Tag Archives: Review

Gray Lady Down (1978)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: Submarine crew needs rescue.

Captain Paul Blanchard (Charlton Heston) is on his final submarine mission, but just as the vessel surfaces it gets struck by a Norwegian freighter, which sinks it to the ocean bottom. The navy’s rescue team is unable to get to the crew due to a rock slide that covers the escape hatch. Eccentric Navy Captain Gates (David Carradine) is brought in as he has created a submersible vehicle that can go down the depths of the ocean and remove the rocks from the sub, but his personality clashes with that of Captain Bennett’s (Stacy Keach), which further hampers the rescue efforts.

The story, which is based on the 1971 novel ‘Event 1000’ by David Lavallee gets off to a shaky start. Although the interiors of the vessel look quite authentic the exterior shots, especially those showing the crew sticking their heads outside the vessel’s port hatch, were clearly done on a soundstage in front of a green screen and nothing is worse than a film that tries hard to be meticulous in one area only to compromise in another. When the sub gets hit many of the crew, which were made up of stunt men and not professional actors, overreact giving it an unintentionally comical feel.

The cutting back and forth to scenes inside the Norwegian ship and how that crew becomes panicked was not necessary. Again, the acting gets a bit over-the-top here too and the dialogue is shown in subtitles due to them speaking in their native language. It might’ve actually added to the intrigue had we not seen what went wrong with the other ship to cause the collision especially since the focus of the film is on the rescue effort anyways.

Once the rescue gets going it gets better with a solid pace that keeps things on a realistic level and continues to throw in new twists that makes the attempted rescue continually more difficult. Although it does get to a point where it seems nightmarish scenarios are introduced simply for the sake of drama and almost like it was piling-on the problems making the submarine crew look like they were the most unluckiest people on the planet in order to have one bad luck situation happen after another.

The scenes involving Carradine and his relationship with his pal Mickey (Ned Beatty) as well as his animosity with Stacy Keach are more interesting than the ones involving the crew stuck in the ship. Part of the reason is there is no backstory given to any of the characters, so we never see them as three dimensional people and our empathy for their welfare isn’t as much as it could’ve been. A brief bit shows the wives of the crew upset at the news, but an added side-story would’ve helped. In fact I was genuinely shocked that Rosemary Forsyth, who plays Heston’s wife, has only a single line of dialogue. I realize she may not be an A-list star, but she has a respectable enough body of work to expect something more than a just a token walk-on bit and I’m surprised she took the part.

Spoiler Alert!

The ending is tense and filmed in a way that you’ll never realize that the subs used were simply miniaturized models shot on a soundstage with smoked used for the underwater effects. However, the drama could’ve been heightened especially when one of the characters sacrifices their life to save the others, which should’ve come off as a shock, but the film telegraphs it, which lessens the effect.

End of Spoiler Alert!

Heston’s a stiff acting doesn’t always work, but here he’s excellent and despite being well over 50 appears amazingly young and agile. This marks Christopher Reeve’s film debut who looks absolutely boyish as well as a reunion of sorts for Ned Beatty and Ronny Cox who starred together 6 years earlier in Deliverance although here they do not share any scenes together.

My Rating: 7 out of 10

Released: March 10, 1978

Runtime: 1 Hour 51 Minutes

Rated PG

Director: David Greene

Studio: Universal

Available: DVD, Amazon Video, YouTube

The Incredible Shrinking Woman (1981)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Suburban housewife gets smaller.

Pat Kramer (Lily Tomlin) is a housewife/mother raising two rambunctious kids (Shelby Balik, Justin Dana) while married to Vance (Charles Grodin) who works in advertising. After being exposed to some products from her husband’s company she begins to shrink until she becomes so small that she is forced to move into a dollhouse and drink out of thimble since a regular glass would be too big for her to hold.

The film is a modern remake of Richard Matheson’s The Incredible Shrinking Man and as much as I loved the original this version takes the storyline in a completely different direction, which for a while proves interesting. Director Joel Schumacher comes up with some wild color schemes and the knowing satire makes great points in its observations on modern suburbia as well as American consumerism. Screenwriter Jane Wagner manages to employ some well thought out scenarios and the special effects aren’t bad either.

Unfortunately by the second-half becomes muddled with scenarios that are no longer funny, but genuinely horrifying and sad instead. The satirical edge gets lost and replaced with an over-the-top mad-scientist-trying-to-conquer-the world angle that becomes cheesy.  I was also confused with how Pat was able to continue to find clothes to fit her especially after she gets smaller than even a toy doll. The film seemed to touch on every other possible problem, so they should’ve had at the very least had a throwaway scene analyzing this one.

