Tag Archives: Farrah Fawcett

Logan’s Run (1976)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Life ends at 30.

In the year 2274 no one is required to work and all desires fulfilled with the only catch being that everyone must die at 30, or at least go through the so-called carrousel to see who can be ‘renewed’. Logan (Michael York) works as a sandman who is in charge of tracking down the ‘runners’, which are people who try to escape the fate of the carrousel and instead find refuge in a secret underground community known as the sanctuary, which is somewhere outside of the domed city where everyone lives. The computer, which runs the domed city where Logan resides, orders him to find the sanctuary and destroy it. To do so Logan must pretend that he is a runner and uses the help of fellow runner Jessica (Jenny Agutter) to guide him, but what they end up discovering shocks them both.

The film’s selling point is its special effects, which weren’t bad for its time period. The most impressive is the sequence dealing with the carrousel where actual holograms were used. The opening bit where the camera shows a bird’s-eye view of the domed city then zooms into it is impressive too due to all of the painstaking detail that must’ve been put in to create it, but it also becomes clear that it is simply a miniaturized reproduction that looks a bit hokey. The interiors resemble the lobby of a swanky hotel and isn’t visually interesting while the costumes show no imagination as everybody wears essentially the same outfit with the only difference being some are red and others green.

The film deviates quite a bit from the 1967 source novel, which was written by William F. Nolan and George Clayton Johnson with the biggest change being that in the book the age to die was 21. Supposedly the reason the age got upped was to allow for a broader range of actors to choose from, but even here they cheat because York was already 33 when he did this and Richard Jordan, who plays a fellow sandman was 38. Having the script stick to the original age of 21 and hired actors who were that exact age would’ve made a far stronger visual impact especially having them put to death when they barely looked ready for adulthood.

York’s character is annoyingly naïve as he never questions the authority while fully drinking into their propaganda and it takes Jessica to get him to see things differently, but it’s hard to empathize with a guy who can’t think for himself and kills others without question. Also, when they make it outside the dome they have no idea what the sun is, which seems almost absurd. Yes, they’ve been living in a doomed city all of their lives, but wouldn’t they at some point have some curiosity of what was outside of it, or learn in school about the outside? Maybe it was just me, but the character seemed too transparent and almost non-human.

Spoiler Alert!

The weakest point is the ending where they find out unlike the book that there really isn’t any sanctuary, which comes off as anti-climactic and then having them instead come upon a desolate grounds of Washington D.C., which seems too reminiscent to the ending in Planet of the Apes. It also doesn’t make sense. Although never fully explained one can surmise that apparently civilization was destroyed by some sort of nuclear holocaust, but if that were the case it would’ve caused a nuclear winter, which would’ve blotted out the sun and not allowed anything to grow for decades. Having all the green foliage everywhere would’ve been impossible and how exactly was the old man character played by Peter Ustinov that they come upon able to survive it?

The way Logan is able to destroy the computer, which then destroys the whole city when he returns to it by simply not giving it the answer it wants to hear is too convenient. A computer system that is able to run a city for so long would’ve had  some sort of back-up system installed in case something overloaded it otherwise the city would’ve blown many years earlier if it were really that easy to do. It also never explains who ultimately was behind the creation of the doomed city and secretly running things from behind-the-scenes as every computer must have some person, or group of people who initially made it and then programmed it, so who were they?

End of Spoiler Alert!

Farrah Fawcett has a good bit part as a girl working at a saloon that allows people through laser surgery to change their identities. Ustinov is also quite good as the old man who easily steals the film from the younger performers without much effort. The story it mildly compelling, but compared to classic sci-fi films it is pretty vapid.

My Rating: 6 out of 10

Released: June 23, 1976

Runtime: 1 Hour 58 Minutes

Rated PG

Director: Michael Anderson

Studio: MGM

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

Extremities (1986)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: She traps her attacker.

