filmbuff-31 Reviews

Death Takes a Holiday (1971 TV Movie)

Much more than a cheap remake!

[8/10 · 20 June 2007]

It is easy to dismiss this film as a cheap remake of the original Fredric March vehicle, but there is so much more here than simple recapitulation!

The story is timeless. It takes a very definite philosophical stance on a subject which will always be relevant to all of us. Namely, how shall we cope with our own deaths when the reality confronts us?

What impressed me most about this production was the way in which death was presented. Death appears here as a gentle, benign presence. This presentation is a far cry from the monstrous horror we have come to expect from death. Death in this film is not a Grim Reaper wishing to engulf us in his inevitability. He wishes only to present himself as a fact of life. To understand himself and be understood by others as an experience which has a unique time and place for everyone. Occurring not one moment sooner nor later than necessary, and then as something not to be feared, but rather embraced in its turn.

There are other reasons to watch this rare production of the story. The fine cast: the beautiful Yvette Mimieux is in her prime here and perfect for the title role. I say "title role" because there is actually a dual title role here. It is the interaction between Yvette Mimieux's character and Monte Markham as Death that sets up the central dilemma that drives the picture. Myrna Loy and Melvyn Douglas are fine in supporting roles. Laurindo Almeida's haunting score creates an atmosphere of romantic suspense even while it facilitates contemplation.

So why doesn't this production have a better reputation? I suspect it's because, while the actors fulfill their roles admirably, they do so in a nuts and bolts manner which lacks drama. This production of the story is therefore out of step with the prevailing value in Hollywood: entertainment. For maximum entertainment value, a picture with greater dramatic impact is preferable.

Nevertheless, it is testimony to the dramatic impact and eternal relevance of this story that it has been remade several times since with great success, most notably in "Meet Joe Black." "Death Takes A Holiday" is a fine, underrated film which I give three stars!

Some Call It Loving (1973)

The Very Thought of You. . . .

[5/10 · 20 June 2007]

For those who would trash this film as so much convoluted garbage--Freudian or otherwise--I have only these words: The Very Thought of You. The scene in which this song is included is the only thing which makes this film worth watching. Of course, the inclusion of the song, good as it is, cannot save this film from the trash heap.

The concept is imaginative enough. The story concerns what appears prima facie to be a familiar theme, but which incorporates the kind of surrealistic realism that was characteristic of John Collier. His characters are dreamers with noble ideals and high expectations. Only to find that the real thing, once encountered, is nowhere near what they had imagined. Another story by Collier in this same mold, by the bye, is "The Chaser," which did become a Twilight Zone episode.

The well-read viewer will probably be able to overlook the bizarre elements which clutter this film for just a moment and appreciate its sublime theme. In the end, however, the bizarre elements drown out any attempt at profundity. The viewer, like the characters in the film, is left feeling vaguely disillusioned, if not outright cheated.

The song deserves mention immediately because I believe that the sentimental romanticism of The Very Thought of You expresses very well the intention of the film's director. As envisioned by him, the song lingers in memory. Unfortunately, the director's intention is out of step with the writer Collier's original intention and it shows. The whole production is out of sync with its purpose. This is not a good film. I'd give it one and a half stars, and that's for the song.

Shadow of the Hawk (1976)

Much more than just a horror movie!!!

[7/10 · 9 June 2007]

Shadow of the Hawk is a film that can be viewed on many levels. It is at once a parable about the use of power and a young man's conflicted response to his vocation. I am speaking of power as it is defined in various North American Indian traditions. Power in such traditions is neither good nor evil in itself. It is the person using it who is good or evil and uses it to those ends. It is in the portrayal of black vs. white magic that the film has serious flaws, introducing non-Native American elements for dramatic effect. Nevertheless, the essential understanding that power has the potential for personal enlightenment or self-destruction manages to come through. There is also the drama of the vision quest operating here. The vision quest, found in the traditions of many North American Indian tribes, is a experience through which one conquers one's fears in a journey which culminates in a crucial aspect of self-knowledge. All of these elements, aided by the entrancing scenery throughout, combine to make this film well worthwhile viewing.

The Stranger Within (1974 TV Movie)

All The Ingredients of a Classic Movie. . . .

[7/10 · 25 May 2006]

This movie has many things going for it. All the best ingredients are here: a great story with a fine cast and writers. I was amazed to find that nearly all of these actors--as well as the director and writer who created the story--were veterans of Rod Serling's Twilight Zone. I was lead to expect the finest in performing art from this movie.

