One of the most hard to watch movies I’ve seen to date, The Burning Bed is a gruesome depiction of a domestic abuse downward spiral.
Being based on actual events, the movie does a terrific job in putting into concrete how the abuse starts in small, almost innocent baby steps that are easy to put aside. It also depicts exceptionally well the manipulative side as the abuser always finds a justification and forgiveness for their acts.
This is one of the rare cases where it doesn’t make much sense mentioning the made-for-TV origin of the movie was it easily bests the vast majority of theatrical dramas in its genre. Farrah Fawcett’s performance is flawless, and my hat is off to Paul Le Mat for his courage of accepting such a role. The events of the movie cut so deep that I might never look him the same way again.
Angel, an exploitative, sleazy movie of a teen grade-A student gone prostitute ends up something of bore.
The first part of the (mostly unrelated) four Angel movies that were released in 1984 (this one), 1985 (Avenging Angel), 1988 (Angel III: The Final Chapter), plus one more attempt to milk the weak franchise, released in 1994.
Angel is mostly passable, but nothing really substantial enough to stick with the viewer for longer. The only really interesting part of the movie is its eccentric supporting cast, as well as the depiction of the 80s street life. The exploitation angle is strong in the marketing, but the end result is a bit tame.
To make sure there are no loose ends the hitman befriends the boy and her single parent mom, only to soon find himself emotionally attached to both.
The premise is wonderful for a decent thriller, but Perfect Strangers’ approach is somewhat bland and features one of those weird early 80s lense effects where everything looks shiny as if shot through a greasy lens. The strong setup still carries the movie through, fortunately. But only barely.
Joe Hillerman has a grave problem. His 17-year old has just been killed in a morbid firearm accident and his younger brother who is the sole witness refuses to talk about the incident in detail. Furthermore, he seems mostly inconvenienced about the death rather than showing any other emotions.
Watching The Stone Boy I often got to reminiscence Square Dance, but only in the way how the former underlines how it totally failed to make us feel for any of its characters. With The Stone Boy the absolute opposite is true – and even if we don’t agree with some of the characters, they are written well enough for us to always sympathise with them.
While I don’t feel quite right criticising the work of a child actor, I was admittedly expecting something of an Oscar worthy performance during the movie’s culmination point, but that never came to be. Luckily it’s the more seasoned actors that still make the ending work in a totally satisfactory way.
The deceased won’t let a Sole Survivor of a devastating airplane crash be.
Preceding Final Destination by 16 years, both share the similar premise of coming back to claim those ear marked for underworld.
Sole Survivor doesn’t quite live up to interesting setup, very unfortunately presenting the impending death as reanimated corpses and never actually taking the idea one notch further. It does play for the benefit for the ending, but events before that are much more tame than they deserve to be.
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.
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 fashion model meets up with a wealthy and persuasive entrepreneur who promises to make her a star, but after the initial crush the she feels that the he has become quite an overpowering force in his life. This imbalance of power is turned around when it’s her turn to help him.
For a movie much about nothing Covergirl is much more entertaining than it deserves to be. Jeff Conaway as the robot building businessman does a good job of being big headed but still likeable scoundrel, and Irena Ferris whose acting career dried up by the end of the 80s has a great screen presence, and the camera truly seems to love her.
Too Scared To Scream takes notes from the early 80s slasher movies as well as the genre classic Psycho and serves them as a thriller with a slight horror twist to it.
A high rise apartment complex in New York City is being riddled with murders. Suspicion points to a peculiar doorman played by Ian McShane (of the Lovejoy and Deadwood fame) and its up to the Detective Dinardo (Mike Connors) to prepare a trap to catch the slayer.
I would give Too Scared To Scream top rating purely as a slasher movie (as it tops that genre), but although I do like the overall mood and the setup, as a horror thriller it does not fare quite that well.
After just a few days after suffering through Robot Holocaust I happened to watch She, a similar kind of sword & sorcery adventure set in the future dystopian world.
But where Robot Holocaust failed, She manages to be actually probably the best movie in this sub genre I’ve seen to date. The different factions and places the leads run into are imaginative, but not completely ridiculous and the whole look and feel of the movie reminds me of a post apocalyptic RPG, kind of like Fallout, with less 50s and mutation.
Heck, I enjoyed the movie and can’t but to credit the director/writer Avi Nesher for managing to put together a surprisingly solid movie out of such a shoddy ingredients.
