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Synopsis:
When Communists invade America, a group of teenagers in Colorado — led by Jed (Patrick Swayze) and his brother Matt (Charlie Sheen) — defend themselves in the hills, eventually forming a resistance group known as the Wolverines.

Genres, Themes, Actors, and Directors:

• Cold War
• Harry Dean Stanton Films
• Resistance Fighters
• Small Town America

Response to Peary’s Review:
In his review of this ’80s cult favorite (which he labels “anti-Communist paranoia gone mad”), Peary focuses primarily on the “right-wing politics” of its creator, director/screenwriter John Milius — who, Peary argues, “makes warfare seem fun”, and who seems to envy “the film’s teenagers and underground fighters as they attempt to recapture their homeland.” In truth, if you’re able to ignore the film’s controversial political stance (as well as some of the more glaring plot holes — the scenario is more fantasy than reality), Red Dawn remains a surprisingly enjoyable action flick, one which is guaranteed to appeal to anyone who’s ever dreamed of surviving off the land and/or becoming a guerrilla fighter. The lead actors, as Peary notes, are all “solid action heroes”, and convincingly portray the youthful rebels, though it’s frustrating that we never get to know any of them in great detail (character development is secondary to action here). Indeed, Milius infuses his script with so much fighting that at a certain point “it becomes hard to tell what specifically the insurgents are trying to accomplish during each of their sneak attacks on the invaders” — but action fans surely won’t be disappointed.

Redeeming Qualities and Moments:

• Fine performances by the cast of (mostly) unknown young actors
  
• The frightening opening “landing” sequence
  
• A sobering view of what American occupation might look like
  
• Refreshing humanization of at least one of the invaders
  
• Beautiful cinematography of deceptively “peaceful” landscapes
  

Must See?
Yes, for its status as a cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
A scientist (Gene Barry) accompanied by a beautiful library science instructor (Ann Robinson) works with the military to stop Martian invaders from taking over the Earth.

Genres, Themes, Actors, and Directors:

• Aliens
• George Pal Films
• H.G. Wells Films
• Science Fiction
• World Domination

Response to Peary’s Review:
Unlike other reviewers who have fond memories of being both scared and thrilled by War of the Worlds when it was finally released in 1953 (Paramount Studios had owned the movie rights to the title for nearly twenty years), Peary seems less than enamored by producer George Pal’s updated version of H.G. Wells’ classic sci-fi novel. He cites the many changes to Wells’ original story as “annoying” (particularly Pal’s notion that “God is directly responsible for the aliens’ demise”), and argues that the “brutal, selfish” humans in the mob scene near the end of the film barely seem worth rescuing. “In fact,” he notes, the film “doesn’t [convincingly] show why earth’s people or their way of life should be preserved.” In terms of the lead performances, he notes somewhat harshly that “Barry is a sturdy if dull hero” while Robinson — who, in typical ’50s gender relegation, “merely looks on [and] serves coffee” — is “an embarrassment” (personally, I find it hard to fault Robinson for the way her role was written).

These days, particularly in the wake of Steven Spielberg’s tepid remake, Pal’s War of the Worlds — which Peary claims has an “enormous cult following” — is seen by most modern viewers as dated but of historic interest, thanks in large part to Gordon Jennings’ “tremendous special effects”, which were enormously impressive at the time.

It’s also important to remember, as Peary notes, that this was “the first film in which America itself is turned into a war zone because of an invasion”; indeed, it must have been tremendously frightening for audiences at the time to vicariously witness an A-bomb being dropped near a populated area. With that said, however, I’m largely in agreement with Peary’s assessment of the film as “colorful but overrated”, and only consider it to be must-see for its historical relevance.

Redeeming Qualities and Moments:

• Gordon Jennings’ Oscar-winning special effects
  

Must See?
Yes, simply for its historical status as the first major alien invasion flick.

Categories

• Historically Relevant

Links:

• IMDb entry
• Combustible Celluloid Review
• DVD Savant Review
• Qwipster’s Review
• Moria Review
• TCM Article
• Time Out Capsule Review

Synopsis:
When his teenage daughter (Ilah Davis) runs away during a church trip to Los Angeles, a devoutly religious midwestern businessman (George C. Scott) learns from a private detective (Peter Boyle) that she has joined the porn industry, and hunts her down with the help of a young prostitute (Season Hubley).

Genres, Themes, Actors, and Directors:

• Father and Child
• George C. Scott Films
• Paul Schrader Films
• Peter Boyle Films
• Runaways
• Search

Response to Peary’s Review:
Peary and several other reviewers have noted that this tale of a moralistic man’s “descent into purgatory” while searching for his missing daughter is highly reminiscent of John Ford’s The Searchers (1956); as Peary points out, however, it’s not nearly as successful, given that director Paul Schrader seems to be using his premise as an “excuse… to show the sordid sexual world that has seduced him in real life and always finds its way into his films.” Indeed, after a strong, authentic opening — (we truly believe in this man’s orderly Calvinist world):

— things slowly go downhill, as Scott’s months-long undertaking (why don’t we ever see him checking in on his business back home?) turns into simply a convenient pretext for “exposing” the underground porn and prostitution industry — an expose which these days no longer seems all that shocking.

