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Hey_Sweden
Birthdate: September 25
I bid you...velcome.
I'm a shameless movie fanatic who especially favours the following genres:
Exploitation
Horror
Action
Comedy
Favourite directors include:
John Carpenter
Larry Cohen
George A. Romero
David Cronenberg
Ratings
Most Recently Rated
Lists
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Recommended Slashers
My favourite directors.
The movies I've enjoyed the most over the years.
Character actors I'm particularly fond of...
Foreign Horror I love
Under rated '80s horror gems
Reviews
Lakeview Terrace (2008)
A fairly decent thriller.
An on-the-rise inter-racial couple, Chris (Patrick Wilson) and Lisa (Kerry Washington) move into a nice cul-de-sac in a suburban neighborhood. Their next-door neighbor is veteran cop Abel (Samuel L. Jackson), a strict single parent who tries to impose his own rigid moral code on others. Unfortunately, the couple is constantly at odds with Abel, particularly since he does not approve of their pairing (even if he doesn't come right out and say it).
The result is a rather predictable thriller that's more about formula than nuance, leading to a standard ending for this sort of thing. Flaws in the screenplay & execution, however, are somewhat compensated for by a provocative scenario that proceeds to at least take a look at hot-button topics, if not fully explore them. The movie *does* possess an undeniable tension, born of awkwardness, all the way through. That make it riveting even with the drawbacks.
What really makes the difference is a typically intense & commanding performance by Jackson. In a late scene in a bar, you think maybe that Abel & Chris will patch things up, but no, it only serves to show us how deep-seated Abels' issues are. Wilson & Washington are appealing as the couple, and have a good chemistry. Solid supporting portrayals by Ron Glass (as Washingtons' father) and Jay Hernandez (as Jacksons' partner) also help.
In the end, this movie (supposedly inspired by actual real-life people) is a classic case of a story that works fairly well, and is at least reasonably believable, but still falls short of its potential. Too bad.
Seven out of 10.
Hill Street Blues: Nichols from Heaven (1984)
A truly top-notch episode.
The Blues continue to be ever-vigilant, while the cop-killing sniper remains on the loose. Unfortunately, Officer Marty Nichols ends up a victim, devastating Bobby. The sting operation continues, developing in interesting ways as the plots inter-connect. Frank is visibly shaken since his killing of the armed perpetrator in the previous episode was his *first*. And the domestic abuse case involving the Rutledges ends in a sadly predictable fashion - although, in a sense, justice *is* served.
It's touching to see this side of Frank, who unfortunately has to go through a VERY stressful 24 hours after his use of his weapon. It stresses the essential humanity of the character, as the best writing on the series would often do: reminding us that these characters are real human beings, and not superheroes. It is also nice seeing the compassionate side of Howard come out, as he offers words of encouragement. After all, it was such a powerful moment when he'd previously talked Mrs. Rutledge out of committing suicide.
Not that the whole story is this heavy; there's some welcome comedy relief as another kooky character comes along to lead the rats away, using the BAGPIPES! The rats then end up the problem of a fire hall! Another fun moment has Fay giving an obnoxious character named Jose a real dressing down.
All in all, an exceptional episode; even if it doesn't give your tear ducts a workout, it'll sure sober you up in a hurry.
10 out of 10.
Tales from the Crypt: Cutting Cards (1990)
"I've heard of giving someone the finger, but THIS is ridiculous!"
Lance Henriksen and Kevin Tighe are in top form here as Reno Crevice and Sam Forney, two hardcore gamblers. Each man wants to see the other out of his life for good, so they indulge in a series of extremely high-stakes games - including Russian Roulette and "chop poker".
A short (clocking in at less than 21 minutes) and not-so-sweet story, 'Cutting Cards' is indeed quite a bit of sadistic, darkly comic fun. Our two anti-heroes take turns getting lucky, and they are REALLY determined that one of them come out the ultimate winner in the end. So the games go on, and on, and on, until an absolutely hilarious "resolution" that should delight anybody who enjoys dark comedy.
One of the best TftC episodes to date, 'Cutting Cards' cuts right to the chase. Director Walter Hill also co-wrote the script, with Mae Woods, and they come up with real gems of dialogue. It's all well realized by Hill and his talented actors (also including character actor Roy Brocksmith ("Total Recall"), who was also in the previous episode, 'The Switch').
10 out of 10.
Night Court: Once in Love with Harry (1984)
"The body is ahead by 20 percent."
