Pinback-4 Reviews

Pin (1988)

Not bad Canadian import

[6/10 · 2 February 2002]

****Possible Spoilers***** Mix together PSYCHO, LOLITA, and MAGIC, and you'll get the picture of what this film is like. It's an ambitious effort made in Canada about a brother and sister who grow up with a plastic dummy called Pin. Their dad is a doctor and he's also a ventriloquist who uses Pin to teach his kids about the facts of life. The problem is that dad is overprotective and creepy so the kids talk to Pin so much that soon the brother thinks he's real, even more so as he grows older. The first part of the film is good, largely because of Terry O'Quinn, who plays dad here, which will remind you of his unforgettable performance in THE STEPFATHER. But once the premise is established, it becomes more predictable from the second half on. There is a very funny scene early in the film where a nurse enters the room where Pin is "living". Another scene has David Hewlett, who plays the brother, at a movie theater with a date watching SCANNERS; Hewlett starred in SCANNERS 2 three years later.

Night School (1981)

It's not that bad, people.

[5/10 · 2 February 2002]

I was surprised by the user comments on this film. It's no masterpiece, to be sure, but it's certainly better than most other films in the genre. There are several reasons why. First, it has above average production values. It makes very good use of Boston locations where the film takes place. (If the movie were made today, it would probably be shot in Toronto). Second, the casting of Rachel Ward in her first movie. She looks great in or out of clothes, and it's easy to see why she went on to bigger things. Third, there's some pretty good people behind the camera, including director Ken Hughes, cinematographer Mark Irwin, and music composer Brad Fiedel. There are also some good laughs in this movie. (Possible spoilers) My favorite is that the cop on the case drives a BMW and lives in a lavishly decorated apartment while the prime suspect, a college professor, gets around on a cheap motorcycle. The professor teaches night classes at a female-only college and beds a number of his students, including Ward. The funny thing is that this guy is average looking at best and the students are gorgeous. He has only two facial expressions--angry or glum. The only woman who doesn't like him is the lesbian dean. In summary, if you like early '80s slasher movies, you'll like this one too.

Sleepaway Camp (1983)

Not bad

[6/10 · 14 February 2001]

I heard about this movie for years but never saw it until now. the much talked about surprise ending wasn't surprising for me because I remember my doofus brother saw this film years ago and told my dad about it, and he just had to tell him how it ended while I was there in the room also. Needless to say, the movies wasn't nearly as much fun as it should've been. Like many previous comments have said, this is a FRIDAY THE 13TH-type horror suspense flick, but it also has elements of MEATBALLS and SUMMER CAMP NIGHTMARE (which is NOT a horror film). It's about a girl about thirteen years old who goes to summer camp (it's called Camp Arawak in the film) with her cousin. The girl is mute because of a long ago accident which put her in a state of long term shock. Because she doesn't talk or participate in camp activities, the campers, both boys and girls, make fun of her. Pretty soon her tormentors start turning up dead. The movie quickly establishes two suspects, so it's not hard to guess who the killer is. But that's not the point, of course; the point is the surprise ending. If you watch carefully during the flashbacks scattered throughout the film, you might be able to guess it.

The Slumber Party Massacre (1982)

Business as usual, female writer and director notwithstanding

[5/10 · 7 December 2000]

This slasher movie, which came out during the peak of the early 80s slice and dice era, is remembered for having a female director, Amy Jones, and a feminist female writer, Rita Mae Brown. Yet there is nothing at all to distinguish it from the same type of films directed by men. A psycho escapes from a booby hatch and decides to kill girls (and guys when they get in the way) with a power drill. This is the second of the driller killer movies, beginning with Abel Ferrara's THE DRILLER KILLER and ending with Brian DePalma's BODY DOUBLE. Here the killer's name is Russ Thorn, and that's all we find out about him, except that he killed five people in 1969. The movie never explains how he became insane. There is one shot in the film when he has a girl cornered with his drill. We see the girl's face between the killer's legs as he lowers the drill toward her. Perhaps impotence is the reason? Or maybe he's related to Damien Thorn. The film has all the required elements of a low budget slasher flick--female nudity, false alarms, blood, strange noises, mistaken identities, etc. The film was made on a low budget, using only a handful of locations (it takes place mostly inside two neighboring houses) and actors. It does have a few shocks, though, especially the first murder. Whatever you do, don't see part 2 of this trilogy, which is completely beyond belief.