Scott’s performance is as fine and true as always, but his character as written doesn’t possess much of an arc — even once he begins opening up to a fresh-faced young prostitute (very nicely played by Season Hubley), we see little evidence of any real character transformation. The film’s deeply unsatisfying ending involves a sudden slo-mo action sequence (what happened to Schrader’s eye for naturalism?), an inexplicable shooting, and a cursory reunion between father and daughter. Given its intriguing premise and fine performances, Hardcore should ultimately have been much better than it is.

Redeeming Qualities and Moments:

• George C. Scott as Jake VanDorn
  
• Season Hubley as Niki
  

Must See?
No, but it’s worth a look simply for its premise and performances.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
A psychoanalyst (James Coburn) hired to work for the president of the United States becomes paranoid that spies are out to get him; soon he finds himself on the lam from multiple agents and hit-men, including Soviet agent Kropotkin (Severn Darden) and “CEA” agent Masters (Godfrey Cambridge).

Genres, Themes, Actors, and Directors:

• Cat-and-Mouse
• Cold War
• James Coburn Films
• Psychotherapy
• Satires and Spoofs
• Spies

Response to Peary’s Review:
In his review of this “zany paranoia satire” (a minor cult favorite), Peary seems half-hearted at best, noting that while “everything seems to be filmed from the wrong angles, at least the story never gets totally out of hand” — but I don’t think his review does this enjoyable film justice. In addition to Coburn’s fine performance in the lead role, The President’s Analyst is notable for its prescient, no-holds-barred exploration of secrecy and paranoia at every level of government — there’s literally nowhere to hide in this agent-ridden universe, where (as Peary notes) “no one is to be trusted”. The outrageous story moves quickly enough to hold our attention throughout; just when Coburn thinks he’s (momentarily) safe, he finds himself on the run once again, so we never get bored of any particular scenario. The best sequences involve Coburn hiding out at the home of an “all-American” family, where the couple’s young son taps Coburn’s telephone call using his Junior Spy Kit, and a hilarious scene in which multiple agents kill each other off in an “idyllic” meadow while Coburn obliviously canoodles a hippie chick nearby. The supporting performances throughout are commendable, and — to his credit — writer/director Theodore Flicker takes his over-the-top premise to a suitably freaky conclusion. This one’s definitely worth a look.

Redeeming Qualities and Moments:

• James Coburn as Dr. Schaefer
  
• Coburn’s visit to a seemingly “all-American” family in New Jersey
  
• Countless spies killing each other off in their fruitless attempt to capture Coburn
  

Must See?
Yes, for its status as a zany cult favorite.

Categories

• Cult Movie

Links:

• IMDb entry
• Roger Ebert’s Review
• TCM Article

Synopsis:
With the help of a local detective (Tanny) in Hong Kong, female operative Cleopatra Jones (Tamara Dobson) tries to rescue her co-workers (Albert Popwell and Caro Kenyatta) from the clutches of a vicious drug dealer known as the Dragon Lady (Stella Stevens).

Genres, Themes, Actors, and Directors:

• African-Americans
• Detectives and Private Eyes
• Drug Dealers
• Shelley Winters Films
• Stella Stevens Films
• Strong Females

Response to Peary’s Review:
Although I haven’t yet seen 1973’s Cleopatra Jones (not listed in Peary’s book), I believe Peary when he states that this sequel — a “sexy, funny, fast-moving exploitation film” — is “better than the original.” As Peary notes, “Amazonian” Tamara Dobson (“one of the main assets of [the] blaxpoitation generation”) is “no Pam Grier”, but she fits the bill here as a larger-than-life female agent; in her outrageously colorful outfits and over-the-top make-up, she’s consistently stunning to look at. Even better, however, is her “pretty and lethal” sidekick (played by “Tanny”, a.k.a. Ni Tien), who kicks some serious butt in a couple of well-choreographed fight scenes; meanwhile, cult film star Stella Stevens seems to be having fun in her role as the Dragon Lady, a drug “queenpin” who you don’t want to mess with. The film as a whole moves quickly, and director Chuck Bail makes good use of authentic Hong Kong locales; the final extended fight sequence — taking place inside the Dragon Lady’s baroque “Casino of Gold” — is especially exciting.

Redeeming Qualities and Moments:

• “Tanny” as Mi Ling
  
• Stella Stevens as the Dragon Lady
  
• Cleopatra’s seemingly endless array of outrageous outfits
  
• Enjoyably stylized set designs
  
• Effective use of Hong Kong street locales
  

Must See?
No, but it’s worth a look as a representative blaxploitation / “strong female” film of the ’70s.

Links:

• IMDb entry
• NY Times Original Review
• Roger Ebert’s Review
• The Spinning Image Review