Tag Archives: Terence Stamp

Superman II (1980)

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Superman loses his powers.

Superman (Christopher Reeve) flies to Paris in an attempt to save Lois Lane (Margot Kidder) who was assigned to go there to cover terrorists who’ve taken over the Eiffel Tower and threatening to detonate a hydrogen bomb unless their demands are met. Superman manages to take control of the bomb and lift it into outerspace where it goes off, but unbeknownst to him the explosion also releases Zod (Terrence Stamp), Ursa (Sarah Douglas) and Non (Jack O’Halloran) from their imprisonment inside the phantom zone. The three now fly towards earth planning to take it over with the superpowers they’ve been given from the sunlight. Meanwhile Clark falls in love with Lois and admits to her that he’s Superman. He takes her to the artic to see his Fortress of Solitude and it’s there that he listens to a past recording of his mother Lara (Susannah York) advising him that if he wishes to marry Lois that he will then have to enter a crystal chamber where he’ll then lose his powers, which he does. Now that Zod and his evil associates have taken over the country by invading the White House he becomes powerless to do anything about it as he desperately searches for a way to regain what he gave up.

The production had many behind-the-scenes upheaval including run-ins between director Richard Donner and the producers who insisted that he was going over budget. Initially it was deemed necessary to film both the first segment and the sequel at the same time, but due to money concerns they stopped filming part 2 with 75% of it already completed in order to finish the first part and get it out to theaters. During the pause the producers then fired Donner and replaced him with Richard Lester. Lester was known more for his zany comedies and had a different directorial style than Donner. His approach was to insert campiness into the story and move it away from the dark elements. This caused several scenes to be refilmed some of which without the original cast including Hackman who refused to come back to do reshoots causing a few of his scenes to be dubbed while Brando had sued the producers for his share of the gross profits causing all of his scenes to be taken out completely and replaced mostly with York who ended up speaking the lines that he would’ve and for the most part does a far better job of it.

While the Donner version was released onto DVD in 2006 and is a bit different this review will stick with the one that was shown in the theaters and I felt is quite well done. Unlike with part 1 this one gets right to the action without the stagy back story from the first, which I found boring. The showdown between Superman and the evil three done on the streets of Metropolis as well as the massive destruction that the villains cause the small redneck town of East Houston are very exciting with great special effects that should please anyone. The comedy bits that Lester inserted I didn’t feel went that over-the-top and in some ways were helpful as it released some of the tension as these were some really nasty bad guys, who caused massive destruction, so inserting a campy chuckle here and there I didn’t feel was that out of order.

The script doesn’t have as many plot holes like in the first one. The only major issue to quibble about is when Superman goes into the chamber that sucks away his powers. Why though is it necessary that he should have to give up his powers just because he wants to get married is a whole different discussion that’s worth questioning, but I get that there needed to be a dramatic conflict, so we’ll roll with it. However, it’s never explained how Clark and Lois get themselves out of the artic and back to civilization as they ‘flew’ into the Fortress using his flight powers, but once he was made mortal, they couldn’t rely on that on the way out and without any other mode of transportation I wasn’t sure how they were able to travel and nothing gets shown, but should’ve.

Spoiler Alert!

His long trek back to the Fortress in an attempt to retrieve the powers is equally problematic as he is shown doing it completely on foot, which could take many weeks, or longer to do. He’s also shown wearing nothing more than a light jacket while he does it without any head covering, which now that he’s human, wouldn’t be enough to shield him from the brutal elements and frigid cold and he most likely would’ve died before he got there from either frost bite, or pneumonia. How he’s able to get the powers back aren’t sufficiently explained either. Supposedly it’s because of a green crystal that Lois dropped and is still there when he returns, but if the control module was already destroyed then how would this get it to work again?

End of Spoiler Alert!

