Even before I started to watch Ratboy, I had a feeling that it was going to be something exceptional. But little I knew that it was going to be exceptionally bad.
And bad it is, oh boy. I would go as far as to say that out of the 1657 80s movies I’ve watched so far this one is the worst. Sondra Locke is apparently the primus motor behind this train wreck of a movie, starring in the lead role and sitting on the director’s chair, and for both parts she fails miserably putting on one of the least likeable characters ever and acting like it was a chore for her, and not being able to find any gold nuggets from Rob Thompson’s script. Maybe there was nothing there to be found – I don’t know – but at that point it could’ve been a better call to go for another script instead.
If there is anything good about the movie is the way it never manages to show its main character favourably like these kinds of movies usually do; having a heart of gold, or some other supernatural skill that makes him exceptional for the viewer. He is just a small man with glued on rat like features who enjoys living in dirt, is not that bright, farts, panics and gets angry easily (resorting to even beating up two women with a stick).
Ratboy is one of those movies that just leaves one scratching their head wondering what kind of reasoning got this project greenlighted, funded and cast with a relatively well known actors. Was there never anyone in the project team with the guts to stand up to say what we are doing here might ultimately be a just a huge waste of celluloid?
Sometimes the story behind a movie is more interesting than the movie itself. I was at first put off by the fact how The Aurora Encounter had cast one Mickey Hays based on his appearance caused by progeria to portray the role of an alien out of space, until I learned that it was actually Make-A-Wish Foundation that had made Mickey’s dream come true to get to act in a Hollywood movie.
Now, for the movie itself, it’s another prime example how much further ahead the marketing and art departments ofter were to the movie crew itself. The poster art is absolutely stunning, with a great promise of an engaging scifi adventure.
What you actually get is haphazardly made western where a space ship quite obviously held by crane and often visible wires lands and takes off, with the alien stepping out, visiting and scaring a few people. It’s tediously boring thing to sit through, with no real engaging plot going for it.
King Kong got a pretty ok reboot in the 1976 Dino De Laurentiis remake starring Jeff Bridges, Jessica Lange and Charles Grodin, and ten years later King Kong Lives tried to pick up where the previous movie left by introducing a female counterpart for the colossal gorilla, but without the star power of the previous installation.
Movie fails to utilise neither one, and the apes themselves could be passable for late 80s, early 80s release, but by 1986 the audience had been already spoiled with the next wave of special FX and King Kong Lives absolutely can’t keep up in this race, and feels like a relic from the past with absolutely no value for the viewers of today.
A fictional tale loosely based on African-American jazz musicians’ life and influence in late 50s Paris, Round Midnight feels an exercise too keen on substance and being accepted as a cool cat piece of French cinema.
Although I understand the intention for going for an atmosphere that can be sold to American cinema goers, it all frankly feels far too clichéd to be taken seriously: dark, smoke-filled rooms, a gloomy and dark Paris where it always rains, and characters (despite of battling with serious personal problems, like alcoholism) that feel naïve caricatures instead of actual persons.
The musical pieces composed by Herbie Hancock and performed by a bunch of skilled musicians are the best aspects of the movie, hands down. As I enjoyed the jazz pieces, but not so much the interludes between them, I could not but to think that for the selected fictional style of the movie it would’ve been better to go all in and make Round Midnight a full musical instead.
I was a bit puzzled about the plot in Nobody’s Fool and it was only after I accepted that this is a fairytale taking place in the movie la la land that I went along it all. And once you buy the concept the movie and the character of Cassie are actually quite endearing.
And speaking of Cassie, there’s something about her character that I was looking to learn about even more, but the often superficial and caricature like strokes don’t seem to fully capture.
If 80s movies in the vein of Police Academy are your thing, Hamburger: The Motion Picture might be your ticket.
No, it’s nowhere near funny or potent comedy, but the style is pretty much the same. The movie pokes fun out of fictive fast food chain and their education facility that takes things a bit too seriously, and too far.
And yes, of course there is a quite flawed but loud authority running the show. Or rather, trying and failing.
