PCC0921 Reviews

Dimension 5 (1966)

Captain Pike VS Oddjob

[5/10 · 7 May 2024]

Star Trek's original Captain Christopher Pike, Jeffrey Hunter, is a secret agent for the fictional Espionage, Inc., who has the technology to transport to the future or the past, by stepping into a fifth dimension. Hunter's Justin Power, carries a belt on his waste, which has the controls he uses, to move through the dimensional hallway. Dimension 5 (1966), explores the real-world fears of the late-1960s, involving China, the Cold War and nuclear attack, which were heavily explored topics at this time in history. The two biggest genres of that time, were espionage and science-fiction films. United Pictures Corporation, was a small, independent film-company, that specified in TV-movies or specials. However, through certain business moves, ended up releasing all 11 of their films theatrically. It is important to remember this when watching Dimension 5 (1966), because the original intention should have been taken by the company, because the films may have been judged more harshly in the theaters, then they might have been on TV. Say what you what about television, TV technology in the late-1960s was still not very good and you could definitely see a bigger, sharper image in the movie theaters at that time. It was the obvious fact, that the sharper the image, the sharper the imperfections were too.

On top of some pretty bad editing, Dimension 5 (1966), has silly dialogue, low production values and not the best acting. It was still a good-enough effort, that I feel it still deserves to be recommended to others. Harold Sakata, who was Oddjob, from the Bond/007 classic, Goldfinger (1964), is the wheelchair-bound, boss-man Big Buddha, who had to have his dialogue, redubbed over, by voice-actor Paul frees, who was the voice of Boris Badenov, from the Rocky and Bullwinkle Show (1959-1964). Justin Power's new partner is Kitty (France Nuyen), who is the high-point of the story and does deserve some credit for her performance. She is smart, tough and sure, Jeffrey Hunter is just fine, but I did feel, like he was looking a little bored. Maybe, he wasn't a big science-fiction fan or didn't like spy-dramas. The main plot to Dimension 5 (1966), involving a plot to detonate a nuclear bomb somewhere, would be a reoccurring theme with United Pictures Corporation. They have a couple of other films, involving the same plot, with a China-driven, nuclear-age, espionage story, that has to be thwarted by the good guys. It's espionage, comic book, story-telling, at its best.

PMTM Grade: 5.2 (E+) = 5 IMDB.

Ask Me to Dance (2022)

Triple-Duty

[5/10 · 4 May 2024]

A gypsy woman predicts, that Jill (Briana Evigan) and Jack (Tom Malloy), will achieve love in four days. So, you already know where Ask Me to Dance (2022), is going. This film has the normal, rom-com, modern-day, movie tropes, including meeting the bipolar girl, at the speed-dating event. When the old, gypsy lady meets Jack, she hands her cat to him and just before the edit-cut, it looks, much like, the cat wanted to scratch his eyes out. The casting choices in this film are weird. I don't get Tom Malloy as the leading man. He bites his lower lip too much and makes weird faces. And, how unoriginal to name your main characters, Jack and Jill. Mario Cantone (Sex in the City, 1998-2004) plays Jill's friend, Patrick. Briana Evigan is the daughter of actor, Greg Evigan, who for people over 45, know him from the TV-show, BJ and the Bear (1978-1981). After Mario Cantone, the biggest name in the film, with veteran-creed, is Joyce DeWitt (Janet from Three's Company, 1977-1984).

Ask Me to Dance (2022), feels like an expensively, long, college film. It smells like, the low budget, independent film variety of romantic comedies, that go straight to video/streaming. However, this dreary, independent, rom-com has moments strong enough to get an E For Effort, but it is a tough watch to see. DeWitt's character is head-scratching, with a weird, southern accent, mixed with a granny-type of Mrs. Roper, if she had a carry-permit. This approach to her character is so bad, it seems out of place. You don't really even like her much. Also, the dancing isn't that very exciting either and the film, ends like a wedding video. Who needs that? However, let's give credit, where credit is due, especially since Tom Malloy was pulling triple duty, as not only just the main actor, but also the writer/director of Ask Me to Dance (2022). It's also evident, that Malloy and Evigan give it their best with the dancing scenes. If Malloy had hired another actor for the Jack role, things may have worked-out better.

PMTM Grade: 4.5 (E) = 5 IMDB.

Liberty Heights (1999)

Richard Kline / Larry Dallas, Is In This Film

[8/10 · 3 May 2024]

Liberty Heights (1999), takes place in 1954, in Baltimore. The story centers around the early days of schools implementing new integration laws. There also is a slight mob vibe to the film, considering Joe Mantegna's, Nate Kurtzman, owns a burlesque-club. The film also has a strong, romantic-dramatic presence too. Liberty Heights (1999), tries to explain cultural differences and why, young people interpret history differently than older people. It reminds us, that young people have many questions about race, fear, prejudice, everything and it's up to the older crowd, to help explain that to them. Liberty Heights (1999), reminds us, that history is important. There still is that Hollywood flare, evident in the film, which says, this is a professionally made film. One side of the film is a romance story and another part of the film, turns dangerous with a kidnapping.

Liberty Heights (1999), director, Barry Levinson, who directed Rain Man (1988) and Good Morning Vietnam (1987), gives to us, a strong story, that hits upon, that time-period, in the mid-1950s. There are influences from Diner (1982), which explains a lot about this film. Liberty Heights (1999), is kind of, a mix between American Graffiti (1973) and Harlem Nights (1989). It's pretty good. It's a a pivotal time for the civil rights movement. The way the story is handled, makes you wonder, what the characters lives may have been like, if they lived in a different time period or in an alternate world, that had no discrimination. There is a good soundtrack. There's also a well-crafted, James Brown concert recreation. Liberty Heights (1999), has an interesting collection of actors too. The film has an R-rating, because of the fact, that Nate owns the burlesque theater. The film made me think of Perry Mason films too.

PMTM Grade: 7.8 (B-) = 8 IMDB.

Pleasantville (1998)

An Homage to Classic Films and TV, While Becoming Its Own Modern Classic

[9/10 · 1 May 2024]

Tobey Maguire as David and Reese Witherspoon as his sister Jennifer, are sucked into a black & white, 1950s, TV show, named Pleasantville and can only get out of it, by satisfying the ego of its curator, the TV Repairman, played by Don Knotts. Pleasantville (1998), is a modern classic, directed by Gary Ross. Don Knotts' TV Repairman, is the character, that gets this film started, trapping the Wagners in this new b/w world. He presents to us a more subdued version of his classic Ralph Furley (Three's Company, 1977-1984), persona, in Pleasantville (1998), but most notably, after he scolds the kids, from inside a television screen, just to appease his own ego. He gives his character and the story, a certain comparison to the Wizard, from the land of Oz. JT Walsh as Big Bob, presents himself as a formidable antagonist. He is part of the town's, conservative, ethics-police, who see the Wagners as a threat. The library becomes a sinful place in the eyes of the town elderly leaders.

There is a Back to the Future (1985), vibe to Pleasantville (1998). The world in Pleasantville (1998), is a 1950s television universe. Since it's the 1950s, there are never bad words. It never rains. There is no sex. There isn't even a toilet in town. A big part of the story is about sex and the different feelings towards it, between the attitudes of the late-1950s and the late-1990s. Pleasantville (1998), explores the social and cultural issues of the 1950s and the barriers, that we faced in the real world back then, but disguises that world as a colorful, 1950s, Warner Brothers cartoon. It's actually making fun of real-world, values and ethics crowds, but in a much more pleasant, comedic story. What is considered wrong in the Pleasantville universe, is preaching the idea, that colors are bad and you shouldn't break out of this 1950s, sterile society. There eventually is totally, a Nineteen Eighty-Four (1984), influence, with Walsh standing in front of a Pleasantville handshake banner, taken directly from Nineteen Eighty-Four (1984). There are metaphors everywhere in Pleasantville (1998).

There is really good acting found, all around, in Pleasantville (1998). Jeff Daniels, as the owner of the local ice cream shop and William H. Macy, as George Parker, David's father, shine in their roles. The use of color or lack of color, is very good. The sporadic splashes of color, enhances beauty, by making beauty an actual thing in this simulated world. There are some things, that aren't explained, like why would a Pleasantville resident know the names of different colors in this b/w world? That tactic in the plot, makes the idea of colors a mystical, mythological thing, for the townspeople of Pleasantville. It makes things more mysterious for us too. The red rose makes its appearance, stating that, love turns the first corner. The fire turns the next corner. The kids start to become godlike to some. David is able to fill in missing pages of books which creates this passion to save the Pleasantville universe. Pleasantville (1998), is a fun film, that teaches a lesson about the dangers of ethics-policing, by cleverly and strategically dancing around the issue.

