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Hey_Sweden
Birthdate: September 25
I bid you...velcome.
I'm a shameless movie fanatic who especially favours the following genres:
Exploitation
Horror
Action
Comedy
Favourite directors include:
John Carpenter
Larry Cohen
George A. Romero
David Cronenberg
Ratings
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Reviews
Spider-Man: The Terrible Triumph of Dr. Octopus/Magic Malice (1967)
Pork and honey, give me your money!
'The Terrible Triumph of Dr. Octopus'. Doc Ock returns, stealing a valuable, powerful weapon called the Nullifier. With this, he plans to only allow rockets and satellites in the skies once he's been paid a hefty fee. Spidey does fall prey to a trap set by the bad doctor, but he recovers quickly and tracks his nemesis down using a fragment of Doc's clothing. (Spidey's got great gadgets to rival that of Batman.). As usual, Spidey displays his wit after having subdued the bad guy; after electrifying Doc Ock, his card reads, "Doc Ock now sees the light".
'Magic Malice'. We get another prominent Spidey villain here, as the Green Goblin breaks into the home of the magician Blackwell to exploit various magical abilities for self-gain. Some of these "magic" incantations are hilarious, but the best laugh has to be when the Goblin hides inside the walls of Blackwells' study, and Spidey heaves an ax and manages to get the Goblin in the rear end. It's also a hoot when the Goblin puts a dime in a parking meter only to rob the nearby jewelry store and THEN drain all the coins out of the meter after he comes out! For all his efforts, however, the Goblin doesn't quite have the "magic touch", in the end. And, true to his nature, Jameson refuses to do any pieces in the Bugle about magic until he gets free tickets to a show.
A fun, funny double feature with two classic Spider-Man villains in fine form.
Eight out of 10.
Il pianeta degli uomini spenti (1961)
"Science is nobody's personal property."
It's cheap and cheesy genre time again, folks, with this giddy, goofy spaghetti sci-fi flick from the prolific Antonio Margheriti, who left his mark in various genres over the decades. The legendary Claude Rains stars as Professor Benson, who has plenty to say about the arrival of "The Outsider", the name he has given to a wandering planetoid that could come perilously close to Earth. The heroes must do battle with alien "discs" before finally exploring the bowels of this Outsider - which the military is poised to destroy.
Although it is certainly tacky in some key ways (like the typically *hilarious* dubbed-in vocal performances), "Battle of the Worlds" is on par with other, later Italian sci-fi features, such as Margheriti's own "Gamma One" series. If nothing else, the filmmakers show that they can create some interesting visuals when our heroes have set foot on The Outsider. Margheriti may indeed be no Mario Bava (whose "Planet of the Vampires" is a high water mark for this niche genre), but damn if he doesn't manage to give it some fun atmosphere. As "B" level filmmakers go, Margheriti has to rank up there as one of the greats.
Still, the main reason to watch is Rains. If you're a fan of the actor, he gives this 100%. While some people may be grateful that it wasn't his absolute final film work, his presence automatically gives this genuine gravitas. He starts out as snarky and derisive, puttering around in his greenhouse with a pet dog, and gets more sincere as the story plays out until he's like a wide-eyed kid in a candy store.
Yes, for some of us this may only have appeal as a "so bad it's good" type of affair, but I'll gladly admit to having a real soft spot for stuff like this, considering that it was usually made with the best of intentions.
Five out of 10.
Star Trek: Assignment: Earth (1968)
"That, Ms. Lincoln, is simply my cat."
The concluding episode to the second season *is* one of the more interesting ones, as it sees the Enterprise travel back in time to 1968 Earth for purposes of research. There, they manage to interfere with the agenda of a man named Gary Seven (guest star Robert Lansing, 'Twelve O'clock High'), who exists in a future a thousand years *ahead* of the regular characters. He's trying to prevent a nuclear holocaust, and Kirk just buys trouble trying to determine if he can believe Sevens' story.
This is a different sort of adventure for the familiar characters. While their presence does have a definite effect on the proceedings, their experiences are almost incidental when compared to Mr. Seven. Lansing, giving an effective low-key, matter-of-fact performance, is almost the entire show here, and I'm not surprised to learn that in fact it was hoped that a series centering around Gary Seven could come to fruition. His character is certainly fun to watch; adding sex appeal and spice is the presence of a young, vivacious Teri Garr ("Close Encounters of the Third Kind") as an innocent secretary who really had NO idea what her bosses (associates of Seven) were up to!
All in all, good fun, with a reasonably tense finale and a final moment where Kirk & Spock depart the company of Seven and Ms. Lincoln amicably. (It was also a nice touch to see Spock become immediately fond of Sevens' feline companion Isis.) The theme of the episode is quite topical, and it remains so over 56 years later.
Appropriately enough, I rate this seven out of 10.
Three's Company: Jack Moves Out (1979)
"Janet, I think your trap caught a booby!"
