Tag Archives: Christopher Reeve

Superman III (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Computer whiz corrupts Superman.

August ‘Gus’ Gorman (Richard Pryor) is an unemployed man looking for a job and comes upon the idea of training to become a computer tech when he sees it advertised on the back of a book of matches. Much to his surprise he excels as a student and is soon able to use his newfound computer knowledge to hack other programs including the payroll department at his company where he’s able to give himself a large, unearned monetary bonus. Ross Webster (Robert Vaughan), the company’s CEO, becomes aware of what Gus is doing, but is so impressed by his computer skills that instead of firing him he hires him to hack a weather satellite that will cause a rain storm in Columbia that will destroy the coffee crops and allow Webster to corner the market, but Superman intervenes and tempers the storm, so it isn’t as bad. This causes Webster to realize how detrimental to his plans Superman is and orders Gus to come create some synthesized Kryptonite in order to impair Superman’s ability. Gus researches the elements that make up Kryptonite on his computer and finds all of them except for one, so he arbitrarely adds tobacco in it for good measure. Instead of weakening Superman it turns him into an uncaring, sinister person who ‘drops-out’ of the hero saving lifestyle and becomes an anti-social person who shows no concern for others.

When Richard Donner, who had directed the first installment and 75% percent of the second one, got fired, he was replaced with Richard Lester. Lester had a far different vision for the Superman films. He disliked what he considered the ‘dark tone’ that Donner had given the first two and wanted a humorous quality put in. While I don’t mind some campiness Lester clearly goes overboard including the segment done over the opening credits that features unending slapstick that makes a mockery of the Superman franchise and drives the whole thing down to such a silly level that I wouldn’t have blamed anyone if they had walked out of the theater and demanded their money back.

Pryor was a big fan of the first two Superman movies and said as much when he was a guest on the ‘Tonight Show’. The Salkinds, who had proved already to have an unhealthy proclivity to the so-called ‘star power’ by casting Marlon Brando in the first film and paying him an outrageous sum even though his acting was subpar and a lessen known actor could’ve done a better job at half the price. No one ever came to a Superman movie simply to see Brando nor any other big-name actor, but for whatever reason the Salkinds didn’t understand this, so when they heard Pryor was interested in being in one of their films and he was a trop draw at the box office at the time, they admittedly signed him up.

Pryor, for his part, is highly engaging, but his schtick is out of place here. The script centers too much on his character making Superman seem like he’s only a co-star in his own movie. The character he plays makes no sense either as he’s portrayed initially as being a dumb guy who can’t hold down any job and then suddenly becomes a super genius with computers. However, there needed to be something shown in his background that would connect this, like he was really good with math, or coding, but instead it’s never explained. The movie makes it seem like it’s ‘dumb luck’ that he’s such a programming whiz and even he himself doesn’t understand it, which is just plain ridiculous especially as he continues to become more and more sophisticated with it.

While I liked the gaudy set design of Webster’s penthouse, and his rooftop ski slope, as a villain he’s a complete bore and seems too similar to Lex Luthor and his ditzy lady friend Lorelei, played by Pamela Stephenson, coming-off as being simply a younger version of Luthor’s main squeeze Miss Tessmacher. Webster’s evil sister Vera, played by Annie Ross, is equally dull and I have no idea why she was even put into the story as she adds little and doesn’t play-up her domineering persona enough to be even remotely interesting or amusing. Her character shows the same flaw as Pryor’s where she becomes really good at running a complex computer system too easily and too quickly.

The Lois Lane character gets minimized to the extreme where we see her briefly at the start and then quickly at the end. Supposedly this was due to a falling out that Margot Kidder had with the producers, but the Salkinds insisted it was more because they wanted to explore Superman’s romance with someone else, but Lois and Clark Kent’s relationship had gotten quite intense during Part II, so there needed to be some explanation with why now they were in the ‘friend zone’ like maybe perhaps she had found another boyfriend. The film though never bothers to come-up with any answer making it feel like there was no story cohesion between this one and the other two. Annette O’Toole, who plays the new love interest Lana Lang, is benign and the romantic chemistry between her and Kent is nil. 

David and Leslie Newman’s script lacks understanding in regard to technology and extreme naivety with the way Pryor’s character is able to use his computer to hack into other programs. Viewers today, who are much more sophisticated about the topic, will find the stuff here to be quite antiquated. The way the giant supercomputer gets completed is absurd too as it’s never shown who builds it. Was it done by just the four villains single-handedly, or by a large crew? Even if a crew did do it, it would take months if not years to construct and yet here it’s done in seemingly a day, or two. When Gus and Webster create an economic crisis by redirecting oil tankers you’d think the U.S. government would certainly get involved and investigate and would have computer experts on hand to trace back how and where the hacking occurred and at some point the two would eventually, at the very least, come under suspicion and yet here that never happens, nor even gets touched upon.

