joseph t Reviews

Rocky Balboa (2006)

A good way to end the 'Rocky' series (hopefully)

[8/10 · 10 June 2009]

A lot of people seem not to like this film, but I liked it, primarily for nostalgic reasons. And, of course, the screenplay is heavily into remembrance of the past stories, touched with the circumstances and needs of Rocky's current life. He obviously grieves for Adrian, and that colors much of Rocky's outlook, but there are other demons that must be confronted and excised. And, for those who have been there themselves, this is familiar and real. For these reasons, Rocky the Fighter becomes Rocky the Everyman. And the two become synonymous.

Stallone is his usual dominating presence, but his supporting cast deserves kudos, from old rival, later friend and trainer 'Duke', to seemingly minor characters like 'Spider Rico' and 'Marie'. Burt Young as brother-in-law Paulie presents a slightly more mellow and softer side than his earlier turns, which were more of the brutish and thuggish "loser". Rival boxer 'Mason Dixon' and his handlers are even offered in a somewhat sympathetic and appealing manner.

In the end, Rocky is able to loose the beast within and find a measure of personal redemption, inner peace, and closure, and that is a fitting and satisfying way to end the Rocky saga. He does it his way, in the ring, engaged in the sport he loves that has shaped his life, but also in the quiet of his grieving and memories at Adrian's grave. We know that Rocky will endure and fight on, if not in the ring then in life, because it is what he does. And that is a fitting message to leave us with, because it is what we all do.

Moonraker (1979)

It's fun...

[7/10 · 24 April 2008]

I don't see why so many people are down on this movie. It's entertainment. It's fun. War and Peace it ain't. You want a serious movie with a deeper message then have a viewing of a classic like Gone With The Wind or Citizen Kane or Wuthering Heights. You don't view Bond films for that. They're just escapism and entertainment. Enjoy them for that and you'll be a much happier person.

That said, Moonraker delivers on the entertainment and fun aspect. Sure, there are some contrived sequences and corny lines, but those fall into the context of the fantasy. This movie has some tightly scripted and well-drawn action sequences, some nifty special effects (for it's era), a terrific score and title theme by Shirley Bassey, and a well-paced plot. The filming locations are lush and exotic, ranging from Southern California to Venice to Rio and the Amazon rain forest and, finally, outer space.

The cast is the usual top-quality Bond ensemble. I have to say that Sir Roger Moore is my favorite James Bond actor. He brings a touch of light-hearted and subtle British humor to the role, unlike the Sean Connery incarnation, who was simply too much of the Serious Spy for me. And Lois Chiles as Holly Goodhead (there's a classic Bond name for you) is probably the most beautiful and sophisticated of the Bond girls. She scores an 11 on the 1-10 beauty scale, but also brings the added attraction of a brilliantly intelligent and accomplished woman to the role, more than the equal of James on that account, the kind of woman you could fall deeply in love with not only for her beauty but her intellect as well.

'Moonraker' might not be a classic in the world of films, but it holds it's own in the Bond film rankings.

Star Trek: Elaan of Troyius (1968) Season 3, Episode 13

'Trek' has it's share of babes, but Elaan is...

[27 March 2008]

...a super-babe. Make no mistake, this episode is a showcase for the exotic and ethereal beauty of Eurasian actress France Nuyen as Elaan. The storyline is secondary to the display of her charms and their predictable effect on perpetually-aroused James Kirk. Skimpy costumes and form-fitting gowns accentuate Nuyen's lithe, but femininely muscular build. Her vaguely French accent adds to her allure. Kirk can't help but fall prey to her feminine charms, with near-catastrophic results.

That's not to say it's a bad story. The acting, especially by Nuyen, is first-rate. It's a fun twist on the "Taming Of The Shrew" theme, and when Elaan comes around at the end one feels a sense of completion as well as a lingering sense of desolation. She has to go on with her slated "role" as consort to the enemy society's ruler for the sake of peace between their people. But I have a feeling the bridegroom-in-waiting has more of a treat in store for him than he might otherwise have anticipated.

Probably one of the better Season 3 episodes, which were generally lacking in pace and punch compared to seasons 1 and 2.

Star Trek: The City on the Edge of Forever (1967) Season 1, Episode 28

Probably the best of all...

[10/10 · 2 September 2007]

This episode has it all, a wonderfully written story, catchy title, superb acting, and an unhappy but necessary ending. I recall this story sticking with me through the end of the first season and into the second. The hallmark of a great story is it's staying power, and "City" certainly has it.

First, the writing. As much controversy there is after the fact as to what Roddenberry did or didn't do with Harlan Ellison's original storyline, the fact remains that it is a dynamite story and incredibly well-crafted for the depth of character development and the continuity of the storyline. What can you say about Ellison as a sci-fi writer that hasn't already been said? The guy is a genius, pure and simple. I simply can't imagine a greater contemporary writer. He is one of a Pantheon of great writers, Heinlein, Bradbury, Clarke. That a series like Star Trek would be able to tap his talents is a real feather in their cap.

Regular actors Shatner, Nimoy, and Kelly deliver perhaps their finest performances of the series in this episode. Shatner doesn't miss a beat in his movement from dispassionate mission achievement to a genuine love interest in the Joan Collins character. And Joan Collins demonstrates here her depth as a serious actress. Her portrayal of compassionate social worker Edith Keeler is spot-on. She isn't just another pretty face, another attractive female for Kirk to conquer. She draws him in with her passion for helping others and her gifted insight into the necessity of forging a better destiny for mankind, one individual at a time. Her tragic fate is a mirror for the seemingly senseless and avoidable tragedies of the 20th century. A person dedicated to the service and well-being of others must die prematurely to prevent a greater tragedy. Certainly the eternal question and mystery of our lifetime.