PMTM Grade: A- (8.9) = 9 IMDB.

Licence to Kill (1989)

Dalton Bond Attempt #2

[6/10 · 1 May 2024]

In Timothy Dalton's, second-outing as 007, License to Kill (1989), James Bond takes a break from the British secret-service, in order to avenge the murder of a friend. Bond has his license to-kill revoked by M (Robert Brown), which forces James to go rogue, as payback for the near-murder of CIA agent, Felix Leiter (David Hedison). David Hedison, was the only actor in Bond history to play Felix Leiter more than once, until the record was broken, with the new Daniel Craig movies, with Jeffrey Wright setting the new record at three, in No Time To Die (2021). License to Kill (1989), is the second Dalton/Bond film and one of the more, disappointing Bond films from the 1980s, however it does have a few positive moments. Director Jon Glen did a bunch of these films, by the time we got to this point. He directed a lot of Roger Moore's Bond films too. A big killer for the loss in quality in License to Kill (1989), is music-composer legend, John Barry, is missing from this film. A new composer, Michael Kamen, was brought in for this film. You can see how much the producers wanted to steer this film into a different direction.

What's interesting about License to Kill (1989), is its need to be a non-British spy mission for Bond. James ends up getting pulled into the after-effects of one of Felix Leiter's, American drug-cartel cases in the Florida Keys. This change in direction for Bond, which is a departure from what you are used to in 007 movies, creates an aura, that feels, almost, anti-Bond. License to Kill (1989), still tries to hit upon all the Bond tropes, but fails, because of all the unfamiliar territory the producers try to explore. I do like Timothy Dalton as Bond though, however he could have been any spy in this film. My favorite, pre-Bond moment from Timothy Dalton's career, came when he was cast as Prince Barin in the science-fiction classic, Flash Gordon (1980). The writers for License to Kill (1989), do try to keep the one-line jokes in the film, that the Roger Moore films made famous and they also try to utilize the sophisticated brutality of the Sean Connery films. The producers wanted to take this film to a darker place and the PG-13 rating, allowed them to have extra violence, which includes shark attacks and an exploding head in a pressure tank.

Desmond Llewellyn, returns as Q, for his 14th Bond film. He wasn't in Dr No (1962), but did all of the Bond films, since From Russia With Love (1963). In License to Kill (1989), Q pretends to be James' uncle and his age shows, how his character has grown from a cranky, middle-age guy, who's always annoyed with Bond, to an elderly, uncle type-of figurehead for James. The bond (pun intended), between 007 and Q, grew during the Roger Moore years. In fact, there is a strong feeling of family between the legacy-characters in License to Kill (1989), especially between James and Q, but also between James, Felix and his bride, Della Churchill, played by Priscilla Barnes (Terri from Three's Company, 1977-1984). Unfortunately, legacy-actress, Lois Maxwell, as Miss Moneypenney, left the series along with Roger Moore and was replaced, with the bland, Caroline Bliss, for the Dalton films. Robert Brown had been doing the role of M, since Octopussy (1983). The bad-guy for this film, comes in the form of Mexican drug-lord, Franz Sanchez (Robert Davi), who is the architect of Felix's near-death experience. It is the brutality of Sanchez's methods, that really draws the ire of Bond. One of Sanchez's minions is played by a very young Benicio del Toro. Cary-Hiroyuki Tagawa, who was best-known as, Shang Tsung, in the classic martial-arts, video-game movie, Mortal Kombat (1995), plays an undercover Chinese operative from the Hong Kong narcotics police.

License to Kill (1989), clocks in at 133 minutes, which ends up making the film a little too long. In some parts of the story, things are slow. The actresses picked as Bond women are bland and slightly boring. The sexual connection between James and his love-interests, feel lifeless and not believable at all. They act like high school girls, who can't handle their espionage jobs very well. License to Kill (1989), really starts to get weird when Wayne Newton shows up, toting a fake religious charity (Alympetec Meditation Institute), a scam organization, that's stealing its followers, of all their money. It's just another weird plot-point, that this film, aimlessly continues to follow. It also doesn't help, that License to Kill (1989), came out seven months after the Leslie Nielson-driven film, the Naked Gun: From the Files of Police Squad! (1988), because this Bond film, in some ways, resembled the Frank Drebin film. The final chase scene in License to Kill (1989), is pretty cool though and the late-1980s pyro-techniques are cool, with some neat explosions.

PMTM Grade: D+ (6.3) = 6 IMDB.

Tank (1984)

Tanks For the Memories

[4/10 · 29 April 2024]

James Garner plays an aging Army soldier, named Sergeant-Major Zack Carey. He has to rescue his son Billy (C. Thomas Howell), from a corrupt, southern sheriff, named Sheriff Buelton (G. D. Spradlin). Buelton is enraged at Zack, because Zack beat-up one of the Sheriff's sleazy deputies, because the deputy (James Cromwell), beat-up a call-girl named Sarah (Jenilee Harrison). To get back at Zack, Buelton takes Billy into custody, using fake-drug charges and puts him in his prison. It's a good thing Zack has access to a Tank (1984), because it's time to break his kid out of jail. Also, beware, Tank (1984), is a much more, mature film, for a PG rating, however it was 1984. 1984 was the year, that the PG-13 rating was created, but Tank (1984), made it in before the change.

James Garner was dealing with a career, that was starting to plateau. He was heading towards 60 and the roles were becoming television-heavy. He was still a big star, which is probably why he got the starring role in this film. After this, he would become more of a supporting actor in movies, sequel TV-movies of the Rockford Files (1974-1980), and other TV shows. I will say this, Jenilee Harrison works better in dramas than she did in comedies. She seemed to fit into her role as Jamie Ewing, on the TV series Dallas (1978-1991), much better than she did in her comedy role, as Cindy Snow, on Three's Company (1977-1984). Tank (1984), is supposed to be a comedy and all through the film, I was wondering where all the laughs were. Tank (1984), is boring and has many silly moments. Tank (1984), begins to get so silly, that it reminded me of a twisted cross, between the Apple Dumpling Gang (1975) and Smokey and the Bandit (1977).

PMTM Grade: F+ (4.0) = 4 IMDB.

Yesterday's Hero (1979)

When Disco and Soccer Collide

[5/10 · 29 April 2024]

A famous singer (Suzanne Somers), and an aging pro soccer player (Ian McShane), who hooked-up years before, find themselves crossing paths again, in England, in this drama, that has a hard time getting started, but ends up being good enough, for an "E For Effort". Somers gets top billing in Yesterday's Hero (1979). Somers' Cloudy Martin, is one-half of a pop-music duo, known as Martin and Simon (Paul Nicholas). In the real world, I guess, they are like the Captain and Tennille, type-of, late-1970s pop music. The soundtrack is very disco driven. The way their performances are presented in the film, look very much like performances from television hits like, the Sonny & Cher Comedy Hour (1971-1974) and Donny and Marie (1976-1979). The music in Yesterday's Hero (1979), is pretty bad. Suzanne isn't a convincing singer, however it definitely sounds like her. It's not dubbed.

Yesterday's Hero (1979), is a British production, that was distributed by Columbia Pictures. The low budget used for the film, which is obviously visible in this production, unintentionally, but positively, gives the film some realism and a grittiness, that produces a fairly cool, 1970s-style to it. Unfortunately, I could only find a VHS, 4:3 version of the film, which also looked squeezed. I am hoping, the day I stumble across Yesterday's Hero (1979) again, next time, hopefully, I can watch a new HD version of it. It may improve the grade, that I gave the film. The muddy VHS quality was a rough watch. This film feels like a hallmark, lifetime type of movie, but it was released before cable networks were a thing. Even though it has a PG rating, there is an evident TV-movie effect going on. The film was directed by Neil Leifer.