All Summer in a Day (1982 TV Movie)

OK Bradbury Adaptation

[6/10 · 23 October 2000]

I didn't know this movie was based on a short story by Ray Bradbury until a couple of years later when I read the story. But that's not why I remember this film. I saw it in my 6th grade reading class. It's about a group of kids who live on Venus where it rains all the time. The sun comes out only once for an hour every seven years. I won't say any more about what happens, but if you've seen it, you know how it ends. When the end credits started rolling, everyone in the classroom started laughing. I wondered why until I looked over and saw one girl crying. I then laughed too. It was hilarious. The entire class was laughing at her. The girl responded by giving everyone the finger. We had a substitute teacher that day, and the poor guy didn't know what to do, so he went next door and told the teacher there what was going on, and she came in and gave us a very stern lecture about hurting other people's feelings and that we should be ashamed of ourselves. She also warned us that we would be in big trouble if we made fun of her out in the hallway. I thought, jeez, it's only a movie.

A View to a Kill (1985)

Moore's swan song

[6/10 · 23 October 2000]

A lot of people say this is the worst James Bond movie ever, but I don't agree. The worst is and always will be MOONRAKER. But yes, there are some problems with A VIEW TO A KILL. Yes, Roger Moore looks a little too old and should've called it quits after OCTOPUSSY. Yes, the storyline was recycled from GOLDFINGER. Yes, Tanya Roberts' character is basically a wimp. Yes, Christopher Walken is lame. Yes, Fiona Fullerton's role is way too short. Yes, the firetruck chase is over the top. Yes, the underground salt mine sequence looks reminiscent of other movies. Yet in spite of all this, the film is still very entertaining, and never slips into total slapstick like MOONRAKER (where even a pigeon does a double take). Take the opening teaser sequence. How can you knock a film that invented snowboarding? Then there's the jump off the Eiffel Tower. Pretty smooth. Patrick Macnee provides some comic relief as Bond's assistant. There's also a variation of the "Hoods Convention" scene from GOLDFINGER, this one taking place in a blimp. And the fight atop the Golden Gate Bridge ain't so shabby, either. If that's not enough, there's also Alison Doody, pre Indiana Jones 3, and in a really small part as a gunman at the racetrack, a pre-ROCKY IV Dolph Lundgren. Add to this the kick-ass Duran Duran title tune and you've got a Bond movie that will leave you shaken and stirred.

Videodrome (1983)

Typically strange but fascinating Cronenberg movie

[6/10 · 5 October 2000]

If POLTERGEIST was an indictment of television, this movie takes it one step further. It suggests that TV programs can hallucinate viewers' mental capacities and brainwash them. If this sounded absurd in 1983, today it looks prophetic--remember that Heaven's Gate computer cult a few years ago? James Woods stars as the president of a small Toronto cable TV station that specializes in sex, violence, depravity, and anything else that regular TV can't show. One day his troubleshooter Harlan (Peter Dvorsky) stumbles onto a strange program called "Videodrome", which consists of "torture, murder, mutilation; no plot, no characters." Woods likes it and wants to buy it for broadcast on his channel. This leads him to meet some weird characters, including Brian O'Blivion (ha ha), his daughter Bionca, Barry Convex, and Nicki, who is the host of a radio call-in show. Before long, Woods begins hallucinating after watching several episodes of "Videodrome", and investigates to find out who's behind it and why. The special effects by Rick Baker are good, especially the TV set that comes to life. Woods was born to play this kind of role, but everyone else in the film is pretty bland. The story does get pretty lame toward the end, with characters repeatedly mentioning something about "the new flesh". The ending is unsatisfactory. The film is also kind of short; Cronenberg should've given us a third act, explaining more about the "Videodrome" conspiracy. If you see the DVD version, be sure to watch the trailer.