The acting is again what really makes it fun. Hackman is once more excellent as Luthor as here he plays it both ways as the ‘middleman’ between Zod and Superman where one minute he’s arrogant and confident and then the next he’s nervous and pleading. It’s a shame though that Perrine and Beatty, his cohorts in crime, aren’t in it as much as I felt the three together had a great chemistry. Gotta love Kidder as a brash Lois who manually squeezes oranges for Vitamin C as she’s become a self-described ‘health nut’ all the while a cigarette dangles from her mouth. Stamp is really good too as the main villain and his intense performance is what keeps the tension going, which again is why the comedy bits aren’t a problem here, though in Part III this does become a major issue, which will be discussed in the next review.

My Rating: 8 out of 10

Released: December 4, 1980

Runtime: 2 Hour 7 Minutes

Rated PG

Directors: Richard Donner, Richard Lester

Studio: Warner Brothers

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

The Hit (1986)

hit

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Not afraid to die.

Willie (Terence Stamp) turns states evidence against the criminal underground that he’d been apart of, which then sends his former partners away to prison, but before they go they sing ‘We’ll Meet Again’ just as he leaves the court room. Ten years later Willie is living the quiet life in Spain as a part of the witness protection program only to have his home invaded by a group of teens who kidnap him and take him to hitman Braddock (John Hurt) who was hired by the kingpin that Willie helped put away. Braddock along with his young partner Myron (Tim Roth) are instructed to take Willie, via a car, to Paris where the kingpin hopes to inflict harm on Willie before eventually killing him. However, things don’t go quite as planned as Willie shows no fear of death insisting that he’s accepted it as a part of the cycle of life and this throws the two hit men off convinced that he must have something up-his-sleeve, but does he?

This is another example where a movie I enjoyed when I first watched it years ago, but doesn’t quite live up to expectations upon the second viewing. For the most part this doesn’t happen that often and there has been some cases where a movie I didn’t like when I first saw it I’ve come to appreciate when seen a second time. This one though is definitely a case of the former and I came away a bit miffed on what its point was. When I first saw it I was impressed by the scene at the waterfall where Willie, who had a chance to escape, but doesn’t and instead decides to spend his time appreciating nature’s beauty until Braddock catches up to him, I found at the time to be quite memorable and unique moment as it revealed that the bad guy in this instance was the one more afraid and insecure of death than the intended victim.

However, there’s a lot of stuff that doesn’t mesh, or could’ve been more convincing. I had a hard time understanding why this sophisticated criminal group would hire a bunch of teen boys to break into Willie’s home (hideout). How could they trust these novices to get the job done and the fact that they’re able to do it so easily makes it seem that Willie’s ‘protection’ as it were wasn’t too impressive. It also negates the effect of the criminal unit. They’re supposedly this cunning, evil, underground group relentlessly pursuing their man against this supposedly intricate government program, but if literal kids can just break down the door with just a bit of effort then the whole operation from both sides comes-off as rather amateurish.

The casting of Hurt as the bad guy isn’t effective mainly because of his meek stature. Stamp was originally intended for that role and with his big build and piercing blue eyes would’ve been perfect, but it was ultimately decided for both actors to play against type and thus the parts got reversed, but it really doesn’t work. Hit men should have an intimidating presence, but with Hurt’s slim figure and quiet, exhausted looking demeanor that doesn’t happen. Roth as his quick-triggered, youthfully naive henchmen makes matters worse as he’s a walking cliche of a teen in over-his-head just biding time before his knee-jerk reactions to do them in. Thus the psychological games that Willie plays with them are not that interesting, or impressive since these two come-off as badly dis-coordinated right from the start and like any average person could easily outfox them.

Stamp’s character is baffling as well. During the courtroom moments he states his testimony is an almost hammy way like he’s making fun of the whole situation, which maybe he is, but it’s not clear as to why and his ulterior motivations are never answered. It’s hard to tell whether he really is a good guy, or maybe secretly a bad one as there are scenes where he puts other potential victims in definite danger and then feigns ignorance about it afterwards. He spends the whole time telling everyone how death doesn’t scare him and yet when a gun does finally get pointed at him he panics and tries to run while also pleading for his life, so which is it? The same goes for Roth’s character who during the course of the movie he seems to be falling for the lady hostage, played by Laura del Sol, and even protective of her and yet when the time comes for Hurt to shoot her he puts up no fight, or resistance, which defeated the momentum and missed-out on what could’ve been an interesting confrontation.