The main story line of this engaging episode has to do with prostitute Carla B. (Rita Taggart, "The China Syndrome") who thinks that she's in love with Harry. This is mostly due to the fact that *he* shows her kindness when most people do not. This leads to a fairly dramatic scene in Harry's chambers where she's stripped down to a bathrobe, and ends up surprising everybody who comes in.
The subplot has Dan running for a city council seat, and receiving a sound beating from an opponent who actually DIED two weeks ago. This leads to Dans' memorably priceless line, "I have stood next to death, and people liked him BETTER."
Given the series' formula, Harry is quick to show his compassionate side, and is able to reason with Carla, who's threatened to jump out the window. This doesn't sit well with the conservative Judge Willard (Jason Bernard, "Liar Liar"), who would *like* to induct Harry into the judges' "club" but feels that Harry's style is *much* too irreverent.
Ultimately, Harry is able to save the day and, at the same time, symbolically thumb his nose at Willard.
Some very funny lines from many of the principals make this another solid first season episode.
Seven out of 10.
The Twilight Zone: Mirror Image (1960)
Call it parallel planes or just insanity.
A very appealing Vera Miles plays Millicent Barnes, a young former secretary waiting at a bus depot (on a rainy November night) for the bus that will transport her to her new life. But, in true Twilight Zone tradition, she will have weird experiences that have her questioning her own identity - as well as troubling a stranger (Martin Milner) who sincerely wants to help her.
Writer Rod Serling tackles the metaphysical with this meaty and intriguing story that does well by giving us a fairly strong female lead. Miles is excellent as the fretful Millicent, who works hard to keep hysteria at bay while puzzling over her dilemma. Milner is likewise solid as the young man with the good intentions. He and the cranky old ticket taker (Joseph Hamilton) are of course dismissive of her seemingly outlandish ideas about alternate universes and doppelgangers, but by the end, Milner will find that he can no longer distance himself from what he thought was nonsense. The final big money shot is VERY amusing and memorable, and the special effect is pretty good for a 64-year-old TV episode.
John Brahm, who'd handled such genre pictures as "Hangover Square" and "The Lodger", and guided three previous episodes, including the legendary 'Time Enough at Last', directs this with his typical efficiency and flair for atmosphere. Overall, this is another sharp episode from TZs' landmark first season.
Eight out of 10.
The X Files: Ghost in the Machine (1993)
Scruffy minds don't commit murder.
Jerry Lamana (Wayne Duvall, "O Brother Where Art Thou?"), a former partner of Mulders', brings Fox in on an investigation into the death of a corporate bigwig. Nerdy, disgruntled tech wizard Brad Wilczek (Rob LaBelle, "Watchmen") would seem to be the obvious perpetrator, but the truth is crazier: the artificial intelligence that Wilczek has created has become sentient and is capable of eliminating anyone it perceives as a threat.
A good episode with a good premise, 'Ghost in the Machine' does call to mind previous movies about A. I. gone amok such as the "Terminator" series, "Demon Seed", and "Colossus: The Forbin Project". It's a time-honored hook, which remains relevant especially now, over 31 years since this episode first aired.
Good supporting performances include the typically solid Jerry Hardin ("The Firm") as Mulders' Bureau informant Deep Throat, who is consulted for advice and naturally warns Mulder about the lengths that "they" will go to to acquire technology such as what we see here.
Standout sequences include one in which Scully must obligingly clamber through one of those ducts we only see in movies & TV, and comes perilously close to getting sucked into a fan.
The ending will leave the viewer feeling just as cynical as the characters. Overall, there's plenty to think about in terms of the scripts' theme.
Directed by Jerrold Freedman ("Kansas City Bomber", "Borderline").
Seven out of 10.
Sons of Anarchy: Fun Town (2008)
The solution is always an equal mix of might and right.
Tristen Oswald (Liana Liberato) is the 13 year old daughter of a Charming community figure (Patrick St. Esprit) who sadly gets raped while attending the title carnival. The dad then asks the Sons for a favor: deliver the rapist to *him*, instead of to the law, so he can enact some brutal vigilante justice. The Sons also have a problem in that an IRA member (Kevin Chapman) who'd always delivered weapons to them before no longer wants to do business with them.
'Fun Town' is a real banger of an episode, in which I eagerly awaited the outcome of the principal story thread. I was not disappointed, even if the director & company didn't really *show* me anything. In the end, though, Clays' motive for getting involved is not purely out of some desire for justice.