Popeye Doyle is not actually a movie, but a movie length pilot for a TV series based on early 70s The French Connection starring Gene Hackman.
Like most people, I watched Popeye Doyle due to Ed O’Neill playing the lead part, but O’Neill really does not bring anything of himself into the role, like he famously did with Married With Kids, and multiple other comedies that followed. There’s nothing really that bad about the pilot, but it’s just so uninspired and average that it never manages to capture the attention.
The series was never picked up by broadcasting companies, which in hindsight was a blessing in disguise, especially for O’Neill himself.
I had always hard time telling Amazons and Barbarian Queen apart. Both are made in the mid 80s, are shot in Argentina with Argentinian crew, have a very similar posters (and logos!) drawn by Boris Vallejo and have basically the same premise of beautiful and strong female crew of fighters battling in iron bikinis.
Here’s the bad news: after seeing them both now, I still won’t be able to remember which one is which. There are certainly other similar movies like Deathstalker that will probably make it even harder for me to tell each movie apart, but these two are just too darn close for me to ever remember.
Notes to the future self: Amazons is the one with the balding antagonist with black and white beard who looks like the dude in the background of C64 game Barbarian. It also has the strong blond female lead leading the fight by herself, battling against the magic effects of the evil that are quite cheaply just drawn on the film.
Another Troma release where the plot is so convoluted (read: a mess) that it’s genuinely hard to keep track what’s going on.
Apparently there is some sort of computerised puppet (hence the scifi genre) that sends out some metal balls and affects people’s minds around it and people turn evil and then they get nakkid.
Nightmare Weekend looks better than your average Trauma releases, with absolutely gorgeous female cast to feast your eyes on – even that doctor dude from Pet Sematary is present here in one of his few rare 80s movie roles. All that does little good when the movie is a hopeless mess otherwise, though.
Apparently a cult classic of some sort due to its inventive use of horror FX, the effects are nice (even great) – but pretty much all of what Spookies has to offer.
More precisely, it’s the better than expected effects that make the other, below the average aspects of the movie look quite bad in comparison: the werewolf like creature roaming the forest for example, laughable. The 300-year old owner of the house, plain bad. There are a group of quests constantly branching off to different sections of the mansion to make themselves easier targets for the evil, quite uninspired.
On the other hand the birthday party, farting mud monsters and the possessed lady: all pretty cool, with the rest of the segments falling somewhere in between.
Spookies is more of a theme park right than an actual movie, which makes recommending it without urging to jump to the juicy bits – and skipping the boring – quite hard.
You’ve seen the beginning of Star Crystal before: starship crew on a expedition on a remote planet (well not too remote, Mars) brings into the ship something containing an alien life form that gets quite unhappy with the humen aboard.
After a few goofy deaths with passable FX the movie seems to be all out of crew to sacrifice to the creature. But here is where the movie actually genre blends into an exploration of the inner life of the alien, who is now busy absorbing all the information of the humankind (good and bad) stored on the starship’s mainframe computer.
The change is unexpected and not without problems – the action totally plateaus just when you expect it to go into the next gear. But even if the movie turns into close encounters of the boring kind, I do applaud the film crew’s courage of wandering off the beaten path and trying something new.
It is the very only reason why the movie left any lasting impression.
Well, here’s a weird sort of screen chemistry ongoing: Extremities is a tragic movie of horror of the events that unfold when an intruder enters the home of a woman, with the intention of performing sexual (and deadly) violence on her – and it therefore feels odd to say, but the leads Farrah Fawcett and James Russo actually go well together on the screen.
Extremities is rooted in female revenge movies genre first capitalised in I Spit On Your Grave (1978) and continued in the 80s with the likes of Naked Vengeance, Ms .45, Extremeties and The Ladies Club. But similarly to the recent Positive I.D. (1986), Extremities bravely wanders off the trashy path of the genre to try something new.
The exploitative revenge porn aspect is still there, but here the heroine stops to think about the morals of her vigilant act as she balances on the very verge of the point of no return, realising she’s damned is she don’t and damned if she does. It’s this part that totally make Extremities worth checking out as it begs us as the viewers to ask ourselves those very same questions.
