flimsy effects ultimately hurts it either way.

My Rating: 5 out of 10

Released: April 26, 1974

Runtime: 1Hour 30Minutes

Rated PG

Director: Larry Cohen

Studio: Warner Brothers

Available: DVD, Amazon Video, YouTube

Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975)

 

By Richard Winters

My Rating: 5 out of 10

4-Word Review: She performs daily chores.

This is a highly unusual film which analyzes in minute detail the monotonous tasks that a single mother performs throughout her day and was apparently inspired by writer/director Chantal Ackerman growing up with a mother who suffered from obsessive/compulsive disorder. The story centers on Jeanne (Delphine Seyrig) a woman raising a teenage son while living in a tiny one-bedroom apartment in Belgium. During the day she entertains various men with sexual services and uses the money that she receives for this to help maintain things for both herself and her teenage son Sylvain (Jan Decorte). When she is not working as a prostitute she is busily cooking and cleaning, but as each day passes her routine becomes sloppier, which is a subconscious signal that something is bothering her and only at the very end does the viewer find out what it is.

Some have hailed this as a masterpiece including being listed among the ‘1001 Movies You Must See Before You Die’ by Steven Schneider. Normally I enjoy films that buck the conventional narrative and trying to learn about a character through the way she performs her daily routine as opposed to doing it the standard way through dialogue and action is commendable, but the cinematic flair is missing making this seem more like ‘monotonous task porn’ than a movie.

For instance when we watch Jeanne wash her dishes the camera does it in a very static way from behind her instead of doing something flashy like a close-up of the water glistening of the dish, or from some other provocative angle. Akerman has stated that she took this approach in order to show respect to her character’s ‘personal space’, but this only ends up giving it a closed-circuit TV feel.

Nonetheless I still remained strangely intrigued, but I’m not sure if this was because of some reviews I read beforehand where I was told that about the ‘surprise/shocking ending’ that would somehow make what I was watching all seem worth it, or because of what I was actually going on. I’ll agree that seeing the way she prepares and cooks her various meals is fascinating, but it’s for all the wrong reasons as you become more caught up in the task itself than the character and to say that one’s mind doesn’t eventually begin to wander after 3 hours and 20 minutes of this would be an understatement.

The 3-day arch that she goes through from where she performs her tasks proficiently on the first day only to screw them up more and more by the third one needed to be much more apparent as her ‘screw-ups’, like dropping a newly washed spoon on the floor, are too subtle and not enough of a payoff. Cinema is still a visual and dramatic art form and yet this film runs away from that at every conceivable turn making it seem more like an assault on one’s stamina instead.

Spoiler Alert!

The only true cinematic moment comes at the very end when Jeanne kills one of her male clients, but there’s no reason given for why she does this or what the aftermath will be. To have to sit through all that comes before it just to walk away with unanswered questions is frustrating and almost like being told a joke where the punchline is not an equal payoff to the long, tangent-filled set-up that it took to get there. I like the concept, which is intriguing, but it could’ve been accomplished in half the runtime making this an interesting experiment that can be appreciated as an oddity, but nothing more than that.

My Rating: 5 out of 10

Released: May 14, 1975

Runtime: 3Hours 21Minutes

Not Rated

Director: Chantal Ackerman

Studio: Olympic Films

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

The Witches of Eastwick (1987)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Devil comes to town.

Based on the John Updike novel of the same name, the story centers on three single women (Cher, Susan Sarandon, Michelle Pfeiffer) living in the town of Eastwick, Rhode Island who are also witches, but don’t yet realize it. All three want to meet up with the man of their dreams, which ushers in Daryl Van Horne (Jack Nicholson). He is a rich playboy that buys the town’s landmark home the stately Lennox Mansion. The three women are initially seduced by his powers only to realize later that he is actually the devil incarnate and spend the rest of the time conjuring up a spell that will send him back to where he came from.

After achieving so much success with The Road Warrior franchise Australian director George Miller decided to take a stab at something completely different, but had to deal with studio politics during the production, which made the final product disjointed. However, despite an array of confusing plot points the offbeat elements are enough to hold your attention and keep things interesting.

The creative special effects add an imaginative flair, but tend to get overdone. I enjoyed the scene where Veronica Cartwright vomits out cherry seeds all over her house, which leaves an indelible impression, but then Nicholson does the same thing later inside a church where it becomes redundant and gross. Watching a floating tennis ball defying gravity is amusing, but not needed. This scene, where all four get together to play a game of tennis, should’ve instead focused on the underlying tensions between the characters, which would’ve given the movie some needed nuance.

I enjoyed Sarandon, who goes from being a repressed nerdette to sexual vamp, but overall the efforts of the game cast are wasted as there’s not enough distinction between the women’s personalities making them seem almost like the same person. The only female that is distinct and memorable is Cartwright who’s campy, over-the-top portrayal of a paranoid religious woman hits-the-mark and should’ve been enough to give her more screen time and at least one scene where she confronts Nicholson directly.

