Review: Dante’s Peak (dir. by Roger Donaldson)

Posted on September 26, 2026 by Arleigh

“Not extinct, just dormant… as in sleeping. And your volcano might just be waking up.” — Harry Dalton

Dante’s Peak takes a simple but reliable disaster-movie setup—a quiet town sitting beneath a volcano that is very much not as dormant as everyone hopes—and turns it into a tense, highly watchable piece of 1990s spectacle. Directed by Roger Donaldson, the 1997 film is hardly subtle, and its character work can be pretty thin, but it remains an unusually watchable entry in the genre because it takes its central threat seriously. The movie spends enough time establishing the town and its people that, once the mountain finally blows, the destruction has some weight behind it. It is a familiar formula, but Dante’s Peak executes it with enough sincerity and old-school craftsmanship to stay entertaining.

Pierce Brosnan stars as Harry Dalton, a volcanologist for the U.S. Geological Survey who is still carrying the emotional scars of a prior eruption that killed his fiancée. Harry is sent to the picturesque Pacific Northwest town of Dante’s Peak after unusual seismic and chemical activity suggests that its supposedly dormant volcano may be waking up. His assignment initially sounds routine: inspect the mountain, collect some samples, talk to local officials, and determine whether there is any reason for concern. Naturally, there is. The water supply starts showing signs of dangerous acidity, tremors grow more frequent, steam vents become harder to ignore, and the mountain begins sending increasingly blunt warnings that it is ready to erupt.

The central tension is not whether the volcano will blow. The title alone pretty much gives that away. Instead, the first half works because of the fight over how seriously the warning signs should be taken. Dante’s Peak has just received national attention as one of the best small towns in America, and Mayor Rachel Wando, played by Linda Hamilton, is understandably hesitant to cause mass panic and wreck the town’s economy over an uncertain prediction. Harry believes the danger is real, but he also knows from painful experience that hesitation can get people killed. That conflict gives the movie a decent human foundation before the large-scale effects take over.

Brosnan is a good fit for Harry Dalton. This was the same period when he was newly established as James Bond, and Dante’s Peak makes smart use of his natural screen presence without turning Harry into an outright action hero. He is calm, capable, handsome, and articulate, but he is also clearly rattled by the possibility of repeating a tragedy he could not prevent. The role is not especially demanding on paper, yet Brosnan gives Harry enough fatigue and frustration that he comes across as a real professional rather than just a disaster-movie scientist whose only job is to shout warnings at dismissive bureaucrats.

Hamilton is arguably even more important to the movie’s success. Rachel could have been written as a generic authority figure who slows down the plot by refusing to believe the expert, but Hamilton makes her more sympathetic than that. She is not ignoring Harry because she is foolish or selfish. She has a town to protect, businesses that depend on tourism, residents who do not want to abandon their homes, and two children who become central to the film’s increasingly dangerous rescue mission. Hamilton had already cemented her action credentials in Terminator 2: Judgment Day, but here she plays a more grounded version of strength. Rachel is practical, stubborn, and brave without ever feeling like she has wandered in from another franchise with a shotgun and a leather jacket.

The supporting cast is more uneven. Charles Hallahan gets the familiar disaster-movie role of Paul Dreyfus, the superior whose skepticism creates a frustrating delay in the evacuation. Elizabeth Hoffman is memorable as Rachel’s grandmother, Ruth, even though the movie leans hard into the “stubborn elderly relative refuses to leave” setup. Rachel’s children, Lauren and Graham, mostly function as a way to push the adults back into danger after the eruption begins, and their choices can be maddening. Still, the cast sells the stakes well enough that the film avoids feeling completely mechanical.

Where Dante’s Peak really delivers is in its escalation. The first clear sign that things have gone wrong is genuinely creepy: the town’s supposedly pristine water supply turns corrosive. That detail is one of the movie’s best touches because it makes the volcano feel dangerous before it becomes visually spectacular. Then the film starts layering hazards on top of each other. There are earthquakes, falling volcanic debris, ash clouds, mudslides, a collapsing bridge, boiling water, and eventually a full eruption. It is an impressively varied disaster package. Rather than relying on one big explosion and calling it a day, the movie treats the volcano as a chain reaction that attacks the town from every direction.

