FilmFanatic.org

Synopsis:
On his way home from visiting his fiancee (Brooke Adams), a man (Christopher Walken) is involved in a terrible car accident and goes into a coma for five years. Upon finally awakening, he learns from his doctor (Herbert Lom) that he’s developed psychic abilities, which he eventually puts to use helping a police detective (Tom Skerritt) solve a horrifying case and trying to prevent future tragedies.

Genres, Themes, Actors, and Directors:

• Brooke Adams Films
• Christopher Walken Films
• David Cronenberg Films
• Horror Films
• Martin Sheen Films
• Psychic Powers
• Stephen King Films

Response to Peary’s Review:
Peary writes that this “exceptional, exciting psychological horror film” — “smartly adapted from Stephen King’s novel by Jeffrey Boam, and directed with surprising control (and taste) by David Cronenberg” — features Christopher Walken playing “his most sympathetic screen character”.

Peary notes that the “film’s theme is that a man should face up to his moral responsibilities”: in this case, while Walken originally “feels that he should live as an outcast”, he eventually realizes he “must come out of his self-imposed exile and use his rare power to help humanity” — first by exposing “the identity of the Castle Rock Killer”, and later in outing a politician (Martin Sheen) with diabolical intentions.

Peary writes that “both sequences are extremely atmospheric and build to gripping conclusions”, and that the picture as a whole “is strongly acted… and full of unusual moments — including a great, inspired, tasteful scene which has Adams and Walken finally consummating their love.”

Peary ultimately argues that this is “Cronenberg’s best film” and “also the best screen adaptation of Stephen King” — assertions which many fans of both Cronenberg and King will likely take issue with, but he’s right in naming what a satisfying tale this remains.

Redeeming Qualities and Moments:

• Christopher Walken as Johnny
  
• Fine direction and cinematography
  

Must See?
Yes, as a surprisingly powerful supernatural thriller.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review
• Moria Review
• Combustible Celluloid Review

Synopsis:
An actress (Samantha Eggar) and her director-husband (John Vernon) agree Eggar should check herself into a mental asylum under false pretenses, to prepare for an upcoming role as “Audra” — but when she learns that Vernon planned to leave her in the asylum and audition six other actresses (Deborah Burgess, Lynne Griffin, Linda Thorson, Anne Ditchburn, Sandra Warren, and Lesleh Donaldson) for the part of Audra, she vows revenge.

Genres, Themes, Actors, and Directors:

• Actors and Actresses
• Horror
• Mental Illness
• Mistaken or Hidden Identities
• Revenge
• Samantha Eggar Films
• Serial Killers

Review:
What would people “kill” for? Landing a coveted role in a high-profile show might evoke such urges in disturbed actors, as we’ve seen play out (metaphorically) in films such as All About Eve (1950) and Mephisto (1981). However, this Canadian slasher flick takes the sentiment to its literal bloody conclusion, with the entire screenplay centering on numerous young women unknowingly putting their lives at risk for a role. At first the movie seems to be flirting with the dangerous territory covered in Sam Fuller’s Shock Corridor (1963), as a “sane” woman (Eggar) foolishly commits herself to a mental asylum (not a good idea!!!!).

But we fairly quickly shift to a more serious variation on Murder By Death (1976), with a group of individuals all invited to a big, dark house for a specific purpose.

We’re kept in reasonable suspense about the identity of the killer, and there are plenty of unnerving twist and turns. As described in the Canuxploitation review:

By the time animated curtains fall on the final bookend scene — a performance in front of a handful of drooling asylum inmates — the film has supplied enough black-gloved killings, whodunit red herrings, terrorized beauties and theatrical set pieces to qualify it as more of a snowy giallo than anything else.

Redeeming Qualities and Moments:

• A clever screenplay with some effectively handled chills
  
• John Vernon as Jonathan Stryker
  

Must See?
No, but fans of the genre will want to check it out. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• Canuxploitation Review
• Moria Review
• Communist Vampires Review

Synopsis:
A woman (Suzanna Love) whose mute brother (Nicholas Love) killed their mother’s abusive boyfriend as a child is now happily married with a husband (Ron James) and son (Raymond Boyden) of her own, but suffers from repeated nightmares. Upon advice from her psychiatrist (John Carradine), she goes back to her childhood home, which unwittingly sets in motion a chain of supernatural events related to a spiritually possessed mirror.

