Film Review: Flash Gordon (1980)

Release Date: September, 1980 (Turkey)
Directed by: Mike Hodges
Written by: Lorenzo Semple Jr., Michael Allin
Based on: characters by Alex Raymond
Music by: Queen, Howard Blake
Cast: Sam J. Jones, Melody Anderson, Ornella Muti, Max von Sydow, Topol, Timothy Dalton, Mariangela Melato, Brian Blessed, Peter Wyngarde, Robbie Coltrane, Deep Roy, Kenny Baker

Starling Films, Dino De Laurentiis Company, Famous Films, 111 Minutes

Review:

“Flash, Flash, I love you, but we only have fourteen hours to save the Earth!” – Dale Arden

Far from great, this is still one of the coolest movies ever made. It’s certainly a product of its time, as it wants to exist on the same level as Star Wars but the rest of Hollywood hadn’t yet caught up to the magic that George Lucas possessed.

Regardless of that, this is still an enthralling motion picture that made the best out of all its parts, creating a one-of-a-kind, pulpy world that really felt like an update of the old school Flash Gordon serials it tried to emulate in many regards.

Also, this has more of a ’70s feel to it than ’80s. But it was technically made and shot in ’79, so there’s that.

Flash Gordon is overly fantastical and I mean that in a good way, as it’s so stylized and unique that it really stands out among a lot of the other epic science fiction space operas of its era.

The sets are incredible, as are the costumes. Sure, some things look ridiculously hokey, even for 1980, but they still work in this strange universe.

I thought that the cast was also solid, despite the lack of experience Sam J. Jones, who plays the film’s title character, had in front of the camera. He still shines and I’m surprised that this didn’t lead to bigger and better things. Although, he is overshadowed by some of the other actors, especially Max von Sydow, a legitimate veteran who seemed to be completely committed to the role of an evil, outer space madman hellbent on ruling the galaxy.

I also really dug Timothy Dalton and Brian Blessed in this. They’ve been two of my favorite British actors over the course of my life and this is actually the first thing that I saw both of them in, way back when I was a young kid that rented this movie quite a lot.

Sadly but also understandably, I think that this film is mostly remembered for its music, as superstar rock band Queen did the film’s theme, as well as some other awesome tracks. Their music in this is spectacular and it makes the film so much cooler than it would have been without their iconic tunes. But really, between these songs and the film’s stupendous style, it’s like a perfect marriage.

All in all, this is a film with some flaws and it’s probably way too hokey for modern audiences but for the time, it worked. I just wish it had as much of a cultural impact as other big budget movies from that incredible era of live-action space operas.

Rating: 7.5/10
Pairs well with: other sci-fi and fantasy films of the late ’70s and early ’80s.

Film Review: Cat’s Eye (1985)

Also known as: Quitters, Inc., The Ledge, General (segment titles)
Release Date: April 12th, 1985
Directed by: Lewis Teague
Written by: Stephen King
Based on: stories by Stephen King
Music by: Alan Silvestri
Cast: Drew Barrymore, James Woods, Alan King, Kenneth McMillan, Robert Hays, Candy Clark, James Naughton, James Rebhorn, Charles S. Dutton, Mike Starr

Dino De Laurentiis Company, Famous Films, International Film Corporation, Metro-Goldwyn-Mayer, 94 Minutes

Review:

“[to Junk] Forget the cat, you hemorrhoid! Get the gun!” – Dr. Vinny Donatti

My feelings on anthology horror movies has been made pretty clear on previous reviews. However, I really, really like the third and final story in this movie and it saves it from being a real dud.

The first story is interesting but in no way realistic. It’s entertaining to watch, though, simply because James Woods is so damn good in it and he commits to the bit with reckless abandon.

In this story, we see a man go to Quitters, Inc. in an effort to quit smoking. The organization’s methods, however, are extremely fucked up and life altering. It’s a cool idea but it wasn’t very well thought out before execution. Granted, that could also be due to the segment really only having about a half hour to tell its story.

The second segment is like a dam in the river and it almost kills the movie. I guess it works watching it for the first time but there isn’t much to make you want to revisit it. In fact, I only sat through it to re-familiarize myself with it for this review.