Unfortunately, the acting in this movie is its most glaring weakness. Barbara Eden is probably miscast in the leading role. She captures all the moodiness and unpredictability that one would expect of a pregnant woman. The key to understanding what is happening to her character is the explanation of what happened to produce this strange pregnancy. All we get is her strange behavior and a few hints from the actors that point us in the right direction. Those hints, when provided by the actors themselves, are usually a bad sign. But even they are not as bad as the acting itself. Barbara Eden says too little in the leading role and the other actors compensate by overacting their parts--all presumably in an attempt to produce suspense. They would have done well to take a page from Rod Serling's school of acting: namely, that it is what is left unsaid and undone that holds the audience in suspense. The more words that are put in the actors' mouths, the more actions there are for them to perform, the more tedious and incredible the story seems.

This is nowhere better illustrated than in a scene where Barbara Eden's character is behaving especially irrationally. All of the other characters are behaving equally irrationally, and this only amplifies the confusion and suspense produced by Ms. Eden's character. David Doyle, who plays a hypnotist, shouts above the din, "Just let her act out what she feels compelled to do and maybe we can find out what's going on here!" Amen to that!! His is the voice of rationality in the picture.

Bad acting aside, on a positive note, "The Stranger Within" is a compelling story that seeing the movie compels me to read. The movie's and I'm sure the story's presentation hearken back to a time before special effects and sardonic humor: a time when much was left to the viewer's and reader's imagination. Imagination produces the most creative kind of viewing and reading. It's just too bad that in this case the director felt that he needed to supply so many details that were unnecessary to his purpose. A great concept here, but Mr. Serling would no doubt be disappointed.

Night Slaves (1970 TV Movie)

Intriguing TV movie evokes a sense of nostalgia!

[6/10 · 17 May 2006]

I saw this movie again very recently for the first time in many years. It is not generally available for purchase. Anyone wishing to see it will have to search far and wide to locate a used copy, most likely recorded from television. The movie is little known and was probably never marketed for purchase.

The movie itself is unremarkable, in terms of its story and presentation. In both story and presentation, "Night Slaves" is similar to other films of the science fiction/paranormal genre that marked this period. Films such as "The People" and "The Stranger Within" are siblings of "Night Slaves," stylistically speaking. All three films have the added distinction of being "made for TV" adaptations. "Night Slaves" is directed in a style that reminds me of sci-fi thrillers of the 1950s. Watching this movie, I am especially reminded of the classic "Invasion of the Body Snatchers." In keeping with the boundaries imposed by television, the direction of "Night Slaves" is characteristically low-key. Consequently, "Night Slaves" story and style never made and never will make an impact on the viewer.

"Night Slaves" impact on the viewer is primarily in terms of nostalgia. It was first seen by many viewers in their childhood or young adulthood and may very well transport them back to a time many of them remember fondly. A time when, in addition to the ordinary pleasures of childhood, talk of UFOs and aliens from outer space generated a sense of expectancy and adventure not only in the children but in the adults in the family as well.

"Night Slaves" might also be worth viewing if you are a fan of one of the actors. Actors such as the underrated James Franciscus, the stalwart Lee Grant, and the lovely Tisha Sterling are here for viewers' entertainment.

"Night Slaves" is not a movie to shout praise about, but it will evoke often pleasant memories--even if they are corny--of an earlier era of life, when UFOs and beings from outer space caused quite a stir.

Timerider: The Adventure of Lyle Swann (1982)

Misses the mark, but. . . .

[5/10 · 12 January 2006]

When I first saw this movie I was a junior or senior in high school. Back then, the story seemed inventive and imaginative. Now, as an adult, the movie's glaring weaknesses are apparent to me. The lack of plot development is the biggest weakness. I would have liked to see greater story development with a concept this original. What happens to Lyle Swann--what sort of adjustments does he make--as he is forced to live in the wild world of 1877, a world totally alien to him and his machine? As it is, the story is stripped of nearly all its thematic elements as we are left with the thrill of the chase. Even the girl seems thrown in as an afterthought.

Probably the only good reason to watch this movie is to see Belinda Bauer. The producers--consciously or unconsciously--must have realized this, as Belinda Bauer is given top billing over Fred Ward, who plays the hero of the story. Curious in a film that purports to be the adventure of Lyle Swann. Bauer, true to her billing, does not disappoint. Her character is tough and she is appropriately gorgeous, the kind of woman any man would fight for.

What started out as a great idea was oversimplified and falls short of the mark. Nevertheless, I'm giving this movie two stars because I am a big fan of Belinda Bauer!

Come Fly with Me (1963)

Why isn't this movie available on VHS or DVD??!!

[7/10 · 15 December 2005]

This movie is not an Oscar winner, but what it does have going for it is its charm. It is the perfect romantic comedy to watch with your loved one! This, in fact, is the best kind of romantic comedy. It is corny, but in the kind of way that invokes whimsical smiles and nostalgic thoughts of the happy days of youth.

