FilmFanatic.org

Synopsis:
When Count Mitterhaus (Robert Tayman) is killed by the villagers of Stetel, he vows to seek revenge. Fifteen years later, a circus of vampires arrives in town and starts killing off the villagers one by one, in an attempt to raise Mitterhaus from the dead.

Genres, Themes, Actors, and Directors:

• Carnivals and Circuses
• Horror
• Revenge
• Vampires

Response to Peary’s Review:
As Peary notes, the storyline of this “very unusual Hammer horror film set in 19-century Serbia” is hard to follow at times (the “story gets confusing”), but contains countless “artistic flourishes” by director Robert Young, some nifty special effects, and an effective portrayal of small-town life threatened by “outsiders”. Because the transient, freak-filled nature of circuses makes them inherently creepy, the idea of a circus composed of vengeful vampires makes sense in a weird way — indeed, Richard Scheib’s reference to the equally supernatural Something Wicked This Way Comes (1983) is an apt one. As Peary writes, the “great use of religious symbolism and visuals… make us question whether we’re witnessing reality or have entered a dream state.”

Note: Fans of Jerzy Skolimowski’s Deep End will no doubt enjoy seeing the film’s teenage star (John Moulder-Brown) in a radically different role as the town’s young hero.

Redeeming Qualities:

• Nifty make-up and special effects
  

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• Moria Review

Synopsis:
A man (James Gordon) dreams of building a transcontinental railroad across America, but is brutally murdered by the villainous Bauman (Fred Kohler). Gordon’s son (George O’Brien) carries out his late father’s wishes, while simultaneously trying to avenge his death.

Genres:

• Historical Drama
• John Ford Films
• Revenge
• Silent Films
• Trains and Subways

Response to Peary’s Review:
Peary argues that while this “John Ford classic holds up better than James Cruze’s The Covered Wagon, the other major western epic of the silent era,” it “too seems very slow… and not particularly original.” He notes that it’s a “tribute to the visionaries who realized that such a crazy project” as building a transcontinental railroad “was essential to our country’s expansion west”, and that “like many future, better Ford westerns,” it’s about “the men who sacrificed their lives so those who followed in their paths could have an easier time.” Ultimately, the historical elements of this silent epic are far more compelling than its sappy central saga of romance and revenge. Indeed, the film’s greatest strength lies in its powerful imagery of laborers hard at work; shanty towns cropping up along the tracks; and the “final railroad spike [being] driven home.”

Redeeming Qualities:

• A powerful reenactment of the building of America’s transcontinental railroad
  

Must See?
No, though it’s worth a look for its historical relevance.

Links:

• IMDb entry
• TCM Article
• Silent Volume Review

Synopsis:
A single man (Bill Schoppert) places an ad in the personals, and meets the woman of his dreams (Karen Landry) — only to find out that she’s already married.

Genres, Themes, Actors, and Directors:

• Dating
• Looking for Ms/Mr. Right
• Romantic Comedy

Response to Peary’s Review:
As Peary notes, this slice-of-life romantic comedy has “moments of undeniable charm, as well as believable performances from leads who are [a] welcome change from Hollywood types.” But I disagree with Peary that the film is “almost ruined” by its “self-conscious direction” — nor do I necessarily think, as Peary does, that there’s “too much roller-skating!”

I found this low-budget sleeper (filmed in Minneapolis) particularly appealing because — like more and more people lately — I met my husband on the internet (after a series of bad blind dates), and thus can relate to both the humor and the agony of Bill’s situation.

Redeeming Qualities:

• Bill’s painfully hilarious first blind date

Must See?
No, but it’s recommended.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
With support from a female doctor (Susan Saint James), a young medic (Dennis Christopher) during the Vietnam War becomes becomes involved with a home for Vietnamese orphans.

