After her family moves to an old house, a 14-year old Milly encounters Eric, a young boy shut in his own world.
Soon after befriending him she begins to wonder if there is more to this boy and in his obsession to paper planes and flying, than meets the eye. Two separate site plots follow Milly’s mother struggling to get back to the now-computerised 80s work life, as well as her brother’s struggle with the neighbourhood bullies.
The Boy Who Could Fly is a brief and likeable peek into the life of a suburban family encountering wonderful events, most of which I unfortunately struggled to identify with.
I’m not quite sure if it’s an accidental or intentional, but Island Claws is a flawless homage to the 1950s gigantic monster movies.
In fact, it totally looks and feels as if some old black-and-white movie had been AI coloured posthumously. The small village, idyllic little bar, main male leads and the research faculty are all charmingly familiar.
It’s therefore a shame such a nice set up is wasted on a totally average monster movie. I would’ve much preferred seeing some kind of a thriller/drama taking place in this same setting, instead of this low-quality monster nonsense.
One of those dystopian wasteland movies, The Sisterhood brings very little new to the table but slightly improved production values over its early 80s counterparts, but still clearly falling behind of the fidelity seen in the Mad Max series of movies.
Here we follow a clique called The Sisterhood that possesses supernatural powers as they make their way through the wasteland trying to free the women captured by the evil tribes of the desert.
The movie consists mostly of driving sequences, shot in a sand pit of some sort with vehicles quite lazily modified of their 1970s and 1980s originals.
Smithereens is a low budget in the production depicting a young girl in the early 80s New York punk scene who’s determined she is destined for greatness, despite lacking any talent to make it.
Instead, she tries to hang around local small time music celebrities and makes one bad choice after another that cost her her apartment, friends and generally always seem to take her further away from recognitions she’s after.
I found the movie slow and mostly uninteresting to watch, but it did stick with me later on, thanks to its sincerity, and quite original plot – so, not a total stinker.
I keep of finding the oddest movies I at first don’t remember watching before, but throughout the movie I have this nagging feeling I’ve seen them before. With Immediate Family this became apparent as soon as Mary Stuart Masterson was introduced as a teen mother giving her to-be-born child for adoption to a couple unable to bear children of their own.
A movie about teenage pregnancy as much as dealing with infertility, Immediate Family plays just the right notes throughout the movie, but for some reason the movie ends up less than the sum of its first class parts.
Out of the alcoholic consuls stuck somewhere in the Southern America (Beyond the Limit being the other one), Under the Volcano makes for a stronger contestant.
Although quite different kind of beasts, what both movies have in common on top of heavy drinking is the highly volatile political situation. But with Under the Volcano the emphasis of the thriller and drama elements are more on whether the main character will manage to overcome his alcoholism and demons in the moment when happy ever after is being served to him on a silver platter.
What really makes Under the Volcano is the outstanding performance by Albert Finney whose work as the highly intellectual and sympathetic consul Firmin is often over the board, but never even closely forced nor insincere.
The weird coincidences the I come across watching all these 80s movies never seize to amaze me: I watched two movies about alcoholic Consuls stuck somewhere in the South Africa almost back to back.
Beyond the Limit is the weaker one of these and it being of British origin it was one of those movies I was on the verge whether I should include it to this movie watching project. Ultimately it was Richard Gere, playing a callous doctor who lusts after the Consul’s (Michael Caine) young wife.
While the movie manages to find a captivating tone of voice during its run time, it’s the final surprising and interesting events that fortunately redeem many of the movie’s shortcomings during the last 20 minutes.