Tag Archives: John Beck

The Big Bus (1976)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Bomb planted on bus.

Cyclops is the new revolutionary designed double-decker bus that because it’s powered by nuclear fuel will allow it to travel non-stop between New York and Denver. Just before it’s set to make its maiden voyage a bomb goes off within the facility it’s been housed in, which seriously injures the bus’s designer Professor Baxter (Harold Gould). The vehicle itself remains unscathed, so the Professor’s daughter, Kitty (Stockard Channing), takes control of the project and hires a new driver named Dan (Joseph Bologna) whom she had a relationship with in the past. Dan though is still fighting-off the stigma of having crashed another bus into the mountains, and after being stranded for many days ended up reverting to cannibalism by eating all the rest of the passengers. The trip faces further obstacles when unscrupulous billionaire Iron Lung (Joes Ferrer), who resides inside a iron lung due to having polio as a child, orders his henchmen Alex (Stuart Margolin) to plant a bomb on the bus, so that it will be destroyed and prevent nuclear fuel from overtaking gasoline of which he owns much stock. Will Dan be able to overcome both his past and personal problems to both find and prevent the bomb from going off, or will this become yet another disaster on his already checkered past?

While Airplane! is widely thought-of as being the original parody of 70’s disaster flicks it’s really this one that came out a full 4 years earlier that deserves the credit. While it didn’t do well at the box office, which essentially pushed it off into obscurity it still upon second look has a lot of funny moments and deserves much more attention than it has gotten.  Not every gag works and some do fizzle, but the script by writing team Fred Freeman and Lawrence J. Cohen has far more hits than misses. Some of the best bits are the indoor swimming pool on the bus as well as the bowling alley and disco and the radiation suit to put on in times of emergency including the reaction of the passengers when it gets hung down from the ceiling compartment during the flight instructions. The attempt to treat the bus like it’s a metaphor for an airplane, which was the mode of transportation used in most disaster flicks, is quite funny especially the scene where crews in a small town try to halt the bus, or essentially ‘force it to land’ by spraying the main street with foam in order to slow the vehicle down.

The acting is in top form with many familiar faces from both television and the big screen. Stockard was probably my favorite she pretty much plays her part straight, but still manages to be quite amusing especially during the segment when she gets stuck inside a room that fills up with soda, which she stated in later interviews she almost drowned in.  Richard Mulligan and Sally Kellerman are equally amusing as a soon-to-be-divorced couple who share a rather unusual love-hate relationship. Larry Hagman as a dubious doctor, Ned Beatty as a moody technician and Murphy Dunne as a caustic pianist all help to top-it-off. Even Bologna, whose normally brash persona doesn’t make him a likely hero, scores comedic points though John Beck as his co-driver with a tendency to pass-out the second he gets nervous steals away most of the scenes they share.

Spoiler Alert!

The actual disaster, where the bus precariously balances over a cliff, is nicely photographed in a way that makes it seem real with some good stunt work, but I was disappointed that this ends up being the only real exciting moment. I didn’t like either that at the very end, just before the final credits begin to roll, the bus splits apart, which creates screams from the passengers. This was the type of movie where despite their oddball nature I had grown kind of fond of the daffy bunch and wanted to see them arrive safely, which with the ending here doesn’t occur. Instead the viewer is left (no pun intended) hanging, which is a giant cop-out. Just about every disaster flick made offers a conclusion where we see if the people ultimately make it out alive, or not and doing it the way they do here makes the viewer feel like they’ve seen only half a movie, which could explain why this did poorly at the box office.

A  good way to have prevented this would’ve been to chop up the beginning, which has a lot of unnecessary back-story. The bombing of the facility wasn’t needed as all of the calamity should’ve been saved for the bus ride itself. Dan’s visit to a bar in which the patrons harass him about his notorious past gets cheesy, particularly the cartoonish barroom brawl. This should’ve been cut- out too. The rumors of Dan’s supposed cannibalism could’ve been brought up at the press conference announcing the bus’s initial trip and seeing Dan’s uncomfortable response would’ve been enough to make the audience realize he had personal demons to overcome. The rest of the time could then be spent on the various problems that the bus runs into as it travels on road, which would’ve allowed for more excitement versus having the disaster portion seem like a side-story to the barrage of jokes that don’t always work.

My Rating: 6 out of 10

Released: July 23, 1976

Runtime: 1 Hour 28 Minutes

Rated PG

Director: William Frawley

Studio: Paramount

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

Rollerball (1975)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: This game gets nasty.

In the not so distant future where no governments or countries exist and corporations control everything a new type of game becomes the rage. It features two teams on roller blades skating around a circular rink while fighting over a silver hand sized ball, which they use to throw into an electronic type of basket and score points. The game features little officiating and can usually cause injury or even death to the players, but one man named Jonathan E. (James Caan) has risen to the top and become a superstar in the sport. Bartholomew (John Houseman) who is the head of the conglomeration doesn’t like this because the idea of the games is to thwart individuality and not promote it. They push Jonathan to retire, but he refuses forcing the games to become even more violent as their way to get rid of him one way or the other, but the more they try to take him down the more he fights back.

