Reviews

The Creature from the Black Lagoon is a terrific monster movie spawned out of those halcyon days of the mid fifties. In a way, it reflects some of those post war ideals, prevalent at the time, thoughts and visions of travelling into the unknown, of uncovering new secrets and breaking down old mysteries, of penetrating far beyond that which was previously known. The creature of the title was a masterful piece of work; combined with lush photography and some of the most beautiful underwater camera-work ever taken, this was literally a dream given form. The creature certainly did have alot of passion pent up within his savage heart.

A reflection on the turmoil and upheavels of the state and the individual, Tarkovsky's "The Mirror" moves smoothly and effortlessly. It is, at once, both a look back at the rigors of childhood, and an altogether seamless blend of reality and sleep. Like a looking glass, reflecting both clear and distorted images of the world, the picture plays like a feverish, waking dream; it is a film, as if seen from the eyes of man, slowly fading away, slipping in and out of reality. What was, and could never be again.

Usually, JMS and his crew do a great job. There is no argument that Babylon 5 may have been the finest science fiction series ever to come to television. In this entry in the long series of good films, however, things become a little more slack, and the result is an uninvolving, mildly amusing detour. A Dumb subplot involving the fight with a virtual brothel does nothing to help this film; it is, in a sense, weighted down by the inability of the producers to add anything new into the Babylon 5 universe. Instead of generating a strong storyline, the creators have opted for a plot about a lost "river" of souls and the claimant who arrives unexpectedly to collect his stolen property. Martin Sheen as the alien "soul hunter" is one of the most ludicrous examples of miscasting since Tom Selleck as King Ferdinand in Christopher Columbus: The Discovery.

In a series that had a short run during the late 80's, Captain Power and his friends faced dim-witted robots, flying machine-men with the ability to turn humans into digital information, and an evil overlord (a cross between the borg and a pasty faced techno geek). Each episode mixed fast-paced, cyber-hokum with a blend of computer animation and live action, the result being a program that was quite limited in various areas (such as suspense) but still fun to watch. Very tongue in cheek.

The A-Team was, without a doubt, one of the bets shows ever to hit network television. From Murdock's clowning around all the time, to Mr. T's gold chains and tough-apple attitude, the show consistently had what it took to entertain. I always loved it when Hannibal hung out the window of the van, and with a cigar hanging out between smiling lips, would calmly shoot out the bad guy's tires. Face: "That's nice work Hannibal." Hannibal: "Isn't it." One might go one all day about the great parts of this show; was it the episode where Murdock was kidnapped and he left a message in the mirror? Or was it the episode where they were flying around in the chopper and Mr. T exclaimed, "We're outta juice!" Ah. Truly unforgettable.

Camille 2000, which could be called the first of the modern, adult films, was among those trendsetting, forward-looking pictures that marked the end of the 1960's. That said, it's not a fantastic film, but fairly well done. The pill popping, hard driving female of the film is asked, at the opening of the picture, whether she ever comes down. "Not if I can help it," she replies, tossing another handfull of drugs into her mouth. In a sense, that's the theme of the film; lurid and risque for the time, but somewhat tame compared to today's endless stream of mindless porn films.

A fine, big screen adaptation of an old American folk tale, Sleepy Hollow delivers on it's promise to make heads roll. Everything about the film is quite well done, the sets, the costumes, even the performances. And, despite one as-of-yet unexplained explosion (a windmill which I suspect was powered by gas), everything comes together in this picture in a fine manner. Too intense for the younger tikes, but a wild, galloping ride for those with the stomach to take it.

This perfectly timed comedy, which will be remembered if for nothing more than the fact that it came out just a real-life presidential sex-scandal was breaking, has all the right elements to guarantee it's buoyancy for years to come. Laugh after wild laugh is guaranteed while viewing this wild picture; indeed, it is one of those truly ingenious films which sticks with the viewer, long after they have left the theater. Woody Harrelson is an absolute scream as the deranged Sgt. Schumann. Fabulous!