It’s about a rich mafioso type in Atlantic City that forces the man that’s fucking his wife to have to make a lap around his casino penthouse by shimmying along a narrow ledge. Of course, the asshole tries to knock the guy off several times. Ultimately, the tables are turned and you’re probably thankful that we can move on to another story.

The third and final tale is a really neat horror fantasy starring a young Drew Barrymore, as a girl who takes in a stray cat she names General. Now the mom isn’t too keen on the cat and keeps forcing it outside. However, there is a small goblin-like monster that sits on the girl’s chest at night and steals her breath. The cat, of course, is trying to save the girl from this tiny and clever monster.

I love this story so much that I feel like it should’ve just been its own movie. Maybe they couldn’t have stretched it out to 90 minutes but it’s still really cool and it leaves you wanting more. Honestly, it reminded me of the really great episodes from the TV show Amazing Stories.

In the end, this film is okay. It’s really held back by the second segment but it is then gloriously saved by the great finale.

Rating: 6.5/10
Pairs well with: other ’80s horror anthology movies, as well as films based on the work of Stephen King.

Film Review: Transformers: The Movie (1986)

Release Date: August 8th, 1986
Directed by: Nelson Shin
Written by: Ron Friedman
Based on: The Transformers by Hasbro, Takara
Music by: Vince DiCola
Cast: Eric Idle, Judd Nelson, Leonard Nimoy, Robert Stack, Lionel Stander, Orson Welles, Frank Welker, Peter Cullen, Scatman Crothers, John Moschitta Jr., Michael Bell, Casey Kasem, Chris Latta, Clive Revill

Toei Animation, Sunbow Productions, Marvel Productions, Hasbro, De Laurentiis Entertainment Group, 84 Minutes

Review:

“Megatron must be stopped… no matter the cost.” – Optimus Prime

I’ve been meaning to revisit this for awhile, as I’ve also wanted to review the television series seasons after the movie. However, my DVD was missing and I just found it under my DVD shelf. It could’ve been there for years.

Anyway, having dusted this off, the 20th Anniversary Edition, I fired it up and gave it a watch. Man, it’s been too long and it doesn’t matter that I have nearly every line of dialogue still memorized, because every time I see this, it still feels like the first time.

I love this movie and it’s definitely the better film between it and Hasbro’s other major motion picture: G.I. Joe: The Movie. This was also the only one to get a theatrical release, as the backlash this film received, as well as it under performing, made them re-think their strategy.

However, the backlash and criticism was stupid and I wrote about it here.

Beyond that, it doesn’t matter that the franchise’s primary hero was killed off in the first act of the film. In fact, it gave this film much more weight than an episode of the cartoon could have. It also paved the way for a new line of toys and characters, which is really what this franchise was designed for.

For fans of the animated show, this movie was larger than life. It took these beloved characters and their universe and threw them up on the big screen and gave audiences a story that was worth that larger piece of real estate.

Now the plot isn’t perfect and the film has a few pacing issues but the pros far outweigh the cons and Transformers has never been cooler than it was with this movie.

The animation is done in the same style as the television show except it’s much better and the film looks stupendous. Honestly, it still looks great and it has held up really well, even with modern CGI and computer programs doing most of the heavy lifting.

Transformers: The Movie still feels like a living, breathing work of art. It’s an animated film of the highest caliber from an era that was stuffed full of so much fantastic pop culture shit.

That being said, there wasn’t an animated film that I appreciated and enjoyed as much as this one when I saw it. Looking at it now, I still feel the same way, other than a handful of Japanese animes that I discovered later.

Sure, this is no Akira but for something produced by an American company, it’s light years ahead of its domestic competition. Hell, I even prefer it over the best Disney movies of the ’80s.

Rating: 8.5/10
Pairs well with: the original Transformers television series, as well as G.I. Joe: A Real American Hero.