I like movies with multi-dimensional characters and the film does have that and certainly humans can be a bag full of contradictions. However, at some point it kind of needs to explain itself and it fails on that end. Intriguing elements about these people get thrown-in, but the story fails to follow through with it ultimately making it too vague, ambiguous to be full satisfying and in many ways it will most likely leave most viewers frustrated and scratching their heads as they ask themselves what the point of the whole thing was supposed to be.

I did though really enjoy the scenes with Australian actor Bill Hunter who is marvelous in support playing a man who takes over one of Hurt’s friend’s apartments while on vacation only to get the shock of his life when the hit man and his entourage show up unexpectedly. His rather pathetic attempts to mask his fear and trying to somehow carry-on a casual conversation knowing full well he could be blown away at any second is dark comedy gold and by far the film’s best moments.

My Rating: 5 out of 10

Released: May 18, 1984

Runtime: 1 Hour 38 Minutes

Rated R

Director: Stephen Fears

Studio: Zenith Entertainment

Available: DVD, Blu-Ray (Criterion Collection), Tubi, Plex

Legal Eagles (1986)

legal eagles

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Searching for stolen paintings.

Successful district attorney Tom Logan (Robert Redford) suddenly finds himself in a big mess when defense lawyer Laura Kelly (Debra Winger) approaches him in regards to her quirky client Chelsea Deardon (Daryl Hannah). She feels that Chelsea is innocent of the charges against her and hopes to have them dropped before it goes to court. When Tom looks into the case he finds that there’s much more to it than initially assumed, which leads the three into danger, stolen paintings, murder and even a weird love triangle.

If you are expecting anything having to do with a legal drama then you’ll be highly disappointed as there is very little time spent in the actual courtroom. Instead you get what amounts to an ‘80s action flick with explosions, car chases and even shootouts as these two lawyers go through things that no other lawyer in the history of the universe has ever went through either before or after.

The main selling point, and the only thing that actually works, is the casting. Redford with his laid back style is terrific in this type of comedy and I enjoyed the way he tries to remain cool-under-pressure despite being exasperated with two very kooky females, who both have an interest in him, coming at him from both sides. Winger is fun too as a well-meaning young attorney who tries hard, but still seems a bit ‘rough-around-the-edges’. Hannah is also perfectly cast in a role that works well with her slightly flaky, free-spirited persona and she even has a scene where she performs a fire-laden performance art piece that she wrote herself.

The first hour has a nice balance between the interpersonal relationships of the three as well as an intriguing mystery, but the second half leans too much into the action and gets overblown. The supposedly ‘exciting’ finale only helped to get me bored and annoyed. It’s the chemistry of the three stars and the romantic entanglements that ensued between them that had me interested and are what made the plot unique. The film should’ve emphasized this area more and even played it up. Having things end up working out so conveniently between the three despite the fact that both women were for a time seemingly competing for Redford’s affections misses out on a lot of potential fireworks and amusingly comical scenarios.

Familiar faces pop up in minor roles including a young Christine Baranski as a fledgling member of Tom’s legal team as well as Terence Stamp in a role that ends up being so small and insignificant I was surprised he agreed to take it. The film also features Rod Stewart’s hit song ‘Love Touch’ that climbed to number 6 on the pop charts, but isn’t heard until the very end when it gets played over the closing credits.

My Rating: 5 out of 10

Released: June 20, 1986

Runtime: 1Hour 56Minutes

Rated PG

Director: Ivan Reitman

Studio: Universal

Available: VHS, DVD, Amazon Instant Video

The Collector (1965)

the collector 2

By Richard Winters

My Rating: 8 out of 10

4-Word Review: Collecting women like butterflies.

