Reviews written by registered user
|633 reviews in total|
Entertaining thriller set in a remote Arctic scientific base where
strange goings on cause the crew (Culp & Wallach) to suspect they're
not alone, though Wallach is initially unwilling to accept the ravings
of the more pragmatic Culp causing tension to compete with their
Apart from Michael C.Gwynne who appears briefly in the first five minutes, the film is virtually exclusively a two-man act - that is if you exclude the monkeys/chimps on whom the scientists experiment and who may know the identity of the mysterious intruder.
Taut and suspenseful, Culp & Wallach depict their isolation and emotional disintegration convincingly albeit at different trajectories. Creepy, claustrophobic and mature time-filler demonstrates what you can achieve with solid storytelling on a network TV movie budget; well worth a look.
Very crafty thriller has adulterous wife Ross plotting celebrity
clairvoyant husband's murder to ostensibly inherit his fortune and live
happily ever after with her obeying younger suitor Bostwick. But
there's more to the plot than meets the eye.
Holbrook gives an energetic performance to match the wit and wile of his scheming vixen wife, a rare quality role for Ross as her career began to decline in the late 70's. Dependable second lead Richard Anderson is very good in the important supporting role as Holbrook's loyal friend and attorney, whilst former Hollywood almost-a-star Jeff Donnell has a curious role for someone of her status, as Anderson's faithful housekeeper. The ensemble cast are all terrific and their appreciation of the timing and delivery needed to keep the plot tight and the audience guessing is pitch perfect.
This is one of those TV movies they used to make in the halcyon era of the 70's/80's that you'd want to seek out and find on DVD to keep for posterity; not only a great whodunnit- style mystery, but a reminder of the quality of TV movies before networks apparently abandoned the concept for sitcoms and never-ending procedural dramas. Vale TV movies, especially when they're made like this one, an absolute pearler.
Very watchable thriller featuring the rotund funny-man Buono in a
decidedly unfunny portrayal of an unhinged mummy's boy and daytime lab
scientist whose over-bearing mother leads him to commit a series of
murders of young women placing the city in the grip of fear. Buono
essentially reprised the role several years later in the Italian black
comedy "The Mad Butcher", his MO virtually identical albeit in a more
Rugged Marlboro Man David MacLean is the tired, dairy devouring (was the milk drinking scene a product placement ad?) detective under pressure to make the city safe again, whilst a plethora of female victims include Jeanne Bates, Mimi Dillard, Davey Davison and the defiant Diane Sayer set up as bait to lure the killer as his crimes escalate to more brazen opportunism and flagrant audacity. James B.Sikking (Hill Street Blues) has a bit part as a police sketch artist.
The film is nicely photographed in B&W whilst the set decor is detailed and the pace and plot neatly executed. All round, it's a coherent little thriller (loosely inspired by events of the time), taut, economical and well worth watching more than once.
A true shark movie that threatens to be better than the rest, and
whilst to some degree it out performs most of its peers, it just can't
overcome the CGI scourge that ultimately spoils its authenticity. Blake
is lively though not expansive enough in her acting range to carry a
thriller on her own. The behemoth that pursues her looks good in close
ups and stock footage, but yet again just when you've suspended
disbelief and in the grip of fear, the juxtaposition in the animation
effects lets you off the hook and back to the safety of your seat.
A superior shark movie imo (e.g. 12 Days of Terror, The Reef, Dark Tide) doesn't lose your trust the way The Shallows relaxes its grip when it's antagonist fails to seamlessly synchronise with the environment. Unfortunately as a result, the attack scenes mostly miss the mark and don't appear natural (when does one shark attack and devour multiple people in quick succession?), though the suspense is certainly present in the pacing and timing.
The idea of the rogue shark stalking prey in the isolated cove is explained (or perhaps contrived) and so the survival match at least has a plot basis on which to unfold. From this survivalist perspective, the film works and keeps you engaged as Lively employs her limited resources to countenance the great white terror whose scale is by the way, not unrealistic (though still of school bus proportions) . Overall, pleasant scenery, decent sound & visual effects (notwithstanding the CGI) but it doesn't rise beyond B-grade to beckon a second viewing.
Delightfully light-hearted look into Sydney pre-Vietnam attitudes,
still brimming with confidence straddling 50's conservatism and the
beginning of the counter culture movement that emerged in the latter
part of the decade. It was a very good time to be a ten pound Pom, or
indeed any number of European immigrants who accepted the invitation,
as Walter Chiari's character (Giovanni 'Nino' Carlotta) experiences,
though not without comic incident as he tries to right his cousin's
business debts. As other reviewers have remarked, a sort of humorous
propaganda promo for Australian immigration.
The beer flows like rivers of amber nectar in a Gold Top commercial, the formal bars and building site where Nino comes to learn the Aussie vernacular; Ed Devereaux (pre- "Skippy"), John Meillon (who almost steals the show), Chips Rafferty, Anne Haddy was there much younger obviously than her later soapy salad days. Obviously the movie needs to exaggerate reality to create humour and I reckon you'd need to be *bloody* churlish to be offended, it's pretty harmless (self-deprecating in fact) when viewed in context.
A wonderful time capsule and source of nostalgia from Rank, perhaps a little bittersweet too when you consider how much of that beloved character we've since abandoned.... worth watching, should bring a smile to your face.
The Star Wars canon has been revived (following earlier tangents for
the Ewoks), with miscreant Felicity Jones recruited by the rebellion to
help locate the Death Star's famous weakness which is the spine to the
climax of the original episode A New Hope (ANH). In the Star Wars
lineage, Rogue One occurs between Revenge of the Sith and ANH.