Imagine any Burt Reynolds’ action comedy of the late 70s / early 80s, change the setting to the wild West, take out Reynolds and any other notable star – and you’ll end up with Uphill All The Way.
Reynolds actually visit that set in a quick uncredited cameo as a poker hustler, which only confirms there was some some of connection going on behind the scenes.
Positive I.D. is probably the best twist I’ve seen to date in the woman revenge genre as it concentrates more on the identity – and loss thereof – affected by personal violation.
And its study on its female suspect and the enigmatic change she goes through is really interesting. Much more so than any your typical female revenge porn movie could provide.
A low budget movie shot with mostly unknown cast, Positive I.D. manages to find its own, weird slightly out of tune tone of voice that makes the movie viewing experience quite unique and rewarding.
Three troubled and eccentric (read: annoying) sisters reunite to the old family house to hang around, discuss and confront each others and the tragic events that led to their mother committing suicide.
Lenny is an old maid, wallflower type of person that never left the house. Meg aimed for a Hollywood career but ended up with nervous breakdown, and drives everyone (including the viewers) crazy in her egocentric ways. Then there’s Babe, a pedophile who got into relationship with an underage African-American child and shot her husband when he found out about it.
Yeah, I did not feel it at all for Crimes of the Heart, and honestly don’t understand for whom this movie is made for in the first place. It’s only the fine actresses that save very little what there is to be saved in this convoluted mess of a movie.
Watching Sweet Liberty I quickly realised the benefits of writing and directing the movie that you yourself star in: you get to play a well liked college professor who rides a motorcycle, fences, has written a bestseller that’s to be filmed by a film crew visiting the town and get to make out with two women – one of them who no other than Michelle Pfeiffer.
But Alan Alda’s writing is also snappy, full of interesting events and especially interesting characters, each of which strong enough to support a movie is own.
It’s especially these characters that almost seem to write themselves that make the movie easy and satisfying to watch. Even if Alda’s screen presence is totally enjoyable, his strongest suits are definitely off-camera.
A 1986 take on the women prison exploitation movies popular in the 70s, Reform School Girls aims to poke fun of the genre by playing with clichés and turning all the knobs all the way to 11. But it does so only partially.
All the prisoners are of course (adult) models tippy-toeing around the reform school dorm just waiting for an excuse to go to have a shower with the other girls, and Edna, the head of the ward pictured in that awesome poster is set to make everybody’s life miserable.
Women prisoner exploitations were already quite far fetched, super heavy on clichés and caricatures for characters, so the humor here falls very short. As in, not funny at all. But in its poor genre Reform School Girls is actually well above average, even if not successful as a satire.
A ton of low-budget movies were shot in Asia in the 80s with an international crew plus a few no name American actors to make an impression of an US movie passable enough for video distribution. The vast majority of these movies are Vietnam war reenactments or other action movies, and generally they are quite a disappointment with subpar production quality to them. While I steer away from these movies per rule that they are not in fact US productions, I’ve let some of these slip in if they on the surface make a convincing enough attempt of Hollywood cinema, and are at least partly US productions.
Silk may have for me to recheck this rule.
Shot in Philippines masqueraded as Hawaii, Silk is an appalling, soulless production that never grasped me even once. When the end credits finally rolled I noticed I hadn’t been even remotely entertained by the movie, nor did I know what the heck it had been all about, making Silk a total waste of time.
Too bad. I did enjoy the lush cover art.
A clique of rich kids who can themselves The Sentinels run a secret society policing an elite highschool and its students, under the blessing from the school authorities. But, it seems not all of their correctional activities would stand the light of the day.
As a part of their scheming behind the scenes they befriend a student newspaper editor who at first falls into their web, but starts to question his newfound friends after one of his buddies seen as unwanted material by The Sentinels.
Meant to be fluffy time passer of a thriller, Dangerously Close delivers what it promises to, in a perfect 80s time capsule; I got carried away and felt entertained throughout the runtime – and did not really mind the final plot twist either.