Spoiler Alert!

The ending gets too cute for its own good as Pat shrinks to nothing and then has what’s left of the small outfit she was wearing fall into a puddle of spilled chemicals, which somehow makes her big again. This however ruins the poignancy that had been created from showing clips of bells being rung around the world from different countries in remembrance of Pat, which had a certain profound message that no matter how small you are you can still have an impact. Instead of giving the film some substance it goes for a last-second gimmick that cements it as being an empty-headed comedy and nothing more.

End of Spoiler Alert!

Tomlin’s performance is excellent as she creates empathy for her character, which helps make the story more engrossing as you genuinely build concern and sympathy for Pat’s welfare. Noted make-up specialist Rick Baker garnered a cult following for his convincing performance of an ape, although the shot of the animal giving some people in an elevator the finger is pushing it. The movie though as a whole works only in spurts with a message and tone that is too unfocused and inconsistent to be completely effective.

My Rating: 4 out of 10

Released: January 30, 1981

Runtime: 1 Hour 28 Minutes

Rated PG

Director: Joel Schumacher

Studio: Universal

Available: DVD-R (Universal Vault Series), Blu-ray, Amazon Video, YouTube

The Little Dragons (1980)

By Richard Winters

My Rating: 1 out of 10

4-Word Review: Karate kids save girl.

Zack and Woody (Chris and Pat Petersen) are two young brothers taking a class in karate. While on a weekend camping trip with their Grandfather (Charles Lane) they meet and befriend a cute young girl named Carol (Sally Boyden) as well as her parents (Rick Lenz, Sharon Weber). Unfortunately Carol also catches the eye of two backwoods hillbilly brothers (Joe Spinell, John Davis Chandler) who along with their hick mother (Ann Sothern) concoct a scheme to kidnap her and hold her for ransom. Zack and Woody then use their newfound karate skills to save their new friend when the local law enforcement proves to be inept.

For a film directed by Curtis Hanson, who gained a cult following for the many horror films that he directed, I was really hoping for something a bit more than just the bland family entertainment stuff, but this couldn’t even come up to that humble level. This stale, B-level movie is devoid of much action and as an adult I was quite bored and could only imagine that children of today would be even more so. Despite the title not much karate action is seen and it’s questionable, with the little that does get shown, whether kids could really pull of the stunts that they do with me feeling that in real-life they probably couldn’t.

Films aimed for kids should then have kids as the main attraction and yet we mainly see the boring adults who are clueless while uttering a corny (supposedly funny) lines here and there. The Petersen brothers have photogenic faces, but not enough acting talent to propel it. The bad guys are just broad caricatures from Deliverance that are neither scary nor humorous. Even in a family film there still needs to be a villain that conveys menace and tension, which goes completely missing here.

To some extent it was fun seeing veteran character actor Charles Lane as a kindly old man as he was usually of the crotchety variety in most of his other roles. Spinell hams it up as a backwoods yokel and earns his acting medal by playing a part outside of his normal realm, but the otherwise limp story and technical approach is a waste of talent and time.

Alternate Title: Karate Kids USA

My Rating: 1 out of 10

Released: July 18, 1980

Runtime: 1 Hour 29 Minutes

Rated PG

Director: Curtis Hanson

Studio: Eastwind

Available: DVD-R, Amazon Video

Logan’s Run (1976)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Life ends at 30.

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

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

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

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

Spoiler Alert!

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

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

End of Spoiler Alert!

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

My Rating: 6 out of 10

Released: June 23, 1976

Runtime: 1 Hour 58 Minutes

Rated PG

Director: Michael Anderson

Studio: MGM

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

Blue Thunder (1983)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: A technologically advanced helicopter.

Frank Murphy (Roy Scheider) is a LAPD officer still suffering from flashbacks from his time in Vietnam while working now as part of the air patrol division where he mans a helicopter at night and gives assistance to the cops on the ground.  Due to his expertise he is given the chance to helm the first advanced helicopter called Blue Thunder, which has abilities to fight crime like no other machine before it. As he tests out the new product with his partner Richard (Daniel Stern) he overhears a conversation, through using the machines built-in microphones that can pick up voices from inside buildings, talking about using Blue Thunder for nefarious means. Frank records the conversation and then gets hounded by the bad guys who are led by his lifelong rival from his army days F.E. Cochrane (Malcolm McDowell). To escape their clutches Frank boards the helicopter and flies all over the city of L.A. while waiting for his wife Kate (Candy Clark) to get the incriminating tape to a TV-station where it will be broadcast for the public to hear, but Cochrane, who is an expert pilot as well, gets into another helicopter and tries to shoot Blue Thunder down.

