The poster for Prime Risk makes a bold comparison to War Games, stating this movie will make it look like ’kid stuff’.
The reference is not unfound as prime risk successfully draws from its paragon, presenting us a similar setup where youngsters’ mostly innocent tomfoolery turns out something much more than they originally bargained for. In Prime Risk, it’s hacking credit cards that leads to a plot of a hostile nation aiming to crash the U.S. monetary system.
What it comes to hacking and peeping behind curtains of state secrecy and international politics, Prime Risk is an excellent contender to War Games, only taking a few missteps towards the end by turning more into an action packed agent movie rather than what War Games ingeniously pulled off. Still, anyone who enjoyed War Games will find a lot to be loved here.
A horribly disconnected effort, Die Laughing throws in a little bit of everything into the mix without ever finding its own tone of voice.
How disconnected? It genuinely felt like watching an episode of some random late 70s afternoon TV series that just keeps aimlessly going on, and on, and one. The boring action is padded with even more boring sections of the main character performing songs in auditions – another aspect of the movie that felt totally artificial and plastered on.
Die Laughing can really only be recommended to those who want to relive the worst of the 70s television.
Atlantic City is a movie about transition periods and change. Sally is learning the ropes to be a dealer to be able to leave to Monaco to work on a casino. His former husband, now with Sally’s sister has arrived at the city to makes some money selling drugs, and they run into Lou, a small time old crook looking forward to finally becoming the big shot gangster with the money and a woman he could show off to his Florida pals.
And all this is taking place in Atlantic City that is going through sizeable changes where hotels and casinos of the old glory days are demolished to make room for new buildings.
The real gem in Atlantic City is the interesting array of characters with real yet a bit childish and silly aspirations, and in this sense the movie manages to positively surprise time after time: we don’t have to relate or even like the characters to be able to sympathise with their dreams.
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.
The second collaboration between producer wizards Don Simpson and Jerry Bruckheimer responsible for such 80s gems as Flashdance, Beverly Hills Cop and Top Gun, Thief of Hearts failed to find its audience in the box office.
The story of a thief falling in love with one of her victims and using ill gained information to win her heart over does not reach the epic levels of Bruckheimer & Simpson’s top movies, but the story is still unique and interesting – basically nothing like I’ve seen before.
There is a moment of bad writing though when the couple finally clashes, as it really feels forced and out of character for the thief figure. But the ultimate plot twist (for the lack of better wording) manages to fully redeem the movie, making for one a totally satisfying finish to the movie.
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.
Lassiter is a hit-by-the-handsome-stick gentleman cat thief living in London on the verge of WWII that ends up recruited against his will by FBI to break into the heavily guarded German embassy to steal gems from the nazis.
40-year old Tom Selleck handles the role with expected charisma and the movie portrays well the era – or at least the movie version of it – without redundant underlining or overselling.
But what The Sting II loses in Newman and Redford, it gains in Jackie Gleason who is a perfect fit for the role of the gang leader aiming to pull off a boxing match scam of a century.
The movie establishes well its 1940s New York era, and Gleason’s persona and the natural appearance of the golden era star no doubt helps to sell this idea. While not exactly match for its predecessor, The Sting II makes for a totally worthy heir to the original.
Although Frank Sinatra did a notable career in movies, I’ve either consciously or unconsciously steered away from them, so I did not have any sort of expectations (in good nor bad) towards Sinatra in his comeback movie role. And I liked what I saw. Sinatra makes a great character as an ageing detective in the last leg of his career aiming to solve one more case.
As far as thrillers go, this is your basic early 80s stuff, easily overshadowed in wittiness by almost anything seen today. What makes the movie worth one’s while is Sinatra’s character who is no super cop by any standard, but much more human than almost any other detective I’ve seen on the silver screen, and it’s truly refreshing to see this kind of writing that does fall back into the cliches of the genre – like, whiskey sipping detectives surrounded by femme fatales – but instead actively plays away from them.
Here’s a detective who is pressured by his personal events and work place, and makes multiple mistakes along the way, resulting in a much more three dimensional and relatable character, much more noteworthy than the movie itself.
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.
Tommy is a wandering seaman who arrives at early 80s New York to wait for a new ship to take him in. Meanwhile he find a house in a small worn out neighbourhood terrorised by a hoodlum gang called The Souls.
As you might have guessed, Defiance draws its inspiration from Death Wish and its numerous heirs: the main character inadvertently clashes with the gang, but remains hesitant to really stand up against them.
After seeing many similar gang movies, The Souls seems pretty lame bunch of misfits – almost caricatures – in their silly outfits, an do not really feel imposing enough to warrant a violent revenge. And unlike Death Wish, Defiance does not really deliver one. Oh, and if you’re into Jan-Michael Vincent, you might want to learn that Defiance is among the best, or if not the best movie of the decade for Vincent, before his unfortunate downward spiral.