Yesterday's Hero (1979), is a mix of staged singing sequences, interwoven between a soccer practice or game. Ian McShane plays Rod Turner, who among, the other things I mentioned, is also a drunk. It's good that he runs into Cloudy and Simon, because they decide to help Rod, make a comeback in pro soccer. The TV-movie aura felt in the film, is reenforced by acting lines, that felt like they were written for TV and not written, for a theatrical film. This was an era when they still said, "let's make love", on television, instead of "let's have sex". Yesterday's Hero (1979), is kind of lame, but it still deserves an E for Effort. The plot begins to feel like, its coming out of control and it has an abrupt ending. I'm talking quick. There are some funny moments, like seeing Ian McShane load 15 kids into a 1970s, European station wagon, which looks like a tank, because he teaches soccer to kids, but transportation was somewhat cheap. In the final credits it says, Suzanne Somers' wardrobe - from her closet.

PMTM Grade: E+ (5.2) = 5 IMDB.

Law and Disorder (1974)

Archie and Quinton: What Could Go Wrong?

[7/10 · 22 April 2024]

Carroll O'Connor and Ernest Borgnine were two of the biggest stars in 1974. Even though Borgnine was ever-enshrined as Lt. Commander Quinton McHale, on his hugely successful TV sitcom, McHale's Navy (1962-1966), since then, he had been more prevalent and busy, with his successful film career up to this point, with huge film hits like the Dirty Dozen (1967), the Wild Bunch (1969), and the Poseidon Adventure (1972). O'Connor was, of course, enjoying the success of his hugely popular TV sitcom, All in the Family (1971-1979), that was beginning its season five, when Law and Disorder (1974), was released in theaters. This film utilized those popular aspects, that made these two guys famous, especially Archie's parenting/husband skills and McHale's ability, to lead miscreants into battle. They also are synonymous with comedy, so Law and Disorder (1974), immediately establishes itself as a comedy-drama, about two New York City guys, Cy, the hair-stylist (Borgnine) and Willie, the cabdriver (O'Connor).

Ann Wedgeworth plays O'Connor's wife, Sally. Karen Black plays Gloria, who works with Cy at the hair salon. She's nuts in this movie. Unfortunately, her character felt a little bit over-the-top, but if crazy is what the director, Ivan Passer wanted, he got that successfully. Alan Arbus has a small role in the film too. He's most famous for being Dr. Sydney Freeman on the highly successful TV-Sitcom, M*A*S*H (1972-1983). He plays a psychologist in Law and Disorder (1974), which is, almost, the same occupation as Dr. Freeman, already in his reoccurring, third season on M*A*S*H (1972-1983). Law and Disorder (1974), is a dark-comedy, with a hodgepodge of interesting characters, not really attempting to get you to like them, so don't look for anything, like character appreciation or vicarious inspiration. They are just trying to live their lives in the urban streets of 1970s New York.

After a slew of clever robberies, home-invasions, as well as, an old trench-coat flasher, the people of this New York City neighborhood, ask to join the civilian-led, Police Auxiliary Force, in order to help enforce the laws. Alan Arbus' Dr. Richter, has to teach a class-lecture on rape, to the new Police Auxiliary Force recruits. It's a comedy crime-drama, with a lot of 1970s street-talk. Being as it is the early 1970s, with a story about out-of-control, street crime, Law and Disorder (1974), does have sign-of-the-times humor and situations, that may be too intense for some sensitive, 21st century viewers. It is after all, rated-R for a reason, so keep the kids out of the room when watching this film. As Cy and Willie get their squad together, the film begins to resemble Police Academy (1984), which makes both men think, they may have made a huge mistake with this idea. But, despite that, they push along. The film starts to turn a little dramatic and dark in the last third of the story, with an ending I wasn't expecting.

PMTM Grade: 6.7 (C-) = 7 IMDB.

The Heartbreak Kid (1972)

When a Man Removes His Rose-Colored Glasses

[7/10 · 18 April 2024]

The Heartbreak Kid (1972), is a story about the confusion and emotional trappings, of a young man named Lenny Cantrow, played by Charles Grodin, who's not sure if he made the right marital choice with his new wife, Lila (Jeannie Berlin). Than, add in the appearance of beautiful blonde, Kelly Corcoran (Cybill Shepherd), and things get even tougher for Lenny. Kelly's parents are played by Audra Lindley (Mrs. Roper from Three's Company, 1977-1984), and Eddie Albert (Green Acres, 1965-1971), who knows this whole thing between his daughter and Lenny, is a bad idea. Both Eddie Albert and Jeannie Berlin, were nominated for Best Supporting Oscars for the Heartbreak Kid (1972), so you can see this film has Academy Award exposure, especially in the acting category, which is done well in this film. We also have an early Doris Roberts sighting. Audra Lindley's, Mrs. Corcoran, is the complete opposite character from what her Helen Roper character was on the hit TV series.

Things get strange for Lenny, as his honeymoon with Lila begins and during their drive down old route 13, on their way to Miami, he begins to realize his novelesque marriage, is less fairytale and more real-world, than anything else. Overnight, Lenny sees his new bride, change from sexy wife to human being, along with all the gross stuff humans do. She gets food all over her face. She becomes annoying to him, while talking rather silly. She sunburns herself. She's sweaty, with creams all over her, fighting with her uncontrollable hair, etc. It is quite a good performance for Berlin. She deserved the Oscar nod. After all the human moments with Lila, Lenny's feeble brain begins to break down and then he runs into college hottie, Kelly. It would be the best three days of his life, not spent with his wife. Nobody in Kelly's family likes Lenny and it's made abundantly clear by her father, early on in the film. Albert earned his Oscar nod too.

For a rom-com inspired film, the Heartbreak Kid (1972), is shot really well and in a stylish type-of way. Director Elaine May, during the beach scenes, utilizes the camera lens to show the brightness of the sun on the beach. Grodin having a conversation with a sun-saturated Shepherd, from a low-angle, shows the brightness of the sun on the beach and the chaos beginning to take over his confused mind. It is a convincingly good performance by Grodin in this film, although he still radiates an aura, that he is not a young man, but more in his late-30s. He always had that older-look to him. I never felt "young" coming from the screen. The scene where he pretends to be from the Department of Justice Bureau of Narcotics, is classic Grodin though. Something he would master sixteen years later in Midnight Run (1988). It's his performance, that increases the pay-off in this film. Heartbreak Kid (1972), is a comedy, that makes you pull for the bad-guy, in this case, the scoundrel, cheating husband.

PMTM Grade: 7.3 (C+) = 7 IMDB.

Saut à la couverte (1896)

The Sequel To Jumping the Blanket (1895)

[7/10 · 13 April 2024]

Saut à La Couverte (1896), is in the Lumiere Catalogue as #192. Some mistake this film for the Lumiere's 1895 debut classic, Le Saut à la Couverture (Jumping the Blanket - 1895). The Lumiere brothers create one of the first film remakes in film history. This approach to filmmaking was actually a common practice by the Lumieres. While the years went by, It gave them a way to continue to hone their filmmaking craft. They reshot a lot of their earlier films, including their famous, Arrival of a Train (1895). That film was remade, reshot or redone, at least three or four times, between 1896-1898. The brothers felt, that if a film did well the first time, why not improve upon it a second time and maybe generate twice as much capital, that the first film did. They in essence, invented the remake, during the first full year (1896), of the world's motion picture industry.

Being a remake of Jumping a Blanket (1895), Saut à La Couverte (1896), is also known in English, as Jump To Cover (1896). This time, the Lumieres reshot a large group of soldiers, throwing another man about, in a giant blanket. It isn't totally a remake, because in Jumping a Blanket (1895), there only were eight guys total in it. There are a lot more soldiers in Saut à La Couverte (1896). In the 1895 film, they look like they are attempting fire drills, while this film looks more like a circus act. Saut à La Couverte (1896), could be considered a possible sequel to Jumping the Blanket (1895), as well, because it looks more organized then the original film and they actually look like they had some training, before this film was shot. You could say, they got better for the sequel. This is still a pivotal moment in film history, brought to you by those French film pioneers, who started it all.

PMTM Grade: 7.3 (C) = 7 IMDB.

Voltige (1896)

When a Guy in 1896 Complained About Too Many Remakes of 1895 Movies

[8/10 · 17 March 2024]

The Lumiere brothers create one of the first film remakes in film history. This was actually a common practice by the Lumieres, while the years went by. It gave them a way to continue to hone their filmmaking craft. They reshot a lot of their earlier films, included their famous, Arrival of a Train (1895). That film was remade, reshot or redone, at least two or three times, between 1896-1898. They felt, if it did good the first time, why not improve upon it this time and maybe generate twice as much capital as the first time. They in essence invented the remake, during the first full year (1896), of motion pictures.

