Reviews

"Eyes of Fire" has a pretty impressive script to start out with. It lets the surreal events unfold in the most offbeat, unpredictable way, that you can easily view it several times and still discover things. The forest with its many "trees" is so vividly filmed; I never realized simple things like trees, bushes, and pure earth could be made so threatening!

The film is just drenched in atmosphere: The haunting sounds of the woods; the often off-kilter camera angles; and the excellent narration by a young lady with an accent so thick you could cut it with a knife! I loved listening to her.

The film has a logic and a language all its own. You have to pay attention to the film to appreciate all the developments of the highly "elemental" plot. This isn't a "brain candy" horror flick; you'll have to make an effort to understand certain things, but it's highly worth it.

My favorite performance in the film is Karlene Crockett as the fairy Leah. Many of the most beautiful moments in the film involve her, like where Leah crawls into a barrel with the children to keep out of the rain, and a rainbow appears beside it; and Leah playing joyfully in the field of feathers.

Then, of course, there's the dark scenes, like the ones where the grotesque figure in black roams the forest, sinking in and out of the ground; and Leah's numerous encounters with the elusive ghosts. I've heard people rag on the special effects, which are a mixed bag; but it's important to remember that this was 1983, and the filmmakers didn't have the budget of E.T. -- or anywhere near it. The effects serve their purpose, and are often quite creepy. They compliment the film, rather than overrun it like many films today.

This is a really great film to watch late at night; it has the atmosphere of one of those low-budget chillers network stations would show in the early morning hours before the age of the infomercial, only with more originality. I would rush out and buy this if it were released on DVD; for now I'll just have to settle for my Vestron Video copy. I think this little gem is a masterpiece in its own right; definitely thought-provoking horror, a genre that is too rarely explored.

My rating: 8.5/10

"Threshold" is a meticulously crafted Canadian drama with several stars in top form. There's Donald Sutherland as the heart doctor who is warm and genial, but still keeps an emotional distance from his daily activities. This is evidenced in the scene where he's talking about the miracles that he's experienced in his life, and he doesn't mention a single one of his life-saving operations. He doesn't see himself as a Superman, just an ordinary man doing his job. He has no ego or God-like persona, he's just a dedicated doctor. He is so phenomenal in this role that I would have to say it's my favorite Donald Sutherland performance, and he's given many great ones. I also thought this was one of Jeff Goldblum's best performances, right up there with "The Fly". In "Threshold", he is totally believable as a 34-year-old man who has dedicated probably every inch of free space in his mind thinking about his exhilirating project for over a decade, possibly all his life. When people scoff at his ideas with vague, juvenile arguments, he begins rambling and rambling about the specific virtues of his experiment so descriptively, passionately, sometimes euphorically that the result is often exciting, like in the incredible scene towards the end between him and the radio personality; he always totally ignores any childish comments and goes straight to the heart of the matter. It's no wonder that when his invention seems to work he is suddenly overcome with grandiosity, because he basically is his project, totally. Few people ever devote this much of their life and minds to one incredible concept like this, and as a result, he becomes carried away.

Mare Winningham is such a priceless jewel in "Threshold" as Sutherland's first artificial heart transplant. She is luminous in every one of her scenes, particularly towards the end. We feel so much sympathy for her character and only want the best for her in the end. She should have been Oscar-nominated along with Sutherland and Goldblum for this. I'll never forget how much I could truly feel her sense of loss and fear after the surgery: "I'm just not the same."

The film obviously raises the issue that many people feel Sutherland and Goldblum are "playing God", and I could be wrong, but that was kind of an impression I got from one scene right after Winningham's surgery when she's still sedated. Sutherland comes to see her and as he's watching her sleep he hears the ominous sound of a helicopter overhead, which we know is the press, but it's almost like a rumble from a God uknown, a private message to Sutherland, at least that's what I imagined his character might be thinking. I'm not sure if it signified an approval of or anger at the operation, but I would guess that in his character's mind it would have been the latter.

The film has a deceptively happy ending. Winningham seems to physically fine in the end, but as she's walking with her parents from the hospital we can see in her eyes that she's lost herself and will probably never be the same. She may in time learn to forget somewhat about her anxieties or put them aside, but it's doubtful. Then of course there's always the possibility she could die the very next day, being that the prosthetic heart is so experimental.

The film has some very beautifully lit scenes, like the first scene that we see Winningham talking to Sutherland on the street at night. It's the almost glowing background lights that make this scene so beautiful, apart from the actors; it has an ethereal feel to it.

I walked away from "Threshold" feeling that I had gained something as a human being from watching it. Not only that, I enjoyed the experience!