The story thread about Jackson forgiving ex-girlfriend Wendy (Drea de Matteo) for their sons' situation was nice to see. Jackson admits he was practically as much to blame as her for what happened. They have some nice scenes together.
And 'Fun Town' is not without a priceless sense of humor: when gang member Juice screws up a job, they punish him in an embarrassing and public manner that gave me a real laugh.
As the episode draws to a close, we can see an ATF agent (Jay Karnes) closing in on our anti-heroes, so the tension will only increase from here.
Eight out of 10.
Spider-Man: Spiderman Battles the Molemen (1968)
Decent enough for a rehash.
Here, you can see for the first time just how much the low budget was affecting episode construction by basically rehashing the previous episode, 'Menace from the Bottom of the World'. Spider-Man is once again battling the nefarious Mole-Men, still out to reclaim the riches of the surface people, but largely out to get revenge on Spidey.
The episode may have some truly excellent, truly groovy music, but it *does* re-use a number of shots and scenes from its predecessor. Still, it has enough differences to not feel like a *complete* carbon copy, much like a number of future episodes.
It's still fun, with Spidey still forced to deal with a variety of underground-dwelling monsters. The feisty warrior "elves", in particular, are just hysterical, especially when they swarm over Spidey and are tugging at his costume.
However, if you've already seen 'Menace from the Bottom of the World', you're not missing much if you skip this one.
Seven out of 10.
Star Trek: Day of the Dove (1968)
"Only a fool fights in a burning house. Out!"
This rock-solid episode of season three has an Enterprise landing party investigating the supposed destruction of a colony, only to end up at the throats of a Klingon crew whose own starship came under attack. It seems that some outside force, once again, is manipulating the course of events, intent on getting Kirk & company to give in to their basest emotions and go to war with this bunch of Klingons.
This is simply a very FUN episode, with lots of believable tension and one irresistible hook: is it possible to actually *reason* with a Klingon? The commander in question is a swaggering force of nature well played by a charismatic and forceful Michael Ansara. The intelligent script does make the viewer think about the human (or non-human, as the case here may be) proclivity towards violence & hostility. In the end, Kirk & Kang MUST come to terms as the Enterprise is, again, pushed to its breaking point so that the two opposing sides are locked in combat for forever.
Susan Howard is also excellent as Kangs' wife Mara, whom Kirk is able to convert to the common cause. But will they be in time to get the ship back to normal?
In the end, it was both very amusing & heartening to see both sides sharing a big laugh as the episode wraps up.
Ansara is definitely one of the strongest series antagonists to date, and he makes his role one to remember.
Eight out of 10.
Three's Company: Jack the Ripper (1979)
K: kollect your rewards!
Ever-smiling, ever-sleazy Dean Travers (William Pierson, hilarious as always) tries to manipulate Jack into preparing a dinner for free. Jack meekly acquiesces, then feels resentful at his own lack of assertiveness. Then Janet tells him about a psychiatrist (Joel Brooks) who schools patients in the fine art of standing up for oneself. The result: the shrink creates a monster of sorts, as Jack proceeds to dominate Janet & Chrissy and attempts to over-ride all their decisions.
Overall, 'Jack the Ripper' is a wonderfully funny episode, with some true standout scenes in Dr. Prescotts' office. Prescott in particular is such a cheesy hoot, wearing his shirt open and exposing all his chest hair. Adding to the mirth is Furley, who wishes to be able to stand up to HIS overbearing brother Bart. The result is a hysterical scene with Jack & Furley barking at each other! ("BARK" refers to Prescotts' manta: B, Be somebody, A, Act like somebody, R, React like somebody, and K, Collect your rewards. When Jack points out that the word collect begins with a C, the doc quips, "Yes, Tripper, but that would spell BARC."). The best part of the barking match is the way that Janet gets it to stop by yelling HEEL! At Jack & Furley.
'Jack the Ripper' is fun from beginning to end, even if Larry doesn't show up at all and Lana only appears briefly to give us an example of how meek Furley can be.
Eight out of 10.
Nemesis III: Prey Harder (1996)
It has its moments, but not enough of them.
Alex (Sue Price) has ended up stranded in the East African wilderness, and she has no idea how she got there. Soon encountering the obviously not-to-be-trusted "Farnsworth 2" (comedian / B movie icon Tim Thomerson), Alex ultimately flashes back to the previous 22 hours, in which she had learned that she has almost two dozen half-sisters who wish for her to return to 2077.
