David Elroy Reviews

The Ten Commandments (2007)

Good Storytelling, Poor CGI

[7/10 · 13 May 2014]

As others have said, you need to accept some poor CGI to watch this one. Actually the backgrounds and colors are good, and the plagues are scary, but the human figures... yeah, they're ugly. Several figures are annoying caricatures, like the short whiney Hebrew with the vest. So you need to accept this flaw.

Everything else is very good - the voices, the pacing, the action and storytelling. It's surprisingly accurate to the Bible. I would have liked a little more sympathy for Ramses (like in Prince of Egypt), but he does have his sensitive moments, like when his eyes turn sad when he realizes his son might die. Other Egyptians are sympathetic, like the guard who regrets carrying out his harsh duties.

Although Moses doesn't order the killing of nonbelievers as he does in Exodus 32, he accepts that it will happen, and God takes care of things with an earthquake. This is good storytelling: retaining the main idea without making it too harsh for kids. Speaking of kids, my 7-yr-old loved this movie and insisted on watching it 3 times before I returned it! I recommend it for kids 7-10 (and their parents of course).

One thing portrayed particularly well is the ungratefulness of the freed Hebrews. This is a running theme in the Bible, and it's well handled here. The message is a good one: when we are ungrateful, our ingratitude affects those around us. Therefore, let us give thanks for what we have - every step of the way.

Radar Men from the Moon (1952)

See "King of the Rocket Men" first

[5/10 · 10 February 2008]

This first Commando Cody adventure ain't bad, but the rocket suit, and most of the flying footage, was straight from Republic's first rocket suit serial, King of the Rocket Men (1949), usually considered the last of the great classic serials. Everything good in Radar Men (and there's plenty that's good) is better in Rocket Men! Please see it! The hero and villain have more personality, the action is more hard-hitting and extreme, the plot is more focused, and - perhaps most importantly - there is much mystery and subterfuge. In Rocket Men, our hero must keep his identity secret - no one knows it's him in that suit. And the villain too has a secret identity - we see him only in silhouette. Here, in Radar Men, everybody knows who everybody else is. Enjoy Radar Men (I know I did), but first, enjoy Rocket Men!

Walkabout (1971)

Beware of animal slaughter

[7/10 · 18 April 2006]

If you've already watched the film, then you know what I'm referring to. If you haven't seen it yet, you might want to be prepared for some rather graphic hunting scenes. Some such scenes fit well with the main ideas - juxtaposing aboriginal life with "civilized" life. But a few such scenes are gratuitous (i.e. we've already seen the kangaroo speared and terrified - we don't need to see it clubbed repeatedly in the face - in closeup, no less). Fast forwarding is advised.

I've noticed that the film has taken more flack for the nudity than for the animal killings, which makes some sense because the killings are (we assume) in accordance with aboriginal life, while the nudity is contrived by Roeg. However, it seemed to me that the nudity was essential to the point of the film; a civilized girl is immersed in primal, physical existence for this walkabout episode in her life. I also felt that the camera was more discreet than voyeuristic; i.e. nearly ever shot is distant, not closeup.

MINOR SPOILERS AHEAD. The film deliberately leaves itself open to interpretation. I did not see it as white/civilized/bad versus aboriginal/primal/good. I felt the point was to demonstrate parallels between the two, to show us that we are not so different as we thought. We see, or overhear conversations about, the civilized folks hunting or preparing animals for food. Then we see the aborigine hunting for food. We see the civilized people flirting and sneaking glances at each other. We see the White Girl and Black Boy doing the same. Note also the closing freezed-frame image: phallic, obviously, but also an image of parallels or pairs, suggesting connections rather than separation.

At any rate, it's not a masterpiece on par with Roeg's "Don't Look Now" or "Man Who Fell To Earth" but it's certainly an engaging and memorable film.

The Golem: The Legend of Prague (1936)

Better than the 1920 film

[9/10 · 13 January 2006]

Duvivier's Golem is a rough sequel to the far-more-famous 1920 German production with Paul Wegener. It is a European court drama first and a horror/fantasy second, but for viewers who don't mind that sort of balance it is a fascinating experience. At times it resembles The Passion of Joan of Arc (1928) or Eisenstein's Ivan the Terrible.

