Tag Archives: Movies

Silent Night, Deadly Night (1984)

Posted on December 26, 2024 | Leave a comment

silent

By Richard Winters

My Rating: 6 out of 10

4-Word Review: A killer Santa Claus.

When he’s only 5-years-old Billy Chapman (Jonathan Best) has a very traumatic experience. It starts when he and his family are visiting their grandfather (Will Hare) inside a senior living facility. While his parents and younger brother are temporarily out of the room his grandfather, who usually never says a word, suddenly speaks by warning him about Santa Claus and how he punishes those who’ve been naughty. On the car ride home, his family is attacked by a gunmen dressed as Santa (Charles Dierkop) who has just robbed a liquor store. Both his parents are killed by the man, but Billy manages to escape by running out of the vehicle and hiding behind some bushes. Things now flash forward to the year 1984 where Billy (now played by Robert Brian Wilson) is 18 and still suffering from the dark memories of the event as well as the abusive upbringing inside the orphanage he was sent to that was ruled by a tyrannical Mother Superior (Lilyan Chauvin). Working as a stock boy at a nearby toy store, he gets asked to fill-in as Santa when the man who usually plays him calls-in sick. Playing the part though brings back up all the repressed emotions of what happened years earlier causing him to have a mental breakdown and turning him into a killer. 

This film ended up becoming quite controversial and it all started when producer Scott J. Schiend accepted story submissions from the public to help him decide what movie project he’d like to finance next. One of those submissions was short story written by a recent college grad named Paul Caimi entitled ‘He Sees You When You’re Sleeping’, which involved a killer Santa. Schnied became intrigued by the concept and hired Michael Hickey to write a full-length screenplay around the premise. Once completed the script was shopped around until Tri-Star Pictures decided to pick-it-up and finance it as well as act as its distributor. 

Since there were already two other films that had been released that dealt with a killer Claus including the 1972 horror anthology Tales from the Crypt, and the 1980 slasher You Better Watch Out! no one behind-the-scenes was expecting this one to create much controversy since neither of those had. However, mainly because of an aggressive marketing campaign, it soon caused the ire of many parents who felt based off of the TV-ads that this film would tarnish the image of Santa Claus and make children fear him and thus a movement to have the movie removed from theaters was created. Even Siskel and Ebert got in on it by focusing an entire episode of their show to it and reading out the names of the cast and crew in order to ‘shame’ them for having worked on the production. The movie was soon pulled after having been in theaters for only a week, but the controversy ended up having a Streisand effect as it garnered it more attention than it would’ve otherwise, and it made a hefty profit at the box office and ultimately became a cult hit that spawned 4 sequels as well as a reboot.  

It seems to me that most people that protested the movie didn’t actually watch it because if they had they’d realize that it’s made very clear that the guy doing the killings isn’t really Santa nor does he even look much like him. The kid who plays him doesn’t even bother putting the beard on and his own face is constantly exposed while he does the butchering, so at no point does the viewer ever see him as being anyone other than a troubled teen with severe mental issues. I actually wished the part had been played by Dierkop who portrays the initial Santa during the hold-up and puts far better energy into the role and genuinely looks more like the classic Claus both in his age and physical build. 

The movie puts a lot of effort into showing how Billy became the way he does, but for me that was a problem as it gets too plodding and seems to take forever for the carnage to get going, which for a slasher fan is what you really want to see. Would’ve been better had it started out right away with this guy Santa killing people, maybe even one of the kids who sits on his lap at the store, and with no reason why he was doing it, and then through intermittent flashbacks allow his back story to be revealed versus having the background painfully elaborated from the start, which takes away any mystery, or surprise. There’s also the issue of young Billy having prominent brown eyes, but when he reaches adolescence his eye color suddenly turns to blue. 

Spoiler Alert!

My biggest complaint though is with the Mother Superior. Chauvin plays the part quite well making the nun scarier than the killer and somebody you really love to hate, but she’s never killed off, which is a huge disappointment. Many people who grew up going to a strict Catholic School might’ve enjoyed seeing a disciplinarian nun get hacked and it might’ve been cathartic and thus having it not occur doesn’t give the film a sufficient payoff. 

My Rating: 6 out of 10

Released: November 9, 1984

Runtime: 1 Hour 25 Minutes

Rated R

Director: Charles E. Sellier Jr.

Studio: Tri-Star Pictures

Available: DVD, Blu-ray, Amazon Video

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Posted in 80's Movies, Christmas Movies, Cold Climate/Wintertime Movies, Cult, Horror, Movies with Nudity, Slasher/Gore

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The Prisoner of Second Avenue (1975)

Posted on December 21, 2024 | Leave a comment

prisoner

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Out of a job.

