Cleaning Out The DVR: The Star Chamber (dir by Peter Hyams)


Here’s a good example of why I need to clean out my DVR more regularly:

I recorded the 1983 legal thriller, The Star Chamber, off of Starz on March 14th.  I know what you’re saying.  “Big deal!  That wasn’t that long ago.”  Well, did I mention that it was March 14th, 2017?

That’s right!  The Star Chamber sat on my DVR for over a year before I finally got around to watching it last night.  You’d be justified in asking why it took me so long and I’m afraid that I really couldn’t give you a definite answer.  I can, however, tell you the four main reasons why I recorded it in the first place:

  1. I’m always intrigued whenever I come across a movie of which I haven’t previously heard.
  2. The movie was described as being about a conflicted judge and I just happen to love legal films.
  3. I really, really liked the title.  The Star Chamber?  Did that mean it took place in a room full of stars?
  4. Before I recorded The Star Chamber, I only had 55 films on the DVR.  Since I don’t like odd numbers, recording The Star Chamber took care of that problem.

As for the film itself, The Star Chamber is another one of those movies where a group of vigilantes end up getting pissed off because liberal California judges are letting too many murderers go free because of pesky, constitutional technicalities.  The twist here is that the vigilantes are the same judges who keep tossing out evidence and ruling that confessions are inadmissible in court.  After spending their day setting free the dregs of society, the judges all gather in a nearby house and review the evidence before voting on whether or not they believe the accused was actually guilty.  If the verdict is guilty, the judges promptly hire a hit man who proceeds to clean up the streets.

The newest member of this tribunal is Judge Steven R. Hardin (Michael Douglas).  Hardin is haunted by the technicalities that forced him to toss out a case against two accused of child murderers.  (Making things even worse, the child’s father commits suicide afterward.)  Despite his initial reservations, Judge Hardin signs off on hiring an assassin to take the two men out.  But, when it becomes apparent that the two men actually were innocent, Judge Hardin is horrified to discover that there’s no way to call off the hit…

The Star Chamber is an oddly constructed movie.  When the movie starts, it feels like a typical police procedural.  From there, the movie turns into a rather talky examination of the U.S. legal system, with Judge Hardin trying to balance his idealism with the often frustrating reality of what it takes to uphold the law.  The movie then briefly turns into a conspiracy film, featuring middle-aged men in suits holding secret meetings and debating whether or not they’re serving the greater good.  And then, towards the end of the movie, it turns into an action film, with Judge Hardin being chased by two drug dealers, a contract killer, and a suspicious police detective (Yaphet Kotto).  Judge Hardin may start the movie as a conflicted liberal but he ends at someone who can blow up the entire second floor of a drug lab.  In many ways, The Star Chamber is a deeply silly film but, as directed and co-written by Peter Hyams, it’s also just pulpy enough to be entertaining.  The dialogue may be over-the-top but so is Michael Douglas’s performance so it all evens out in the end.

It may have taken me a while to get around to watching The Star Chamber but I’m glad that I finally did.  It’s a ludicrous film and all the more entertaining as a result.

That Voodoo That You Do: Roger Moore as James Bond 007 in LIVE AND LET DIE (United Artists 1973) — cracked rear viewer


 

Three British agents are murdered, and James Bond is sent overseas to investigate the doings of Dr. Kananga, despot of the Carribean island nation of San Monique in LIVE AND LET DIE. But wait… that’s not Sean Connery as 007, or even George Lazenby. It’s Roger Moore , making the first of his seven appearences as […]

via That Voodoo That You Do: Roger Moore as James Bond 007 in LIVE AND LET DIE (United Artists 1973) — cracked rear viewer

A Movie A Day #338: Raid on Entebbe (1977, directed by Irvin Kershner)


On June 27th, 1976, four terrorists hijacked an Air France flight and diverted it to Entebbe Airport in Uganda.  With the blessing of dictator Idi Amin and with the help of a deployment of Ugandan soldiers, the terrorists held all of the Israeli passengers hostage while allowing the non-Jewish passengers to leave.  The terrorists issued the usual set of demands.  The Israelis responded with Operation Thunderbolt, a daring July 4th raid on the airport that led to death of all the terrorists and the rescue of the hostages.  Three hostages were killed in the firefight and a fourth — Dora Bloch — was subsequently murdered in a Ugandan hospital by Idi Amin’s secret police.  Only one commando — Yonatan Netanyahu — was lost during the raid.  His younger brother, Benjamin, would later become Prime Minister of Israel.

