Tag Archives: John Travolta

Perfect (1985)

perfect3

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Reporter investigates aerobics craze.

Adam (John Travolta) is a reporter working for Rolling Stone magazine who gets sent on assignment to Los Angeles. While there he becomes intrigued with the health fitness craze and believes the workout clubs are becoming like the singles bars of the 80’s. He asks his editor Mark (Jann Wenner) permission to write a secondary story focusing on this new phenomenon and he agrees. Once he begins attending the club he becomes infatuated with Jessie (Jamie Lee Curtis), one of the instructors. He asks her for an interview, but she refuses based on a past experience she had with another journalist, but Adam continues to pressure her. Eventually the two begin dating only for Jessie’s initial fears to ultimately get exposed when she reads the story he’s written about the club, before it gets sent to the press, and realizes it’s a negative take on the people in it, many of whom are her friends, which leads to a serious strain on their relationship. 

The film is loosely based on the real-life experiences of Aaron Latham who worked as a reporter for Rolling Stone during the late 70’s. He had already written the screenplay for Urban Cowboywhich also starred Travolta and was also directed by James Bridges, so this reteaming was expected to be a huge hit, but instead it lost over $8 million at the box office despite initially doing well on its opening weekend. A lot of the problem is that journalists aren’t considered likable people and most of the American public by and large despise them. The fact that this one behaves exactly the way you’d expect, being more than willing to exploit their subject, particularly with the way he treats the Marilu Henner and Laraine Newman characters, in order to get a juicy spin on a story, just makes him all the more despicable. 

His character is quite blah as well. We never learn why he wanted to get into journalism and if some backstory had been given, and not just starting out with him working in the obituary section and trying to move his way up, then he might’ve had more depth. It’s confusing too why such a good-looking, jet-setting guy, wouldn’t have a girlfriend. Maybe if he’d been through a rough break-up and thus wanted to avoid it that might’ve been understandable but should’ve been explained. Even just having some casual dates would’ve made sense but having him just all alone with no reason only adds to make the character even more transparent. 

Curtis as an actress is excellent and the movie is worth sitting through solely because of her and she’s looking really hot here too. However, her character’s responses to things seemed a bit off. She makes it quite clear upfront that she’s not interested in an interview, but Adam doesn’t take no for answer and proceeds to continue to hound her, which should make her hate him even more, but for some reason it doesn’t. Yes, he does help get her car started when her battery dies, so as a thank you she might’ve been willing to do a simple interview, but instead her repayment is to go to bed with him while still refusing to do any interview, even though I felt realistically it should’ve worked the other way. 

The concept itself isn’t intriguing. I lived through the 80’s and really didn’t care why people got into the aerobics thing. Revealing that some of those that did was because they were lonely and looking to meet someone to hook-up, isn’t exactly groundbreaking. The entire supporting cast is incredibly dull including Jann Wenner, the original co-found of Rolling Stone magazine, who essentially plays himself as Adam’s boss, but his performance is lackluster, and a professional actor should’ve been given the role. 

Spoiler Alert!

My biggest gripe came at the end where Curtis keeps going back to Travolta even as he does all the things that irritates her about reporters like secretly recording their conversations while in a car. That alone should’ve gotten her to dump him, which she does for a while, but then she returns. One forgiveness is okay, everybody deserves a second chance, but then he does it again with the negative story. Granted having the article revealing that she had an affair with her coach years ago wasn’t his fault as his editors put that into the story later on, but she had no way of knowing that. From her perspective he betrayed her trust and therefore the relationship should’ve been permanently over. She didn’t care for reporters right from the beginning and all he did was affirm her confirmation bias. It would’ve been more believable had she instead liked journalists and maybe wanted to be one herself and therefore kept given him the benefit of the doubt, but the way it gets done her makes little sense. 

My Rating: 2 out of 10

Released: June 7, 1985

Runtime: 2 Hours

Rated R

Director: James Bridges

Studio: Columbia Pictures

Available: DVD, Amazon Video, YouTube

Blow Out (1981)

blowout2

By Richard Winters

My Rating: 5 out of 10

4-Word Review: He hears a murder.