Anyway, "City" is probably my favorite of many favorite episodes of this classic series. Many thanks to Harlan Ellison and Gene Roddenberry for such a masterful presentation of a great story.

The Roaring 20's (1960–1962)

Nostalgia and more

[26 March 2007]

The most memorable feature of this show for me as a boy of eight years old was the sex appeal of Dorothy Provine. I'd watch the show to get a glimpse of Miss Provine doing one of her flapper numbers and in my puzzled pre-adolescent mind wonder why her appearance always evoked such unusual and seemingly strange thoughts and sensations. Of course, this did not escape the notice of my parents, who were relentless in their teasing ("Oh, she's your girlfriend, now we know..."). Anyway, aside from that, the show featured plenty of action and intrigue in the riotous and often chaotic period preceding the Depression years. Looking back, it was a time of almost innocence after the experience of the first World War, which tragically turned out to be a precursor to a much bloodier and sobering experience a generation later. The passage of time has given a luster and burnish to those years which obviously paints over the harsher reality of violence and hardship. Still, it was a fun hour of escapism in the early years of network TV.

Deep Impact (1998)

Pretty good...

[7/10 · 21 January 2007]

Yes, the story is a bit short on scientific accuracy, but, come on, it's a movie, not a science documentary. Suspend disbelief for a bit and go along for the ride. It was a bit of a twist to actually show a fragment of the comet hit the Earh's surface, and the resulting devastation. The other mega-disaster film out that year, Armageddon, avoided this unpleasant outcome. So here is a bit of realism. The idea of a nuclear explosion fragmenting the comet nucleus into two pieces rather than pulverizing it is also a nod to scientific accuracy, as some theories about comet composition predict this effect. But, two films out in the same year with a similar premise had me on comet-asteroid overload.

The cast is fairly strong. Morgan Freeman and Robert Duvall add their measure of gravitas to an otherwise unknown cast. Tea Leoni is not very good in this film, delivering her lines with a somewhat wooden and dry cadence. Also, the estranged child syndrome is in full force with Tea trying to reconcile her feelings for her remarried father (Schnell) and her still-living mother (Redgrave). I'll admit to having a bit of a crush on Mary McCormick, so I liked her in the role of a crew member of the doomed space mission. Still, I had the feeling hers was a bit of a token appearance, the addition of a female crew member in a nod to "diversity" and political correctness.

The notion of the new-age Ark preserving a select few in the deep caves of mid-America reminded me of the scheme Dr. Stangelove hatched at the end of the movie of the same name. Here the world-ending event is natural rather than man-made, but the idea is the same. It is an arresting and sobering thought. On the one hand, we want humanity to survive, but what is to become of those left behind? How to they deal with their fate? An interesting dilemma that might make a decent movie in itself.

Anyway, Deep Impact is a good film. Not great, mind you, but good enough for a viewing by those curious about such a storyline.

Crack in the World (1965)

Flawed science, but a fun movie...

[10 November 2004]

Yes, let's put this to bed right away. The scientific premise is flawed. We now know that the crust of the Earth is not a solid shell, but riddled through with many cracks. Not only are these not harmful, they are an essential component and feature of a geologically active world. It is how the Earth renews itself, builds land, and promotes life. There is little mankind can do in the way of "cracking" the Earth that the Earth has not done itself, many times over, in much greater magnitude. But, that said, this is still a fun movie.

The pace of action and buildup to the spectacular climax is first-rate. I found myself just waiting for the next disaster to make itself manifest, be it an earthquake, volcano, tsunami, or all three. The underlying message is still sound: mankind should use caution in tinkering with the forces of nature. A time-worn premise, to be sure, but no less valid today. We as a species are young and have much to learn, by being aware of the hidden forces of nature and the unintended consequences of good-intentioned tinkering.

The cast is quite good. Sci-fi stalwart Dana Andrews is the featured player, of course, but the other actors do some good work. For it's time, the special effects are well-done. Like any well-paced disaster film, as the action races to a climax, we find ourselves pulling for the "good" guys against, hey, wait a minute, there are no "bad guys", just the unleashed forces of nature, knowing no good or evil, just following their natural course. It's a fun twist and makes you think.

Overall, it's hard not to recommend "Crack in the World" for a fun couple of hours' escapism and entertainment. Just suspend the disbelief a bit and go along for the ride.

Unforgiven (1992)

Not your typical Western flick.

[9 August 2004]

Moral ambiguity is the theme of this picture. None of the characters are really likable. They all have their flaws and moral failings. In the end, the main character achieves his goal, but at such a price as to make the reward meaningless. The viewer is left with a somewhat incomplete feeling, as if there is no closure to the story. And I think this is the overall sense that Writer David Webb Peoples and Producer-Director-Star Clint Eastwood were striving for.

Eastwood's performance as anti-hero William Munny is, of course, the film's feature. He is a changed man as a result of the love of a good woman, and sets out on his quest to achieve some measure of security for his children, who are the only other legacy of his late wife, but it is a mission of brutality and revenge. We know he is a killer who has a past of savagery and brutality that is somewhat legendary. But we know his quest is driven by unselfish motives.