The screenplay is potentially quite confusing, but it's clear that writing is not B movie veteran Albert Pyuns' strong point. Mostly, he sets up some undemanding low-budget genre nonsense, with some decent action & explosions, a barrage of tacky visual effects, a solid music score by Tony Riparetti, and a welcome sense of humor.
Prices' acting improves a bit from the previous sequel, but her real asset remains her incredible physicality. Thomerson, as always, provides an excellent villain, and Pyun repertory player Norbert Weisser is likewise fun as a wise-cracking mercenary. The real highlight is the pair of camp performances by Sharon Bruneau & Debbie Muggli as two lookalike, blonde wig-wearing cyborg goons. They have good chemistry and get some good laughs.
Overall, this wasn't as entertaining as the previous movie with Price, and only truly die-hard lovers of this kind of techno-cheese may really get into it.
Five out of 10.
All the Pretty Horses (2000)
"I guess you can believe what you want to."
Scripted by Oscar-winning screenwriter Ted Tally, from the novel by Cormac McCarthy, "All the Pretty Horses" is a pretty good, involving tale of cowboys hitting the trail in 1947. John Grady Cole (Matt Damon) has nothing to stay in Texas for, so he & his best friend Lacey Rawlins (Henry Thomas) ride their horses to Mexico. There, they find work as horse wranglers for the very rich landowner Rocha (Ruben Blades).
Coles' passion for the landowners' lovely daughter (Penelope Cruz) could lead to trouble for them, but what really seals their fate is their relationship with a troubled kid named Jimmy Blevins (Lucas Black).
A solid tale from director Billy Bob Thornton (whose original cut, he says, came in at around 42 minutes longer), this doesn't measure up to his film "Sling Blade", but it's an appreciably passionate ode to the cowboy life. It does admittedly get melodramatic at times, but has an interesting stretch where Cole, Rawlins, and Blevins are forced to spend time in a seedy Mexican prison, presided over by a very corrupt police captain (Julio Oscar Mechoso).
With a score co-composed by country star Marty Stuart (who also sings the touching end credits song), and exemplary widescreen photography by Barry Markowitz, "All the Pretty Horses" may have missed its chance for true greatness (and it was a huge bomb back in its day, unfortunately), but it's still an entertaining film for Western fans. Thomas is a standout, although Black does tend to steal a number of his scenes.
Some of the cast members (Bruce Dern, Sam Shepard, and Robert Patrick) are in it only very briefly, but they help to make this journey worthwhile. It *would* be interesting to see that original Billy Bob version, of which he says he still has possession.
Seven out of 10.
30 Rock: Pilot (2006)
Market research, Lemon. Market research.
Tina Fey, a woman who knows her way around comedy, was the brainchild of this series which tells the story of a 'Saturday Night Live' type comedy / variety series, 'The Girlie Show', forced to undergo some changes by an interfering network executive Jack Donaghy (Alec Baldwin, in typically fine form). Jacks' big idea is bringing in flaky movie star Tracy Jordan (Tracy Morgan, another SNL alumnus) to appeal to the "males from 18 to 49" demographic.
Personally, I thought this debut episode was pretty good, although I can believe that the series would only get better from here. I still find a fair amount of the lines & bits genuinely worthy of laughing out loud, although I can sense that this *was* a series trying to find its footing at this point.
Overall, the cast is great, especially Baldwin, who's perfected this sort of act for years. Jane Krakowski is of course very gorgeous and easy to watch as the star of this 'Girlie Show'. Rachel Dratch, who was originally supposed to play this role, and dumped after the first attempt at a pilot, gets relegated to "guest star" status as the cat expert. Tina herself is great as the head writer forced to deal with all of this chaos.
Again, I actually enjoyed this pilot for what it's worth, and look forward to more laughs in the future.
Seven out of 10.
Spider-Man: Diamond Dust (1968)
Monkey business.
Peter is trying to shake his bookworm image by winning a spot as a relief pitcher on his colleges' baseball team. But, while this is happening, a gang of thugs, led by an impeccably dressed gentleman with an English accent, enter the nearby museum dressed as gorillas. They intend to make off with a very valuable diamond, and they start a major commotion at the zoo to create a distraction.
A very fun episode with a welcome return to some sense of "realism", this is still hilarious for the way that the episode treats the escaped gorilla. They give him very human-sounding roars, and constantly have him thumping his chest. Here, you can also see just how budget-conscious this series can be by having a "running / screaming crowd" depicted by the same ten or so people played on a loop. There is also more of that undeniable padding as, since these events are all supposedly taking place in fairly close proximity, there's no *reason* to have so much time devoted to shots of Spidey swinging around the city.
