Tag Archives: Entertainment

Chapter Two (1979)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Trying to start over.

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

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

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

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

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

My Rating: 7 out of 10

Released: December 14, 1979

Runtime: 2Hours 4Minutes

Rated PG

Director: Robert Moore

Studio: Columbia Pictures

Available: DVD (Sony Choice Collection)

Brewster’s Millions (1985)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: He spends thirty million.

Richard Pryor plays Monty Brewster a struggling baseball pitcher in the minor leagues who has never earned more than $11,000 in a year, but finally gets his chance to be rich via a deceased uncle (Hume Cronyn) who leaves him a vast fortune, but with conditions. He must spend $30 million in 30 days in order to get $300 million and if not whatever is left over from the unspent $30 million will be given over to a law firm. He is also given the option to accept $1 million upfront with no strings, but he chooses the challenge only to find that spending a lot of money is even harder than making it.

The film is based on the 1902 novel of the same name by George Barr McCutcheon and this marked the seventh film version of that story. The novel though does things differently. In that version Brewster has already inherited one million, but given the chance to attain seven million if can spend the one million during a full year, which is a little more believable. Watching Brewster trying to spend the 30 million on any dumb thing that comes along gets dizzying and hard to keep track of until it eventually plays itself out by becoming a one-joke concept throwing out the same punchline over-and-over. Why the amount was raised to 30 million and the time span to spend it shortened isn’t clear. Possibly it was for inflation or simply to make it ‘more comical’, but it ends up getting wildly overblown.

With so many people out there who are poor and desperate it’s hard to be sympathetic to Brewster’s dilemma. Spending a lot of money foolishly simply to serve his own greed and attain even more isn’t exactly a noble mission. Had he at least tried to spend it on things that could help others, like in the novel, it might’ve made a little more of an emotional impact. The Pryor character is also portrayed as having very little confidence and therefore I would think in reality he would’ve just accepted the million, which in his eyes would’ve been a lot of money anyways and never bothered to take the challenge, which most anyone else would’ve found monumental and impossible.

Pryor isn’t funny at all and John Candy is far more amusing as his loyal friend, but unfortunately isn’t seen enough. Stephen Collins is good as the duplicitous Warren Cox and this also marks David White’s final film appearance, who is best known for playing Larry Tate on ‘Bewitched’ and whose name is strangely not listed in the film’s opening credits despite having a major role. Yakov Smirnoff and Rick Moranis can also be seen in brief bits.

The film was directed by Walter Hill who later referred to this as ‘an aberration’ and having only done it to ‘improve his bank account’. His forte is in action flicks and his attempt at comedy turns terribly flat from its first frame to its last. It is also in many ways similar to Trading Places, which coincidentally was written by the same screenwriter Hershel Weingrod, but that film was far better.

My Rating: 1 out of 10

Released: May 22, 1985

Runtime: 1Hour 41Minutes

Rated PG

Director: Walter Hill

Studio: Universal

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

The Hindenburg (1975)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Blow up the zeppelin.

Based on the 1972 novel by Michael M. Mooney the story centers on Colonel Franz Ritter (George C. Scott) who was a part of Luftwaffe, which was the aerial warfare branch of the Nazi government and was employed to protect the Hindenburg zeppelin on its voyage across the Atlantic. Rumors had swirled that hostilities towards the Nazi party could cause a terrorist attack on anything connected to them and since the airship is German made it made it a prime target. Martin Vogel (Roy Thinnes) assists Ritter in his investigation, but the two find themselves at constant odds as they must sort through a wide array of suspicious passengers all of whom have the motivation and ability to cause harm to them and everyone else.

The film of course is based on the actual explosion of The Hindenburg zeppelin that occurred on May 6, 1937 in Lakehurst, New Jersey. Although there had been bomb threats made against The Hindenburg before its flight and the theory was investigated there has never been any hard proof that is what caused its destruction. The story is completely speculative, which is primarily the reason why the film is so weak and uninvolving. Conspiracy theories can be interesting if there is some hard evidence to back it up, but this thing makes it all up as it goes along. The fact that it occurred so long ago only heightens how pointless it is. Everyone that was involved is now dead, so even if there is some truth to what it is propagating what difference could it possibly make now?