Jack (John Travolta) works as a sound effects technician for a film studio that specializes in low budget horror movies. He gets instructed by his producer Sam (Peter Boyden) to come-up with a more realistic sounding scream, as well as other audio noises, for the most recent exploitation production that they’ve been working-on. Jack then goes out one night to capture the necessary noises, but while doing so witnesses a car drive-off the road and into a nearby river. He immediately jumps into the water and saves a passenger named Sally (Nancy Allen), who had been sitting in the backseat, but he’s unable to get to the driver. Later it’s revealed that the driver was a candidate running for governor and Sally was his escort and pressure is put on Jack by the campaign officials not to reveal this to the press. Jack also comes to the realization, while going back and listening to what he had recorded, that the car going to into the river was no accident as he had initially thought, but instead it had been caused by a gunshot from an undisclosed assassin who intentionally shot at the tire so the vehicle would swerve-off the road, but when Jack goes to the authorities about this they don’t believe him.

The film is noted for having been heavily inspired by the Michaelangelo Antonioni’s classic Blow-up, which came-out 15 years earlier and focused on a photographer who inadvertently witnesses a killing via a picture he takes, while this one is on what the protagonist hears. This could also be considered quite similar to The Conversation, a masterpiece that was released in 1974 and dealt with a sound expert that gets in over-his-head with a criminal underground. Both of those films though were better than this one, which has some flashy camera work, but little else.

I did like Travolta. This was the first film where he becomes essentially an adult and no longer stuck in that quasi-age of a post teen growing into manhood and needing to prove himself. Here we get the bona fide thing and the character’s cynical nature about his job and being stuck in an industry that he doesn’t really respect, or all that excited about, is a refreshing change-of-pace from his more wide-eyed, idealistic roles of the past. The behind-the-scenes look at the movie business, including all the posters from actual horror films that line the walls of the studio hallways, and the wannabe starlets dying to break-in even if it meant just letting-out a simple voice-over scream in order to be a part of the cast, I enjoyed and helps add an authentic ambience to what it would be like working in that type of culture.

The character development, or if you could even call it that, is incredibly weak. Nancy Allen is especially annoying not so much for anything she does, she actually puts-on an effective Brooklyn accent, but more for her cliched character. Portraying a prostitute as a blank-eyed, dim-witted simpleton, who still has a ‘heart-of-gold’, is about as overused as it gets making it a laughable caricature and succeeding at causing one long eye roll every time she appears and opens her mouth. The gangsters and police officials are equally contrived though Dennis Franz plays his role, as the corrupt low-life pimp, with such amusing gusto that I was willing to forgive his scenes, and was even entertained by them, but found the rest of the supporting cast to be wasted and transparent.

There are also a few too many plot holes. For instance, the assassin, played by Jon Lithgow, sneaks into an auto repair shop late at night, to remove the tire from the car that had been retrieved from the river, so no one would find out that it had a bullet hole, but wouldn’t the police have thought about looking for that already? The fact that they don’t seems shockingly shoddy as the first thing to investigate after any accident is the cause and not immediately removing the tire and sending it away to a lab for further analysis seems beyond incompetent. Some may argue that the police were paid-off to look the other way and were a part of the ‘cover-up’, but if that were the case then they would’ve still removed the tire, knowing that it was crucial evidence, and then just conveniently ‘lost it’ versus leaving it on the vehicle in some unguarded repair shop that anyone could walk into.

Having Travolta drive his jeep through a parade and nearly kill hundreds of people in the process and then crash into a storefront window where pedestrians come to his aid and call for an ambulance seemed questionable as well. Maybe it was a more innocent era, but I would’ve thought those same people would’ve beaten the crap out of him when they caught-up versus helping him as they would’ve presumed, he had plowed into the parade intentionally and therefor deserved some rough ‘street justice’ for having put so many lives at risk.