Marjorie (Farrah Fawcett) decides to grab a snack late one night at a convenience store. Since she plans on being in the store for only a minute she neglects to lock her car, which is enough time for her would-be rapist Joe (James Russo) to sneak into the vehicle and hide in the backseat. When she returns he attacks her, but she is able to break free and runs out. Unfortunately she leaves her purse behind and he’s able to find her address from her driver’s license. A few weeks later he attempts to attacker her again at her home, but she fights back and is able to turn-the-tables on him by tying him up and trapping him in her fireplace. She then plans on killing him by burying him in her backyard as she’s afraid she won’t get a fair trial, but when her roommates (Alfre Woodard, Diana Scarwid) return home from work they try to convince her otherwise.

The film is based on the 1982 off-Broadway play written by William Mastrosimone and starring Susan Sarandon, who eventually got replaced by Fawcett and then later by Lauren Hutton when the play opened in Los Angeles. The play was notorious for its intense violence where the stars would routinely get injured while going through the motions of their parts and audience members would become so upset by it that they would sometimes storm the stage in an attempt to protect the actress. The stage version is also different from the film one in that it doesn’t show the backstory, but instead starts right away with the Marjorie being attacked in the home and then the later aftermath.

The film was directed by Robert M. Young, whose best known effort previously was his film version of the stage play Short Eyes about a child molesters experiences inside a harsh prison. While that film was excellent this one isn’t as he approaches it too much like it’s a thriller with way too much loud, pounding music getting played when Joe attacks Marjorie inside the house, which actually takes the viewer out of the scene. The approach should’ve been more on the gritty drama side with no music and a handheld camera used to capture the action, which would’ve given the viewer a voyeuristic feeling like they are watching this from some hidden camera.

The scene where Marjorie ties up her killer and then hops into her car to go to the police only to have the vehicle mysteriously not start is ridiculous. This cliché has been used in movies way too many times and should be outlawed forever. Had she been in a cold climate we could’ve attributed it to the weather, but she wasn’t. Or if it had been mentioned earlier that her car has had problems starting then it might’ve worked better, but having it conk-out for no reason when it drove just fine before is a total cop-out and a sign of weak writing.

I was also disappointed that no backstory is given to James Russo’s character. Earlier in the film we are shown that he is actually a family man with a daughter, so I was intrigued to see what drove him to have this Jekyll and Hyde personality and how being a father and husband he could justify what he does and yet no explanation is ever even touched on, which I found highly disappointing.

Fawcett is good particularly with her big blue, expressive eyes. I also enjoyed Scarwid’s nervous persona and how she becomes torn at how to approach the dilemma at hand. The conversations between the three women are strong and should’ve been extended, but the film as a whole misses-the-mark and isn’t as penetrating, or groundbreaking as it could’ve been.

My Rating: 5 out of 10

Released: August 22, 1986

Runtime: 1 Hour 29 Minutes

Rated R

Director: Robert M. Young

Studio: Atlantic Releasing Corporation

Available: DVD, Blu-ray, Amazon Video

Somebody Killed Her Husband (1978)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Searching for spouse’s killer.

Jerry Green (Jeff Bridges) is a frustrated, would-be crime novelist who spends his days working as a clerk at a toy store while dictating to himself crime scenarios he plans on using in his stories that no one ever reads. One day he spots a beautiful woman named Jenny (Farah Fawcett) and he starts up a conversation with her, which quickly leads into a relationship. The problem is that she is already married, but that doesn’t stop the two from pledging that they’ll get married anyways until the husband turns up dead and they go on a mad search to find who did it before the police find out and accuse them of the crime.

This film was supposed to be Fawcett’s break-out role that was going to lead her into big-screen stardom, but it was such a disaster that it pretty much killed her aspirations before they even began. A lot of it is her fault as she got out of her ‘Charlie’s Angels’ contract after only one season, which enraged the show’s producer Aaron Spelling who threatened to sue any studio that offered her a film role, so she lost out in getting the starring part in Foul Play and was forced to accept this uninspired thing on the rebound.

She comes off looking like someone not ready for the big-time and in serious need of more acting training. Bridges is the far better performer and the only one that breaths any energy into it to the point that it would’ve been more entertaining had he been alone and Fawcett not appeared at all.