On Her Majesty's Secret Service (1969)

Long live Lazenby

[9/10 · 1 October 2000]

This is the Bond film that stands apart from the rest of the series, and fans either love it or hate it. The reason it stands out, of course, is the casting of George Lazenby, a model who had never done any acting. He is perhaps a bit too young, but he fits the "look" of Bond perfectly. He can also hold his own against the other four Bonds in the fight scenes. Ironically, it is Lazenby, along with Timothy Dalton, who most closely resembles the James Bond in Ian Fleming's books. It's interesting that they're the ones who were mostly rejected by Bond fans, making only three films between the two of them. It's a shame, because Lazenby is pretty good here, and it's safe to say that he would've grown into the role if he went on to make more Bond films. This is the first film in which Bond is not a larger than life hero. He doesn't have any gadgets to help him out of a jam and must use his fists to take care of bad guys (see the impressive hotel room fight). James Bond is much more vulnerable, and Lazenby's lack of acting experience and occasional discomfort actually work to the film's advantage. If you look carefully during the scene at the carnival where he's being chased on foot, he's actually scared! This is also the only Bond movie where Bond falls in love and is willing to give up his career to get married. He even tries to resign near the beginning of the film, something he wouldn't do again until LICENCE TO KILL twenty years later. (These two films have much more in common than you might think). The film is the longest one to date, at two hours and twenty minutes, and surprisingly, there's not a whole lot of action until the last forty minutes or so. The movie really takes its time during its midsection when Bond is undercover at the Swiss allergy clinic as Sir Hilary Bray, a heraldry specialist. The plot has Bond tracking down Blofeld and trying to stop him before he brainwashes ten women from around the world to contaminate crops and livestock. Bond enlists the help of an organized crime boss, who is the father of Tracy, the woman he falls in love with. The action scenes are among the best in the entire series, especially the stock car race and the fight on the bobsled run. Peter Hunt, who edited the previous films, proves himself a solid director. The supporting cast of Diana Rigg, Telly Savalas, and Gabriele Ferzetti comes off very nicely, balancing Lazenby's inexperience. The music and cinematography are top-notch. The ending is all the more poignant because this was Lazenby's last scene as James Bond; it would've been nice if he got to seek revenge in the next film.

The Man with the Golden Gun (1974)

Not Moore's best, but not his worst either.

[6/10 · 28 September 2000]

Roger Moore's second assignment as James Bond has turned out to be the least talked about and the least seen Bond film in the entire series. Many fans also think this is the worst Bond movie ever, but that honor goes to MOONRAKER. Seeing it on the DVD version recently, I enjoyed it much more now than I did in the past. The picture quality and soundtrack are much improved. The story concerns Bond tracking down a smooth hitman named Scaramanga who charges a cool million for each contract. He wants to develop a solar powered kind of laser weapon so he can sell it to the highest bidder so he can retire. His henchman is a midget who is more annoying than threatening. Bond's companion is Mary Goodnight, a secretary played by Britt Ekland, and she ranks as the weakest Bond girl in the series (though Tanya Roberts gives her a run for her money in A VIEW TO A KILL). Christopher Lee is good as Scaramanga, but he never achieves the proper degree of menace that is required. Other characters, like the Hong Kong agent and Sheriff Pepper, make perfunctory appearances. Maud Adams does OK in her first Bond film as Scaramanga's mistress. The car jump across the bridge would have been better without slow motion and the cartoon sound effect. Scaramanga only has one man overseeing his power plant, and he spends most of his time ogling the bikini-clad Ekland. The funhouse is amusing and so are the karate fights. Roger Moore is more comfortable in the role here then he was in his rookie outing, but he wouldn't fully grow into the character until the next movie.

Pieces (1982)

The Boston Chainsaw Massacre

[5/10 · 27 September 2000]

This 80's slasher film is unique in that it was actually shot on two different continents. The end credits inform us that it was filmed in Boston and Madrid. Since the college campus in Boston where the film takes place is never identified, it's impossible to figure out if the interiors were filmed in Boston and the exteriors in Madrid or vice versa. We can assume it's supposed to be Boston College, though Doug Flutie is nowhere to be seen. Anyway, a maniac is running around the campus killing girls with a chainsaw. He doesn't just kill them. He cuts off different body parts from each victim and puts them into a freezer. He does this so he can sew together the parts in order to create the world's first human jigsaw puzzle. He got the inspiration for this forty years earlier when his mother made the mistake of expressing shock and disgust at a jigsaw puzzle of a nude girl he was working on as a ten year old boy. Several suspects are introduced, but it's pretty obvious who the killer is. The cop on the case enlists a student to help because he knows everyone and every inch of the campus, including, apparently, the girl's locker room. He has so much fun pretending to be a detective that by the end of the film he decides he wants to be a cop. Too bad he doesn't have the balls for it. The murder scenes are quite good--lots of blood, and we see the chainsaw making contact with flesh. There is even a product placement for Wendy's. The DVD version of this movie is a bit disappointing. There is no letterboxing, no audio commentary, no deleted scenes, no behind-the-scenes footage, no interviews, no storyboards, no stereo sound, and it only has four chapter stops. A shame, because this is a film that deserves Criterion Collection treatment.