Film Review: Orca (1977)

Also known as: Orca: The Killer Whale, The Killer Whale (alternative titles)
Release Date: July 15th, 1977 (New York City premiere)
Directed by: Michael Anderson
Written by: Luciano Vincenzoni, Sergio Donati, Robert Towne (uncredited)
Music by: Ennio Morricone
Cast: Richard Harris, Charlotte Rampling, Will Sampson, Bo Derek, Keenan Wynn, Robert Carradine

Famous Films, Dino De Laurentiis Company, 92 Minutes

Review:

“I’d insisted on leaving South Harbor with them. I told myself that somehow I was responsible for Nolan’s state of mind. That I had filled his head with romantic notions about a whale capable not only of profound grief, which I believed, but also of calculated and vindictive actions, which I found hard to be believe, despite all that had happened.” – Rachel

I was originally introduced to this movie by my 6th grade science teacher circa 1991. While most of the class was dozing off, I really enjoyed it, even if it was one of several dozen ripoffs of Jaws.

Orca is somehow better than almost all of the Jaws wannabes, except for Joe Dante’s magnificent Piranha. But the reason for that is due to the movie’s ability to create great sympathy for the killer killer whale as well as Richard Harris’ ability to take a total bastard of a character and make him somewhat noble and redeemable.

I also really enjoyed Charlotte Rampling in this, as she added so much to the film’s context in a great way, as well as having a really organic chemistry with Richard Harris.

Being that I haven’t seen this in its entirety since that day in 6th grade, I was actually pleasantly surprised by the film all these years later. It was actually better than I remembered and there were some scenes I had completely forgotten, like the whale fetus on the boat deck scene, which my 6th grade teacher may have omitted from the movie when he showed us his VHS copy of it.

While this was a Dino De Laurentiis produced picture, which means it had a limited budget, most of the special effects were damn good. Even though I knew that some of the whale celebration moments with destruction in the background were composited shots, they actually look pretty great for the time, even when being seen in modern HD.

The two sequences that stood out to me the most were the coastal house being destroyed by the whale and collapsing into the sea, as well as the scene where the female whale is gruesomely captured and maimed, leading to her death and the death of the baby she’s carrying, all while the male whale watches on in agony. It may sound kind of cheesy but it’s surreal and haunting. Most importantly, it was incredibly effective. You felt the whale’s pain and understood his quest for vengeance against Richard Harris’ captain character.

I also really dug the Ennio Morricone score. The guy is an absolute legend and his score here is enchanting while also being brooding. While it’s not on par with John Williams’ Jaws score, it is very different and fits the tone of this movie, which wasn’t exactlyJaws ripoff. This just used the timing of its release to capitalize off of the killer marine life craze of the late ’70s.

The story is actually closer to Moby Dick and just modernized with a different species of whale. But that didn’t stop it from potentially taking a shot at Jaws by having the killer whale murder the crap out of a great white shark at the beginning of the film.

All in all, I was really satisfied with this. It’s not an all-time classic but it is better than most killer animal ocean movies not named Jaws.

Rating: 7.25/10
Pairs well with: other killer animal horror movies, especially those that take place on the water.

Film Review: Death Wish (1974)

Also known as: The Sidewalk Vigilante (working title)
Release Date: July 24th, 1974
Directed by: Michael Winner
Written by: Wendell Mayes
Based on: Death Wish by Brian Garfield
Music by: Herbie Hancock
Cast: Charles Bronson, Hope Lange, Vincent Gardenia, William Redfield, Stuart Margolin, Steven Keats, Jack Wallace, Jeff Goldblum, Christopher Guest, Olympia Dukakis, Art Evans (uncredited)

Dino De Laurentiis Corporation, Paramount Pictures, Columbia Pictures, 94 Minutes

Review:

“Nothing to do but cut and run, huh? What else? What about the old American social custom of self-defense? If the police don’t defend us, maybe we ought to do it ourselves.” – Paul Kersey

While I still haven’t seen the 2018 remake of this film, I wanted to at least revisit the originals. I’ll probably check out the Bruce Willis starring remake pretty soon but it’s been quite awhile since I’ve seen the original Paul Kersey clean up the mean streets of the United States.

In this, the first film of five, he cleans up the streets of New York City. He moves around from city to city in each film, as he can’t stay put in one place for too long.