The script was written by the prolific Dan O’Bannon who also wrote the scripts for Alien and Total Recall. He got the idea for this one while living in L.A. and constantly having a police helicopters routinely fly over his neighborhood at night. The original script was darker in tone and portrayed Frank as a psychotic who steals the helicopter and terrorizes the city until he is finally shot down, but that idea got nixed and like with most big-budgeted Hollywood projects got toned down to help appeal to a wider audience.

Personally I would’ve found the original idea more interesting as it also contained political overtones that get completely washed over here. The story here is pretty generic with one-dimensional villains and situations simply thrown in to create cheap conflict and nothing more.

What impressed me though was the modern visual style and effects. It hardly seems like a mid-80s movie at all let alone one that was actually filmed in late ’79 and early ’80. The overriding sentiment has a trendy feel and the cinematography is vivid and colorful. The helicopter action is the film’s biggest selling point and no matter how dippy the story gets the exciting aerial footage more than makes up for it. I loved the way director John Badham captures all sides of Los Angeles from its glitzy skyline to its more grimy and rundown working class areas. It’s also nice to have a REAL helicopter REALLY flying in the air over the city instead of computer generated effects, which makes many of today’s movies look fake and cheapens them while still keeping many of the ‘80s action flicks superior.

Scheider has never been a leading man that I’ve found particularly impressive as his presence seems transparent. However here his laid-back demeanor nicely contrasts with McDowell’s hyper one and makes the bad guy seem even more vindictive. Stern is engaging as Scheider’s partner and it’s too bad this wasn’t made into a buddy movie with Stern’s character staying on for the whole time. Clark is also enjoyable particularly with the wild look that she elicits with her eyes and the car chase that she has with the cops in an abandoned lot of a drive-In theater.

This also sadly marks Warren Oates last project. It was filmed in 1980 and he did a few other films after this one, but this was released last. Oates is one of the most distinctive character actors to ever grace the screen and even in a bland supporting role like the one here he still finds a way to enliven it.

My Rating: 7 out of 10

Released: May 13, 1983

Runtime: 1 Hour 49 Minutes

Rated R

Director: John Badham

Studio: Columbia Pictures

Available: DVD, Blu-ray, Amazon Video

Comes a Horseman (1978)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Ranchers battle for land.

Recently widowed Ella (Jane Fonda) must struggle to run her ranch in the middle of the desolate west by herself. Frank (James Caan) is her neighbor who is being harassed by Jacob Ewing (Jason Robards) to sell his land and Ewing has also made a strong play for Ella’s property as well. Both refuse his offers and then band together to defend themselves and Ella’s ranch from Ewing and his men who are willing to do anything it takes in order to get what they want.

The film’s main charm is its stunning cinematography by Gordon Willis who captures the expansive western landscape in breathtaking fashion and this is indeed one film that must be watched on the big-screen, or in widescreen to be fully appreciated. Director Alan J. Pakula instills a wonderfully slow pace with a minimum of music, which gives the viewer an authentic feel for what life out in the country during the 1940’s must’ve been like.

I also really liked the fact that Ella and Frank didn’t immediately fall-in-love and jump into bed together. Too many times films made during the post sexual revolution depicted characters from bygone eras as being far more liberated than they really were and here they’re authentically reserved and in fact they don’t even show any affection for one another until well into the story and when it does happen it seems genuine instead of just sexual.

Jane gives an outstanding performance. Usually she commands the screen and gives off a sexual allure, but here she literally disappears in her role of a humble farm woman until you don’t see the acting at all. Former stuntman Farnsworth at the age of 58 makes an outstanding film debut in a supporting role that will emotionally grab the viewer.

The story, which was written directly for the screen by Dennis Lynton Clark, lacks depth and has too many elements stolen from other similar films. Stanley Kramer’s Oklahoma Crude, which came out 5 years has almost the exact same plotline, but done in a darkly comic manner. Both deal with a man moving onto a woman’s ranch to help as a farmhand. The woman initially rebuffs the male’s advances, but eventually softens. Both deal with an oil company pressuring her to sell her land and harassing her when she doesn’t and they both have a memorable scene involving a windmill.  The oil subplot, particularly in this film seems rather unimaginative and like it was thrown simply to create more conflict while Ella’s past relationship with Ewing and the dark secret that they share should’ve been more than enough to carry the picture.