Revealing who the killer was in the second act and the reasons for why he did it ruined the suspense and would’ve been more intriguing had the viewer only figured out his identity right when the protagonists do, which comes near the end of the third act. I also thought his killing of other prostitutes who looked similar to Allen, in order to create this fictional serial killer known as the “Liberty Bell Killer, were rather fake. For one thing if a bad guy is intent on killing somebody and stalking them, they come prepared with their own weapons and not hope to inadvertently pick-up some sharp object along the way like he does here. The scene inside a public restroom where he stands over the toilet stall wall in order to strangle his would-be victim who’s standing on the other side and the woman does not sense someone hoovering over her, she looks around, but doesn’t bother to look-up, is baffling since his body was blocking the overhead light and his shadow would’ve tipped her off that there was someone above.

Spoiler Alert!

The biggest head-scratcher gets saved for the end where Travolta essentially gives-up on pursuing the bad guys, even after Allen is murdered, and goes back to his ordinary life as a sound man though in a more guilt-ridden state. The explanation for this is that when Lithgow throws the film of the assassination into the lake along with the audio tape that means the evidence was ‘gone forever’, but it really wasn’t. He had made a copy of the audio tape already and the film was from motion picture stills he had obtained from a tabloid magazine, so all he had to do was buy another copy of the magazine, resync the pics up with his audio tape copy, and his evidence to take to the authorities would be as good as new.

My Rating: 5 out of 10

Released: July 24, 1981

Runtime: 1 Hour 48 Minutes

Rated R

Director: Brian De Palma

Studio: Filmways Pictures

Available: DVD, Blu-ray (Criterion Collection), Amazon Video, YouTube, Pluto TV, Tubi

Staying Alive (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Tony juggles two women.

It’s been 5 years and Tony Manero (John Travolta) is still struggling to make it big in the dancing world in this sequel to Saturday Night Fever. Now instead of working at a paint store he’s employed as a nightclub waiter while spending his days desperately going to every agent in New York looking for a break, but getting none. He’s in a relationship with Jackie (Cynthia Rhodes), but when a hot new dancer named Laura (Finola Hughes) catches his eye he decides to have a fling with her, which further complicates the fact that all three of them are dancing in the Broadway production of ‘Satan’s Alley’.

The idea of turning a classic movie into a sequel should’ve been given the kibosh from the start as that film conveyed such a perfect slice-of-life tale that it didn’t need any continuing. This film also doesn’t have any of the key players from the first including Donna Pescow and Karen Lynn Gorney. It was Travolta’s and Gorney’s relationship that made that movie sizzle, so if you’re not going to have her then why even bother making it as it’s hollow and incomplete otherwise. Too much time had also elapsed and disco was no longer trendy by the early ‘80s, so to compensate they tried gearing it more to the struggles of working on a dance line, but only succeeds at making it seem like a poor man’s version of A Chorus Line.

The romantic angle is uninteresting. Tony becomes attracted to Laura in the same way that he did with Karen Lynn Gorney, which was by watching her dance, which makes it formulaic and redundant. The Laura character is also quite kooky by constantly giving Tony the hot-and-cold act making her seem like someone with a split personality disorder. Jackie on the-other-hand is dull and catches on to Tony’s two-timing too quickly and then does nothing about it, which kills off any possible tension or drama. Tony himself is equally useless. Travolta plays him well, which is the only saving grace, as he manages create an engaging character despite the shitty way he treats Jackie, which normally would make him unlikable.

The scenes between Tony and his mother (Julie Bovasso) are touching and the best moments in the film although she’s played more like a real person here and not the comic caricature like in the first one. The garish set designs and special effects used to create the scenes for the play ‘Satan’s Alley’ at the end may be good for a few laughs, but it’s so over-the-top and campy that it degrades any serious intention that the film may have otherwise had. Watching the older audience members including Tony’s mother stand-up and applaud the play after it was over seemed disingenuous as I think most of them would in reality be rolling-their-eyes  and asking themselves ‘what the hell did I just watch’ instead.