Anyway, the film follows Paul Kersey, played by Chales Bronson, a man’s man. He is a pretty liberal and pacifistic guy until his wife is murdered and daughter raped and attacked in their home by vagrant, criminal scum. Kersey, unable to accept the failure of the system, becomes a vigilante and sparks a one man war on crime. However, his actions inspire the people of New York City to stand up and defend themselves as well. Soon, city officials want to put a lid on it but they kind of like Kersey, as crime rates are dropping and it looks good for the people in power.

This is a pretty political and social film for its day, as crime in New York City in the 1970s was at an all-time high and people were legitimately scared just walking down the street. I kind of wonder how the 2018 remake will address these issues, as Hollywood hates controversy these days, unless they’re reminding us of how much they hate Republicans, especially our current president. But I digress.

Charles Bronson is known for being a badass in a ton of films but this might be the best he’s ever been. It certainly evolved into his most famous role but playing a character five times will do that.

This is a gritty, realistic film. Bronson isn’t some invincible warrior, he is an everyday man, in over his head. A man with flaws and inexperience who fucks up because of that. But it’s his drive and ambition that really makes the character work. He is kind of driven by a type of mania, not caring that the law is on to him. He just commits to the bit, no matter what repercussions he may face. It’s refreshing to see, all these years later, because nowadays, everyone is a f’n John Wick or Frank Castle.

This first Death Wish movie is the best of the lot. But in saying that, it isn’t my personal favorite even though it’s the superior film. I really love the third one but I’ll get into that when I review it in the future.

But overall, this is a solid ’70s action flick with a giant barrel of testosterone concentrate.

Also, it is the film debut of Jeff Goldblum and has very early roles for Christopher Guest and Olympia Dukakis.

Rating: 8.25/10
Pairs well with: its sequels and the Dirty Harry film series.

Film Review: Conan the Destroyer (1984)

Also known as: Conan II, Conan: King of Thieves (working titles)
Release Date: June 29th, 1984
Directed by: Richard Fleischer
Written by: Roy Thomas, Gerry Conway
Based on: Conan the Barbarian by Robert E. Howard
Music by: Basil Poledouris
Cast: Arnold Schwarzenegger, Grace Jones, Wilt Chamberlain, Mako, Tracey Walter, Olivia d’Abo, Sarah Douglas, Andre the Giant, Pat Roach

Dino De Laurentiis Corporation, Universal Pictures, 101 Minutes

Review:

“How do you attract a man? What I mean is, suppose you set your heart on somebody. What would you do to get him?” – Princess Jehnna, “Grab him! And take him!” – Zula

I don’t think I’ve ever met a single person that prefers this film to its predecessor, Conan the Barbarian. That being said, this is still an enjoyable flick that’s pretty cool to revisit once or twice a decade.

The Conan character is cool and almost everything he’s been in has been good. This film fails to live up to the one before it but sequels rarely do. That doesn’t make it bad, it’s just a movie that was really lacking in overall quality and intensity because the studio realized that this character had young fans and thus, we got a PG movie instead of something with a solid R.

The special effects were a mixed bag. Some of it looked pretty bad but certain things, even if not spectacular, still had an enchanting allure about them. For instance, when the ghost-like dragon steals the princess, it’s a very dated looking effect but it has a real dreamlike quality to it that just works. Also, even though the mirror room sequence was shot under too many lights, it still felt otherworldly and mesmerizing.

The monster effects weren’t very good and I think having a bunch of bizarre creatures in this, sort of dragged down the rest of the movie. The picture tried to be more creative and ambitious than the first one, where the only real creature was a giant snake, but all the monsters looked rubbery, clunky and not very inspiring.

Also, the story is a mess. I’ve seen this film at least a half dozen times and I still don’t know what the hell is going on in half of the scenes. I feel like a lot of context and exposition was left on the cutting room floor.

What makes this film work for me though, is the cast. I pretty much like everyone in this film and the chemistry between Arnold Schwarzenegger and Grace Jones is stupendous. I wish they had done more movies together when they were both in the prime of their careers.

Tracey Walter was good in the film; he’s a character actor that popped up in a lot of stuff in the ’80s and ’90s. I also enjoyed Sarah Douglas, who I wish was in more movies back in the day. Olivia d’Abo did a decent job for this being her first movie. I think the only weak person in the main cast was basketball legend Wilt Chamberlain, who was never much of an actor but at least he gave it a shot.

