leevmlafn1's Reviews

Marco Polo (1982–1983)

10 September 2005

The expanded version of this score (over 120 minutes of music) is available at the following link. However, right now it's out of stock. Perhaps if you write to Douglass Fake (I've known him for more than 30 years and is my oldest friend) and ask if he's getting anymore in, he'd appreciate it.

got to www.intrada.com. then click on catalogue by composer. then click on Ennio Morricone, then scroll down to Marco Polo.

There could actually be a third disk added to this to bring out just about all the music from the mini-series, but this 2-disk set is glorious.

I'm a huge Morricone fan, have been one since "A Fistful of Dollars" first hit these shores in 1966 (and he wasn't even credited as Morricone in the credits, but as Dan Savio, because the producers were afraid of being taken as an Italian movie since Italy had made so many sword and sandal movies, and we know how critics loved those, right?), so for me to say this is one of my favorite Morricone scores is really saying something.

Another score that is very high on my list is his rejected score to "What Dreams May Come". Someone recorded about 28 minutes of that score and released to. I have a copy, and it is magnificent.

But if you can get "Marco POlo", do so!

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Salem's Lot (2004)

Fair adaptation

28 January 2005

Warning: Spoilers

My biggest complaint about this version is that it is shot way too dark. Even when I watched some of the DVD at night, it was very dark. I know that film stock has gotten fast (800ASA, for cryin' out loud), but you still have to light so something shows on the screen -- and director Mikael Solomon, being a former cinematographer himself, should know that.

Aside from that, I thought it worked fairly well. For those reviewers who were creeped out by Barlow's physical appearance in the original mini-series, and disappointed in Rutger Hauer's human appearance in this new version, all I can say is read the book! IN King's book, Strayker's appearance is actually the uglier one, almost like Reggie Nagler as Barlow in the original without the lenses and fangs, and Barlow is more like James Mason in appearance, so Hauer's human physicality is correct according to King's book. And I believe even King wondered why they made Barlow look like the vampire from NOSFERATU in the original mini-series.

POSSIBLE SPOILER

And the ending is changed too because it doesn't leave the possibility of a sequel with Ben Mears to star, like the original and book does. King has been trying to think of a story to use as a sequel for a long time, but since he hasn't come up with one, it shows how hard it is to come up with something fresh in the vampire genre to write about.

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The Thing (1982)

ADDENDUM TO MY EARLIER REVIEW

5 November 2004

RE: Ennio Morricone's excellent score to this movie. Sadly, Carpenter used a fraction of the music Morricone actually composed for this movie. In an interview, Morricone said that Carpenter never gave him an idea of the type of score he wanted, so Morricone composed a wide variety of cues, but Carpenter used mostly cues that sounded like his own work, which is strange because Carpenter has stated that Morricone is one of his influences. Though Carpenter praised one of the orchestral cues on the audio narration of the Director's Cut of THE THING, little of Morricone's orchestral cues made it into the movie, including my favorite piece, which IS on the soundtrack, called BESTIALITY. Morricone has said the reason he produced THE THING soundtrack himself was to let people hear some of the orchestral music that never made it into the movie.

There is talk of a THE THING II (I guess based on the comic book), and Carpenter and Russell are interested, but two people that are not expected back are Bottin (as he is off directing some movie or so the reports go) and Morricone, who was not happy with the way his music was treated.

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Open Water (2003)

BASED ON TRUE EVENTS?

17 August 2004

Warning: Spoilers

Hm, what true events? That a couple got separated from their fishing trip group? Okay, that can happen. So does that mean everything else about these characters is made up? If so, how can that be a true event? Did the filmmakers talk to any of the Kinters' friends to get an idea of what the people were like? I doubt it.

Yes, I jumped when the shark fins suddenly pop out of the water, but that's an old filmmaking trick, and almost always works.

SPOILERS AHEAD!

To me two of the creepiest sections of the movie are the high angle shot of Blanchard lying on her back and we see a shadowy form pass by under her -- very Hitchcockian -- the high angle shot right after the man is bitten and we see the blood spreading out around them, and near the end when the camera is partly submerged and bobs in and out of the water, and you can just make out the number of sharks massing for lunch.

