FilmFanatic.org

Synopsis:
A successful middle-aged architect (John Cassavetes) breaks up with his actress wife (Gena Rowlands) and travels to Greece with his 13-year-old daughter Miranda (Molly Ringwald). When Rowlands and her gangster boyfriend (Vittorio Gassman) come after Miranda, Cassavettes flees to a remote Greek island with his daughter and his free-spirited new girlfriend, Aretha (Susan Sarandon).

Genres, Themes, Actors, and Directors:

• Coming-of-Age
• Deserted Island
• Greece
• Mid-Life Crisis
• Paul Mazursky Films
• Paul Stewart Films
• Shakespeare
• Susan Sarandon Films

Response to Peary’s Review:
As Peary points out, Paul Mazursky’s unusual adaptation of Shakespeare’s The Tempest (or, more accurately, its prequel) has “sophisticated dialogue”, “terrific ensemble” acting, and “some genuinely poignant two- and three-character scenes”. While Cassavetes’ character is irredeemably annoying, Sarandon is as winsome as always, and Ringwald is highly believable as young Miranda. Unfortunately, the story — which shifts back-and-forth both chronologically and geographically — is hard to follow, and there are far too many “long, self-conscious stretches”. It’s an interesting experiment, but ultimately not an entirely successful one.

Redeeming Qualities:

• Susan Sarandon, eminently watchable as always
  
• Molly Ringwald in a self-possessed film debut
  
• Gorgeous scenery of Greece
  

Must See?
No. This is an interesting modern interpretation of Shakespeare, but not essential viewing.

Links:

• IMDb entry
• Moria Review
• DVD Talk Review

Synopsis:
A recently widowed farm owner (Maren Jensen) is considered an “incubus” by the local Hittite religious community, which resents her for having married one of their own. When her city friends (Sharon Stone and Susan Buckner) come to console her, they are all at risk of being murdered.

Genres, Themes, Actors, and Directors:

• Christianity
• Ernest Borgnine Films
• Horror
• Murder Mystery
• Wes Craven Films

Response to Peary’s Review:
This “odd little horror film” by Wes Craven — in which “the peaceful setting belies the fact that someone or something is murdering people” — neatly exploits the placement of a sympathetic protagonist in a hostile, alien environment. There are many moments of genuine terror and suspense (Stone in the barn, Jensen in the bathtub), and it’s never clear who will be targeted next by the mysterious murderer. Unfortunately, this otherwise entertaining thriller is ruined by a tacked-on supernatural ending, which effectively discounts the psychological horror that has buoyed the rest of the film.

Redeeming Qualities:

• Ernest Borgnine, cast against type as Martha’s stern Hittite father-in-law
  
• A beautiful, deceptively “peaceful” setting
  

Must See?
No, but it’s recommended up until its incongruous final scene.

Links:

• IMDb entry
• CampBlood.org Review

Synopsis:
A female vampire (Celeste Yarnell) invites a young couple (Michael Blodgett and Sherry Miles) to her home in the desert, then attempts to seduce them both.

Genres, Themes, Actors, and Directors:

• Horror
• Love Triangle
• Stephanie Rothman Films
• Vampires

Response to Peary’s Review:
As Peary writes, this comedic “offbeat” comedic vampire movie (written and directed by Stephanie Rothman) is “basically about an unconventional love triangle in which one of the two women just happens to be a vampire.” Many critics have argued that the film has undercurrents of latent lesbianism, but I have to say I don’t agree. Unlike other female vampires on film — such as Carmilla in Vampire Lovers (1970) or “Countess Bathory” in Daughters of Darkness (1971) — Yarnell doesn’t seem to particularly prefer either men or women; she’s just out for blood, pure and simple.

Redeeming Qualities:

• Colorful cinematography and “stylish set design”
  
• A haunting, if repetitive, film score which will stick in your mind for a long time afterwards

Must See?
No. This one will only of be interest for true vampire fans.

Links:

• IMDb entry
• Communist Vampires Review

Synopsis:
After remaining loyal to his emperor during an unsuccessful uprising, Samurai Moritoh (Kazuo Hasegawa) is offered his choice of rewards. He asks for the beautiful but already-married Lady Kesa (Machiko Kyo), and will stop at nothing to win her love.