Voltige (1896), also known in English as, Aerobatics (1896), is a remake of their 1895 film, La Voltige (1895), which is also known as Horse Trick Riders (1895). The Lumieres reshot a group of acrobatics, actually soldiers, jumping onto a horse, with various forms of landing. Voltige (1896), could be considered a possible sequel too, because the acrobatic soldiers in this film, actually look like they practiced their routine and had some training, before this film was shot. The group in the original 1895 film seemed a little bit more amateurish and sloppy with their act. You could say, they got better for the sequel. This is still a pivotal moment in film history, brought to you by those film pioneers, who started it all.

PMTM Grade: 8.3 (B) = 8 IMDB.

Bullitt (1968)

Ford Mustang vs Dodge Charger

[8/10 · 16 March 2024]

Bullitt (1968), brings back together Steve McQueen and Robert Vaughn again, eight years after the Magnificent Seven (1960), as two characters, who are on the same side of the law, but have different endgames in mind. Bullitt (1968), is a cool movie, with the coolest car in it and even though this film came out in 1968, it gives off a gritty, dark look, towards that cool, 1970s Hollywood motion-picture feeling, that was on the horizon. Remember, 1968 was the last year before the MPAA ratings began to come into use in movie theaters. In fact, it's fairly possible, that Bullitt (1968), came out during that gray period, between the launch of the MPAA and the non-MPAA era, because McQueen has got to be the first guy, ever in film history, to mutter the "BS" word in a theatrical movie. Remember, It's only 1968.

This crime-drama, high-energy film, made at the start of the modern-era of film, has McQueen's Detective Frank Bullitt, trying to hunt down the killer of an informant, that was in his protection at the time of the murder. The film involves the backdrop of the San Francisco hills, along with a great soundtrack by composer Lalo Schifrin. Bullitt's love-interest is Jacqueline Bisset as Cathy. Norman Fell plays McQueen's boss Captain Baker, who is no help to him at all, as he sides with Vaughn's Walter Chalmers, every time. The organization involved with the murder eventually come after Frank, who drives a Ford Mustang, with their own hitman, plus a driver in a black Dodge Charger.

Bullitt (1968), is most-known for having one of the best car-chase scenes in film history. It amazes me, that the producers of this movie, got the proper clearances to shoot these scenes on the streets, in town (San Francisco), back in the 1960s. The insurance guys on the set had to be on-edge the whole time. I wonder what the insurance rules were for 1968 Hollywood productions? However, the chase eventually heads outside the city and the highway they are driving on looked like it could have been under construction. Bullitt (1968), director, Peter Yates, uses great camera shots, angles and also directs an excellent example of a thrill-ride of filmmaking and cinematographic sequences. The use of mirrors and reflections, is utilized well and makes Bullitt (1968), very cool.

PMTM Grade: 8.7 (B+) = 8 IMDB.

The Fantastic Four (1994)

Too Soon, Too Cheap

[4/10 · 29 February 2024]

I am so happy, that the Fantastic Four (1994), exists. It is a prime example of the trials and tribulations, experienced by film companies, in order to make a Marvel film in the 1990s. The first theatrical film (it never was released, but was completely intended to be a theatrical film and did make it, to a few science-fiction festivals, but was mostly relegated to bootleg VHS copies at sci-fi conventions everywhere), about Marvel's first-family in comics, the Fantastic Four. A group of cosmically super-powered heroes, named Mr. Fantastic, Invisible Woman, the Thing and the Human Torch. It is the type of film, that needs to be produced by a huge film corporation, with a big-budget tied to it, for success and not, the amount of money to buy a Fiat, which Fantastic Four (1994), ended up being. It was an embarrassing moment in film history. The antagonistic foil of the Fantastic Four is their main enemy from the comics, Doctor Doom (Joseph Culp).

The Fantastic Four (1994), definitely got its inspiration, for the character of Doom's henchman, the Jeweler and his hoard of criminals, from the Penguin's entourage, seen in Batman Returns (1991). They even try to mimic Danny Elfman's soundtrack, rather awfully in this film. The plot of Fantastic Four (1994), goes off on odd tangents throughout the film, especially in all those sequences, that seemed to be separate from the main storyline, involving Doctor Doom's minions. I also saw some rip-off soundtrack influence, from the James Bond movies, which utilized inspiration from the great film music composer, John Barry. Fantastic Four (1994), is a perfect example of why you have to have money, in order to make a successful movie, let alone a superhero movie. Roger Corman produced this film, with his New Horizons Productions and patsy film-director, Oley Sassone and his crew, were left behind to finish this mess. You can't force a low budget superhero movie, even if you are Roger Corman. I still recommend seeing this film, because it has heart, drive and potential, that unfortunately falls flat. It is definitely required viewing for Marvel fans, mostly as a curiosity piece. Fantastic Four (1994), is an interesting, lost moment in film-history and to a degree, a huge lesson to filmmakers everywhere, what not to do.

PMTM Grade: 3.9 (F+) = 4 IMDB.

Frankenstein Meets the Spacemonster (1965)

Martians - 8, Plan - 9

[4/10 · 29 February 2024]

Frankenstein Meets the Spacemonster (1965), is a low-budget, science-fiction film, that's got a rockin' soundtrack, but awful make-up and the costumes are atrocious too. We will get to the bad acting later. The bad costuming is especially evident on Lou Cutell, who plays the nefarious Dr. Nadir. Also, in the cast, is Bruce Glover, as an uncredited alien and another, bad make-up job. The film also stars James Karen as our main, leading character, Dr. Adam Steele. Steele has created an android, named Frank (get it? Frankenstein), who's space capsule is shot down by Martians, who are invading Earth, to replenish their decimated female population. Being as it was 1965, the film industry was knee-deep in beach-party movies. Those types of movies were red-hot, due to the popularity of Frankie Avalon and Annette Funicello's beach movies. So obviously, Frankenstein Meets the Spacemonster (1965), cashes in on that trend, with Dr. Steele running around Puerto Rico, trying to track down his malfunctioning, rampaging robot and the Martians, having their own, beach blanket bingo, while kidnapping women.

The space-suits the aliens wear, look like rejected, old, astronaut suits, that were stolen from NASA. The way Frankenstein Meets the Spacemonster (1965), is presented, has the set-pieces looking like a bunch of rich, college-kids, with connections to NASA, decided to make a movie. Marilyn Hanold, who performs as the alien princess, Marcuzan and Dr. Nadir, both look like they are hosting a really bad, TV shopping network, on a set, that's supposed to be an alien spacecraft. There is an awkward, seriously out-of-place, romantic, motor-scooter ride, between Steele (James Karen) and his assistant/girlfriend Karen Grant (Nancy Marshall), through Puerto Rico, which actually looks like, it was just hit by a hurricane. The scene is basically crafted for the song, that is playing in the background. Another nod to the low-budget feeling in Frankenstein Meets the Spacemonster (1965), is the over-abundant use of stock-footage. It looks like director Robert Gaffney, got his hands on a lot of aviation films and NASA stock-footage.

The acting in Frankenstein Meets the Spacemonster (1965), is terrible and the directing is juvenile. All of the characters, who get kidnapped by the aliens, put-up no fight at all and actually look like, they are content with their situation. They really could care-less about the fact, that they are being kidnapped for use as sex-slaves. They just quietly get in the menacing spaceship. There is no mention in the story, that anyone has mind-control or anything. The kidnapped extras show no fear or danger, unless they are part of the main cast. Director Gaffney saves all the acting for the main cast and the rest are empty extras. The directing miscues are dizzying in Frankenstein Meets the Spacemonster (1965). It was nice seeing this film in its original, theatrical aspect ratio on the streaming service I found it on and not a cheap, 4:3 TV or VHS version. With the new, restored, remastered, widescreen version, available today, Frankenstein Meets the Spacemonster (1965), looks more like a a polished, Plan 9 From Outer Space (1957), which I actually like more than this film.

PMTM Grade: 3.1 (F-) = 4 IMDB.

