Category: 1986

Perry Mason: The Case of the Notorious Nun (1986, Ron Satlof)

So Perry Mason: The Case of the Notorious Nun. It’s not good. It is not a good TV movie. Even if the writing were better, Satlof is a lousy director. And Héctor R. Figueroa’s photography is quite bad. The lighting in the courtroom finale changes between shots. The editing is already graceless–more because of Satlof’s weak composition and blocking than the editors–and the lighting just kills it.

But the real problem is something else entirely–Joel Steiger’s teleplay is bad. It’s kind of ambitious, but it’s bad at it. The design of this Perry Mason is as follows, there’s Raymond Burr doing stuff, there’s William Katt doing stuff, there’s Barbara Hale sometimes doing stuff with Burr but not really anything consequential except provide emotional support to Michele Greene (the titular Notorious Nun), and Green’s crisis about taking her final vows. Steiger gives all the character development to Greene and it’s awful. Greene tries with it too. She really does try to make this material work and maybe if Satlof weren’t terrible, it’d go better.

Then there’s the guest stars. Timothy Bottoms as an honest, priest stud. Jon Cyphers as an arrogant doctor. Tom Bosley as a sweet priest. Arthur Hill as a prick lawyer. Not much inventive casting, but sturdy acting. Of those caricatures, Cyphers does the best. He has the most to do. Decent villain in Hagan Beggs. He gets a lot of Dick DeBenedictis’s craziest thriller music. Can’t forget to talk about the music.

But real quick on the cast–David Ogden Stiers as the D.A., James McEachin as the cop. These character slots aren’t really important–McEachin does get to show some personality opposite Katt, but none in the expository-only scenes. And Stiers is competent but the material’s bad. You watch him and wonder if he knows his legal reasoning lines are stupid.

Burr’s fine, of course. Katt’s a little bit too much of a jackass this time out. And Hale really doesn’t have enough to do.

Oh, right, the music. Dick DeBenedictis does some crazy music for this thing. Slasher movie, gothic horror synthesizer music for the main cast’s theme, melodramatic tripe. It’s all over the place and occasionally awesome.

There’s not a good reveal at the end, which is all a Perry Mason needs to be a success. Steiger backloads the thrills and it ruins to momentum. It’s a TV movie, it’s got to keep you occupied through commercials, only Steiger and Stalof haven’t got any momentum. Only DeBenedictis does. And the cast could be charming with better material. But it’s still not successful, not at all.

From Beyond (1986, Stuart Gordon), the director’s cut

I’m having a hard time with this one. The From Beyond movie poster and VHS box scared the crap out of me as a kid. Even now, having seen the movie and knowing there’s nothing as visually creepy in the film itself, the imagery disturbs me. Villain Ted Sorel apparently having his face melted off. Only he’s not. He’s growing into a huge flesh monster. The film goes all out with Sorel’s flesh monster, while admirably executed, it’s not convincingly executed. From Beyond can’t do with its budget what it wants to do with its special effects and director Gordon doesn’t quite know how to compensate.

Turning Barbara Crampton into an uncontrollable nymphomaniac for a fourth or fifth of the runtime is one of screenwriter Dennis Paoli’s solutions. It’s not a successful solution, it’s an unfortunate one. Crampton plays a compassionless psychiatrist charged with figuring out if crazy man Jeffrey Combs (who’s pretty darn good) is really crazy or if he and Sorel did figure out a way to activate the sixth sense.

From Beyond has a lot of neat ideas but Gordon and Paoli don’t translate them into any good ideas for the film. Even after it promises Crampton, Combs and a wonderfully affable Ken Foree in a haunted mansion, it doesn’t deliver. Crampton and Combs have no romantic chemistry, which gets to be a problem. Especially since–even though Combs can imply a creepy romantic chemistry–all Crampton is doing is a nymphomaniac trope. Sure, she’s being influenced by an enlarged pineal gland but it’s awful. It’s not disturbing because the special effects aren’t good enough. And, like I said before, Gordon doesn’t know how to compensate.

Good supporting performance from Carolyn Purdy-Gordon.

There’s a lot of good technical work on From Beyond. Editor Lee Percy does a fantastic job. Mac Ahlberg’s photography provides a visual continuity Gordon’s direction does not. Richard Band’s music is good. Even Gordon does well, just not when he’s doing the haunted mansion sci-fi stuff. He seems to be banking on the appeal of the cheesy special effects; From Beyond is supposed to be absurdly funny and Gordon just tries too hard to get there. In the end, it’s not absurd, it’s not funny, it’s just exasperating. And with a less than ninety minute runtime, exasperating is a terrible quality. Especially since there’s so much energy and enthusiasm (in so many bad directions).

Hell, I’m exasperated just trying to talk about it.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Stuart Gordon; screenplay by Dennis Paoli, based on an adaptation by Brian Yuzna, Paoli and Gordon of the story by H.P. Lovecraft; director of photography, Mac Ahlberg; edited by Lee Percy; music by Richard Band; production designer, Giovanni Natalucci; produced by Yuzna; released by Empire Pictures.