All characters are sympathetic, including the paranoid and desperate emperor and his ruthless but loyal chamberlain. A suave Frenchman appears first to be a self-serving seducer but shows later that he can be exceedingly generous. The Jews are perhaps drawn with a bit too much seriousness, but their faith and idealism is hard not to admire. The actual golem awakens only for the final action scenes, but the wait is worth it. Unlike Wegener's golem which resembled a child's toy, this golem appears as a tall imposing man, stiff but realistic. A brisk, intelligent film.

Morgan! (1966)

Fun movie, Weird politics

[6/10 · 12 December 2005]

Bravo David Warner for his exuberant and unrestrained performance. He is desperate, driven, selfish, sensitive all at once. His affinity with animals symbolizes his continual acting on instinct. Bravo too to Vanessa Redgrave who believably shows that whackiness can co-exist with poshness.

Sadly, the movie makes Morgan an earnest communist, and this has the effect of dating the film terribly. I strove hard to see the communism not as literal but as symbolic of Morgan's "rebel" nature, but doing this was an uphill climb. Within just a few years after this film was made, it became clear that communism could never mix with the gleeful artistic spirit that Morgan embodies, that in real life communism was soul-deadening and drab.

But a movie need not be wholly believable or wholly good. Warner's performance alone makes this film a ride worth taking.

Candy Von Dewd and the Girls from Latexploitia (2002)

Background Movie

[7/10 · 10 September 2005]

We know what "background music" is; this is music that doesn't hold enough interest in itself but works fine as a backdrop to other, more important, activities. That's how I feel about this strange concoction, which I rented from Netflix. It would work nicely projected on the wall during a rave, for example. It has nice colors, weird images, and would augment a goth-hipster party quite nicely. It's got drug references, girls in tight neon plastic outfits, etc. I don't think it was intended a "real" movie. I'd give it 1-2 stars if it were intended to be a movie since it's basically repetitive, incoherent, and humorless. But its psychedelic images are quite enticing, so for background, 7 stars is my vote.

Gold of the Amazon Women (1979 TV Movie)

Harmless Fun

[7/10 · 9 September 2005]

The filmmakers obviously didn't take this too seriously, and you shouldn't either. Heck, it's a TV movie from 1979 that opens with Amazon archers running around in New York City. It's got action, humor, a few surprises, and a great acting moment from Donald Pleasence when he finally discovers the first of the fabled cities. Bo Svenson anticipates Nick Nolte with his grizzled explorer character who's really a good guy underneath his gruff exterior. The leather-bikini Amazons are cute, although most of them are quite skinny (I imagine the casting director had a thing for skinny ladies). The whole production is quick-paced and good-natured. Pop a beer and enjoy.

When Worlds Collide (1951)

Mythic Masterpiece

[9/10 · 7 July 2003]

This is a moving film, a profound film, and well-deserving of classic status among other 50s genre masterpieces such as "War of the Worlds" and "Forbidden Planet." I feel compelled to defend it against the comments of "walcaraz" from San Diego, who posted in April 2003. Here are my comments:

MINOR SPOILERS AHEAD!

1.) The science is wholly convincing for 1951; it even takes into account such things as accumulated velocity and gravitational pull. Is it totally accurate? Certainly not; this is, after all, science fiction.

2.) It is made clear multiple times in the film that the US is not working on the project at all. It is a wholly private endeavor. Note the last of the newspaper headlines when we scroll down on the newsrack - "Laughed Out of United Nations." No government believes the scientists, so they must team up with industrialists and do everything on their own.

3.) Cultural diversity in 1951? I'm afraid the idea did not yet exist. It seems bizarre to fault any movie of this era for not being perfectly race-coordinated according to current fashions.

4.) It is true that it would be more efficient to have fewer men and more women, but the movie makes clear that the passengers are to be chosen by lot in as "fair" a way as possible. A moral point is being made here, not a scientific one. Regarding the genetics, let's not forget that DNA was not discovered until the 1950s, after this movie had already been produced. Eugenics had been around since the 1920s, but if anything it is a strength of this movie for resisting that kind of race-purity thinking (as walcaraz allows).