Spoiler Alert!

Some have complimented Reeve’s performance as the evil Superman, which is good, but the giant showdown that he and Clark Kent have in which they use they’re individual superpowers to try and take the other down, is too reminiscent between Zod’s gang and Superman from part II and thus comes off as redundant instead of exciting. 

I didn’t agree with Pryor’s character getting off-the-hook at the end either. Yes, he did ultimately save Superman’s life, but he also stole money and got involved in nefarious projects that broke many laws, so instead of being transported to a new location where he could get another job and ‘start fresh’ he should’ve been taken to a prison to serve his debt to society. Even if he was at heart ‘a nice guy’ he still did some wrong things and should’ve had to pay some sort of consequence. 

My Rating: 2 out of 10

Released: June 17, 1983

Runtime: 2 Hours 5 Minutes

Rated PG

Director: Richard Lester

Studio: Warner Brothers

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

Superman (1978)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: The Man of Steel.

As the planet Krypton gets set to be destroyed by its exploding sun, Jor-El (Marlon Brando) and his wife Lara (Susannah York) put their child on a spaceship that takes him to the planet earth. It is there that his spaceship crash lands into a wheat field that his spotted by Jonathan (Glenn Ford) and Martha (Phyllis Thaxter) who take the child in and treat him as their own. The boy is named Clark (Christopher Reeve) and as he grows, he begins to show amazing abilities including running faster than is humanely possible and incredible strength. Once he becomes an adult, he gets a job as a reporter at the Daily Planet newspaper where he meets fellow reporter Lois Lane (Margot Kidder). He even saves her, while dressed as a superhero, from a helicopter accident and becomes known initially as the ‘caped wonder’ before finally being coined as Superman. His publicity attracts the attention of criminal mastermind Lex Luthor (Gene Hackman) who devises a plan to steal missiles and use them to create an earthquake along the San Andreas fault and thus casting off coastal California into the ocean and turning the desert land he purchased into prime real estate. Superman attempts to stop him, but Lex has found one thing that can stop him: a meteorite known as kryptonite.

At the time this film, which suffered from numerous behind-the-scenes problems and infighting, was made it was the most expensive one ever produced with a whopping $55 million budget. While the effects were mesmerizing for many back-in-the-day I don’t know if they still all hold-up. The flying segments particularly over the Statue of Liberty is impressive to a degree but can’t quite equal today’s technology and appears like two people in front of a greenscreen as does the giant red sun that moves in to destroy Kyrpton. Watching the young Clark Kent running alongside a train looks tacky too like he’s being held up by invisible wires, which he was, and his feet aren’t really ever touching the ground. In all fairness though the earthquake segment and the destruction of the Hoover Dam and the shaking of the Golden Gate Bridge remains top notch.

The script though, which takes on quite a lot and had to be slimmed down from its original 500-page version that was written by Mario Puzo, feels rushed at times and glosses over certain things that I felt should’ve been a little more drawn-out particularly when the Kents find the boy crash land in the field. The film makes it look like they just left the remains of the spaceship in the field making me think other people in the area would’ve also come upon it later and would start a panic that some alien had come out of it and invaded the town. Later on, we come to realize that the ship got hidden inside their barn, but there’s no scene showing them transporting it, or how they went about doing that, which I felt should’ve been put in for the simple sake of clarity.

Watching Superman orbit the earth in an attempt to get it to spin backwards and supposedly ‘turn back time’ is kind of cool to see and an interesting concept though not totally plausible. Making the world rotate the other way would certainly change some things like having the sun rise in the west instead of the east and have the ocean waves go in a different direction among other things, but causing everything to essentially ‘rewind’ and go back to the way they were even bringing certain people who had died suddenly back to life just wasn’t completely convincing though it’s not enough to hurt the movie as a whole.

