Tag Archives: Movie A Day

A Movie A Day #326: MacArthur (1977, directed by Joseph Sargent)

Posted on by Jedadiah Leland

The year is 1962 and Douglas MacArthur (Gregory Peck), the legendary general, visits West Point for one last time.  While he meets the graduates and gives his final speech, flashbacks show highlights from MacArthur’s long military career.  He leaves and then returns to Philippines.  He accepts the Japanese surrender and then helps Japan rebuild and recover from the devastation of the war.  He half-heartedly pursues the Presidency and, during the Korean War, gets fired by Harry Truman (Ed Flanders).

MacArthur is a stolid biopic about one America’s most famous and controversial generals.  It was produced by Frank McCarthy, a former general who knew MacArthur and who previously won an Oscar for producing Patton.  McCarthy was obviously hoping that MacArthur was do its subject what Patton did for George Patton and both films follow the same basic pattern. a warts-and-all portrait of a World War II general with all of the action centered around the performance of a bigger-than-life actor in the title role.  Though obviously made for a low budget, MacArthur is a well-made and well-acted movie but it suffers because Douglas MacArthur was just not as interesting a figure as George Patton.  Gregory Peck does a good job subtly suggesting MacArthur’s vanity along with capturing his commitment to his duty but he never gets a scene that’s comparable to George C. Scott’s opening speech in Patton.  The main problem with MacArthur, especially when compared to Patton, is that George Patton was a born warrior while Douglas MacArthur was a born administrator and it is always going to be more exciting to watch a general lead his men into battle then to watch him sign executive orders.

A Movie A Day #325: Damnation Alley (1977, directed by Jack Smight)

Posted on by Jedadiah Leland

Anyone who has seen Damnation Alley knows that the only thing that matters is the Landmaster.

Damnation Alley has a slight plot.  A nuclear war has knocked the Earth off of its axis.  The skies are green and purple.  The scorpions are huge and the cockroaches eat humans.  Crazed survivors are living like savages, attacking anyone that they come across.  When a radio signal seems to indicate that there might still be civilization in Albany, four military men (George Peppard, Jan-Michael Vincent, Paul Winfield, and Kip Niven) decide to drive across the country to check it out.  To reach Albany, they will have to cross an inhospitable stretch of land called Damnation Alley.  They will be making the journey in two Landmasters, amphibious vehicles that provide RV comfort with the extra advantage of a rocket launcher.  Along the way, they fight scorpions, roaches, and pick up some extra passengers (Dominique Sanda and Jackie Earle Haley).

The radioactive sky looks cool but otherwise, the scorpions and the cockroaches are all obviously fake and no one in the cast makes any effort to do more than recite their lines.  But no one who has watched Damnation Alley cares about any of that.  We just want to drive a Landmaster.

There is nothing that the Landmaster cannot do.  It  can speed across desert sand.  It can tear up city streets.  It can break through walls.  It can turn into a boat.  It can fire missiles.  It also appears to be bigger on the inside than the outside, just like the TARDIS.  Either that or whoever did the set design for Damnation Alley was not detail-oriented.

Despite the awe-inspiring Landmaster, Damnation Alley was neither a critical nor a box office hit.  It was one of two science fiction films released by 20th Century Fox in 1977.  The other one was Star Wars, which was a good movie but didn’t have a Landmaster.

As for the Landmaster itself, it currently resides in California and has appeared in a handful of other movies.  Sadly, it missed out on the opportunity to appear in any of the Smoky and the Bandit movies.  Burt Reynolds driving a Landmaster?  That would have been box office gold.

Right, Burt?

A Movie A Day #324: The Housekeeper (1987, directed by Ousama Rawi)

Posted on by Jedadiah Leland

Eunice Parchman (Rita Tushingham) has always had a secret.  She is dyslexic.  When she was in school, the kids made fun of her for saying, “god” instead of “dog.”  When she grew up, her cruel father threatened to send her to a special school so that she could learn how to read.  Eunice suffocated him with a pillow and then moved to America, where she was hired as a housekeeper.  Eunice is a good housekeeper except she can not read any of the directions that her obnoxious employers leave for her.  When she befriends a religious fanatic (Jackie Burroughs) and accidentally overwaters her employer’s prized orchids in the same week, it can only lead to one thing, a shotgun rampage.

When I was growing up, The Housekeeper (also known as A Judgement In Stone) used to show up regularly on television.  As far as I know, it is the only horror film to have been inspired by dyslexia.  Eunice is so paranoid about people discovering that she can’t read that she is willing to murder to protect her secret.  It does not help that, in America, she works for the Coverdales, a family that is so obnoxious that they probably would give her a hard time about being dyslexic.  The film takes its time to get going but Rita Tushingham gives a good performance and all of her victims are so annoying that it won’t upset anyone when Eunice takes her revenge on them.  The best part of the film is the performance of Jackie Burroughs as an insane religious fanatic who brags about her sex life at a revival meeting.

