Alone in the Dark (1982)

Alone in the Dark (1982)

“I told him that if he does not stop this nonsense immediately, I shall hang him up by his heels and chop him in half.”

Synopsis:
Several psychotic criminals (including Martin Landau and Jack Palance) escape from an experimental insane asylum run by Donald Pleasence, and terrorize the house of a doctor (Dwight Schultz) and his family.

Genres:

  • Donald Pleasence Films
  • Escape
  • Horror
  • Jack Palance Films
  • Martin Landau Films
  • Mental Illness
  • Psychopaths

Response to Peary’s Review:
As Peary notes, this cult horror flick starts off with an interesting premise but loses its momentum and originality about halfway through, giving way to “ugly violence” and “stupidity”. Nonetheless, it’s fun watching Martin Landau and Jack Palance together in a film, and Donald Pleasence is excellent as the well-meaning but gravely clueless asylum director. The moral of the story: never, ever assume that all psychopathic criminals need is someone to “understand them”.

Redeeming Qualities and Moments:

  • Martin Landau’s creepy portrayal as The Preacher
  • Donald Pleasence as the fatally naive asylum director
  • Jack Palance as the one “redeemable madman” in the bunch
  • Atmospheric cinematography

Must See?
No, unless you’re a fan of slasher flicks and/or “insane asylum” movies.

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Moon in the Gutter (1983)

Moon in the Gutter (1983)

“I should have told you — it’s you I want.”

Synopsis:
When his sister is raped and murdered, a stevedore (Gerard Depardieu) vows to find her killer; meanwhile, he falls for a wealthy young woman (Nastassja Kinski) and dumps his girlfriend (Victoria Abril).

Genres, Themes, Actors, and Directors:

  • French Films
  • Gerard Depardieu Films
  • Nastassja Kinski Films
  • Revenge
  • Waterfront

Response to Peary’s Review:
As Peary notes, this follow-up to Jean-Jacques Beineix’s cult film Diva (1981) is “delirious, pretentious, and obscure”, but nonetheless contains “many powerful scenes” and some undeniably “erotic visuals”. Beineix purportedly based Depardieu’s character on photos of Marlon Brando in A Streetcar Named Desire (1951) — a noble intention, but one which ultimately doesn’t pan out; while Depardieu has his own kind of sexy animal magnetism, he never comes close to channeling the unique spirit of Brando’s Kowalski.

Redeeming Qualities:

  • Nastassja Kinski as Loretta
  • Depardieu — on a bet — breaking a solid block of ice in half by gnawing his way through it

Must See?
No. While the film was subject to much critical debate when it came out, it no longer warrants such attention.

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