Coach (1978)

OK time-killer, nothing more or less.

[4/10 · 18 June 2000]

This movie is about a very sexy Olympic track star who is hired to coach a high school boys' basketball team. Similar to Goldie Hawn's WILDCATS, it stars Cathy Lee Crosby in the title role, and she does as about as well as the script allows. I think Racquel Welch would have been a better choice, but considering the film's apparent TV movie budget, they probably couldn't afford her. Cathy Lee does look great in every shot, but we never get to see her completely nude. The story is pretty predictable, to say the least, offering no surprises. A young and lucky Michael Biehn has the male lead role. He is the star on the team and also the love interest for Cathy Lee. Keenan Wynn has a few amusing scenes as the rich old man who runs the athletic program and doesn't think a woman should coach sports. This point is brought up throughout the film, and, needless to say, is dated. Ironically, Cathy Lee doesn't put her team through any unorthodox practice sessions; she doesn't do anything a male coach wouldn't do. There is a funny subplot involving a tall and not-so-bright player who undergoes hypnosis in order to pass his classes and play like pro basketball player Sydney Wicks. It looks like everyone had a good time making this film, but the only real reason to see it is for Cathy Lee Crosby. She's not that great an actress, but she has a dazzling smile, beautiful hair, and a very tan body.

Bachelor Party (1984)

Crude and tasteless but very funny.

[7/10 · 27 April 2000]

This movie has held up pretty well over the years, thanks in part to Hanks' hilarious comic performance. There are many funny moments throughout the film, but the funniest is probably the scene at the male strip club with Nick the Dick. Also funny is Brad, a childhood friend of Hanks and his buddies. As you can guess from the title, the movie is about a bachelor party for Hanks thrown by his friends to celebrate his impending marriage to sexy Tawny Kitaen. Her elite snob family disapproves, of course, with her ex-boyfriend determined to put a stop to the union. The film is in the tradition of ANIMAL HOUSE, PORKY'S, and the like. It does tend to get a bit too silly at times, especially the climax at the movie theater, but no big deal. The only time the movie goes wrong is when it gives the incredibly sexy Monique Gabrielle a criminally brief cameo. Her role should have been much larger.

The Corruptor (1999)

Above average buddy action flick.

[7/10 · 8 April 2000]

If there's one thing I hate the most, it is when people trash or ignore a movie that I like that no one else does, including the critics. THE CORRUPTOR is a movie like that. It isn't a masterpiece, to be sure, but neither was SHAKESPEARE IN LOVE. It's about two New York City cops who become partners and go after some vicious Chinese gangs who have overrun Chinatown. The movie stars Chow Yun-Fat in his second American film role, and here he proves why he is so popular in Hong Kong: he can act, he has charisma, a sense of humor, and knows how kick butt when he needs to. He comes off more like Mel Gibson here, not like Charles Bronson in THE REPLACEMENT KILLERS. Mark Wahlberg plays his partner, the only white guy in the Chinatown precinct, so naturally the other cops don't like him. the story is more or less standard, but it doesn't matter because of the way the film is made. James Foley, the director, adds a lot of style and pizzazz to the action scenes and shootouts, especially in a car chase. The film is similar in some ways to Michael Cimino's YEAR OF THE DRAGON, about another dedicated cop who wants to get the goods on Chinese gangsters. This may be in part to Oliver Stone, who cowrote DRAGON and serves as executive producer on this film. Despite what many viewers say, Wahlberg gives a good, honest performance in the picture. He is convincing as a young cop out to prove himself, just as Wahlberg is gradually proving himself a solid actor. He has some good, understated scenes with Brian Cox, who plays his debt-ridden father. The only complaint I have with the film is that there are no major female characters. Which is just as well, I suppose, because they would probably get in the way of the action.

Scarface (1983)

Gangster classic that was years ahead of its time.