Genres, Themes, Actors, and Directors:

• Horror Films
• John Carradine Films
• Possession

Review:
German director Ulli Lommel — whose career in film started with Rainer Werner Fassbinder, and then shifted to working with Andy Warhol in New York — helmed this unusual supernatural horror flick, which starts off seeming like a straightforward slasher film (a man is traumatized by a brutal crime he committed as a child and will continue to act out), but quickly moves in unexpected directions. It’s filled with many effectively filmed moments, drawing inspiration from Halloween (1978), The Amityville Horror (1979), and The Exorcist (1973) — and while it’s not entirely successful, it will surely please fans of the genre.

Redeeming Qualities and Moments:

• Effective direction and cinematography
  
  
  

Must See?
No, though it’s worth a look by horror fans. Listed as a Sleeper in the back of Peary’s book, which makes sense.

Links:

• IMDb entry
• Spinning Image Review
• Onion A.V. Club Review
• Moria Review

Synopsis:
A middle-aged housewife (Jan White) whose husband (Bill Thunhurst) takes her for granted and whose daughter (Joedda McClain) no longer needs her becomes intrigued by the notion of witchcraft, eventually using it as motivation to seduce a local young professor (Raymond Laine).

Genres, Themes, Actors, and Directors:

• Feminism and Women’s Issues
• Generation Gap
• George Romero Films
• Housewives
• Marital Problems
• Sexual Repression
• Witches and Wizards

Review:
After making a noteworthy debut with Night of the Living Dead (1968), George Romero’s third feature-length film was this self-described “feminist film” that is best captured by its original title (given that the entire storyline is about White’s attempt to be something other than simply “Jack’s wife”), but which distributors attempted to spin in two different directions. Season of the Witch (the poster above doesn’t even showcase White) capitalizes on the film’s theme of witchcraft (utilized by White to give her confidence in breaking free from her staid existence), while Hungry Wives was simply a pathetic attempt to market it as a soft-core adult film.

On its own merits, Jack’s Wife remains an intriguing artifact of its era, creatively directed by Romero — albeit within a super-low budget, and at a time when Romero professes he was still just learning basics of directing — and consistently going in unexpected directions. Though it’s not a horror film per se, we can sense the “horror” of White’s situation as she’s surrounded by near-harpies (her circle of friends aren’t exactly appealing):

… ignored (and occasionally beaten) by her oft-travelling husband:

… patronized by her pipe-smoking analyst:

… pitied by her self-absorbed daughter:

… and chastised as insufficiently “hip” by her daughter’s lover:

Meanwhile, Romero injects numerous frightful nightmare sequences, which lend the film an appropriate air of mystery and trauma throughout:

— and the final scene is most definitely a shocker.

Redeeming Qualities and Moments:

• Many creatively filmed sequences
  
  
• Ann Muffly as White’s friend Shirley
  
• An unusual screenplay
  
  

Must See?
No, but it’s recommended for one-time viewing as an unexpected early entry in Romero’s oeuvre. Listed as a Cult Movie in the back of Peary’s book.

Links:

• IMDb entry
• Moria Review
• Q Network Review

Synopsis:
After breaking up with her boyfriend (Joe Mastroianni), a photographer (Laura Harrington) and explores life and love on her own for awhile.

Genres, Themes, Actors, and Directors:

• Photographers
• Strong Females

Review:
Before making a new for herself with Valley Girl (1983), director Martha Coolidge directed this earnest but meandering indie flick about an aspiring photographer (Harrington) hoping to — make a name for herself. Harrington’s boyfriend (Mastroianni) is irritated that she’s more interested in her career than him, and is fed up when she acts childishly in front of one of his big clients.

