FilmFanatic.org

Synopsis:
When 10-year-old Karen (Brooke Shields) is murdered right before her first communion, everyone suspects her raincoat-clad, jealous older sister Alice (Paula Sheppard) — but is Alice really the killer?

Genres, Themes, Actors, and Directors:

• Christianity
• Evil Kids
• Horror
• Jealousy
• Murder Mystery

Response to Peary’s Review:
This cult murder mystery (notable as Brooke Shields’ debut film, though her part is small) is indeed “guaranteed to keep you tense”. Paula Sheppard is pitch-perfect in the title role, skillfully portraying a juvenile murder suspect who is either deeply misunderstood or deeply troubled; meanwhile, director Albert Sole effectively “uses the horror genre to attack Catholicism” (which does little, as Peary notes, to help its “confused, guilt-ridden, emotionally misunderstood church members”). Full of “offbeat touches and characters” — as well as many truly creepy scenes (who can forget the yellow raincoat?) — this is a surprisingly dense and satisfying horror flick.

Redeeming Qualities and Moments:

• Paula Sheppard as Alice
  
• Brooke Shields in her first silver-screen appearance (albeit a short one)
  
• Effective use of bleak New Jersey locales
  
• Quirky characters
  
• Many creepy scenes, and a surprise ending
  
• Stephen Lawrence’s atmospheric score

Must See?
Yes, as a beloved ’70s horror flick.

Categories

• Cult Movie

Links:

• IMDb entry
• Moria Review
• Classic Horror Review

Synopsis:
Tired of the smog and pressure of city life, the Robinsons — Skip (Robert Logan), Pat (Susan Damante Shaw), Jenny (Hollye Holmes), and Toby (Ham Larsen) — head out to live in the wilderness, not realizing their lives will be in near constant danger.

Genres, Themes, Actors, and Directors:

• Survival

Response to Peary’s Review:
As Peary notes, this “surprisingly popular” film — which showed up repeatedly on cable television stations — is relatively innocuous “family fare” with “lots of pretty scenery and wild animals”.

While Damante Shaw “may get on your nerves by continuously worrying about her kids’ safety”, “considering that their lives really are in danger about every two minutes of screen time, she has the right.”

Peary rightfully argues that “most people who see these films will choose the smog over the dangerous mountain life.” The Robinsons’ incompetence is frustrating, especially given how many families have chosen to homestead safely, and likely have a lot to teach the rest of us — but this is not that set of lessons.

Redeeming Qualities and Moments:

• Beautiful Colorado scenery
  

Must See?
No; you can skip this one.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
Newlyweds Tacy (Lucille Ball) and Nicky (Desi Arnaz) find their marriage on the brinks as they travel in their brand-new, “long, long trailer”.

Genres, Themes, Actors, and Directors:

• Comedy
• Keenan Wynn Films
• Lucille Ball Films
• Marital Problems
• Newlyweds
• Road Trip
• Vincente Minnelli Films

Response to Peary’s Review:
I’m pleased that Peary refers to this “delightful comedy” as “strangely neglected”, because I feel the same way. As Peary notes, there are countless moments of hilarity and romance, with both Arnaz and Ball turning in wonderfully comedic performances. Fans of “I Love Lucy” definitely won’t be disappointed, and others should find themselves laughing in sympathy as well. Plus, as a recent newlywed myself, I can attest to the authenticity of how exasperating road trips can be for couples. Some of my worst arguments with my husband have occurred while we’ve been on vacation, so I have nothing but empathy for poor Tacy and Nicky, as they try to recapture the spark of love in the midst of their chaotic travails.

Redeeming Qualities and Moments:

• Ball vainly attempting to cook as their trailer bounces back and forth across the bumpy road
  
• Ball’s collection of enormous rocks, which dangerously weighs down their new home
  
• Arnaz steering the enormous trailer along perilous mountain paths (a truly scary scene)
  

Must See?
Yes, as Ball’s best film.