Godzilla vs. Megalon (1973)

Seatopia Makes a Bad Fashion Statement

[4/10 · 28 February 2024]

I've probably seen Godzilla vs Megalon (1973), over 20 times in my life. I am a huge fan of these films. The good and the bad, but in times of need, I've been able to turn off my unbiased-button, in order to look at these in a straight-forward, critical way too. I've been watching the Showa Era series, steadily, since the 1970s, so I was used to seeing it in 4:3 all the time. Godzilla vs Megalon (1973), is much better in its original, theatrical, widescreen format, which includes, the Japanese language with English subtitles, available today and it looks great in the new 1080p restoration. This is not saying much towards the overall film, but you should compare the two (SD VHS 4:3 and 4K Blu-ray), someday and you'll see what I mean. Godzilla vs Megalon (1973), is not the worst Godzilla movie ever made, but it was the lowest point of the 1970s era, of Toho's, kaiju series. That's not saying much, considering the 1970s were brutal for Godzilla, across the board.

This era of Gojira was a rough-ride for the lizard-king. It moved the character towards a more kid-friendly, comedic, silly direction, that turned a force of nature into a giant boxing kangaroo. Godzilla vs Megalon (1973), also was the third film, out of the last four films, in the series, which had a kid as the main character, thus playing-up the kid-friendly angle of the film. It made perfect sense, that this was happening though. The creator of Gojira, Eiji Tsuburaya, had since passed away, but before he left, he had set-up Tsuburaya Productions, who was churning out, one of his other, great creations, Ultraman, at an incredible rate of episodes, per year, by the time we got to 1973. On top of that, there were tons of copy-cat, Ultraman shows, out there on Japanese TVs, playing all the time. This of course, influenced the Godzilla films to a degree, which explains his tag-team partner in Godzilla vs Megalon (1973), as the colorful robot, named Jet Jaguar.

Another obstacle Godzilla vs Megalon (1973), had to get through, that impeded its success, was the fact, that at the same time, an embattled, bankrupting, Japanese film industry, was feeling the pain and Toho had to slash budgets on their films, which really is felt in this film. This was the era of stock footage galore, with footage reused from numerous Godzilla movies, going all the way back to 1962. Even, as far back as, King King vs Godzilla (1962). In fact, they even took stock-footage from non-Gojira films. When Megalon goes behind the trees, while the military is shooting their death-rays at him, the shot of him dodging the rays from behind the trees, was taken from either, Frankenstein vs Baragon (1965) or the War of the Gargantuas (1966). I'm not sure which one, but it was one of those. All the stock-footage was used in the military gathering scenes, monsters destroying the city scenes and, parts of the fight-scenes with the monsters. The shot with Megalon's lasers blowing up the Mobile gas-station, weren't even his lasers. They were stock-footage shots of King Ghidorah's lasers, from about eight movies back. Budget-cuts always kill a movie.

There also is a question if these films really were intended for kids. There is enough in Godzilla vs Megalon (1973), that earned the film a PG rating in the U. S. and I'm pretty sure I saw an old poster, that had an R-rating on it, for somewhere in the world. You can clearly see why in the new, improved, restored, Japanese versions, that you can stream on Max or Tubi, currently today. So, don't be fooled. Godzilla vs Megalon (1973), is not really for kids, with a PG-rating for language, violence and some magazine nudity, plus there's even smoking. There is a scene depicting our good-guys, Roku and Hiroshi, breaking back into their house, so they can stop the bad-guys (operatives of the subterranean culture, known as Seatopia), and regain control of Jet Jaguar. They use a toy plane and fly it into the face of one of the saboteurs. He grabs his head with a glob of fake blood in his hand. Another guy gets thrown out of a truck, that has Playboy centerfolds taped to the back of the cab and he rolls down a cliff. Finally, another bad-guy, gets crushed by a huge rock. By the way, all of these scenes were deleted from the original American version, that was shown in the 1970s and all through their VHS releases, seen in the 1980s and 1990s. I think people think these films are for kids, because non-nerds think we are all 15 year-old kids. That is fine, but beware of false claims on target-audiences.

There are other miscues in Godzilla vs Megalon (1973). Things like, audio sound effect mistakes, like squealing tires on dirt roads. There is a scene were Godzilla is running, Keystone Cop-style. The final fight scene is one of the worst ever. It has the famous Godzilla scene, with him flying through the air (he actually makes a turn), with a drop-kick blow into Megalon, while Jet Jaguar secures the evil monster. Jet Jaguar and Gojira actually having, what looks like, a conversation, also enhances the silliness. It is pretty brutal. It isn't all bad news for Godzilla vs Megalon (1973). There is a cool contrast between the colors of Jet Jaguar's suit and the choice of colors, that inventor Goro (Godzilla legacy-actor, Katsuhiko Sasaki), and his friend Hiroshi, use for their cars. There also is a half-decent car-chase and Megalon attacking a dam is kind of cool too. For really big laughs, watch the English dubbed version. Then compare it to the Japanese version. Even though, I give Godzilla vs Megalon (1973), a Failed grade, I still recommend seeing it, because you have to see it to believe it. Then forget about it and enjoy the rest of the Gojira, kaiju, Showa-Era of films, by the great Toho Studios. Plus, it's a film series, so you have to watch it.

PMTM Grade: 3.8 (F+) = 4 IMDB.

Jonah Hex (2010)

Have You Heard Of Jonah Hex

[4/10 · 27 February 2024]

We open up Jonah Hex (2010), with a positive. We are handed a story, based on an obscure, early-1970s comic book, that combines the great traditions of the western film, with the supernatural forces of the undead. The character of Jonah Hex has been a steady mainstay in the DC/Vertigo comics-line, since the 1970s, but is considered, almost totally, unknown to those outside comic book circles, so every time I mention the movie to other people, I usually hear, "Jonah who"? So, being a "retired" comic book fan myself, I too only saw a tiny sliver of the Jonah Hex mythos in the comics. I possibly read one issue back in the 1970s and the response I had towards it, harbored on Jonah Hex being a neat idea for a character, but it was poorly executed, to the point of being silly. I felt, even before I reached my teenage years, that Jonah Hex seemed a little ridiculous and would be a character, that wouldn't be around much longer. We now flash to 2010 and we have a blockbuster, Hollywood movie, starring Josh Brolin, John Malkovich, Megan Fox and Michael Fassbender. This is a chance for DC, to make the character of Jonah Hex popular again. John Malkovich, the bad guy, has constructed a huge canon, that he plans on using on Washington DC, during the 100th anniversary celebration of America. This is were the fun ends. The way Jonah Hex (2010), is executed, further shows the problems with this character.

Both Josh Brolin and John Malkovich, look like they are just claiming a paycheck. Megan Fox winds-up being a useless character in this film. It is a total waste of all three of their talents. We do have a Tom Wopat sighting, which was interesting. It wouldn't be a silly western, without Luke Duke from the Dukes of Hazzard (1979-1985). There also is Will Arnett, who plays a smarmy, union officer, who is just as plastic, as the other characters in the film. None of the characters are likeable. The most interesting and likeable characters in the whole film, are Hex's two partners, his dog and his horse. Yes, unfortunately, other than the dog, the horse, looking at Megan Fox and an interesting character-idea for a film, the rest of Jonah Hex (2010), contains bad editing, poor structure and god-awful music. There are moments in the film where our director, Jimmy Hayward, tries to intercut different realities, with the current reality in the story, to depict the torment in Hex's soul. It is a filmmaking device, used to increase the tension of the scene, which in this case, turns-out to be, a silly and distracting device. Jonah Hex (2010), is a bad, silly, ridiculous moment in film history. It only shows, that a bad comic book was made into a bad movie. I will say this though. Since, Jonah Hex (2010), was released in theaters, almost 15 years ago, the character of Jonah Hex has seen better days, with his film/television exposure. He was used successfully, a couple of times, in the Arrow-verse shows on the CW. He also has made a few, positive appearances, in DC's new, animated movies, that Warner Brothers streams on Max. As for Jonah Hex (2010), the only reason I didn't give it an Unwatchable rating and settled for an "F"-rating was, that other than the few reasons mentioned earlier, is the fact, that Hollywood does have the special effects thing nailed down. One other saving grace, is Jonah Hex (2010), is only 80 minutes long.

PMTM Grade: 3.8 (F+) = 4 IMDB.

