Reviews

Actually I have no issue with this type of genre. Peckinpah had a penchant for Grindhouse cinema and was maybe the original Pulp Auteur who inspired the likes of Quentin Tarantino. The difference is that he wasn't as resourceful or as intelligent as Tarantino in achieving the intended reaction from his audience.

Set in the seedy areas of Mexico, this film captures the dichotomy between the rustic and degenerate backdrops of Mexico along with its advanced and plush areas for upscale business and tourism. At times we feel we are in a Western set in the late 19th century Mexico, At other times we see the modern development of airports and hotels in the early 1970's Mexico City. This is an incidental accomplishment worth noting.

However, the story is just so simplistic and uninteresting that even with all the injected gratuitous violence and foul language, it still just drags at a slow pace, testing our patience and keeping us yearning for a twist.

The Crime Baron, known only as El Jefe, puts a bounty on the head of the titled character, because he impregnated his daughter. Strangely, two American Caucasian men in business suits are hired by El Jefe for a reward of one million dollars. An unlikely pair to be chosen in the heart of Mexico. I assume this was the exchange rate for Pesos. Who knows? It never gets clarified. These two suited bounty hunters end up approaching some sleazy Saloon Piano player, Bennie (Warren Oates), for information leading the men to Alfredo Garcia. Bennie sees this as a chance for easy money and his ticket out of hell, even though he only agrees to $10,000 from the gentlemen. Setting aside the details of how he is supposed to get paid and what he has to do is stilting and anti-climactic when we learn that Alfredo Garcia is already dead and buried. Bennie, who looks like a cross between a Used car salesman and Skid Row bum, is in love with a prostitute who supposedly is his girlfriend. What we now know is that she confesses she had a fling with Alfredo Garcia erstwhile and knows that he died in a Drunk driving car crash. This Alfredo dude sure got around. This is a very convenient coincidence for such a dumb and unimaginative story. But once we learn that all Bennie has to do is obtain the head of his corpse and transport it to the men for his easy money, all of the pent up suspense and buildup comes to a crashing halt. It has nowhere to go. His girlfriend gets killed at the cemetery as they have been ambushed by an unknown assailant. Bennie, weary and distraught by the loss of his beloved, seeks to recover the stolen head of Alfredo whilst leaving her behind. The remainder of the story ensues a couple of gunfights, standoffs and escapes that are done with ungratifying Slow motion sequences. Unfortunately, Peckinpah lacks creating the tension and buildup in scenes where it's needed the most. They aren't exciting enough to really keep us glued to our seats with anxious anticipation.

I normally welcome and I am game to watch these gritty, hardcore Noir films as long as they are intense and enthralling. But Bring Me the Head of Alfredo Garcia has a slow moving pace that gets crippled by its own plot design. The action scenes aren't very good and the use of Slow motion doesn't work to its benefit.

This story of a Reform school filled with screwed up delinquents plays more like a parody than a serious drama. At times it seems to work, but it mostly just rambles on with rude and raucous behavior from maladjusted students and the faculty trying desperately to hold things together. Glenda Jackson (Miss Macmichael) is a self-sacrificing teacher bordering on martyrdom. She believes she can reach these children who constantly disturb, destroy and harass everyone around them. We wonder why she's so stupid to believe in such a fallacy. As we witness her mind-blowing tolerance for these reprobates, our desire to kill some of these kids grows concurrently. Watching Oliver Reed as the corrupt and supercilious Principal (Mr. Sutton) is worth a laugh or two. He plays it big and mugs a lot for the camera. Unfortunately, when Miss Macmichael and Mr. Sutton have their showdown at the end while she trashes his office, we are left with an unsatisfying feeling of disgust: What was the point of all this?

Pale Rider is Western starred and directed by Clint Eastwood. In what had been successful in a few of his older westerns he brings this trite story of some humble tin-panners in a small community who are besieged by a ruthless group of Gold Miners who run a Mining operation replete with a battery of sophisticated equipment. The main boss, LaHood (Richard Basehart) is the ruthless owner who has a group of dopey henchman who will do anything to terrorize, pillage and prevent the small community from interfering in their pursuit of wealth. This is a simplistic tale of Good vs. Evil where Eastwood, The Preacher, fights of the bad guys in a street brawl, befriends the local tin-panning community, garners the admiration from women and spends the rest of the film defending these poor people who have been wronged by the powerful Mining Magnate.