After having an extremely lousy day, Jack is in such a testy mood that he unfairly blows up at the girls, and storms off, promising that he's moving out. He then takes up an offer from Mrs. Layton (Cynthia Harris, 'Mad About You'), the wife of Larry's boss, to come be a live-in cook at the Layton home. Jack realizes that he's made a mistake when she AGGRESSIVELY comes on to him, and returns to the apartment to eat crow and apologize to the girls.
'Jack Moves Out' has some great laughs, especially when Mrs. Layton is determined to play footsie with an unwilling Jack underneath the Layton dinner table. Of course, this wouldn't be the last time in the series that Jack did NOT want to return a lady's advances. Best of all is when Jack sneaks into the apartment through the unsecured living room window, and falls prey to a booby trap created by Janet. She & Chrissy felt uneasy after a security system salesman (Paul Kent, "Star Trek II: The Wrath of Khan") raised their apprehensions over break-ins in the neighborhood. It's also funny when a uniformed cop (John Larroquette) arrives to arrest Jack, and in a manner befitting Larroquettes' future Dan Fielding character, the cop envies Jacks' living situation and wonders why he would want to LEAVE in the first place.
While one does indeed already start to miss the Ropers (whose spin-off series was imminent), and the scene where Jack dumps on the girls gets too uncomfortable, ultimately 'Jack Moves Out' is able to put a smile on series fans' faces.
Also guest starring future Mr. Angeleno actor Jordan Charney ("Ghostbusters") as the seemingly unknowing Mr. Layton, and the all-too-appropriately named Janet Wood ("Foul Play") as Larry's current girlfriend Frances.
Seven out of 10.
Heaven with a Gun (1969)
Worth watching for its cast.
Glenn Ford ("The Big Heat") stars as Jim Killian, a reformed gunslinger who comes to a small town in the hopes of becoming a preacher. He finds that there are tremendous tensions between the ranchers, some of them cattle men and some of them sheep-herders. Jim aims to show them that they CAN all get along, just as their herds can. However, things get out of control anyway, thanks to terminally stubborn cattle rancher Asa Beck (John Anderson, "Psycho") and his trouble-making son "Coke" (David Carradine, "Kill Bill"). The wannabe holy man must make a choice between being the peaceful man of God and using his gun again.
While it is true that some of the characters could have used more fleshing out (Carolyn "Morticia Addams" Jones in particular is under-utilized as a saloon / brothel owner and former flame of Jims'), "Heaven with a Gun" is a thoroughly decent Western with an entertaining (if undeniably absurd at times) story. Ford doesn't have to stretch himself here, but the actors playing the villains are clearly enjoying themselves, and that includes J. D. Cannon ('McCloud') as a slimy hired gun who relishes relating Jims' sordid back story to the townspeople.
Director Lee H. Katzin ("Le Mans", "World Gone Wild") is no master stylist, but is certainly capable enough. What IS surprising is how nasty & gory this gets at times; as well, the lovely Barbara Hershey ("The Entity") and Angelique Pettyjohn ("The Lost Empire") provide some welcome nudity. There is also, however, an ugly scene with Carradine & Hershey (who, as buffs well know, were a real-life item for a while).
"Heaven with a Gun" is likewise worth watching for an eclectic supporting cast consisting of Noah Beery Jr. ('The Rockford Files'), Harry Townes ("Fitzwilly"), William Bryant ("McQ"), Virginia Gregg ("Operation Petticoat"), James Griffith ("The Amazing Transparent Man"), Roger Perry (the "Count Yorga" films), Ed Bakey ("Dead & Buried"), and Barbara Babcock ("The Black Marble").
Although some of those aforementioned elements will displease lovers of classic Westerns, they may well intrigue viewers with different sensibilities.
Seven out of 10.
Fang Shi Yu (1972)
How can you resist such a title?
Fei Meng plays Fang Shih Yu, a young martial artist who ends up fatally striking an opponent during a fight. In retaliation, the thuggish "Iron Fist" Tan (Yasuaki Kurata) and "Iron Fist" Chien (Ching Wong) murder his father. Our protagonist becomes determined to avenge his father (training with his mother for over a year), taking LOTS of lumps along the way.
"Kung Fu, the Punch of Death" a.k.a. "The Prodigal Boxer" admittedly has a very familiar and mostly predictable story, but the filmmakers were savvy enough to only use that as a stepping stone for tons of martial arts mayhem. The fights are frequent and intense, not to mention LOUD (the "impact sounds" are hilariously ridiculous). The dubbing is of course cheesy, but the actors on screen are quite easy to watch, making this an enjoyable diversion for an hour and a half.
I appreciated the fact that the hero was rather brash, and needed to learn some humiliation before he finally rose up righteous and kicked his antagonists' asses something fierce. (This does get pretty bloody at the end.) His training sessions with his loving mother are also worth watching, especially as she repeatedly thrusts a log at his torso to toughen him up.
Good fun for fans of the genre.
Seven out of 10.
Monk: Mr. Monk Goes to the Carnival (2002)
"Look, this is not about who Daddy loves more."