The one thing though that really kills the picture is the ending where Ella and Frank find themselves being attacked and in an effort to build up the tension loud music similar to what’s heard in a modern-day thriller gets thrown in. This had been a movie that had been very quiet up until then and it should’ve stayed that way. The actions seen on the screen was more than enough to horrify the viewer and no extra music was needed. Hearing nothing more than the howling wind on the prairie would’ve made it more effective as it would’ve reminded the viewer how remote the location was and how no one else was nearby to help Frank or Ella. For a movie that tried so hard to recreate the feel of a past era only to suddenly go downright commercial at the very end is a real sell-out.

The fact that all the night scenes were filmed during the day using a darkened filter is another letdown. There have been many films that have been shot in actual nighttime darkness so why couldn’t this one? If you want to see a film set during the same time period with equally captivating visual approach, but stays more consistent in theme then I’d suggest Days of Heaven, which was also released in 1978.

My Rating: 6 out of 10

Released: October 25, 1978

Runtime: 1 Hour 59 Minutes

Rated PG

Director: Alan J. Pakula

Studio: United Artists

Available: DVD, Blu-ray, Amazon Video, You Tube

Who is Killing the Great Chefs of Europe? (1978)

By Richard Winters

My Rating: 7 out of 10

4-Word Review: He eats too much.

Max (Robert Morley) is a famous food critic who writes an article for the food magazine The Epicurist titled ‘The World’s Most Fabulous Meal’, which described four dishes cooked by four of the world’s top chefs. The problem is those chefs are now turning up dead. Natasha (Jacqueline Bisset) was the chef famous for creating the dessert called the bombe, which was also written about in that same article. Since the other chefs have already been murdered Natasha fears she may be next, so she works with the police to find the killer while also being a suspect since she was with each victim just before they died.

The film is based on the novel ‘Someone is Killing the Great Chefs of Europe’ by husband and wife writers Nan and Ivan Lyons, which came out two years earlier and had more erotic overtones while also detailing the specific recipes of each gourmet dish described in the story. Ted Kotchef’s excellent direction focuses strongly on the food element and each exotic meal is nicely captured and crafted by an actual cuisine chef named Paul Bocuse. Not only do you see the cast eating the stuff, especially Morley’s character, but preparing it as well including a detailed, drawn out segment showing Natasha creating her world famous desert.

The on-location shooting, done in three different European countries, is vivid and the dialogue is quite amusing. The denouncement is interesting because you think for sure it’s one person only to genuinely get surprised when it turns out to be someone completely unexpected. The plot though is too leisurely paced and the side-story dealing with Natasha’s ex-husband (George Segal) trying to rekindle their relationship is unnecessary and could’ve been cut, which would’ve helped shorten the runtime, which is overlong for such otherwise trite material.

Morley is a scene-stealer with everything he utters being hilarious. Bisset is great too and should’ve received top-billing as she’s seen the most while Segal’s presence comes off as downright intrusive. It was nice having a beautiful woman in a lead that was not sexualized and it would’ve made the film a bit ahead-of-its-time had she carried it alone, which she easily could’ve without Segal as a sort of male sidekick.

For light entertainment it’s enjoyable, but I was surprised at seeing how things have changed as there are several throwaway bits that at the time I’m sure were considered innocuous but would be deemed quite controversial by today’s standards. One scene has Bisset speaking with an Italian chef (Stefano Satta Flores) who openly pinches her twice on the rear without her permission. She protests it the first time, but he boldly does it again later and she lets it go, continues to casually talk to him and even agrees to meet him later for dinner. The film seems to play the whole thing off as a ‘boy-will-be-boys’ scenario coupled with the Italian male stereotype that this is simply ‘a part of their nature’.

In another part she refers to a French chef (Jean-Pierre Cassel) as a ‘fag’ and she visits a processing plant where thousands of chickens are housed in tight little cages and barely able to even move which doesn’t seem to bother her at all. I’m sure these scenes back in 1978 went completely over-the-heads of the viewers and most likely were quickly forgotten even though now these same moments would most likely elicit outrage, protest and headlines.

My Rating: 7 out of 10

Released: October 5, 1978

Runtime: 1 Hour 52 Minutes

Rated PG

Director: Ted Kotcheff

Studio: Warner Brothers

Available: DVD (Warner Archive)

Just Tell Me What You Want (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Rich tycoon gets dumped.