Richard Levinson and William Link who wrote the script where known for their love of mysteries and helped to create both the ‘Columbo’ and ‘Murder She Wrote’ franchises, but their character development was not one of their stronger suits. The cast of characters here are bland and cardboard with nothing interesting to say. I’m surprised that they managed to corral a decent list of big name stars to appear as they have little to do and for many of them are seen only briefly. William Atherton gives the film’s only interesting performance and I did like Charles Durning as the ship’s captain as well, but that is about it.

The recreation of the airship, which was painstakingly done by a group of 80 artists and technicians who worked around-the-clock for 4 straight months on it is impressive and resulted in a highly detailed 25-foot-long model. Watching it glide through the clouds are the film’s best moments as is the scene where Atherton’s character tries to repair a hole in the outer fabric and almost slips to his death.

(Below is a pic of the actual Hindenburg along with the model used in the film.)

The climactic explosion, which should’ve been the film’s most exciting moment, comes off instead, like everything else in the movie, as protracted and boring. Director Robert Wise decided not to recreate the ship’s fiery end through special effects, but instead spliced in scenes of the character’s trying to escape the burning wreck with black-and-white newsreel footage from the era. This results in distracting the viewer and emotionally taking them out of the movie at its most crucial point because up until then everything had been in color and then suddenly it shifts to black-and-white making it seem like we are no longer following the same movie. The actual explosion and subsequent fire happened very quickly, in less than 2 minutes, but here it gets stretched to almost 8, which makes it seem too ‘Hollywoodnized’ and not authentic or compelling.

(Below is a pic of the Hindenburg explosion along with the burned out skeleton of the ship as captured the day after the incident.)

My Rating: 3 out of 10

Released: December 25, 1975

Runtime: 2Hours 5Minutes

Rated PG

Director: Robert Wise

Studio: Universal

Available: DVD, Amazon Video, YouTube

Thunderbolt and Lightfoot (1974)

 

By Richard Winters

My Rating: 8 out of 10

4-Word Review: The one room schoolhouse.

Thunderbolt (Clint Eastwood) is a former bank robber hiding out as a Montana preacher while trying to avoid Red (George Kennedy) and Eddie (Geoffrey Lewis) who are his former crime partners that mistakenly believe he double-crossed them. One day they manage to catch up with him and try gunning him down during one of his church services. Thunderbolt escapes by hopping into a car driven by Lightfoot (Jeff Bridges). Despite their contrasting temperaments and ages of the two end up hitting-it-off and even manage to bring Red and Eddie into the fold once it’s explained to them that Thunderbolt hadn’t sold them out. Now the four plan to rob the same bank again using a 20 millimeter cannon to break into the safe.

This was the Michael Cimino’s first foray behind the camera after having success co-writing the screenplays to Silent Running and Magnum Force.  For the most part it’s a success and I particularly enjoyed the way he captures Montana’s majestic landscape, which helps add a strong flavor to the story. Some of the comical bits and throwaway lines are hilarious and gives the film an edge over the usual bank robbery storyline.

The drawback is that like with Cimino’s other films it takes too long for the story to get going. The Thunderbolt’s backstory doesn’t get explained until almost 50 minutes in and we never learn much of anything about Lightfoot or why he would simply appear almost out of nowhere in this tiny, isolated town for literally no reason. There are certain scenarios that get introduced, but offer no payoff and the robbery itself gets pulled off a little too easily while not taking enough advantage of its unique premise.

The acting though is uniformly excellent including Bridges who is at his most engaging and even looks weirdly sexy when disguised as a woman and I loved the part when he talks to himself in the mirror. Kennedy gets one of his better post Cool Hand Luke roles as the cantankerous Red and Lewis is funny as his dim-witted partner.

The film also has some great bits for its supporting cast. Cliff Emmich is amusing as an overweight security guard with a porn fetish and Jack Dodson has a memorable moment when he finds to his shock that his teenage daughter isn’t quite as ‘innocent’ as he thought she was.