[9/10 · 27 January 2000]

SCARFACE is one of the all-time great gangster films. This is a movie that, like BLADE RUNNER, was considered garbage when first released, but now considered a cult classic. It was easy to see why the critics hated it so much back then. It contains excessively brutal violence, foul language, and a lot of drug use. Everything in this movie is excessive, in fact, including the running time. This is because Brian DePalma and Oliver Stone don't want to glorify drug kingpins like Tony Montana, played by Al Pacino in an all-out performance that should've gotten the Oscar. There is good acting by others, especially Steven Bauer as Montana's partner. He has the funniest scene in the movie in which he demonstrates his unique method of picking up girls. A small but key performance is given by Paul Shenar as Sosa, Tony's Bolivian connection. All of the male actors, in fact give believable performances: Robert Loggia, Harris Yulin, F. Murray Abraham. It is the females who bring down the film a bit. Michelle Pfeiffer, in her first significant role, seems too wooden. Her most important last scene in the restaurant lacks conviction. A little better is Mary Elizabeth Mastrantonio as Tony's little sister, but her character draws unintentional laughter because of her mushroom cloud hairstyle. Their screen time is limited, though, and don't ruin the film.

The Funhouse (1981)

OK timekiller, nothing more.

[5/10 · 21 January 2000]

I was somewhat disappointed with this film. It had a great premise (four smalltown teens spend the night in a traveling carnival's funhouse) and a great director (Tobe Hooper). I liked what I saw, but I wanted more. There is a funny opening sequence, and I liked the scene with William Finley as a magician, but once the teenagers go inside the funhouse the film because disappointingly predictable and routine. There are a few echoes of Hooper's previous masterpiece THE TEXAS CHAINSAW MASSACRE but lacks that film's conviction. The photography by Andrew Laszlo is effective and makes interesting use of color. Sylvia Miles has a smallish role as fortune teller. The acting by the four teen actors is wooden, which hampers the suspense, and pretty soon you don't care who will live or die. The lead actress Elizabeth Berridge looks a little like Heather Donahue from THE BLAIR WITCH PROJECT.

To Live and Die in L.A. (1985)

Underrated action movie from a great director

[9/10 · 19 December 1999]

This is one of the most underrated films of the 80s. A lot of critics hated it and audiences pretty much stayed away from it, and about the only thing it's remembered for is the catchy soundtrack by Wang Chung and the awesome car chase. This is a film that I hope, along with Michael Cimino's YEAR OF THE DRAGON, a similar film that came out the same year, will be reevaluated in the years to come. Similar to THE FRENCH CONNECTION, TO LIVE AND DIE IN L.A. is not a ripoff or imitation, but a new film made in a different style. William Petersen plays a Secret Service agent out to get a slick counterfeiter played by Willem Dafoe. They are very good at their professions, and they have interesting hobbies when they're not working; Petersen bungee-jumps off bridges, Dafoe is an artist who burns his paintings after he completes them. They each also have a girlfriend who are both informants. The movie has an interesting way of presenting Los Angeles; it is seen a decadent wasteland, full of sleazy lowlifes who are out to make a fast buck at any cost. What is noteworthy is that there are no good or decent characters in the film, except for Petersen's partner who is ambushed early in the film. Subsequently, the line between good and bad disappears during the film, as in the scene where Petersen and his new partner played by John Pankow kidnap a man who might be a jewel smuggler. Petersen's superiors are seen as burned-out bureaucrats who couldn't care less. In fact, Dafoe's corrupt lawyer played by Dean Stockwell shows more compassion. The cinematography by Robby Muller and Wang Chung's music really enhance the film, especially during the opening credits and a sequence which shows Dafoe making counterfeit bills. There is also a most unexpected development near the end of the film that would never happen in a more mainstream action thriller. The film also features some good performances is small parts from actors like John Turturro and Steve James. All in all, this is well worth watching.

Pink Floyd: The Wall (1982)

The best rock video ever.