Alphabet City is one of those movies that has only night scenes with tons of smoke and bright neon coloured lights, and it’s stylish all right ..and it’s mostly style over substance.
Which is not necessarily bad at all. I’ve enjoyed tons of movies for the mood only if they represent well a movie world that fascinates me. But even then the movies do need some substance, even if it’s through an interesting main character – and this is where Alphabet City fails. Vincent Spano seems to have been hired for the role for his looks only and his character and his representation of it feels paper thin, even for a superficial movie like this.
The movie reminds me mostly of video games that appeared years later, and the way that the movie looks totally fresh still to date is totally a feat on its own. But judging this by the story only, I’ve seen better plots written on the side of a yogurt can.
Another late 80s drawn to look cool to hide the fact that the movie itself is almost one decade old and made with a small budget, Stark Raving Mad is one of the movies I always thought to be a cult classic, but isn’t. The probable reason for this is the classic Simpsons episode from the season 3 (1991) that had a similar word play, Stark Raving Dad – but the two aren’t connected in any way.
Stark Raving Mad is an exploitation movie done in the vein of Bonnie and Clyde of a 19-year old greaser who starts dating a 14-year old and they end up starting a crime/murder spree. The official blurb of the movie states the following: while awaiting execution, a convicted serial killer relates the story of the circumstances that led to his present situation – but this kind of prologue was missing on my DVD copy. There is however a final sentencing closure present.
There isn’t much info nor reviews available for the film online, so it can be considered an actual movie lost in time. Plot and production wise it’s a pretty inept movie, but not a complete stinker. Knowing the downward spiral will end unfortunately for the duo, watching the proverbial noose tighten around them still makes for an interesting if not thrilling experience.
Blue City is the kind of a movie that’s firmly detached from any reality and where there are no real motivations or consequences for the actions of the characters.
Judd Nelson as the lead proves to be a tough cookie for me handle; he always seems to be borderline annoying in his roles, and unlike in From The Hip where he managed to turn his negative traits into something positive, in Blue City his totally wild and rebellious character comes off totally unlikeable.
The quite implausible events in Blue City would be easier to accept if the cinematography supported the fantasy aspect of the plot with a more fictitious setting and characters. But, if you manage to accept early on that Blue City takes place in Fantasyville, Hollywood, chances are you will enjoy the movie more than I did.
A subpar thriller follows a newly married couple taking a cruise where all get killed, one by one.
You’d expect there to be a clue for the motivations of the killer, or a plot twist at the end, but that would require Moon in Scorpio to actually have some kind of a plot.
I don’t know how well the original Richard Wright’s 1940 novel of the same name captures the stomach turning feeling of have done something so horrible and irreversible that you feel almost separating from your own body and wishing for the relief of waking up from a bad dream, in vein – but this is what the Jerrold Freedman’s 1986 movie adaptation does exceptionally well.
It would have been great to see Sangre Negra, an Argentinian 1951 movie adaptation of the novel to see how the newer version stacks up compared to it as judging by the film clips they both seem much alike.
To movie seems to rush to its ending and end just when things are getting really innocent, but as whole Native Son left a permanent impression on me. Finding forgotten gems like this is what makes the whole project totally worth the while.
A pretty tame whodunnit even in Agatha Christie’s scale, Appointment with Death is a Hercule Poirot story that brings the very familiar elements of aristocrats, murders and exotic locations to the table.
For anyone accustomed to thrillers of this decade, Appointment with Death will feel excruciatingly slow, but the fans of the classic Christie novels will probably feel at home.
Travel and exotic locations have always been the salt and pepper of Christie’s murder mysteries, and the biggest drawback of Appointment with Death remains its cinematography and directing that fails to capture the magic of the faraway spots that end up feeling dull and unexciting.
I’m usually particular including movies other than of American origin here, but as the British-Mexican Border Cop makes an attempt to present itself as one (and I had it laying around), I thought what the hey.
Shot in Mexico with a bunch of second and third row Hollywood actors, Border Cop is a story about young Mexican couple that gets involved with a local crime boss smuggling people over the border, and it’s US border patrol agent Frank Cooper who needs to save the day. Terry Savalas (of the Kojak fame) plays the lead as the agent that has to take on the powers that be to protect the common Mexican folk.
The movie plays as expected out of very early 80s production with no real highlights to speak of – but deserves credit for pulling off an almost picture perfect imitation of the American cinema.
I’ve gone through this before; given the sky high quality of the thrillers these days that offer plot twists after plot twists, it’s hard to get impressed with the 80s offerings.
But what actually works for the benefit of The Jigsaw Murders is the way how refreshingly straight forward it is: someone gets murdered, the evidence gets piled up against a suspect, and finally it’s a question of getting enough evidence (with legal means) to put him away.
As the book of movie clichés would have it, the senior detective struggles with alcoholism, but the movie handles this side of the story interestingly, stripping any sorts of movie glamour out of it.