Raid on Entebbe, a docudrama about the operation, was originally produced for NBC though it subsequently received an overseas theatrical release as well.  It’s an exciting tribute to the bravery of both the hostages and the commandos who rescued them.  Director Irvin Kershner directs in a documentary fashion and gets good performances from a cast full of familiar faces.  Charles Bronson, James Woods, Peter Finch, Martin Balsam, Stephen Macht, Horst Buchholz, Sylvia Sidney, Allan Arbus, Jack Warden, John Saxon, and Robert Loggia show up as politicians, commandos, terrorists, and hostages and all of them bring a sense of reality and humanity to their roles.

The film’s best performance comes from Yaphet Kotto, who plays Idi Amin as a strutting buffoon, quick to smile but always watching out for himself.  In the film, Amin often pays unannounced visits to the airport, where he lies and tells the hostages that he is doing his best to broker an agreement between the terrorists and Israel.  The hostages are forced to applaud Amin’s empty promises and Amin soaks it all up with a huge grin on his face.  Forest Whitaker may have won the Oscar for Last King of Scotland but, for me, Yaphet Kotto will always be the definitive Idi Amin.

Cleaning Out The DVR: Women of San Quentin (dir by William A. Graham)


(Lisa is currently in the process of cleaning out her DVR!  She’s got over 170 films to watch before the end of 2017!  Will she make it?  Who knows?  She recorded 1983’s Women of San Quentin off of Retroplex on January 25th.)

For some reason, back in January, I felt the need to record several prison movies off of cable.  I’m not sure where my mind was at that I would see a title like Women of San Quentin listed in the guide and think to myself, “That’s something I definitely need to record.”  Maybe I was thinking of pursuing a career as a prison guard.  That seems to be the easiest way to get a show on A&E nowadays.

Anyway, I imagine that anyone reading this review is looking that title and considering the VHS cover art and they’re probably assuming that Women of San Quentin is some sort of Cirio Santiago-directed women in prison film.  And then consider the film’s cast: Amy Steel is best known for Friday the 13th Part II and April Fool’s Day.  Stella Stevens is an exploitation film vet.  One of the prisoners is played by Rockne Tarkington, who starred in a handful of blaxploitation films.  William Sanderson, star of the infamous Fight For Your Life, has a small role.  Yaphet Kotto plays a prison guard here but he’s best known for playing the villain in Live and Let Die.  Gregg Henry plays a sociopath.  Hector Elizondo and Debbie Allen play sympathetic guards.  Even Ernie Hudson, a now-respectable actor with several less-than-savory films on his resume, shows up.  Finally, consider this: Women of San Quentin was written by Larry Cohen, the man who directed both Black Caesar and It’s Alive.

However, despite all of that, Women of San Quentin is not an exploitation film.  Instead, it’s a made-for-TV movie.  (Director William A. Graham has over a hundred TV shows and made-for-TV movies to his credit.)  It follows several storylines.  Lt. Janet Alexander (Stella Stevens) is the tough-but-fair captain who is in charge of one of San Quentin’s most intimidating cell blocks.  She’s great at her job and she has a vaguely romantic relationship with Hector Elizondo but she’s also tempted to find a new career.  Charles Wilson (Ernie Hudson) steps up to lead the prison’s black inmates after another activist is assassinated.  Meanwhile, the leader of the Mexican Mafia plots a prison riot and Yaphet Kotto and Debbie Allen use any means necessary to discover what’s going to happen.

And then there’s Liz Larson (Amy Steel), the newest prison guard who struggles to prove that she belongs in San Quentin.  Sexist colleagues play cruel pranks on her.  The prisoners shout at her whenever she walks past their cells.  When she has to use a gun to break up a fight, she hesitates just a second too long.  Will she be able to step up when real trouble breaks out?  Among horror fans, Amy Steel is remembered for “surviving” several slasher films.  (Her performance as Ginny in Friday the 13th Part 2 largely set the standard for which all final girls are judged.)  Steel does a pretty good job as Liz but, actually, the entire movie is well-acted.  The script is frequently rudimentary but the cast is full of unique talent and it’s always fun to watch so many good actors playing opposite each other.