Categories

• Historically Relevant

Links:

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

Synopsis:
Slave trader Robinson Crusoe (Dan O’Herlihy) is stranded on a desert island, and must learn to survive on his own — until the arrival of “Man Friday” (Jaime Fernandez) provides him with company and assistance.

Genres, Themes, Actors, and Directors:

• Deserted Island
• Luis Bunuel Films
• Slavery
• Survival

Response to Peary’s Review:
As Peary notes, Luis Bunuel’s “peculiar” film adaptation of Daniel Defoe’s classic adventure novel is “beautifully shot”, yet “static and thematically ambiguous”. While O’Herlihy’s “haughty slave-driver” initially “feels humbled as he must consider his helplessness and man’s insignificant place in God’s universe”, once ‘Man Friday’ (Jaime Fernandez) arrives on the island, O’Herlihy [arguably] begins to see “himself as God in this new domain”.

Suffice it to say that no steps are taken to mitigate the assumed hierarchy between master and slave; as Peary points out, this is not the film to watch if you want to see a “defiant” black man. Peary concludes his review by noting that “adults will watch this film mostly as a Bunuel curio”, while children “may respond to the colorful adventure and magical setting and [simply] be unaware of the religious themes”.

Redeeming Qualities and Moments:

• Beautiful, lush Technicolor cinematography
  
• Dan O’Herlihy’s commanding performance as Crusoe
  
• Snippets of surreality, providing evidence of Bunuel’s continued fascination with this stylistic approach

Must See?
No, though it’s worth a look simply as a curio in Bunuel’s oeuvre.

Links:

• IMDb entry
• NY Times Original Review

Synopsis:
A disfigured concert organist (Vincent Price) seeks Biblical revenge on the nine surgeons who accidentally killed his wife years earlier.

Genres, Themes, Actors, and Directors:

• Detectives and Private Eyes
• Horror
• Hugh Griffith Films
• Joseph Cotten Films
• Revenge
• Serial Killers
• Vincent Price Films

Response to Peary’s Review:
Peary argues that this “campy Vincent Price British horror film with a revenge motif” isn’t “as well made or as lively” as Theatre of Blood (1973) but remains “reasonably enjoyable”, thanks in large part to “stylish direction” by Robert Fuest and “a funny, tongue-in-cheek script by James Whiton and William Goldstein”. As gruesome as the murders are (Peary points out they’re “too grisly” for children — though would young kids really be watching this film?), there’s something undeniably fascinating about witnessing a series of calculated, predictable killings taking place. We quickly get caught up in serious count-down mode, with the poor detectives (Peter Jeffrey and Derek Godfrey) assigned to the case suffering repeated ridicule for the sake of heightened drama. As the “methodical, obsessed” Dr. Phibes, Vincent Price is “well-cast” and as effectively macabre as always; his performance here is reminiscent of his equally serious and violent role as Matthew Hopkins in The Witchfinder General (1968).

Note: This would be interesting as a double feature with the more recent, infinitely “grislier” Se7en (1995) — also based on “Biblical” vengeance, but without any of …Dr. Phibes‘ black humor.

Redeeming Qualities and Moments:

• Vincent Price as Dr. Phibes
  
• Outrageously over-the-top sets
  
• Highly “creative” murders (based upon the seven Biblical plagues against Egypt)
  
• Creepy, effective make-up

Must See?
Yes; this enjoyable horror flick shouldn’t be missed.

Categories

• Good Show

Links:

• IMDb entry
• Spinning Image Review
• BadMovies.org Review
• DVD Savant Review
• TV Guide Review

Synopsis:
A sixteen-year-old girl (Sandrine Bonnaire) becomes increasingly promiscuous in response to her dysfunctional family life.