In any event, the music is wonderful as always, and it's nice to see Peter actually be a winner for once at the conclusion.
Seven out of 10.
Hill Street Blues: Ratman and Bobbin (1984)
A potent and, at times, deeply affecting episode.
Henry is concerned that Frank is not reacting well to the fact that Henry is now dating Fay, and it's affecting the way that Frank treats the both of them. And all of this while A) rats are running loose in the precinct, B) an operation is underway to expose a trio of corrupt vice detectives, and C) a psychopath is running around the city gunning down cops in cold blood.
'Ratman and Bobbin' is sadly the first episode of the series without the steadfast Michael Conrad, a.k.a. Esterhaus, who'd passed away from cancer the previous November. This time, Henry takes care of the roll call duty.
There are some very touching moments, such as poor Joyce having to reveal a painful fact to Frank while the two of them are out house-shopping. Also, Andy realizes that he's hurt his girlfriend Daryl Ann (Deborah Richter, "Cyborg") after venting on losing out on purchasing a choice new motorcycle. So he gifts her with the remaining money.
Among the comic highlights are the sight of Mick in drag as he goes undercover as a bag lady, and the prospect of accordion-playing exterminator Monty DiMair (Ron Rifkin, "L. A. Confidential") saying that he can lead the rats away a la The Pied Piper.
Overall, a real bang-up episode with Frank noticing an armed robbery in progress while driving with Joyce, upon which he pulls his piece and blows the robber away.
Other top guest stars include Joe Pantoliano ("Midnight Run"), Vincent Baggetta ("Two-Minute Warning"), Dana Gladstone ("The Presidio"), Harrison Page ('Sledge Hammer!'), Fred McCarren ("The Star Chamber"), Richard Kuss ("Warlock"), and James "Uncle Phil" Avery; the episode was directed by Richard Compton, of "Macon County Line" fame.
Eight out of 10.
The Egg and I (1947)
"Why, I could write a book."
Fred MacMurray is a delight as a war veteran who decides to chuck his current job for life as a chicken farmer. He's very dedicated to this idea, and his loving wife (Claudette Colbert) is ready to be supportive of this lifestyle change. She DOES get off to a rough start, but soon the two of them are thoroughly adjusting to life on the farm, and all of its details.
"The Egg and I" is a very entertaining comedy, with a lot of hilarious slapstick in its first half. It does turn more serious in the second half, as a fire threatens to destroy everything that Bob & Betty have worked for, and SHE has to worry about having him possibly stolen from her by a pretty neighbor (Louise Allbritton) who also runs a farm.
Fred & Claudette are completely endearing as this couple going through these wacky misadventures. In fact, his unbridled enthusiasm for his new life is pretty infectious. Thanks to them, we get totally invested in the couples' story and are rooting for them every step of the way.
All of that said, the true enduring quality of this hit comedy is due to the scene-stealing performances by supporting players Marjorie Main and Percy Kilbride, who were such a hit as riotous farmers the Kettles (complete with a brood of 15 kids!) that they ended up *headlining* their own nine-film series (although there *were* two entries without Kilbride).
A strong supporting cast (also including Richard Long, Billy House, Donald MacBride, Samuel S. Hinds, Esther Dale, Elisabeth Risdon, and Fuzzy Knight) helps to make all of this go down very easily. The extremely alluring Allbritton is particularly pleasant to watch.
Based on a book by Betty MacDonald, the inspiration for Claudettes' character, "The Egg and I" is both very appealing and very, very funny, and would be good viewing for a family audience.
Eight out of 10.
Nemesis 2: Nebula (1995)
Derivative, but passable.
It's 73 years after Alex, the Olivier Gruner character, failed to prevent the Cyborgs from taking over, and now the future is a desolate ruin. But human scientists develop a super-human infant. The baby & her mother escape back to civil war-torn 1980 East Africa, where the kid grows up to be an extremely athletic member of a tribe, and is played by bodybuilder Sue Price. Then the girl is hunted by a Cyborg bounty hunter named "Nebula" (played by future "John Wick" series director Chad Stahelski).
Written & directed by Albert Pyun, who helmed the first film, this along with the next two sequels is intended to tell one very long story. The movie is overall fairly decent, essentially amounting to a chase story in which Nebula acts very similar to the Predator. Pyun does indeed borrow from other movies such as "Predator" and "Terminator 2" to spin this yarn.