Bill McKinney is goofy as a crazy man driving around in a car with a trunk full of rabbits, but like with a lot of other things in the film it introduces something that doesn’t get fully explained including the fact that the character seems to be acting erratically because he is overcome by toxic gas fumes from his own car, but when Thunderbolt and Lightfoot take over the car and drive it for themselves they don’t for some reason end up having the same issue.

My Rating: 8 out of 10

Released: May 22, 1974

Runtime: 1Hour 55Minutes

Director: Michael Cimino

Rated R

Studio: United Artists

Available: DVD, Blu-ray, Amazon Video

Bad Timing (1980)

bad-timing-1

By Richard Winters

My Rating: 7 out of 10

4-Word Review: He needs to control.

Alex Linden (Art Garfunkel) is an American psychiatrist teaching at a Vienna University who falls for a free-spirited young lady named Milena (Theresa Russell). Despite still being married to the much older Stefan (Denholm Elliot) she decides to leave him and move in with Alex, but their relationship soon becomes rocky. Alex gets jealous of her flirtatious ways and wants to control her, but she resists. Their constant fighting sends her into a depression and she begins to abuse both drugs and alcohol. One night Alex finds Milena’s comatose body inside her apartment apparently the victim of an overdose. She gets rushed to the hospital, but the police detective on the case (Harvey Keitel) isn’t so sure that Alex is being completely honest with him about how the events unfolded and through a fragmented narrative the viewer slowly becomes aware of Alex’s very dark and possessive side.

This movie, which was labeled by its distributor as being “a sick film made by sick people for sick people”, still remains as fresh and provocative as when it was first released. The possessive boyfriend theme was at the time a new concept and thus thankfully avoids the annoying clichés we now see in today’s movies while still coming off as groundbreaking and edgy instead. Yale Udoff’s script nicely weaves a complex texture between examining the dark psychological undercurrents of its characters to also creating an intricate and original mystery that keeps you on edge until its final and still quite shocking ending.

Director Nicolas Roeg crafts a mesmerizing visual design with each shot and edit and I especially liked the way he intercuts between showing Milena unconscious inside the emergency room to scenes of her and Alex making love. Their cluttered apartment is interesting as well and tends to be messier when the two are at odds and more organized when they’re apart. Roeg employs a wide range of music styles instead of just choosing one and playing it over and over like in most other movies.

The film’s main defect is Garfunkel’s presence whose acting talent is limited. His character is interesting particularly with the way he majored in psychiatry and yet seemed to be suffering from many of the same problems that he was studying making it seem almost like people who get into that line of work do it not so much to help others, but instead as a sort-of self-analyzation for themselves. However, his performance is wooden and his only memorable bit is when he and Milena hitch-hike a ride with some farmers and he gets stuck in the back of their pick-up with the goats while she rides up front with the two guys and he jealously looks in on them from the rear window.

Russell, who went on to marry director Roeg after this film was completed, goes in the exact opposite direction by overplaying her character until it becomes almost campy. Why this beautiful woman, who gets lots of attention from just about every guy she meets, would fall for such a dull dope like Alex makes no sense nor does her need to constantly try and win him back every time he mistreats her.

The best performances come from the supporting players. Keitel nails it as the cunning detective and Elliot has a great moment where he continues to casually eat his lunch while Alex harangues him on the other end of the telephone receiver.

Despite the miscasting of its two leads and the fact that the movie saw only a limited engagement when it was first released the film has still managed to gain a strong cult following. Much of this can be credited to Roeg’s artsy direction as well as the dark ending that still packs-a-punch.

My Rating: 7 out of 10

Released: September 21, 1980

Runtime: 2Hours 2Minutes

Rated R

Director: Nicolas Roeg

Studio: Rank Film Distributors

Available: DVD (Criterion Collection), Blu-ray (Region B/2), Amazon Video

Class of ’44 (1973)

class-of-44

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Hermie goes to college.

In this sequel to Summer of ’42 Hermie (Gary Grimes) and Oscy (Jerry Houser) graduate from high school and begin attending college while their friend Benjy (Oliver Conant) joins the army and goes off to war. Hermie takes part in a wide range of college adventures including starting up a relationship with headstrong budding feminist Julie (Deborah Winters) as well as learning to cope with the untimely death of his father.