While Monk is going before a review board to determine a possible return to active duty, a detective named Adam Kirk (guest star Stephen McHattie) is framed for a killing on a carnival Ferris wheel. Despite some reluctance, Monk agrees to consult on the case, which is personal to Stottlemeyer since Kirk is a longtime associate of his.
While overall I felt that the plot was too easy to figure out, it's still a good mystery that is entertainingly told. For the first time, Monks' various phobias and eccentricities are downplayed to a degree, however, in favor of spinning a yarn in which Monk once again displays his flair for noticing things that the other cops often overlook. While it may be stretching credibility to have Monk always be the only lawman who notices these things, it still goes a long way towards showing how observant he is.
Director Randy Zisk does a very capable job of handling the material, balancing the humor and intrigue very well. There are some VERY funny lines as the plot moves along, as well as a great finale that is equal parts amusing and suspenseful. Suffice it to say, Monk is placed into a situation that would have a fair amount of people freaking out. When Stottlemeyer ultimately decides that Monk is not ready to return to active duty, we can instantly feel the sting, and Monks' disappointment, even though we suspect the captain IS correct in his assessment.
There is a great coda to the proceedings, as Sharona plays upon Monks' fears in order to get him to reveal just how he knew how many jellybeans were inside a jar.
Eight out of 10.
The Twilight Zone: The Purple Testament (1960)
How many coincidences add up to a fact?
Himself a WWII veteran, Mr. Serling crafted here a solid example of just how much the horrors of war can affect a man. A Lieutenant Fitzgerald (William Reynolds, "The Land Unknown") has developed an eerie ability: he looks into the faces of his fellow soldiers & officers, and if he sees their face bathed in light, it means that they will die shortly. He becomes a very distraught man after this, and his superiors fear for his mental health.
Although I have to admit that the big twist in this case was too easy to predict, 'The Purple Testament' (the title being taken from William Shakespeares' 'Richard III') hits pretty hard. It's a devastating yarn that Reynolds plays to great effect; his performance is appropriately *haunted*. And he receives excellent support from Dick York (of later 'Bewitched' game), William Phipps ("The War of the Worlds"), Barney Phillips ("I Was a Teenage Werewolf"), and S. John Launer ("Marnie"). Look for Warren Oates ("Bring Me the Head of Alfredo Garcia"), Ron Masak ("Ice Station Zebra"), and future film director Paul Mazursky ("Harry and Tonto") in small roles.
An episode that isn't afraid to get very dark in the end, 'The Purple Testament' is as efficient an anti-war statement as I've seen in some feature films.
Seven out of 10.
New Jersey Drive (1995)
The only thing that matters is the ride.
"New Jersey Drive" is set in Newark, NJ, the unofficial "car theft capital of the world", where two young black friends, Jason and "Midget" remain unambitious and don't think of much in life other than stealing vehicles and going on joyrides. This, of course, sets them against the cops, who launch a VERY aggressive offensive; one particular white cop, Roscoe, is a thuggish racist who proves especially troublesome.
"New Jersey Drive" is a potent crime drama and slice of urban life, as directed by Nick Gomez, who does a fine job of following up his breakthrough film, "Laws of Gravity". It benefits from the natural performances of the stars; Shar-Ron Corley ("The Substitute"), who plays Jason, and Gabriel Casseus ("Black Hawk Dawn"), who plays Midget, have a good chemistry. Tensions arise between the main characters when Jason is showing signs of wanting to grow up and leave this life behind, and Midget just won't let it go. Saul Stein ("Open Water"), who plays Roscoe, is a worthy adversary, and Gwen McGee ("Coach Carter") is effective playing Jasons' concerned mother.
Executive produced by Spike Lee, and distributed by his "40 Acres and a Mule" company, this independent production feels a lot more authentic than what you would likely get from a typical Hollywood picture. It's well-paced, convincing, and easy to watch throughout, with great moments both comedic and serious. Obviously it's not as well known as other films of this kind, so see it whenever you can.
Eight out of 10.
Hill Street Blues: Honk If You're a Goose (1983)
Another excellent episode.
Thanks to some intervention from J. D., substituting blanks in Hunters' gun, Howard is still among the living, although for a while he's in utter denial, insisting that he can still perform his duties efficiently. Agonized bookie Ben Seltzer (Barney Martin) is in fear for his life, and promises to reveal widespread corruption if he is protected. Wheelchair-bound Gerry Gaffney (Gary Frank) continues to shadow Belker, to the detectives' chagrin. Lucy & Joe have to bring in a wayward goose that had been employed as a guard (!). And Bobby thinks about getting out of the fight game.
Once again, we get a real case study in quality writing. Particularly powerful are the scenes with Howard & J. D. and Howard & Frank. They're both concerned, especially since Frank considers Howard a friend. He implores Howard to seek help, although Chief Daniels (for once, being a good guy) promises that the EAT team leader won't be brought up on any charges. The concluding scene with Belker and Officer Tataglia (how nice to see Lisa Sutton again) is heartbreaking because it shows that once again, Belker has been deeply touched (as well as aggravated) by a new acquaintance, and has to grieve the persons' loss. Pathetic washed-up fighter 'Irish' Bobby Shields (Guy Boyd) sinks quite low and makes his peace with having to do some time. And, adding a true dark comedy touch is the fate of the goose. Frank, in bed with Joyce near the end, is worried about how deeply his own department may be compromised, so he's worried about the future.