Genres, Themes, Actors, and Directors:

• Character Arc
• Dennis Christopher Films
• Do-Gooders
• Orphans
• Vietnam War

Response to Peary’s Review:
As Peary notes, this film about “an undisciplined young medic stationed in Saigon” who “learns responsibility when he finds himself helping two Vietnamese nuns run a non-sanctioned, off-base home for war orphans” is “a bit sticky” at times, but “its treatment of the war and its effect on children is unsentimental”, and it possesses an admirable theme: “Real heroes are those who make commitments to help people whose problems make their own seem insignificant.” While Christopher’s character arc is somewhat predictable, this remains a worthy and “sensitive look at a different side of the Vietnam War.”

Redeeming Qualities:

• A refreshing glimpse of Americans and Vietnamese interacting humanely during the war
  
  

Must See?
No, though it’s worth checking out if you can find a copy.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A deranged tattoo artist (Bruce Dern) becomes obsessed with a model (Maud Adams), eventually kidnapping her and tattooing her entire body.

Genres:

• Bruce Dern Films
• Kidnapping
• Models
• Obsessive Love
• Psychopaths

Response to Peary’s Review:
Peary refers to this notorious psycho-flick (written by Joyce Bunuel) as “sick” and “repulsive”, but I find it to be a reasonably compelling psychological thriller, thanks to the perverse lead performance by Dern (who’s perfectly cast). Adams is just annoying enough that you tend to (guiltily) root for the disturbed Dern instead — though naturally (and fortunately), he “gets his” in the end. The tattoo work throughout is stunning.

Redeeming Qualities:

• Bruce Dern as the love-torn psychotic
  
• Stunning tattoo work
  

Must See?
No, but it’s worth watching for Dern’s performance.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Archaeologists investigating ancient Mayan ruins in Mexico discover a blob-like monster, and try to link its appearance with an impending comet.

Genres, Themes, Actors, and Directors:

• Horror
• Mario Bava Films
• Mutant Monsters
• Science Fiction

Response to Peary’s Review:
Peary admits that this “undeniably silly”, horribly dubbed movie is one of his “favorite low-budget horror films”. Despite its confusing, ridiculous plot — in which “the members of a Mexican expedition discover a flesh-devouring, ever growing blob that makes the one Steve McQueen found seem affectionate”:

— the “eerie photography from Mario Bava” makes it strangely compelling. Especially notable is the “genuinely spooky” diving sequence, which, Peary notes, “will remind some of the scene in Alien in which John Hurt comes across the alien hatchery.” Not essential viewing, but guaranteed to appeal to fans of the genre.

Redeeming Qualities:

• The truly chilling underwater diving scene
  
• Atmospheric cinematography
  

Must See?
No, but it’s worth a look.

Links:

• IMDb entry
• SciFilm Review

Synopsis:
A timid bank clerk (Elliott Gould) engages in a deadly cat-and-mouse game with a thief (Christopher Plummer) disguised as a department store Santa.

Genres, Themes, Actors, and Directors:

• Canadian Films
• Cat-and-Mouse
• Christopher Plummer Films
• Elliott Gould Films
• Heists
• Susannah York Films

Response to Peary’s Review:
Peary refers to this independent Canadian film as a “terrific sleeper”, noting that it possesses some “offbeat characters, [interesting] plot twists, [and] delicious surprises.” However, while Gould gives a good performance — Peary argues it’s “his best… since The Long Goodbye” — his character is too stupid to root for: why would he take such unnecessary chances with a psychopathic thief, when it’s not even his money at stake?

The most satisfying aspect of the film is seeing Christopher Plummer as an evil, cross-dressing Santa Claus.

Redeeming Qualities:

• Christopher Plummer as the thief
  
  
• Fine location shooting
  

Must See?
No. While this is a nifty little thriller in its own way, it’s not essential viewing.

Links:

• IMDb entry

Synopsis:
Harry Kilmer (Robert Mitchum) goes to Japan to help rescue his friend’s kidnapped daughter from the Yakuza. While there, he rekindles an old romance with Eiko (Keiko Kishi), and must deal with the disapproval of her brother Ken (Takakura Ken).