I assume that the Women of San Quentin was meant to be a pilot for a TV show or something.  It just has that feel to it.  If just for the cast alone, I would recommend watching Women of San Quentin if you get a chance.  I’m as surprised as anyone but, after all, where else are going to get a chance to watch Hector Elizondo, Yaphet Kotto, Stella Stevens, and Amy Steel all hanging out in a bar together?  There are certain opportunities that you just don’t miss.

Concrete Jungle: REPORT TO THE COMMISSIONER (United Artists 1975)


gary loggins's avatarcracked rear viewer

REPORT TO THE COMMISSIONER usually gets lumped in with the plethora of 70’s cop films, but I viewed it as a neo-noir. It’s structure tells the tale mainly in flashback, from the participating character’s differing perspective, and is dark as hell. I’m sure co-screenwriters Abby Mann and Ernest Tidyman were well aware of what they were doing: both men were former Oscar winners (Mann for JUDGEMENT AT NUREMBERG, Tidyman for THE FRENCH CONNECTION   ) familiar with the conventions of the genre. The solid cast features a powerhouse collection of 70’s character actors, led by Michael Moriarty’s patented over-the-edge performance as protagonist Bo Lockley.

Lockley is a young, idealistic cop caught up in circumstances beyond his control, snaring him in an inescapable downward spiral. The film opens with a pair of New York City detectives discovering the body of a young woman, who turns out to be one of their own, an undercover…

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A Movie A Day #166: Warning Sign (1985, directed by Hal Barwood)


The world might end, again.

There is a laboratory in the middle of the desert.  While everyone thinks that the lab is developing pesticides, it is actually a secret government facility where the scientists have developed a chemical that will turn anyone exposed to it into a homicidal maniac.  While the scientists are celebrating the success of their project, Dr. Tom Schmidt (G.W. Bailey — yes, Captain Harris from the Police Academy movies) steps on a vial and releases the chemical.  The lab locks down and the army (led by Yaphet Kotto) arrives.  The government wants to let the scientists kill each other off but a pregnant security guard (Kathleen Quinlan) is also trapped in the lab and her husband, the county sheriff (Sam Waterston), is determined to get her out.

Warning Sign was blandly directed by Hal Barwood, a longtime associate of both George Lucas and Steven Spielberg.  (Barwood wrote the script for Spielberg’s The Sugarland Express and designed the title sequence for Lucas’s THX 1138.)  Barwood tried to take a very Spielbergian approach to Warning Sign, a mistake because successfully imitating Spielberg is easier said than done.  Replace the shark with germs and the ocean with a lab on lock down and Warning Sign is  like Jaws, without any of the suspense or humor.  Sam Waterston’s germaphobic sheriff feels like a knock off of Roy Scheider’s aquaphobic police chief while Jeffrey DeMunn, as an alcoholic scientist, stands in for both Richard Dreyfuss and Robert Shaw.    With the violence and the gore kept to a minimum, this is one of the most tasteful zombie films ever made.  Just compare it to George Romero’s The Crazies (or even the remake) to see how needlessly safe Warning Sign is.

A Movie A Day #153: Blue Collar (1978, directed by Paul Schrader)


Three Detroit auto workers (played by Harvey Keitel, Yaphet Kotto, and Richard Pryor) are fed up.

It’s not just that management is constantly overworking them and trying to cheat them out of their money.  That’s what management does, after all.  What really upsets them is that their union is not doing anything to help.  While the head of the union is getting rich off of their dues and spending time at the White House, Keitel is struggling to pay for his daughter’s braces, Kotto is in debt to a loan shark, and Pryor is lying to the IRS about the number of children that he has.  (When a social worker shows up unexpectedly, Pryor’s wife recruits neighborhood children to pretend to be their’s.)  Kotto, Pryor, and Keitel plot to rob the union but instead, they just discover evidence of the union’s ties to the mob.  The union bosses will do anything to keep that information from being revealed, from trying to turn the friends against one another to committing murder.