All in all, this was truly great television, with memorable guest star contributions from George Wyner (aces, as usual, as Bernstein) and George D. Wallace. Crispin Glover is typically amusing as a "space cadet". Regular cast member James Sikking is superb, especially as Howard shows J. D. his gratitude.
Eight out of 10.
Flood! (1976)
Strictly middle-of-the-road stuff.
The first project for Warner Bros. For "Master of Disaster" Irwin Allen, this TV movie stars Martin Milner ('Adam-12') as Paul Burke, who just KNOWS that leaks in the local dam mean BIG trouble. Their local lake is already overflowing with rain water. Naturally, when town mayor John Cutler (Richard Basehart, "Moby Dick") keeps mum about engineering problems with the dam, it ends up bursting and flooding their whole town. Burke has no time to say "I told you so" what with all the chaos that erupts.
There isn't much room here for large-scale death & destruction given that Allen probably didn't have a big budget for special effects. The story itself, written by Don Ingalls ('Honey West', 'Fantasy Island') is as routine as you can expect, and awash in cliches: too many of the characters remain Stubborn Dummies (with Cutler being the worst offender; he's a profit-minded politician who thinks that Burke is just being an alarmist) until everything happens that Burke said would happen. Still, there are people like hard-working Sam Adams (Cameron Mitchell, 'The High Chaparral') who never give up trying to solve the problem.
Directed in strictly workmanlike fashion by Earl Bellamy ("Part 2: Walking Tall"), 'Flood' is nevertheless reasonably entertaining, although it does naturally get more involving once the disaster is underway.
The cast of familiar faces gives it all the gravitas that they can muster: Robert Culp ('I Spy'), Barbara Hershey ("Black Swan"), Teresa Wright ("Shadow of a Doubt"), Francine York ("The Doll Squad"), Whit Bissell ("Creature from the Black Lagoon"), Leif Garrett ("The Outsiders"), Ann Doran ("Rebel without a Cause"), James Griffith ("The Killing"), and Gloria Stuart ("Titanic" '97). Also among the guest stars are Carol Lynley and Roddy McDowall (Roddy is given practically nothing to do), from Allens' "The Poseidon Adventure".
'Flood' is far from the best or the worst of its kind; at its best it's basically a decent example of this genre. But it should entertain you if you dig disaster flicks.
Five out of 10.
The Bedford Incident (1965)
"To be frank, I consider you frightening."
The Bedford is a Naval ship on security detail in the Arctic that plays a *relentless* game of tag with a Russian submarine that's sailed into the territorial waters of Greenland. Richard Widmark plays the ships' captain, who becomes absolutely obsessed with forcing the sub to surface - even if it means going against orders, and even once the sub reaches international waters. Sidney Poitier plays Ben Munceford, a photojournalist / civilian observer on board to document a typical mission for the ship.
If you haven't seen this Cold War thriller before, do it as soon as possible! This is a superb, expertly crafted film with lots of genuine tension, and it also functions as a keen psychological study. Here, we get a memorable example of how people can get pushed right to the brink. Many of the men aboard go about their duties as efficiently as possible, but some begin to crack under the strain. One is a sonar man played by Wally Cox, another is an ensign played by James MacArthur who gets so much grief from Widmark that it's no wonder things end up the way they do.
Full of intelligent dialogue (this was scripted by James Poe, from a novel by Mark Rascovich), "The Bedford Incident" features some riveting scenes with Widmark and Poitier, and Widmark and Martin Balsam, who plays a newly assigned doctor whose presence Widmark does NOT appreciate.
The acting is superb all the way down the line. Eric Portman plays a former U-boat commander who's now working as a NATO observer; other supporting players include Michael Kane, Gary Cockrell, Shane Rimmer, Brian Davies, Ed Bishop, Paul Carson, Phil Brown, and a young Donald Sutherland, in one of his earlier feature film appearances.
This was a very fine outing for James B. Harris, who'd produced films such as "Paths of Glory" and "The Killing" for Stanley Kubrick, but remains rather under-valued as a filmmaker himself; his other directorial efforts are "Some Call It Loving", "Fast-Walking", "Cop", and "Boiling Point".
This builds and builds to a real corker of an ending, one that's not easily forgotten.
Eight out of 10.
Spider-Man: The Vulture's Prey/The Dark Terrors (1967)
Good for many laughs.