The supporting cast is quite exceptional. Gene Hackman's portrayal of frontier town lawman "Little Bill" Daggett presents another dimension of the moral ambiguity that underlies the story. On the one hand, he presents a facade of tough-minded fairness and a desire to keep the peace in his backwater pioneer town, but does so with a brutal, thuggish, sadistic manner that blunts any redeeming traits. Morgan Freeman as Eastwood's partner is also a past killer who would just as soon stay home on the farm, but signs on to ride one last time as Muny's partner in the reward offered to kill the assaulter of a saloon whore. The group of saloon call girls themselves, while perhaps being the ones the viewer would most empathize with, have no qualms about upping their "quota" of customers to hoard cash to offer as the reward for someone to kill the brutalizers of one of their group.

This movie does the viewing public a service by portraying the darker and arduous side of the early American West, in contrast to the more romantic visions often offered by the movie industry. In actual life, it was a hostile, forbidding, often brutal and unforgiving environment. The price to tame this continent was very high, often paid in ways other than monetary. It often was often paid at the cost of the soul of a person.

Because of its exceptional cast and carefully crafted story, this film rates very high on my list. Eastwood fans will appreciate his effort in a different kind of role and in a story of some complexity. Give it a viewing and then a fair amount of time for contemplation.

Xanadu (1980)

But for the visual and musical appeal of Olive...

[1 December 2003]

I don't know, it's not much of a serious movie, but then again, it isn't intended to be. It's more a vehicle for showcasing the musical talent and visually appealing features of Olivia Newton-John in her prime. Some funky special effects, decent musical score (for fans of the disco era), and, of course, the charms of Ms. Newton-John.

Gene Kelly makes an appearance and fans will appreciate his still-heady dancing talents. It's kind of cool to see an older guy dig the disco scene. Did he really to the roller skating bit? I can well believe it.

Above all, don't take this film seriously. Don't look for a "message", or "meaning", or "deep thoughts", because there are none. It's just a fun story with appealing visuals and music. Enjoy it for that, especially if you're among the legions of fans of Olive...

Rocky IV (1985)

Surprisingly good sequel...

[13 October 2003]

Sequels often fail to live up to the quality of the original, but here we have a sequel to a sequel of a sequel. But it holds up surprisingly well, thanks to the fundamental strength of the "Rocky" storyline: the underdog against the giant, the triumph of will and determination against machinelike brute strength.

Here we have the added twist of an East vs. West subplot. But screenwriter-director-star Stallone is able to turn this to his advantage in terms of plot and character development. Initially we see Rocky focusing strictly on revenge for his fallen colleague and friend Apollo Creed, but comes to have a deeper understanding of the bonds that can form between people and peoples. Likewise, his opponent, Ivan Drago, is initially depicted as the stereotypical, one-dimensional cog-in-the-machine Soviet apparatchik, but who achieves a measure of personal redemption and fulfillment at the conclusion. Of course, Rocky has "made it" and could just as well retire with the title and enjoy life, but at heart he is still the up-from-the-streets fighter and will do his best to achieve the task at hand in spite of the usual objections from Adrian as well as the long odds he faces.

The cast is its usual fine collection of familiar players. Stallone of course is the featured actor, aided well by his usual cast of family and friends, Talia Shire as the loving and loyal Adrian, Burt Young as the somewhat brutish but loyal brother-in-law Paulie, and underrated Carl Weathers as Apollo Creed, all do good work in their respective roles. Swedish actor Dolph Lundgren does a good turn as Soviet boxer Drago, even though his dialog is severely limited, maybe a dozen lines or so (in English), and his hulking build (6'6") is a stark contrast to the smaller but compactly-powerful Stallone.

The climactic fight scenes are always the hallmark and high point of the "Rocky" films, and this one does not disappoint on that score. But there is an equally good high point just before the inception of the finale, and that is the brilliantly intercut sequence of the contrasting training styles of Rocky and Drago. We see shot after shot of the low-tech Rocky lifting stones and climbing snowy hillsides, contrasted with the high-tech, mechanized Soviet system of digital readouts and computerized treadmills, all backed by the thumping, pounding, powerful soundtrack and vocal by John Cafferty.

So, compared with the other Rocky films, I'd have to place this on a par with Rocky II for well-crafted story and execution. Give it a look especially if you're a Rocky fan, or just looking for an inspiring story of grit and determination and triumph in the face of long odds.

Judgment at Nuremberg (1961)

Terrific Historical Drama

[10/10 · 26 August 2003]

This is a film that takes on the tough questions. How can one possibly hope to prosecute a crime so monstrous as the Holocaust? Can one be absolved from guilt by appealing to authority, as in "I was only following orders"? Do we blame a select few, or is there a larger guilt, that perhaps extends beyond national boundaries?

Those curious about this dark period in human history will find this story's attempts to answer these questions both interesting and thought-provoking. The defendants are not those who actually carried out those diabolical orders, but the enablers, judges in the Third Reich's judicial system, such as it was. While cast in the format of a military tribunal, the judges forming the triumvirate of justices are civilians, seemingly plucked from the backwaters of jurisprudence. The defense counsel is an admirer and student of one of the defendants, and he must do his utmost to defend men that he knows, deep down, are monstrously guilty of crimes the rest of us can only experience in nightmares.