Starring Jeffrey Combs (Crawford Tillinghast), Barbara Crampton (Dr. Katherine McMichaels), Ted Sorel (Dr. Edward Pretorius), Ken Foree (Bubba Brownlee), Carolyn Purdy-Gordon (Dr. Bloch), Bruce McGuire (Jordan Fields) and Bunny Summers (Neighbor Lady).

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Judge Dredd’s Crime File (1985) #6

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Gibson finally gets a story with content matching his style to my liking–lizard-men aliens who zap you and make your worst fears attack you so you lose your mind. Very fantastical stuff in a very fantastical setting–a housing block designed to be a maze, only its abandoned because no one could find their way around (thanks to hoodlums pulling off the directional signs).

Oddly, after coming up with such a strange setting, Grant and Wagner don’t do anything with it. It’s a lame shoot out and then a “rah rah” Judge Dredd twist at the end. It makes a fine final panel for the comic (in its last issue here), but the story’s a flop. Except for that Gibson art.

Gibson illustrates the other four stories in the issue to various effect. Grant and Wagner cowrote all of them as well. There are the humanizing ones–like when Dredd’s got to save his niece or when Walter gets into trouble (I missed Walter)–and the funnier ones–Dredd and a fascist alien, Dredd and, oddly, a dirty judge (it’s funny by the end), so it’s a good mix of what Grant and Wagner do with the character and setting.

I’m just upset Mazny Block wasn’t better utilized.

Writers, Alan Grant and John Wagner; artist, Ian Gibson; colorist, Janet Landau; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

Jason Lives: Friday the 13th Part VI (1986, Tom McLoughlin)

Director McLoughlin tries something new for the Friday the 13th franchise; he makes Jason Lives a monster movie. A really bland, not even slightly creepy and only once surprising, monster movie. It’s not notable for it failing to be a good monster movie, it’s notable because McLoughlin’s so sincere about it.

McLoughlin, who also scripted the entry, is also sincere about making the film accessible. No, really, there’s no other reason to have a bumbling executives playing paintball than the make the film accessible. McLoughlin wants people to enjoy Jason Lives.

Unfortunately, his script is lame and his direction of actors is weak. His composition is bland, predictable and never effective, but a lot of it is cinematographer Jon Kranhouse. The movie’s terribly lighted. And, even worse, Harry Manfredini’s score is laughable. It’s never scary. He’s going for that monster movie vibe McLoughlin wants.

In the lead performance, Thom Mathews is terrible. As his love interest, Jennifer Cooke gives a perfectly adequate performance in an unbelievable role. As her father–and the sheriff after Mathews–David Kagen is real bad. There are a lot of actors in a Jason Lives, sometimes too many to track, but none of them are good.

Jason Lives also distinguishes itself by putting children in danger of being brutally murdered by a resurrected by lightning slasher monster. McLoughlin can’t even make that sequence scary; he can’t even create empathy for children in danger.

Jason Lives is rather bad, even as a Friday the 13th movie.

The Fly (1986, David Cronenberg)

The Fly starts with perfect economy. Director Cronenberg does not waste time with introductions or establishing shots–whenever there’s an exterior shot in the film, it comes as surprise, even after Cronenberg opens it up a little. There’s Jeff Goldblum, he’s a scientist, and there’s Geena Davis. She’s a reporter. The film conveys this expository information by having her interview him. It’s perfect.

And that perfect economy keeps going for quite a while, maybe even half the film. A lot happens during that first half–mad science, romance, jealousy, all sorts of things–and it’s outstanding. Goldblum and Davis are great together, John Getz is excellent as her weird, slightly creepy ex-boyfriend and boss. Cronenberg’s direction is exquisite; he’s utterly focused on these three actors. Even the science fiction visual exposition gets downplayed.

Then there’s a shift, a small one, as Goldblum’s character begins to “turn.” Cronenberg doesn’t allow many horror film sensibilities in The Fly. Instead of trying to terrify the audience visually with Goldblum, Cronenberg pulls back and Goldblum disappears. It’s a problem, because the film loses its momentum and never regains it.

Wait, I forgot–there’s one big horror movie sensibility… a dream sequence. It’s cheap. It’s gross and effective, but it’s narratively cheap.

Amazing special effects from Chris Walas, a nice score from Howard Shore, excellent cinematography from Mark Irwin. The Fly ’s a good looking (and sounding) picture.

Unfortunately, Cronenberg’s ambitions decline as the film finally has to deliver the horror.

Labyrinth (1986, Jim Henson)

Every so often, Labyrinth plays like an episode of “Fraggle Rock” with special guest star David Bowie. Oddly, the film starts Bowie heavy but pretty soon he’s just popping in to remind the viewer he’s still around. His performance is terrible; his singing sequences are fine, especially how capably he acts with all the puppets.