'The Vultures' Prey'. My all-time favorite Spider-Man nemesis, the egomaniacal Vulture, has been stealing valuables from penthouse apartments and storing them inside a clock tower. When Jameson (annoyed by the inconsistency of the clock) stumbles upon the Vultures' lair, he is taken captive. It is indeed ridiculous that Jameson would be in on various sensitive matters, but you learn to accept hilariously silly plots with this incredibly fun cartoon. Best of all: after Spidey defeats the bird-brain, he refuses to free Jameson unless the fearless publisher says "please". He even goes so far as to start walking away until Jameson finally swallows his pride.
'The Dark Terrors'. Another villain makes an encore appearance: The Phantom, who's sending out shadows of various animals that appear to be real enough; after all, the shadows are stealing jewels and the like for the bad guy. Finally, Spidey tails one of the shadows until it leads him to the evildoers' lair. My favorite aspects: Max Ferguson doing a PRICELESS job of voicing the villain, just as he did the last time he appeared, and the motions that The Phantom makes with his hands in front of special glasses that allow him to cast these shadows. "Wait 'til you feel the death-grip of this one!" he quips as he creates an "octopus".
As always, Spidey's one-liners are just rich, and, as a Canadian, I just crack right up when the Vulture utters, "Navy, EH?" in response to something Jameson says.
Eight out of 10.
54 (1998)
A good cast, mostly wasted.
With this film, writer / director Mark Christopher attempts to pay tribute to the notorious "Studio 54", a disco nightclub in NYC. His story focuses on Shane O'Shea (Ryan Phillippe), a young man from Jersey City who thinks that if he can get into the place, it will provide the launching pad for great things in his life.
Christopher also attempts to flesh out his main characters as much as he can, but ultimately "54" comes off as a typical "more style than substance" sort of picture. It's incredible in the way that it portrays the sights and sounds of this hangout, and the steady parade of celebrities who frequented it, but it's a cliched rather than nuanced story. The directors' cut assembled by Christopher plays up the bisexuality of the Shane character, and devotes more time to the love triangle between Shane and his co-workers / friends (Salma Hayek and Breckin Meyer), but this doesn't make it that much more interesting. It's an effective story of hedonism and decadence, but it feels too familiar to be that effective. Besides, it takes the unscrupulous main character basically the entire movie - when he ends up with nothing - what a heel he's been.
The performances go a fair way towards making up for this, and there are many cameos as well, but the most interesting character on screen doesn't get a lot of screen time, and that's Steve Rubell (Mike Myers), the ringmaster of all this nightly debauchery. Myers does a superb job of immersing himself inside the role, and you easily forget other notable characters he's played.
I'm told the 2018 documentary "Studio 54" does offer, overall, a more insightful look at the material; this fictional yarn has at least motivated me to give that film a look.
Great soundtrack, in any event.
Six out of 10.
Children of the Corn (1984)
"Question not my judgment, Malachai. I am the giver of his word."
Peter Horton of 'thirtysomething' and Linda Hamilton of the "Terminator" series star as Burt & Vicky, amiable couple traveling the back roads of rural America. They are waylaid by the murdering children of a tiny Nebraska town called Gatlin, children who began praying to a mysterious entity dubbed He Who Walks Behind the Rows, and slaughtered all the adults three years ago because they believe that that's what He commanded.
The beginning of a surprisingly lucrative film series, spawning several sequels and more than one remake, "Children of the Corn" is a comedown from earlier Stephen King adaptations (this is based on one of his short stories). Overall, it's cheesy and utterly laughable, and hardly scary. But it's the very tackiness and absurdity of the film that makes it so damn hilarious and FUN. You sure can't take it seriously.
Hamilton is endearing, while Horton is required to be your typical Stubborn Dummy who won't get out of town while the getting is good. Old pro R. G. Armstrong ("Predator") is typically solid in a brief bit as the aged proprietor of a run-down service station. Standing out, in their film debuts, are the young men playing the antagonists: John Franklin ("The Addams Family"), a 24 year old playing a 12 year old, who's priceless and creepy as Isaac, the boy preacher ordering these kids around, and Courtney Gains ("The 'Burbs") as his thuggish henchman Malachai. John Philbin ("The Return of the Living Dead") also makes an appearance, as a 19 year old all too willing to sacrifice himself for the greater good. Robby Kiger ("The Monster Squad") and Anne Marie McEvoy ('Invitation to Hell') are appealing as basically the only two GOOD kids in town.
The film never does top its opening set piece, the bloody murder of the adults in Gatlin, but it does provide plenty of laughs, so that's at least good for something. Overall, it's a waste of excellent art direction, by Craig Stearns, and haunting music, by Jonathan Elias (not to mention a message about the danger of blindly following a leader).
Worth watching if you are a Stephen King completist, or just want to have a bunch of chuckles for 93 minutes.
Five out of 10.
Star Trek: Bread and Circuses (1968)
When in Rome.....
Kirk, Spock, and Bones beam down to a planet because it is quite possible that the survivors of a space catastrophe have ended up there. They find that the society of this planet is modeled after ancient Rome - complete with gladiators and slaves - except that it's been given a 20th century twist. (These people are fond of television.) Our trio of heroes are going to end up participating in the "games" before there is any chance of escape.