I was very disappointed in the use of digital video to shoot this movie. It never looks right -- and, no, I didn't want a glossy-looking movie, but this movie looks ugly.

Had I not had to pay $14 to see this movie -- yes, $14 in Los Angeles! -- I might've enjoyed it more.

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Aurora (1998)

AWARD WINNER

14 September 2002

As I mentioned in my earlier comment, the information behind the making of this movie (Shot of credit cards and such)obviously didn't have any bearing on the two competitions the movie was entered in. Check out the awards it won. I know for a fact that the CINE Eagle award is not an easy one to win, as there are hundreds of entries each year in that competition, so the fact it won, despite the low budget, says something.

A couple friends of mine shot a sci fi short in Super 8, and they did things like stretching the ship as it goes into hyperspace INSIDE the camera; long before effects done on computers at home was even an idea in some computer guy's head. The movie, FIRST CONTACT, was one of a few that the CINE Eagle competition got a copy of to send around to other countries. So the budget should be no constraint when imagination can accomplish so much more.

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Aurora (1998)

INFO NOT KNOWN

14 September 2002

This is to the reviewer who mentioned that it was low budget and made on credits cards, so please give it its due. Sorry, that doesn't wash. I've seen other movies made on shoestring budgets that managed to be good despite their low budgets. And since most people won't know it was made on a shoestring budget, they only have the finished product to judge, and that seems to be lacking. Heck, Robt. Rodriguez made EL MARIACHI for $7000 (not including the soundtrack that now exists on the video; that was cleaned up by Columbia Pictures when they bought the rights, and spent $100,000 doing it) and look what he did; sometimes it's edited a bit too fast for me in one or two scenes)

A movie lives or dies by what's on the screen, not the history behind the making of the movie.

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The Deadly Companions (1961)

Lousy luck on first feature

10 September 2002

Peckinpah wanted to rewrite the script and build up O'Hara's character since he felt she lacked characterization, but the producer, O'Hara's Brother, loved the script as it was and refused to change anything. He also did not allow Peckinpah to talk to O'Hara in any meaningful way even on the set, so all he was left with were the scenes with Brian Keith, and the work shows. After the shoot and Peckinpah's edit, the producer tried to re-edit the movie, but couldn't really change it, so it was re-edited almost to Peckinpah's original movie, except the end shootout, which is edited in the wrong order. In Peckinpah's original shootout, Keith simply shoots the slimy character on his way to kill Chill Wills because the bullet in his shoulder prevents him from being a fast draw. So the way the film is edited now makes it look like Chill Wills kills the slimy guy, and Peckinpah dared anyone to make sense of the finished shootout. Peckinpah also has nothing to do with the choice of music.

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Red Sonja (1985)

DON'T WASTE YOUR TIME

6 September 2002

The script for this movie is terrible., and I think that's where 90% of the problems lie. I don't think any director could've made anything of the script. Nielsen got a bit better in later films. Arnold is Arnold. But the best thing about this is the score by Ennio Morricone. Ironically, Basil Poledouris WAS to score it at first, as someone mentioned that composer, but he went on to use some of the music he composed for SONJA for FLESH AND BLOOD w/Rutger Hauer.

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The Thing (1982)

MORRICONE'S SCORE

6 September 2002

Warning: Spoilers

I frist saw this movie when it came out in 1982. I really liked it and still do, even thought some story aspects were cut out which made it seem disjointed in many spots. And some people have asked how much of the score is Morricone and how much is Carpenter. THE WHOLE SCORE IS BY MORRICONE, as Carpenter has admitted that Morricone is one of his musical influences. Also Carpenter didn't have any time to do the score. So the electronic music is by the Maestro, and no one else, so Morricone is doing what Carpenter has been doing all his musical career. Ironic, isn't it? Also Carpenter did not use one of the best musical cues that is included on the CD: BEASTIALTY. This sinisterly comic cue was to be used over the dog kennel scenes where the Thing is taking over the dogs.

*****SPOILER*****

My one complaint is when MacReady blows up The thing. Hunh? Doesn't he realize he's only creating more, tiny things? Torch the sucker, Mac, torch it.