Blue Collar was the directorial debut of screenwriter Paul Schrader.  Schrader has said that the three main cast members did not get along during the filming, with Richard Pryor apparently bringing a gun to the set and announcing that there was no way he was going to do more than three takes of any scene.  The tension between the lead actors is visible in the film, with all three of them giving edgy and angry performances.  That anger is appropriate because Blue Collar is one of the few films to try to honestly tackle what it’s like to be a member of the “working class” in America.  While management is presented as being a bunch of clowns, Blue Collar reserves its greatest fury for the corrupt union bosses who claim to represent the workers but who, instead, are just exploiting them.  The characters in Blue Collar are pissed off because they know that nobody’s got their back.  To both management and the union, the workers are worth less than the cars that they spend all day putting together and the money that can be subtracted from all their already meager pay checks.

Since it’s a Paul Schrader film from 1978, the action in Blue Collar does come to a halt, 40 minutes in, for a cocaine-fueled orgy that feels out of place.  While Keitel and especially Kotto give believable performances, Pryor sometimes seems to be struggling to keep up.  Still, flaws and all, Blue Collar has a raw and authentic feel to it, something that few other movies about the working class have been able to capture.  Perhaps because it never sentimentalizes its characters or their situation, Blue Collar was not a box office success but it has stood the test of time better than many of the other films that were released that same year.  Sadly overlooked, Blue Collar is a classic American movie.

 

A Movie A Day #38: Fighting Back (1982, directed by Lewis Teague)


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The time is 1982.  The place is Hell on Earth, also known as Philadelphia.  Crime is out of control and the police are powerless to stop it.  When deli owner John D’Angelo (Tom Skerritt) and his wife, Lisa (Patti LuPone), confront a pimp named Eldorado (Pete Richardson), he rams his car into the back of their car, causing the pregnant Lisa to lose her unborn child.  At almost the exact same time, John’s mother (Gina DeAngles) is mugged by two thugs who chop off her ring finger.

In the grand tradition of Charles Bronson, John decides to fight back.  But he doesn’t go it alone.  With his best friend, a police officer named Vince (Michael Sarrazin), John starts the People’s Neighborhood Patrol.  The PNP is going to clean up Philadelphia, one street at a time.  The media (represented by David Rasche) make John into a celebrity.  The black community (represented by Yaphet Kotto) suspect that John and the PNP are guilty of racial discrimination.  The Mafia wants to bring John over to their side.  John runs for city council but he still has time to drop a grenade in a pimp’s car.

Fighting Back was one of the many urban vigiliante films to come out after the success of Death Wish.  Fighting Back‘s producer, Dino De Laurentiis, also produced Death Wish but made the mistake of later selling the rights to Cannon.  Fighting Back was not the box office success that either Death Wish or its sequels were, even though Fighting Back is actually the better movie.  That’s because Fighting Back was directed by the underrated Lewis Teague.  Teague does a good job of making Philadelphia look like a war zone and the scenes of vigilante justice are enjoyable but, overall, Teague takes a far more ambiguous approach to vigilantism than Michael Winner did when he directed Death Wish.  As vile as Philadelphia criminals may be, John D’Angelo isn’t always that likable himself.  When Kotto accuses John and the all-white PNP of being racially prejudiced, Teague suggests that he has a point.  Tom Skerritt gives a good performance, playing John as a proud, blue collar guy who wants to do the right thing but gets seduced by his newfound celebrity.

Better acted than Death Wish and smarter than The Exterminator, Fighting Back is an underrated vigilante gem.

Fighting Back is also known as Philadelphia Security and Death Vengeance.

Fighting Back is also known as Philadelphia Security and Death Vengeance.

Scenes I Love: Alien


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We found out tonight that the great Sir John Hurt passed away at the age of 77.

For some their memory of him was in the role of the Elephant Man. For the younger set it might be as Hellboy’s adopted father Professor Broom. Some might even remember him as Chancellor Sutler from V for Vendetta. They were all great roles, but my very first memory of him is from a film that helped shaped my love for horror and sci-fi. It was a film that was influenced the impressionable mind of a pre-teen.