The cast of this film is extraordinary. It is one where even the supporting players are superstars in their own right. Spencer Tracy heads the list, and his performance is its usual top-notch best, but his character is surprisingly low-key except for several powerful moments, especially when he pronounces his devastating personal judgment on Herr Janning (in private). Schell won the Best Actor Oscar for his role as defense counsel and deservedly so. Burt Lancaster as the focal figure of the defendant judges is also remarkable, and his acknowledgment of his guilt allows his character some measure of personal redemption, and he holds his own in the face of the backlash from his fellow defendants. Montgomery Clift, Marlene Dietrich, and of course Richard Widmark round out a cast that must be considered among the best ever assembled for a film of this type. Movie fans will appreciate seeing Werner Klemperer in a serious role as one of the defendant judges, and a youthful-looking William Shatner as the military aide to Tracy's character. However, the dialog doesn't allow for any trademark Shatner "dramatic pauses". Alas.

The filming is in black and white and this adds to the starkness of post-war Nuremberg and the dreariness of a defeated nation. The haunting scene of Tracy's character's lonely walk through the stadium at Nuremberg that was the scene of many Nazi party rallies, and the famous balcony from which Der Furher harangued his audiences, evoke powerful emotions and memories of those dark years. Likewise do the desperate appeals of the domestic help serving Tracy at his residence, begging him to believe that they "were not political". You know that they knew, but are still trying to live the lie.

This is a must viewing for those who have a historical interest in post-war happenings, as well as those who value dramatic filmmaking at its classic best.

Manhunter (1986)

The best of the Hannibal Lecktor films.

[26 June 2003]

I'll throw in my lot with those who found this film appealing. While we classify it as one of the "Lecktor" films, the character of Dr, Lecktor actually has relatively little screen time. Still, his is one of the pivotal roles, and provides tantalizing, incomplete glimpses as to what is really going on.

I found William Petersen as FBI manhunter Will Graham much more appealing than Jodie Foster's Clarice Starling. Maybe its because of Foster's affected hillbilly accent and moist-sounding lisp that for some reason she adapted for her character. Petersen's portrayal of Graham as the haunted, introspective, reluctant hero is more complex and believable. You get the sense that he is driven by inner demons to solve the crime he is faced with, but doesn't really want to be there and would much rather spend the remainder of his days in the bosom of his family on the beaches of Captiva Island.

But, the centerpiece of the film is the terrifying portrayal of psychotic killer Francis Dollarhyde by the underrated but talented actor Tom Noonan. Noonan's hulking build seems a stark contrast to his character's quiet, introverted, soft-spoken persona, which hides the inner embodiment of pure, psychotic evil. Here is a guy who runs a photo lab by day but returns every night to a spooky, surreal lair which obviously reflects his inner psychosis, which he has learned to hide from view. The symbolism of his relationship with the blind Reba (Joan Allen) is obvious. His character is able to present a normal appearance to everyone around him yet goes out on the night of a full moon and slaughters whole families whose pictures he has processed, simply to fulfill his fantasies.

I thought the only annoying character was the sleazy reporter Freddy Loundes (Stephen Lang). Lang does a good job of portraying him, however, and I understand the place of this character in the story. He just wasn't very likeable or believable.

Brian Cox as Hannibal Lecktor was quite appealing, I'd say on a par with Anthony Hopkins, which is rather remarkable. His character has much less real violence about him than the Lecktor of "Silence of the Lambs", but skillful screenwriting and acting gives you just the hint of the malevolence lurking within Lecktor's persona.

While some have criticized the lack of detail and filling out of the film's characters, I think that this was done deliberately. You get glimpses and intimations, subtle clues and incomplete inferences, just enough to provide a tantalizing peek at the darker pattern beyond that the viewer must try to complete himself. Kind of like the clues the Manhunter must piece together to solve the mystery.

So give this film a viewing if you can manage the tension and the buildup to the shattering climax. Then give the family a hug afterwards, and make sure your doors and windows are locked at night, and especially remember to lock the deadbolt if you have a plate glass patio door...

Ferris Bueller's Day Off (1986)

Ferris isn't exactly a good role model...

[11 June 2003]

Why do I say that? Well, because basically Ferris makes his living by lying, scamming, and taking advantage of others. Now, given the character of some of our recently-retired political leaders, while that might qualify one to hold high office, I'm not sure its a good character trait for ordinary folks.

That said, this isn't a bad movie. It's a kind of blend of high school hijinks and teenage angst, the former supplied by Ferris and the latter by his friend Cameron. The viewer is taken for a dizzying ride through Ferris' "day off" school (playing hookey) courtesy of Cameron's father's sports car. Its kind of fun to watch the various tight spots and scrapes Ferris manages to get himself into and then extricated from, again mostly by lying and conniving. But, in spite of knowing better, you find yourself pulling for Ferris, who is basically a decent person but a bit full of himself.

The movie is more a vehicle for showing off the beguiling charm of the young Matthrew Brodderick, who is fine in his leading role. Actor Jeffrey Jones is his foil as the uptight school principal. And Mia Sara does what she does best: portray a beautiful young woman, this time as Ferris' girlfriend (naturally, the charming rogues get the best-looking girls, which I am convinced is really the type of guy girls want in spite of what today's women say about wanting an intelligent and "sensitive" man). But the best roles are those of Alan Ruck (Cameron) and, as others have noted, Jennifer Grey (Jeanie).

So give "Ferris" a look if you need a little time for relaxation and distraction, and maybe a chance to live vicariously the kind of "day off" we all wish we could have had at least once in our lives.

Forbidden Planet (1956)

Classic 1950s Sci-Fi, The Best

[10/10 · 15 April 2003]

This is a film that has it all, the dashing hero, the beautiful damsel in distress, the noble figure with the tragic flaw, and a truly wonderful robot. Forbidden Planet has maintained that special magic over the years and doesn't lose its flavor with repeated viewings (although the sex appeal of the youthful Anne Francis helps considerably on that score).