The musical score, which was such a strong element in the first film, is completely lacking. Instead of a pounding soundtrack we get jazzy songs better suited for a quiet lounge. Absolutely nothing works except maybe inducing 93 minutes of boredom, which in that regards it does quite successfully.

My Rating: 2 out of 10

Released: July 11, 1983

Runtime: 1 Hour 33 Minutes

Rated PG

Director: Sylvester Stallone

Studio: Paramount Pictures

Available: DVD, Amazon Video, YouTube

Saturday Night Fever (1977)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: He’s a disco star.

This film is based on a 1976 story that was published in New York Magazine entitled “Tribal Rites of the New Saturday Night” by Nik Cohn, which for many years was considered a factual account of the disco trends of the young people at the time who frequented the disco 2001 Odyssey nightclub, but it later turned out, through the confession of its author, to have been totally fabricated. The story here centers on Tony (John Travolta) who still lives with his parents while working for low wages at a Brooklyn paint store, but longing for a more exciting existence. Despite being a ‘nobody’ during the week on Saturday nights he’s a star as he takes to the disco floor and has all the women flocking to him. Annette (Donna Pescow) is one of those women, but Tony finds her too unattractive and instead has eyes for Stephanie (Karen Lynn Gorney) who he wants as his dance partner in order to win a contest.

From the ads and promotions you’d think this was nothing more than a lightweight teeny bopper romance looking to take advantage of the current disco trend, but the film is much more than that. In fact the dance sequences are boring and thankfully director John Badham keeps these segments contained although I would’ve cut back on them even more. The real essence of the film is Tony’s relationship with his friends, family and world as a whole. The film works as a terrific composite of what life in Brooklyn during the ‘70s amongst the teens and young adults was really like as they try to forge their way into young adulthood while fighting to find their place in it.

Travolta gives an outstanding performance mainly because he’s one of those actors who isn’t afraid to expose the vulnerabilities of the characters that he plays as Tony isn’t a completely likable person and many times acts quite arrogant and callous, which leaves the viewer feeling like they’ve seen an unfiltered portrait of a real person with all the edges showing instead of just a manufactured image.

Pescow is great in support. The image of her holding out a hand full of condoms is the one thing I’ve remembered vividly from the movie from when I first saw it over twenty years ago and the scene of where she is assaulted in the back seat of a car by Tony’s friends is genuinely heart breaking.

My only quibble with her is the moment where Tony informs her that he is choosing a different dance partner for the contest and she immediately breaks down crying. My belief is that most people because of personal pride will not wear their emotional vulnerabilities that openly especially if they are downtrodden like her character. Instead I think she would’ve responded to the news in a sort of aloof/defiant way like saying ‘fine if you don’t want me then I don’t want you’ before walking away and then crying about it later in private.

Gorney’s performance was the one that I really didn’t like as her put-on Brooklyn accent is too affected. With Pescow you could tell it was the genuine thing as she was from the region originally, but Gorney was born in Beverly Hills and attended college in Pittsburgh, so her attempts at putting on an accent was not needed or warranted and made her character seem too much at Tony’s working class level when I thought the idea was to show that she wasn’t.

As for her relationship with Tony I liked the concept that these two were genuine opposites, but I wished the movie had played this up more. She’s initially cold towards Tony and rejects his advances and then a few days later without him having done anything differently she’s suddenly warmed up to him. I would’ve liked some situation created where she was forced to hook-up with Tony as a dance partner because her original partner took ill or something and then had the frostiness between them continue and melt away only when they are on the dance floor.

Spoiler Alert!

The ending is a bit limp. The fact that the two don’t end up getting into a long term romantic relationship, but instead agree to be ‘just friends’ is good as too many movies with this type of formula always seem to want to strive for the ideal love scenario, but in most real-world cases that just isn’t practical and these two had too much that was not in common and getting past those things would’ve proved futile.

