Starman

Starman (1984)
Director: John Carpenter
Cast: Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel
Memorable Line(s): "I watched you very carefully. Red light stop, green light go, yellow light, go very fast."

John Carpenter's movies always seem to have some sort of rough edge. It not that that they look amateurish, there's just a rawness, but Starman breaks that trend and is probably Carpenter's most polished movie. It's also a real treat to watch.

The Plot of Starman
Something is flying through space towards earth. An alien craft of some sort. It breaks through the Earth's atmosphere and crash lands in the back woods of Wisconsin.

A few miles from the crash site, we see Jenny Hayden (Allen) watching a home movie of time gone by with her deceased husband. She passes out on her bed and shortly after that a presence enters her home and explores it, collecting information and items. Jenny wakes up to some disturbance and discovers a baby-like form in her front room, but this isn't like any baby she has ever seen because it is growing at an exponential rate from infant to boy and then to manhood. And this entity ends up looking just like her husband (Bridges).

This is the beginning of Starman and also the start of a long adventure for Jenny Hayden and her Starman. It is a journey that takes them across the country with government types in pursuit lead by a conflicted SETI scientist (Smith). It is also a journey in which Jenny discovers just who this entity is and the Starman discovers what it is to be human. The two big problem are that they only have 36 hours before the Starman expires and a Army general (Jaeckel) wants the alien captured.

The Performances, Writing, and Direction of Starman
As I said in my introduction, this is probably Carpenter's most polished and complete pictures. From what I know about this movie is that it was totally backed by the studio and while movie looks and feels good, the experience wasn't to Carpenter's liking which is too bad because it is some of his best work.

Bridges has a juicy role as the alien and it's a part an actor can really sink their teeth into because there's little precedent for a role like this and a lot of territory to explore. Allen delivers an excellent performance as the grieving widow. Charles Martin Smith gets a peach of a role and delivers a very likable performance in the supporting role of a government contracted scientist.

The script is a bit of a tightrope walk as it has to balance out the action with poignancy without becoming sentimental or maudlin and it does this walk quite well. The score while simple is hauntingly effective.

Summary Judgment on Starman
This movie seemed well outside of the bounds of the subjects that Carpenter liked to spend his time and it's shame he didn't like the experience any more than he did because this is a darn good movie. Other movies have tried this subject matter before and after, but few have done it better.

True Believer

True Believer (1989)

Director: Joseph Ruben

Cast: James Woods, Robert Downey, Jr., Margaret Colin, Kurtwood Smith

Memorable Line(s): "Then know this going in -- everyone is guilty."

You know the line where someone says, "They don't make movies like that anymore?" Well, they have always been making movies like True Believer for a long time and will continue to make them. Well crafted and decently acted movies are a dime a dozen but they are mostly unoriginal and uninspired.

The Plot of True Believer

We see a crowded China Town street with people milling about. An individual man separates from the crowd, but just as quickly another man steps forward brandishing a gun and shoots the first man down and then runs from the scene.

The scene changes to a prison where a prisoner is singled out for a prison yard execution by another prisoner. But he is prepared and prevails.

Eddie Dodd (Wood) is a former (the operative word is "former") fire-breathing liberal from the '60's who once fought the good fight against the system, but now defends mid-level drug dealers. Roger Baron (Downey) is an idealistic, newly graduated, fresh-faced lawyer who wants to study with the master, only to find "the master" has lost his fire and now will take any case that pays the bill regardless of the client's guilt.

Roger becomes quickly disenchanted with the new legal direction that Dodd is taking with his law practice and an opportunity appears to really help someone out. Roger works over Dodd's sense of mission and finally he guilts Dodd into taking the case. The case just happens to be that of the intended victim in the prison assassination attempt.

The problem with the case is that it is one with real consequences. A man's freedom is on the line and Dodd has to muster muster all his old guile to find a way to make his case or else all is lost. This includes Roger's naive innocence, Dodd's renewed dedication to "the cause of justice", and this man's life.

The real obstacle is that powerful forces are arrayed against them as Dodd and Roger must fight an uphill battle that could also cost them their lives.

The Performances, Writing, and Direction of True Believer

Sort of cookie cutter plot taken from a mish-mash of other plots, the only thing that really keeps the movie at float at times is the impassioned performance from Woods. Woods maybe takes the perfromance a little too far in places and the direction is helping him along, but Woods has considerable skill and charisma, so he succeeds more than he fails.

Downey acquits himself well, but his part of over-written, so he's coming at the part from a deficit. It's a role any one of the brat pack could have played and Downey doesn't really distinguish himself in the role. There are some meaty roles for the supporting cast and Kurtwood Smith does stand out.

There is a bit of style in the direction, but it really can't over come the stale plot.