Genres, Themes, Actors, and Directors:

• Japanese Films
• Obsessive Love

Response to Peary’s Review:
As Peary notes, this “simple story” of obsession and loyalty in 12th century Japan would probably “work better as a play”, but the “acting and characters are so interesting and the color photography is so gorgeous… that one can have no complaints.” You’ll be frustrated by Moritoh’s stubborn obsession (he “doesn’t understand the workings of [his wife’s] heart”), impressed by Lady Kesa’s fierce dedication to her kind husband, and curious to see how the story resolves. Gate of Hell holds a unique claim-to-fame as the first Best Foreign Film Oscar winner.

Redeeming Qualities:

• Beautiful cinematography and sets
  
• Interesting characters who make unusual choices
  

Must See?
Yes. It holds a special place in movie history, and should be seen by all film fanatics.

Categories

• Foreign Gem
• Oscar Winner or Nominee

Links:

• IMDb entry
• Midnight Eye Review

Synopsis:
A pair of necktie salesmen (Bud Abbott and Lou Costello) accidentally join the Army.

Genres, Themes, Actors, and Directors:

• Abbott and Costello Films
• Comedy
• Military
• World War II

Response to Peary’s Review:
As Peary notes, this popular wartime amusement — the biggest box office draw of 1941 — “holds up nicely” and still delivers lots of laughs. Abbott and Costello are at their comedic best, and the Andrews Sisters are simply delightful as they sing their way through several rousing songs, including “Boogie Woogie Bugle Boy of Company B” and “You’re a Lucky Fellow, Mr. Smith”. Highlights include Costello playing craps for the “first” time”:

… Abbott asking Costello for a $10 “loan”:

… Costello fumbling his way through drill exercises (this scene was used as propaganda by the Japanese to showcase America’s military incompetence!):

… and Costello in the boxing ring:

Redeeming Qualities and Moments:

• The Andrews Sisters’ “classic hip-shaking performance of ‘Boogie Woogie Bugle Boy of Company B'”
  

Must See?
Yes. Along with The Naughty Nineties (1945), this is one of Abbott and Costello’s best vehicles, and worth watching.

Categories

• Genuine Classic

Links:

• IMDb entry
• TV Guide Review

Synopsis:
Drugged-out Susan Superstar (Edie Sedgwick) tells a young drifter (Wesley Ames) about her life as a famous model in New York.

Genres, Themes, Actors, and Directors:

• Alcoholism and Drug Addiction
• Flashback Films
• Models

Response to Peary’s Review:
As Peary notes, this “famous underground film” — originally intended “to be a $50,000 black-and-white documentary about a day in the life of Edie Sedgwick” — is almost creepy to watch, knowing that “former Warhol factory girl and model” Sedgwick died before its release, and that she “is not putting on an act”. It’s difficult to tell whether the “pathetic, unhealthy, mixed-up” Sedgwick is aware she’s being exploited, and/or if she even cares. Regardless, this “interesting, though not always coherent” film paints a frightening portrait of a young life quickly destroyed by drugs.

Redeeming Qualities:

• A fascinating look at a ’60’s superstar who burned out early and died at the age of 28
  
• Creative mix of documentary footage with a fictionalized script
  

Must See?
No. This one is only mandatory viewing for fans of the Andy Warhol scene.

Links:

• IMDb entry

Synopsis:
Four male astronauts (Eric Fleming, Paul Birch, Patrick Waltz, and Dave Wilcox) land on Venus, where they discover that disfigured, man-hating Queen Yllana (Laurie Mitchell) has exiled all the planet’s men, and plans to destroy the Earth. The astronauts enlist the help of the Venetian underground movement — led by scientist Zsa Zsa Gabor — to fight back against Yllana.

Genres, Themes, Actors, and Directors:

• Astronauts
• Disfigured Faces
• Revenge
• Science Fiction
• Strong Females

Response to Peary’s Review:
As Peary points out, it’s hard to resist doing an armchair analysis of the gender politics in this “ludicrous camp classic” starring Zsa Zsa Gabor in her only notable film role (she’s prominent on the poster, yet doesn’t even play the title character). The film is pure male fantasy all the way, with the “reasonable” women — no matter how strong they purport to be — ultimately desiring a man by their side and validation of their beauty. As Peary puts it, they’re “straight-off-a-casting-couch beautiful … sexually aggressive … and carry guns” !! Meanwhile, “those we despise… are ugly (some wear masks), hysterical, and domineering, and though they hate and threaten men, are secretly desiring their sexual attention.” The film’s “cheap special effects” are downright ridiculous, the direction is “awful”, the acting is stilted, and the “science” is corrupt; this one is strictly for fans of bad movies.