Mel (Jack Lemmon) has just lost his job that he’s had for 22-years and fears that at age 48 it will be hard for him to find another one. Edna (Anne Bancroft) goes out to find employment of her own in order to pay for the bills and while she’s initially sympathetic to Mel’s problems she becomes annoyed at the way he doesn’t do anything about it besides just complain about everything. Having their place get robbed in broad daylight, a garbage collector’s strike, noisy neighbors, and a massive New York heatwave all lead to Mel having a mental breakdown where he begins to believe all sorts of conspiracy theories. He also gets into loud verbal sparring with one of his upstairs neighbors. His brother Harry (Gene Saks) tries to get his two sisters, Pauline (Elizabeth Wilson) and Pearl (Florence Stanley) to chip-in to help pay for Mel’s therapy, but they’re reluctant making Edna feel like she’s in this all on her own while becoming openly frightened at Mel’s deteriorating state.  

The film is based on Neil Simon’s Broadway play of the same name that premiered on November 11, 1971, that starred Peter Falk and Lee Grant. The script was written by Simon but doesn’t do enough to differentiate it from a stage play with a boring visual design that falls flat and barely ever seems to get out of the apartment and when it does the moments are equally uninteresting. The ongoing potshots at New York City living have been done before and nothing that gets said here that is ground-breaking, or even mildly amusing. The plot and humor meanders and are too unfocused to be either riveting, or captivating. 

Lemmon gives a good performance, but he’s played this type of character before and his perpetual complaining about everything and anything quickly becomes tiring. I actually sided with the upstairs neighbor who throws cold water on him when he stands outside bellowing into the night air about his problems, which would annoy anyone. Bancroft’s Brooklyn accent is too affected and her wide-eyed responses to Lemmon’s constant shouting lends no spark making her character come off as transparent. Watching her fight-back a little or even get into a sparring match with Lemmon could’ve added some much-needed comic spark, but for the most part the scenes between them are dull and one-dimensional. 

It’s hard to feel sorry for a guy who makes no effort to help himself. Instead of him being shown moping constantly around the apartment each day in his bathrobe we should’ve seen him going out to job interviews, or even sprucing-up his resume and I was genuinely shocked why none of this happened. How does he really know the job market is so ‘tough’ if he doesn’t venture to go out and test it? Since his wife is able to get a job rather quickly it starts to seem like it’s not so hard to find one making the protagonist and his inactions all the more infuriating. 

Spoiler Alert!

What’s even more confounding is he’s able to somehow ‘snap out of’ his sorry state without actually finding another job. It’s not clear either what event gets him to change his thought patterns he just starts telling everyone that he’s ‘over it’ and back to being his old productive self, but in a good movie this should be seen by the viewer without the character having to explain it. Since he’s still not gainfully employed what’s to say he couldn’t easily fall back into the doldrums and therefore seeing him working at someplace new would’ve been a more complete ending. 

The side-story dealing with him buying a giant snow shovel in order to get back at his neighbor for throwing water on him, isn’t satisfying either. For one thing if money is so tight why waste it on something he really doesn’t need? His revenge plan is a bit confusing too. The idea, I guess, is that he’ll wait for the first big snowfall then climb up on the apartment roof and shovel the white stuff down on the neighbor’s balcony, but this is yet another thing that should’ve been put into action in front of the camera as him just alluding to what he’s going to do isn’t as satisfying. 

My Rating: 4 out of 10

Released: March 14, 1975

Runtime: 1 Hour 38 Minutes

Rated PG

Director: Melvin Frank

Studio: Warner Brothers

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

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Posted in 70's Movies, Black Comedy, Movies Based on Stageplays, Movies that take place in the Big Apple

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Max Dugan Returns (1983)

Posted on December 17, 2024 | Leave a comment

max1

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Estranged father comes back.

Nora (Marsha Mason) is a single mother living with her 15-year-old son Michael (Matthew Broderick) who’s struggling to make ends meet as a High School English Teacher. Things become particularly desperate when her beat-up 1964 Volvo car gets stolen and she no longer has any transportation to get to work nor the money to afford buying a new car, or even a used one. Fortunately, the officer working on the case, Brian (Donald Sutherland) takes a liking to her and offers her to use his motorbike even though she needs training on how to drive it. Once she goes through the crash course and begins using it she still has other financial concerns to worry about until one night she receives a mysterious visitor, which turns-out to be her estranged father Max Dugan (Jason Robards) who ran-out on his family 29 years earlier. Now he has returned with a briefcase full of $687,000, which he skimmed from a crooked casino that he used to work at. He tells her he has only 6-months to live and advises her to take the money, so that she and her son can live stress-free, but Nora isn’t so sure she wants to accept it, so Max goes about buying her stuff anyways including a fancy new car.

This has to be one of Neil Simon’s least imaginative efforts and the concept seems so contrived it’s like he thought it up for the 10-minutes that he was sitting on the john. I’ll admit when I was a teen and watched it when it first came out, I enjoyed it. I especially remembered the scenes dealing with Charley Lau, who regrettably died less than a year after the film’s release, where he plays himself the hitting coach for the Chicago White Sox baseball team, who Max hires to help Michael become a better hitter and these teaching scenes I found to be engaging. Unfortunately, the foundational premise has a lot of holes.