Summary Judgment on True Believer

True Believer has Woods, some style and a nice set-up, but it is largely forgettable. In fact, I knew I had seen it, but had completely forgotten that I had. If you happen to tune into this movie on cable one day, it is worth the effort to watch, but not a lot of effort.

The Elephant Man

The Elephant Man (1980)
Director: David Lynch
Cast: Anthony Hopkins, John Hurt, Freddie Jones, Anne Bancroft, John Gielgud
Memorable Line(s): "I am not an animal!"

David Lynch as a director is nothing else if he's not his his own man with his own sensibilities. Sometimes those sensibilities serve him well and sometimes that don't. This is one of the times in which his unique vision is right on.

The Plot of The Elephant Man
In the bowels of London, there is an exhibition of something so repulsive that women scream and men gasp at the sight of it. Yet, people can't repress their curiosity and the lines are always long. For the first portion of the film, we don't get the see the actual object of this fascination, just the reactions of those who do observe the object.

One such person is Dr. Frederick Treves (Hopkins). Maybe it's through some rumor, but he's drawn, almost compulsively to see "the thing." The thing is John Merrick (Hurt) and he is terribly disfigured by a horrible mistake of nature. For marketing's sake, he has been dubbed "The Elephant Man" and he is exploited in every way because of his condition.

Merrick is in the care (if you can use that word) of a cruel showman, (Jones) who only see Merrick as a meal ticket. He mistreats Merrick terribly, seeing him as little more than an show animal.

Whatever motivates Treves is not completely known but it turns out to be a rescue mission for Merrick as Treves takes him under his care in the hospital. Treves sees Merrick as patient, specimen and human -- and in that order. Merrick makes the most of it and starts finally to see some human kindness as he mends at the hospital, but Treves must face his own motivations the longer Merrick remains with him.

The Performances, Writing, and Direction of The Elephant Man
There are two signature performances in this movie; Hopkins as Treves, the doctor who rescues Merrick, and Hurt as Merrick. I would argue that while Hurt's performance is truly sublime, it is Hopkin's role that is really the most challenging and Hopkins pulls it off quite well. The intentions of Treves seem immediately most obvious, but there many layers in his motivations and Hopkin's peels off these layers deftly as he lets Treves unfold before us. All of the rest of the cast is subpurb also especially Freddie Jones as the cruel showman and Bancroft, the leading lady of the stage who takes a great interest in Merrick.

The real driving force behind the movie, though, is Lynch. While not as experimental and artistically bold as his earlier movies, his tact with this movie is more appropriate to the content of the story, but still there are some moments in which he employs some of his earlier tactics to great effect in The Elephant Man. The breaks in the more traditional storytelling of the narrative in which uses more jarring and disorienting imagery make us see the chaotic world that Merrick lived in and they are quite effective.

The real credit goes to Lynch in allowing these great performers to their job without forcing through some of the characters quirks he add to characters in his later works.

Summary Judgment on The Elephant Man
Lynch chose to film The Elephant Man in black and white and it is in the stark contrasts in these two colors that he paints of picture of a man who is considered a creature by some, a freak by others, and an object of fascination and pity by others. This black and white treatment seems to be symbolic of the Merrick's life -- one of cruelity, but one in which someone who with an hideous exterior has an inner beauty and character that is fascinating. It is in this juxtaposition that both the characters find themselves, balancing our curiosity with respect and pity.

Cocoon

Cocoon (1985)

Director: Ron Howard

Cast: Dom Ameche, Wilford Brimley, Hume Cronyn, Steve Guttenberg, Jessica Tandy, Brian Dennehy

Memorable Line(s): "I know you're trying to help your people but so am I."

Cocoon is a unique movie because the core of it's cast consists of the geriactric set and this usually not the demographic that Hollywood is shooting for, but it was a big hit. While Cocoon is a real crowd pleaser, sometimes it panders and that's when it loses some of it's effectiveness.

The Plot of Cocoon

The residents of a rest home see their best days behind them as they clock ticks down on their lives. Three gentleman (Ameche, Brimley, and Cronyn) of their group decided to take a walk on the "wild side" and routinely sneak into a private house located adjacent to their retirement home.

Meanwhile a down on his luck charter boat captain, Jack (Guttenberg), takes on a new client who wants to engage his services for a extended time which pulls him back from the brink of financial insolvency. These new clients aren't doing the normal fishing like is normal customers, but are bringing up strange, over-large, egg-shaped objects from the ocean floor, saying they are large shells. After retrieving them, they place the objects into the same pool the geriatric set has been swimming in.

As a side-effect from swimming among these objects, all these old folks get a great sense of rejuvenation including one who is particularly ill. Two-and-two aren't put together until Jack and the geriatric swimmers discover the truth behind the egg-shaped objects.