Max Herschel (Alan King) is a rich and successful businessman who’s used to getting what he wants. He’s rude and crude and doesn’t mind displaying his anger or contempt for others at a moment’s notice. After 14 years Bones (Ali MacGraw), his mistress, has decided she’s had enough. She leaves him for a much younger man (Peter Weller). This enrages Max who does whatever he can to win her back, or at the very least ‘punish’ her for leaving him.

The film, which is based on a novel by Jay Presson Allen has a delicious New York flavor with the majority of the action taking place at the Old Westbury Gardens estate that fronts as Max’s home. The interiors of the stately mansion are at times more interesting than the conversations and the exteriors coincidently were also used in Love Story, which was another MacGraw vehicle. Director Sidney Lumet gives the dark comedy a classy air with a rousing, distinctively jazzy score by Charles Strouse, which I wanted to hear more of and wouldn’t have minded if it had been played all the way through the movie.

The story has sharp dialogue and a deliciously acerbic edge, but becomes preoccupied with Max’s business dealings, which most viewers may find too complex to follow and aren’t that integral to the story. The first hour is spent focused on Max, whose obnoxious ways quickly become off-putting and tiring. The catalyst is his love-hate relationship with Bones and more scenes should’ve been shown with them together while having her break-up with him come much sooner.

King was a comedian known for angry monologues and that emotion gets channeled into his character. I’ll give them props for creating an unlikable lead and not holding anything back as too many times films create abrasive people only to soften them too soon or not go all-the-way with it. Here it gets pushed to the limit, but I was still hoping for Max to have more of an arch and was disappointed that he remains for the most part a callous jerk to the very end.

MacGraw’s restrained approach works well off of King’s flamboyance and the highlight is when she corners him at a luxury department store, which was filmed on-location at the Bergdorf Goodman, and tackles him while destroying everything in sight. However the character’s nickname of ‘Bones’ I did not care for especially with no explanation for why she was given it. Was she called this because she was thin, or was it for some other reason? An attractive female should be given a pleasant name not something that sounds demeaning.

Legendary actress Myrna Loy, who had been around since the silent film era, plays Max’s long suffering secretary and earns her pay here. Loved the scene where King cries right into her bosom while she holds his head and acts like his mother, but also the part where he shouts directly into her face even throws out the C-word and she doesn’t flinch. Keenan Wynn is likable and speaks with an accent in a sympathetic role as a Russian businessman and Dina Merrill’s emotional breakdowns as Max’s mentally fragile wife are impressive and could’ve been extended.

Spoiler Alert!

Overall though it fizzles and it’s not because it’s filled with a lot of extraneous dialogue and scenes that should’ve been cut, but more because it plays itself as this sort-of anti-romance only to sell-out at the end. There is simply no way anyone could truly fall-in-love with Max because there was nothing about him to love. Having him do one nice thing shouldn’t erase all the other bad things he did before. Bones had already spent 14 years with him which should be more than enough time to realize things won’t be any different moving forward. Having them reconcile by working together as business partners maybe, but a marriage is simply a disaster waiting to happen. Just because audiences long for the ‘happy ending’ doesn’t mean that’s what you give especially by having two people magically find love for each when none had ever existed before.

End of Spoiler Alert!

My Rating: 6 out of 10

Released: January 18, 1980

Runtime: 1 Hour 53 Minutes

Rated R

Director: Sidney Lumet

Studio: Warner Brothers

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

Malone (1987)

By Richard Winters

My Rating: 3 out of 10

4-Word Review: Hit-man saves town.

Richard Malone (Burt Reynolds) is a former CIA hit-man who decides that he’s had enough of the dirty business and wants to retire. He uses his savings to leave the profession and travel the countryside. On the way his car breaks down and he’s forced to push the vehicle to the nearest small town service station, which is run by Paul (Scott Wilson). Since the parts to repair the transmission will take several days to arrive he stays at the place and befriends Paul’s teen-age daughter Jo (Cynthia Gibb). He also becomes aware of a plot by billionaire Charles Delaney (Cliff Robertson) to buy up the town and force everyone to sell and if they don’t they end up dying. Despite his initial reluctance Malone ends up getting involved in the dispute and becomes Delaney’s number one target in the process.

The movie is based on the novel ‘Shotgun’ by William P. Wingate, which in turn was modeled after the formula from the western Shane. It reminded me more of High Noon particularly the way Malone single-handedly takes on not only Malone, but all of his cohorts during a gun battle at the end, but without that film’s strong emotional impact. The story and characters are highly uninspired and this thing is aimed towards those that like their action flicks on a very simple and predictable level.