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Moses the Lawgiver (1974)

THE EDITED VERSION LACKS, SERIOUSLY

26 August 2002

This 2 hour version cuts out a lot of the interplay and character development of the mini-series that helps move the story along, and gives credence to the whole thing. If you can see the mini-series, do so.

The best thing about both the short and mini-series versions is the score by Ennio Morricone. He has composed one cue that I, personally, believe is the finest single cue he has ever written, and that is saying a lot, what with OVER 400 scores to his name. And Morricone, himself, called this one of his most difficult works at the time, having to compose, thru modern means, a score that depicts an ancient time and place. The score is magnificent, heart-wrenching, and haunting.

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Once Upon a Time in the West (1968)

MORRICONE'S SCORE

6 August 2002

Here's the history of this great score. Based on an early script by Bernardo Bertolucci, which was later scrapped, though he still gets credit, Morricone composed the whole score before one foot of film was shot. Leone took bare bones recordings to the set so the actors could act to the music. But Leone hated one cue: for Cheyennes's character, in fact, he called it "s**t". During the final recording sessions, Leone discussed the Disney movie LADY AND THE TRAMP with Morricone, saying that Cheyenne was like the Tramp: a scamp, a rogue, but down deep a good guy. Morricone sat at a piano and, after a few minutes thought, started to play the staccato notes we now hear in the movie for Cheyenne's character. Leone was ecstatic!

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The Hidden (1987)

HAS EVERYONE FORGOTTEN THE WRITER

18 April 2002

In the few comments I read about this movie, everyone keeps saying it's too bad Jack Sholder didn't make more good ones like this. Perhaps he didn't have as good a script as this one had!

I haven't seen Sholder's other work, at least I don't think I have as I haven't looked at his credits, but it would seem that the script by Jim Kouf may have had something to do with THE HIDDEN being a quality movie? After all, Sholder's name doesn't appear as the writer!!!!

And it's always been said that a good director can make a terrific movie with a good script, because it inspires him/her, but not even a good director can make something from a bad script.

I liked this movie when i first saw it and every time it's on I try and catch what I can of it.

Someone also said this is a "leave your brain at the door" type movie. I don't think so because this movie lets you guess what's happening without explaining everything or hitting you over the head with superfluous dialogue; it doesn't insult your intelligence, and I thank both the writer and director for that.

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Jaws 3-D (1983)

DO NOT BLAME RICHARD MATHESON FOR THIS MESS

14 April 2002

The Late Jack Arnold (Creature from the Black Lagoon, The Incredible Shrinking Man, an many other 50's classics)) said he read Matheson's version of the script, based on a story by someone else, and he said it was good; that they should have shot it. Matheson also explained he wrote the Lou Gossett part for Mickey Rooney originally until Rooney backed out. Then Carl Gottlieb and another writer stepped in and reworked this script until it became the mess that escaped to the movie theaters! As Matheson himself said,(and I was at the seminar on horror in the movies that he was giving, and heard him say this) The final script was like a great 3-course meal with manure thrown on top of it; there's a taste of what it could have been, but it was ruined.

So don't go asking how Carl Gottlieb could have his name on this mess, ask why Matheson didn't use his pseudonym to excuse himself from this mess.

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Panic Room (2002)

ONE QUESTION

13 April 2002

I have not seen this movie yet, but a friend of mine told me about some of what happens, especially Foster's character's claustrophobia. Seems it really affects her at first, but once in the room that crippling affliction seems to be COMPLETELY gone, as if EVERYONE INVOLVED IN THIS PRODUCTION simply forgot to keep this affliction going. One does not overcome such an affliction like that (snapping of fingers)!

I guess this goes to show that as long as an audience is taken for a roller coaster ride, logic be damned.

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Night of the Living Dead (1968)

READ THE BOOK THAT INFLUENCED THE MOVIE

8 April 2002

George Romero has admitted time and time again that the classic novel I AM LEGEND by famed author Richard Matheson, was the biggest influence on his now-classic movie, and the comparisons are obvious. Had Matheson seen this movie when it first came out he would've had every right to sue Romero.