However, the dance contest is a letdown as the film introduces a Puerto Rican couple who dance better than Tony and Stephanie, but Tony is still awarded the trophy supposedly because of racism, but why throw in this plot point so late? We’ve been following the trials and tribulations of Tony and Stephanie the entire way through not the Puerto Rican couple who we know nothing about. If the movie wanted to make a statement about racism at the club it should’ve been brought out much earlier and not at the very last minute when it becomes essentially pointless.

End of Spoiler Alert!

Overall though it’s a great movie that deserves its classic status as the characters and dialogue are richly textured and the film makes its message through subtle visual means without having to telegraph it. However, the PG-rated version, which was released two years later in an attempt to reel in the teen audience, sanitizes the story to the point that it takes out the heart of the film and should be avoided.

My Rating: 7 out of 10

Released: December 12, 1977

Runtime: 1 Hour 58 Minutes (R-rated version) 1 Hour 52 Minutes (PG-rated version) 2 Hours 2 Minutes (Director’s cut)

Director: John Badham

Studio: Paramount

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

Urban Cowboy (1980)

urban cowboy 1

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Ride the mechanical bull.

Bud (John Travolta) has just moved to the big city of Houston and is looking to fit-in and prove himself to the local crowd. He finds his niche at a local hang out called Gilley’s where he gets noticed for the way he rides the mechanical bull that is there. He also meets Sissy (Debra Winger) who he quickly falls in love with and marries. Sissy takes an interest in riding the bull as well, but Bud refuses to allow it as he is afraid it might compete with his own macho image. When she does it anyways he becomes angered and the two break-up, but secretly long to get back together especially when the other relationships that they get into aren’t as fulfilling.

This movie, which is based on a magazine story, is highly disjointed and doesn’t have any type of seamless pace. There is way too much footage of people dancing on the barroom dance floor and the amount of songs that get played, which ends up being 30 as I counted them during the closing credits, is too many. The songs themselves are great, but by playing so many it starts sounding more like a radio station playlist than a movie soundtrack. The Texas caricatures also get overdone. In this movie everybody wears a cowboy hat even though I have now been living in this state for 4 months and can count on the fingers of one hand how many people I’ve seen wearing one since I’ve moved here. The Texas drawls of the characters are a bit too heavy and at one point during Bud’s job interview the interviewer refers to Bud as ‘boy’ or more aptly ‘Bo-AH’. I realized that this was made 35 years ago, so it may just be life from a different era, but it still seemed over-the-top and not a balanced, realistic view of the state as a whole.

Travolta’s presence doesn’t help as it reminded me of Saturday Night Fever as both of those characters go through the same type of growing pains into manhood. The sexist, immature way that he treats Sissy really got on my nerves and he was certainly not the type of character I would want to make the center point of a movie. Winger on the other hand is beautiful and far more appealing. The fact that she gets treated just poorly by her second boyfriend (Scott Glenn) is equally irritating and I started to wish they had written out the two dipshit male leads completely and made her the sole centerpiece of the story. I also liked Barry Corbin in support as Bud’s uncle, but the way he dies by getting struck by lightning is hooky.

The riding the mechanical bull stuff to me looks unintentionally funny and even strangely sexual. It’s also not all that interesting to watch and quickly becomes repetitive to look at, which severely diminishes the ‘exciting’ climatic sequence that it’s built around. The only scene involving the mechanical bull that I did like is when Winger gets on it and starts riding it in all sorts of different provocative poses, which was fun and sexy.

The second half of the film loses its focus completely and instead of being this intended gritty ‘boy-to-man’ drama becomes more like a soap opera where the emphasis is on whether Sissy and Bud will get to back together, which is not that interesting or original and the schmaltzy ending is Hollywood at its clichéd worst.

My Rating: 3 out of 10

Released: June 6, 1980

Runtime: 2Hours 12Minutes

Rated PG

Director: James Bridges

Studio: Paramount

Available: VHS, DVD, Amazon Instant Video, YouTube