My Science Project (1985, Jonathan R. Betuel)

It’s hard to say what’s worse in My Science Project, Beutel’s lame characters or his direction of the actors playing those roles. And I’m not counting Dennis Hopper, who plays an ex-hippie in the picture. While Hopper certainly has a poorly written character and Beutel’s direction of him is bad… it was Hopper’s decision to play a caricature of himself. I’ll give Beutel a pass for that one.

But Fisher Stevens (as a television trivia obsessed Brooklyn “greaseball”), Raphael Sbarge (an overweight–the padding is visible–nerd) and Richard Masur (a cowboy detective)? Beutel doesn’t just have dumb ideas, he’s also incapable of executing them.

Science Project also suffers from a lack of plot. High school senior John Stockwell discovers an alien gadget and complications ensue, including a time warp with future mutants, a surprisingly competent dinosaur and a damsel in distress. But there’s no drama to the plot. Beutel just throws in things he’d seen in other movies and relies on Fisher’s bad jokes to make the film palatable.

The damsel, played by Danielle von Zerneck, and Stockwell actually have a fairly decent romance. Though one wonders if Beutel ever actually attended high school, given the absurdities of the one in Science Project.

Von Zerneck’s always good, even when the script’s bad, and Stockwell’s best in his scenes with her. The final third lacks their chemistry and the film suffers.

Beutel’s composition is competently unoriginal. Peter Bernstein’s music helps.

But Beutel’s Science Project still fails (sorry, couldn’t resist).

Christine (1983, John Carpenter)

John Carpenter does some amazing work on Christine. He’s got help from his cinematographer, Donald M. Morgan, but the first forty-five or fifty minutes of the film are simply masterful. Carpenter has a wide variety of scenes–high school, ominous, family scenes, conversations–and all of them are magnificent.

It’s just too bad Bill Phillips’s script falls apart once John Stockwell ceases to be the main character and top-billed Keith Gordon takes over. It also doesn’t help Gordon’s terrible. Some of the film’s logic holes are because the script’s focus switches from Stockwell to Gordon (and finally back to Stockwell), but it wouldn’t matter if it didn’t. Gordon wouldn’t be any better if Phillips’s had plotted the script better.

Gordon starts out as an ostracized nerd and he’s awful at it, but at least he’s got Stockwell to hold up the scenes. But then, once Gordon gets his evil car, he becomes super-cool. Except Carpenter and Phillips don’t show this period, it’s just implied because Alexandra Paul wants to go out with Gordon. When the film catches up with him again, he’s super creepy. By the end, he’s a vampire.

The last hour or so is a mess, with some excellent special effects, Carpenter’s direction and Stockwell’s acting keeping it watchable.

Paul’s okay, nothing more, but there are some great supporting performances. Robert Prosky, Harry Dean Stanton and, especially, Roberts Blossom are all fantastic.

Christine can’t overcome its major problems; Carpenter makes it worthwhile all by himself.