It’s important too, because there’s nothing to Labyrinth without the puppets. Henson knows how to direct the puppets and his company knows how to make living creatures with them. It’s a shame none of this attention went into the story, which apes The Wizard of Oz more than a little.

Except Jennifer Connelly’s lead is unlikable for a long, long time. There are all sorts of hints at how her adventure in the magical goblin land relates to her real life, but the metaphors are undercooked. The film’s goal is more about showcasing what Henson and company can do.

And they can do quite a bit. Labyrinth is absolutely gorgeous. While the Alex Thomson photography doesn’t especially impress, John Grover’s editing is amazing.

Connelly is likable enough–eventually–but she doesn’t really have a character to play. Labyrinth doesn’t even spend time making the fantasy world seem real, which becomes clearer and clearer. Henson just needed to slow down and enjoy himself. Or maybe he really didn’t want to do anything with human actors.

Problems aside, there are some truly wondrous creature creations in the film and it goes by fast. Just way too fast.

1.5/4★½

CREDITS

Directed by Jim Henson; screenplay by Terry Jones, based on a story by Dennis Lee and Henson; director of photography, Alex Thomson; edited by John Grover; music by Trevor Jones; production designer, Elliot Scott; produced by Eric Rattray; released by Tri-Star Pictures.

Starring David Bowie (Jareth the Goblin King), Jennifer Connelly (Sarah), Toby Froud (Toby), Shelley Thompson (Stepmother), Christopher Malcolm (Father), Natalie Finland (Fairy), Shari Weiser & Brian Henson (Hoggle), Ron Mueck & Rob Mills (Ludo) and Dave Goelz & David Alan Barclay (Didymus).

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The Legend of Wonder Woman (1986) #4

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And here Busiek and Robbins run into a big problem. They’re doing a last pre-Crisis story and so there needs to be some transition. Well, needs is a strong word. They put in some transition, which the bookend system they’re using requires. And it’s a nice enough transition, it’s just not the right one for this series.

The resolution to the main story is phenomenal. There’s fighting, there’s personal growth, there’s romance. There are kangaroos used in battle. Busiek and Robbins balance the crazy story elements with the human conflict. And they do allow some relaxation for their cast….

Before they cut forward to the modern day and deal with the Crisis stuff. The series, while excellent, is a perfect example of why a superhero comic’s worst enemy can often be itself. Even though it’s sublime, the issue’s politics stop it from being as rewarding as it should be.

The Legend of Wonder Woman (1986) #3

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Someone–Busiek or Robbins or both of them–came up with the structure of this series and all of a sudden it becomes clear this issue and it’s fantastic.

Legend goes from being a nice homage series to something wholly original. Unless the old Wonder Woman comics are as well-plotted, in which case they don’t get enough credit.

Busiek works up the revolt angle, with Wonder Woman starting imprisoned then getting free and fighting alongside Steve Trevor. There’s some wacky fake, but very amusing, atomic science in here too, but then comes the big moment. Busiek and Robbins work towards what should be a rewarding, if all action finish and then go past it.

But if they’re padding for a fourth issue, it never feels like it. The characters, their decisions, all make sense. Busiek does a great job with Steve Trevor too.

Awesome work with the brat too.

The Legend of Wonder Woman (1986) #2

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Right after I say Robbins doesn’t spend a lot of time on backgrounds… she spends a lot of time on backgrounds this issue. The difference is the setting. It’s a fantastical hidden city, not Washington D.C.–and, during the action sequence, the backgrounds do still fade away. So my observation seems about half right.

There are lots of developments this issue. The little brat sidekick becomes a good character–or a better one and not just comic relief–and Steve Trevor stages a revolt in the atomic world. Busiek does a great job applying real emotion to the outlandish situations, not just with Trevor but with how the hidden city invasion plays out.

The way Busiek and Robbins introduce the hidden city is cool too. They split Wonder Woman and the sidekick to cover more ground, but both threads inform the other.

The adventure seems slight, but the creators’ imaginativeness keep things going.

The Legend of Wonder Woman (1986) #1

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How far can unbridled enthusiasm take something? Well, if The Legend of Wonder Woman is any indication, unbridled enthusiasm can go a very long way.

Kurt Busiek and Trina Robbins have the task of saying farewell to the pre-Crisis Wonder Woman. It opens in the present, so having Robbins’s Golden Age-inspired art showing modern events immediately forces the reader to adjust. For example, Robbins doesn’t spend a lot of time on backgrounds in action shots; her style forces the reader to pay attention to the establishing shots.

But those panels aren’t empty. There are often a lot of people reacting. The time Robbins didn’t spend on detailed backgrounds goes into the background cast.

The story itself is complicated pretending to be cute. Busiek concentrates quite a bit on character (Wonder Woman, the villain, Wonder Woman’s nasty little kid sidekick) before the big monster attack finish.

The abrupt ending’s problematic though.