It was only after viewing Combat Shock that I learned it’s a cult classic, a major one, actually. Although there were a few nice original touches here and there, it mostly seemed your typical film student indie project heavy on blood and artsy writing, and low on budget and overall quality.
Shot entirely on Staten Island (without permits, of course), the movie makes a good impression of both Vietnam – as we typically see it low budget cinema – and the derelict, urban ghetto. Another thing that sets Combat Shock apart is the baby, deformed due to the chemicals the lead character got exposed in the war, who cries in a weird alien voice and resembles something moulded out of C4 putty. The baby not only sticks with you after the movie, but it also sets the overall nightmarish mood.
It’s too bad the other aspects of the movie seem trivial, and don’t seem to serve much else than to pass some time until the movie gets to its blood soaked shocker ending.
Young horny high school seniors are at it again, trying to get laid before the end of the school year. Joy of Sex resembles so many other similar movies I was sure at times I’d seen the movie before.
What adds to this feeling is the inconsistency throughout the movie; compared to other similar films that find their theme in a spring break, ski trip, working in a fast food restaurant or prom dance, Joy of Sex mixes in a bit of everything and does not find to really follow through most of its many threads.
Same applies with its roster of characters; a militant principle, a non-compromising coach way past his hay day, a bashful female teacher having to teach the kids about reproductive organs, a jock, an underdog and so on. Despite all this Joy of Sex is kind of a watchable teen comedy that has its few moments as well that make it worth a watch through.
Rick plays the world’s biggest rock star who is chased by the crowds and lust after by the all the women in the world, so he finds the only one that doesn’t like him and wants to make her his girlfriend no matter what it takes. I know that musicians can sometime ego trip a little, but Hard to Hold is one horrible, egomanical project so bad that it single handedly ended Springfield’s film career for a good decade.
It’s a painful thing to watch. All the drama in the movie feels super theatric as well as artificial, and Rick Springfield and Janet Eilber (seen licking Springfield’s throat on the movie poster) make together the least interesting couple I’ve seen to date.
While the movie did not end up in my pile of movies to watch again, I did like how the movie depicts its subjects realistically, without neither glorifying or vilifying them; these country starts enjoy loose women, driving nice convertibles and a round of golf as much they enjoy putting on a show.
The musical talent of Kristofferson and Nelson make the movie one of the easier musicals to stomach.
After a very confusing start of Satan throwing a cursed blade to a tree trunk, followed by lesbian lovers robbing a bank and killing the cashiers and then retreating to a cabin where the other betrays and kills the other for the money and then gets stabbed with the aforementioned Satan’s Blade, the movie finally starts after 15 minutes of padding.
This is when a group of friends arrive to the mountains and they are placed in the same cabin where the murder took place, with blood marks still (!) visible on the ceiling. To no-one’s surprise they then meet a violent dead, one by one.
Low in quality, and low in most other aspects, The movie fails as a horror movie (and even as a slasher) – but there’s some limited charm in its homespun, adorably clumsy qualities.
Splatter University is the most inept take on the slasher genre I’ve seen to date. Not only does it recycle elements seen in other movies, but actually manages to ruin and water down all of them. Also the humor seen in the movie (yes, it tries to be humoristic at times despite not classified as a comedy) falls as flat as its horror aspect.
Splatter University does manage to do one thing (and one thing only) right by eliminating people I thought were the central characters, which sort of made for a nice surprise element towards the end.
I have false advertising. Both the title and the poster with Zombie Island Massacre promise a clean cut, less repulsive version of italian exploitation films like Cannibal Holocaust .. but only delivers a lukewarm permutation of the slasher formula.
It’s a weak show of a group of tourists in a Caribbean island getting picked up by strange killers one by one that gets marginally better towards the last 15 minutes, when two film making tools called manuscript and plot are first introduced.
The Hills Have Eyes Part II, a continuum to the 1977 original movie – apparently some sort of a cult classic – is one of the most soulless duds of a movie I’ve seen in ages.
Basically your typical teen slasher, but taking place in a desert instead of forest, The Hills Have Eyes Part II brings absolutely nothing refreshing to the table, and the few odd variables that are present here (motorcycles, a goofball sidekick baddie, shot in darkness without adequate lighting) make the movie even worse than 99% of its rivals – and those rivals aren’t exactly state of the art cinema. To make things even worse, the padding of the movie is painfully obvious, with prolonged scenes and unnecessary flashbacks from the original movie.
Director Wes Craven who would have his huge breakthrough in the same year with A Nightmare on Elm Street has later disowned the movie, stating it was released only because he needed the movie at the moment.