This film is and will always be Ridley Scott’s haunted house in space sci-fi horror film, Alien.

Sir John Hurt as the doomed crew-member Kane would make such an impact in my impressionable mind as a child not when he first appears on-screen, but when the titular creature makes it’s first appearance in what I can only describe as an explosive birthing scene.

Rest In Peace good sir.

More Pure 80s Hokum: The Park Is Mine (1985, directed by Steven Hilliard Stern)


The_Park_Is_Mine_VideoCoverTommy Lee Jones is Mitch, a troubled Vietnam veteran who has just lost his job and who can not convince his ex-wife to let him spend any time with his kids.  One day, Mitch receives a letter from Mike, a friend who has recently committed suicide.  In the letter, Mike explains that he has been stashing weapons and explosives in Central Park.  Before he discovered that he had cancer, Mike had been planning to take over the park as a symbolic protest against government bureaucracy.  Now that Mike is dead, it is now Mitch’s job to declare, “The park is mine!”

When Mitch takes over the park, he announces that he does not want to hurt anyone.  Instead, he wants everyone in New York to spend some time to thinking about their lives.  “There’s a lot of people like me, who don’t feel like they have any control over their lives,” he says, “Think about how you treat people and how you want to be treated.”  Meanwhile, he will be camping out in the park for 72 hours and anyone who tries to come after him runs the risk of getting shot or blown up.   Then he orders everyone to vote for Bernie Sanders and make America great again.  Or at least he would if this film had been made today, instead of in 1985.

Deputy Mayor Dix (Peter Dvorsky) is so evil that he makes Ghostbusters‘s Walter Peck look reasonable.  Dix is personally offended that Mitch has taken over Central Park.  He is so offended that he is even willing to first call out the National Guard and then hire foreign mercenaries to sneak into the park and track Mitch down.

Reporter Valerie Weaver (Helen Shaver) also sneaks into the park so that she can interview Mitch.  When Mitch captures her, he shouts at her, “GET NEKKID!”  No, it’s not that type of movie.  Mitch just wants to make sure that she’s not carrying any weapons on her.  (The Park Is Mine was made for HBO.  Even in the 80s, HBO understood the importance of getting nekkid.)

One of my favorite things about The Park Is Mine is that, after he goes to all the trouble to paint his face and dress up in camouflage, Mitch still spends the entire movie wearing a blue Yankees cap that would make him an easy target for anyone with a scope.

The Park Is Still Mine

My other favorite thing is that, after Mitch asks everyone to think about how they treat people, a crowd of people gathers outside the park.  When a reporter interviews them, a burly man with a hockey mullet and dressed in denim steps up and says, in a perfect Canadian accent, “My name is Elton Costanza.  I’m from Queens!”

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I’m not sure if Elton Costanza is meant to be related to George Costanza.  He does look like he could be a distant cousin.

The rest of the film’s depiction of New York City is about as plausible as Elton’s accent.  For a film taking place in New York in the 80s, the streets are too clean and the people are too friendly.  Even when that crowd shows up to support Mitch, they are the most polite crowd that anyone could hope for.  That may be because. though The Park Is Mine takes place in New York, it was filmed in Toronto.

The Park is Mine is both thoroughly implausible, totally heavy handed, and stupidly entertaining. Tommy Lee Jones is one of the few actors who can actually sell a line like, “The park is mine!” and Yaphet Kotto provides good support as a policeman who is sympathetic to Mitch.  Peter Dvorsky is all too believable as the ultimate example of heartless bureaucracy.  The most interesting thing about The Park Is Mine is that it comes down, without a hint of ambiguity, on the side of a domestic terrorist.  That probably would not be allowed to happen today.  In fact, the entire film feels like a relic of a past age, a celebration of an individualistic philosophy that America once embraced but, ever since the trauma of 911, has been in the process of abandoning.  If Mitch was unhappy with America in the 80s, imagine how he would feel about the Patriot Act, NSA spying, too big to fail bailouts, and campus safe spaces.

Like Let’s Get Harry, The Park Is Mine is pure 80s hokum that deserves a nostalgic DVD release.

Hopefully, one with Tommy Lee Jones providing commentary.

The Park Is Definitely Mine