It's paced fairly well, has some good action in it, has a non-stop supply of expendable baddies, is violent without being that gory, and has some amusing visuals. (It does work better when we can't see Nebula clearly, when it does become clearly visible, it looks awfully cheesy.) Much of the acting, like the movie itself, is passable; Price certainly has the musculature to make for a decent action hero even if she is predictably not much of an actress.
Overall, this is nothing great, but people looking for a cheap & cheesy sci-fi action movie for the evening COULD do worse.
Five out of 10.
Spider-Man: Menace from the Bottom of the World (1968)
"I feel like someone in Jules Verne."
'Menace from the Bottom of the World' is a truly goofy outing for Spidey, as the web-head learns that banks are mysteriously "disappearing". And it's true, they're being sucked right down into the Earths' core. Spidey investigates - after hassling some of the local wildlife - and finds a society of subterranean creatures determined to take back riches which they feel were stolen from them by the "surface people".
Here's where the utterly daft era of Spider-Mans' initial TV adventures begins. The first four episodes of this second season were at least rooted in *some* sort of reality. Here, that's all gleefully tossed out the window as Spidey must save himself from either being snacked on or otherwise killed by a variety of monsters.
And the Mole-Men are very damn funny as well, as they completely bungle their attempts to seize Spidey. He is able to make one of them run headlong into a pole when he deftly steps aside at the last moment.
Complete with an amusing revelation regarding the leader of the Mole-Men, this episode proves to be utterly engaging nonsense. The best aspect *has* to be the excellent soundtrack, in particular the track "Discothik" that plays out around the nine-minute mark. That organ!
Seven out of 10.
For Your Eyes Only (1981)
A good "back to basics" entry in the series.
British super-agent James Bond (Roger Moore, in excellent form as always) must retrieve a valuable ATAC transmitter that would be extremely beneficial to foreign powers. While on his mission, he is sometimes reluctantly partnered with Melina Havelock (Carole Bouquet), a young woman wanting revenge for the death of her father.
After a series of Bond outings that had become increasingly silly & outlandish, the makers of this entry, led by debuting 1st unit director John Glen, opted for a "minimalist" approach. The result is not one of the best Bonds, in my humble opinion, but is a respectable attempt to keep the plot & the action grounded in some form of reality.
One of the mostly hotly debated entries of the series - even among loyal Bond fans - "For Your Eyes Only" *does* have the expected array of appealing exotic settings (being partly set in Greece) and expertly executed action scenes, whether set underwater, in the air, or on ski slopes.
Bouquet is a *gorgeous* woman, albeit not much of an actress, but does possess an alluring presence worthy of a Bond girl. Strong support is provided by Julian Glover, Topol, Jill Bennett, Michael Gothard, Jack Hedley, James Villiers, Geoffrey Keen, and Walter Gotell. The scenes with Desmond "Q" Llewelyn and Lois "Miss Moneypenny" Maxwell are great fun as usual. The intoxicating Cassandra Harris, late wife of future Bond Pierce Brosnan, plays Countess Lisl, and Charles Dance made his feature debut as one of the henchmen. I definitely could have done without the annoying figure skater character (Lynn-Holly Johnson), however.
"For Your Eyes Only" is a well-designed, well-shot, and sometimes genuinely rousing Bond adventure, with Bonds' scaling of a cliff wall a major highlight. It does have the sense of humor common to a lot of the Moore Bonds, complete with an utterly daffy ending people have to see to believe.
Overall, it's a good time for this fan of the series.
Seven out of 10.
Thelma & Louise (1991)
"You get what you settle for."
The memorable "Thelma & Louise" is a potent and interesting road movie in which the title gal pals (Oscar nominees Susan Sarandon & Geena Davis) intend to have a vacation of their own without any guys present. But a fateful incident at a honkytonk establishment turns them into fugitives from the law, and Thelma & Louise have to make some critical decisions as to their course of action.
Fueled by a powerful and pointed screenplay by Oscar winner Callie Khouri, "Thelma & Louise" is stirring entertainment in which it was always easy (for me, at least) to be on our protagonists' side. Although not necessarily an "anti-male" story, there aren't many genuinely good men in this story. Most of them are seriously flawed in one way or another. So it's understandable that the gals operate out of a sense of mistrust. And when they're forced to escalate their crimes - including armed robbery - it makes sense since they haven't had much *choice* in the matter.