Movie fans will recognize the youngish Leslie Nielsen portraying the handsome and heroic Commander Adams, although those of us who have grown fond of him in comedic roles will perhaps be a bit taken aback by his appearance in a serious role. The distinguished and noble-looking Walter Pidgeon is also a featured player as the scientist with a secret (Id). Other supporting cast deserve a nod, especially Warren Stevens as the brainy and resourceful "Doc", and of course the charms of Miss Francis, as noted above.

This film was an early pioneer in the use of electronic music, in the 1950s, no less. The credits call them "tonalities", but those of us who tried to tinker together early versions of the "Theremin" device will recognize the eerie and spooky whines and screeches sometimes used in the sound track. Still, it lends to the image of the exotic and alien landscape of the mysterious and forbidding world of the Krell.

The special effects are also quite arresting. I recall my fear as a youngster waiting for the next manifestation of the invisible "Id" monster, and when it is finally visualized in the one battle scene it literally shook me to my toes in wonder and awe. The magic of matte art is fully exploited in the dizzying scenes of the Krell scientific complex as the characters make their way through the various labyrinths and passageways, guided by the enigmatic Dr. Morbius.

I recall feeling some measure of jealously that Dr. Morbius would have such a cool toy in the form of Robby the Robot. The persona of Robby is quite charming and in some ways he seems more human than some of the other characters. Viewers of follow-on shows like Twilight Zone and Lost In Space will recognize the recycled Robby prop in some of those episodes, although I recall he never had the "personality" of the original Robby.

I must admit to not fully understanding the complexities of the plot until I was old enough to understand the various references to Freudian psychology and the danger of unleashing the hidden and normally contained fears and rage we carry within but have trained ourselves, through force of will, to submerge and control through adherence to societal codes. Although the key to the story seems obvious once revealed, it remains unknown (or perhaps deliberately overlooked) by Dr. Morbius until pointed out by the clear-thinking Commander Adams, who forces Dr. Morbius to confront the evil within himself. It still gives me goose bumps when Commander Adams pushes Dr. Morbius down before the Krell machine that endowed him with superior intellect, which opened the flood gates of his subconscious to the power of the Krell machine: "Here. Here is where your mind was artificially enlarged. Consciously it still lacked the power to operate the Great Machine. But your subconscious had been made strong enough." Zowee!

Forbidden Planet remains probably my favorite sci-fi film ever, and remains timeless and classic for its carefully crafted story and wonderful visualization and realization on the screen.

Wolfen (1981)

Creepy but interesting...

[26 February 2003]

Director Michael Wadleigh's dark vision of the Whitley Streiber novel is an interesting blend of American Indian mysticism and modern law enforcement. I saw it when it first made the rounds on premium cable channels, HBO and the like, back in the early 1980s, and have found it a fun film to view since then. The kind of late-night horror flick we remember from our youth staying up and watching, then getting the creeps if you peek outside into the night, or climb into bed in a dark room.

I found the gritty, creepy locations to be the most compelling features. From the burnt-out slums of the South Bronx to the bright lights of Manhattan, the lonely alleyways of low-rent neighborhoods to the creepy night scenes of Battery Park, you know the Wolfen are out there, taking care of their business, going about things only imagined or envisioned in nightmares. Humans have few basic, instinctive fears, but this plot plays on one of the most primordial and powerful: the fear of being eaten alive. Like "Jaws" before it, Wolfen seems to tap into that primitive fear lurking just beneath the surface of consciousness.

Movie fans will appreciate the diverse cast. This was a comeback film for Finney and an initial effort for Venora, both of whom do good work in their respective roles. Also featured is Gregory Hines in a serious role, and Edward James Olmos in his pre-Miami Vice days. Tom Noonan plays a gentler role than his terrifying portrayal of a psychotic killer in Manhunter, although his hulking build seems somewhat incongruous as the sensitive and concerned zoologist-ecologist. I found the cast appealing and believable.

The visual effects are also appealing. I think this is an early use of the Steadicam system and it is used effectively in portraying the view of the Wolfen as they go out on their various hunts. The "heat vision" effect, a kind of saturation-colorized photographic negative, also gives an unfamiliar and alien view of otherwise mundane landscapes.

Overall, I give Wolfen a good recommendation in the horror-sci fi category, especially for those looking for a somewhat offbeat theme and cast.

Chariots of Fire (1981)

Harold Abrahams...dynamite

[23 January 2003]

The strength of this movie is the study in character contrast and development, with the added attractions of a historical setting and the soaring, ethereal musical score of Evangelos Papathanassiou.

The film is anchored in the character study of the introspective, brooding, and complex persona of Harold Abrahams, wonderfully portrayed by Ben Cross. Here is a man with all of the outward trappings of success: academic achievement, unexcelled athletic ability, wildly popular with his peers, yet tortured by an inbred inferiority complex and driven to lash out at the world in response. In the end, he conquers his inner demons through hard work, sacrifice, understanding of his fellow man, and the love of a good woman, to whom he opens his heart. I found myself thinking that Harold Abrahams is the kind of man I would want as my best friend, yet at the same time would find hard to become close with and relate to.

Ian Charleston's character (Eric Liddell) is a bit more one-dimensional. He is the archetypical Good Man, faithful to his family, his country, his friends, and his God. And in the end he triumphs through sheer force of will and by tapping that reservoir of inner strength that sustains him. As the crusty coach Sam Mussambini says, "He's a gut runner. Digs deep...".