Coolidge seems primarily interested in inverting gender norms by allowing Harrington to unabashedly explore her own goals and interests — including requesting two avid pursuers (Peter Riegert and James Carrington) as sexual partners after a party. (This scene of an attempted but awkwardly thwarted threesome is humorously handled.) The through-line of the film’s narrative ostensibly involves Harrington’s attempt to learn more about a charismatic man seducing young women into his cult, but this thread is insufficiently explored until it reappears for convenient purposes at the end (and it’s disturbing that the villainous target of her inquiry is one of the few Black characters in the mostly White film). Film fanatics who have been faithfully working their way through all the titles in Peary’s book will likely recognize beautiful Harrington from her previous indie film, The Dark End of the Street (1981) — and she has an appealing screen presence:

… but she’s not enough to recommend this as a title worth seeking out.

Redeeming Qualities and Moments:

• Some amusing sequences
  
  

Must See?
No; though one is only must-see for Coolidge fans.

Links:

• IMDb entry
• TV Guide Review

Synopsis:
People close to Elvis Presley reflect back on his storied life and career, culminating in death by heart attack at the age of 42.

Genres, Themes, Actors, and Directors:

• Documentary
• Elvis Presley Films

Review:
Having watched all nine of Elvis Presley’s Hollywood dramas listed in GFTFF — as well as his riveting Vegas concert film That’s the Way It Is (1970) — it was both fitting and sobering to end my Elvis run by watching this creatively filmed documentary about his life, which includes strategic snippets of recreated scenes (using actors):

… alongside ample authentic footage from the earliest days of Presley’s stupendous fame:

… to his final challenging weeks. Indeed, it’s the candor of this latter footage that makes one sit up and notice: despite being overseen by his estate, this documentary pulls few punches in letting us know how sick Presley became towards the end of his life, showing heartbreaking evidence of his eventual inability to cope.

Redeeming Qualities and Moments:

• Plenty of engaging footage
  

Must See?
Yes, as a surprisingly insightful documentary about Elvis’s rise and eventual fall.

Categories

• Historically Relevant

Links:

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

Synopsis:
A teenager (Michele Michaels) whose parents have gone away for the weekend and asked their next-door neighbor (Ryan Kennedy) to keep an eye on her invites a group of friends (Debra Deliso, Andree Honore, and Gina Mari) over for a party, and they’re soon joined by two male onlookers (Joe Johnson and David Millbern). Meanwhile, Michaels’ beautiful new classmate (Robin Stille) stays home babysitting her annoying little sister (Jennifer Meyers). Can the teens all stay safe from a power-drill-wielding serial killer (Michael Villela) on the loose in their neighborhood?

Genres, Themes, Actors, and Directors:

• Horror Films
• Serial Killers

Response to Peary’s Review:
As Peary notes, this “slice-and-dice” slasher flick “has received attention because it was produced and directed by a woman, Amy Jones, and scripted by radical feminist Rita Mae Brown” — but “as hard as one looks, it’s impossible to find a satirical-political-feminist theme that would explain why Jones or Brown would be associated with this entry” in the genre. Indeed, Jones and Brown “follow all conventions relating to female nudity, horny teens, too many false alarms, painful death, [and] buckets of blood,” leading Peary to wonder, “Were they just trying to prove that they could make as tough and obscenely violent a film as young male directors, or that they could make a bloody, sexy exploitation film that would rack in the same amounts of money as the male-directed Halloween rip-offs have?” (If so, they succeeded; this film earned quite a bit at the box office and spawned several sequels.) However, as Peary points out (rather harshly):

“… this film is trash. Every character is stupid beyond belief. There are numerous ways in which the girls could get out of their predicament, but they haven’t even the intelligence to lean out a window of the two-story house to yell for help. Instead, the dense girls wait around to be murdered one by one. It is infuriating and frustrating how they are set up for slaughter.”

While I’m not at all a fan of slasher flicks, I think Peary is missing the boat a bit: viewers of this type of movie don’t tend to spend much energy worrying about logic or characters’ intelligence (and Brown originally wrote it as a parody, which makes sense).

Redeeming Qualities and Moments:

• Atmospheric cinematography
  
  

Must See?
No; this one is only for horror fanatics.

Links:

• IMDb entry
• Spinning Image Review
• Moria Review

Synopsis:
A group of teenage counselors preparing a camp site for re-opening after years of closure due to the death of a child are gruesomely killed off, one by one.