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Duel (1971 TV Movie)

Excellent Made-For-TV Movie

6 January 2002

To the reviewer who hated this movie, come on! For one thing, did you listen to the dialogue in the movie? David Mann is a guy who just wants to do his job, and has never driven over 60 if he can help it. Suddenly he's pushed into the middle of this cat-and-mouse chase for some unknown reason and he's supposed to do the right thing?! Like what? Richard Matheson, the author of the short story and script has said the inspiration for this story came back when he and a friend were playing golf one day and they heard the news that Kennedy was shot. They left for home and came up behind a big gas truck spewing bad fumes. They passed the truck. Suddenly the truck passed them and got back in front of them to spew more noxious fumes at them. And this was a real incident, so why did the truck driver do that? Who knows, but he did it. And you say you can't believe Mann wouldn't be able to get away from the determined truck driver?!

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What Dreams May Come (1998)

BOOK IS BETTER, AS IS MORRICONE'S ORIGINAL SCORE

3 January 2002

I read somewhere that Matheson, author of the book, did not like what they did to his book, and I have to agree.

Also, Ennio Morricone, composer of OVER 400 scores, including THE MISSION, THE GOOD THE BAD & THE UGLY, ONCE UPON A TIME IN THE WEST, ONCE UPON A TIME IN AMERICA, THE UNTOUCHABLES, DAYS OF HEAVEN, composed one of his finest scores for this movie and it was rejected for who knows what reason. Some 28 minutes of the score have surfaced and copies abound, so if you can get a copy, do so.

And I would recommend that you get a copy of Richard Matheson's novel and read it.

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Fear (1996)

RIP-OFF OF "STRAW DOGS"

29 October 2001

A so-so suspense film that is also derivative of many others where a mad stalker wants his girl and no one else will get between him and her.

I wasn't too convinced about the father ruining Wahlberg's whole house; the one room, yes, but not the whole house.

And the ending where they attack the house is a very bad rip-off of a much superior film, Sam Peckinpah's STRAW DOGS. It's in this scene that the nerdy guy, Dustin Hoffmann, starts to realize that violence is sometimes necessary, whereas FEAR uses the scene only for a plot device.

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Equinox (1970)

Low-Low budgeted film

9 September 2001

One thing the first reviewer got right is that this started out as a student project with some special effects by future Oscar-winner Dennis Muren. And the actor Ed Begley Jr was an assistant cameraman on this film.

Then Producer Jack H Harris, who, I believe worked with Kubrick on some films in the 50's, saw the film, bought the rights and had extra footage shot to bring it up to feature length.

And the first reviewer asks how this got a video release. Heck I saw it in a THEATER when it first came out, long before there was anything called home video.

If you have nothing better to do for about 85 mins, grab some pizza and beer or soda and sit and watch this. It even stars the late, legendary author Fritz Leiber in a small role. Leiber is the author of many sci-fi books and the creator of Fafhard and the Grey Mouser, a pair of Sword and Sorcery characters.

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Dracula (1979)

SO-SO VERSION

8 September 2001

One of the biggest problems most versions of Dracula make is that they try to make it a romance; they try to make Dracula a sensitive gentleman, when he is,in reality, nothing but a cold-blooded bloodsucker who uses Mina to achieve his ends (uses her to find out what Van Helsing, et al are doing to try and stop him). I have read the book several times and I have found nothing to suggest this gentle side of Dracula. It seems that not one of the screen adaptations sees this in Dracula; they all want to turn it into a romance and such, and this does the book a disservice.

But I guess they have to because what drove Stoker to write this novel in the first place is now out-of-date; the late 1800's were a period where women were starting to express their sexuality openly, and so what better way to dispatch a female vampire than to drive a stake (phallic symbol) into her heart and kill her.

Obviously this view of women would be lost on today's viewers because the filmmaker would have to go into some explaining about the morals of that time period, and that would slow the story down. So, it's better that they recreate Dracula in their own image.

As the film stands, I don't find it hard to watch.

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Count Dracula (1970)

PASSABLE VERSION OF THE FAMOUS COUNT

8 September 2001

Some of the best things about this version: Basically all the actors, Bruno Nicolai's score, and the fact that this Dracula appeared as Stoker describes him, which is a first.

Unfortunately, what I've heard about the production is that they changed producers in mid-shooting and he cut the budget back, so what could've been a fairly faithful rendition of the book now looks cheap and like the low-budget film it eventually became. This is no reflection of Jess Franco.

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