Most fans will likely tell me I’m quibbling about the Clark Kent disguise though when you really think about it it’s not much of a disguise at all. I admit watching this muscular guy dressed in a suit and acting all clumsy and wimpy is amusing especially the way Reeve plays it but besides combing his hair in a different direction than when he’s Superman the only other difference is that he wears glasses. However, that would be tantamount to saying someone who does wear glasses but then comes to work one day without them would not be recognized by any of his friends, or co-workers especially when he’s still speaking in the same voice making me believe that Lois and Jimmy, played by Marc McClure, should and would’ve caught on to this pretty quickly. I realize the comic book did it this way, but when it got updated into a movie, they should’ve reenvisioned it a little by adding more to the Clark get-up like besides just glasses he’d also have a mustache, or goatee and speak a bit differently, so having those close to him not catch-on would be more understandable.

I think what I enjoyed most was Hackman, who didn’t play a lot of villains during his career but is highly enjoyable here. Initially he didn’t want to take the part as he felt playing a campy character would tarnish his reputation of being a serious actor, but the change of pace does him good and proves if anything how versatile he is. His refusal not to shave his head, as the Lex Luthor in the comic is bald, works in his favor as his hair gets styled differently in each scene in order to represent him wearing a wig, which creates a creative visual. Valerie Perrine is great too as his girlfriend Miss Teschmacher who helps contrast his delusional personality with her more grounded sensibilities and I just loved the way he’d yell out her name every time he got annoyed with her, which is the comedy highlight.

The rest of the supporting cast though, made up of big name starts like Trevor Howard, Maria Schell, and even Larry Hagman didn’t seem needed and given such few lines I was surprised why they’d even take the roles unless it was because of the money. Brando is an equal waste. He’s given top billing and paid an exorbitant amount of money including a percentage of the profits despite refusing to memorize his dialogue and even having his lines written on the baby’s diaper for him to read off of as he puts the child into the spaceship. Had the producers skipped the unimportant ‘star power’ and cast lesser knowns in these roles they could’ve saved themselves a lot of money, which in retrospect might’ve lessened the tensions they had with director Richard Donner for going over budget and ultimately lead to his firing and a very tumultuous follow-up Superman II, which will be covered in the next review.

My Rating: 8 out of 10

Released: December 10, 1978

Runtime: 1 Hour 23 Minutes

Rated PG

Director: Richard Donner

Studio: Warner Brothers

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

Deathtrap (1982)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Playwright turns to murder.

Sidney Bruhl (Michael Caine) was at one time a top playwright, but his latest play is a flop. To add to his depression he finds that one of his students who attended his writing seminar, Clifford Anderson (Christopher Reeve), has on his first attempt written a brilliant sure-fire hit. Something that makes Sidney jealous. He decides to invite Clifford over to his secluded cottage and while there, and with the help of his wife Myra (Dyan Cannon), kill Clifford and then steal his script and treat it as if it’s his own. Things though don’t work out quite as expected especially when their neighbor Helga (Irene Worth) arrives who has psychic visions that could ultimately implicate Sidney for doing the dirty deed.

The film is based on the Broadway play of the same name written by Ira Levin that ran for 1,793 performances from February 26, 1978 to June 13, 1982. The play was well received by critics and audiences alike including director Sidney Lumet who put up some of his own money to get it made into a film, but ultimately he relies too heavily on the twisting plot while failing to add any cinematic element to it.

The exterior of Sidney’s home was the picturesque DeRose Windmill Cottage, which sits in East Hampton, New York and helps add a visual flair, but the interior of the home was shot on a soundstage and the film becomes quite claustrophobic as almost the entire story takes place in this one setting. The movie desperately needed more cutaways, even some minor breakaway bits like Helga’s disastrous guest spot on the Merv Griffin Show, which gets talked about, but never shown, in order to make it seem less like a filmed stageplay, which it ultimately ends up being.

The script brings up some potentially interesting insights like how sometimes the characters in a writer’s play can closely parallel the authors themselves. In fact many people that knew him felt that the Sidney character here strongly resembled the real Ira Levin, but the film fails to pursue this in a satisfying way and is devoid of any interesting subtext or nuance. The characters end up being just boring one dimensional caricatures that are wholly unlikable. You could care less which one of them killed who, or whether any of them even survive.

Christopher Reeve is the film’s only real bright-spot and the way he plays a gay man is effective and believable. His onscreen kiss with Caine was considered controversial and daring at the time and even upsetting to fans to the point that purportedly one audience member in a Denver theater screamed out “Superman, don’t do it!” just as the kiss occurred. Irene Worth is fun too and her accent is so believable that I was convinced that she must’ve been born in Eastern Europe and was shocked to learn that instead she was from, of all places, Nebraska.

Caine is good, but his presence will remind many of the movie Sleuth, which he also starred in and is quite similar to this one. In fact a lot of viewers thought this was a sequel to that simply for that reason and because of this somebody else should’ve been hired to play the part.

