FilmFanatic.org

Synopsis:
When an aging sorcerer (Ralph Richardson) is killed, his apprentice (Peter MacNicol) — accompanied by a young woman (Caitlin Clarke) who has been living as a boy — sets out to slay a vicious dragon known as Vermithrax Pejorative.

Genres, Themes, Actors, and Directors:

• Fantasy
• Medieval Times
• Ralph Richardson Films
• Royalty and Nobility
• Witches and Wizards

Response to Peary’s Review:
Peary writes that given “this exceptional fantasy by Disney Studios was dismissed by critics and did poorly at the box office,” it “will be a pleasant surprise, especially for adults.” He notes that it’s “set in an age when magic and superstition are on the downswing, and Christianity is making inroads among the scared, ignorant people” who live in a “small hamlet, where virgins are sacrificed to the hungry [dragon] to keep it peaceful.”

He points out that the “film presents a magical world — the countryside, the medieval hamlet, the castle and its dungeon, the dragon’s lair — in credible fashion,” and notes that “the enormous fire-breathing dragon is one of the great monsters of the cinema,” “like a Ray Harryhausen masterpiece” but “with remarkably precise movements.”

He adds that “the confrontations with the dragon are absolutely spectacular” (the “special effects were provided by George Lucas’s Industrial Light and Magic”):

… and notes that while “there are a couple of time when the brutality is too strong for young viewers”:

… it’s “otherwise… everything a fantasy film should be,” including “imaginative, intelligent direction by Matthew Robbins” and “fine performances by MacNicol (after you get used to him), Clarke, [and] Richardson.”

This film certainly divides viewers, with some (like Peary and other online viewers) extolling its virtues, and others, like DVD Savant, referring to it as “not at all bad, but lack[ing] the spark to fully capture the imagination.” Savant does highlight the truly “marvelous” special effects, describing the Go-Motion animated dragon thus:

Basically a variation on the classic dragon, it flies like a dive-bomber, breathes fire and crawls on its folded wings like a bat. Seen only in small doses until his confrontation with the outclassed Galen [MacNicol], the monster looks lean, mean and fueled by hellfire. [Animator Phil] Tippett manages some great shots with moving cameras; the creature crawling out of the cave-haze, rearing up and vomiting yellow flame at the cavern ceiling. It looks reptilian and is given just enough personality to be loathsome.

Also of note are the highly effective sets and cinematography, with much of the movie shot on location in Scotland and Wales. Fantasy film buffs will surely want to check this one out, though it’s not must-see viewing for all film fanatics.

Notable Performances, Qualities, and Moments:

• Atmospheric sets and cinematography
  
• Impressive special effects
  
• Excellent use of location shooting
  

Must See?
No, but it’s worth a look simply for the visuals.

Links:

• IMDb entry
• Spinning Image Review
• NY Times Original Review
• DVD Savant Review (spoilers alert)
• Moria Review
• Lucid Nightmare Video Review

Synopsis:
A free-spirited young woman (Barbara Hershey) offers to serve as a surrogate for an infertile woman (Collin Wilcox Paxton) and her husband (Sam Groom), but soon finds that her boyfriend (Scott Glenn) isn’t happy with all the changes this brings to their lives.

Genres, Themes, Actors, and Directors:

• Barbara Hershey Films
• Counterculture
• James Bridges Films
• Pregnancy
• Scott Glenn Films

Response to Peary’s Review:
As Peary writes, “James Bridges’s directorial debut features a fine, heartfelt performance by Barbara Hershey as a hippie who is hired by a straight-laced, well-to-do couple… to be a surrogate mother.” He notes that the “story emphasizes the awkward relationship between the three characters, beginning with the day Groom first has sex with Hershey, through her pregnancy, to after the birth of the child.”

He argues that while the “dialogue, as well as the look of the film, is dated,” the “premise is still timely,” and points out that Hershey “gives a believable, sensitive characterization playing a young woman who very much fit her own early free-spirit image.”

What Peary doesn’t mention is the equally important emphasis on how Hershey’s decision impacts her relationship with Glenn. At first he’s fine with the idea of his girlfriend making money in this way (and it’s her choice, anyway) — but he soon realizes what a (legitimate) imposition it is on their lives, and thankfully, he isn’t villainized for making a tough call at a certain point.

Indeed, to the film’s credit, it doesn’t shy away from any of the many challenging dilemmas this type of arrangement evokes — starting with the negotiated logistics, handled under-the-radar by a mysterious woman (Lili Valenty) whose house in the hills of Malibu is only accessible through a funicular.

A contract is drawn up and signed, but that doesn’t prevent emotions from running high all around — as they would. While it’s far from perfect, I’m recommending this film as must-see viewing simply for its bold willingness to handle such a sticky topic.

Notable Performances, Qualities, and Moments:

• Barbara Hershey as Tish
  
• Fine supporting performances
  
• A bold exploration of a challenging social dilemma
  

Must See?
Yes, for its historical relevance as the first (American) film to deal with this topic — and for Hershey’s performance.

Categories

• Historically Relevant
• Noteworthy Performance(s)

Links:

• IMDb entry
• TV Guide Review

Synopsis:
An aspiring rock musician (David Essex) and his band receive support from their manager (Adam Faith) and a wealthy funder (Larry Hagman) in rocketing to fame — but will success lead to happiness or isolation for Essex?

Genres, Themes, Actors, and Directors:

• Michael Apted Films
• Musicians
• Rise and Fall
• Rock ‘n Roll

Response to Peary’s Review:
As Peary writes, this “cult film is an ambitious sequel to That’ll Be the Day, with Michael Apted replacing Claude Watham as director” and Adam Faith playing the role of carnie “Mike” (previously inhabited by Ringo Starr).

The film is primarily concerned with showing what happens when an obsessive following develops around a single star; in this case, “as his fame increases, Essex begins to feel increasingly that he’s a product” and “he learns not to trust anyone but the band members,” who in turn become increasingly resentful of their more peripheral roles. Meanwhile, as “Essex goes on to superstardom,” “he is alone, confused, [and] corrupted,” and “there is isolation, drugs, [and] tragedy.”

Peary points out that this film offers “a vivid, cynical look at the rock business and a Beatles-like group” — and while “there are few surprises in the film,” “it is extremely well done, compelling, and has credibility because real rock stars Essex (who does a solid job), Faith, Dave Edmunds, and Keith Moon play major roles.”

Peary adds that “everything has a nostalgic ring,” and he “particularly likes the early scenes when the group is playing other people’s music and is zipping around, feeling excited about having waxed its first record;” however, the “innocence of the era” is “shattered in America.”

I’m in agreement with Peary’s review. This movie is depressing but well-filmed, and features “a good score.” Watching Essex’s tragic trajectory here makes one grateful for all the talented superstars who have managed to find a way out of the trap of fame, and to craft a reasonable existence for themselves outside of the industry.

Notable Performances, Qualities, and Moments:

• David Essex as Jim MacLaine
  
• Fine production design
  
  

Must See?
No, but it’s worth a look.

Links:

• IMDb entry
• Spinning Image Review
• NY Times Original Review
• TV Guide Review
• Time Out Capsule Review