Genres, Themes, Actors, and Directors:

• Coming-of-Age
• Family Problems
• French Films
• Sexuality

Response to Peary’s Review:
As Peary and others have noted, this French coming-of-age story — a “disturbing portrait of 16-year-old girl (Sandrine Bonnaire) who drifts into a series of meaningless, unfufilling sexual affairs” — is raw, disturbing, and oddly compelling. Bonnaire (who, in her debut, “looks a bit like the young Diane Lane”) is entirely convincing in the lead role, playing a nubile teen who uses her burgeoning sexuality as a means of rebellion and escape from her dysfunctional family, rather than for intimacy and love. Just as the two young children in Rene Clement’s Forbidden Games (1951) cope with the war and death surrounding them through intricate burial rituals for animals, Bonnaire deals with her chaotic family life by escaping into meaningless affairs; as Peary argues, she does this not just “to hurt her parents for being uncaring, but also because that’s her only choice”. He concludes his review by noting that “long after seeing the film you [will] still think about [Bonnaire] and those like her who are forced to bring themselves up, long before they have the maturity to know what’s good for them.”

Redeeming Qualities and Moments:

• Sandrine Bonnaire as Suzanne
  
• A realistic, if depressing, portrayal of a dysfunctional family
  

Must See?
Yes, for Bonnaire’s affecting performance.

Categories

• Noteworthy Performance

Links:

• IMDb entry
• Time Out Capsule Review

Synopsis:
Rock ‘n roll deejay Alan Freed tells Chuck Berry the story of a fictional orphan (Jimmy Clanton) who becomes beloved rock star “Johnny Melody”.

Genres, Themes, Actors, and Directors:

• Flashback Films
• Musicals
• Rock “n Roll

Response to Peary’s Review:
As Peary points out, this rock musical has a “paper-thin story”, “static direction by Lew Landers”, and an “overly rude, chip-on-his-shoulder portrayal by Clanton, which makes one think Johnny doesn’t deserve a break”. My advice is to ignore the lame storyline altogether, and focus instead on the run of “solid-gold” musical performances by 1950s legends such as the Cadillacs, the Flamingos, Eddie Cochran, and Ritchie Valens (singing “Ooh My Head” in what Peary believes “is the only extant footage of him”). As Peary notes, “you’ll love how teenagers and adults on-screen react to this music”; meanwhile, he provides an interesting bit of trivia by pointing out that, because “rock ‘n’ roll was going through an image problem”, the stars are all “well groomed and unthreatening”.

Redeeming Qualities and Moments:

• Ritchie Valens in his only (?) on-screen performance
  
• The Cadillacs performing “Jay Walker” and “Please Mr. Johnson”
  

Must See?
No, but it’s worth a look for the musical acts, which are indeed a treat. However, this one really should have been a performance film rather than a pseudo-biopic.

Links:

• IMDb entry
• That Cow Review
• Time Out Capsule Review

Synopsis:
Bill Cosby waxes comedic on anything and everything related to family life.

Genres, Themes, Actors, and Directors:

• Bill Cosby Films
• Family Problems
• Stand-Up Comedy

Response to Peary’s Review:
Peary drops the ball in his review of this classic stand-up comedy film, written and directed by Cosby himself, and “us[ing] footage from four 1981 performances in Hamilton, Ontario”. He calls the film “painfully unfunny”, inexplicably labeling the material as “impersonal” and “conventional”, and arguing that “at no time does [Cosby] display the mischievous boyishness that [made] his television character so likable”. Given the opening comment of his review (“No doubt Cosby hoped to obtain the wild success Richard Pryor had with his concert films”), I believe Peary’s mistake may have been in comparing Cosby to Richard Pryor — two comedians with radically different styles and goals. Among the many amusing moments in this film include Cosby discussing his trip to the dentist (“Dentists tell you not to pick your teeth with any sharp, metal object. And then you sit in their chair, and the first thing they grab is an iron hook.”); Cosby describing his wife giving birth (“You did this to me!”); Cosby talking about serving chocolate cake to his kids for breakfast, and hearing a chorus of appreciation (“Dad is great — he gives us chocolate cake!”); and Cosby debating whether drunks really are “having a good time.”

Redeeming Qualities and Moments:

• Many amusing moments
  

Must See?
No, though it’s worth a look as a classic of stand-up comedy.