As sequels go this one is unnecessary. The story in the first one had a perfect slice-of-life plot that needed no further exploration of the characters. Everybody seems out-of-place here as we keep expecting to hear the background noise of the crashing ocean waves, which was a strong element from the first film as well as an explanation as to what ever happened to Dorothy who never gets mentioned even in passing.

The boys look too young to be attending college particularly Hermie who still resembles a pre-teen not quite out of puberty while Benjy is seen only briefly at the beginning and then essentially forgotten. The scenes dealing with the death of Hermie’s father aren’t particularly compelling because in the first film the father was never shown or mentioned, so it seems like a story arch thrown in for cheap emotional dramatics and nothing more.

Unlike the first film this script by Herman Raucher is not based on any actual events in his life and comes off more like a broad generalization of what can happen to just about any student who attends college with the particular time period of the 1940’s not carrying much weight. The plot is episodic and not story driven, but there are still several enjoyable scenes including one where Hermi and Oscy and several other boys try to cram themselves inside a phone booth as part of a fraternity initiation.

The performances are good and I enjoyed seeing Hermie grow into a mature young man as well as William Atherton as a snotty fraternity brother in a part he seemed born to play. Winters though steals it as a headstrong young lady who shows shades of insecurity at the most unexpected times.

The production values are an improvement and the story has a nice comedy/drama blend. Those that attended college may take to it better, but overall it’s a generic excursion that leaves one with a flat feeling when it’s over.

My Rating: 6 out of 10

Released: April 10, 1973

Runtime: 1Hour 34Minutes

Rated PG

Director: Paul Bogart

Studio: Warner Brothers

Available: DVD (Warner Archive), Amazon Video

Summer of ’42 (1971)

summer-of-42

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Boy loses his virginity.

During the summer of 1942 Hermie (Gary Grimes) vacations on Nantucket Island with his two friends (Jerry Houser, Oliver Conant) along with their parents. He soon becomes smitten by a neighboring lady named Dorothy (Jennifer O’ Neill) whose husband has just gone off to fight in the war. One day he offers to carry her groceries as well as help her out with other chores around her home. When her husband gets killed Hermie finds that he can be of service to her in other ways too.

The script was written by Herman Raucher and based on his real-life experiences while growing up as a teen on Nantucket Island. He had originally written the script in the 1950’s, but at that time no one was interested. It wasn’t until he met with director Robert Mulligan that the project got off the ground and even then the studio was reluctant to pay him anything up front and promised only to give him a percentage of whatever the film grossed. The film though ended up becoming a huge hit and made Michel Legrand’s melodic score almost synonymous with romances everywhere.

I enjoyed the film immensely when I first saw it back when I was in college, but now many years later I have certain issues with it and much of it is due to the Dorothy character. I felt she was was too naïve as she brings this 15-year-old boy in the form of Hermie into her home, but apparently no clue that boys at that age can have raging hormones and that he could quite possibly be viewing her in a sexual way. I felt that Dorothy should’ve shown a little more awareness to the situation and created boundaries from the start and been just a little more defensive than she was. Some may argue that she may have been attracted to the teen despite his age and secretly open to him coming on to her, but if that was the case it should’ve been made clear. In either event the character is too much of an enigma and playing off more like a fantasy figure than a real person.

These same issues continue during their eventual consummation, which ends up being the film’s most well-known scene. On a purely cinematic level I loved the moment because it nicely recreates a dream-like quality of a teen boy’s fantasy particularly by having no dialogue and only the background noise of the crashing ocean waves. However, the woman has just committed an intimate act with a minor that could get her into a lot trouble if it was ever found out. The next morning as the two are lying next to each other in bed she looks over at him and I would’ve expected some expression of guilt, confusion, or even fear, but none of that is conveyed. Also, the idea that getting news that her husband has just been killed would be enough to ‘disorient’ her and get her to submit herself to a teen boy who just randomly walks in is a bit far-fetched.