The idea that a father would suddenly want to see his daughter after 29 years of being away didn’t seem authentic. If he longed to reconnect then why not reach out earlier? Granted he was in jail for 6 of those years, but what about the other 23? If family was so important to him then why run out on them in the first place? Why doesn’t he at least make some attempts in-between those years to communicate like sending letters of phone calls before just showing up and expecting to be welcomed with open arms? The idea of throwing her and his grandson a lot of money comes-off in bad taste like he’s simply trying to buy their love and if anything seems quite shallow. During those 29 years away you’d think he would’ve met other people he’d become friends with, or other women he dated that he might’ve wanted to give the money to instead, or are we to presume that for 3-decades he lived in a cave and made no contact with anyone else?

I didn’t get why Nora didn’t recognize her father when he called. Yes, it had been awhile since she had last heard or seen him, it’s stated that she was 9 when he left, but he has a distinctive voice, so I’d think it would set something off in the back of her brain that she knows who this is, but can’t quite place it, versus having her immediately call the police in panic after getting a call from some ‘strange man’. He also tells her at one point that he may not actually be Max Dugan, but again she wasn’t a month-old infant when she last saw him, but instead someone entering the fourth grade, which should’ve given her a solid enough memory of what he looked like and thus know if this was her real father, or not.

To help solve all of this Nora should’ve been made a divorcee instead of a widow. The husband/father could’ve been the one who went to jail and then returned a 6 years later with stolen money hoping to use it to win back his wife’s and son’s favor. It would’ve made more sense because less time would’ve passed, and he’d have a more vested emotional interest in bonding with his son since he was directly his versus an elusive grandfather who didn’t even know the kid existed until being ‘tipped off’ that Nora had one by some secondary source.

Matthew Broderick’s character is problematic too. He seems just too obedient and goody-goody to be a believable teen as he promptly makes his bed every morning, even his mother’s, asks to be excused from the dinner table, and even lets his mother kiss him while in full view of his friends. Yes, there’s one brief moment where he tries to sneak a smoke, but otherwise I didn’t detect the typical rebellion to authority that most teens that age have, and it would’ve been improved had the kid been 9 or 10 where still being compliant with their parents’ wishes is a little more understandable.

Sutherland’s character was off as well as he seems way too aggressive about asking out a woman that he had just met while on-duty and actively investigating her case making it ethically questionable whether he should even be doing it. If a guy does come-on to a woman so quickly, simply because she’s attractive and single, as he knew nothing else about her, you’d presume he’s done this to other available women as well and thus should have a throng of casual girlfriends and Nora would just be one of many. The film should’ve just had him already her boyfriend from the start and thus avoided this otherwise awkward and rushed relationship. I also thought it was dumb that Kiefer Sutherland, who appears early on in a brief non-speaking role as one of Broderick’s friends, wasn’t cast as Donald’s son in the climactic baseball sequence at the end and instead the part was given to another young actor.

Spoiler Alert!

The money issue becomes yet another problem as Max spends it on so many lavish gifts that I started to wonder if there would be any left to put into savings. The idea that he could’ve had workers refurbish the house in just one day while Nora and son where in school is ridiculous as something that massive would take weeks if not months. He even ends up driving away with the car he had bought her leaving her again without a vehicle. Yes, he does open-up a bank account in her name and puts in $400,000, but her cop boyfriend was already aware of this and made clear he put his duty to uphold the law over his personal relationships making it very probable that she’d be forced to give it all back. Worse she might be considered an accomplice forcing her to hire an attorney, which would’ve sent her into even more debt making it seem like she’d be better off had the whole thing not even happened to begin with.

My Rating: 4 out of 10

Released: March 25, 1983

Runtime: 1 Hour 38 Minutes

Rated PG

Director: Herbert Ross

Studio: 20th Century Fox

Available: DVD, Amazon Video, YouTube

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Posted in 80's Movies, Adolescence/High School, Comedy

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Goldengirl (1979)

Posted on December 15, 2024 | Leave a comment

goldengirl

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Runner injected with hormones.

Goldine (Susan Anton) is a tall, 6-foot-2, athlete, who’s also quite beautiful, who shows a lot of talent as a runner and ends-up qualifying for the 1980 Summer Olympics in Moscow. However, behind-the-scenes there’s a sinister plot. Her father Serafin (Curt Jurgens) is a neo-Nazi who has injected her with hormonal drugs and vitamins from an early age in order to get her to be taller and stronger than the other athletes. This regimen has had a adverse effect on her system causing her to get diabetes of which she’s required to take two pills before every race in order to prevent her from going into shock. Dryden (James Coburn), who’s been hired by her father to help market her and make money off of her name and potential celebrity, recognizes these problems and tries to get her to drop-out, but the lust for fame and recognition are too much and Goldine decides to stay-in even as the warning signs mount.

Based on the 1977 novel of the same name by Peter Lovesey and originally intended for a miniseries on NBC-TV, who initially funded the production, but then scraped the telecast when the US pulled out of the Olympics due to the Soviet invasion of Afghanistan. The film was then re-edited from its initial 4-hour cut and paired down to less than 2-hours before being released to theaters where it managed to recoup only $3million from its $7million budget. Alot of the problem is that not enough happens to make sitting through it seem worth it. The sinister neo-Nazi story angle doesn’t get played-up to make it suspenseful, or even mildly diverting. In many ways this could’ve been just an average film about athletes training for the Olympics because for the most part that’s pretty much what it focuses on and even then, the interest level is only marginal.