It's a bit of a pity that the movie, long though it is, could not have delved more deeply into the other characters' background. Lord Andrew Lindsey is particularly appealing as Harold's and Eric's faithful friend who gives up his spot in his specialty race (the 400 m) to allow Eric a chance at the gold. Sybil Gordon is wonderful as Harold's love interest who tries to draw him out of his lonely world of bitterness and resentment and self-hatred ("You ran like a God. I was proud of you...", even after Harold loses a race for the first time in his life to a more determined Eric). Even some of the American competitors, who are only peripherally portrayed in the concluding segments, lend some color. Jackson Scholtz' reaching out to Eric Liddell gives one the sense that he knows the greatness of spirit that quietly resides in this unassuming Scotsman.

Its a wonderful story wonderfully told, and when its over you find yourself longing for it to continue, to see how these characters we've come to know over the previous two hours will turn out in the rest of their lives. Alas, the story of their lives is noted only in subtitles as the film closes.

The Big Chill (1983)

Laments of souring idealists...

[18 January 2003]

I didn't like this movie for that reason. So the lives of the '60s college radicals didn't turn out like they thought. Well, big deal. Life's like that, and you deal with it. No sense wasting time crying about it, which is what the characters seem to do a lot of. And why do they do that? Glen Close's character is a trained doctor. Well, go out and start a practice or work in a hospital helping people. Jeff Goldblum's character is a writer. Good, well, go with that and make something of yourself if you're unhappy writing for People magazine. Kevin Kline's "Harold" is obviously a successful businessman. He could use that to do good works if he's such an idealist. "Meg" is a successful attorney. Well, work for the Public Defender's office.

Truth is that characters don't really know what they want to be when they grow up, and that seems to be the theme the picture tries to revolve around. That can only go so far. And the "climax" is silly. Why would a wife ask her husband to impregnate their mutual friend who is desperate to have a child? Geez, she's a grown woman, perfectly capable of establishing a relationship and building a life with someone.

The only likeable character is Jobeth Williams' husband ("Richard"), who, perhaps because he has had no contact with the others, seems to have them figured out. He speaks the truth about life ("Nobody said it would be fun. At least, nobody said it to me.") and then is promptly written out of the story. If only the others would have learned from that instead of wallowing in self-pity and whining.

But, that said, it isn't a bad picture, if you can derive the correct message from it.

12 Angry Men (1957)

One of the best.

[10 January 2003]

This is certainly moviemaking reduced to its simple and best elements. Nothing elaborate set-wise, or costuming, and no gee-whiz special effects. Just excellent screenplay, directing, and acting.

The cast is very, very special. Their chemistry is all the more remarkable for the diversity of the people and the personalities brought into conflict over the need to reach a verdict in a seemingly simple, open-and-shut case that proves to be a bit more enigmatic and complex than what appears at first glance. Only one of the cast is a bona fide superstar. The rest are character actors, but of exceptional quality, and they all hold their own in comparison to Fonda's performance, which is its usual top-notch quality.

Movie fans will recognize many familiar faces. A youthful-looking Jack Klugman turns in a surprisingly good effort as an up-from-the-streets juror who makes important contributions to the deliberations. Others have noted the strong performance of Lee J. Cobb, whose initially overbearing and confrontational but ultimately quasi-tragic character elicits both disdain and sympathy from the viewer. I also liked E. G. Marshall's character as the last guilty vote holdout along with Cobb's character, but is ultimately convinced to vote not guilty. His conversion is simply and quietly but powerfully expressed, "I'm convinced. I now have a reasonable doubt...", and he holds his ground against Cobb's protestations. A nod also goes to Martin Balsam as the patient but often exasperated jury foreman.

Fans of classic movies should definitely consider adding this to their collection. I have the remastered DVD version and it is a visual treat "in glorious black-and-white", which fits the scenery and tension of the jury room perfectly.

Waterworld (1995)

Lots of people hate this movie, but...

[24 November 2002]

I kind of like it. Admittedly, is a disappointment as an anticipated blockbuster, but it features plenty of action and an interesting premise. Suspension of disbelief is a must, but, hey, its the movies, so let that slide and enjoy the fun.

The interesting premise of a drowned world is a two-edged sword. While thought-provoking the the context of the current debate on global warming, it leads to one of the movie's weak points: it is visually dull. Lots of open water and empty sky. Not unusual for an ocean-based film, but those kinds of flicks (for example, the World War II Victory-At-Sea genre) need a powerful hook to keep the audience's attention. Waterworld tries in various scenes of sea-based battles and encounters with other "Drifters", but it isn't quite enough to distract the eye from the empty and seemingly endless stretches of ocean.

Similarly, Costner's character as a partially-mutated man-fish replete with webbed feet and functional gills, while necessary for the story line, challenges the suspension of disbelief a bit. Those familiar with evolution will know that something this fully developed doesn't occur in hundreds or even thousands of years, but more on the order of millions.

The other characters add some spice. Of course, Dennis Hopper's over-the-top portrayal of "The Deacon" leads the list, although I could have done without the gruesome empty eye socket routine. Sure, we know he was wounded by the Mariner (Costner), but just leave it at that, no need to shove it in our faces in every other scene. A tattered-looking Jeanne Tripplehorn gives a maternally-appealing performance as "Enola's" surrogate mother and protector. And, to be honest, even a tattered-looking Trippy is enough to tickle a young man's fancy.

Overall, a decent action-flick, somewhat of a water-based Mad Max, as others have noted, but that adds to the fun. Give it a viewing if you like shoot-em-ups with a twist.