Cannon on the other hand is annoying as the hyper wife and shares no onscreen chemistry with the other two actors. Marian Seldes had played the role on Broadway in every one of its 1,793 performances, which garnered her a citation in the Guinness Book of World Records as most durable actress and because of that alone she should’ve been given the part here.

Johnny Mandel’s soundtrack gives the proceedings a highbrow flair and I wished it had been played more. The plot twists may entertain and surprise some, but not if you think about them for too long, which ultimately makes this just a second-rate Sleuth.

My Rating: 4 out of 10

Release: March 19, 1982

Runtime: 1 Hour 56 Minutes

Rated PG

Director: Sidney Lumet

Studio: Warner Brothers

Available: DVD, Blu-ray, YouTube

Switching Channels (1988)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Reporter shields convicted killer.

Christy Colleran (Kathleen Turner) is a dedicated news reporter working at a satellite news network who decides to take a much needed vacation. On her trip she meets the dashing and very rich Blane Bingham (Christopher Reeve). The two hit-it-off and decide to get married, but when she informs her ex-husband John (Burt Reynolds), who just so happens to also be here employer, he does everything he can to prevent the marriage from happening. Part of his scheme is to get her so involved in covering the impending execution of Ike Roscoe (Henry Gibson) that she won’t have time for Blaine, but when the execution goes awry and allows Ike to escape Christy agrees to shield him from the authorities.

The story is based off of the very famous Broadway play ‘The Front Page’ that was first performed in 1928 and has been remade into a cinematic film (not including the TV-movie versions) three different times before this one. The first was in 1931 and the second in 1942 with His Girl Friday starring Cary Grant and Rosalind Russell, which was probably the best version, and then in 1974 director Billy Wilder took a stab at the story that starred Walter Matthau and Jack Lemmon.

Why it was felt that this story needed to be done again is a mystery as this version is by far the weakest and hardly funny at all. The premise itself is solid, but structured in a way that makes it come off as an unfocused mess. It starts out as this sort of romantic love triangle scenario then jarringly shifts into the execution until it seems like two entirely different movies crammed into one. None of the original dialogue from the play was retained making the attempted banter here benign and uninteresting.

Although it’s been a while since I’ve seen the three other versions, which I found to be highly entertaining and funny, but this one is dizzying and confusing instead. As I remember the other versions kept the focus solely on the three leads and had them remain in the same setting with the action basically coming to them. Here it gets diluted with the characters prancing around to too many different places with their presence getting minimized by gargantuan, overly colorful sets that swallow up both the actors and story.

Reeve is excellent in what I consider his best role outside of Superman. Reynolds though looks uncomfortable in an ensemble-type comedy structure and he shares absolutely no chemistry with Turner with behind-the-scene reports saying that the two couldn’t get along at all. It’s almost like they cast the parts based solely on the name recognition of the stars over whether they were truly right for the parts.

Turner had already lost her youthful appeal here that had made her so sexy in Body Heat that had just been done 7 years earlier.  She comes off as more middle-aged and frumpy and not at all the type of woman two guys would fight over. I admire her attempts at expanding her acting range by taking a stab at frantic comedy, but her constant breathless delivery becomes tiresome and redundant.

The entire production gets overblown. Director Ted Kotcheff’s attempts to make the story more cinematic ends up draining it of the amusing subtle nuances that made it so special when it was done onstage. Switching channels is indeed an appropriate title for this because if it were shown on TV I would be pressing the remote to a different station.

My Rating: 4 out of 10

Release: March 4, 1988

Runtime: 1hour 45Minutes

Rated PG

Director: Ted Kotcheff

Studio: TriStar Pictures

Available: DVD, Amazon Video, YouTube

Gray Lady Down (1978)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Submarine crew needs rescue.

Captain Paul Blanchard (Charlton Heston) is on his final submarine mission, but just as the vessel surfaces it gets struck by a Norwegian freighter, which sinks it to the ocean bottom. The navy’s rescue team is unable to get to the crew due to a rock slide that covers the escape hatch. Eccentric Navy Captain Gates (David Carradine) is brought in as he has created a submersible vehicle that can go down the depths of the ocean and remove the rocks from the sub, but his personality clashes with that of Captain Bennett’s (Stacy Keach), which further hampers the rescue efforts.