As usual, Eastwood sets up scenes where he is displayed as the hero who always wins in every situation without getting a bruise or cut. He not only takes advantage of one middle aged woman (Carrie Snodgress), but also from a beautiful 15 year old nubile girl, Magan (Sydney Penny). I found this downright distasteful since he uses her character as eye candy and as a catalyst to stroke his insatiable ego. The girl, in awe of this enigmatic and mysterious gunslinger, professes her love and offers herself to be deflowered by him. There's no need to go into any detail since there's really nothing new or interesting to this "Eastwood" habit of using young women for his vanity purposes. It's not totally unrealistic, but looks very unnecessary. Eastwood, the actor, establishes himself as a choleric, vain and Dirty old man. Since he's supposed to be a religious clergyman of sorts, I found this quite offensive since his actions and behavior are questionable in character. When being asked to say Grace at a family supper, he doesn't even mention the Lord's name or any Holy reference. It's just "For what we are about to receive, let's be truly grateful". What a shallow bore this is. And so is the rest of this story, because it all looks so telegraphed and predictable. We know within the first 30 minutes how this story will play out, but it is lackluster and uneventful. The fight scenes are bland and unexciting. As he the Preacher lobs sticks of dynamite at the bridge and Mining operation it looks lazy and boring. There isn't any tension built up enough to warrant this predictable and disappointing climax. Yes, Clint's characters always win out and burnish their images as Western superheroes who have no worthy adversaries. But if this is the case, why can't we get a clever plot-twist or surprise threat to create suspense? It just didn't happen here. And the scene where LaHood's goons walk out in Unicen with their Trench coats to shoot down the poor drunkard looks stagy and corny. Almost laughable. I'm not opposed to the elements of the film if they could have been acted and created in a believable manner reflective of the Mid 19th Century. But here it looks shallow and stagy. No depth or realism. And to have a teenage girl from a strict religious upbringing from the 1800's showing such overt affection for a much older man is pretty offensive and demeaning.

Whoever Slew Auntie Roo? Is a twisted variation on the Hansel and Gretel story. It's creepy for sure, but the only really good thing going for it is the performance of Shelley Winters. Everyone else seems hammy or dull by comparison. She's zany, ludicrous, empathetic and pathetic all at once. What I liked most about Shelley Winters is that she wasn't afraid to put herself out there. She abandons all vanity and glamour and just immerses herself in these crazy and unflattering roles. She dives into them with vigor and the result is that she was fantastically entertaining. She was a bit of a Glamour Puss in her early career, but as age and weight gain took their toll, she became more of a character actress. She slodged through some B-Horror films in the 70's, but she could certainly act. The boy in this movie is Mark Lester, The kid from the movie "Oliver". They were using his victimized innocent persona as a child actor, but he's about as dull and likable as a common brat. Ralph Richardson, the accomplished Shakespearean actor, plays a hack Psychic Medium, who fools and fleeces the poor and desperate widow. His performance is okay, albeit a bit too hammy for my taste. Michael Gothard, as the butler, is just awful. I've seen him in a couple other films and his overacting here is barely tolerable. I only liked him when Roger Moore kicked him down a cliff in "For Your Eyes Only" (1981).

A couple of key problems: (First) watching child actors and how they are directed can be irritating. We really have to adjust our expectations with the lack of maturity, skill and emotional depth they have.

(Second) is the sheer injustice of the outcome. The poor lady is murdered by these little snippets. We are led to believe that these kids are being abused as entitled victims, when in reality, his paranoia and imagination jump to conclusions about Mrs. Forrest's intentions. The result is tragic and not scary, because the children's response to her demise is remorseless and joyful, which is quite disturbing.

If this movie were to be remade, they would obviously beef up the jump scares and gratuitous gore. But I think this film is better remembered as a bizarre attempt to derange the old Children's tale.

May-December affairs are nothing new in Hollywood. Although the taboo still lies sentient in the minds of viewers, they are hardly credible. Charles Bronson did it in 'A London Affair" (1970). Jason Robards did it in "Fools" ((1970) and here the aging and lugubrious, William Holden, does it at the age of 54, Albeit he looks much older. Cary Grant was much more credible when paired up with younger co-stars, because he aged better and his roles and films usually had more depth. Whether or not you endear yourself to this film lies solely on your ability to get past the grotesque and unbelievable nature of a 19 year old Nubile hippie girl pairing up with a stodgy Middle Age man sexually. William Holden, a credible and gifted actor, had a penchant for being paired up with much younger co-stars. But here it looks so wrong. There isn't a shred of chemistry between Breezy (Kay Lenz) and his character Frank. The dialogue feels stilted and the intimate scenes are forced. Ironically, Clint Eastwood directed this and deals with the subject matter sensitively with the intention of allowing her character to tug at our heart-strings. The whole 60's Counterculture zeitgeist is brought to challenge the sensibilities of the older generation: in free love, acceptance, mutual understanding, compassion and peace. Frank's character inevitably finds himself falling in love with this young woman but tries to contest it due to his inability to cope with the repercussions. Ultimately and predictably, he gives in and stops fighting the love he feels for her.

As for the movie? It's an old man's fantasy! Seriously, how rare is it to witness a young woman show such devotion and attraction to such an old stranger? I have seen girls flirt and maybe imply some flirtatious behavior just to be funny or silly, but this was almost unbelievable. Breezy uses montage sequences with beautiful, sweet folk music: a walk on the beach during sunset, a fancy dinner date, a shopping spree and an intimate love scene. Eastwood handles the material with the due sensitivity it needs, but many viewers will be turned off by the sheer unlikeliness of the couple. Kay Lenz makes an appealing newcomer with her lilting voice, pouty lips, tiny figure and broad cheekbones. William Holden had reached the dénouement of his life and acting career, looking old, jowly, and haggard. His stern vocal delivery serves as a foil to her delicate and bubbly character.