Redeeming Qualities:

• Cult star Zsa Zsa Gabor in what was (surprisingly) her only significant film role
  
• The disturbing masks worn by Queen Yllana and her ladies-in-waiting (reminiscent of the creepy French horror flick Eyes Without a Face, 1959)
  

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

Categories

• Cult Movie

Links:

• IMDb entry
• TCM Article

Synopsis:
A group of gay men get together to celebrate a mutual friend’s birthday, and learn about themselves and each other in the process.

• Get Togethers and Reunions
• Homosexuality
• Play Adaptations
• William Friedkin Films

Response to Peary’s Review:
In his review of this groundbreaking Hollywood film — the first to deal explicitly with homosexuality — Peary argues that it represents a “negative, [stereotyped] image of gays”; I disagree. While these characters are certainly bitter in many ways, there are plenty of other movies which paint an equally depressing picture of humanity, and this one doesn’t stand out as particularly pernicious; instead, it simply reveals what can happen when people of any sexual orientation are forced to confront the most personal, uncomfortable parts of themselves. The more recent film Love! Valour! Compassion! (1997) — also about a group of gay men who come together for a short period of time — appears to owe much to Boys in the Band, though with the added spectre of AIDS hovering over its characters.

Redeeming Qualities:

• The first Hollywood film explicitly about homosexuals.
  
• Fine acting by Leonard Frey and Cliff Gorman, among others
  
  

Must See?
Yes, simply for its place in the history of gay cinema.

Categories

• Historically Relevant

Links:

• IMDb entry
• NY Times Original Review
• SF Gate Review

Synopsis:
Three overlapping vignettes, adapted from short stories by Grace Paley, tell of motherhood, love, and disappointment in New York City.

Genres, Themes, Actors, and Directors:

• Episodic Films
• Feminism and Women’s Issues
• May-December Romance
• New York City
• Single Mothers

Response to Peary’s Review:
While one must ultimately read Grace Paley’s writing to get a true sense of her brilliance, this “often humorous, often touching, always authentic” movie — based on three selections from Paley’s Collected Stories — stands just fine on its own. As Peary notes, the film’s female protagonists “aren’t heroic figures”, but they nonetheless “withstand the constant demands by manipulative men [or] parents” in their lives, and “hold out until they can make rational decisions about their own futures.” The first and third segments — starring Ellen Barkin and Kevin Bacon respectively — are the best, and well worth watching; unfortunately, as Peary notes, the second segment is “uninvolving and horribly directed”.

Redeeming Qualities:

• Ellen Barkin in a sexy, early role
  
• Kevin Bacon as a sincere young cab driver in love with an older woman
  

Must See?
No, but it’s a good little movie worth seeking out. Just fast forward through the second segment and you’ll be glad you rented this one.

Links:

• IMDb entry
• NY Times Review

Synopsis:
When British agent Charles Dobbs (James Mason) and Inspector Mendel (Harry Andrews) investigate the murder of an ex-Communist government official, they suspect that the victim’s wife (Simone Signoret) may know more than she’s revealing. Meanwhile, Dobbs has troubles of his own at home, when he discovers that his nymphomaniac wife (Harriet Andersson) has had an affair with a colleague (Maximilian Schell).

Genres, Themes, Actors, and Directors:

• Cold War
• Detectives and Private Eyes
• Harry Andrews Films
• James Mason Films
• Lynn Redgrave Films
• Marital Problems
• Maximilian Schell Films
• Murder Mystery
• Sidney Lumet Films
• Simone Signoret Films
• Spies

Response to Peary’s Review:
The performances by Mason, Andrews, and Signoret are wonderful in this otherwise dreary, character-driven spy flick, based on the novel by John le Carre. Peary lauds the film as “gripping” and “expertly directed”, but I find it unduly depressing — primarily due to the distracting subplot about Mason’s marital difficulties.

On the other hand, Mason’s interactions with Andersson posit him as more complex and human, thus allowing him to display a wider range of emotions — indeed, as Peary notes, the film is notable for presenting a realistic contrast to the suave, romantic existence of James Bond; being a spy doesn’t come across as particularly appealing, glamorous, or romantically satisfying.

Redeeming Qualities:

• James Mason as Dobbs (Peary nominates Mason’s performance as one of the best of the year in his Alternate Oscars)
  
• Harry Andrews as Inspector Mendel
  
• Simone Signoret as the murdered official’s wife
  
• Effective use of gloomy London locales
  
  

Must See?
Yes, for the fine performances.

Categories

• Noteworthy Performance(s)

Links:

• IMDb entry
• NY Times Original Review