By this point, it was clear that the series was in something of a rut, with too many stories set in representations of moments in Earth history, and too many stories in which the Prime Directive is broken. A former associate of Kirks' is involved, a man named Merik (William Smithers, "Papillon"), but he's not the true villain; rather he's a weak character dominated by a man named Claudius (Logan Ramsey, "Walking Tall"), who comes to respect Kirk but who is still determined to see him die for his defiance.
I do understand Roddenberry's following of a formula, as it allowed him to examine various social & political facets of our own history through the funnel of a science-fiction series. It just comes as disappointing if one is hoping for more tales of a cosmic nature. Certainly the tales are provocative, however, and do get us talking about them afterwards.
There are pleasures to be had, of course: the ongoing arguments between Spock & Bones (including a dramatic moment where Bones believes he's gotten to the heart of Spocks' character), the sight of Spock & Bones carrying swords & shields, Kirk romancing yet another woman (gorgeous blonde Lois Jewell), and appearances by two other top character actors: Ian Wolfe ("Witness for the Prosecution") and Rhodes Reason ('White Hunter').
Even though these kinds of episodes do tend to get repetitive, they're always "interesting" in the way that they hold a mirror up to our own lives - if not "fascinating".
Seven out of 10.
Three's Company: An Anniversary Surprise (1979)
"Please! People, I'm into real estate, not recycling."
Stanley has a major surprise in store for Helen for their latest wedding anniversary. Just going by the things he says, the roommates naturally completely misinterpret what he's planning (selling the building and moving away), thinking that he aims to leave Helen for another woman. So Jack thinks that he has to "talk Roper out of it", while Janet & Chrissy have a terrible time getting up the courage to break the "bad news" to Helen.
Where would this series be if it weren't for characters always getting the wrong impression? This concept certainly always provided fertile ground for some big laughs, and did prove to be a winning formula - if undeniably predictable at times.
Chrissy figures in some of the most priceless moments, especially when she keeps wailing as Helen goes on about how happy she is, or when she utters a long-winded "Chrissy-ism" that leads to a dumbfounded expression on Helens' face.
One nice moment has Stanley actually saying "What the Hell" and hugging Jack as the roommates begin to say their goodbyes to the Ropers.
It's bittersweet knowing that this episode signified an upcoming end to this era in the series' history. Fortunately, Don Knotts proved to be a HYSTERICAL replacement as Mr. Furley.
The final coda, with Jack thinking he'll finally be "free and clear" and won't have to masquerade as a gay man any longer is also quite funny.
Eight out of 10.
Heavenly Creatures (1994)
Unforgettable.
With his first decisive step away from the ultra-gory and outrageous films with which he'd made his name, Peter Jackson gave us this disturbing, distressing and compelling character study of two unbalanced characters.
Inspired by a true story that took place in New Zealand in the mid-50s, it shows us how bright, imaginative teenagers Juliet (Kate Winslet) and Pauline / "Paul" (Melanie Lynskey) meet and embark on a friendship. Together they create an elaborate fantasy world, exclusive to the two of them, but their friendship proves to be so intense that it causes their parents much worry. This all culminates in an act of murder that was pretty shocking back in its day.
Kudos to Jackson for his excellent visual treatment of the story, with the fantasy sequences containing some creative prosthetics and visual effects. But the style enhances the content rather than overwhelming it, making this a journey worth taking.
Sarah Peirse, Diana Kent, Clive Merrison, and Simon O'Connor are very good as the concerned parents, with Peirse getting the meatiest moments as Paulines' strict mother. But it's Winslet & Lynskey who are truly something to see, giving award-caliber performances as the deeply connected duo at the core of the story.
"Haunting" is indeed an apt word to use to describe "Heavenly Creatures", one of the most memorable depictions of a twisted friendship that I've ever seen.
In real life, Juliet was eventually outed as the real person behind the fictional mystery novel author "Anne Perry", which is certainly one very interesting postscript.
Eight out of 10.
Urban Legends: Final Cut (2000)
A comedown from a decent predecessor.
This sequel to the 1998 slasher "Urban Legend" is set in a prestigious film school, where students determinedly vie for the coveted Alfred Hitchcock Award, which practically guarantees them an entry into Hollywood. Could one of these people be insane enough to actually murder for the sake of this award? Young wannabe filmmaker Amy Mayfield (Jennifer Morrison, 'House M. D.'), daughter of a deceased, acclaimed documentarian, finds out that this is indeed the case.
Despite Morrisons' appeal, and sincerity in her performance, and the encore appearance of Loretta Devine, reprising her security guard character, this is all VERY routine and VERY uninspired. The script is bad, the acting nothing special, and the characters pretty inane. These writers even toss in one of the lamest, most over-used twists in the genre, which you'll know when you see it. Hell, this sequel can't even boast creative death scenes, and it doesn't really have much to do with the whole "urban legend" premise.