Breezy went pretty much unnoticed at the Box Office but has obtained a segment of appreciation with some Eastwood fans and perhaps those who can enjoy this story. The only way to get anything out of this film is if you suspend your belief and open your heart to Breezy.

Without rehashing all the plot details, we already know, the deep personal importance to me is the love story. The love story aspect is what anchors this inspiring movie. Without this, it simply would not nearly have the same impact. Two lovable losers, Rocky and Adrian, meet regularly in an innocent and tender way. She's shy enough to be afraid of her own shadow and he's a gregarious Paluka who talks a lot. When he takes her to his apartment it's about as awkward a date as can be after having a brief outing on an empty Ice rink. Adrian has concealed herself from the world by wearing layers of clothing, spectacles and a Mitten cap which covers her almost completely. As Rocky lowers her guard in his boyish and earnest way, we aren't sure how this will unfold. He asks her softly to take off her glasses. Then her hat. We see her natural and inner beauty blossom before our eyes. The kiss is sincere and feels so real.

Rocky works on two levels: It's an enthralling sports story about an underdog. It's a love story that propels Rocky's and Adrian's journey into personal growth and development. It's sweet, innocent and impossible to discard. I thought the little nuances and scenes between them were actually the most fascinating part of the story and the boxing aspect relies on its impact. From my entire movie watching experience, in every movie I've seen, it's the first film to offer an exciting training montage accompanied by the Epic song. "Getting strong Now". The signature Rocky theme song resonates in our heads for years to come. It probably doesn't last more than two minutes, but it's crucially essential to the spirit of this film.

The original Rocky is a miracle. It was done on a very modest budget but became one of the great inspiring films of all time.

Before I dump on this this dated 80's pop yarn, I must admit that it was a huge hit back in 1983. If you haven't seen this yet, just know that this is an indicative example of how a lame and weak drama can have effective allure to the public. At least for the early 1980's which it is so reflective of. Flashdance fits this bill to a T.

To begin, this trite story is about a very young gal who has aspirations of becoming a professional ballet dancer. She is self taught and lives around the Rust belt in Pittsburgh, PA. To make ends meet, she works as a welder by day and moonlights as an exotic dancer in a local night club. Jennifer Beal, in her movie debut, takes on this role, but she is rather genteel and fragile looking to come off as a tough girl who does rugged work. She is shown to have bouts of tantrums, risque behavior and street wisdom. She seems unsuited for this type of character requirement since she is much too young and soft looking. She even looks uncomfortable playing the scenes where she shows aggression. I just learned that she didn't do much dancing at all since the dancing scenes are performed by Body doubles. After close review I can see it now. The scenes where she is practicing to "She's a maniac" only shows her face and her feet in close-ups. The rest of the routine is clearly another person doing all the strenuous movements and stretches. It is clear that the body-double is more muscular and athletic looking than Jennifer Beals, but the dim lighting and edits are done so well that I didn't even notice initially. And this goes for the rest of the dance scenes, which are the highlight of the movie.

Flashdance is a confluence of MTV meets Film drama. It succeeds as the former, but fails as the latter. The ulterior motive was to sell a soundtrack. The plot is very weak and not very involving. The supporting characters are cliche. Beals' character is just not fleshed out enough for us to really care about her personally much. Of course, at the end it's exciting, because we are all waiting for that moment for her to knock her audition out of the park with her exciting dance routine. And that's what we are anticipating. Her love interest, Michael Nouri, is bland and doesn't reveal much about why he decides to go for her, other than he's thrilled at watching her dance. But the love story angle, her work angle and the little drama at the bar are just not believable and somewhat muffled in their delivery. They just don't add any appeal to this movie. Did I also mention that being a welder is a dangerous job that requires skill and intensive training. It is virtually impossible that an 18 year old girl can just walk in and learn this so quickly. And the percentage of women in that profession must be under 1%.

Flashdance fits in the same genre with movies like "Fame". This whole craze about young people working on their passions and fulfilling their dreams of becoming singers, actors, musicians and dancers is what inspires this. The film throws in these little subplots of how people are aspiring to be performers. Her friends at the nightclub: a cook/comedian, ice-skater, etc. And how these people are struggling. But the main character is determined and good enough to succeed. The drama, characters and the overall progression is not involving enough and is actually boring until we get to our finale of her acing her audition and running outside to leap into her boyfriend's arms with that signature 1980's freeze frame. It's all so cheesey, but it's as satisfying as an ending as we could get.

To its credit, the dance scenes are pretty good and exhilarating enough to hold our attention. I could also credit Flashdance for being innovative in that it attempts to achieve the Cinderella story with a touch of Rocky. But it really is just a 1980's chick flick.