The locations in the movie are beautiful as the airline crew and passengers travel throughout Europe. The perspective is almost unique: nearly the entire movie is filmed aboard plane.

But the charm of the movie is by far the biggest reason to watch it. One can view and enjoy it with the same suspension of disbelief as was possible with many of the musicals of the 1940s and 50s. The movie is predictable and not a critical success. But in view of the fact that the movie's title tune was later covered by Frank Sinatra; also, considering that "Come Fly With Me" was Dolores Hart's last movie before religious life, it is a shame that this movie is not available on VHS, at least. How could it have been overlooked?! Come on, guys! You can do better than that!! Give us what we're asking for!!

The Eiger Sanction (1975)

Overlooked Eastwood gem!

[7/10 · 28 January 2005]

This movie is highly unusual and possibly even unique in Clint Eastwood's career, either as actor or director.

In "The Eiger Sanction" he plays Dr. Jonathan Hemlock, a character completely unlike any other he has played. Dr. Hemlock is, in fact, the very antithesis of the typical Eastwood character.

Although he hides a secret past, Hemlock displays a highly cultured knowledge of fine art and jazz in both his professional and personal life. He possesses as highly refined a taste for beautiful women as he does for the most beautiful works of art.

Eastwood is both a philosopher and a lover in this film. He is also a humorist. But there are no glib one-liners here. In fact, this one film probably contains more dialogue for Eastwood than he has done for any other character he has played in his career.

Eastwood is the quintessential strong, silent type. As anyone knows who has seen him as a gunfighter hero, whether in the Old West or in the big city. In "The Eiger Sanction," he is a different kind of gun- fighter. His character is not drawn on the swift, total retribution exacted by the Man with No Name. Instead, it is drawn on the suave, debonair charm of James Bond. Jonathan Hemlock possesses the same cultural refinement and cosmopolitanism that the Bond character does. In fact, Hemlock and Bond are at work and at home in the same element: international espionage.

I suspect this is why the casual fan of Clint Eastwood typically detests this movie. Clint Eastwood appears to be miscast. But I'd say he pulls it off admirably, showing the viewer a side of himself which is rarely seen and exhibiting his versatility as an actor.

The story itself is better than average and the movie rates two and one half stars.

Open Water (2003)

Horrifying tale of a couple's desperate hope!

[8/10 · 10 January 2005]

If you have nothing better to do over Valentine's Day, go grab a copy of this movie and watch it with your honey pie. It will make you grateful for each other and the life you have together.

The movie, based on a true story, tells of the absolutely harrowing ordeal of a young couple left behind after a scuba dive. The movie details the incredible incompetence of the crew of the scuba boat which takes them on the dive. Being left behind, however, is not an implausible circumstance when one considers how simplistic were the security measures taken by the crew.

We run through the full gamut of emotions as the couple discover they have been abandoned. The spectrum goes from shock and confusion at the beginning of the ordeal to frustration and anger, brief hope for a rescue and finally despair and resignation as the elements and marine life begin to make that seem more and more unlikely.

We as viewers cannot help but feel the couple's agony as we see them bobbing upon the open ocean like flotsam and jetsam. The movie will make you feel grateful for the interconnection we all share, but a word to the wise. Viewer beware! This is not a happy movie. It could end up making you feel guilty for being a survivor. What more compelling reason is there for watching it with your loved one??!!

Apocalypse Now (1979)

Brilliant Excursion Into The Heart of Darkness!

[30 January 2003]

My highest praise goes to Francis Ford Coppola! In this movie, he has

hit upon Joseph Conrad's true intention better than one thousand

English teachers lecturing together could have.

I first read Heart of Darkness in high school. At that time, the words

and images seemed as strange and fleeting as those in a dream. I

struggled to make sense of what I was reading. The entire story seemed unreal, as though what I were reading couldn't really be happening.

After seeing "Apocalypse Now: Redux," the meaning of Heart of Darkness, the original literary source of the movie, has become clear to me. The novel seems convoluted and confused because the author's intent is to

show the deepest depths of darkness in human nature and the despair and

confusion of the human mind when confronted by amorphous, total evil.

Coppola brilliantly sets the action and commentary in the movie against

the backdrop of the jungles of Southeast Asia and the Vietnam War.

In that milieu, the images and action unfold in the same nightmarish

way as they do in Conrad's novel. I think Joseph Conrad would be

pleasantly surprised and maybe even grateful at the way Coppola has

brought his novel to life.

The characters jump out at you: Captain Willard and the men under his

command, the men and women of the French plantation, the photojournalist apostle of Kurtz, to the irrepressible essence of darkest evil

personified by Kurtz himself.