My rating: 10/10

Even the standard, heavily edited 83-minute version that's been circulating in the U.S. for years is pretty good, first of all. It's an all-around enjoyable gorefest from the late '80s, with plenty of memorable characterizations and inventive camera techniques (like the camera twisting in tune with the doorknob, the crimson-tinted view of a room after blood has splattered onto a shining light on the floor.) The acting is, of course, very uneven, and the characters are goofy, which can add to the fun in these types of movies, like the jerk who has to walk all the way up to the door and peer through the glass just to be able to tell that the grocery store is closed. In reality he would have known that as soon as he turned in the parking lot and saw no other cars and a totally unlit store, but so what? It's not reality, it's the world of slasher films, and logic isn't really a key player. These things certainly don't detriment the film, since we already know it's just slasher brain candy, a sit-back-and-enjoy-the-ride movie. The important thing is that it be relatively original in some way or at least keep your interest, which it does. The major problem with the version I have is, obviously, the cutting of certain scenes, like the part towards the end where a delivery guy comes up to the door and is somehow killed, I'm still not sure exactly how; because of the obvious editing, all we see is a guy slip and the sound of a loony piano, making it seem like one of the Three Stooges slipping on a banana peel; in the next frame, we see splattered blood all over the place. What the hell happened is what I'd like to ask the censors. I guess I need to find the unedited version!



There's still some violent deaths with an array of super-sharp instruments, like a meathook, meat clever, meat slicer -- basically anything sharp that is used with dead animals.



Some great, off-the-wall dialogue too, which gives the film extra cult potential. It's just a shame lovely Renee Estevez couldn't be the heroine here like in Sleepaway Camp 2; Elizabeth Cox is still pretty decent, but she and Renee really should have switched roles!

My rating: 7/10

Good Judd Hirsch v. Evil Judd Hirsch in a first-rate suspenser

This is an interesting idea: "Goodfellas" meets "Mark of Cain", with the talented star of "Taxi" handling the dual role position nicely. He steers clear of overacting the role of Harry, the demented twin with a twisted obsession with money and the stock market. The best scenes of the film are the ones where we're initially not sure whether we're seeing the affable Ben or the menacing Harry, and this is where the suspense lies. The eeriest scene is the first murder on the highway; it relies on atmosphere and the simple strength of the brief interlude between the Mafia daughter and her boyfriend to give us a glimpse of character, to give us a chance to see who was murdered in this way and what the very last moments of her life were like.

There are also some other unexpectedly excellent performances here, particularly from Karen Carlson as Ben's understanding wife and definetly George Dzundza as the police chief who's determined that Ben rather than Harry is guilty of these crimes; he sure has a way of firing slimy employees!

The ear-touching signal used by Ben and his family is my favorite plot device used in this film, and the concept isn't played to death either. I admire the film's subtlety in its treatment of recurring plot elements and I also really enjoyed Gentle Ben's turning-of-the-tables on Harry; look for scream queen Lori Lethin in this brief sequence as Harry's prisoner/girlfriend, who it's always good to see. Shame she hasn't appeared in more films.

I did find it a bit strange how the film just totally abandoned the Mafia subplot so abruptly, it actually seems like the script forgets about it completely at the end, but the end has just enough suspense to make us not notice until it's over. All in all a pretty solid thriller, especially for a made-for-TV movie.

My rating: 7.5/10

When I think of "Night Moves", I seem to have a haunting image of the underwater "fish" sequence. I know I'll never forget it. Melanie Griffith is rightly terrified by her discovery, totally unaware that within a few days she too will meet her fate under much different circumstances. That along with Jennifer Warren, who is earthy and intelligent in all of her scenes. When she speaks about her first sexual experience and her feelings about it with Hackman is to me one of the most memorable bedroom scenes ever because of its simplicity and originality. What a way to make a film debut!

Hackman, of course, is the center of the film, and I couldn't think of a better choice for this role. He just seems to blend with the film's brooding atmosphere. His character isn't 100% hero and doesn't always make the right decisions. He's just not your typically infallible movie private eye, he's much more true to life. Not so unsurprisingly his marriage seems to hitting a lot of rocky spots, but his reaction to the situation is pretty atypical. The character nor the plot ever succumbs to being derivative because Hackman and screenwriter Alan Sharp have their own ideas and notions. Griffith as Delly is also very good in this; I'm sure if I had seen this when it came out there would have been no doubt in my mind she would become a major actress based on the talent she displays here. As for James Woods, he's appropriately slimy and effective in his scenes, even though he's usually under a vehicle. Another rising talent discovered by this film.

This is also definitely a film that gets better with multiple viewings. If you didn't really care for it the first time, watch it again; you'll pick up on many different things. I've seen the film four times now, every time I've liked it more and more, which is what the most brilliant films do: get better with age.

I really wish Hackman and Arthur Penn had paired together a third time after this and "Bonnie and Clyde". I'm sure the results would have been impressive, though it would be hard to surpass the incredible "Night Moves". Please release it on DVD!