I would’ve preferred also that the women been aware right from the start that they were witches, which would’ve made them immediate adversaries to Nicholson instead of these dopey pawns that passively allow him to seduce them one-by-one in long drawn-out segments that become quite strained. In contrast Nicholson could’ve preyed on the other women in town while these same witches spent their time coming up with ways to stop him and thus creating more of a theatrical battle.

Nicholson is great, but his character like with the others is poorly etched. At the beginning he’s a conniving player who possesses the ability to manipulate these women almost seamlessly, but then during the second half this all changes, but with no clear explanation as to why. His speech though inside a church expounding on man’s ever daunting task to tap into the female’s psychic is priceless:

“Do you think God knew what he was doing when he created women, or do you think it was just another one of his minor mistakes like tidal waves?…If it was a mistake maybe we can do something about it; find a cure, then a vaccine, build-up our immune systems.”

The biggest issue though is that the film needed to be genre specific and played more like a horror movie with dark comical undertones instead of a serene/hybrid comedy. The New England setting is picturesque, but not right for this type of story. A better location would’ve been a town that was mostly cloudy and gloomy while containing buildings that were old and gothic, which would’ve helped to create an eerie atmosphere that is otherwise sorely lacking.

My Rating: 7 out of 10

Released: June 12, 1987

Runtime: 1Hour 58Minutes

Rated R

Director: George Miller

Studio: Warner Brothers

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

Mr. Majestyk (1974)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Don’t touch his watermelons!

Vince Majestyk (Charles Bronson) is a Colorado watermelon farmer who gets into a conflict with Bobby (Paul Koslo) who wants to force Vince to use unskilled drunks to harvest his crop instead of migrant workers. When Vince successfully forces Bobby and his crew off of his property Bobby then goes to the police with assault charges, which lands Vince in jail. It is there that he comes into contact with Frank Renda (Al Lettieri) a notorious hit man. While the two are being transferred by bus to another prison Renda’s men attack it in a shootout, but when the driver is killed Vince takes control of the bus and drives it off into the Colorado wilderness. There he holds Renda hostage while trying to broker a deal with the police where he’ll ‘trade’ Renda for his freedom, but things don’t go quite as planned.

Many people don’t realize that during the ‘70s Bronson did quite a few offbeat films with St. Ives and From Noon Till Three being his two biggest, but this one comes in as an honorable mention. I’ve watched a lot of movies in my lifetime and can usually guess where they’re going, but this one kept me genuinely intrigued most of the way. The script is enlivened with its vivid on-location shooting done mostly in La Junta, Colorado, which includes a well-staged shootout done in the center of town as well as a car chase that takes advantage of an area with scenic rock formations.

The biggest surprise though is Bronson. Sometimes he comes off as stiff and wooden, but here he’s engaging and even reveals a playful side. His character also makes a few miscalculations, which helps him seem more human as opposed to the standard rugged good guy who is always able to think-on-his-feet and constantly able to achieve miraculous split-second decisions.

I was disappointed though with Al Lettieri. He was so effectively nasty in The Getaway that I didn’t think it could be topped or even attempted and yet just two years after that one he again gets cast in virtually the same type of role making it seem like typecasting to the extreme. I was hoping that he would expose a softer side to his persona at some unexpected moment, but it never occurs and he just proceeds to being one mean, angry s.o.b. which quickly becomes boring and one-dimensional.

Lee Purcell though is terrific as his girlfriend. She had played only rural, country girl types before this, so it was great seeing her portray someone more sophisticated and despite her young age, only 26 at the time, she shows great composure alongside her much older male co-stars. Her cool, collected manner makes for an intriguing contrast to Lettieri’s hyper one and should’ve been explored more.

Linda Cristal as Bronson’s love interest is less impressive. Playing a feisty Hispanic woman comes off almost like a cliché and their relationship is forced. She does come in handy as the getaway driver, which I feel is the only reason her character was put into the story to begin with.

Despite the unpredictable touches the beginning is quite contrived, which includes an opening title sequence better suited for a TV-show. The script was written by Elmore Leonard, which made it disappointing as I was expecting there to be some sort of subtext to it, but in the end it’s rather run-of-the-mill with the offbeat elements not enough to make it anything more than a transparent diversion.

My Rating: 6 out of 10

Released: July 12, 1974

Runtime: 1Hour 43Minutes

Rated PG

Director: Richard Fleischer

Studio: United Artists

Available: DVD, Blu-ray, Amazon Video

Polyester (1981)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Suburban housewife has problems.

Francine Fishpaw’s (Divine) world is crumbling. Not only must she endure constant protests in front of her suburban Baltimore home dealing with people upset with her husband (David Samson) running an adult theater, but she must also deal with his affair with his sexy secretary (Mink Stole) as well. Her teenage son (Ken King) is terrorizing the city by intentionally stomping on the feet of every woman he sees and her daughter Lu-Lu (Mary Garlington) wants an abortion. She then meets the dashing Todd Tomorrow (Tab Hunter) and the two immediately fall-in-love only to find that he too has a dark-side.