"The horror. . . the horror. . . ." These words uttered by Kurtz

capture the essence of the movie and the novel. The presence of evil

nags at us, disquiets us, disturbs us vaguely, even in our most peaceful and secure moments. The dark side of human nature demands a serious

consideration. It will not let us flee. Its influence, its dark,

brooding shadow, is everywhere: in the jungle, in our hearts, in our

souls.

Conrad knew nothing of the Vietnam War, or even the two world wars. He

lived before them. But I'm sure that he could appreciate the perfect

atmosphere for his novel that total war provides. Coppola is a great

illuminator of Conrad's intention and his own in "Apocalypse Now." A fine touch, a superb touch, worthy of an Oscar. The movie and the

book, though controversial, are memorable on many levels.

Eye for an Eye (1996)

Sally Field is woefully miscast!!!

[29 August 2002]

I think I understand the director's approach here. Hire big names such as Sally Field, Joe Mantegna and Kiefer Sutherland and you can cover

for a multitude of sins. But not even they can save this movie!

"Eye for an Eye" suffers chiefly from the glaring omissions in its

script. Details of police procedure and litigation of a criminal

case are omitted or truncated so that the audience will believe that

the criminal justice system is incompetent to do its job. The grieving process of the couple is not sufficiently detailed, because what matters in this movie is violence and revenge, not healing. Sally Field's

character doesn't take the time to adequately explain to her younger

daughter what happened to her older daughter, nor does she emphasize

the need for the girl to be careful about meeting or talking to

strangers. The omission or underdevelopment of these logical details seemed odd to me and strained the movie's credibility, in my opinion.

The movie, as its title suggests, is about anger and revenge when the

traditional channels of justice fail. The problem is that this movie does not convince its audience that justice has failed. Even worse, it does not convince its viewer that the violated and grieving mother is

justified in taking the law into her own hands.

Like the "Dirty Harry" and "Death Wish" series of films, this movie

skimps on detail and realism, relying instead on the exploitation of

violence to drive its plot of vigilante justice and singleminded

revenge. Unlike the characters played by Clint Eastwood and Charles

Bronson, however, Sally Field's character is not compelling. Therefore, the errors of this movie are all the more glaring.

Sally Field is clearly out of her element. Her talent is exploited

and misused in this feast of gratuitous violence. For that "sin" alone, this director should pay! Ms. Field should stick to Norma Rae. There was a crusader worth believing in. Dirty Harry she's not!

A Beautiful Mind (2001)

Beautiful mind. . . mad scientist?

[18 April 2002]

This movie presents an interesting variation on the mad scientist theme. It is the true story of Nobel Prize winning mathematician John Nash. Having been an academic for most of my life, I could readily identify

with Mr. Nash's ongoing struggle for respect and even sanity inside the ivory tower. In such a tightly controlled, artificially constructed

world, Professor Nash seems to fit most of the stereotypes regarding

academics. A preoccupation--to the point of obsession--with his work,

for one. A lack of social and communication skills that most other

people in the world take for granted is another of these stereotypes.

The movie gets you so inside the mind of John Nash that at one point about midway through the picture you, the viewer, cannot tell what is

real and what is delusional, even after the credible suggestion of

mental illness has been made.

I don't want to diminish or misrepresent the traumatic nature of Prof. Nash's experiences, but I was struck, from a personal point of view, by the nature of his phantoms. Nearly everybody has been haunted by a

personal phantom or two. Maybe someone wanted to become a teacher and

never did. Maybe such a person came close to marrying someone and never did. We all are haunted by phantoms similar to those Professor Nash

experienced whenever we believe in something with our whole heart and

mind and are disappointed. We continue to judge ourselves and those

close to us by the standards of our disappointed hopes. Mr. Nash lived in an environment which exaggerated these tendencies to the point

requiring medical treatment. But pondering the true nature of his

phantoms--perhaps "demons" would be a better word--it seems to me that

his experiences are not completely alien to those of people who consider themselves free of delusions and quite sane. The movie itself appears

to echo this point.

In the end, it is Nash's wife, played by Jennifer Connelly, who is the

bridge between the world of delusion which Nash's mind experiences and the real world which exists independent of that experience. She is the mediator of his sanity and ours (as an audience).

Hot Line (1994–2011)

Alex Meneses is sizzling hot!!!

[27 March 2002]

I was just flipping through the channels on television late one night

when I stumbled upon this series "Payback" episode. I was ready to

turn my set off. I expected another boring late night attempt at

erotica, insulting and demeaning to women and to men. But then I was

enthralled by the beautiful woman on the screen!

I was surprised to see Alex Meneses in a production of this genre.