Same Time, Next Year (1978)

Alda and Burstyn, Great Together

[9/10 · 23 February 2024]

It's actually rewarding when I find a romantic-comedy film, that I can enjoy, because that is one of my weaknesses with these kinds of films. Rom-coms can be tough to absorb sometimes for me, but every movie-buff should always be adaptable and dip into other genres, not in their comfort-zone. It helps to further increase interest in the power of film. It is also great to finally see, Same Time, Next Year (1978), in widescreen, because you can tell, that a lot was lost with the quality, when comparing an HD widescreen version of the film today, to the cheap, 4:3 pan & scan, found on old VHS copies. Make sure when you see Same Time, Next Year (1978), it's an HD version with the widescreen ratio. The music of Marvin Hamlisch, was nominated for the Academy Award also.

I am a big Alan Alda fan. You can really see his excellent acting skills shine in Same Time, Next Year (1978). It is great seeing his Hawkeye Pierce persona, that he immortalized on M*A*S*H (1972-1983), surface a little bit, in his George Peters role. This expert acting, helped to increase the enjoyment found, in each scene of the film. Really my only complaint about Same Time, Next Year (1978), comes with the transition scenes, that occur, in-between any time-changes in the film. Director Robert Mulligan, used a dissolving-festival, of historical photographs, while playing a romantic, Marvin Hamlisch song, over top of the shot, that was playing on the screen. This was a nice touch, but after the first three times he did the transition move, the transition started to become a little bit grating on the nerves. It was a device used in the 1960s and was becoming tedious, by the time we got to the 1970s. But, that was just a tiny negative about Same Time, Next Year (1978). This is an excellent film, with some of the best acting ever seen in a rom-com. Ellen Burstyn would go on and be nominated, for the Best Actress Oscar, for her role as George Peters, forbidden love-interest, Doris.

PMTM Grade: 8.9 (A-) = 9 IMDB.

The Cat from Outer Space (1978)

A Fun Grouping of Classic TV Stars and a Space Cat

[6/10 · 22 February 2024]

There is a plethora of TV stars from yesteryear, that pop-up throughout this movie. Just trying to name them all, as they come in to deliver their lines or just trying, to fit all the faces to all the shows they appeared in, is fun enough, in the Cat From Outer Space (1978). Both Harry Morgan and McClean Stevenson, the COs (commanding officers), of the 4077th, from the famed TV sitcom, M*A*S*H* (1972-1983), are in this movie. We have Sandy Dunkin, Ronnie Schell, Ken Berry and Roddy McDowall. There are some scratch-your-head, silly moments, like a cat from outer space, playing a cello with his mind. Would a being from outer space know cello? That however is explainable to a point, but it gets worse, when he gets a flute to play, while suspended in the air. How does a wind instrument get the wind into it, so it can make music? Stuff like this, that even the kids would be insulted by. He's also knowledgeable of the rules in the games of horse racing, football and pool, somehow.

Cat From Outer Space (1978), is a Disney film, but mostly in name only. Movie studios in the 1970s, while competing with television, created their own television divisions, which subbed for lower-budget film productions too. That's why there is a plethora of TV actors in this film. One particular actor, Ronnie Schell, who is the voice of our feline from space, also has a smaller role as Sgt. Duffy, who is General Stilton's (Harry Morgan's), right-hand man. Another TV legend, Ken Berry, who was very busy on television during the 1970s and had a couple of Disney films already on his resume, is our main character, Frank, who befriends Jake, the cat. McLean Stevenson is his football-loving, gambling buddy, Link. Cat From Outer Space (1978), is nowhere near a Disney classic, but it is a good example of a fun, family-oriented, television-type comedy, with those late 1970s, science-fiction, visual effects, inspired by the release of Star Wars (1977), the year before.

PMTM Grade: 5.9 (D) = 6 IMDB.

Race with the Devil (1975)

Easy Rider (1969), himself, Peter Fonda

[7/10 · 22 February 2024]

Race With the Devil (1975), is another one of those gritty, car-chase, biker vs evil, horror films, that were very popular in the 1970s. These films had motor-cyclists or race car drivers or police cars, being chased or having to chase or somehow, became dangerously involved with one horrible entity of some kind, who have to escape for their lives. There were other movie titles of that era, like Werewolves on Wheels (1971), Psychomania (aka: the Death Wheelers, 1973), Death Race 2000 (1975), the Car (1977) and don't forget, Steven Spielberg's, cult-classic, tractor-trailer nightmare, the TV-movie, Duel (1971). So, that was just to name a few of them. What also adds to the mixture of this genre-mixed, motion picture, is the casting of the most famous biker of this era, Easy Rider (1969), himself, Peter Fonda, as our main character, motor-bike enthusiast, Roger. Fonda, Warren Oates and their wives (Lara Parker and Loretta Swit), witness a sacrificial murder and are chased by cultists through the Midwest.

It was the sacrificial scene, that determined how this film would make money. If you noticed, this film has a PG rating, but the sacrificial scene has a good amount of nudity, but if you follow along with the shot at the firepit, you'll notice the producers blurred those areas, in order to acquire the PG-rating. In the 1970s, it was definitely true that PG films were much more profitable than R-rated films. Race With the Devil (1975), is actually one of the films found in a Warren Oates/Peter Fonda trilogy of films. One of my favorite Warren Oates movie moments, was his performance as Sargent Hulka, in the classic Bill Murray comedy vehicle, Stripes (1981). Race With the Devil (1975), is a thrill-ride. Desperate chase between good and evil. The action scenes are fun, original a gritty. It shows the realism of stunt-work. In one cool moment, a camera is strapped on the cross-bar of the cycle, shooting back at the both, Oates and Fonda. It is realism achieved with stunts. It reminded me of a Go-Pro camera today, strapped onto a bike, by just about anyone. I have to admit Oates and Fonda are very resourceful as the chase nears an end.

PMTM Grade: 6.8 (C-) = 7 IMDB.

Panic in the City (1968)

Panic in the Editing Room

[6/10 · 22 February 2024]

This low-budget, atomic-age, science-fiction film did make it to the movie theaters, but it also gives off a very ominous, TV-movie-look, when watching the film. Unfortunately, to make things even worse, you still can't find a copy of Panic in the City (1968), in its original theatrical version. According to IMDB, the film was shot in the 1.66:1 aspect ratio, but the only versions available, come from a television SD, 4:3 version, found on YouTube, thus emphasizing the cheapness. Panic in the City (1968), has a lot of potential, even though it is low-budget. The 4:3 aspect ratio is the problem, when it comes to properly judging it. The film probably would garner more respect, if it was remastered into HD. It does have a very good cast, veteran acting, starts off pretty good and has a strange parallel to the Dark Knight Rises (2012). What that parallel is, I can't tell you. You'll have to find out on your own. The supporting cast consists of acting names from film and TV-past, like John Hoyt, Dennis Hopper, Mike Farrell (M*A*S*H*, 1972-1983), Deanna Lund (Land of the Giants, 1968-1970) and the ravishing, Linda Cristal, who plays the main-female lead to Howard Duff's, Agent Pomeroy.

Panic in the City (1968), is another atomic-age, Cold War, action movie, about bad-guys making an atomic bomb in Los Angeles and the American agents trying to stop them. Can the good-guys save the day? Paul Dunlap, the music composer for Panic in the City (1968), also did the soundtrack music, for the Three Stooges/Curly Joe DeRita, theatrical films, of the 1960s. What really hurts Panic in the City (1968), are the strange, but oddly interesting, film-technique choices, that director Eddie Davis, chooses for this film. The pace of the film is slow in parts. Too much time is wasted, watching people walking to cars and driving around parking lots. The film has a very plastic feel to its style, because it is produced in a textbook, but low-budget way. There are some confusing camera shots, set-piece locations (everything looked like the scenes were shot at the houses and offices of the cast and crew). There are also some odd editing choices, that re-emphasized the low-budget elephant-in-the-room. One glaring mistake found in a scene, has a car chase happening, but all the shots in the middle of the chase, look like the exact same curve, shot three times. Panic in the City (1968), has the potential to be good, but there are some negative points.

PMTM Grade: 5.9 (D) = 6 IMDB.