Freddie (Terence Stamp) is a withdrawn loner who collects butterflies for a hobby. One day he manages to win a lot of money in a football pool and uses it buy an old, isolated house in the English countryside. The place has a very large cellar, which gives him the idea that it can be used as a prison. It is then that he decides to kidnap beautiful art student Miranda (Samantha Eggar). He keeps her in the cellar, but fixes it up making it seem almost like an apartment. He treats her with the upmost respect and even knocks before entering her room. He buys her art supplies so she can continue her work and makes an agreement with her that he will let her go after 4-weeks, but hopes in between then that she will fall in love with him.

The film puts an interesting spin on the old ‘psycho kidnapping a beautiful woman’ theme and for the most part succeeds. The viewer ends up feeling almost as sorry for Freddie as they do his victim as it becomes clear that through his social awkwardness he is in even more of a prison than she. The way the two try to communicate and connect, which only ends up driving the them further apart is fascinating and their contrasting views about the book ‘Catcher in the Rye’ as well as the paintings of Picasso are equally revealing.

Stamp gives one of his greatest performances in his already illustrious career playing a character who weaves from being menacing to vulnerable and childlike. Eggar makes for an appealing victim and apparently turned Stamp down years earlier when he had asked for her date while the two were students in acting school.

the collector 4

William Wyler’s direction is perfect as he wisely decides to pull back without adding any unnecessary Hitchcock touches and thus allowing the interactions between the two characters to propel the film. His superimposed, colorful shots of butterflies seen over the closing credits are a nice added touch. My only minor grievance is the Maurice Jarre score, which seemed too melodic without enough of the dark foreboding undertones that music for a thriller should have.

If you’re looking for the conventional thriller you may be disappointed as the emphasis is more on the psychological than the suspenseful. There are a few good tense moments including Miranda’s final attempt to escape during a nighttime rain storm, but for the most part the compelling element comes from the way these two multi-layered people deal with each other and ultimately reveal things about themselves that they didn’t know existed. The story also makes an excellent point of how everyone to a certain degree is trapped in a prison and the challenging if not impossible effort it can sometimes be to bond with others especially when reaching across different social-economic lines. The only thing that does get ruined is the ending, which no longer has the novelty or shock value that it once did.

the collector 3

My Rating: 8 out of 10

Released: June 17, 1965

Runtime: 1Hour 59Minutes

Not Rated

Director: William Wyler

Studio: Columbia Pictures

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

The Mind of Mr. Soames (1970)

the mind of mr soames 1

By Richard Winters

My Rating: 6 out of 10

4-Word Review: Man child faces world.

Due to a complication at birth a man (Terence Stamp) is born into a coma and for thirty years he has stayed that way. Now due to medical advancement they can stimulate the part of the brain that is asleep, thus allowing him to awaken into consciousness. The problem is that he will be a virtual infant and have to taught at a much quicker pace than a normal child.

Outside of a few implausibility’s the story is handled in an overall realistic manner. The pacing is tight and compact and the cinematography by Billy Williams is outstanding with excellent framing. Stamp plays the part with conviction and overall makes a believable grown up baby.

The story itself is much more complex than it initially looks as it takes a good examination into the science approach vs the humanistic one. It shows how truly complicated the human being is and the great balance it takes to successfully raise one. It also takes a few good potshots at the obtrusiveness of the media.

The stories most interesting angle though comes when the adult child escapes and goes out into the real world where we see what a tight inner fabric society is and the complete inability that the ‘pure’ human, with no prior connections to it would have.

However, in the end this movie is a disappointment as it gives us no conclusion and we never see the end result. Was this man child successfully raised? Which approach was the best and did he ever fully adapt to the world around him? We never know because it never tells us. The whole idea for the film looks to have been made only to bring up certain issues with no attempt at a complete story.

the mind of mr soames 2

My Rating: 6 out of 10

Released: October 12, 1970

Runtime: 1Hour 32Minutes

Rated GP

Director: Alan Cooke

Studio: Columbia Pictures

Available: DVD-R