Initially, this truth is all fun and games as the gang regains all it's youthful zeal. The secret knowledge spreads beyond the narrow circle and, as is all too common, everybody wants in on the action to the detriment of everyone, unfortunately.

The Performances, Writing, and Direction of Cocoon

These are seasoned professional actors and they bring every bit of their experience to these parts. It's really a joy to see all this cumulative experience on the screen. Ameche, Brimley and the Cronyn's all stand out, but all the performances from this experienced cast are exceptional. Guttenberg represents the younger set in the movie and he comes across as little over-earnest at times.

Howard's breakthrough movie was Night Shift and he stepped up his directing game with Splash. He continues that roll with Cocoon. Howard's style is a throwback to the big entertainment directors of the past such as Frank Capra. These director knew how to make audiences smile. For the most part, this works for Howard, but today's audiences are a little bit more sophisticated and some of his tricks tend to pander to a lower common denominator.

The script works fairly well as it balances out some of the more comedic moments with the poignant ones. The climax has a bit of a trumped up complication, but if you can get past that, it's still fairly satisfying.

Summary Judgment on Cocoon

In his early films, Howard tends to want to be a crowd pleaser and this film is no exception. But this is a popcorn, Saturday afternoon movie and was never intended to be art or heavy on substance. If it's escapism you want, Cocoon is there for you.

The Great Santini

The Great Santini (1979)
Director: Lewis John Carlino
Cast: Robert Duvall, Blythe Danner, Michael O'Keefe, Stan Shaw, David Keith
Memorable Line(s): "No one can tell you anything, dad."

* Underrated and Overlooked *
The Great Santini is largely a forgotten movie, but really shouldn't be. Based on a Pat Conroy novel in which he plumbs the familiar depths of a dysfunctional family and this is quality source material. Add to that, some great performances and you have a gem of a movie.

The Plot of The Great Santini
"Bull" Meechum (Duvall) is a force of nature and an intimidating figure both as a Marine and a family man. All Marine and domineering in every way, Meechum runs his family like they are extension of the military. Lillian (Danner) is his long suffering wife and peacemaker in the family and takes the brunt of Meechum's boorish behavior. Ben (O'Keefe) is the eldest son and finds that his burgeoning manhood puts him conflict with his fiercely competitive father. And Bull's competitive bar is set unrealistically high. These expectations eventually will bring this conflict to a head eventually.

Bull returns home and, as is common practice for military families, he puts them on the move again. This move puts the family in the heart of the south (which also happens to be Conroy's favorite setting) in Buford, South Carolina. The family is not happy with the move, but have little choice and do their best to adapt.

Ben strikes up a friendship with a young a black man, Tommer (Shaw), who is afflicted with stuttering. In the racially charged south in 1960's, this is a dangerous relationship as Toomer has a volatile young racist as an enemy. This friendships serves as a catalyst that leads to an ultimate showdown between father and son and maybe the ultimate revelation.

The Performances, Writing, and Direction of The Great Santini
While Duvall has the showcase performance and eats screen real estate every time he has screen time, but newcomer O'Keefe hold his own as the real central character in this drama. Duvall is quite remarkable because he takes this unsympathetic misanthrope and shows him as a authentic human being, flawed at the core, yet still trying to do his best.

When compared to the other roles, Danner's portrayal of the mother is as well fleshed out as the other characters and we never really get see her motivations very clearly. The other children do a great job in their roles and are quite convincing.

The backbone of this movie is the story. The tension between father and son is what creates the momentum for this movie as the son finally is man enough to challenge his father. It is an age old story, but this telling has wonderful performances to make it stand out.

The direction isn't flashy, but does what it needs to and never gets in the way of the story. The only knock on this movie is that is that at times, the movie is a little blunt in places, but these scenes do not mar the over all effect.

Summary Judgment on The Great Santini
This is vintage Conroy containing inter-family conflict, bad parenting, and the south. Conroy has mined this topics many times and this one is quite successful telling as it came early in his career and elements didn't seem so re-cycled as the did later in his career. Duvall gets a juicy role and O'Keefe shines in his first lead role. Forgotten, but not gone, The Great Santini is a great film for those that like drama.

Platoon

Platoon (1986)
Director: Oliver Stone
Cast: Charlie Sheen, Tom Berenger, Willem Defoe, Forrest Whitaker, John McGinley, Kevin Dillon, Johnny Depp
Memorable Line(s): "When the machine breaks down, we break down."

When I first saw Platoon when it was released, I did think it was good, but for some reason it left me cold. It did seem better the second time around, but I still have some reservations.