The romance itself is so corny and clichéd it’s embarrassing. Bridges falls in love with her the second he sees her and then after only a few minutes into their first date the two are already expressing their undying love for the other. I was also confused about why the Fawcett’s character would have married her husband (Laurence Guittard) to begin with as he is an arrogant prick of the highest order. My only guess is she did it because he had a lot of money and if that is the case then she shouldn’t act all that surprised or dismayed with what she ended up with.

Director Lamont Johnson had done some reasonably competent stuff in the past as did screenwriter Reginald Rose, who in better times penned the screenplay for Twelve Angry Men, but this thing looks like it was done by clueless amateurs. The first half-hour is so flatly photographed that I was surprised it didn’t immediately raise alarm bells from the studio heads while they watched the daily rushes.

The mystery angle allows for modest interest, but it ends up getting overly convoluted and culminates in a chase through a department store that is too dark and shadowy it’s hard to follow what is going on. Apparently the industry execs thought Fawcett’s celebrity status at the time, as she was coined as being ‘the most beautiful woman in the world’ by one mag, would be enough to smooth over the film’s glaring faults and still attract moviegoers, but in hindsight it should’ve never have been released as the box-office-bomb red flags are quite apparent right from the start.

My Rating: 1 out of 10

Released: September 29, 1978

Runtime: 1 Hour 37 Minutes

Rated PG

Director: Lamont Johnson

Studio: Columbia Pictures

Available: None at this time.

The Cannonball Run (1981)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: A very stupid movie.

This film is based on the same real-life cross country race that also inspired The Gumball Rally and Cannonball, but unlike those two, which weren’t very good anyways; this movie doesn’t emphasize the race and doesn’t even get going with it until 35 minutes into the runtime. Instead the viewer gets treated to one lame, cornball gag after another making the already threadbare premise seem like only an afterthought.

The most surprising thing is that the screenplay was written by Brock Yates, who was the man who came up with the idea for the race back in 1971 and was participant in all 4 times that it ran. In fact both he and director Hal Needham took part in the 1979 race as driving partners using the very same ambulance that Burt Reynolds and Dom DeLuise use in the movie. The two pretended to be actual paramedics in order to avoid being stopped by cops when they sped. They even hired a medical doctor to ride along in back to make it seem more legit in case they did get pulled over and Yates’ wife was used as a pretend patient. They almost won it too out of 46 other participants that ran, but lost when their transmission conked out 50 miles from the finish line.

You would think if the script was written by someone who had actually driven in the race that he would’ve been able to offer more insight about the experience, but instead we get bombarded with ‘zany characters’ that are so outlandishly over-the-top that you feel embarrassed for the actors playing them.

The only interesting aspect is the eclectic cast that unfortunately, like with the movie, seem uninspired and going through the motions simply to collect a paycheck. Reynolds, who admitted in interviews to not liking the movie and having ‘sold-out’ simply for the salary, is especially lethargic. He’s not involved in much of the action and never even seen driving while wearing what looks like a wig and ultimately at the cusp of what would eventually be a major career downturn that he was never able to fully recover from.

Supporting players seem almost exploited particularly Jack Elam whose real-life handicap gets used to make his character seem ‘crazy’. Back when he was a child he got into a fight with another kid at a Boy Scout meeting and his left eye was poked with a pencil, causing him to lose his sight with it and giving him a perennial ‘lazy-eye’ that never moved in tandem with his right one. To help make this less pronounced he grew a mustache and beard, but here that gets shaved off making his weird gaze more pronounced, but the ‘crazy look’ gag is a boring one-joke that gets way overplayed.

Dean Martin, in his first movie in 6 years, looks old and washed-up. His Rat Pack partner Sammy Davis Jr. is also on-hand, but is much more energetic and into it while Martin walks around constantly with a drink in hand and looking ready for the grave.

The only member of the cast that comes off well is Farrah Fawcett who was at her all-time hottest and is just cute enough to keep the film passable, but the rest of it is worthless. Silly humor is okay as long as other elements are wrapped around it, but this thing has nothing else to offer. It’s just one stupid comedy bit after another that will prove too moronic for even those with a low bar.