This is directed by Richard Fleischer, who would also helm Red Sonja, a year later. He had a really interesting career, as he directed so many different styles and genres of film. He also directed 20,000 Leagues Under the Sea, Soylent Green, Fantastic Voyage, Tora! Tora! Tora!, Doctor Dolittle, Mandingo, Amityville 3-D, the 1980 version of The Jazz Singer and lots of classic film-noir pictures.

Basil Poledouris returned to score the movie but this one isn’t as memorable as the first film’s iconic music. This film’s theme isn’t as powerful and just lacks the extra oomph that Conan the Barbarian had.

If you enjoy the Conan franchise, you’ll probably enjoy this movie. I still feel compelled to revisit it from time to time and I’m always glad when I do.

Rating: 6.25/10
Pairs well with: Conan the Barbarian, the Conan the Barbarian remake, Red Sonja and the first Beastmaster.

Film Review: Conan the Barbarian (1982)

Release Date: April 2nd, 1982 (Sweden)
Directed by: John Milius
Written by: John Milius, Oliver Stone
Based on: Conan the Barbarian by Robert E. Howard
Music by: Basil Poledouris
Cast: Arnold Schwarzenegger, James Earl Jones, Sandahl Bergman, Ben Davidson, Gerry Lopez, Mako, William Smith, Max von Sydow

Dino De Laurentiis Corporation, Edward R. Pressman Productions, Universal Pictures, 129 Minutes

Review:

“Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to Hell with you!” – Conan

Conan the Barbarian is a hard movie to top in the sword and sorcery sub-genre of fantasy. It really set the standard in 1982 and it also spawned innumerable ripoff films, mostly from Europe and mostly schlock. A few wannabe Conan pictures were good but there’s too many to address when I’m here to specifically review this film.

This is also the superior Conan film, as its sequel didn’t live up to this one and its remake, decades later, was lacking the lightning in a bottle that made this film special.

When I was a young boy, I looked up to this film. I looked up to Conan and his struggle and his fight to seek out justice for himself and eventually, the world he lived in. In 2018, this would be considered a film that exudes “toxic masculinity” while being dismissed as shit by third wave feminists and male apologists. Sorry, but Conan, even fueled by revenge, was a flawed hero that went on to be a king, against all odds, and continually vanquished the evil in his world. In fact, this film got me into reading Conan comics, as well as the original stories by Robert E. Howard.

Conan the Barbarian is a balls out, unapologetic action film about one badass dude that’s not just going to take the bullshit of tyrants.

Now the film, like its title character, has its flaws. But compared to other big action movies of the time, those flaws aren’t as bad and not as apparent.

The acting is what you would expect from a Schwarzenegger film, the direction is much better than average and the special effects are actually great for a 1982 film that didn’t have a massive budget.

The thing that really makes this film more superb than it would have otherwise been is the score by Basil Poledouris. Conan the Barbarian has one of the coolest and most powerful themes in film history. It isn’t just the title theme that’s great though, it’s the music throughout the entire picture. It just sets the mood and pacing right. It accentuates the action and subtly gives life to the slower bits.

My only real complaint about the film is it does feel drawn out too long. They could have fine tuned it, whittled it down by 15 minutes and it probably would have moved at a brisker, more energetic pace. There are a lot of action sequences and there are a few moments where you feel like you’ve reached the big finale, only for the film to stretch on more. But don’t get me wrong, all the action bits are damn solid.

The opening sequence of this film is powerful, beautiful and breathtaking. It is the best shot and best paced sequence in the entire movie but it really draws you in and makes you want to go on this long journey with the hero. James Earl Jones, no matter how many times I have seen this scene, is still absolutely chilling.

Conan the Barbarian is a film that couldn’t be made in quite the same way that it was in 1982 with Hollywood politics being what they are.

Although, I could be wrong about that, as the new Conan the Barbarian comic by Marvel surprised me in how badass and brutal its recent first issue was. But maybe that’s only because it speaks to a particular audience that Marvel knows they’d lose if they messed with the formula.

Rating: 7.75/10
Pairs well with: Conan the Destroyer, the Conan the Barbarian remake, Red Sonja and the first Beastmaster.