[8/10 · 10 December 1999]

This film is stunning on every level. It holds up remarkably well today. It was ahead of its time, released before I ever even heard of MTV. It's better than other feature length rock musicals like TOMMY or EVITA. This movie has everything but the kitchen sink (but it does have a bathroom sink). Based on Pink Floyd's concept album, the film stars Bob Geldof as a successful rock star who has a mental breakdown in a hotel room and begins to question the meaning of his life, both in the past and the future. The film contains many striking scenes and images, including some remarkable animated clips by Gerald Scarfe. All of the songs on the album are included at various lengths except for "Hey You". Joanne Whalley-Kilmer is listed in the credits, but I couldn't spot her. Alan Parker's direction is excellent, especially with scenes involving large crowds. Gerry Hambling's editing should've gotten an Oscar. The new DVD version of the film is awesome.

Apocalypse Now (1979)

A modern masterpiece that basically says "war is hell".

[10/10 · 26 November 1999]

Coppola's much-discussed epic Vietnam film, inspired by "Heart of Darkness", holds up great after 20 years. The new DVD version looks and sounds great, but I expected the aspect ratio to be wider. As everyone who has seen the film knows, it is an unforgettable odyssey of alternately surreal, beautiful, and at times shocking images. Many veterans have complained that the film isn't realistic, but that isn't the point. The point is in all the set pieces throughout the film, starting with Martin Sheen's drunken binge in the hotel room. The message is simply "war is hell", so it doesn't really matter that Coppola couldn't decide on an ending. Besides, "the point of the journey is not to arrive..."

American Beauty (1999)

Funny and heart-breaking tragicomedy of '90s America.

[9/10 · 18 November 1999]

I was somewhat surprised that this film is ranked #1. I don't think it's THAT good, but certainly one of the best film of this year. However, it does fall shy of last year's HAPPINESS, which it resembles in some ways. The lead acting by Kevin Spacey and Annette Bening is nothing short of perfect, as are the supporting roles. Spacey plays a burned out yuppie, strangely remniscient of the Edward Norton character in FIGHT CLUB, who's tired of his job, his wife, and his life. That is until he meets his daughter's pretty Lolita-like friend. Bening is a real estate agent who will do almost anything to get ahead. There are also some strange neighbors who move in next door. These plot threads overlap and intersect each other, leading to the inevitable conclusion. This film is a remarkable achievement in part because the writer and director are both making their debuts here, and it's possible they might walk off with Oscars in March. This film is not for all tastes, though, but most good movies nowadays aren't.

The Driller Killer (1979)

Not bad for a first-time director.

[6/10 · 18 November 1999]

This film marked the debut for director Abel Ferrara, who also stars in it under a pseudonym. It's easy to see why he didn't pursue an acting career. He is unintentionally funny playing a cross between the John Travolta character in SATURDAY NIGHT FEVER and the Fonzie. He plays a struggling artist in New York City who lives in a spacious apartment building with two women who don't work. He is talented, but is constantly frustrated because his roomates run up high phone bills, the landlord gets on his case about the rent, an art dealer won't buy his paintings, etc. He is finally pushed over the edge when a loud punk rock band, who call themselves Tony Coca-Cola and the Roosters(!) moves into the building. Brandishing a power drill, he takes to the streets at night. The film is well-made considering the low budget, and the editing is better than you might expect. Ferrara even works in his theme of religion in the opening scene.

Boogie Nights (1997)

One of the 10 best movies of the '90s.

[10/10 · 8 October 1999]

This film is a masterpiece. It was exhilarating from beginning to end. Writer-director Paul Thomas Anderson's story about a porn star is told with style, grace, humor, even poignancy. The actors and the characters they play are all first-rate, including Mark Wahlberg in the lead, who proves himself a solid actor and can carry a film. Burt Reynolds gives perhaps his best performance ever as a porno director who discovers Wahlberg. The film recreates the late 70s and early 80s with dead-on accuracy, from the disco scene that begins the film to Wahlberg's Don Johnson "Miami Vice" outfit that he wears in the final scene. Most regular moviegoers who see this film will no doubt compare it to PULP FICTION, but it really has much more in common with the films of Robert Altman and Martin Scorsese. The film is a triumph in style. The opening tracking shot that begins the film is just as impressive as the ones in THE PLAYER and ABSOLUTE BEGINNERS. The editing by Dylan Tichenor is simply phenomenal. I couldn't believe the editing didn't receive an Oscar nomination (GOOD WILL HUNTING was a better edited film?!). The best scene in the film has to be the one with the firecrackers. I had butterflies in my stomach because the scene is incredibly intense. When I saw the film a second time, I had the exact same reaction to the scene. Unfortunately, it may not have the same impact on TV as it did in a theater with good stereo sound. It's a shame that many people didn't see this movie during its theatrical run, because it is the best way to watch it. Anderson's use of widescreen will suffer on TV (so get the DVD or a letterbox tape). It is amazing how easy Anderson makes it all look, because this is only his second film. The music, sets, costumes, photography, offbeat characters, sex, violence, happiness and heartbreak are captured by a guy who is clearly in love with filmmaking.