Coburn is a great actor, but I didn’t know what he was doing in this type of movie as he seemed too old for the part. While he was only 50 when it was shot, he looks much more like 60, or even 70. Having him ultimately get into a sexual relationship with Goldine seemed absurd. I got nothing against May-December romances, but it just didn’t make sense why this beautiful, young woman would have to settle for some old guy, or would even want to, to satisfy her sexual needs. A woman looking like she did should’ve been able to attract a man her age, let alone many, possibly even a fellow runner and the story would’ve been stronger had she been in a relationship with someone else her age who was at odds with the father and fought for her right from the start versus some old guy waltzing-in who only takes a casual concern to her problems and could easily bow-out at any moment, which is what he ultimately kind of does.

The biggest detriment is with Anton. As an actress I thought she did quite well. She was known at the time for being crowned Miss California in 1969, but her work here did lead to a Golden Globe nomination and her own TV-series and given the fact that she didn’t go through the conventional acting training I felt she earned it and was effective. Her character though is bland, and she should’ve been the one uncovering her father’s dastardly plan instead of Coburn. She spends a lot of time reacting to things versus driving the action like a protagonist should. Her personality traits aren’t clear and seem almost robotic most of the way and it prevents the viewer from having any emotional connection to her, or her quandary. Having her start to ‘flip-out’ near the end, supposedly because of her ‘condition’, makes her even more of an enigma and might’ve had a more profound effect had she been better defined and three-dimensional from the beginning.

Spoiler Alert!

Curt Jurgens meltdown while being interviewed live on-the-air by reporter Robert Culp, and then his subsequent running-out onto the racetrack, while in full view of millions of spectators, in an effort to win his daughter’s affections back, is the best moment in the movie. It’s a bit campy and over-the-top for sure, but when a film is as boring as this one even a silly moment can help it and quite frankly there should’ve been more of them.

The warp-up though is terrible. Having her decide at the last second not to take her diabetic pills as directed and then proceed to go into the race anyways is the movie’s one and only suspenseful minute, but then director Joseph Sargent botches it by fading out and not showing her collapsing on the track. We’re told about it later, but it would’ve been more dramatic for the audience to have witnessed it first-hand. To then have her fully recover and not learn from the event and go on afterwards like it was ‘no big deal’ defeats the purpose of the movie. What’s the point of sitting through an almost 2-hour flick where the character doesn’t change, or grow in any way and the events that happen throughout it don’t really lead to anything?

My Rating: 2 out of 10

Released: June 15, 1979

Runtime: 1 Hour 45 Minutes

Rated PG

Director: Joseph Sargent

Studio: AVCO Embassy Pictures

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

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Posted in 70's Movies, Movies Based on Novels, Movies with Nudity, Sports Movies

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Night Shift (1982)

Posted on December 12, 2024 | Leave a comment

nightshift1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Hookers in a morgue.

Chuck (Henry Winkler) has dropped-out of his former job as a stockbroker due to the stress and decided to work in a more tranquil setting as the night shift manager of a New York City morgue. He’s unhappy though to have to share duties with Bill (Michael Keaton) who’s talkative and partying ways are a complete contrast to Chuck’s introverted manner. Chuck’s home-life isn’t much better as he’s engaged to be married to Charlotte (Gina Hecht) though her habits and constant complaining are at odds with Chuck’s. His only solace is Belinda (Shelly Long) a prostitute whom he sometimes bumps into as she’s servicing his next-door neighbor Luke (Tim Rossovich). When Chuck finds her beaten-up inside an elevator he decides she needs to find a work environment that will afford her more protection, which gives Bill the idea to open-up a prostitution ring inside the morgue, which goes-off surprisingly well for  awhile before rival pimps become aware of it and threaten Bill and Chuck with their lives unless they agree to let them in on the payout.

This marked the second feature length film directed by Ron Howard and was inspired by a New York Times article about a real-life morgue that became a prostitution hang-out during its night hours. He decided to offer the leading role to Winkler, who had the choice of either playing Bill or Chuck but went with Chuck as he felt it would be fun playing against type, or in his words a ‘chance to play Richie Cunningham’. Winkler was still acting in ‘Happy Days’ TV-show at the time, so he’d shoot this on Mondays and Tuesdays in New York and then fly back to Hollywood to play Fonzie on Thursdays and Fridays.

While the change of pace may have shown what a good actor Winkler was it really didn’t help his image as the protagonist here is too wimpy. A somewhat passive guy is okay, but this guy lets people push him around too much making him look pathetic and his buttoned-down personality doesn’t show much energy making most of his moments in front of the camera too subtle to be either funny or engaging.

Keaton on the other-hand is too flamboyant, and his talkative ways become obnoxious instead of endearing and I personally didn’t blame Winkler for telling the guy to shut-up and leave him alone as I would’ve felt the same way. The story could’ve worked just as well if not better had Keaton not been in it at all and let Winkler carry-it alone, which would’ve allowed for a more interesting character arch at seeing this nebbish guy run a prostitution ring and thus learn to open-up more because of it.