A Movie A Day #323: Ted & Venus (1991, directed by Bud Cort)

Posted on by Jedadiah Leland

Strange movie, Ted & Venus.

Actor Bud Cort (you remember him from Harold and Maude) both directs and stars as Ted.  Ted is a homeless poet who lives on the beach and only has one friend, a mellow beach bum named Max (Josh Brolin).  Kim Adams plays Linda, who is the Venus of the title, a social worker who has a bodybuilder jerk for a boyfriend (Brian Thompson, who you might remember as the main villain in Cobra).  When Ted sees Linda, it is love at first sight and at first, the movie seems like it is going to be a quirky romantic comedy where Ted eventually wins Linda over.  When Linda turns down Ted’s advances, Ted does not give up.  Instead, Ted starts following her everywhere and making harassing phone calls.  Ted starts out as a nuisance and goes on to become a full-out stalker.  Everyone, even Max, tells Ted to stop bothering Linda but he is convinced that he can make her fall in love him.  He’s wrong.

Because of the presence of Cort both in front of and behind the camera, Ted & Venus sometimes seems like Harold and Maude: The Later Years.  Harold, the iconoclast that everyone loved, has grown up and become Ted, the unemployable stalker.  It’s an interesting idea and Cort pulls it off as an actor but not as a director.  You have to admire Cort’s devotion to his vision but it’s impossible to be certain what that vision was because the film’s tone is all over the place.  Cort gets a far better performance from himself than he does from the rest of the cast.

Speaking of the cast, the movie is full of familiar faces.  In fact, there are almost too many familiar faces.  It’s hard not to get distracted by all of the cameos.  If you somehow see this obscure movie, keep an eye out for: Woody Harrelson (who gets two lines and five seconds of screen time), Rhea Pearlman, Carol Kane, Martin Mull, Gena Rowlands, Pat McCormick, Vincent Schiavelli, Cassandra Peterson, and Andrea Martin.  When Ted is hauled into court, charged with stalking, the judge is played by LSD guru Timothy Leary.  I am not sure what Ted & Venus was trying to say but Bud Cort assembled an impressive cast to say it.

A Movie A Day #322: CHiPs (2017, directed by Dax Shepard)

Posted on by Jedadiah Leland

Based on the campy 70s cop show that will live on forever in syndication, CHiPs is about two unlikely partners who, after a rough beginning, work together to catch a cop’s killer and capture a gang of armed robbers.

Officer Jon Baker (Dax Shepherd) is a flaky former motocross champion who joins the California Highway Patrol to try to impress his estranged wife (Kristen Bell).  Baker pops painkillers like candy, throws up whenever he enters an unfamiliar house, and has a knee that randomly goes out.  Baker can’t shoot, fight, or think but he sure can ride a bike.

Officer Francis Llewelyn “Ponch” Poncherello (Michael Pena) is actually an FBI agent named Castillo who has been assigned to work undercover to investigate corruption in the CHP.  Ponch is a sex addict who is obsessed with yoga pants and who keeps accidentally shooting his former partner (Adam Brody).

Both Baker and Ponch are given one identifying characteristic.  Baker’s thing is that he always says the wrong thing and then apologizes.  Ponch’s thing is that he always says the wrong thing and then doesn’t apologize.  That is about as deep as things get.

I’m not really sure who this movie is supposed to appeal to.  Michael Pena and Dax Shepard have been good in other productions but they’re both awful here, let down by a script that does not have much to offer beyond tepid bromance and dick jokes.  The humor is too deliberately lowbrow and raunchy to appeal to the people who were fans of the quaintly innocent TV show but it’s also neither meta nor clever enough to appeal to the audience that made hits out of 21 and 22 Jump Street.  I guess the ideal audience for this film would be people who still find gay panic jokes to be hilarious because CHiPs is full of them.  If the last movie you saw was made in 1999 and starred Adam Sandler and David Spade, CHiPs might be right up your alley.

CHiPs is a terrible fucking movie but what really distinguishes it from other terrible movies is the amount of contempt that it seems to have for its source material.  The Jump Street movies might have poked fun at the TV series that inspired them but it was still obvious that the films were being made by fans.  CHiPs can’t even be bothered to use the original’s theme music as anything other than a way to punctuate a few cheap jokes.  Erik Estrada, the original Ponch, does have a cameo but only so he and the new Ponch can talk about eating ass in Spanish.  Otherwise, there is nothing that links the movie to the TV show.  A more accurate title would have been Two Assholes On Motorcycles, except the motorcycles really are not that important to the film.  So, I guess the title would actually just have to be Two Assholes.  That sounds about right to me.