The Plot of Platoon
The setting is Viet Nam War and the time is 1967. Chris (Sheen) stands out from the rest of his fellow grunts because he enlisted instead of going to college. Still he is just fresh meat for the war and he knows almost immedietly being there is a big mistake as soon as he gets there, but there he is, clueless and suffering in the role of a grunt soldier, feeling completely disposable. Life is measured in days and sometime in only minutes.

When they are not in the field, they are trying to escape the place with drugs and alcohol. Every new day brings new peril as they patrol seemingly aimlessly facing off against an almost invisible enemy. The name of the game is survival and private Chris just tries to keep his head down. The lines between enemy and innocent bystander blur and after one of their own is killed, tempers flair and when they enter a local village things get out of hand.

Sgt. Barnes (Berenger) is a mysterious and malevolent character who threatens to go from soldiering to vengeance, but Sgt. Elias (Defoe) stands in his way because he sees himself as a crusader where Barnes see himself above any morality. When Barnes crosses the line, the stakes are raised in the ranks and Chris will be forced to choose sides in a game of life and death.

The Performances, Writing, and Direction of Platoon
Platoon won the Academy Award and almost deservedly so, but there sometimes it seems as if director Oliver Stone tries too hard and over philosophizes while in other places the films seems to meander along almost pointlessly, but maybe that's what he was trying to get across. Still, more works this movie than doesn't and when it does work, it is quite affecting and effective.

It's ironic that Charlie Sheen would have the lead role and act as the narrator for a Viet Nam movie after his father, Martin Sheen, did the same thing only a few years earlier in Apocalypse Now. Sheen acquits himself well in the role, but seems restrained in many scenes, thus muting the effect of his performance. You do get to see his character evolve throughout the film, yet retain a core innocence. Berenger and Defoe serve as angel and devil to the young Chris and while Defoe is solid in his part, Berenger excels in his role as the amoral soldier.

Stone does an excellent job of capturing the chaos and brutality of war. In many scenes, it's hard to decipher what is going on and the audience surely feels this disorientation when things get totally out of hand in the most ferocious battles and this certainly gets across the chaos of fighting.

Summary Judgment on Platoon
Platoon is a quality movie, but I still feel that Oliver Stone keeps the characters at a distance, thus making it harder for the audience to identify with the characters. As I said in my open, I felt that Platoon is a better movie than I recalled. So, I can recommend Platoon as a "should-see" movie from the 1980s.

A Fish Called Wanda

A Fish Called Wanda (1988)
Director: Charles Chrichton
Cast: John Cleese, Jamie Lee Curtis, Kevin Kline, Michael Palin, Tom Georgeson
Memorable Line(s): "Don't ever call me stupid."

The heist movie has always been a fan favorite, but with A Fish Called Wanda, the filmmakers mix the genre with a comedic flair which makes for a delightful combination.

The Plot of A Fish Called Wanda
Set in England, a small crew of thieves mastermind a $20 million dollar heist of diamonds, but also display why the phrase "there is no honor among thieves" is so true. The crew consists of cunning seductress, Wanda (Curtis), a hot-headed weapon's master, Otto (Kline), and a stuttering, animal lover, Ken (Palin). The leader of the crew, George (Georgeson), gets double-crossed by the "brother/sister" team of Otto and Wanda, but not before he stashes the loot in an undisclosed location.

The wheels start spinning as Wanda and Otto try to scheme up a way to get the diamonds. In the process, an unsuspecting barrister, Archie (Cleese), gets caught up in their plot as Wanda tries to use him to get information. All the while, Ken must dispatch with an elderly woman who was only the witness that can put his friend, George, at the scene of the crime.

One of the lynch pins in the whole scheme is a locket and it becomes the proverbial hot potato as things progress. Where it goes, the characters have to follow and the complications never keep coming.

The Performances, Writing, and Direction of A Fish Called Wanda
The performances in A Fish Called Wanda seem effortless. Because the movie is a combination crime/comedy, the actors have to walk a fine tight rope to make sure they don't over-do the seriousness of the action roles, but yet let the comedy work, too. All actors acquit themselves quite well. Jamie Lee does the best job as she has the scheming seductress down to a fine art. Cleese handles the straight-man part very well and is completely believable in the role. Both Kline and Palin get to play their roles a little broader with Palin getting the most latitude. Both get to do some physical gags and pull them off.

The key to the direction of this movie is timing because of all of the comedy. Stylistically, the movie is a little flat, but the comedic timing is spot on. The script is a lot smarter than people give it credit because beneath this comedy is a story that twists and turns, keeping the audience guessing.

Summary Judgment on A Fish Called Wanda
I saw A Fish Called Wanda when it was released and remembered being pleased with it, but over the years, the details faded to where almost nothing was left of it. It was nice to get acquainted with this movie again, though. It's not art, but the script and the performances are worth watching.