The standout sequence is the drive across the lake after volcanic material has made the water acidic. It is ridiculous in the specific, memorable way that disaster cinema often is: a family in a damaged vehicle tries to outrun a lake that is essentially eating the vehicle out from under them. The science of the scene has been criticized plenty over the years, and fairly so, but it works as suspense filmmaking. Donaldson understands how to stage the moment visually, showing the immediate effects on the vehicle while keeping the characters trapped in a situation that gets worse by the second. It is the kind of scene people remember long after forgetting much of the dialogue.

Visually, the movie has aged better than some of its late-1990s peers because it balances computer-generated imagery with practical destruction, physical sets, and real locations. The effects do not always look flawless now, especially in wider shots of the erupting mountain, but the overall physicality helps. Buildings shake, roads split open, ash hangs in the air, and characters actually look buried in the mess rather than pasted in front of it. The town itself is also nicely chosen. Dante’s Peak looks like the sort of clean, friendly, postcard-perfect place that a disaster movie needs to destroy. The contrast between its calm opening scenes and its ash-covered final act is one of the film’s strongest visual ideas.

Roger Donaldson directs efficiently, even if he never quite gives the film a distinctive personality. He keeps the geography clear during most of the action, which matters a lot in a movie built around people trying to flee shifting dangers. You usually understand where Harry and Rachel are, what obstacle is in front of them, and why they cannot simply drive away. The pacing is a little slow in the middle, particularly when the scientific warnings begin repeating themselves, but that patience pays off once the final act kicks in. The movie takes a while to get to the eruption, then makes sure the eruption earns its screen time.

The screenplay by Leslie Bohem is where Dante’s Peak shows its limitations. The dialogue is often blunt, the romance between Harry and Rachel is predictable, and several characters exist mainly to make unwise decisions at the exact moment the plot needs more danger. The film also has a habit of making Harry right about nearly everything, which can flatten the debate around whether to evacuate. Still, there is something likable about how earnestly it embraces its own premise. It never winks at the audience or tries to become ironic. It wants viewers to care about the town, fear the mountain, and cheer when people narrowly escape certain death.

That sincerity is probably why Dante’s Peak has endured better than its mixed critical reputation might suggest. It is not a great disaster movie in the way that The Poseidon Adventure or The Towering Inferno can be called great, and it does not have the full-throttle spectacle of Twister. But it is dependable comfort-viewing for anyone who enjoys this particular brand of high-stakes Hollywood nonsense. The movie’s science is questionable in spots, its family drama can get corny, and its plot follows the disaster handbook almost page for page. Yet Brosnan and Hamilton give it enough credibility, Donaldson keeps it moving, and the volcanic destruction is still satisfying.

In the end, Dante’s Peak is a solid, unpretentious disaster thriller that understands the appeal of watching ordinary people try to outrun an extraordinary catastrophe. It may not reinvent the genre, but it delivers the basics with conviction: a looming natural threat, decent leads, escalating tension, and a finale full of lava, ash, and desperate escapes. Sometimes that is more than enough.

I Watched Perry Mason: The Case of the Reckless Romeo (1992, Dir. by Christian I. Nyby II)

Posted on January 23, 2026 by Dazzling Erin

Sleazy talk show host Ted Mayne (Geraldo Rivera) writes a tell-all book about all of the famous women with whom he has had affairs. One of the women, Roxanne Shields (Amy Steel), is filmed threatening to kill him with a knife. When Ted is later found stabbed to death, Roxanne is arrested. Luckily, Perry Mason (Raymond Burr) is willing to take the case and reveal the true killer of the reckless Romeo.

This was one of the last of the Perry Mason movies. (Burr only did four more after this before he died.) The plot is okay, even if this is the third movie to feature Ken (William R. Moses) getting in trouble with the mob while investigating the the murder. It didn’t take me long to guess who the murderer was but the scene where Perry got his courtroom confession was still really well-done. Not surprisingly, the main pleasure of this film was seeing Geraldo Rivera as the victim. Geraldo may have been a terrible actor but he was still totally believable as a sleazy talk show host who went out of his way to embarrass every woman that he had ever had sex with. Geraldo is in the film long enough for you to get sick of him and then he goes away and isn’t seen again. That’s the way it should always be with Geraldo Rivera.

Perry does a few more courtroom tricks than usual in this movie. As the hapless district attorney, Kenneth Kimmins is no David Ogden Stiers. He’s not even Scott Baio. It’s really enjoyable to watch him get continually outsmarted by Perry. Raymond Burr was obviously not doing well physically when he made this movie but it’s still fun to watch him trick witness after witness into identifying the wrong woman.