CHiPs proves that not every stupid cop show needs a movie version.  Now, excuse me while I get back to work on my T.J. Hooker spec script…

A Movie A Day #321: The Baby Doll Murders (1993, directed by Paul Leder)

Posted on by Jedadiah Leland

Naked women are turning up murdered in Los Angeles.  The only clue that the crimes are connected: the baby doll that is left beside each body.  Can detectives Louis (Jeff Kober) and Larry (Bobby Di Cicco) solve the case while also dealing with issues in their own private life?  Louis’s girlfriend (Melanie Smith) is worried that Louis is becoming obsessed with is work and that he is not willing to commit to their relationship. Larry is upset because he suspects his wife is keeping a secret from him.  Their chief (John Saxon) wishes they would just solve the case, especially when the killer targets his own daughter.  The problem is that Louis is so driven and prone to violence that he has managed to get himself suspended from the force.  Why does that always happen to good cops?

The Baby Doll Murders is a straight-to-video thriller that used to be popular on cable, back in the Skinemax days.  Probably the most memorable thing about the film is the absurd lengths it goes to find an excuse for every woman in the film to have at least one topless scene before being attacked by the baby doll murderer.  Otherwise, it is a predictable movie with a better than average cast.  A talented character actor, Jeff Kober gets a rare lead role here and Bobby Di Cicco has some good moments as his neurotic partner.  Any film that features John Saxon as an authority figure can not be considered a total loss.  Saxon does not get much screen time but he does get all of the best lines.  When Kober theorizes that the murderer might have a political agenda, Saxon snaps back, “Now, wait a minute, Louis,” a lot of people have the same beliefs as the baby doll murderer and, “not all of them are killers!”  Saxon delivers his lines like a champ.

A Movie A Day #320: Dangerously Close (1986, directed by Albert Pyun)

Posted on by Jedadiah Leland

Vista Verde, an exclusive suburban high school in California, has a problem.  Some of the students have a bad attitude.  Some of them are experimenting with drugs.  Graffiti is showing up all over the school.  What better way to return peace to Vista Verde than for a bunch of WASPy rich kids and other jocks to organize into a secret vigilante force?  The headmaster thinks that it’s a great idea and soon “The Sentinels” are holding mock trials and shooting the other students with paintball guns.  One bad kid even turns up dead.  Graffiti is no joke.

The leader of the Sentinels is a rich kid named Randy (John Stockwell, who also co-wrote the script).  Randy knows the importance of good PR so he befriend the editor of the school newspaper, Donny (J. Eddie Peck).  Donny may not be rich but, because of his amazing journalism skills, he has been allowed to attend Vista Verde as a magnet student.  At first, Donny is skeptical of The Sentinels but he soon finds himself seduced by not only Randy’s wealthy lifestyle but also by Randy’s beautiful girlfriend (Carey Lowell).  Meanwhile, Donny’s friend Krooger (Bradford Bancroft) not only listens to punk music but also has a mohawk so he naturally becomes the latest target of the Sentinels.

A teen film with a conscience, Dangerously Close was one of the better films to come out of the Cannon Group in the mid-80s.  The script is smarter than the average 80s teen film and Albert Pyun’s slick direction captures the appeal of being young and rich in the suburbs.  Stockwell, Peck, and Lowell all give better than average performances  and there is actually some unexpected depth to Stockwell and Peck’s friendship.  Stockwell does not play Randy as just being a typical rich villain.  Instead, he is someone who thinks he’s doing the right thing even when he’s not.

The cast is full of faces that will be familiar to anyone who has ever been a fan of 80s high school films.  Keep an eye out for Thom Matthews, Don Michael Paul, Gerard Christopher, Miguel Nunez, Jr., and DeeDee Pfeiffer, all doing their part to keep the halls of Vista Verde safe.

 

A Movie A Day #319: Northville Cemetery Massacre (1976, directed by Thomas L. Dyke and William Dear)

Posted on by Jedadiah Leland

You can’t always tell a book by its cover and that is the case with the Spirits, the nicest motorcycle gang to ever roll across America’s highways.  When they come across an old couple on the side of the road with a flat tire, they don’t rob the couple.  Instead, they change the tire.  When they come across a young man named Chris (David Hyrly, who is overdubbed by a young Nick Nolte), they invite him to join them on their journey.  When they are arrested, they sit in jail and roll a joint.  The Spirits are solid dudes.  But because they are rebels who live outside of straight society, they will always be picked on by the Man.  After a redneck deputy rapes the Chris’s girlfriend, the deputy blames the Spirits.  Soon, the Spirits find themselves under attack and are violently picked off one by one.  In self-defense, the Spirits start to arm themselves.  It all comes to a head in a violent confrontation in Northville Cemetery.