Winkler’s relationship with Charlotte made little sense as the two had nothing in common and all she did was nag and complain. Why would anyone want to date someone like that let alone get engaged with them? I realize this was supposed to be part of the ‘comedy’ but for it to be funny there actually has to be some truth in it and these two shared no chemistry and at least one of them would’ve in reality come to their senses and broke it off and logically it’s surprising that it didn’t happen. The Charlotte character wasn’t even needed because the focus is on Winkler’s budding romance with Long, so why not just have him be a single guy who’s lonely and can’t make it with women and thus becomes entranced with Long despite her being a hooker simply because she showed him some attention.

While she gives a really good performance that’s light years removed from her Diane Chambers role from ‘Cheers’ that she’s best known for, and she sure looks great in the scene where she wears skimpy panties, her character here is problematic. She’s too wide-eyed and innocent for a woman whose been working as a call girl on the big city streets and even been badly beaten-up a few times by her pimp and johns. Seems like she should’ve formed a very hardened, crusty exterior for her own basic mental defense and the fact that she doesn’t show any of this and instead is so openly sweet seemed not remotely believable.

The premise has great potential, but it doesn’t do enough with it. For most of the way the pace is leisurely and the comedy subtle. I was expecting dead bodies coming-in amidst the sex and lots of mix-ups and confusion, but that stuff barely even gets touched upon. The prostitutes are portrayed as an extreme caricature with no distinct personalities, which reveals how shallow the whole thing is. Back-in-the-day, and I know because I was around, movies dealing with the subject of prostitution was considered ‘edgy’, but now stuff like this is looks trite and barely even touching the surface in regard to realism.

My Rating: 6 out of 10

Released: July 30, 1982

Runtime: 1 Hour 46 Minutes

Rated R

Director: Ron Howard

Studio: Warner Brothers

Available: DVD, Blu-ray, Plex, Roku, Tubi, Amazon Video, YouTube

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Posted in 80's Movies, Buddy Movies, Comedy, Movies that take place in the Big Apple, Movies with Nudity

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The Devils (1971)

Posted on December 8, 2024 | 1 comment

devils1

By Richard Winters

My Rating: 9 out of 10

4-Word Review: Burned at the stake.

In the year 1634 the governor of Loudon, a small fortified city, dies, making Urbain Grandier (Oliver Reed), a priest with a secretly decadent lifestyle, the one in control. He’s idolized by the townspeople and the head nun at the local convent, Sister Jeanne des Anges (Vanessa Redgrave), secretly has sexual fantasies about him though because she suffers from having a hunch on her back is rarely ever seen outside and Urbain himself doesn’t know she exists. When Urbain secretly marries Madeleine (Gemma Jones) Jeanne becomes jealous causing her to confide to Father Mignon (Murray Melvin) that she’s been possessed by Urbain as well as accusing him of dabbling in witchcraft. This then leads to an inquisition headed by Father Pierre Barre (Michael Gothard) and a public exorcism, which has the nuns in the church strip and perform perverse acts before Urbain and his new wife are arrested and put on trial.

The story is based on the actual event, which was written about in the book ‘The Devils of Loudun’ by Aldous Huxley that was later turned into a stageplay. After the play’s success United Artists became interested in turning it into a movie and signed-on Ken Russell to direct due to his recent success in helming Woman in Love. Russell read the source material and became in his words ‘knocked-out by it’ and ‘wanted others to be knocked-out by it too’. This then compelled him to write an extraordinarily over-the-top script full of sex, violence, and graphic torture that so shocked the studio execs when they read it that they immediately withdrew their initial investment and refused to fund the picture threatening the project from being made even though many of the sets, constructed by set designer Derek Jarman, has already been painstakingly completed, but fortunately for them Warner Brothers swooped-in at the eleventh hour, which allowed the production to proceed.

The film’s release was met with major controversy with many critics of the day, including Roger Ebert who gave the film a very rare 0 star rating, condemning it. Numerous cuts were done in order to edit it down to a version that would allow it to get shown with the original British print running 111 minutes while the American one ran 108. Both were issued with an ‘X’ rating though even these cut out the most controversial scene, known as ‘The Rape of Christ’ segment, in which a group of naked nuns tears down and then performs perverse acts on a giant-sized statue of Jesus. This footage was deemed lost for many years before it was finally restored in a director’s cut version, that runs 117 minutes, that was shown in London in 2002. Yet even today this full version is hard-to-find with Warner Brothers refusing to release it on either DVD, or Blu-ray. They’ve even turned down offers from The Criterion Collection who wanted to buy it. While there was a print Warner released onto VHS back in the 80’s, this same version, got broadcast on Pay-TV, it’s edited in a way that makes the story incomprehensible, and only the director’s cut is fluid enough for the storyline to fully work.

It’s hard to know what genre to put this one into as this isn’t your typical movie and watching it is more like a one-of-a-kind experience that very much lives up to its legend and just as shocking today as it was back then. Yet, outside of all of its outrageousness it is quite effective. Each and every shot is marvelously provocative and the garishly colorful set pieces have a mesmerizing quality. The chief color scheme of white that lines the walls of the inside of the convent seemed to interpret to me the interior of a mental hospital, which helps accentuate the insanity of the frenzied climate. While things are quite over-the-top its ability to capture the mood of the times, the cruel way people treated each other and how they’re all steeped in superstition as well as the dead bodies from the plague that get stacked about, are all on-target and amazingly vivid.