Film Review: Trick or Treat (1986)

Also known as: Heavy Metal do Horror (Brazil), Muerte a 33 R.P.M. (Spain), Ragman (Germany)
Release Date: October 24th, 1986
Directed by: Charles Martin Smith
Written by: Joel Soisson, Michael S. Murphey, Rhet Topham, Glen Morgan (uncredited), James Wong (uncredited)
Music by: Fastway, Christopher Young
Cast: Marc Price, Doug Savant, Lisa Orgolini, Tony Fields, Gene Simmons, Ozzy Osbourne

De Laurentiis Entertainment Group, 98 Minutes

Review:

“Demonic beasts. Whatever happened to the good old simple love song? “I love you.” Nowadays they have to write some sickness. It’s just absolutely sick and bizarre and I’m going to do my upmost best to try and stop it now.” – Rev. Aaron Gilstom

I used to own this on DVD but somehow in the last decade or two, it got lost. I’ve never seen it streaming anywhere and I didn’t like it enough to want to buy it again, unless I found it in a dollar bin somewhere. But, as of right now, it is streaming on YouTube. It’ll probably get pulled down but it’s there, at the moment.

Trick or Treat was a fun film to revisit all these years later and I’ve only seen it twice before this: once when I bought it around 2001 and then way before that in the late ’80s when I rented it from my local video store while friends and I had one of our many horror marathons.

The film stars Skippy from Family Ties as basically a heavy metal version of Skippy. His real name is Marc Price and he’s done some other movies too but he will always be Skippy to me. It also stars Doug Savant as the high school bully. He’s probably most known for being Matt, the gay dude on the original Melrose Place and for having a long stint on Desperate Housewives. He also played a serial killer in a fairly bad film called Paint It Black, where he murdered people, covered them in clay and turned them into art like Dick Miller in A Bucket of Blood.

The film also has two very notable cameos, so notable that the cameos were used to sell the movie to audiences. The cameos are by Gene Simmons of KISS, who plays a radio DJ, and Ozzy Osbourne, who plays a reverend wanting to destroy the evil that is rock and roll.

The plot follows Heavy Metal Skippy, a fairly normal kid apart from listening to devil worship music. He is bullied by the jocks like every other loser from an ’80s teen movie. When he comes across the last and only copy of a vinyl record recorded by his dead hero, he plays it backwards. It doesn’t open up a gate to Hell in his backyard but it does resurrect his rock and roll hero, who is basically a lightning powered rock star fueled by Satanic evil and pretty much down to kill everyone and everything. The way Skippy finally defeats him is absolutely ridiculous but at least the demon Satan rocker murdered the crap out of that douchey bully Doug Savant.

Trick or Treat isn’t a film that boasts good writing, good acting or even good special effects. It’s passable though, simply because it is so insane that it just works and is an entertaining watch.

It probably doesn’t deserve to be as good as it is, as its technical merit leaves a lot to be desired and it is littered with questionable editing choices but it is something I would probably watch more often than I have, if I still had my DVD copy of it.

Rating: 6/10
Pairs well with: Rocktober Blood, Black Roses, Brainscan and Rock ‘n’ Roll Nightmare.

Film Review: Navajo Joe (1966)

Also known as: A Dollar a Head (US working title), Navajo’s Land, Red Fighter, Savage Run (alternate titles)
Release Date: November 26th, 1966 (Italy)
Directed by: Sergio Corbucci
Written by: Dean Craig, Fernando Di Leo, Ugo Pirro
Music by: Ennio Morricone (credited as Leo Nichols)
Cast: Burt Reynolds, Aldo Sanbrell, Nicoletta Machiavelli, Tanya Lopert, Fernando Rey, Franca Polesello, Lucia Modugno

Dino de Laurentiis Cinematografica, C.B. Films, Dear Film, United Artists, 93 Minutes

Review:

“My father was born here, in the mountains. His father before him and his father before him and his father before him. Where was your father born?” – Joe

I have never seen Navajo Joe, which is probably a crime, as I love spaghetti westerns and consider myself an aficionado of them. I especially love the western films of Sergio Corbucci and I have always been a big fan of Burt Reynolds, a man too cool for just about anyone they put him in a movie with. Also, this has one of the greatest scores that Ennio Morricone ever did. In fact, some of this songs here have been reused in other films.