This was John Waters’ first studio backed film and the first to garner an R-rating while the others had been X. While the budget is an improvement and its technicallys more polished the edginess is lost. The humor and satirical potshots don’t have the same zing and are lacking in originality and outrageousness. The gimmick of passing out a scratch-and-sniff cards where audiences could sniff the scents being smelled by the film’s main character seems excessively juvenile and the film begins with a campy scientist (Rick Breitenfeld) talking about it, which sets the tone too much on a silly/cartoonish level.

Divine’s presence helps, but she isn’t as made-up or as flashy as she was in her past films and looking much more like just some fat guy wearing a lady’s wig. I liked that her character was consistently normal for the most part as in the other films she behaved more erratically although what she goes through here is so unrelentingly traumatic that it borders on being almost cruel to laugh at. It’s also not completely easy to sympathize with her quandary as her kid’s behavior is so outrageous you have to question her parenting skills and whether she’s partially to blame for the bad things that they do.

Edith Massey is funny as a poor woman who wins the lottery and now acts a bit nouveau riche about it. It’s also fun seeing the two teens go through a Jekyll and Hyde transformation, but Tab’s appearance adds little although he does sing a decent opening title tune.

The broad humor for the most part is dumb, but I still found myself laughing-out-loud at some of it, which I suppose is a part of Waters’ ‘charm’ at getting you to laugh at things you otherwise wouldn’t. Some of the moments that had me chuckling were: a ‘nice’ picnic that gets ruined by ants and a skunk. Pregnant young women forced to go on a ‘happy hayride’ in the cold rain by two fascist nuns and the pet dog who commits suicide by hanging himself along with leaving a note saying ‘Goodbye cruel world’.  The part where overweight Jean Hill hijacks a bus and chases down a group of teens who assaulted her on the street and then bites into their car tires to disable their vehicle is pretty wacked-out too.

My Rating: 4 out of 10

Released: May 29, 1981

Runtime: 1 Hour 26 Minutes

Rated R

Director: John Waters

Studio: New Line Cinema

Available: DVD, Amazon Video, YouTube

The Killing Kind (1973)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Always a good boy.

Terry (John Savage) is an angry man suffering from the inner torment of being sent to prison for a gang rape he was forced to participate in. Once he gets out he moves back in with his oppressive mother (Ann Sothern) who dotes over him and ignores all the troubling signs that he clearly displays. Instead of getting a job he spends his time exacting revenge on those who wronged him and then sets his sights on an attractive young lady (Cindy Williams) who has rented a room in his mother’s house. When Terry ends up murdering her his mother decides to help him cover it up because in her mind he will always be a ‘good boy’ no matter what he does.

The film is cheaply made with faded color, grainy film stock and an annoying humming sound that is apparent throughout, but Curtis Harrington’s direction gives it life and keeps you intrigued with its offbeat approach. It reminded me a lot of Paul Bartel’s Private Parts particularly with its emphasis on voyeurism especially how Terry secretly watches their tenant while the neighbor lady (Luana Anders) does the same to Terry.

Unfortunately there’s not enough of a payoff. The action is spotty and the gore is kept at a minimum. It starts right away with the gang rape, but then steps back with the shocks and pretty much implies all the other dark aspects of the story without showing it. The characters are molded into caricatures and more subtlety could’ve been used as to their intentions particularly the repressed neighbor lady blurting out her inner desires and thoughts to Terry without ever having spoken to him before.

Sothern is impressive especially since she was from Hollywood’s Golden Age and spent years working with sanitized scripts, so seeing her jump into such tawdry material with seemingly no hesitation is interesting. Savage’s performance I found to be frustrating as he seems to play the role like someone we should sympathize with, which is hard to do when he kills so many people.

Williams is the standout. Her murder scene is memorable as she struggles quite a bit and then forced to stay still in stagnant water with the same facial expression for several minutes. Later she’s shown lying in a junkyard as rats crawl over her, which proves she’s a dedicated to her craft to allow herself to go through that.

The ending fizzles and seems almost like a cop-out while not taking enough advantage of the other offbeat scenarios that it introduces. Had I directed it I would’ve done it differently. In my version the nosy neighbor lady, would threaten to go to the police about the crime, which she sees, but says she won’t if Terry, who had rejected her advances earlier, agrees to have sex with her. She then forces both his mother and her wheelchair bound elderly father (Peter Brocco) to watch, which would’ve given this potential cult classic the extra oomph to the dark side that it needed instead of coming tantalizingly close, but never truly delivering.

My Rating: 5 out of 10

Released: June 23, 1973

Runtime: 1 Hour 34 Minutes

Rated R

Director: Curtis Harrington

Studio: Media Cinema Group

Available: DVD, Amazon Video