Cannes Film Review: Missing (dir by Costa-Gavras)

Posted on May 19, 2018 by Lisa Marie Bowman

The 1982 film Missing takes place in Chile, shortly after the American-backed military coup that took out that country’s democratically elected President, Salvador Allende.

Of course, the film itself never specifically states this. Instead, it opens with a narrator informing us that the story we’re about to see is true but that some names have been changed “to protect the innocent and the film.” The film takes place in an unnamed in South America, where the military has just taken over the government. Curfew is enforced by soldiers and the sound of gunfire is continually heard in the distance. Throughout the film, dead bodies pile up in the streets. Prisoners are held in the National Stadium, where they are tortured and eventually executed. Women wearing pants are pulled out of crowds and told that, from now on, women will wear skirts. The sky is full of helicopters and, when an earthquake hits, guests in a posh hotel are fired upon when they try to leave. About the only people who seem to be happy about the coup is the collection of brash CIA agents and military men who randomly pop up throughout the film.

Again, the location is never specifically identified as Chile. In fact, except for the picture of Richard Nixon hanging in the American embassy, the film never goes out of its way to point out that the film itself is taking place in the early 70s. If you know history, of course, it’s obviously meant to be Chile after Allende but the film itself is set up to suggest that the story its telling is not limited to one specific place or time.

Charlie Horman (John Shea) is an American who lives in the country with his wife, Beth (Sissy Spacek). Charlie is a writer who occasionally publishes articles in a local left-wing newspaper. In the aftermath of the coup, Charlie is one of the many people who go missing. All that’s known is that he was apparently arrested and then he vanished into the system. The authorities and the American ambassador insist that Charlie probably just got lost in the confusion of the coup and that he’ll turn up any day. Even though thousands have been executed, everyone assumes that Charlie’s status as an American would have kept him safe. As brutal as the new government may be, they surely wouldn’t execute an American….

Or, at least, that’s what Ed Horman (Jack Lemmon) believes. Ed is Charlie’s father, a businessman from New York who simply cannot understand what’s going on. He can’t understand why his son and his daughter-in-law went to South America in the first place. He can’t understand why his government is not doing more to find his son. And, when he eventually arrives in South America himself, Ed cannot understand the violence that he sees all around him.

Working with Beth, Ed investigates what happened to his son. At first, Ed blames Beth for Charlie’s disappearance and Beth can barely hide her annoyance with her conservative father-in-law. But, as their search progresses, Beth and Ed come to understand each other. Beth starts to see that, in his way, Ed is just as determined an idealist as Charlie. And Ed learns that Charlie and Beth had good reason to distrust the American government…

Costa-Gavras is not exactly a subtle director and it would be an understatement to say that Missing is a heavy-handed film. The Embassy staff is so villainous that you’re shocked they don’t all have mustaches to twirl while considering their evil plans. When, in a flashback, Charlie meets a shady American, it’s not enough for the man to be a CIA agent. Instead, he has to be a CIA agent from Texas who heartily laughs after everything he says and who brags on himself in the thickest accent imaginable. When Charlie talks to an American military officer, it’s not enough that the officer is happy about the coup. Instead, he has to start talking about how JFK sold everyone out during the Bay of Pigs.

As the same time, the film’s lack of subtlety also leads to its best moments. When Beth finds herself out after curfew, the city turns into a Hellish landscape of burning books and dead bodies. As Beth huddles in a corner, she watches as a magnificent white horse runs down a dark street, followed by a group of gun-toting soldiers in a jeep. When Ed and Beth explore a morgue, they walk through several rooms of the “identified” dead before they find themselves in a room containing the thousands of unidentified dead. It’s overwhelming and heavy-handed but it’s also crudely effective. While the film itself is a bit too heavy-handed to really be successful, those scenes do capture the horror of living under an authoritarian regime.

(Interestingly, Missing was a part of a mini-genre of films about Americans trapped in right-wing South American dictatorships. While you can’t deny the good intentions of these films, it’s hard not to notice the lack of films about life in Chavez’s Venezuela or the political dissidents who were lobotomized in Castro’s Cuba.)

Missing won the Palme d’Or at the 1982 Cannes Film Festival (an award that it shared, that year, with the Turkish film Yol) and it also received an Oscar nomination for best picture of the year. (It lost to Gandhi.)