5.) These final images do stand out as different from the rest, which are more realistic. But remember, we are talking about a new world here, a magical and poetic (and dare I say spiritual) beginning of mankind, after the flight of a modern Noah's Ark. Why not add a touch of idealism here at the end? Let's not let jaded modern-day cynicism ruin this earnest and touching moment.

To me, if there is anything about "When Worlds Collide" that will mar it for contemporary viewers, it is the film's myriad Bible references. Scarcely 10 minutes will pass without a reference of this type. But I think that such gravity only adds to this film's impact. Indeed, it is perhaps most fair to see "When Worlds Collide" as a film that moves completely beyond the political, rising to the heights of archetype, religion, and myth.

Deep Rising (1998)

B-movie Delight

[9/10 · 17 March 2003]

There are times when nothing satisfies like a good ol' B-movie action-adventure, not meant to be deep or serious, just good excitement and fun. Yet truly excellent B-movies are not easily come by. This director's own "Scorpion King", in fact, is a textbook example of how the formula can fail: too Hollywoodized, too predictable, too tame, and not funny enough. But before he Hollywoodized himself in Mummyland, this director (and writer!) gave us the masterful "Deep Rising." B-movie fans know who they are and what they want, and they will not be disappointed here. I rank "Deep Rising" up there with the best of John Carpenter and Sam Raimi. 9/10

Candy (1968)

Has Its Moments

[5/10 · 6 March 2003]

This strange movie does have its moments. My favorites include the psychedelic title sequence, the McPhisto episode, and the confrontation between the Hunchback and the police. That said, the other hour and a half of this overlong picture is best forgotten. The jokes are unfunny, the characters are clichéd (if tongue-in-cheek), and there is a grotesque turn of events at the end of the story that adds little to and subtracts much from the overall appeal. I give it 5/10.

What saves it from being a disaster is how the counterculture figures, just as much as the establishment ones, are a bunch of self-interested fakes. Everyone, from Candy herself to the myriad people she meets, is made fun of.

In the context of 1960s period pieces, this humorous approach separates "Candy" from ponderous gloomfests such as "If" or "Zabriskie Point" (tho the latter deserves fame for its unforgettable final shot). Better 60s movies are Psych-Out, The Trip, or - if you want the nudity that Candy promises but doesn't deliver - Russ Meyer's smutty comedies.

Vampires (1998)

B-movie Masterpiece

[8/10 · 24 December 2002]

This underrated film doesn't pretend it's anything other than a rollicking good B-movie time. It is fast-paced and outrageous. Many people think it is overly gory (and it is the most gory of all Carpenter films, most of which purposefully eschew gore), but, like a good Sam Raimi film, the gore here is part of the fun. James Woods gives a perfect over-the-top performance as a vampire slayer and resentful scumbag, although he does tend to overshadow every other actor in the film. The story is only a small portion of the fun here, but it had a number of surprises for me. For example, the movie first appears to be anti-Catholic but ends up being more pious than one would suppose (and it's not too tough to notice that the hero's initials are "J.C."). Far better than From Dusk Till Dawn, which is only good for the first 15 minutes. I give Vampires a hearty 8/10.

Heavy Metal 2000 (2000)

Not that bad

[6/10 · 11 October 2002]

I've read the posted comments at this site, and wow - people are really enjoying ripping this movie to pieces. I admit, it is not a great movie by any standard, and it certainly pales in comparison to 1981's original HM. First, it's too bad that it adapts only one story, and not a diverse selection of linked stories, from the pages of the comics. Second, there are no memorable characters here - no Den, no Harry Canyon. Third, this film lacks humor and it lacks tenderness (the surprising touches of softness helped give soul to the original). YET, the animation is dazzling with a lively combination of computerized and traditional techniques. The action scenes are very exciting. The women (though only two of them) are beautiful. The soundtrack is also excellent, tho, like the film as a whole, it is lacking in tenderness. Not a must-see, but not a disaster. 6/10

Gunman's Walk (1958)

Unique Socio-Psychological Western

[9/10 · 14 December 2001]

I give this movie a 9 out of 10 for its earnest (yet not overdone) acting, sympathetic (yet not sappy) treatment of Indians, and exuberant (yet not overwhelming) energy level throughout. The relatively unknown actors and filmmakers really tried hard here. Aside from the family conflict, there is an intriguing treatment of the theme of historical change and how the Old West relates to the New - also seen in movies such as Bus Stop, The Misfits, and Lonely are the Brave.