Note (1/6/21): This is a rare instance in which I’ve changed my vote for a film based on recent events. It’s impossible these days to watch Bill Cosby on screen knowing the crimes he committed — and while I still have fond memories of watching and enjoying this film, I no longer consider it must-see viewing. The quote selected seems eerily prescient.

Links:

• IMDb entry

Synopsis:
Upon the death of his industrialist father, John (Albert Dekker) learns that his “dead” twin brother Paul (also Dekker) is actually alive but insane. After years of being kept secretly locked up, Paul escapes from his keeper (Ernest Whitman) and tries to live a “normal” life, but finds himself killing again and again; meanwhile, the gold digging daughter (Susan Hayward) of Paul’s new landlady (Maude Eburne) is determined to earn the $5,000 award offered for locating the “mysterious” killer.

Genres, Themes, Actors, and Directors:

• Amateur Sleuths
• Frances Farmer Films
• Gold Diggers
• Mental Illness
• Serial Killers
• Susan Hayward Films
• Twins

Response to Peary’s Review:
As Peary notes, this “impressive ‘B’ movie” (directed by Stuart Heisler) features “good acting and direction” as well as plenty of “suspense” and “mill-town atmosphere.” Indeed, at just 68-minutes, Among the Living is chock-full of all the necessary ingredients for an exciting B-level thriller: a funeral, a mysterious rash of murders, insanity, childhood secrets, amateur sleuths, shady doctors, gold diggers, noir-ish cinematography, and more. As in Robert Siodmak’s 1946 film The Dark Mirror (starring Olivia De Haviland), the theme of doppelganger twins — one “good”, one “evil” — is milked here for all its worth, to satisfying effect (Dekker is well-suited to his dual roles). Indeed, the performances throughout are all fine, with Susan Hayward particularly noteworthy as a gold-digging mill worker who doesn’t realize the killer she’s greedily looking for is standing right beside her.

Redeeming Qualities and Moments:

• Susan Hayward as the scheming gold digger who unknowingly puts herself in harm’s way
  
• Albert Dekker’s effective performance in dual roles
  
• Frances Farmer in a small, somewhat thankless role as John’s wife
  

Must See?
No, but it’s an excellent thriller, and well worth watching if you can find a copy.

Links:

• IMDb entry

Synopsis:
A well-meaning but luckless dreamer (Paul Le Mat) gives billionaire Howard Hughes (Jason Robards) a lift in the desert one night, and years later finds himself named a contested heir in Hughes’ will.

Genres, Themes, Actors, and Directors:

• Comedy
• Inheritance
• Jason Robards Films
• Jonathan Demme Films
• Marital Problems
• Mary Steenburgen Films
• “No One Believes Me!”
• Paul Le Mat Films
• Underdogs

Response to Peary’s Review:
Based on a true story, this “genial, sad-eyed comedy” (directed by Jonathan Demme, and winner of a Best Screenwriting Oscar for Bo Goldman) seems to be a favorite with many reviewers, including Peary — and there’s much to recommend it, including “first-rate” performances, plenty of quirky humor, and numerous heartfelt moments. It’s ultimately a character study about Melvin Dummar, a “nice, well-meaning guy” who’s “not very smart or realistic”, “hasn’t any money”, and who “lives for his dreams” of “striking it rich” and “becoming a songwriter” — and as such, it hits its stride. However, I couldn’t help feeling cheated by how little time Robards (as Hughes) is on-screen: other than the opening scene and occasional flashbacks, he never shows up again. Perhaps I’m unduly fascinated with Hughes after seeing Scorsese’s recent biopic The Aviator (2004), but it doesn’t seem right that this notoriously eccentric billionaire shares top billing with Le Mat’s Melvin Dummar in the title, yet disappears 15 minutes into the film.

Redeeming Qualities and Moments:

• Mary Steenburgen as Lynda Dummar
  
• Robards in a criminally small role as Howard Hughes
  
• Robards and Le Mat singing “Bye, Bye Blackbird” together as they drive across the desert
  

Must See?
No. While beloved by many, it’s not must-see viewing.

Links:

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