The Hanging garden is one of those fine metaphors about familial existence, self explanation, and coping with a certain kind of sexuality in a community which will have none of it. It's central character, a man who returns home after years away, seems out of place in such a crude and rugged environment as the East Coast. He must, in a certain kind of mindset, face what he was, and try to bury that past for good. His struggle, one of growing to realize what has happened and how he has changed, leads him on a bizarre odyssey of acceptance and growth. The rest of his family may seem somewhat rude and unkempt, but keep in mind that people are pretty much this way in the Martimes at any right. A fine film, especially by Canadian standards.

Psychomania is a dull, fairly uneventful film in which a gang of bikers decide to plunge to their groovy deaths and come back as totally fab zombies. British horror films have traditionally been very talky, and this one is no exception; the few action sequences within are badly complemented by lots of silly, inane dialogue. Over five minutes of the film is comprised by a bad, early seventies song which I assume was some kind of non-hit at the time (riding free??!!) Very tiring.

The flavorless "Murder at 1600" does, at the outset, show some promise as a thoughtful, original thriller, one with style and flair. One cannot, however, venture too far into watching this picture without realizing that it is simply another standard piece of film laundry, one soiled with an inept script, forgettable performances, and an unbelievably silly and floppy ending. The combination of Wesley Snipes and the always-great Ronny Cox cannot save this stale exercise in tedium.

I have seen this movie about three times now, and everytime I run into it, I just cannot turn away. This hilarious, dead pan feature is one of those flicks which just grabs you deep inside with all of it's lame absurdity and never lets go. The characters are funny, the locale is laughable, and oh... Joe Head.... I could not do justice to this little ball of unbridled hilarity within a single review... It must be watched, preferably in a laughing mode. The ending is a real hoot.

The Annihilators has got to be one of the most inept films I have ever seen. Filled to the brim with everything a bad action flick could ask for, this "film" seems to have the worst of everything going for it. From the dull, mindless plot surrounding a couple of Vietnam vets who decide to take up arms against a street gang (really original) to the "film's" ending, which comprises something like ten minutes of shooting where nobody gets shot, this flick will have you laughing out loud. Of all the films in my collection, this one shall never leave. Pricelessly stupid!

Originally having seen this film years back, all I could remember were a few squatty little robots, some kind of personal crusade, and alot of tears from Bruce Dern. Now, after a few years of having the film in my collection, I'm relieved to say that I recall (know) alot more about the underlying storyline therein. Silent Running is by no means a great science fiction film; it is instead a simplistic story about one man's refusal to destroy that which is dear to his heart, against all odds. What makes this film stand out from others, however, is a combination of great special effects (Trumbull was, of course, mentored by Stanley Kubrick on the set of 2001), a good message and... All of that emotion from Bruce Dern. I must admit that, even after all these years, those tearful moments when Dern breaks down stick in my imagination. Looking for a fabulous, laser blastin', grostesque alien, hyperspace shoot 'em up? Then don't rent Silent Running. However, if you are in the mood for a light, (not too preachy) thoughtful, sci-fi tale of a lonely, one-way journey, check this one out.

I really like the car. Having seen it years ago, when I was just young, I recently purchased the remastered, widescreen version, which brings out the desert in a much greater degree of clarity. The Car is, by no means of the word, a true classic, but a good film none the less, if only for great cinematography, and a few unbelievable stunts. The dialogue in between the car's attacks is made up mostly of filler; I can't seem to watch that early bedroom scene without hitting fast-forward (what was all that tripe anyways?). Nevertheless, That wicked Black Sedan stays in your memory, long after you've seen the movie. Where can I get an evil sounding air-horn like that?!

A thoroughly inept film which looks as if it were filmed in super 8 or some equivalent, Wild Wheels should well be left alone. Story concerns a group of dune-buggy-riding beach bums who fend off an arriving gang of motorcycle lunkheads, lead by Casey Kasem. Even if you like trash, you might still find this one boring and unwatchable. Incredibly bad.

