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.
Portraying a bunch of American soldiers imprisoned in the Viet Cong Hỏa Lò prison during the 1960s and early 1980s, Hanoi Hilton turns a tremendously potent set up into a lot lukewarm and mostly an interesting depiction of soldiers forgotten by the war, and their country.
The movie follows many soldiers, but never quite stays long enough with one, or gets under their skin to make us really root for them. Everything from torture to mind games never quite seems to touch, and the made for television look & feel coupled with a strong shot inside a studio feeling does not really add to the authenticity.
Maybe if the approach would’ve been even more daring – like sharing one single cell all through the movie with a prisoner – we could’ve gotten a better sense of what was it like to locked up with no human contacts.
Just when I saw Martha Plimpton in a swamp themed movie, I came across The River Rat that precedes that movie two years and yes, is also about people living in the wetlands. And sure, one could make an argue for The Mosquito Coast being a distant relative to the both.
Here young Plimpton plays Jonsy, a foul-mouthed kid living with her grandma that tries to connect with her dad (Tommy Lee Jones), fresh out of jail for the first time in her life. The two find some common ground as they refurbish River Rat, an old river boat.
The past returns to haunt the ex-jailbird in the form of Brian Dennehy, and it’s a pleasure to watch these two veteran actors together. Although not much of a thriller, I did enjoy how the movie played out without going down the most obvious route.
A spiritual predecessor to Requiem for a Dream, Track 29 follows a downward spiral of one relationship and a woman, married to a narcissistic doctor who enjoys his model railways and getting whipped by one of her nurses.
As you might’ve guessed, Track 29 is one of those weird movies that are as detached from the reality as its characters. Rather than a drama, it’s one of those super dark comedies that really doesn’t make one laugh, even once.
I was excited to see Gary Oldman as one of the leads. I guess you could say he performs his part as the annoying ghost of the past so well that I loathed him already in a few minutes, which again made sitting through the movie far more unenjoyable than it should’ve been.
What Resurrection has going for it is an interesting premise where a woman discovers she has developed a healing powers after getting nearly killed in a car crash. How the movie handles dramatic structure after this is bit of a hit and miss though.
Her self discovery after the accident, first realisation of the power, relationship with the community and difficult relationship with her father are all very interesting themes, but the latter two could’ve been explored much further. Instead the story drifts off to involve her difficult relations ship with her lover along with religious themes that are far less interesting.
Ellen Burstyn has been flying totally under my radar despite her winning the Oscar for best Actress in academy awards on 1975 with Alice Doesn’t Live Here Anymore. In Resurrection she is simply wonderful, portraying a person with warm supernatural power in her without overdoing or overselling it one bit.
Sometimes watching a movie without reading the covers can be beneficial. Judging by its name, with Making Love I expected to get a typical daring early 80s, post sexual revolution romantic drama with painful emphasis on the constant love making, but what I got instead is a study into one married man’s journey to coming into realisation of his homosexuality.
Most of the movie and the drama in it is still very relevant, even though the movie is almost 40 years old. The way that the movie portrays the love of the two leads is particularly beautiful, and the moment of them having to let go of each other is truly heart breaking.
Featuring one of the most interesting synopsis’ I’ve encountered in the recent years, Face of the Enemy is a low budget drama thriller about a former CIA agent who after getting caught and tortured in Middle-East has since returned to home and working as a guard, until he one year recognises someone who he suspects is one of his captors that has since moved to the states under different identity. After the officials decline any help he takes the actions to his own hands and decides to prison the suspect to his cellar and force out the confession out of her.
With Face of the Enemy the director Hassan Ildari has managed to create an intriguing little thriller with minimalistic elements. The trip to the depths of the human psyche is dark and interesting from the start to the end, but Face of the Enemy in its 100 minutes of running time does very little but scratch the surface of what could be hidden underneath; this is one of those concepts that would’ve probasbly worked even better as mini series.
That, or a novel.