Reynold’s presence is the only interesting ingredient. This was during the downside period of his career where he was desperately trying to get back to the tough guy action roles that had made him famous. However, during the 70’s his action guy persona worked more in the humorous vein where his character would always approach the situation with a twinkle in his eye and funny side-quip, but here he’s all stiff and serious. To a degree this proves he’s a good actor in that he can play either type of role effectively, but the funny-Burt is far more entertaining than the serious one. Either way it’s doubtful that this middle-ager would’ve been able to run so vigorously and climb onto the rooftop of buildings as he does when he gets onto Delaney’s estate and I’m pretty sure a stunt double was used since we only see him doing this from a distance.

An element of the film that audiences today may take issue with is his relationship with the teen girl who starts to admire him to an emotional extreme. Clearly she represents the Brandon deWilde role from the Shane film, but the fact that she is underage and starts to have a romantic interest in the 50-year-old and he in her and even kisses him on the mouth may make certain viewers uncomfortable.

As for the villain he is as dull and transparent of a caricature as it gets and Robertson plays him very poorly by conveying no menace on the screen and creating zero tension. It would’ve worked better had Kenneth McMillan, who plays the sleazy sheriff would’ve been cast in the Delaney part as he’s an actor with genuine panache and owns whatever scene he’s in no matter how big or small the role.

The ironic thing about this otherwise mindless excursion is it’s all about this far-right nutty guy who wants to take over the government to ‘save the country’ and even requires all his followers to say a corny patriotic-like pledge and yet it wasn’t even filmed in the US, but instead British Columbia, Canada. Even more frighteningly is that given today’s political climate it doesn’t seem quite as farfetched and over-the-top as it once did.

My Rating: 3 out of 10

Released: May 1, 1987

Runtime: 1 Hour 32 Minutes

Rated R

Director: Harley Cokeless

Studio: Orion Pictures

Available: DVD, Blu-ray, Amazon Video

Carny (1980)

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Runaway joins the carnival.

Bored with small town life and an overly-protective boyfriend (Craig Wasson) Donna decides at the age of 18 to break-free of her restraints and travel the countryside by working in a carnival. She befriends Frankie (Gary Busey) who works as a clown and she gets a job as one of the strippers before eventually working the string joint booth while slowly adapting to the shady ways of the gypsy-like lifestyle.

The carnival atmosphere is well-recreated and was directed by Robert Kaylor who years earlier helmed the documentary Derby, which was a behind-the-scenes look at life on the roller derby circuit and this film works much the same by fully immersing the viewer into the dark aspects of a tough environment while also exposing the personalities of the people who work in it. The revealing story manages to be both hard-hitting and intriguing.

The tone though stays too much on the negative side until the viewer feels almost bombarded with one unpleasant situation after another. There’s never anything redeeming and you’re made to feel tense waiting for the next uncomfortable twist to come about, which gets overdone. Certainly there had to be some good times and bonding that occurs and the film lightly touches on this at the very, very end, but I felt more of that should’ve been sprinkled in throughout.

There’s also too many con-games and underhanded shenanigans making me wonder if all carnivals were really this bad , or is it simply playing-it-up for dramatic purposes. The ending in which everyone works together to pull off an elaborate con on a meddling crime boss (Bill McKinney) comes off too much like a poor rendition of The Sting. Some potentially intriguing storylines get dropped; like what happened to Donna’s psycho boyfriend when he finds out that she has left him? I was fully expecting him to come back into the picture at some later point once he tracked her down, but instead he gets forgotten.

Robertson is a famous songwriter and musician whose been around since the ‘60s, but he grew up working in the carnival circuit and helped put his real-life experiences and insights into the script. His performance is okay, but the soundtrack he composed for the film is too upbeat and does not jive with the dark, moodiness of the plot.

The performances are the best thing. Foster usually plays characters that are confident, but here she is someone who is unsure of herself only to acquire an edge as the story progresses. Kenneth McMillan is engaging as the nervous, stressed-out owner and Meg Foster is good as a woman who’s become hardened from being on the road too long. Gary Busey is a standout too even though he sometimes gets mocked today for his weird behavior off-screen, but this guy was at one time considered a serious up-and-coming star and his presence here shows why.

My Rating: 6 out of 10

Released: June 13, 1980

Runtime: 1 Hour 47 Minutes

Rated R

Director: Robert Kaylor

Studio: United Artists

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