Directed with compassion and his typical style by Ridley Scott, this is extremely well shot in widescreen by Adrian Biddle, who takes full advantage of the expanse of the rural vistas. Hans Zimmers' score is one of his better ones, and the supporting cast reads like a who's who of talent: Harvey Keitel, Michael Madsen (bringing some nuance to his role of Louises' boyfriend), Christopher McDonald, Stephen Tobolowsky, Timothy Carhart, Lucinda Jenney, Jason Beghe, Marco St. John. The two leads are predictably wonderful, with Brad Pitt as the true breakout star of the production. He leaves quite the impression as the genial, studly outlaw who schools Thelma in the fine art of "gentlemanly" armed robbery.
The film is involving from start to finish, and doesn't feel overlong even at two hours and 10 minutes; the ending is both downbeat & triumphant at once, insuring that "Thelma & Louise" has remained in the public consciousness for over 30 years now. The lead performances and Khouris' perspective have given it an edge over other, similar "crooks on the lam" road pictures of the past.
Eight out of 10.
Sh! The Octopus (1937)
It's weird, it's wacky, it's wonder-fool.
Bumbling police detectives Kelly (Hugh Herbert, "Goodbye Again") and Dempsey (Allen Jenkins, "Destry Rides Again") get trapped inside a "haunted" lighthouse with assorted other characters. They are subsequently menaced by a criminal mastermind dubbed "The Octopus" as well as an actual cephalopod.
A true odd duck of a B movie, "Sh! The Octopus" is primarily a comedy, but is also a mystery with elements of horror as well. It attempts to go far on the wacky hijinks of Kelly & Dempsey, and, although some viewers may find it much too silly, it *does* deliver some real laughs - as well as decent atmosphere.
It also has a hilariously phony-looking octopus with which Kelly tussles underwater, and a very impressive transformation effect once the human villain is revealed. (This technique was also used in the 1931 version of "Dr. Jekyll and Mr. Hyde".)
The cast does a good job, with George Rosener ("The Secret of Treasure Island") stealing the show as a stereotypical crusty old sea dog. Herbert & Jenkins are an amusing if not exceptional comedy team who do have some good moments together.
A decent little diversion obviously derived from the stage, with a priceless ending. My favorite aspect was the fact that only some of the characters are who they say they are!
Five out of 10.
The Assassination Bureau (1969)
Life is a precious thing.
Diana Rigg plays Sonya Winter, a journalist with an agenda in the early 20th century who contacts the title murder-for-hire organization, wanting someone dead. The young boss (Oliver Reed) is initially aghast when she reveals that it is HE whom she wants dead, but his shock turns to intrigue when he realizes that a good cat-and-mouse game between him and his associates could be good for weeding out the incompetents. Then he learns that some of his associates are interested in politically motivated crimes.
Designed, produced, and scripted by Michael Relph, based on an idea in a novel began by Jack London and finished by Robert L. Fish, "The Assassination Bureau" is an agreeably daft time waster. It has a great, classic sense of farce for a while, and is quite lively and humorous at first. Only in the second half does it lose some momentum and get more bogged down in plot.
But this has such an engaging, eclectic international cast that it ends up as a very watchable bit of nonsense. It's a treat to see Reed give such a *fun* performance, and Rigg is his match as the feisty woman who's gotten in over her head. Also making appearances are Telly Savalas, Curd Jurgens, Philippe Noiret, Warren Mitchell, Beryl Reid, Clive Revill, Vernon Dobtcheff, Annabella Incontrera, Kenneth Griffith, Jess Conrad, and George Coulouris.
This *does* have a gleefully unpredictable quality, with Reeds' swashbuckling protagonist often unflappable in the face of danger.
"The Assassination Bureau" might be too silly for some folks, but I had a pretty good time with it. Yes, it's lightweight and forgettable in the end, and goes on a bit long, but is overall a genially tongue-in-cheek affair, and must viewing for fans of Rigg & Reed.
Seven out of 10.
Ernest Scared Stupid (1991)
The spooky season, done Ernest style.
"How about a bumper sandwich, booger lips?"
Madcap comedy hick Ernest P. Worrell (the late, great Jim Varney, in typically fine form) is a sanitation engineer in the small town of Briarwood. In his attempts to help his kid pals build a super-duper treehouse, he chooses exactly the wrong tree. In so doing, he manages to resurrect a dastardly troll (Jonas Moscartolo) from its Earthly tomb. Despite his lack of smarts, he must help to save the day when the town ends up inundated by the troll and HIS pals.
Although many adults may assert that the character of Ernest is very much an acquired taste, his films are usually a pretty safe bet for a younger audience. There is a certain harmless, if utterly goofy & silly, charm about them. Certainly Varney was a real talent, and here he gets a chance to portray different characters in a rapid-fire manner.