My rating: 10/10

I watched this film late last night with the intention of just seeing the first half then and saving the rest for later. It didn't work out this way due to the fact that "Eye of God" is so utterly fascinating and potent a movie; you just can't take your eyes off the screen!

Martha Plimpton is truly unforgettable as Ainslee. She explores the nuances of her interesting character realistically and intelligently, adding her own unique charm and talents to the role with spellbinding effects. She really deserved a lot of praise and awards for this part!

Actually, all of the performances in this film are excellent, from Hal Holbrook's brilliantly understated sheriff to Kevin Anderson's chilling, masterful performance.

The plot couldn't be better constructed or in a more original way. The technique may be off-putting to some, which made me love this film even more; it will probably always be a film that is revered by a small few because it never takes a Hollywood approach to the material, nothing about this film is derivative of something else, so it will seem unfamiliar, alienating, and disconcerting to many.

It's a film with many moments that are nothing short of gems, a film that stays with you and feeds your mind.

If you haven't seen it and have even a passing interest in cinema, it's imperative that you track this film down on VHS or DVD; true masterpieces like this should be better known and sought for.

My rating: 10/10

Horrible acting, absolutely ridiculous effects, dull dialogue, pointless story, and one of the goofiest endings you'll ever see . . . this is an excellent film to watch with friends possessing a sarcastic, witty persona, as it is ripe for MST3K. I own a copy of the film under the Force Video label, which is long-defunct. Not an easy film to find, but not really worth looking for. My score: 2.5/10

Tisa Farrow added another gory Italian horror film to her resume when she starred in this 1980 shocker from the director of Buried Alive (1979) and Trap Them and Kill Them (1976). Not quite as gory as you'd expect, it's more interested in character development and atmospheric locations. The dubbing is typically atrocious and the opening scene of a young man being meat-cleavered on the beach is unoriginal and amateurish, but there are some surprisingly good moments. The young blind girl who can literally smell the presence of Anthropophagus is fairly clever. Try to see the unedited version, even if the original Monterey Video cover box kicks ass. My score: 5/10

Joe Spinell makes one of the most effective movie psychos I've ever seen. We are immediately sympathetic for and terrified by Frank Zito, a severely disturbed middle-aged man with a mother complex. The score is one of the most memorably eerie, haunting soundtracks ever. I'd love to own it. There is a lot of atmosphere here, mainly because of the Mario Bava-like set pieces of Frank's tiny New York apartment. If you have a weak stomach you probably won't make it through the first 2 minutes of this film, which opens with a brutal double murder on the beach. The only thing I didn't particularly care for about this film was the cliched and silly scene towards the end where the skeletal hands of Frank's mother pop out of her grave and grab him - it sort of cheapens an otherwise flawed but fine psychological suspense film. See it, they don't make them like this anymore. My score: 6/10

I do agree with one reviewer about the fact that Lisa's sociopathic character would be very unlikely to break down at the end, but fortunately Angelina Jolie is so powerful and convincing that she makes us forget. Her Oscar-winning performance is top-notch. In fact, every one in the cast is superb, including the always brilliant and subtle Miss Redgrave. Well worth seeing for the acting! My score: 7/10

This low--budget flick concerns a young actress who stops at a desolate auto shop one day when her vehicle breaks down and is nearly murdered by the psycho of the title. She narrowly escapes and a year later is stalked by him again on the set of her new movie. This film is alternately hilarious and dull. I can't even begin to describe everything that is wrong with this movie, from the acting down to the gore effects, but I can mention a few of the more ridiculous moments. For instance, it's astonishing to discover that the film crew and director of the victim/actress's new film actually think they're making an intelligent sci-fi film! We see several sexy women walking through a desert in one scene. There is no dialogue other than when one of the women woodenly lifts up her arm and says "Look". Then one of the women is devoured by a gigantic mouth with sharp teeth protruding from the ground. I laughed hysterically at this scene! The film tries to make a statement by portraying the maniac/hero as a complete savage in every way, thus the hilarious scene where he picks up a live snake and takes a bite from it (you can plainly see that he's eating a chunk of food sitting on the snake's skin). And then there's the "climax" on top of a giant wooden spaceship, which will leave most people screaming "What the f***!?" This is a must-see for fans of truly terrible cinema . . .others beware.

This film is downright brilliant. Never before has a film been more mesmerizing, more haunting . . . in fact, the film touched me in such a way that I am almost offended by the stupidity of some of the other user comments. It's one of very few films I have given a 10/10 rating. The best thing about this film is it's secrets and the fact that it never needs to reveal them in order to satisfy us. In fact, it's better that they aren't revealed. The performances are, needless to say, scintillating. I have such respect for Holly Hunter for her portrayal in this film . . . she's magnificent. Anna Paquin is also superb in a very difficult role for a child actor. They both deserved every inch of their Oscars. I still can't believe that Steven Spielberg's pretentious Schindler's List beat his film for Best Picture, but then I rarely agree with the Academy's Best Film picks. The image of Hunter floating above her piano at the end is the most haunting image I've ever seen in a film. A pure joy to behold, it even inspired me to play the piano! See it!