Reckon Flick Jones is going to be crowned most feisty/sexy Star Wars female character in the galaxy once this goes viral, such are her cherub-like facial features tempered by the grit and attitude of a space cowboy. She's no princess, but a package of galactic goodness all the same. Aussie Ben Mendelsohn is also inspired casting, a menacing Director Krennic whose tactical positioning in the Empire hierarchy adds another layer to a character that could easily have just become another cliché. The remaining cast has depth and there's a couple of surprises in supporting roles which might evoke some fond memories of the original trilogy, though I'm not too sure the CGI character was such a good idea, despite perhaps being well intentioned.
Overall I was pleased with this retrospective; it wasn't as derivative as TFA, Flick Jones really stands-out from the new breed acting crowd, and was a good balance of homage and originality. Whether the franchise has enough original material to crank these out in annual procession til 2020 is seriously debatable, but Rogue One is a pretty decent benchmark on which to start a new generation of spin-offs.
Unorthodox romance tells the story of an estranged couple, who briefly
reconnect following an overseas fling that results in pregnancy, with
the door left open for a more enduring reconciliation after a weekend
spent rediscovering their mutual affection. The two leads really carry
the entire story which is surprisingly effective despite having really
very little actual plot. It's somewhat unconventional in that the story
begins several months post an intense holiday romance, with the
characters now at their lowest ebb in the relationship, re-building
trust and forging bonds as prospective parents sober following their
NZ location work showcases the multi-textured city of Christchurch, it's picturesque beaches, parks and gardens contrasting the demolition of modern ruins, a reminder of the earthquake devastation inflicted only a few short years ago. There's an occasional misfire in the situations (i.e. the dial-a-rap song and Gondala strip both seem a little unnatural even allowing for their context) but otherwise, the story seems very sincere.
Probably could've developed a couple more characters and scenarios to pad out the 70 minute run time (e.g. perhaps some more meat in the flashbacks which are relayed like silent memories), but overall if you can appreciate a well acted independent movie in which character is gradually revealed at a deliberate pace, then this sensitive, atypical romance should keep you engaged.
Kommando Leopard is chapter 2 in the Dawson-Collins jungle war trilogy,
and whilst baring no real relation to the others, is essentially the
same film with a few plot variations. This instalment finds the
intrepid mercenaries being pursued by contract killer Klaus Kinski
whilst holed up in a Church hospital run by mysterious priest Manfred
Quality scale miniature sets are used in abundance but generally to good effect, whilst the personnel is also much the same as the predecessor with Lehmann, Kinski and Collins re- joining Thomas Danneberg and veteran Alan Collins (aka Luciano Pigozzi) whilst American ex-pat Mike Monty and British ex-pat John Steiner join the franchise for their first appearances. Kinski does arrogant bad-ar$e better than anyone and this is a masterclass of his less-is-more approach though it's debatable whether his bored exterior is acting or genuine contempt.
As with the others there's a fair amount of pathos on display, mourning those lost and lamenting the sacrifices and collateral damage made in the name of cheque-book war - all of which is unnecessary and pure guff. But if you like it when stuff explodes, catches fire or just enjoy massive machine gun recoil and spent cartridges flying in all directions whilst the hero nonchalantly mows down his incompetent opponents, then Kommando Leopard will be very adequate - though brainless- escapism.
Average Euro-styled jungle action flick is the third of the trio that
was borne of the Anthony Dawson- Lewis Collins mid-80's partnership,
Der Kommander is essentially the same as its predecessors with a few
Good use of miniatures again, lots (emphasis) of things blowing up, people of SE Asian appearance dressed in military fatigues being catapulted in the air doing somersaults, that sort of a spectacle which you either tolerate or fall asleep watching.
Collins is again wasted in a one dimensional role as the suave kick-ar$e mercenary with the eternal 5 o'clock shadow, whilst the supporting cast though lacking a principal female lead, does have some surprising depth with Lee Van Cleef, Donald Pleasance, Brett Halsey, Paul Muller, Romano Puppo, Bobby Rhodes, Mike Monty and John Steiner (as well as series regulars Manfred Lehmann & Thomas Danneberg). That's an impressive cast assembled for a very average jungle war pic, even by Euro-trash standards; had Klaus Kinski returned for this final instalment, the acting chops would've been in the cult movie stratosphere. Van Cleef sadly does not look well and so it's perhaps regrettably no surprise that he died shortly after this film's theatrical release.
If you've seen Codename Wildgeese or Kommando Leopard, then you've essentially seen Der Kommander (sans Klaus Kinski of course). Lots of old and borrowed, but nothing new. Would be nice to have these three movies as a box set for an evening of cheesy goodness, especially now that most of the cast have left the mortal coil, all much too soon.
Whether it's loosely based on Steven Callahan's harrowing 76-day
journey or otherwise, this one-man survivalist movie is possibly the
very best of its breed. Robert Redford plays the ageing yachtsman with
pragmatism, stamina and an undertone of bitterness as he contends with
a seemingly endless array of catastrophes that lead to eventually
becoming stranded at sea.
Virtually no dialogue or soundtrack, just the howls of the ocean and creaking of ropes and wood, this is a masterclass of the less is more concept. Always engaging, at times suspenseful, it's without peer of its ilk, the closest you'd come to this standard is the always riveting "I Shouldn't Be Alive" docu-dramas which are consistently high calibre.
Unlikely to engage all audiences, it should appeal to the fans of shipwreck adventures, something akin to Robinson Crusoe on the water. The plot slowly constricts its hapless victim, gradually wearing down his mind, body and resources with every cruel blow. It's like death is destined and he's forced to endure it slowly compounding with each setback. A real man vs nature ordeal perfectly cast and great viewing. This is the best thing Redford has done in thirty years.
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