She's best known for family entertainment like Dr. Quinn: Medicine Woman and Suddenly Susan. Hotline's "Payback" episode would have to be categorized as fantasy erotica.

Although classed as erotica, the episode I saw was not crude or

pornographic. It concerned a very plausible fantasy role play between

a loving husband and wife. There was full nudity, but the scenes of

nudity and lovemaking were graphic--tantalizing and highly erotic-- without being pornographic.

In fact, the things Alex Meneses said and did in this vignette made me

want to marry her and make love to her. Perhaps the best part is that I didn't feel like the stereotypical male ogling a beautiful female on the screen making love. Three cheers for Alex Meneses! She's just an incredibly sexy and tender lover here. That's why this show, or at

least the "Payback" episode, accomplishes what it sets out to do.

Although this isn't a show you'd want to rent for your three to five year old, it is worth watching with your loved one. It is creatively written and highly imaginative. A suggested serving for the viewer's own love life. I'm certainly keeping a copy for a dark and lonely

night!

Oleanna (1994)

Confusing, frustrating and unrealistic!

[26 January 2002]

This was the most confusing and frustrating movie that I have seen in

many years! This is chiefly because of the dialogue, although there

are other problems with the film as well.

The dialogue is a representative example of failed communication. As a viewer, I found it difficult and eventually impossible to understand what these two characters were saying to one another. Each of them was fond of using grandiose, analytical terminology to describe feelings and events that were not nearly so complicated. This approach leaves

them--and me--feeling totally disconnected.

I wanted to smack these characters across the face to get them to talk

straight to each other. Each of them is irritating beyond belief!

Neither one of them is sympathetic. The meaning and pathos of their

predicament is lost in a maze of confusing terminology. The characters seem unconvincing and deceptive.

I can only gather that this movie was intended to be a satire on the

interests of academia and students clashing. Failing that, Mr. Mamet's point could be the absurdity of life in the university and, by

extension, of life in general on earth. If the latter is true, then

he has succeeded admirably, for the alienation that the viewer feels

from the characters and their situation is complete.

I'm a little surprised that an excellent writer and director like

David Mamet would stoop this low. This movie is a far cry from his

other work. If movie audiences want to see a real Mamet winner, rent

or buy his superb "House of Games." His reputation rests secure on

that movie alone, not this one.

Tourist Trap (1979)

This one is on my worst movies list!

[23 December 2000]

For those of you who thought Chuck Connors couldn't stoop lower than "Soylent Green," think again. It's not that Mr. Connors delivers the worst performance of his career. He actually delivers a performance that is in keeping with the

material he's given, which is just atrocious, even for a horror movie.

"Tourist Trap" has its elements. It has a spooky atmosphere, unsuspecting and somewhat dimwitted teens, a murderous psychopath and a fair amount of true suspense. The problem that I have with it is that murder and psychotic behavior-- not true suspense--are the point of this movie. It is nothing but a low budget killfest!

I am a modest fan of the horror genre, but what attracts me to it is suspense and intricate plot twists and not blood and gore. I got the sense that murder--although not of the especially bloody type--was being glorified in this movie. That sense certainly killed whatever curiosity I had to see what all the suspense was about.

I would certainly be wary of anyone who could claim to enjoy this movie. It is possible to tolerate it, however, provided the moviegoer's expectations aren't set too highly. If you must watch it, "Tourist Trap" functions best when you watch it and then put it out of mind. And quite possibly, out of sight, too. It is not reality based. Don't take it home with you!

The Good, the Bad and the Ugly (1966)

Clint Eastwood's Signature Movie!!

[29 November 2000]

This film deserves four stars. Not because it is the quintessential "guy" movie, with lots of action and shooting. Nor because it is the greatest western ever made. There have been better.

The reason this film deserves the highest praise is because of the in- vention of a character that has defined Clint Eastwood's career. That character is The Man with No Name. In fact, it really isn't true to say

that this movie invented the character. The Man with No Name can

be found in every good western tale. His influence transcends even

the western genre. There is something metaphysical about his

presence, as though he were God or the devil incarnate. This is the

reason for the character's sublime power to command our attention. Clint Eastwood is perfect for this role and he has played it again and again.

The Man with No Name is everything any man could want to be. In this liberated age, he is quite possibly everything any woman could want

to be, either. He is a flawless or virtually flawless character by virtue

of the divine mission with which he's been entrusted. He is an agent

of metaphysical justice. He has superhuman power: precise, pene- trating judgement, nerves of steel and an iron will. He is calm, cool and always in control under pressure. He is never frightened and he

can endure anything. If an ordinary man had these strengths, he would never be disappointed in life.

Fans of the "Dirty Harry" movies as well as nearly all of Eastwood's

other work will recognize that those characters simply reprise The Man with No Name which made him famous. He has built his career on it!