The cast of familiar faces also includes Matthew Davis ("Legally Blonde"), Hart Bochner ("Die Hard"), Joey Lawrence ("Pulse"), Anson Mount ('Star Trek: Strange New Worlds'), Eva Mendes ("The Other Guys"), Jessica Cauffiel ("Valentine"), Anthony Anderson ("The Departed"), Michael Bacall ("Inglourious Basterds"), Marco Hofschneider ("The Island of Dr. Moreau"), and Jacinda Barrett ("Ladder 49"). But nobody here can really make this something worth watching. Even diehard horror fans may be underwhelmed.
The first film was no classic of the horror genre, but it was an above average entry into the flood of youth-oriented horror flicks post-"Scream". It at least offered more fun in the use of the urban legend gimmick, more style, and more atmosphere.
This marked the feature debut for John Ottman as a director; usually he is a film composer (for pictures such as "The Usual Suspects" and "Kiss Kiss Bang Bang"), and this wasn't exactly an auspicious change of pace.
Followed by "Urban Legends: Bloody Mary".
Five out of 10.
Soul Food (1997)
The meals do indeed look mighty tasty.
Written & directed by George Tillman, Jr., "Soul Food" is a heartfelt drama about a tight-knit black family that threatens to get torn completely apart after the rock-solid matriarch Mother Joe (Irma P. Hall) slips into a coma. Her daughters (Vanessa L. Williams, Vivica A. Fox, Nia Long) start fighting with each other; the busy plot also encompasses such relatable topics as infidelity, the search for employment and a mans' pride, and the need for self-fulfillment (Miles (Michael Beach) is about to leave his well-paying job as a lawyer for a career in music). As things start to get their worst, Joes' grandson Ahmad (Brandon Hammond) does his best to keep this family together.
Tillmans' film really does make a very strong case for the NEED for family. It's true that family members can drive each other crazy with the problems between them, but deep down, they do love & need each other. In fact, Ahmad points out that this family's traditional Sunday dinners are a time for sharing sorrows as well as joys, like their ancestors before them; cooking became an all-important element in their lives.
A first-rate acting ensemble (also including Mekhi Phifer, Jeffrey D. Sams, and Gina Ravera) brings life to these sometimes flawed but still interesting, compelling, and believable characters. Hall is wonderful in her time on screen, but young Hammond is truly something special as the young man despairing over the friction among his kin; he also does an engaging job of narrating the story.
The presence of sex & profanity might not make this ideal to watch for your youngest family members, but overall this is a potent picture that may make a viewer appreciate their own kin more.
The music score is by Wendy Melvoin & Lisa Coleman; music industry notable Kenneth "Babyface" Edmonds is executive producer and composer of a number of the songs; he also appears on screen briefly.
Followed by a cable TV series three years later.
Eight out of 10.
What's Up, Doc? (1972)
You're the top.
Story author / producer / director Peter Bogdanovich kept the spirit of 1930s "screwball" comedies - "Bringing Up Baby" in particular - with this riotous farce set in San Francisco. Ryan O'Neal plays Howard Bannister, an uptight, nerdy musicologist in town to apply for a grant, and he gets mixed up in an elaborate plot involving four identical plaid overnight bags - one containing his collection of igneous rocks, one containing valuable jewels belonging to Mrs. Van Hoskins (Mabel Albertson), one containing secret government documents, and one containing the wardrobe of carefree Judy Maxwell (Barbra Streisand), a kooky character who keeps involving herself in Howards' life and causing all sorts of chaos.
The ingenious, cleverly convoluted screenplay is the work of Buck Henry, David Newman, and Robert Benton. It's the kind of story where credibility is gleefully tossed right out the window (nobody ever bothers to check the contents when they first acquire one of the bags). It's all a set-up for some absolutely hilarious gags, and while it would behoove me not to spoil them all, this plot *does* involve one memorable set piece, a masterfully orchestrated vehicle chase through SF locales.
O'Neal is actually very good here, while Streisand is a delight playing her attention-getting, scene-stealing character. They receive *excellent* support from Madeline Kahn (in her film debut), Kenneth Mars, Austin Pendleton, Michael Murphy, Sorrell Booke, Stefan Gierasch, Liam Dunn, John Hillerman, George Morfogen, Graham Jarvis, Randy Quaid, and M. Emmet Walsh.
This is top entertainment with high energy and an impressive amount of genuine belly laughs; it's appropriate that it takes its title from Bugs Bunny's catch phrase, since it has a zany comic sensibility to also match any Looney Tunes short.
Highly recommended.
Eight out of 10.
Twice in a Lifetime (1985)
Above-average domestic drama.
Gene Hackman plays Harry, a Seattle steel worker whose long-term marriage to wife Kate (Ellen Burstyn) is not what it used to be. He seizes upon a chance for newfound happiness by hooking up with sexy barmaid Audrey (Ann-Margret). Of course, by doing so, he must deal with the consequences, knowing that he has deeply hurt his family, especially his angry daughter Sunny (Amy Madigan).
