Movies
The Boy Who Cried Werewolf (1973) D: Nathan Juran. S: Kerwin Mathews, Elaine Devry, Scott Sealey, George Gaynes, Robert J. Wilke. When a WEREWOLF attacks dad Mathews and son Sealey, it bites (and curses) Mathews. Will anyone listen to Sealey before it’s too late? The film hurries genuine scares (Were-Dad stalking convenient prey Sealey), instead showcasing writer-actor Homel’s Jesus-freak hippie. Wanting makeup, but inept day-for-night photography’s the silver bullet. At best, an early seventies curiosity.
The Day of the Triffids (1963) D: Steve Sekely. S: Howard Keel, Janina Faye, Nicole Maurey, Janette Scott, Mervyn Johns. When a worldwide catastrophe occurs, a rare (and interplanetary) plant starts growing to unusual size, becoming mobile, and eating people. So badly directed the budget limitations don’t really matter. Keel’s fine as the sailor who takes care of orphan Faye, but Moore’s emotionally abusive marine biologist who picks on wife Scott is a real downer. The coda’s an eyeroller.
Fade to Black (1980) D: Vernon Zimmerman. S: Dennis Christopher, Tim Thomerson, Gwynne Gilford, Mickey Rourke, Peter Horton. Lonely, bullied, psychologically abused film nerd Christopher meets the girl of his dreams–a Marilyn Monroe lookalike (Kerridge). When she misses a date, he snaps and starts committing elaborate movie homage murders. Well-made if not well directed. Christopher’s outstanding. The cop stuff is not. The script’s muddled societal observations are nowhere near as thoughtful as its film references.
Final Exam (1981) D: Jimmy Huston. S: Cecile Bagdadi, Joel S. Rice, Ralph Brown, DeAnna Robbins, Sherry Willis-Burch. Surprisingly well-produced indie HALLOWEEN knock-off about a mystery killer out to get the last college kids on campus before break. Terrible writing and acting (everyone’s good at being terrified, though), but decent photography and some strong slasher sequences. It doesn’t help most of the characters are obnoxious (and worse) frat boys and the girls who covet them.
Mandy (2018) D: Panos Cosmatos. S: Nicolas Cage, Andrea Riseborough, Linus Roache, Bill Duke, Richard Brake. Heavily stylized gore-fest about Riseborough catching cult leader Roache’s eye. He unleashes his LSD-fueled followers on her, not realizing her husband (Cage) is willing to meet fire with fire. Psychedelic, bloody, terrifying, and beautifully directed. Great performances from the leads, Roache in particular, though Riseborough does a lot with little in the script, and Cage’s unhinged delight.
Number Seventeen (1932) D: Alfred Hitchcock. S: Leon M. Lion, Anne Grey, John Stuart, Barry Jones, Garry Marsh. Pedestrian Stuart happens upon house NUMBER SEVENTEEN on a windy night and finds a dead body. Who done it and why. There’s not a lot of story–though more than you’d expect for an hour–so director Hitchcock leans heavy on mood. Fantastic photography and editing. Performances are more effective than good. The action-packed finale’s something else, too.
The Petrified Forest (1936) D: Archie Mayo. S: Leslie Howard, Bette Davis, Humphrey Bogart, Joe Sawyer, Charley Grapewin. Star-crossed lovers Howard and Davis meet in a remote gas station. She has big dreams; he’s had all his dreams crushed. Then gangster Bogart shows up and takes the place hostage. Never stagy despite (mostly) one location. Lovely lead performances and phenomenal supporting ones (Hall and Tobin, especially). And Bogie’s a revelation, of course. Successful prestige B melodrama.
Virus (1999) D: John Bruno. S: Jamie Lee Curtis, William Baldwin, Donald Sutherland, Cliff Curtis, Joanna Pacula. Predictable, ineptly executed sci-fi action picture about evil robots hunting a salvage crew captained by Sutherland (trying to deliver a career-worst performance). Some good practical effects, but the whole thing plays like a James Cameron knock-off (courtesy his producer Gale Anne Hurd). Both Curtises and Baldwin are okay given the circumstances. Pacula’s particularly bad. Awful music.
Wait Until Dark (1967) D: Terence Young. S: Audrey Hepburn, Alan Arkin, Richard Crenna, Jack Weston, Efrem Zimbalist Jr.. Three bad men terrorize blind lady Hepburn in her apartment; she’s unknowingly in possession of their heroin. Ringleader Arkin’s got the showiest part; Crenna and Weston provide able support. Zimbalist’s the loving, ableist husband who bullies Hepburn (and got her into the trouble in the first place). Some great thrills, a strong performance from Hepburn, and a tepid finish.