The musical score of this movie only adds to the metaphysical exact- ness of the characterization. To this day, I cannot hear the music from

"The Good, the Bad, and the Ugly" without thinking of the carnage of

the U.S. Civil War. Conversely, when I see still photographs of battles from that war, the music and cinematography from this movie come to mind.

"The Good, the Bad, and the Ugly" is a superlative achievement. Like

"Star Wars" and "The Day the Earth Stood Still," it has an atmosphere

about it which could not be equalled in a thousand meticulous sequels. It stands on its own as an enduring, defining mark in the history of

motion pictures.

Soylent Green (1973)

World at the End of Its Ecological Tether!

[26 November 2000]

It's very easy to dismiss this film as just another one of those corny

science fiction films made by Charlton Heston in the late sixties through early seventies. But that would be missing the point completely!

When I first saw this film as a child, the idea itself was what I focused

in on. How weird, I thought, that this kind of world could exist, that

people would do the kinds of things they do in this movie.

Seeing it again as an adult the full impact that the creators of this movie intended it to have finally hit me. What they're giving us is a world that

is dying, and not only dying, but actually killing itself. What they want

us to understand is the pathetic spectacle this all presents. Everything that most humans take for granted in life--food, comfort, shelter,

intimacy--is dying. In fact, the human organism itself is dying. What we're shown is a dying planet Earth. What makes it all the more

pathetic is that outside of the enlightened few (who can do nothing

to stop the process anyhow) none of the characters is aware of what

is really happening to them. They are poor dumb beasts. Lambs

led to slaughter, moths to the flame. Out, brief candle! The sentiment is the same, as each character leads her or his pitiable and

insignificant existence.

On this level, then, this film is brilliant. It is a panoramic view of a

decaying planet throughout. If you feel anything at all for Mother

Earth, then something inside you dies when you realize that she

is indeed dying. At that point, you the viewer identify with Sol Roth: "My God, what have we come to?!" You can feel the tears well up

in your eyes.

Night of the Comet (1984)

Classic Sci-Fi B-movie!

[25 November 2000]

In the tradition of "Repo Man", "The Road Warrior" and "I Was A Teenage Frankenstein" comes "Night of the Comet." There is no overarching social criticism here, unless the message be one of dystopia (utopia gone wrong), common to many science fiction films set in a post-apocalyptic wasteland. This film owes a tremendous debt to Richard Matheson's work, particularly the I Am Legend tale, which inspired movies such as "The Last Man On Earth" and "The Omega Man." Matheson is never mentioned in the script or the credits of this movie, but his influence is undeniable, right down to stealing a few key scenes. Does this lack of originality make "Night of the Comet" a bad film? Yes--tremendously bad. But the film is bad in a way that only a lover of cult classic films can appreciate. It is so bad that it is camp, and that fact alone will please anyone who wants to watch it late at night just for kicks. The film is also noteworthy for starring Robert Beltran, who is probably best known as Chakotay on Star Trek's Voyager. This is a role he probably wants to forget. And whatever happened to Catherine Mary Stewart? She never quite lived up to the potential that she shows in this movie. Geoffrey Lewis, a veteran of Clint Eastwood films, makes a good villain.

This film rates two stars for its late-night cult potential. Surely, anyone who can sit through anything as formulaic as "Scream" or "Friday the Thirteenth" can survive this movie.

Austin Powers: The Spy Who Shagged Me (1999)

Wayne's World This Is Not!

[22 November 2000]

I was disappointed by this offering of Mike Myers. Maybe I've been

spoiled by the outrageously funny "Wayne's World" movies, but

they've led me to expect much more from Mr. Myers than he gives

us in the character of Austin Powers.

I'm not sure what doesn't work here. Perhaps it's the concept. Maybe it's the writing. I'm not saying that Austin Powers isn't funny. I didn't

see the first movie, but this one did make me laugh in several isolated instances. Credit Mike Myers for that. His clever sense of humor and timing are what have made him the enduring success that he is, from

Saturday Night Live to this day. But somehow the gags in this movie

neither fit in with the movie as a whole nor do they drive it in any direc- tion.

That's the biggest difference between this movie and the Wayne's

World movies: the jokes drive the plot in Wayne's World and its

sequel and those movies overall are better constructed than this

one was. Having seen the best and knowing what Mike Myers is

capable of, I found this movie to be a big letdown.

Adolescents and pre-pubescent youngsters will find the humor to be

clever and amusing at times. But those who prefer slightly more

sophisticated comedy will find this movie to be disappointing.

Mike Myers has done and certainly can do better than this!

Yellow Submarine (1968)

The Beatles were Revolutionaries!