Willy Wonka & the Chocolate Factory (1971)

A Treat for the eyes and ears...

[23 October 2002]

Gene Wilder is magically whimsical in this visual and musical tour-de-force, which many have rightly noted may be the high point of his acting career. Make sure you have a good color set, as the factory scenes feature arresting and riotous color changes. You go from the brilliant flora of the candy-making room and the journey of the "Wonkatania" boat ("she's tres jolie") to the starkness of the "candybar TV" studio.

Unlike other reviewers, I didn't find the movie scary or too intense for viewing with my youngsters. You just have to keep things in context and play along with the joke, because, as Willy says at the end, nobody is harmed and they remain their same old selves, selfish or kind, according to their nature. Besides, someone as gentle and kindhearted as WW would not allow ill to befall his guests.

I also liked the musical numbers. The Oompah-Loompahs reminded me of the Munchkins (without females, at least as far as we are shown, so how do they keep the line going?) and their memorable lyrics and midget-choreographed routines. Fans will recognize the wonderfully distinctive singing voice of composer Anthony Newley on the opening number (Candy Man), lip-synched nicely by actor Aubrey Woods as Bill the candy store proprietor. And a nod goes to Gene Wilder for his rendition of Pure Imagination, although he struggles to hold the concluding note. But, that's no big deal considering its a comedy actor doing a song.

The child actors are quite good, with "Charlie" being the good-hearted poor boy, whose relationship to "Grandpa Joe" is touching. Julie Dawn Cole is perfect as the nasty and selfish spoiled rich kid, and the others delightfully annoying and over-the-top in their own ways ("Mike Teevee", and "Augustus Gloop", come on!).

Its a fun film and a visual treat. Give it an airing for a fun couple of hours of distraction and relaxation.

The Enemy Below (1957)

Very commendable effort...

[12 August 2002]

One of my favorite pictures about anti-submarine warfare and the real-life cat-and-mouse game it is. This time its the Americans as the "skimmers" hunting the Germans as "bubbleheads". While its hard not to avoid national pride and route for Mitchum and company against Jurgens and his crew, you do gain some sense of sympathy for the German U-boaters who are trapped in the deadly game as surely as the destroyer crew is vulnerable to counterattack by their opponents. When Mitchum's character lays out their plan for stalking the German boat and says his line about there being nothing more frightening than being down in a submarine under attack, you know its true, and this is skillfully portrayed by the tension and the toll its takes on the German crew.

Robert Mitchum gives his usual great performance, as does Curt Jurgens. I'm a Mitchum fan from way back with his usual gruff-but-wise demeanor. Jurgens' portrayal of the weary and disillusioned u-boat commander who cares for nothing more than the welfare of his crew lends an aura of both realism and empathy.

***SPOILERS*** The climax is quite spectacular with both ships going down and the crews struggling to escape before the detonators set to scuttle the U-boat go off. It is a bit of a Hollywood-ish ending when we see the American skipper help the opposing captain rescue a mortally-injured crewman, and of course save the German skipper in the process. And both American and German crewmen helping each other into the lifeboats. But, thats okay, because by then you're rooting for just that kind of an ending. Screenwriters' instincts are good in that sense. To lose either man at that moment would have been too heartbreaking. And, who knows, it may be quite plausible, the brother-in-arms, men-against-the-sea kind of kinship and mutual respect is not a myth by any means.

Honey West (1965–1966)

Sex appeal sells. End of story. But...

[31 January 2002]

I mean that in a complimentary manner. Before there was Pamela, or Farrah, or Sigourney, there was...Anne Francis as Honey West. The producers of "Honey" knew exactly what their strong hand was in this series, and that is the sex appeal of Anne Francis as the smart, resourceful, but above all else, sexy Honey West. But, while she could play the soft and feminine sex object in one scene, in the next Honey could show she was no cupcake when it came to battling it out with the baddies on the street.

For those of us who remember the sexually liberated sixties, Honey West was the epitome of raw sexuality dressed up in evening clothes. Yet, at the same time, she had the same quality of femininity when wearing a skin tight jumpsuit ala Emma Peel of The Avengers. Anne Francis is one of those rare females who looks as if she could glide off the runway of a fashion show and slip into the working garb of a private investigator without a hair out of place or smudge of makeup.

The storylines of this series were by no means bad. They featured the usual blend of mystery and intrigue, spiced with some (for the time) techno-gadgetry (courtesy of Honey's partner, Sam, who spent many hours in his "Bolt's TV Repair" panel truck eavesdropping on the bad guys, and would pop out in the nick of time to assist or occasionally save Honey from peril), and a good amount of action. Honey could hold her own against the bad guys when it came to kickboxing or gun battles, and always did so with style and flair and her usual touch of femininity. But, make no mistake, the storylines are merely vehicles for the display, to the pleasure of male viewers, of the sex appeal of Miss Anne Francis.

While Miss Francis is the show's feature player, a nod goes to John Ericson as Honey's able assistant, Sam Bolt. Fans will recognize the ruggedly handsome character actor from his lead role in the 1960 movie Pretty Boy Floyd. Here, he goes over to the right side of the law, and provides the rough-edged male counterpart to Honey's cool and soft femininity. While there was sexual tension between Sam and Honey, I always thought that Sam also felt a protectiveness towards Honey since he was her father's partner in the business and retained that loyalty. Still, the episodes never showed Sam putting any serious (in today's context) moves on Honey, something that intrigued and puzzled by fevered adolescent brain to no end.