Gunman's Walk is not perfect - things get 'explained' a bit too neatly at the Freudian conclusion, for example - but there is scarcely a dull or uninteresting moment. Don't miss the unique details in this film, such as the instant mood swings that the characters, especially the Father, go through, and the astonishing bar scene where the Big Brother cavorts with hookers and sings "I'm a Runaway."

This is a very unusual western and it comes highly recommended.

Terror in a Texas Town (1958)

Greatest B-Western Ever

[9/10 · 9 December 2001]

A bizarre, intense, frightening unsung masterpiece filled with original and compelling characters. It's hard to tell what the main interest is: the Swedish hero; the leather-clad Bogie-inspired villain; the brave young Mexican; the callous, quick-tongued fatcat. The cinematography is stylized yet subtle. The dialogue is trenchant. Then, of course, there is the unnerving harpoon showdown. There is no movie quite like this one, folks. A must-see.

The Acid House (1998)

Beautiful Insanity

[9/10 · 17 November 2001]

I watch a lot of extreme cinema and am always wary of fakery and sensationalism, but I felt that The Acid House had the intelligence and heart needed to back up its shocking stories. It is like a cross between "Happiness" and "Requiem for a Dream," with magic and surrealism to boot. The Scottish accents are incomprehensible (thank goodness for the subtitles) but fascinating. "Trainspotting" is, I think, a better film overall, but this one sure gains points for audacity, intensity, and wit.

Dementia (1955)

Where to begin?

[9/10 · 4 September 2001]

This movie (originally 1953, I believe) is approachable on so many levels, it is difficult to say where to begin. We could start with the acting - Adrienne Barrett (whoever she is) is perfectly cast as the troubled, sinister, smirking, sexy anti-heroine. We could then examine the style - the mix of surrealism, expressionism, and film noir. We could then comment on the atmosphere - conjured through bleak-looking streets and unnerving music. Then there are the simple images - shadows growing and shrinking, gaunt faces, sharp contrasts between lights and darks. We might take a Freudian approach - the dysfunctional parents, the father imagery, the sexual symbols (cigars, no less!). There is also the Beat culture interest in the excellent jazz-band scene. There are also the intriguing comparisons one could make between the "silent" version and the narrated one.

As a horror movie in-itself, it may appear somewhat cheesy and overstated, but it clearly does not take itself too seriously, and you shouldn't either. Compared to other horror films I give it an 8, but due to its uncommon critical and historical appeal, I rate it overall a 9. Truly a unique achievement.

The Balcony (1963)

Ahead of Its Time

[5/10 · 21 August 2001]

Quite a slow start (after the shocking opening credits), but if you can last until Peter Falk shows up then you will be rewarded. Particularly impressive how this movie fits with the late 60s questioning of authority, nationalism, and conventional morality. I would have sworn it was made in 68 or 69. At times it reminded me of "Zabriskie Point" and "If." Not a great movie on any level, but it has a number of intriguing ideas, some very good dialogue, and standout performances by Falk and Shelley Winters.

Dungeons & Dragons (2000)

A Bad Movie

[2/10 · 15 July 2001]

Flat characters, uninspired acting, cheesy special-effects. Some aspects, such as the silly ear-snakes, are irritating to remember. Where credit is due, there is one exciting sequence in the first third of the film: the maze. But little before that is worth watching, and everything after it is not. The cadre that rated this mishap a '10' can only be joking.

Time Bandits (1981)

Dazzling

[10/10 · 14 July 2001]

I saw this movie at age 12 and was spellbound. It is a perfect example of how a children's movie need not simplify things with trite morals and facile messages of hope. People expecting a comedy might be disappointed, but those seeking a magical adventure (with a little theosophy thrown in for seasoning) should be most excited and impressed.