[18 October 1999]

The Beatles were true revolutionaries! On an acting level, this was not a

remarkable film. The Beatles parts were played by stand-ins and the

Beatles themselves were never great actors, even in their other movies. But we don't watch the Beatles for their acting!

As you watch this film you become aware of just how novel it must have

appeared then. The Beatles films were precursors of the music video age. The current music video industry owes a large debt to the Fab

Four! Looking back on my childhood, I can say with a large degree of

justification that this movie's success actually launched the Saturday morning cartoon industry. Indirectly, it also gave birth to the many

cartoon networks that now abound. I would recommend viewing the

movie to the generation that lives off what these networks supply. The X-generation is largely disconnected with the roots of their own enjoy- ment.

This movie's avant-garde influences and period piece quality may

make little sense to the casual viewer. But for the viewer with the

ability to see the development of pop culture from generation to

generation, the film is a proper education. It is invaluable historically and thank goodness it has been re-released. It is certainly worth the

four stars it has received.

The Snake Pit (1948)

Startling portrayal of a woman's journey through mental illness

[6 October 1999]

The title of this movie is taken from the practice, apparently common in >some ancient cultures, of placing people thought insane into a pit full >of snakes! Those cultures knew virtually nothing of the forms of >mental illness documented in the nineteenth and twentieth centuries. Even less did they know of psychotherapy. >This picture is remarkable for taking us right into a mental hospital and immersing us in the nightmare world of mental illness. Olivia de >Havilland's stunning performance in the lead role carries the entire >picture. The characters who surround her, however, are no less com- pelling. They remind one of the "street people" that one can see >roaming about in any large city. They are certainly just as pathetic >and arouse one's compassion just as strongly. >If there is a small complaint that I have with this movie, it's that the >Freudian perspective is a bit overdone. It is not necessary for us to see a picture of Freud above the patient's head, nor a cigar smoking psychiatrist! The movie does do a good job of showing just how rare >true psychotherapy is in these institutions, as well as the transformation that can result from it. It screams for--and deserves--all four stars!!!

Beyond the Limit (1983)

Subtle approach to be appreciated

[4 October 1999]

This is a mildly interesting picture for viewers who like a hint of subtlety to spice their viewing experience. The problem is that this film also contains quite a lot of uneven action and performances.

The action is based upon a book by Graham Greene, a morality tale in which Greene shows how a seemingly mild injustice leads to catastrophic consequences for an apparently innocent man. The movie details the relationship between Dr. Plarr and the British "Honorary Consul" and the consul's wife. The movie, true to the original author's intent, makes this relationship central to the plot development. Greene wants to show how this relationship reveals a tragic flaw in his protagonist. On this level the movie succeeds, but there are too many loose ends in the plot and some lackluster performances. In the final analysis, though it starts nobly, the movie does not accomplish what it set out to do: i.e., bring a faithful adap- tation of Graham Greene to the big screen. It does not do justice to the subtle, thoughtful perspective of Greene's novel.

Dr. Plarr, played by Richard Gere, certainly is the amoral character Greene intended him to be. But this role, as directed in this movie, appears to be a vehicle for Richard Gere. It is drawn in the mold of movies that Gere had worked on at that time. These include movies such as "American Gigolo" and "Breathless." To turn the character of Dr. Plarr into a showcase for Richard Gere represents a totally inappropriate intrusion of the director into the story's subject matter.

To make matters worse, Gere plays his role mechanically, without passion, almost as though he were reading his lines directly from the script or sleepwalking through them. He is emotionally uninvolved in his character.

The revolutionaries in the picture are similarly unengaging characters. One has a hard time seeing how anyone could support their cause. This is chiefly because the movie does not do a satisfactory job of explaining who or what the group is fighting against. As a result, it is not clear with any accuracy just what the group is fighting for. The movie resorts to cliches here. We are supposed to believe that a Latin American dictator has been committing atrocities, but what effective recourse the revolutionaries have against him is never fully explained. The action that follows becomes muddled and the the motivations of the characters confused.

The one character who is neither confused nor mechanical is the honorary consul, played by Michael Caine in an outstanding per- formance. Charley Fortnum first comes across as a boozing has-been, but in the end, he is the voice of reason and humanity in the face of an insane, inhuman mess. His is also the voice of mercy in the picture.

"Beyond the Limit" may not be as thoughtfully developed as it should be, but it is interesting to see the film's producers try to convey the important moral message of the original novel. I give it two stars.

Runaway Bride (1999)

A Comedy for the '90s

[29 August 1999]

This comedy should be well appreciated by those familiar with '90s

popular culture. The film did not exactly appeal to my sensibilities, but it will be understood by many who are living the frenetic lifestyle typical of the current decade.