The acting is surreal with both Reed and Redgrave stating in later interviews that they consider their performances here to be the best of their careers. Reed’s work comes-off as especially exhausting as he gets his head shaved and then is ridiculed in a large room full of hundreds of people before burned to death with make-up effects that are so realistic it’s scary. Redgrave, who walks around with her head twisted at a creepy angle, is quite memorable during the scene where she physically punches herself for having sexual fantasies, even puts a crucifix in her mouth at one point and masturbates with a human bone. Dudley Sutton and Murray Melvin with their very unique facial features and Michael Gothard, who initially comes-off with his long wavy hair as an anachronistic hippie flower child, but who becomes aggressively evil as the makeshift exorcism proceeds, all help round-out a most incredible supporting cast.

While the cult following for this remains strong and getting stronger and demand for a proper, director’s cut studio released DVD/Blu-ray is high Warner continues to rebuff the requests. There are though ways to find versions through Bing searches. Streaming services Shudder and Criterion Channel have shown the most complete prints to date, running roughly 111 minutes with most of the controversial scenes, including the Rape of Christ moments though these scenes are of a poorer, grainy and faded color quality since they never went through a professional digital transfer, but overall it’s still one of those movies you should seek-out because not only is it fascinatingly brilliant, but it’s something that could never be  made today and a true testament to the wild, unfiltered cinema of the 70’s that will forever make it the groundbreaking, unforgettable decade that it was.

My Rating: 9 out of 10

Released: July 16, 1971

Runtime: 1 Hour 57 Minutes (Director’s Cut)

Rated R (Originally X)

Director: Ken Russell

Studio: Warner Brothers

Available: DVD-R

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Posted in 70's Movies, British Movies, Foreign Films, Moody/Stylish, Movies Based on Actual Events, Movies Based on Novels, Movies Based on Stageplays, Movies with Nudity, Obscure Movies

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Blow Out (1981)

Posted on December 3, 2024 | 2 comments

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

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Posted in 80's Movies, Political Thrillers

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The Warriors (1979)

Posted on November 30, 2024 | 2 comments

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By Richard Winters

My Rating: 7 out of 10

4-Word Review: Back to Coney Island.

The Warriors lead by Cleon (Dorsey Wright) make their way to from Coney Island to Van Cortland Park in order to attend an outdoor rally lead by Cyrus (Roger Hill) who heads the gang called The Riffs. It’s Cyrus’ idea to bring all the gangs in New York City together as one because if they do so they’ll be able to outnumber the police. However, Luther (David Patrick Kelly), who’s a member of the Rogues gang is not privy to this idea and thus shoots and kills Cyrus, which gets witnessed by Fox (Thomas G. Waites) a member of the Warriors. Once Luther realizes he’s been spotted he quickly accuses the entire Warriors gang of carrying-out the murder, which sends the mob into violent chaos and in-turn causing the death of Cleon. Swan (Michael Beck) becomes the group’s new de-facto leader though it receives a frosty reception from Ajax (James Remar), but since they’re in such an urgent situation he has no time to fight him for it as the gang now must make their way back to the safety of their territory while having to trek through the turfs of other gangs who are all out to kill them.

For a film about gang life this one is quite different. Most of the movies before then that dealt with this topic would typically place the protagonist as being someone outside of the gang culture, but here that outside world doesn’t even exist. Everything is fully from inside the gang world, which is what makes it so fascinating as the viewer gets immersed into a universe that most likely they really wouldn’t experience or understand otherwise. However, as big as their turfs wars are one of the most memorable moments in the film doesn’t deal with the action at all, but instead it’s the scene inside the subway car where some suburbanites come-on after a night at the club and sit across from The Warriors, who are quietly judged, through their glances, at the disheveled nature of the gang members, which they’re distinctly aware of, revealing how even though in the gang’s mind their the ‘top dog’ of their universe, they’re still perceived from the mainstream world as being people to look down upon.

I also really dug the gang attire. Some may argue this gets ‘campy’ and hurts the realism with proposed remakes offering to play down some of it, but for me it’s what makes it more fun. Personally, I found the Baseball Furies and roller-skating gang known as The Punks to be generally frightening. Even if the gang carrying baseball bats wears facial make-up resembling the rock band KISS I still in no way would want to meet them in a dark alley and in a lot of ways The Warriors constantly coming into these weird gang types as they cross through their territories creates a surreal nightmare atmosphere.