Better Off Dead (1985)

John Cusack Takes Off From Here

[8/10 · 23 January 2024]

Better Off Dead (1985), is a great comedy motion picture, from the 1980s. In my opinion one of John Cusack's best films, at least, from the comedy genre-side of his resume. The comedy in this film, teeters close to a combination between Airplane (1980) and as a skiing, snow-version, of Caddyshack (1980). The difference being, Caddyshack (1980), had the leverage of being rated-R, so its plot was able to tackle raunchier jokes and utilized sex-comedy. Better Off Dead (1985), had the rated-PG tag, had to rely on smarter, innuendo-type jokes and clever screwball-type of situations, just like those found in Airplane (1980). Better Off Dead (1985), also represents the 1980s version of a rom-com, but its ultimate goal, is to generate laughs. The rom-com was a staple, genre-source, that John Cusack would churn-out, during his early years as an actor. Cusack plays Lane Meyer, an average high-school kid, who loves skiing, but his life is over, because his girlfriend, Beth (Amanda Wyss), dumped him for a popular, athletic, jock-jerk and holder of the K2, school skiing record, Roy Stalin (one time actor, Aaron Dozier). Needless to say, this creates a difficult time for Lane and a moment in his life, that makes him, better off dead.

Director, Savage Steve Holland, crafts his best theatrical film he ever did, with a zaniness, that rivals that, of some of the best, comedy-movies of the 1980s. The rest of his directorial efforts during his directing career, fall flat compared to Better Off Dead (1985), with his closest, next-best film, being the mediocre, One Crazy Summer (1986), also starring John Cusack. Better Off Dead (1985), is the one, that hits the mark, with a plethora of silly situations and one-line jokes. Humorous scenes, followed by plot set-up scenes, go by the screen, as Lane, in a emotional fog, tries to deal with his crazy, nutty life, with his friends and family. His father tries to keep the sanity with the rest of Lane's oddball family and you can tell, he is losing it too. Two years after leaving the legendary TV show, MASH (1972-1983), David Ogden Stiers, was perfectly cast, as Lane's confused father, Al. Al tries his best to keep the peace, but the chaos around him is too much for one man to control. His wife, Jenny (Kim Darby), wanders around the house in her own fog, crafting some of the scariest cuisine dishes ever. Lane's little brother, Badger (Scooter Stevens), is a 10 year old, evil genius, who is crafting his own homemade space-shuttle. You can see the situation, that Lane and his father, have to deal with.

There's no reason getting into the rest of the supporting characters here. You should just enjoy them, as they roll out on the screen. I'm sure you can see where the story is going. The plot is fairly basic, but handled in a way, that makes it fit in well with the comedy moments, seen throughout the film. I will mention, that Revenge of the Nerds (1984), alum, Curtis Armstrong, who plays Booger in that film, plays a virtual clone of that character, in Better Off Dead (1985), as Lane's best friend, Charles De Mar, who enjoys snorting actual snow. Another great casting, is Lane's boss at the burger joint, Rocko. Taking a break from the Porky's movies (1981-1985), Porky himself, Chuck Mitchell, performs Rocko as a Porky's clone. It's funny, because Better Off Dead (1985), is a much-better film, than the Porky's films and you could say, the best film the character of Porky, has ever been in. Better Off Dead (1985), was forever enshrined in the halls of movie-quotes, for decades, for featuring the determined paper-boy, hoodlum, Johnny (the aptly named Demian Slade), who terrorizes Lane, with the declaration, "I want my two dollars!". Most people from the 1980s, remember that quote well. Enjoy this great slice, of 1980s-styled, high-school, rom-comedy fun, which also is a salute to the genre itself. It has all the ingredients needed for 97 minutes of fun, plus it has an animated cheese-burger, that likes to sing Van Halen tunes.

PMTM Grade: 8.5 (B+) = 8 IMDB.

With Six You Get Eggroll (1968)

1960s TV Sitcom Cameos, Carlin and the Grassroots

[7/10 · 11 January 2024]

By 1968, Doris Day was the 1950s/1960s version of maybe, Mary Tyler Moore in the 1970s/1980s or even, Sarah Jessica Parker today, however Doris Day was made famous more, by using her singing voice and eventually her acting. The similarities between all these actresses, usually fell with the light-hearted, romantic, comedy-type-of films, that all of them appeared in. They were marketable actresses, in both motion pictures and television, who were appealing to most audience members, had a comedic side to them and were likeable, in a cute, romantic, personable way. Doris Day was a queen at it in the 1960s. Also going on in 1968, was the growing competition, or was it, the foreseen merging, between motion pictures and its little brother, television. We also need to remember, that this was still a couple of years before the launching of the MPAA, so family-oriented faire, was the way to go.

By 1968, family-oriented, sitcom television shows, featuring maybe one or two major stars, surrounded by lesser-known, supporting actors, were becoming very popular, so the movie industry needed to compete with these shows. However, in order to do so, major studios, with both television and film production branches, began to share talent. Also, film studios would hire-out, some of the crews from television productions, to save on the budgets for the motion pictures. This was a time when television was still a step-down from the movie theaters, but an ideal way to churn our cheap film productions, to share with the masses. It was something the cinema didn't really want to do, but realized, that this process needed to happen. They had to make some movies, that looked like TV sitcoms, which was a glaring sight, almost immediately noticed, in the beginning credits, to Doris Day's, With Six You Get Eggroll (1968).

This is a simple story about normal people and the headaches of dealing with the family. Day's widowed Abby McClure, begins a relationship with mutually widowed Jake Iverson, that prompts a little bit of outrage from their kids, which leads to the two lovebirds, eloping one night. From here, they manage their lives and repair the kids feelings. It's simple, cut-and-dry, romantic comedy, at its family-oriented, television sitcom, best, albeit in motion picture form. With Six You Get Eggroll (1968), has the total look of a television show, from the opening credits, to the way it is shot, lighted and edited. The sets, the suburban California scenery, costumes and color, all look like a TV sitcom in 1968. Even the transitions, from scene-to-scene, that are used, look like television transitions, with a color-shape crossing the screen between fades.

In fact, With Six You Get Eggroll (1968), is teeming with many TV actors, that pop-up, throughout this film. Cast in the role of Jake Iverson is television star, Brian Keith (Family Affair 1966-1971). Alice Ghostley (Bewitched 1964-1972), Vic Tayback (Alice 1976-1985) and Allan Melvin (Phil Silvers Show 1955-1959), all play supporting rolls in With Six You Get Eggroll (1968). There also are cameos by Jamie Farr, William Christopher and Herb Voland from MASH (1972-1983). On top of all of this, playing drive-in-diner food-server, Herbie Fleck, is legendary stand-up comedian, George Carlin. There also is a cool cameo by late-60s band, the Grassroots, performing their hit song, "Feelings", during a pivotal scene in a disco-tech. Playing Iverson's daughter Stacey, is a young, Barbara Hershey (Beaches - 1988). With Six You Get Eggroll (1968), might be hard for some viewers to enjoy, but if you can put yourself in a 1968 frame-of-mind, grab your date and enjoy some lighthearted, rom-com, late-1960s, pop-culture, cinema fun. Maybe not great, but good enough.

PMTM Grade: 6.8 (C-) = 7 IMDB.

Crimes and Misdemeanors (1989)

A Well-Crafted Mix of Infidelity and Murder, With Laughs

[8/10 · 9 January 2024]

Woody Allen has always been able to take serious situations and weave comedy into it. Situations like, being a bank robber (Take the Money and Run - 1969), being part of a Latin American rebellion (Bananas (1971), or dealing with an oppressive government of the future (Sleeper - 1973). Crimes and Misdemeanors (1989), is no different, however the serious, elephant-in-the-room, revolves around a murder, committed by a well-liked, well-established, member of the community. From here the plot of Crimes and Misdemeanors (1989), splits into two sub-stories, with one revolving around Martin Landau's ophthalmologist, Judah Rosenthal, grappling with what he has done. The other story, is about infidelity, however, infidelity is all over Crimes and Misdemeanors (1989). Martin Landau does a brilliant job as the troubled ophthalmologist.

It is infidelity, that leads to Rosenthal's poor choices, as does the other part of the story, with married documentary filmmaker, Cliff Stern (Woody), falling in love with another woman, Halley Reed (Mia Farrow), because his marriage, has gone stale. What makes matters worse, is Halley isn't really reciprocating those feelings back to Cliff and might be, more interested in another man. Six years after he left MASH (1972-1983), Alan Alda was cast, in Crimes and Misdemeanors (1989), as Lester, the barrier in Cliff's way. Alda's character is a cross between Alda himself and his Hawkeye Pierce persona from MASH. His character Lester, is a womanizing, partier, but also a successful, television sitcom actor, turned producer, who is well-respected in the TV community. It is the fact, that Cliff has to work for Lester, shooting a documentary for him, that gives this part of Crimes and Misdemeanors (1989), its energy and laughs.