Genres, Themes, Actors, and Directors:

• Betsy Palmer Films
• Horror Films
• Serial Killers
• Summer Camp
• Teenagers

Response to Peary’s Review:
Peary gives away major spoilers in his review of this “low-budget film”, the “first of a series that has become an American institution;” but I’ll try my best to keep identities unrevealed. Peary writes that the murderer’s “dramatic battle with the last survivor, gutsy Adrienne King… is strong stuff” and adds, “In fact, the film is skillfully enough made by director Sean Cunningham that you’ll be scared out of your wits waiting for each counselor to meet his or her ghastly end.” He posits that Friday the 13th is a “successful mix of bloody horror and youth-sex genres, so it’s no surprise it made a fortune”, but he argues you may question “your own reason for sitting through entertainment with gratuitous sex and violence and teenagers who are portrayed as oversexed, insensitive clowns ideal for slaughter.” I disagree completely with Peary’s characterization of the counselors: only one couple (Kevin Bacon and Jeannine Taylor) is shown having sex; the others are reasonably hard-working when they’re not joking around or relaxing with silly and perfectly normal teenage games. All film fanatics will surely be curious to check out this iconic horror flick that kicked off so many sequels — but don’t read anything at all about it if you want to remain authentically surprised.

Redeeming Qualities and Moments:

• Fine use of idyllic (and menacing) location shooting
  
• Numerous scary moments
  

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

Categories

• Cult Movie
• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• TV Guide Review
• And You Call Yourself a Scientist Review
• Spinning Image Review

Synopsis:
Sting works closely with his new band (Omar Hakim, Darryl Jones, Kenny Kirkland, Branford Marsalis, Dolette McDonald, and Janice Pendarvis) as they prepare to perform live in Paris.

Genres, Themes, Actors, and Directors:

• Concert Films
• Documentary
• Michael Apted Films

Review:
Michael Apted (RIP, 1/7/21) directed this intriguing behind-the-scenes look at rock-star Sting going solo and collaborating with a jazz-oriented group of musicians. It won “Best Music Video, Long Form” at the 1987 Grammy Awards (which makes complete sense), and remains an invaluable time capsule of the artist at work. There’s a nice balance of light-hearted banter, creative collaboration, and truly fine music — especially by pianist Kenny Kirkland and saxophonist Branford Marsalis. While it’s not must-see by all film fanatics, it’s a well-done example of what concert films can offer to audiences.

Redeeming Qualities and Moments:

• An intriguing glimpse behind the scenes of Sting’s creative world
  
  

Must See?
No, but it’s recommended. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry

Synopsis:
A poor co-ed (June Allyson) falls for her college’s football hero (Peter Lawford), but a scheming, self-absorbed gold digger (Patricia Marshall) is determined to snag Lawford for herself.

Genres, Themes, Actors, and Directors:

• College
• Gold Diggers
• June Allyson Films
• Musicals
• Peter Lawford Films
• Romantic Comedy

Review:
This MGM musical — the first directorial effort of Charles Walters, who went on to helm Easter Parade (1948), The Barkleys of Broadway (1949), Summer Stock (1950), Lili (1953), and High Society (1956) — is the second cinematic adaptation of the similarly-titled 1927 Broadway musical. It’s pure fluff all the way, with a comedically villainous gold digger (Marshall) so in love with herself she intones, “You wonderful creature” while gazing in the mirror:

… and a clueless football star who falls for Allyson while she’s tutoring him in French, invites her to the Prom:

… then promptly reneges on his invitation once Marshall comes prancing back into his life:

Will Allyson forgive Lawson — and should she, really? It matters not a whit, given it’s the songs and dances here that hold front and center:

— though they’re not nearly enough to elevate this silly stock musical to anything other than a mildly nostalgic diversion (one which post-WWII audiences were surely eager to lap up).

Redeeming Qualities and Moments:

• Allyson and Lawford performing “The French Lesson”
  
• Vibrant Technicolor cinematography and sets
  
  

Must See?
No; you can definitely skip this one.

Links:

• IMDb entry
• DVD Savant Review
• TV Guide Review