In the real-life incident Raucher describes it as occurring much differently. There Dorothy was highly intoxicated and yelled out her dead husband’s name several times. He also caught up with the real Dorothy many years later and she told him that she had been ‘wracked with guilt’ over what she had done long after it had happened. All of this makes much more sense and although it would’ve ruined some of the romantic elements it still should’ve been added in as it would’ve helped both the characters and movie become more multi-dimensional and believable.

The setting is another liability. Due to budget constraints it was not filmed on Nantucket, but instead Mendocino, California and the differences are glaring. The landscape is very dry and brown, which is something that would not occur on the east coast, which routinely gets more rain than the west. The voice-over narration states that they had “9 days of rain” that summer, so the foliage should’ve been green and lush.

On a completely superficial level the film still works. The performances are excellent and there are a few really funny scenes including Hermie’s visit to a drug store where he reluctantly tries to buy some condoms as well as his subsequent visit later that night to the beach.

My Rating: 7 out of 10

Released: April 18, 1971

Runtime: 1Hour 44Minutes

Rated R

Director: Robert Mulligan

Studio: Warner Brothers

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

The Decline of Western Civilization Part II: The Metal Years (1988)

decline-of-western-civil-2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: The Heavy Metal scene.

Director Penelope Spheeris returns to the L.A. music scene this time chronicling heavy metal bands and looking at the lifestyles of those who are in it. This film has a bigger budget, less of a grainy look, and more irreverent than the first installment.

The interviews are again what make the film interesting and I liked how Spheeris brings in a broad scope of people to talk to, which includes members from bands desperately trying to break-in as well as veterans who’ve made it to the top and their many groupies and fans. There’s even an interview with a parole officer talking about the ‘evil influence’ the music has on teens and their attempts at ‘deprogramming’ them, but even then she breaks into laughter when Spheeris asks her about Ozzy Osbourne and his dangerous ‘satanic’ message.

There’s also an interview with a bubble-headed beauty queen at a sleazy strip bar whose name is Cindy D. Birmisa and who talks about wanting to get into modeling and ‘actressing’ and made such a strong impression at being the perfect caricature of a dim-witted blonde that she became the inspiration to Christina Applegate’s character in the hit series ‘Married With Children’. The film’s most notorious scene though deals with W.A.S.P. lead singer Chris Holmes doing an interview while in a pool and completely drunk, but what he says and does isn’t half as interesting as seeing his Mother’s reactions to it who sits poolside.

Like in the first film the living conditions of some of these bands is less than glamorous including seeing several members and their groupies cramming themselves into a small camper, which was their sole ‘residence’. I also enjoyed the segment that cuts back and forth between band members discussing how they take advantage of their groupies while these same groupies talk about how they do the exact same thing to the guys in reverse. Hearing all these wannabe’s discuss how they ‘will succeed’ as rock stars and ‘failure is not an option’ is tarnished only by the fact that we can’t see where they are now and how time most likely has forced them to adjust their outlooks.

I was also fascinated by the fact that the tone in this one had shifted drastically from the first one where anger and rebellion permeated every scene. Outside of their wildly over-the-top ‘80’s hairstyles, which makes the film enjoyable to watch just for that, there really isn’t all that much nonconformity from these participants, or if there is it’s in the most shallow of contexts . Their mission here seems more on becoming ‘rich and famous’ and reaping the benefits of system instead of exposing its many flaws. The theatrics are certainly there, but the essence of what underground rock was truly meant to be about seems to have gotten lost on white suburban kids who simply want to exploit the medium as a quick shot to fame.

My Rating: 7 out of 10

Released: June 17, 1988

Runtime: 1Hour 33Minutes

Rated R

Director: Penelope Spheeris

Studio: New Line Cinema

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

The Decline of Western Civilization (1981)

decline-2

By Richard Winters

My Rating: 7 out of 10

4-Word Review: The Punk Rock Scene.

A fascinating and surprisingly intimate look at the L.A. punk rock scene of the late ‘70s. The film starts out by showing footage of several concerts with fans jumping up and down like they are on a pogo stick and getting into violent clashes with other fans by physically attacking each other unprovoked. Shots of various band members in garish make-up, outfits and behaviors are also shown, which could give one the feeling that the state of humanity is truly on the decline, but then the film cuts away and we are treated to interviews of the people involved where we start seeing them as actual multi-dimensional human beings who are simply unhappy with the establishment and fighting to have a voice.