Genres, Themes, Actors, and Directors:

• Brian Keith Films
• Friendship
• Gangsters
• Kidnapping
• Paul Schrader Films
• Robert Mitchum Films
• Sydney Pollack Films

Response to Peary’s Review:
As Peary notes, this “interesting, intricately plotted thriller set in Japan” — with “much bloody action counterpoint[ing] the film’s solemn tone” — is more about friendship, loyalty, and cultural differences than gangs and revenge. It remains an unusually perceptive thriller with excellent acting all around (especially by Mitchum and Ken):

… and keeps getting better as it goes along; by the end, I was nearly weeping. A particularly poignant and unexpected plot twist places the rest of the movie in a different light, and makes one tempted to watch the film again from the beginning.

Redeeming Qualities and Moments:

• Exciting fight sequences as Mitchum and Ken take on countless Yakuza
  
• Ken and Harry’s touching final scene together
  

Must See?
Yes. This unusual gangster flick is an all around “good show”, and shouldn’t be missed.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review (scroll down)

Synopsis:
A woman (Nina Foch) believes she is being hired as a live-in secretary for an elderly woman (Dame May Whitty) and her grown son (George Macready); in actuality, the pair plan to pass her off as Macready’s murdered wife, and then kill her in an “accident”.

Genres, Themes, Actors, and Directors:

• George Macready Films
• Kidnapping
• Joseph H. Lewis Films
• “No One Believes Me!”
• Plot to Murder

Response to Peary’s Review:
Peary writes that this “riveting melodrama” by director Joseph H. Lewis — a 65-minute movie that moves along at a clip, keeps you on the edge of your seat, and has a satisfying conclusion — is an “exceptional ‘B’ suspense thriller”, exactly the type of story Hitchcock would have enjoyed filming given its extreme suspense and paranoia-driven plot. Peary points out that it “bears [a] slight resemblance to So Long at the Fair, only here the woman has to prove her own existence rather than the existence of a brother.” He also notes that you “feel more frightened for Foch than for Ingrid Bergman in Notorious when she’s trapped in the house with Claude Rains and his evil mother”, and posits that while Macready played many chilling villains,” “none is scarier than the character he plays here.” Remade by Arthur Penn in 1987 as Dead of Winter with Mary Steenburgen, but this version remains much better in every way.

Redeeming Qualities:

• Many suspenseful scenes
  
  

Must See?
Yes; definitely check this one out.

Categories

• Good Show

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
After getting out of jail, burglar Max Dembo (Dustin Hoffman) attempts to go straight, but is mercilessly harrassed by his parole officer (M. Emmet Walsh) and soon finds himself in a life of crime once more. He and two old buddies (Gary Busey and Harry Dean Stanton) plan a major jewelry heist, while Dembo’s new girlfriend (Theresa Russell) worries for his safety.

Genres, Themes, Actors, and Directors:

• Dustin Hoffman Films
• Ex-Cons
• Gary Busey Films
• Harry Dean Stanton Films
• Heists
• Theresa Russell Films

Response to Peary’s Review:
As Peary notes, “Dustin Hoffman has one of his best screen roles as two-time loser Max Dembo”; in fact, Hoffman is so good it’s easy to forget he’s acting. While there are many exciting moments in the film, my favorite scenes are those between Dembo and his new girlfriend, played by a sexy young Theresa Russell (though I couldn’t quite figure out why she would want to stay with him). While Walsh’s “venal” harassment of Dembo is infuriating, what’s even more frustrating (though perhaps inevitable) is that Dembo allows his anger to lead him back into a life of crime. Indeed, Dembo’s pig-headedness prevents one from empathizing with him during the latter part of the film — though, as Peary points out, “at least we can relate to [Dembo’s] need to fit in somewhere.”

Redeeming Qualities:

• Dustin Hoffman as Max Dembo
  
• Theresa Russell as Dembo’s loyal girlfriend
  
• Gary Busey and Harry Dean Stanton as Dembo’s buddies and partners-in-crime
  
• Kathy Bates in a small supporting role as Busey’s concerned wife
  
• An extremely exciting, well-directed jewelry heist in Beverly Hills
  

Must See?
Yes. This film is must-see viewing for Hoffman’s performance alone.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review