After years of trying to locate this film on vhs I finally bought it from a used vhs retailer a couple of years ago. Upon my initial viewing of the film, I was a bit disappointed. I didn't dislike it, I was just a bit let down. Yet I couldn't get the film out of my mind. The images, the acid dialogue, and especially Anne Carlisle. . . A couple of viewings later, I suddenly came to an unexpected conclusion - I loved this movie! Rarely does my opinion of a film change from tolerance and mild fascination to pure amazement. That's probably because everything about Liquid Sky is so different from ordinary films, even I was a bit disoriented at first, and I'm a true fan of cult and avant-garde films. It presents hatred as such a way of life, even the people who are "friends" in this film hate each other, the contempt for humanity is so second nature, yet it's never "loud" about this . . . everyone just quietly hates everyone around them, and vocalizes it so quietly and precisely-without shouting-that it takes you by surprise! The visuals are excellent, proof that you don't need a big budget to make a superb sci-film - even though Liquid Sky is much more than mere sci-fi. It's a haunting look into the lives of some unforgettable characters. Another unique aspect of the film is the way it alternates very quickly between two or three different scenes, each with different characters. The first time I watched it I didn't really enjoy it because of this. That's another reason Liquid Sky must be watched more than once to fully appreciate it. The film has its flaws, mainly because of some mediocre acting, but Anne Carlisle has huge screen presence in both of her roles. See this immediately if you haven't already, but give it time to sink in. It soon became one of my five favorite films, and it may appeal to you as well if you have some patience. My score: 9.5/10

I suppose I am a bit partial to Frightmare because I first saw it on television late at night about 15 years ago (back when ABC did Fright Night Theatre-anyone remember that?) and it did give me the creeps. Even though a lot of the film's aspects are a bit amateurish, it's still chilling and fun to watch, and I really loved the scene where the teenagers are dancing with Mayne's dead body around the dinner table. The film has a very unusual atmosphere and horror buffs should enjoy it, it's got a little bit of everything (i.e. gore, creative deaths, chills, spooky settings and locations). Mayne really hams it up in the film's opening sequences, and it fits here. Rent (or buy-I did) this one from your local video store. You'll have a blast. My rating: 6/10

I was shocked to see what a low rating this film received. It's one of the best Christmas-themed horror efforts ever. Brandon Maggart, a very under-appreciated actor, gives a first-class performance as Harry, a child trapped in a middle-aged man's body. He evokes sympathy from the viewer as no other film murderer has. The film has a surrealistic feel to it, especially in the scene where Harry is taunted by some church-goers and he takes revenge. I loved the scene where Harry gets stuck in the chimney, because it shows just how much he really does think he's Santa, and at the same time it reveals just how human this character is. He's not infallible or immortal. And the ending is sheer brilliance. I'll never forget the image of Harry's van sailing through the sky. I suppose I'm really not to surprised by a lot of the reviewers' lack of understanding or patience with this film. It wasn't intended for gorehounds looking for cheap thrills. It's for those looking for a challenging psychological horror film that is intelligent and fascinating. MY SCORE: 8.5/10

Lynn Carlin gives a superlative performance as the devastated mother who cares more for her war-veteran son than anything else. Bob Clark's direction is exemplary, and makes this film quite effective. The ending is the best part, but I won't reveal it. Buy it on ebay (the only place you will find it) and enjoy! My score: 6.5/10

The most hardcore bad film buff will be surprised by the overall ineptness of this grade-z "film". Mary Woronov, a clever actress best known for her roles as Mary Bland in Eating Raoul and Miss Togar in Rock 'N' Roll High School, is by far the best thing about this tripe. This film is almost too bad even for MST3K - honestly!

Frank DeFelitta, who also happened to write the novel Audrey Rose, turned to directing for this 1981 horror fantasy. The film opens with an eerie credit roll set on a pastel-colored windmill backdrop, and this is when we first hear the film's unforgettabley chilling score. Twenty years after seeing this film for the first time, I can still play it over in my head. The film soon progresses to its undeniably clever storyline, which I won't bother describing in detail as that has been done for me by previous reviewers. The atmosphere of this film is almost unbearably suspenseful at times, and the fact that we never see even a far-off image of the murderous culprit during the film adds to the creepiness. Charles Durning gives one of his best performances as the selfish, provincial mailman who is stalked by a vengeful killer. This film is best viewed alone late at night!