While "Ernest Scared Stupid" might be a little too spooky for the youngest of viewers (those creature effects by the Chiodo brothers are amusingly gross & imaginative), some family members are sure to have a good time. Director John Cherry, an old hand at the Ernest movies by this point, keeps it all pretty lively and moving along well to its chaotic conclusion. The child actors are appealing, and for adults of a certain age there is the added attraction of special guest star Eartha Kitt playing aged witch Old Lady Hackmore.
Perhaps the brightest bit is the opening credits sequence, with Ernest reacting to clips of various black & white horror movies, ranging from cheese such as "The Brain from Planet Arous" to a true classic in the form of the original "Nosferatu".
Six out of 10.
Bride of Re-Animator (1990)
"My God. They're using tools."
Drs. Herbert West (Jeffrey Combs) and Dan Cain (Bruce Abbott) are back doing what they do best, after having survived the massacre in the first "Re-Animator". They finish a stint as volunteer medics in a civil war in Peru, whereupon they end up as doctors back at Miskatonic Hospital.
Spending a fair amount of their time splicing together various bloody body parts (the crawling eyeball is a highlight), their ultimate goal here is of course Wests' brainstorm: creating "life" by creating a "bride" that will house the heart of Dans' deceased girlfriend Meg.
Although understandably not as "fresh" as the first film, director Brian Yuzna (who'd produced and "presented" "Re-Animator"), this is a game attempt to keep its spirit alive. "Bride" is a lively, often very funny horror-comedy with an enjoyable farcical sense: situations will frequently go from bad to worse to untenable during Herberts' and Dans' misadventures. The makeup effects & gore are just as outrageous and nasty as one could want. (Seeing the unrated version of this would be advised.)
Combs is once again hilarious as the pompous, demented instigator, while Abbott continues his fine work as the "straight man" to his partners' antics. (Dan may often take exception to Herberts' ideas, but in the end he always goes along anyway.)
David Gale also reprises his role as the "living" severed head of Dr. Carl Hill (and he's as priceless as before), while new cast members include Claude Earl Jones as a tough-guy police lieutenant with a personal connection to the case, Fabiana Udenio as Dans' new love interest, Mel Stewart as a pathologist who does some fateful "fiddling around" with the "Re-Agent", and Kathleen Kinmont as a terminally ill girl who will eventually become part of the Bride.
This flamboyant, sadistic sort-of homage to "Bride of Frankenstein" may not be in the same league as its predecessor, but it's still a pretty good sequel just the same.
Seven out of 10.
The Bride of Frankenstein (1935)
Here's to a new world of gods and monsters.
This justly famous sequel to the original horror classic begins in clever enough fashion, as author Mary Wollstonecraft Shelley (Elsa Lanchester) tells her husband Percy (Douglas Walton) and their friend Lord Byron (Gavin Gordon) that the stories of Henry Frankenstein (Colin Clive) and The Monster (Boris Karloff) are not yet over, as she regales them with this fantastic tale of humor & horror blended.
Henry, who has survived and now looks back on his actions with regret, is approached by an even madder associate, Dr. Pretorious (Ernest Thesiger, just wonderful), who convinces Henry that a mate, or "bride", needs to be created for The Monster. Meanwhile, The Monster goes on a rampage during which he spends some time with a blind hermit (the endearing O. P. Heggie).
The delightful sequence with the blind man (later spoofed in "Young Frankenstein") and the final, lively creation sequence are the major highlights of a sequel that goes in a slightly different direction, opting for more of a camp feel. The result is a film that's absolutely hilarious at times. This admittedly may not appeal to some horror fans, but for me it made the film a Hell of a lot of fun.
It's all acted to perfection, and director James Whale once again brings a real sense of style to the proceedings; he wasn't interested in doing a sequel unless he could do it on his own terms. Karloff is again great as the Monster gets humanized more (although this is more in keeping with his depiction in the novel), even learning to speak a variety of words. In the end, The Monster is a being wanting mainly food, comfort - and a friend. Lanchester does double duty, also playing the briefly seen Bride, and one might wish that the film were just a bit longer so we could see more of her. Una O'Connor again does her particular brand of scenery chewing, and a young John Carradine can also be seen briefly as one of the hunters that shows up at the hermits' hut.
One of the most entertaining sequels ever made, this even goes so far as to surpass its predecessor.
Nine out of 10.