Made for a miniscule budget. featuring a largely amateur cast, and graphically violent, Northville Cemetery Massacre is an overlooked masterpiece, the type of movie that Sam Peckinpah would have made if he had worked on AIP biker movies instead of westerns.  The Spirits are innocent and, as long as no one hassles them, peaceful but the rest of the world only sees their motorcycles and their leather jackets.  The rapist deputy is one of the most evil lawmen in film history but because he wears a uniform and know the right people, he knows that he will never have to face justice.  The ambiguous ending proves that the filmmaker’s had more on their mind than just cashing in one the tail end of the biker genre’s popularity.  Adding to the film’s strength is a country-rock score from former Monkee Mike Nesmith and the casting of members of a real-life motorcycle club, the Scorpions.  What the Scorpions may have lacked in acting ability, they made up for in authenticity.

Northville Cemetery Massacre was made in the early 70s but it wasn’t released by Cannon Films until 1976, at which point the biker genre was close to dead.  Northville Cemetery Massacre provided audiences with one last chance to get their motor running, head out on the highway, and look for adventure with smoke and lightning and heavy metal thunder.

A Movie A Day #318: The War At Home (1996, directed by Emilio Estevez)

Posted on by Jedadiah Leland

The year is 1972 and it is Thanksgiving week in small town America.  The Colliers are getting ready for the holidays.  Maurine (Kathy Bates) is intent on preparing the perfect Thanksgiving meal.  Bob (Martin Sheen) is keeping an eye on his car dealership and wondering why kids today are not as respectful as they once were.  The two Collier children are coming home from school.  The youngest, Karen (Kimberly Williams), is hoping she can keep the peace because she knows that her older brother, Jeremy (Emilio Estevez), has returned from Vietnam a changed man.  Suffering from severe PTSD, Jeremy is haunted by flashbacks and angry at everything, especially his father.  The only reason he even attended college was so he could be near his girlfriend (Carla Gugino) and even she has told him that she no longer feels comfortable around him.  When Jeremy returns home, his family first tries to ignore the problems that he’s having adjusting to civilian life but Jeremy is determined not to be ignored.

Emilio Estevez famously agreed to appear, for free, in the third Mighty Ducks films in return for Disney agreeing to produce and distribute The War At Home.  Unfortunately, this heartfelt movie has never gotten the attention that it deserves.  While Estevez’s direction is never subtle and the script , which was based on a play, is often heavy-handed, The War At Home is redeemed by the powerful performances of Estevez, Bates, Sheen, and Williams.  Bates is especially good as the perfect homemaker who is revealed to be smarter than anyone realized.  The War At Home is a good but overlooked film that is still relevant today.

A Movie A Day #317: Flashpoint (1984, directed by William Tannen)

Posted on by Jedadiah Leland

November 22, 1963.  While the rest of the world deals with the aftermath of the assassination of John F. Kennedy in Dallas, a man named Michael Curtis drives a jeep across the South Texas desert, heading for the border.  In the jeep, he has a $800,000 and a high-powered rifle.  When the jeep crashes, the man, the rifle, and the money are left undiscovered in the desert for 21 years.

1984.  Two border patrol agents, Logan (Kris Kristofferson) and Wyatt (Treat Williams), are complaining about their job and hoping for a better life.  It looks like they might get that opportunity when they come across both the jeep and the money.  A bitter Vietnam vet, Logan wants to take the money and run but Wyatt is more cautious.  Shortly after Wyatt runs a check on the jeep’s license plate, a FBI agent (Kurtwood Smith) shows up at the station and both Logan and Wyatt discover their lives are in danger.

Though it was made seven years before Oliver Stone’s JFK, Flashpoint makes the same argument, that Kennedy was killed as the result of a massive government conspiracy and that the conspirators are still in power and doing whatever they have to do keep the truth from being discovered.  The difference is that Flashpoint doesn’t try to convince anyone.  If you’re watching because you’re hoping to see a serious examination of the Kennedy conspiracy theories, Flashpoint is not for you.  Instead, Flashpoint is a simple but effective action film, a modern western that uses the assassination as a MacGuffin.  Though Kris Kristofferson has never been the most expressive of actors, he was well-cast as the archetypical gunslinger with a past.  Rip Torn also gives a good performance as a morally ambiguous sheriff and fans of great character acting will want to keep an eye out for both Kevin Conway and Miguel Ferrer in small roles.