I refer to the lifestyle of forming lots of shallow or superficial relationships for poorly understood reasons. Maggie Carpenter is a woman who is completely clueless about her intentions. She has no idea of the direction in which she wants her life to go. Like a scared animal, Maggie lets fear alone guide her every time she approaches the altar. One wonders if this fight-or-flight response generalizes, for her, to every significant life decision. I suspect it does. One could characterize her thinking process as one of forming deep relationships for frivolous or ridiculous motives.

Maggie's notoriety as a bridegroom ditcher has become the subject of every rude joke in her hometown, an indication that her kind of acting out has spread through the town. This trend toward treating the serious decisions of life as though they were a rude joke is symptomatic of an essential mindset of the 1990s, in my opinion.

Be that as it may, it is clear that Richard Gere and Julia Roberts act well together. Gere's character's assertive approach is the perfect foil and challenge to Roberts' character's flighty disposition. Gere and Roberts have true chemistry together. The acting of the one complements the acting of the other. "Runaway Bride" is as good a Gere-Roberts vehicle as "Pretty Woman" was.

This movie will probably not be recommended by a priestly vocations director or someone seeking the wisdom and self-knowledge to make an intelligent life's commitment. But "Runaway Bride" will resonate with the vast majority of theatregoers who relate to the relativistic climate of the 1990s and the nobility of living without a goal; even if that style of life seems too directionless to be satisfying to the rest of us. I give the film two and a half stars.

The Haunting (1963)

First-rate Ghost Story!

[26 August 1999]

This film, based upon a tale by Shirley Jackson, reminds me a lot of

the classic novella by Henry James entitled "The Turn of the Screw." All the great elements of the spooky ghost story are there. You have

the same reputed yet unsubstantiated existence of ghosts in both

James' book and in this film. As in "The Turn of the Screw," this movie lets its audience decide if there are really any ghosts.

Much of what happens in "The Haunting" is, as in James, psycho- logical in nature. With conflicting psychological motivations, the

audience doesn't know who or what to trust. We are left in a state of

uneasy agnosticism about the supposed malevolent nature of the

house or beings inside it.

Praise to Robert Wise for deciding to film "The Haunting" in England instead of in the studio in Hollywood. As soon as I saw the exterior of

that mansion, I knew without being told that they had filmed this movie in England. I have never been "across the pond," let alone to England, but I have read enough Gothic novels to know about the superior

distinction of the English mansion as a haunted house. When I saw

the exterior of Hill House, it matched everything I've ever read about

these houses.

There is a solemn isolation to the English country estate--sometimes hundreds of miles from civilization--that adds a feeling of extraordinary eerieness and helplessness when humans are pitted against deter- mined, possibly malevolent ghosts. Wise's decision to film in England may have been dictated by budget restrictions. Filming in England, however, gives "The Haunting" superior character: it gives the film that extra touch of eccentricity and madness that would likely have

been unavailable anyplace else. "The Haunting" merits three and

one-half stars.

Wounded (1997)

First-class suspense!

[23 August 1999]

The best reason to watch this sleeper hit is for the duel of wits and wills between Amick's character and Pasdar's. They are more than just characters in this movie. They each represent values. Pasdar re- presents the cold-blooded, calculating ruthlessness of the hunter- competitor; Amick represents the compassion and thoughtfulness that blunts his unreflective violence. You don't have to be an animal rights activist or a feminist to be rooting with all your might for Julie Clayton as she struggles to outwit the trapper Hanaghan.

At the beginning, Julie is admittedly at a disadvantage in her battle with Hanaghan. She has been through the trauma of an attack in the woods and is wounded and weak. She's not only weak physically. She's weak psychologically as well. She has to overcome her own fear and co-dependency. She would nearly have died herself, were it not for a chance encounter with a veteran police officer, played well by Greene. He helps her marshal the courage necessary to outsmart Hanaghan.

To its credit, this movie resists the strong temptation to degenerate into a series of explosions and wanton gunfire once Hanaghan has found

Julie. He must outwit her. He must prevent her from having her say.

But he cannot afford to kill her. He is in her world and out of his own wild element. So it remains a battle of wits all the way through this movie. This is not John Rambo vs. the Establishment in the wilderness!

The movie succeeds on another level as well. Although Julie Clayton becomes more like Hanaghan as she confronts him, she doesn't become exactly like him. That is, she doesn't become the mindless killing machine that he is. She retains her compassion, her humanity and her sanity. She's as strong as he is on her own terms. This is a victory not just for herself but for human dignity, which she represents.

The year 1997 seems to have been a good year for movies, especially sleeper movies like this one. This is a little jewel of a movie! Whoever can should catch it on cable. It's worth three stars!!