The interviews are the best part and I was impressed with how candid many of them were and the introspection some of them showed with one stating that punk rock was simply an excuse to ‘make an ass of himself and get away with it.’ The most shocking moment comes when you see the sleeping quarters of one of the bands, which was in the closet of some dingy, cramped, graffiti laden room that wasn’t much bigger than a storage closet and housed all the members for a mere $16 a month, which was all they could afford.

Another memorable moment deals with Darby Crash, who died from a heroin overdose before the film’s release, and watching him play with a tarantula spider that he allows to crawl all over him. The final segment dealing with Lee Ving the lead singer of the group Fear spitting at his audience who then spit back before they charge the stage and physically attempt to attack him is vivid.

When John Doe and Exene Cervenka sing the song ‘We’re Desperate: Get Used to It’ you know that they are speaking straight from experience, which is what ultimately makes this excursion so impactful. These aren’t rich rock stars from the ‘burbs with million dollar contracts spouting about hardships they’ve never had. Instead we get people that are at society’s bottom speaking to others who feel the same way and who are desperately looking for an outlet for their aggressions and anger. The interviews with some of the fans are equally enlightening and helps shed light on many of their troubled lives.

My Rating: 7 out of 10

Released: July 1, 1981

Runtime: 1Hour 40Minutes

Not Rated

Director: Penelope Spheeris

Studio: Spheeris Films Inc.

Available: DVD, Blu-ray, Amazon Video

Alien Nation (1988)

alien-nation-1

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Newcomers integrate into society.

Sam ‘George’ Francisco (Mandy Patinkin) is an alien who along with 300,000 of his kind land on earth near the Mojave desert in the year 1988 and become known as newcomers. After initially being quarantined they are let out in 1991 and become a part of everyday society. Matt Sykes (James Caan) is a cop whose partner is killed during a shootout with some criminal newcomers. George and Matt then team up to investigate the crime as well as a similar one that seems to be linked to Warren Harcourt (Terence Stamp) a successful newcomer businessman. Matt initially does not trust George and even shows an open bias towards him, but eventually the two form a bond.

The concept is unique in that unlike most sci-fi films the actual spaceship landing becomes only a minor part of the story and just briefly touched on in film’s first couple of minutes before quickly moving into the main theme of seeing how the humans and aliens learn to coincide. The idea of using this to then further examine racism and bigotry may have been a noble one, but it ends up not getting played up as much as I thought it would. The fact that the aliens have assimilated into society as quickly as they do (only 3 years) makes it seem like even if there is resistance to it by some it’s of a small level and for the most part the aliens have it pretty good.

There’s also a myriad of questions that never get addressed. Why exactly were these aliens sent here and will more come along later? Which planet are they from and if they were conditioned to be efficient workers who are highly adaptable then why are there so many seen on street corners and apart of gang that do no work at all. Nothing from their culture is retained and outside of their strange appearance that looks like burn victims with skin grafts there is not all that much difference between them and their human counterparts. They even end up bleeding red blood when they get shot.

The film’s most interesting part is George’s and Matt’s relationship, which starts out rocky, but slowly evolves and even at one point has a humorous moment where Matt tells George a ‘really funny’ joke that George, much to Matt’s frustration, can’t seem to appreciate. Both Caan and Patinkin give excellent performances as the characters go through a wide array of emotions with George seeming at times to be more human-like.

The criminal investigation and mystery dealing with a drug called Jabroka I didn’t find to be as compelling and the final showdown between Matt and Harcourt was to me a yawner. The alien angle comes off more like a thinly disguised attempt to make what amounts to being just another formulaic cop action pic seem unique and ‘profound’ when it really isn’t.

My Rating: 5 out of 10

Released: October 7, 1988

Runtime: 1Hour 30Minutes

Rated R

Director: Graham Baker

Studio: 20th Century Fox

Available: DVD, Blu-ray (Region B/2), YouTube