1900 (1976)

The worst big film ever made.

[1/10 · 12 September 1999]

My God, what's wrong with you people? I couldn't believe the large number of high ratings for this pathetic boondoggle! You Italian moviegoers ought to be ashamed of yourselves! This is abolutely the worst movie ever made by a filmmaker of Bertolucci's stature. This film makes HEAVEN'S GATE look like THE DEER HUNTER. At least HEAVEN'S GATE tried to tell a story! At no time during this film do we know who all the characters are or what they are trying to accomplish. All we get is one pointless scene after another. It's easy to see why Robert De Niro never talks about this film. Since the actors come from several different countries, the film is horrendously dubbed. Even De Niro's dialogue never quite fits his lip movements. In a typical scene in this movie, the characters yell or talk about...who knows? Politics? War? Sex? I couldn't figure it out. This charade goes on for more than 4 hours. If you can sit through the whole thing, you deserve a purple heart. The cinematography is ugly, the music is terrible, and the editing is nonexistent. A complete waste of money and talent. At least Bertolucci came to his senses for his next film, LUNA.

Summer of '42 (1971)

A touching story of adolescence.

[8/10 · 12 September 1999]

I first saw this film when I was 15, and I could certainly identify with Hermie, even though I didn't live through 1942. Who wouldn't get a crush on Jennifer O'Neill? I noticed that the screenwriter's name is Herman, and if this film is autobiographical, I'm sure the real-life woman that Herman knew was nowhere as beautiful as Jennifer. Anyway, the film is about a teenage boy who falls in love with an older woman whose husband goes off to fight in WWII. The story takes place on an island, so everyone spends most of their time on the beach. Hermie's pal Oscy desperately wants them both to lose their virginity, but Hermie is confused because he wants to love a woman first before having sex. The two standout scenes are the ones with Hermie in the drugstore and of Oscy and Hermie in Hermie's bedroom where they discuss the plan of action for the big night. The film does drag near the end when we learn some tragic news. Still, a good film.

Basic Instinct (1992)

Audience manipulation at its zenith.

[9/10 · 3 September 1999]

I don't understand why this film is so controversial. It's no more offensive than any other violent or sexual film. All it is is a solid dose of entertainment, nothing more. Gay groups protested this because it portrayed lesbians as diabolically evil, but every other character in the film is equally "offensive". The characters played by Michael Douglas and George Zsundza aren't exactly model cops. When I first saw the film on the day it opened, I knew that Sharon Stone would become a star. She commands every scene she's in, not just the interrogation scene or the sex scenes. Joe Eszterhas' screenplay keeps your interest throughout. It's not very credible, to be sure, but it keeps you guessing, and the characters aren't stupid like they were in JAGGED EDGE and JADE. The film is nicely shot by Jan De Bont, who photographed some of director Paul Verhoeven's Dutch films, and features a seductive score by Jerry Goldsmith. San Francisco locations are well-chosen. Try to see the uncut version.

Class of 1984 (1982)

Good high school melodrama worth checking out.

[7/10 · 31 August 1999]

I first saw this film about eight years ago after I read that Roger Ebert gave it a rave review. It's a pretty tense and well-acted melodrama starring Perry King as a high school teacher who is forced to take matters into his own hands when the toughest kid in school makes trouble for him. Roddy McDowall plays a fellow teacher who resorts to unorthodox learning techniques when they become necessary. Michael J. Fox, pre-stardom, has a small part as one of King's students. The movie resembles BLACKBOARD JUNGLE in many ways, but I didn't mind because it worked well on its own terms. Timothy Van Patten, who plays the tough kid, is a memorable villain. He certainly deserves his ultimate fate. The movie is violent, as it's supposed to be, but not overly so. It's much more entertaining than 187. It also offers a look into the early '80's punk scene, and features an Alice Cooper song, "I am the Future", during the opening and closing credits.