My Rating: 2 out of 10

Released: June 19, 1981

Runtime: 1 Hour 35 Minutes

Rated PG

Director: Hal Needham

Studio: 20th Century Fox

Available: DVD, Blu-ray

The Apostle (1997)

apostle

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Preacher on the run.

As a would-be screenwriter I find it heartening knowing how many great screenplays there are out there that struggle to find a home no matter who has written or pitched it.  Actor Robert Duvall wrote the solid screenplay for this film in the 80’s only to have it rejected by every major studio and only got made when he decided to put up 4 million dollars of his own money.

The story involves a fiery evangelical minister by the name of Sonny (Duvall) whose volatile ways gets the better of him and he ends up killing his wife’s lover. He then goes on the run to Louisiana where he starts up a new church. There he begins to turn his life around and become loved and admired by the community only to have the police close in on him.

In many ways this is similar to a 1962 episode of the old ‘Alfred Hitchcock Hour’ series that was entitled ‘Bonfire’ and starred Peter Falk as the minister.  Both characters were loud and dramatic preachers.  Both men went on the run after committing homicide while continuing to start up new congregations along the way and both ended up being surrounded by the police as they gave one last fiery sermon. However, the difference comes with the fact that the Falk character was clearly a self-serving fraud while with Sonny that is not so clear, which is what makes this film and character so fascinating.

Sonny has a temper as well as other underlying issues, but he makes a genuine effort to rectify things with his new congregation.  He even brings boxes of groceries to the doorsteps of poor families. It is never clear whether he is simply trying to make personal amends for past transgressions, or just a flawed man with a good heart. The viewer is never allowed to feel sure either way, but ends up empathizing with him nonetheless. Every scene and line of utterance becomes more revealing.

Duvall gives a strong performance. I felt this may be his signature role and that comes after a long line of already brilliant performances.  I enjoyed his running ‘conversations with the Lord’ that he has when he is alone or just walking down the street.  The conversation that he has with the police is amusing as is the final scene that is shown over the closing credits.

The casting is unique.  June Carter Cash plays his mother, which is interesting by the fact that in real-life she was only two years older than Duvall.  Farrah Fawcett plays his wife, and although she was much younger than him, I felt she did a good job and made a perfect fit.  Billy Bob Thornton gets a memorable cameo as a man who initially wants to destroy the church with a bulldozer, but then with Sonny’s help becomes spiritually awakened.  I also very much liked James Beasley in the supporting role as the minister who helps Sonny start up his new church.  His calm and collected manner helped balance Duvall’s intensity.

The supporting players were all amateur actors, some of which had never performed in front of the camera before.  Director Duvall was known during filming to keep the atmosphere loose.  He allowed his cast to ad-lib, which gives the film a more authentic feel.  Just like with other actors who turned to directing, like Paul Newman and Marlon Brando, Duvall has scenes that stretch out much longer than most films.  This is done to give the actors more control over their characters and allow their performances alone to carry the scene.  I also liked the fact that the supporting cast was almost all African-American and the story centered on a white minister preaching to a black congregation.

Duvall has long been known to be an admirer of the south, so it is no surprise that the story takes place there or that the shooting was on-location.  He captures the ambience of the region and people quite well, including the sound of the heat bugs buzzing at night.

The only issue I had with the film involves the scene where Sonny kills his wife’s lover. He does this by hitting him over the head with a baseball bat during a little league game while in front of many onlookers.  In most real-life accounts when something similar to this happens people will usually gang up on the culprit and physically subdue him, or chase after him until the police arrive while here the onlookers allow Sonny to peacefully walk away.  Other than that I thought this was a great character study and I would highly recommend it.

My Rating: 8 out of 10 

Released: October 9, 1997 

Runtime: 2Hours 14Minutes 

Rated PG-13 

Director: Robert Duvall 

Studio: Butcher Run Films 

Available: VHS, DVD, Amazon Instant Video