PMTM Grade: 8.1 (B) = 8 IMDB.

Kotch (1971)

Matthau and Lemmon Team-Up Again For a Matthau Star-Vehicle

[7/10 · 8 January 2024]

In Kotch (1971), Walter Matthau plays the title character, Joseph P. Kotcher, a retired senior citizen, who finds out, that his family wants him to move to an old-folks home, so he sets out onto a road-trip to get away. He befriends a young, pregnant woman, who he helps navigate, the tough road to birth. Larry Linville, a year before MASH (1972-1983), in a brief performance, plays one of the pivotal characters in Kotch (1971). He is the brother (Peter) and guardian, of Deborah Winters', pregnant-teen character, Erica Herzenstiel. In order for Erica, while pregnant, to achieve certain financial benchmarks, that she needs in her life, she has to get Peter's approval. You know, important stuff, like medical bills and the rent, money, which Kotch lends to her, while he helps her learn how to breathe. Kotch (1971), was nominated for four Oscars, including the Best Actor Oscar for Matthau.

This film is obviously a star-vehicle for Matthau. It is definitely his show. All popular actors in Hollywood, get film projects, that are movies about one central character. Films, that are cast with those popular actors, along with a bunch of other secondary, less-popular, character actors. Probably the next popular actor in Kotch (1971), is Charles Aidman, who plays Kotch's son, Gerald. Some viewers may know Aidman, but no one under the age of 35 would know him. Aidman didn't do many movies, but you may recognize him from his extensive television career. Kotch (1971), was an interesting departure for Walter Matthau, compared to the more, normal type-of roles he does. It is a very subtle story with very subtle performances. The film needed more energy. There are moments in the film, that could accidentally, put some viewers to sleep.

Kotch (1971), is a light-hearted comedy-drama, in the fact, that it isn't a brutal, knock-down, type-of story. It doesn't try to hit you with huge comedy moments and it doesn't try to give you a downer of a drama. It's just a film about, mostly normal people, doing mostly normal things in life. It is a fitting story for director Jack Lemmon, who has acted in dozens of films like this. The music by Marvin Hamlisch, was also nominated for an Oscar. You can clearly tell its his soundtrack too. The 1970s feel of Kotch (1971), is great, especially with that classic, gritty 1970s film-stock. It has that classic subtle feeling of old Hollywood, combined with the strength of modern cinema, which was what 1970s cinema was all about. The dawn of modern cinema. I only wish the film had a faster pace and more energy.

PMTM Grade: 6.5 (C-) = 7 IMDB.

Bride of Frankenstein (1935)

An Eerie Contrast Between Actors and Characters

[8/10 · 25 December 2023]

With the success of Frankenstein (1931), plus various other monsters (Dracula, Invisible Man and the Mummy), Universal Pictures set their sights on a sequel for Frankenstein, which included a "Bride" for the monster. Four years after Frankenstein (1931), it happened. I saw the sequel a few times when I was younger, but being a fan of horror movies my whole life, it wouldn't be too long before I saw the Bride of Frankenstein (1935), again on DVD and eventuality, on Blu-ray or streaming. You could see the cinematic magic, that Universal Pictures had stumbled upon back in the 1930s. The monsters were becoming a cash cow, that would endure through time, even for fans in the 21st century. The Universal monsters were a franchise, being born, in its early stage, that would take the world by storm for the next two decades. This franchise's existence proved, that the concept of film franchise universes, are not a new thing. They have been around for a long time.

After the initial release of Bride of Frankenstein (1935), many film critics and film historians, since 1935, would label this film, one of those sequels, that is better than the original film. I personally think, they are equally as good, but to say this one is better? I can't totally go with that. It is true Bride of Frankenstein (1935), manages to capture the innocence and personality, that the monster is supposed to convey. You can tell the producers at Universal spent more money on this film, then they did with the first film. There were many more lavish sets, more action and more characters, who play a large part in the film. There also is an amazing attempt at capturing the 1935 insecurities of a nation, that still worried about secularization and sexual tension. It turns out that, right after the release of this film, the ethics code was implemented. So, Bride of Frankenstein (1935), is a lightning rod, for pushing the envelope and the film, makes bold statements about culture, spiritualism and the human experience. The film does explore the child-like nature of the monster. This film, also took Baris Karloff to another level, by giving him dialogue, that the creature would learn from his lonely blind friend, who he stumbles across in the woods.

Bride of Frankenstein (1935), in flashback, also explores the life and the inspiration, that influenced Mary Shelley (Elsa Lanchester), when she wrote her novel Frankenstein: or the Modern Prometheus in 1818. The most compelling side-story, that makes the Bride of Frankenstein (1935), so interesting to watch, is the backstory of Henry Frankenstein actor, Colin Clive. Colin Clive stole the show and was, the best part of Frankenstein (1931). He returns for the second film, connived into making another monster by the dubious, Doctor Pretorius (Ernest Thesiger). It was a difficult time for Clive when he got to the Bride. Clive would enjoy new-found fame as Henry Frankenstein in the first film. His energy and strength, played a huge role in how he executed the character. He made us believe, that he was a genius, God-imitating scientist, on the verge of insanity, who found his sanity in his new wife Elizabeth (played in this film by Valerie Hobson).

Yes, it's true, that the person, who most benefited from the first film was Karloff, but it could have been a launching pad for Clive too. He was only 31 years old when he did Frankenstein (1931) and, could have taken his career to the stars, but it wouldn't be. Clive suffered from tuberculosis and had chronic alcoholism issues, plus a bad leg, that kept the alcoholism raging inside him. There also was talk, questioning his sexuality, in the newspapers. You can probably imagine, how tough it was to deal with the bad press, plus hide it from the public, back in the 1930s. So, you add all of these issues Clive was facing, into the mix and you, can probably see where this was going. He did enjoy a few years of leading-man roles, between 1931-1935, but once he got to Bride of Frankenstein (1935), you could see the toll his lifestyle was doing to him. His bum-leg played a large part in this film. If you notice, most of his scenes are lying down, sitting or they shot his scenes from the waist up. That's because he could barely walk on the bad leg. Some reports said he was so drunk, while filming his movies, that the stage-hands had to hold him up for certain shots. What I noticed the most about Clive in Bride of Frankenstein (1935), was the fact that the strength and the energy, that he had in the first film, was reduced to a crying, wussy, weak little man in this film. His character was reduced to a point, that he really didn't even need to be in the movie. Still, it was nice having him in this film, to bridge the two films together. In fact, along with Karloff, a couple characters and familiar faces, returned for this film, but they were mostly character actors, who played the villagers from the first film. The bridge from the first film to the second film worked well (especially since the script picks up about an hour after the last film ended). Either way, I was annoyed at how Clive's character became such a wuss, but it is easy to understand, considering the condition, Clive's life was at this point. The complications with the tuberculosis, alcoholism and the pain, would eventually take its toll.

What really kills Bride of Frankenstein (1935), in my opinion, was the bad insertion of comedy-relief sprinkled throughout the film. It mostly came from the mouth of Una O'Connor who played Minnie, the annoying villager lady, who would prance around, screaming and making funny faces, every time the monster was in the area. The trope was over-used, annoying and unfunny, as it possibly could be. If we are going to present something serious, let's stick to it. All in all, Bride of Frankenstein (1935), is a masterpiece in early cinema. The mood, the artistry, the technical achievements, the acting, even the crazy idea, that Mary Shelley, looks just like the Bride. They all work. Bride of Frankenstein (1935), truly is a great film to watch. The story of the monster and his blind peasant friend (O. P. Heggie), is brilliant. The introduction and establishment, of Doctor Pretorius is very cool too, although the explanation of his level of experiments, seemed unbelievable. He had little people, that he grew from skin tissue, living in little bottles. The concept was a stretch, but if you can buy a scientist, bringing dead bodies back to life, then I guess it's ok. Boris Karloff was fantastic in Bride of Frankenstein (1935). The monster, learning to speak, is conveyed quite well. There isn't a dull moment in the film. The astounding, but sad contrast, between Clive and Frankenstein, would happen two years later, when tragically, Colin Clive would die at the age of 37. Unfortunately, we would never know how big he could have been.

8.5 (B+) = 8 IMDB.