I must say, upon first seeing this film, that I was luckily in a mood to see just such a fine piece of work. In portraying the purgatorial state of mind in which Vietnam Veteran Jacob Singer finds himself, Adrian Lyne has crafted a moving meditation upon the world of consciousness, the mind, death, and redemption. Set against a dreamlike, sometimes nightmarish landscape in which Singer slowly slides farther and farther away from reality, we are subjected to an intense, flash-forward, toward a point where our protagonist must let go of a past he can never forget, and a future that he will never know. Simply put, Jacob's Ladder is a one of a kind masterpiece, an emotional, unforgettable film which will tear your soul apart.

Well, I must well say that, although Miracle Mile was panned by many a critic, I still see it as a most shocking examination of panic, mass hysteria, and inhumanity in the face of annihilation. The film is generally very good, but one must realize, in viewing this picture, that the height of the spectacle does not come until the last 45 minutes or so. That's when the carnage breaks loose and L.A. becomes an even more twisted version of Murder City.... If you have an open mind, a strong resolve, and are looking for something different and not so "happy", rent it. Otherwise, nevermind, because you'd probably be better off watching My Best Friend's Wedding.

Ah, Episode 1. It was just a year ago, now, that I gained word of this film, the new "Lucas Extravaganza" that was coming out. Oh, how I longed for a film that could somehow outdo the other three combined in special effects, and have plenty of room left for action, romance, drama, nasty space beasts, you name it. Well, I'm somewhat proud to report that, although this film nowhere near followed along the same action/adventure path as the other three films, it still had it's share of thrills, spills, and quite a number of hair raising scenes. It was somewhat unfortunate that Lucas chose not to create so many nasty and and hideous beasts as in the first movie; the creatures at the cantina in this movie seemed a lot more goofy than threatening. Much of this film's dialogue was rather banal and innefective. Liam Neeson was decent in his role, but even his performance was somehow subdued by the barrage of special effects blasting out of the screen. The one suprise of the movie was that Jake Lloyd, the lad playing Anakin Skywalker, actually pulled off the best performance among the whole lot of them. Shows you what budding talent can do, hmmm? I was satisfied, overall, you better bet I was, but oh, the Sabre scenes.... Yes, the Lightsaber fights in this movie were perhaps the best out of all four movies combined, with a little split suprise at the end..... As I watched the film, I found myself drifting back to other movies, sci-fi films from the Nineties, and I began to rate this movie up alongside those films. Certainly, Star Wars is heads and tails above even the colossal Jurrasic Park in the special effects department. It's creation and bending of reality allows us to see things, as if we are looking into some bizarre dream. Truly a halluciogenic quality. Unfortunate that the same humanity and drama as carried out in movies like jurassic park wasn't included in The Phantom Menace.

I assume that is all I'm allowed to divulge about the film. Don't want to get George angry.

John Carpenter's "Escape From New York" quite certainly deserves its status as a manic action classic. Complete with early visual work by Jim (James) Cameron, it's an exciting, fun film. Carpenter can be excused if his film is somewhat slight; for sure, "Escape From New York" is no masterpiece. Some of the visuals tend to be a bit laughable, and even the action sequences aren't carried out in the best possible manner. Still, Carpenter was able to put together a film that is watchable again and again. Of course, I always wanted to be Snake Plissken when I was a kid, so perhaps I'm somewhat biased.

Viewing the latest update on Alfred Hitchcock's 1960 classic was yet another waste of time. Not that this version lacked suspense, drama or coherence; it contained all of that in abundance. The main problem with this picture was that it was no more than a dull, carbon-copy sequel to the original, with what appeared to be some stock film footage of passing clouds thrown in for good measure. I was never so unaffected by a film as I was by this one. The majority of people whom I talked to after the film thought it was lame, the elite crowd walked out after the first half hour, and poor old Hitchcock must have been somersaulting in his grave. Yawn.