The story, which is based on the 1971 novel ‘Event 1000’ by David Lavallee gets off to a shaky start. Although the interiors of the vessel look quite authentic the exterior shots, especially those showing the crew sticking their heads outside the vessel’s port hatch, were clearly done on a soundstage in front of a green screen and nothing is worse than a film that tries hard to be meticulous in one area only to compromise in another. When the sub gets hit many of the crew, which were made up of stunt men and not professional actors, overreact giving it an unintentionally comical feel.

The cutting back and forth to scenes inside the Norwegian ship and how that crew becomes panicked was not necessary. Again, the acting gets a bit over-the-top here too and the dialogue is shown in subtitles due to them speaking in their native language. It might’ve actually added to the intrigue had we not seen what went wrong with the other ship to cause the collision especially since the focus of the film is on the rescue effort anyways.

Once the rescue gets going it gets better with a solid pace that keeps things on a realistic level and continues to throw in new twists that makes the attempted rescue continually more difficult. Although it does get to a point where it seems nightmarish scenarios are introduced simply for the sake of drama and almost like it was piling-on the problems making the submarine crew look like they were the most unluckiest people on the planet in order to have one bad luck situation happen after another.

The scenes involving Carradine and his relationship with his pal Mickey (Ned Beatty) as well as his animosity with Stacy Keach are more interesting than the ones involving the crew stuck in the ship. Part of the reason is there is no backstory given to any of the characters, so we never see them as three dimensional people and our empathy for their welfare isn’t as much as it could’ve been. A brief bit shows the wives of the crew upset at the news, but an added side-story would’ve helped. In fact I was genuinely shocked that Rosemary Forsyth, who plays Heston’s wife, has only a single line of dialogue. I realize she may not be an A-list star, but she has a respectable enough body of work to expect something more than a just a token walk-on bit and I’m surprised she took the part.

Spoiler Alert!

The ending is tense and filmed in a way that you’ll never realize that the subs used were simply miniaturized models shot on a soundstage with smoked used for the underwater effects. However, the drama could’ve been heightened especially when one of the characters sacrifices their life to save the others, which should’ve come off as a shock, but the film telegraphs it, which lessens the effect.

End of Spoiler Alert!

Heston’s a stiff acting doesn’t always work, but here he’s excellent and despite being well over 50 appears amazingly young and agile. This marks Christopher Reeve’s film debut who looks absolutely boyish as well as a reunion of sorts for Ned Beatty and Ronny Cox who starred together 6 years earlier in Deliverance although here they do not share any scenes together.

My Rating: 7 out of 10

Released: March 10, 1978

Runtime: 1 Hour 51 Minutes

Rated PG

Director: David Greene

Studio: Universal

Available: DVD, Amazon Video, YouTube

Noises Off (1992)

noises off 2

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Behind-the-scenes discord.

An eclectic group of actors put on a play that they take on tour. The play is a sort of door slamming British farce that is full of innuendos and misunderstandings and the film captures them during one particular scene of that play. It follows them as they rehearse that scene and then perform it live to an audience. It also shows the behind the scenes discord that develops between the cast and how this affects the performance of the scene, which culminates in a completely disastrous showing in Cleveland.

This should have been a really fun movie. It’s certainly an originally structured idea and it is slickly handled. It brings back the days of screwball comedy where things were funny just for the sake of being funny. Everything is contained and nothing is out of place or crude. In some ways it’s a refreshing change of pace.

The cast is certainly game and perfect for this type of comedy. Christopher Reeve and John Ritter come off best. Reeve seems to be playing his Clark Kent character only to a higher degree. Ritter does his Jack Tripper routine not only with the physical side, but also the nuance. His character tries very hard to be politically correct and it is amusing watching him never able to get to the point.

The film offers some light satire into the whole stage production process. Everything from the fragile temperaments of the actors to the high strung director is examined. It also takes some good shots at the plays themselves and how these stage comedies always seem to have such a high reliance on extreme coincidences.

There are some good laughs, but after a while it becomes a bit too much and exhausting to watch. The jokes and gags come so fast that if you blink you will miss some. There is also too much reliance on the frantic side of comedy, which eventually starts to lose its cuteness. The characters are placid and so are the situations. There is also the redundancy factor of having to see the same scene done over and over.

The end result is meticulously choreographed tripe and as silly as the play it seems to be mocking. It also has a glaring factual error. Michael Caine, the play’s director, talks about all the cities they have been too. He mentions Cairo, Missouri as one. There is a Cairo in Illinois but none in Missouri.

My Rating: 3 out of 10

Released: March 20, 1992

Runtime: 1Hour 41Minutes

Rated PG-13

Director: Peter Bogdanovich

Studio: Touchstone Pictures

Available: VHS, DVD