The thing I really liked about William Harrison’s script, which is based on a short story of his called ‘Roller Ball Murder’ is how amazingly prophetic it is. Corporations and their rich lobbyists are pulling the strings of the government officials already making them seem as mere puppets and modern day suburbia much like in the movie is really only a tranquilizer  with its comfy lifestyle used to lull everyone into overlooking the many concessions that come with it. The violent games for both the players and fans acts as an escape from their otherwise sterile existence as the outcomes are the only things not already preordained by the corporations and thus giving the players a small sense of control over something.

Unfortunately the film’s set design is not as intuitive as its story and lacks imagination and even seems quite dated. There are no personal computers and the ones that do get shown are quite archaic looking. I have not seen the 2002 version, but this reason alone justifies a remake although the scene where the party guests go outside to play with a ray gun is a keeper.

The game itself isn’t all that interesting and to me came off as a glorified version of roller derby. I thought it should’ve been more graphic and bloody and the film pulls back when it should instead capture the true brutally of the sport. It does get a little more violent as it goes on and I did enjoy the surreal quality of the film’s climatic game where players from both sides end up either killed or severely injured. The segment showing the men preparing for a game by having the Caan character giving pointers to the new players on some of the strategy that is needed helped convey the idea that the sport had a certain technique to it and not simply rollerblading around a rink.

Caan is adequate in the lead, but is upstaged by John Beck as his playing partner as well as Shane Rimmer who plays his coach. It’s great to see John Houseman in his second feature film after his Academy Award winning performance in The Paper Chase, but his close-ups where ill-advised as it made me notice all of his nose hairs and director Norman Jewison should’ve either avoided framing his face from that angle or giving the elderly actor a pair of tweezers to pull them out.

The ending is unsatisfying as it leaves everything on a vague note. We see the fans cheering Jonathan’s moxie, but there is no indication as whether he was able to ultimately stage a revolt, or whether the corporate heads found some other way to get rid of him. In either case I wanted more of a conclusion and the fact that there isn’t any makes it feel like a great concept that wasn’t fully realized.

My Rating: 6 out of 10

Released: June 25, 1975

Runtime: 2Hours 4Minutes

Rated R

Director: Norman Jewison

Studio: United Artists

Available: VHS, DVD, Blu-ray, Amazon Instant Video

Audrey Rose (1977)

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By Richard Winters

My Rating: 6 out of 10

4-Word Review: Dead daughter gets reincarnated.

On October 3rd, 1965 at precisely 8:20AM a young Audrey Rose dies in a fiery car crash. At 8:22AM on that same day Ivy (Susan Swift) is born to Janice and Bill Templeton (Marsha Mason, John Beck). Several years later after talking to a couple of psychics Audrey’s father Elliot (Anthony Hopkins) becomes convinced that his dead daughter has been reincarnated in the body of Audrey. When he approaches Ivy’s parents about it they scoff and then when he tries to take her they have him arrested. He then goes on trial where he tries to get 12 jurors to believe that reincarnation is a reality.

Based on the Frank De Felitta novel, and who also wrote the screenplay, this odd hybrid of a horror film never really takes-off.  Director Robert Wise does a terrific job of capturing the Manhattan skyline and a late 70’s New York City ambience as well as the gorgeous classic paintings that line the ceiling of Janice’s and Bill’s apartment, but he has a story that is light on action. The restrained and genteel narrative creates a film that seems more like a conventional drama than a horror film despite a storyline that is brimming with supernatural elements.

Every effort is made to keep the proceedings as realistic as possible only to have the entire second hour delving into a court room drama with a defense strategy that is so outlandish it becomes almost ludicrous. Having Elliot become convinced of the reincarnation through talking to psychics is another weak point. The few so-called psychics that I have been to have proven to be inaccurate and unreliable and most people that I know have had the same experience. In the past few years several famous psychics have been outed in the media as being frauds and charlatans. Having the film treat these people like they are a reliable source puts the entire premise on poor footing from the very beginning.

Mason can play a distraught and beleaguered character about as well as anyone and her teary-eyed presence helps give the film a few extra points. Beck is also good as her husband and their contrasting personalities and approaches to the situation add an interesting subtext.

Not to necessarily sound cruel but Swift as the young girl has a big pair of buggy eyes that to me became more of a distraction as it went along. Also, with her long brown hair she starts to resemble the Linda Blair character from The Exorcist, which was a far more intense, scary, and exciting film than this one. The producers would have done well to have cast a blonde or redhead in the role simply to avoid the comparison.

The scares are almost non-existent and the only slightly spooky moment is the scene where Swift looks into a mirror and chants the Audrey Rose name repeatedly, which is the only time where her buggy eyes come into good use. The several scenes showing her running around the place and banging onto the widows while screaming become old pretty fast. The direction is slick and the production values good. It is compelling enough to be entertaining, but the ending is very unsatisfying and as a thriller it is transparent and unmemorable.

My Rating: 6 out of 10

Released: April 6, 1977

Runtime: 1Hour 53Minutes

Rated PG

Director: Robert Wise

Studio: United Artists

Available: VHS, DVD, Amazon Instant Video