Burt Reynolds plays Joe, a Navajo badass that wants to avenge the slaughter of some of his people and his woman. He tracks the killers and finds that they are taking advantage of a desert town and that someone in the town is working with them. He offers his services to the citizens at one dollar a head, to be paid by each person in town. The town is reluctant to pay Joe and realistically, if Joe is just planning on getting revenge, he should just go for it. But I guess making some money isn’t a bad thing. He gets mixed up with a local woman of Navajo decent but ultimately, only cares about his dead love. Navajo Joe is a true drifter with revenge in his heart. He’s got no time for love, only time for justice served with a hearty helping of lead.

Corbucci, one of the three Sergios of Spaghetti Westerns, made this film just after Ringo and His Golden Pistol and his most famous classic Django. This is a film that carries on the quality that Corbucci westerns were known for. While it isn’t quite the masterpiece that Django was, it is still a balls-to-the-wall violent action epic that will leave you satisfied. Revenge stories are great and adding in Burt Reynolds was a pretty cool touch, even if Corbucci didn’t know how great the man would become, as this is very early in his acting career.

The action sequences were well shot and very fluid. I liked the fighting style of Reynolds’ Joe as he slithered around the dirt and in and out of the train, killing off scumbags in the process. The film’s action was well choreographed, unique and interesting.

Navajo Joe is a good western and after seeing it, it would have been cool if Reynolds and Corbucci did a few more. I liked Reynolds in this role a lot and this played really well, mainly because the script was good and Corbucci is just a great director that probably deserves more credit outside of his preferred genre.

Rating: 7.25/10

Film Review: Blue Velvet (1986)

Release Date: September 12th, 1986 (TIFF)
Directed by: David Lynch
Written by: David Lynch
Music by: Angelo Badalamenti
Cast: Kyle MacLachlan, Isabella Rossellini, Dennis Hopper, Laura Dern, Hope Lange, George Dickerson, Dean Stockwell, Frances Bay, Brad Dourif, Jack Nance, Priscilla Pointer

De Laurentiis Entertainment Group, 120 Minutes

Review:

“Baby wants to fuck! Baby wants to fuck Blue Velvet!” – Frank Booth

I was a pretty big David Lynch fan when I was a teenager, as well as in my twenties. His work was unique, bizarre, borderline insane and so surreal, that everything Lynch touched became otherworldly. My appreciation for his work really started with Twin Peaks. I never understood the show as an adolescent but it lured me in. Truth is, I don’t particularly understand it now. But I guess that’s Lynch’s modus operandi.

The thing is, as I get older, I expect more from my films than just beautiful surrealism and crazy madness. Lynch’s films get harder to watch with age and I’m just less accepting of incredible style over real substance. To be blunt, despite fantastic performances by the actors he casts, a lot of his work just comes off as pretentious faux-academic bullshit. You can call it art, that used to be my label for it, but his movies and his television show are weird just to be weird.

Blue Velvet, while it has a decent narrative and isn’t as confusing and baffling as Lynch’s other work, still falls victim to style over substance.

Now I don’t hate the film, I do mostly like it, but a lot of that has to do with the cast and how good they performed in this. This is Dennis Hopper at his most insane, which says a lot if you are familiar with his early work. It also features a very young Kyle MacLachlan and Laura Dern at their sweetest. Bit parts by Dean Stockwell, Frances Bay and Brad Dourif are all enjoyable too. I thought that Isabella Rossellini’s performance was over the top but I guess a lot of professional critics liked it.

Lynch’s films always have great cinematography, especially in regards to lighting and the angles used to capture the scenes. Blue Velvet is technically sound. Although, I am not a fan of the score. It feels disorienting and out of place at times but then again, this is Lynch and that is probably the point because why not be weird just to be weird, right?

Blue Velevet is a mid 1980s neo-noir. It is a good example of the neo-noir style, even if it is pretty far outside the box. It’s not bad, it’s just decent. It’s far from exceptional and severely overrated, in my opinion. But I can’t discredit the visual allure and the talented cast, especially Hopper.

Rating: 6.25/10