I did though find some of the action to be problematic. It starts with The Warriors trying to outrun another car driven by a rival gang, which I found unrealistic. Possibly if it was a short distance then maybe, but to go several blocks wouldn’t be fathomable. I would think at least a couple of the gang members would tire-out and slow down and ultimately be hit by the vehicle. Having The Warriors totally annihilate the Baseball Furies even though it was the Furies with the baseball bats while the Warriors had only their fists didn’t make sense either. Maybe you could argue that The Warriors had such good fighting skills they were able to use that to overpower the other side, but logically I think one or two of them should’ve at least gotten hit by a bat, which the Furies were swinging wildly, and the fact that they’re all able to get out of the fight unscathed is a bit of an eye roll. Having a few of them later trapped in a room with a female gang that shoots directly at them with a gun and none of them get hit by even a stray bullet is equally unrealistic. Also, since they all get involved in punching their opponents, you’d think there would be numerous scratches, abrasions, and dried blood on the broken skin of their knuckles, at the very least, but on the subway ride after the fights there’s a quick close-up of Micheal Beck’s hands, who was involved in the majority of battles, and they’re completely unblemished.

The 1965 novel version, the author, Sol Yurick, was not happy with the film, has many differences including the gang rape of the female, played in the movie by Deborah Van Valkenburg, by the protagonist gang members, that doesn’t occur here. The book also delves more deeply into the gang leaders sad home life, which the movie doesn’t tackle at all, but it would’ve helped create a better understanding of the main character’s motivations. If a remake does get made, and it’s been talked about, I think it would be more interesting if it followed the book’s plotline, which ultimately is grittier.

My Rating: 7 out of 10

Released: February 9, 1979

Runtime: 1 Hour 33 Minutes

Rated R

Director: Walter Hill

Studio: Paramount

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

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Posted in 70's Movies, Action/Adventure, Cult, Movies Based on Novels, Movies that take place in the Big Apple

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Outland (1981)

Posted on November 28, 2024 | 1 comment

outland

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Deaths at mining outpost.

William (Sean Connery) is a federal marshal assigned to an isolated mining outpost on one of Jupiter’s moons. The outpost, known as Con-Am 27, is supervised by Mark Sheppard (Peter Boyle), who boasts a high productivity from his miners, but this comes at a cost as they seem to be steadily dying-off after suffering from bizarre psychotic episodes. William brings a blood sample of one of the latest victims to Lazarus (Frances Sternhagen), a nurse stationed at the outpost, who runs it through some tests and learns that he had been taking a powerful drug that can allow the men to work long hours at a high rate, but they will eventually burn-out and be driven crazy after about 10-months of use. William learns that Sheppard is fully aware of the drug use and allows it since it helps his workers achieve high results while also paying-off the police authorities to keep quiet. William refuses to go along with this and openly challenges the status quo of the space station causing Sheppard to call-in two assassins who’ll arrive on the latest shuttle and dispose of William unless he’s able to kill them first.

The film was inspired by writer/director Peter Hyams’ desire to make a western, but was advised by studio execs that westerns were no longer profitable, but sci-fi movies dealing with outer space were, so he decided to switch the setting of High Noon, a famous western starring Gary Cooper, to that of a space station, but otherwise kept many of the story elements from that one intact. The response by critics at the time was mixed with some labeling the effort as ‘trite’ while others, like critic Desmond Ryan of the Philadelphia Inquirer calling it ‘scarier than Alien, which I found funny since that one has gone on to be a timeless classic while this is largely forgotten.

The film does score when it approaches the human factor like greed and the way management can and will exploit the workforce if it’s able and the resentment and apathy workers can have towards their jobs, which even if it’s in some distant future could still most likely be reoccurring elements that will go on no matter what the time period. The look of the space station, particularly from the outside, is cool and I enjoyed the way the film replicates the ominous silence of space especially at the beginning.

Some other futuristic effects don’t work as well like the way the computers feel the need to make little beepy noises every time it prints out a word, or message, which may have seemed high tech at the time, but is now antiquated. The television screens display the old tube models while today we have the flat HD variety making this ‘future’ seen here seem more like the past. There’s also plentiful shots of people openly smoking in meeting rooms, but since second-hand smoke was proven to cause lung cancer and outlawed now, more people vape anyways, then why would it have been brought back in the future?

Connery shouldn’t have to explain why he’s going up against this evil conglomerate when no one else will help him, as the viewer should be able to surmise this on their own, which shows how poorly fleshed-out his character is. Having him rebuff his son’s and wife’s request to come back to earth with them because he has something to ‘prove’ unintentionally works against his likability as it makes him seem selfish versus noble. Would’ve been better had his wife left him on bad terms, maybe because for example he was an alcoholic, or too focused on his job, and thus with nothing else to lose he decides to prove to himself he can do at least something right by taking down the bad guys since he’s essentially failed at everything else. The audience would’ve been more emotionally invested in his quandary if he had nowhere else to turn, instead of here where he technically does have an option.

Sternhagen is an interesting choice for the female lead in that she’s not the proverbial young and attractive heroine like viewers have come to expect in Hollywood action flicks. Had she been more romantically enticing that might’ve made the viewer dislike William, particularly if he acted upon his emotions, since he was already married, so to avoid any possible conflict they made the lady character older and sarcastic and thus not somebody to typically fall in love with. While I appreciated the concept of having two people work together without it leading into a sexual escapade, which becomes a cliche in itself, I still felt it was hard to fathom that she’d be the only one at this outpost that would offer him assistance. The work crew wasn’t real happy with management especially finding out that they were fed a drug meant to ultimately kill them, so I’d think there would be some of them who would want to help William take down their oppressive employer, which would’ve also helped it add a wrinkle to the High Noon formula, which it otherwise follows too closely to the point that it becomes predictable and redundant.