All in all, Honey West was a fun hour of escapism and distraction, and will be fondly remembered, thanks to the smoldering sexuality of Miss Francis, by legions of men like myself who came of age in the midst of the sexually liberated sixties.

Of Mice and Men (1992)

This one will touch you...

[21 January 2002]

This is a masterful and faithful portrayal of Steinbeck's classic novel. The screenplay brings to life the tragic yet uplifting story of loyalty and the kind of bond that can grow between men that we are often reluctant to acknowledge, much less show.

Aside from the story, the cast is what really makes this film. I have always held a soft spot for Gary Sinise after his role in Forrest Gump, wherein his character portrayed another facet of the bonding between men made brothers by cruel circumstance, yet can grow and flourish as the years and other circumstances come to pass. Here, as Lenny's friend and protector against a world that baffles and confuses him, he shows the kind of rough-edged tenderness and affection that both endears us to his plight, and fills us with the dread of what we know must come between the men. John Malkovich shows his depth as an actor by bringing to life the dull-witted but pure-hearted Lenny, in a way that will tug at your heartstrings. I found myself both laughing (in a sad way) at Lenny's ineptness in dealing with a world clearly more confusing than his limited wits can manage, and crying over his being targeted for taunting and abuse by cruel and crude men, and ultimately done in by his brute strength when it was lacking the direction and temper given by his friend George.

A pleasant surprise was Ray Walston as the aged but gentle and good-hearted ranch hand Candy, who has no one in life to love but his old sheepdog, who, like him, he knows, must ultimately be "put down" because of age and the wear and tear that a life of hard labor has worn down. The scene of his finally surrendering his faithful canine companion to be euthanized by a gunshot to the back of the head by another well-meaning field hand is very heartbreaking. Having grown up with the "Uncle Martin" of "My Favorite Martian" Walston, seeing his adept performance in a dramatic role gave me a new appreciation for his versatility as a character actor.

Those who watch this film should allow plenty of time alone to view it straight through with no interruptions. Swallow your pride and keep a box of tissues handy, and some time afterwards for quiet contemplation and "recovery".

Damnation Alley (1977)

A post-apocalypse road film...

[5 July 2001]

The beginning of this film really shakes you up. The careful, measured tones coming from the missile base loudspeaker announcing the progress of "the war" belie the fact that at that moment scores of millions of people are being atomized as the bombs fall.

However, the aftermath seems to be typical post-nuclear mis-adventure, with the survivors from the base starting out on a cross-country road trip. The "Landmaster" vehicles add a jazzy and technie touch to the otherwise predictable trip. Wild weather, crazed hermits, and killer cockroaches require a little suspension of disbelief, but still keep the pace going.

Fans of "The A-Team" will like seeing George Peppard in a lead role, as the by-the-book superior officer who tries to keep the non-conformist junior officer (Vincent) in line. Dominique Sanda adds some nice eye candy as the token female member of the intrepid band of pilgrims, rescued by Peppard and company from the ruins of Las Vegas.

Overall, a pretty good film if you are looking for an evening of distraction and non-reality, if you can get past the opening sequence.

The Time Tunnel (1966–1967)

Kind of fun, but...

[23 March 2001]

We had to watch "Time Tunnel" every Friday evening back in the heyday of 1960s-style TV sci-fi. And this show fit right in. A nice blend of storytelling, fantasy, and early techno-gadgetry.

Much of the appeal of time travel stories relates to, surprisingly, familiarity. We've learned (or at least used to learn) in school about the Trojan War, the French Revolution, the Titanic, Billy the Kid, etc. This show re-lived those tales with a modern-day twist. What would two modern-era men do in these historical events? Would they, could they, effect changes? Should they? The shows depicting historical events were best. When it tried some standard-fare sci-fi things, like trips into the future or outer space, the stories kind of plodded along and floundered.

But...some suspension of disbelief is a must if you watch this show. First, why did the time travellers have to end up in every episode in the middle of some dangerous, terrifying, world-shaking event? Why did they never appear in my quiet backyard back in the 1950s in suburban New Jersey, or out on a farm in Kokomo, Indiana? They would have saved themselves a lot of wear and tear. Oh, but, then we wouldn't have much of a show, right? Ah. Somehow, the stars always managed to get cleaned up and a set of fresh clothes just in time to make their next time leap, no matter how badly tattered and torn they were from their current misadventure. Pretty neat, that. I wish I had one of those when I wake up at 6 a.m. But, hey, if you can make a time machine, its probably no big deal to throw in an instant clothes changer and time traveller touch-up device. Lets not be square, play along with the gag and we'll enjoy the show more.

You'll recognize many of the cast. James Darren of course was the teenage heartthrob of the early '60s as Gidget's boyfriend. Sci-fi stalwarts Whit Bissel and John Zaremba reprise familiar characters. And Lee Meriwether adds some nice eye candy as the comely and brainy project scientist.

For its time, the Tunnel featured some nifty gadgets, although some of them were borrowed for/from and used in contemporary shows like Batman and Voyage to the Bottom of the Sea. Those ancient mainframe-style computer banks look awfully familiar from different shows. But, hey, this was the '60s, and those were pretty modern back then. The Tunnel itself was quite striking, appearing to fade off into infinity when activated thanks to the magic of matte art and decent camera work. I've heard that the show's producers originally tried for a "time vortex" effect, showing clips of stock film footage from different eras speeding by the viewer as the time travelers made another leap in time. But when they tried it the effect looked more like a blurry version of brown pea soup. So they opted for the pop-art Tunnel, with very nice results.

Overall, a good sci fi effort from the mid '60s, for those who remember such a time fondly.