Produced & directed by Bud Yorkin, and wonderfully written by Colin Welland, "Twice in a Lifetime" is the kind of intelligently done, reasonably realistic adult drama some people say we don't get to see often enough. It feels mostly believable throughout, offering no easy solutions nor any promise of a "fairy-tale" ending. It benefits from showing how these different characters react to the break-up, and allows us to feel the highs and lows experienced by the characters. When we see Harry and Kate in their separate good times, it's all too easy to share in that happiness.
Some people may feel that Madigan is a bit over the top (ex. Acting out in a supermarket), but the passion of the character is impossible to deny. Madigan *was* nominated for the Supporting Actress Oscar, in any event, losing to Anjelica Huston who won for "Prizzi's Honor". But the whole cast is superb, especially Hackman and Burstyn. They receive excellent support from Ally Sheedy (as Harry's younger daughter Helen), Brian Dennehy (as Harry's good pal Nick), Stephen Lang (in his feature film debut, as Harry's son-in-law Keith), Darrell Larson, Chris Parker, and Micole Mercurio.
Nicely scored, by Pat Metheny, and well shot, on location in Washington State, "Twice in a Lifetime" truly does a superb job in engaging viewer emotions.
One irony is that Yorkins' own 30 year marriage broke up during the making of the film.
Eight out of 10.
Latidos de pánico (1983)
"She had a conscience. That made her dangerous."
That icon of Spanish genre cinema, co-writer / director / star Paul Naschy, here plays a guy named Paul, married to a beautiful heiress (Julia Saly) with serious heart problems. It's determined that the best way for him to help her is to take her out of Paris, to his ancestral home in rural France. She *does* get better, for a while, until numerous macabre visions threaten to push her right over the edge.
This effort from Naschy doesn't have that much to do with the traditional horror genre. Although it gets *fabulously* gory, it's more of a crime picture focusing on a truly despicable bunch of self-serving heels. Genevieve is practically the only sympathetic character! That said, once I got over what this movie is not, I really enjoyed it for what it *is*. It's wonderful soap opera style trash, complete with well-appreciated nudity as well as graphic violence. Although the story deals with an old "legend", the supernatural doesn't really figure in until the finale, with the ultimate bit of comeuppance. Granted, some of the writing was predictable - but some of the twists were fun. The young ladies present (also including Frances Ondiviela as Julie and Silvia Miro as Mireille) are real stunners, especially Ondiviela. Naschy himself is in fine form, and Lola Gaos, who plays the maid Mabile, has a great character face.
Well recommended to lovers of cult European cinema, Naschy aficionados in particular.
Seven out of 10.
Unman, Wittering and Zigo (1971)
"And that's why we killed him, sir."
The great David Hemmings ("Deep Red") stars as John Ebony, a former advertising man who's taken a new job as teacher at a secluded, coastal boys' school. His "form", or class, is Lower 5-B, and they're an unruly lot who don't take kindly to being told what to do. They also all tend to stick together. One of their first orders of business is informing John that they in fact murdered the man whom he replaced. He must "toe the line" regarding his treatment of them, or he WILL be sorry.
This wonderfully sinister, creepy sleeper has languished in obscurity for far too long. Based on a play by Giles Cooper, and directed with style by John Mackenzie ("The Long Good Friday"), it tells a compelling story with a nifty premise. It's easy to get hooked and wonder where it will take you; even though the answer to the burning question facing John is no great surprise, it's still devastating when you think of the reason *why* the murder of Mr. Pelham was proposed in the first place.
"Unman, Wittering and Zigo" (the title refers to the last three names on the roll call, although Zigo is always mysteriously absent) is able to get fairly explicit (there is some sex and nudity, but no real gore) while also not overplaying its hand in the portrayal of these very manipulative, self-serving students.
Well acted by all concerned, and infused with a great rural British atmosphere, this is one film worth checking out for the uninitiated - or re-discovering, if it's been a while since you've seen it.
Eight out of 10.
Spider-Man: The Spider and the Fly/The Slippery Dr. Von Schlick (1967)
Oil's well that ends well.
'The Spider and the Fly'. Spider-Man is up against the brothers Patterson (voices of Paul Kligman and Alfie Scopp), two former circus acrobats who've turned to crime. Clad in "Human Fly" costumes, they have wall-scaling abilities equal to that of our favorite web-head. They love to target the super-rich, but Spidey is able to track them down to their circus hideout. What is truly hilarious is the *sadistic* punishment Spidey doles out to these guys. Let's just say it involves a Ferris Wheel.
'The Slippery Dr. Von Schlick'. The title villain (voice of Bernard Cowan) is a truly priceless individual, stealing and hoarding all the oil in NYC for the purpose of making something called "Thinium 007", with which he plans to control the world. Spidey's method of foiling the megalomaniac is, again, quite amusing. Suffice it to say that he could have caused some major damage, which Jameson, ever disdainful of the web-head, is fond of pointing out. I love how Spidey is always capable of modifying his webbing; at first, he is unable to subdue the bad guy, but his lab at home always seems to have everything he needs.
Eight out of 10.