While I did like the shoot-out that happens in the giant greenhouse, which visually is impressive due to its vast largeness, I did feel overall the assassins weren’t interesting. We barely see their faces and they come-off as being no different than the other workers already at the station and this lack of distinction makes them forgettable. Initially I thought William wouldn’t be able to know which ones coming off the shuttle, as there are quite a few people who disembark it, were the killers, so there would be added suspense of him being unclear of who exactly was after him, but this quickly gets answered when William can see via circuit cameras the two men taking out their weapons, which ruins what could’ve been an added mystery. Ultimately, I felt the assassins shouldn’t have been human, but instead an indestructible killer robot, which would’ve kept it more in the space age realm and given it added excitement and special effects.

My Rating: 6 out of 10

Released: May 22, 1981

Runtime: 1 Hour 49 Minutes

Rated R

Director: Peter Hyams

Studio: Warner Brothers

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

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Posted in 80's Movies, Movies with Nudity, Police Drama, Sci-Fi

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Steel (1979)

Posted on November 25, 2024 | Leave a comment

steel

By Richard Winters

My Rating: 4 out of 10

4-Word Review: They build a skyscraper.

Big Lew (George Kennedy) runs a construction company that builds skyscrapers and is under pressure to get his most recent project, which will be one of the tallest he’s ever been put in charge of making, completed under budget. While climbing onto a metal high beam, one of the other workers with him freezes and refuses to come down. Lew attempts to relax him, but in the process, he loses his balance and falls to his death. Cass (Jennifer O’Neill) is put in temporary charge, but she’s overwhelmed with the demands and thus goes to Mike (Lee Majors) to help take over the project and make sure it gets done in time. Mike used to be a part of the hard-hat team, but an accident caused him to become afraid of heights and forced him to take a job as a truck driver, but when the daughter of an old friend comes calling, he can’t refuse. He assembles a motley crew of misfits who all have eccentric personalities but also know how to build tall buildings and do it right even when put under grueling circumstances. Not all of them know about Mike’s fear and he tries to hide it from them due his concern that they might not respect him anymore if they found it, but while he struggles to keep everyone working at a near impossible pace he must also fight-off the likes of Eddie (Harris Yulin) who’s been tapped by a criminal conglomerate to do whatever he can to hijack the efforts of Mike’s crew and make sure the building is never finished.

The film is for the most part just a TV-movie if not for one brief moment when a prostitute gets into the truck that Lee Majors is driving and takes-off her shirt. It would’ve been best had it been made for that medium because as a theatrical release it didn’t do well and has been largely forgotten without any DVD, Blu-ray, or even a steaming venue to its name. Infact the only thing that stands it out is what occurred behind-the-scenes as stuntman A.J. Bakunas died when attempting the world record by diving off a construction site at 315 feet from the 22nd story where he reached speeds of 115 mph. The jumped looked perfect, but upon landing the air bag split and he died from the injuries the next day.

While his death was certainly regrettable, his father was a part of the 1.000 onlookers who witnessed it, it was not shot in a way that makes it work in the film. While the footage was kept and edited into the movie you only end up seeing a few seconds of it making it seem like it wasn’t even worth attempting if that’s all that was going to be seen. It was also used to kill-off George Kennedy, it was his character’s fall that the jump was created for, but Kennedy’s hard-ass persona is the one thing that gives the story any color and it’s a shame that he hadn’t stayed in all the way through.

The supporting cast if full of familiar B-movie faces and some of them are quite good, but they’re not in it enough. The movie might’ve been more entertaining had the workers themselves carried it, but instead we get introduced to their quirky temperaments, while Majors busily makes the rounds to beg them to come aboard as his crew, but then after that they’re largely forgotten and instead the focus gets put on Majors who is by far the dullest of the bunch and it would’ve worked better had he not been in it at all. O’Neil had great potential, seeing a woman trying her best to head an all-male crew, most of whom weren’t exactly gentile, could’ve made for some high drama and been considered even groundbreaking and the film clearly misses-the-mark by not having taken that avenue.

The building that was used for the film was the Kinkaid Towers in Lexington, Kentucky, which when compared to major skyscrapers in large cities is quite puny and unimpressive. The opening shot capturing it from the ground-up as its half-built doesn’t help to dispel this feeling and if anything seems rather laughable especially when there’s no other tall building around it, so there’s no cosmopolitan vibe at all to it.  However, the shots showing the men walking on the high beams several stories up with seemingly nothing holding them down is nerve-wracking to watch especially for those who fear heights, so in that vein it succeeds, but with everything else it’s rather flat.

My Rating: 4 out of 10

Released: July 25, 1979

Runtime: 1 Hour 42 Minutes

Rated PG

Director: Steve Carver

Studio: Fawcett-Majors Productions

Available: DVD-R

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Posted in 70's Movies, Drama, Movies that take place in the South, Movies with Nudity, Obscure Movies

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