ReelLover Reviews

Invasion of the Body Snatchers (1978)

Takes the recipe and makes it better

[10/10 · 21 October 2021]

To begin, the first film that was released in the fifties was more of a condemnation of marijuana, with the "Seed Pods" and the San Francisco backdrop adding to the message that you will lose your individuality from consuming cannabis. While I can actually agree with that sentiment (I do consume Pot), it was a good film that set the foundation for this better and much scarier version.

In many ways it's somewhat of a sequel. The pod people have yet to take over San Fransisco completely, and 20 odd years later, McCarthy is still a human and running around like a mad man trying to convince everyone that they are in danger, with his short and memorable cameo. So if you were to have a double feature with the original and this version, it would not be overkill.

However in this day and age they both speak of a world were individuality is under attack, and the result is not pretty, for anyone.

Unlike the first film, with it's cookie cutter characters, each of the primary actors here give us strong color and contrast to the situation afoot. Nimoy, Goldblum, Cartright, Sutherland, Adams and even the homeless guy with the dog are unforgettable. I can still see that dog which has given me nightmares for over forty years.

Wrapping it all together is Jazz composer Denny Zeitlan's amazingly effective score, which holds it's own against other horror greats such as Gil Mellé and even Franz Waxman, who likely was his primary inspiration considering it has the same demonic "joy" we felt in Waxman's "Bride of Frankenstein" at the film's climax. Understated through much of the first 3/4s of the film and with no real denoument, it follows the aliens like a broken ice cream truck melody that keeps us chilled to the bone.

All of the actors are at the top of their game in this movie, as they should be, projecting strong personalities that fade away through the progress of the alien invasion, and it truly is a treat to behold how they devolve into unfamiliar automotons.

The makeup effects are good but not gorey, and the use of sound is more effective than most of the visual elements in my opinion, such as the sound of the alien screams, which have yet to be surpassed, with the possible exception of the alien creature in John Carpenter's "The Thing", another body snatcher movie by the way.

After so many years it feels almost criminal that this Body Snatcher is not praised more, because it has a quality that I believe is intelligent and unique, as well as chilling.

Used Cars (1980)

The thesis for every Zemeckis film to follow

[9/10 · 21 October 2021]

Whether anyone else sees it or not, it appears as though Zemeckis set a tone for most of his career with Used Cars, and no, it's not a bad thing. From a time travelling Delorean to alien spaceships and a woman who loses her child on a commercial jet, Robert seems to be right at home with storys about planes, trains and automobiles. So if you haven't seen Used Cars but you love all of his other blockbusters, you better watch this sleeper that found a new audience on HBO in the early eighties.

With it's overtly sexual tone and low class characters, we are treated to a menu of fast food for the brain, with characters we normally would want to steer away from, but find ourselves cruising with and cheering for by the end of this epic comedy.

Russell is slime and his band of misfits are cunning warriors with words, in a battle for the future of a good old boy car dealership that is threatened after the owner dies unexpectedly. Their reactions are sophomoric but considering this is a comedy, we allow our suspension of disbelieve to be pushed to it's limit, especially watching this film in today's politically correct atmosphere. That being said, this movie could not have been made today.

Whether you like Zemeckis or just want a fun ride, Used Cars is a must see for any fan of off the wall race against time kind of movies.

The Cassandra Crossing (1976)

Holds your attention but very flawed.

[5/10 · 21 October 2021]

I first have to say that the best thing about this film is Jerry Goldsmith's score, that rises above the obvious pandering to the "Beauty Under Fire" vibe that seems to be the real story in this disasterpiece. It keeps us "On Track" that this is a tragedy waiting to happen despite the people involved don't seem too worried that they are dealing with a contagious disease, even while in close proximity to the carrier.

Eva and Sophia are given almost equal screen time, both fueding with the men in their lives who are obviously disposable, and almost at the worst times. The feeling that we have to sit through these disjointed moments is almost unbearable, but they offset well with tense editing and Goldsmith's synchopated cues.

What truly is an engaging story gets lost with poor acting, even with legends such as Strasburg who likely was brought in to offset the horrid acting from OJ Simpson. I told my spouse that I understand now why Simpson had such few lines in the Naked Gun films. I wanted him to shut up through most of his scenes it was so bad.

Harris was my favorite character, and his compassion felt like the glue that held this film together for the most part. But I could have cared less for The rest, and when a few key characters cash in, I was almost relieved.

Perhaps that was Cosmatos's intent; to create a character study of people we don't like, so that when their final moments come, we aren't so heartbroken.

Part of me was hoping it didn't end the way it did, because as an adventure it might have been a better experience if we did care more about these people, and overcoming the task before them. Without spoiling the climax, I will simply say that that is not how it plays out.

I admit I didn't see the best representation of the film, so I plan to find an HD copy and give it another go, because the beautiful backdrop of the European countryside seemed lost in the VHS SLP quality of the print I watched.

Dune (1984)

Better than you think.

[8/10 · 19 October 2021]

The criticisms of this Dune seem to be hinged on the approval of what was once a huge fan base, that was critical of anything relating to the Dune universe. Since much of that base has been fed several different versions of the same story, with varying degrees of approval, I think the cult status of both the books and this adaptation cannot be understated and this is still the version I personally judge all others by.

In 1984 I went in blind to the Dune saga depite having tried to read the books, with it's heavy jargon and plethora of characters I was lost by page 10, but knowing Lynch from Eraserhead and The Elephant Man, I felt I was in good hands when I finally sat through my first screening of his version. What makes me like this most of all is that unlike the future versions that manifested, David Lynch took a huge risk making it his own and the fact each subsequent version seems to carrry the torch of "This is not THAT Dune", speaks volumes regarding the impact Lynch made on the Dune Universe, and it's also a glaring example of the ignorance of those filmmakers to what Lynch's Dune was all about, of which is, a LOVE STORY!

Lynch knew he could never match the varied and complex Dune universe in one film, plus needing a common thread to pull in new fans was a difficult task that has likely haunted him ever since he had his name taken off of the extended version which seems to be a fan favorite for the Dune geeks who likely have no relationships to speak of. So trying to wrap their singular brains around the real story being told is likely met with bitterness and contempt, and I believe that is why this version is loathed so much.

If you take away the expectations and preconceptions projected onto this film, it is about a man coming of age after losing his father and his father's legacy, to be cast away among a group of mongrels who eventually connect him to his true destiny and the love of his life. The subtle beauty of the love between Ciani and Paul still sometimes takes my breath away, and the underlying themes of courage, devotion and enlightenment are never more present, or memorable, than in David Lynch's Dune.

On a production level, Dune is full of unforgettable sets and makeup effects, orchestrated by the loving hand of the director in a symphony of sites that, to my mind, spawned the steampunk and cyberpunk movements.

The music by Toto is also unforgettable, and sadly, to my knowledge, the only film they scored.

Everything about Lynch's Dune is really unforgettable, but because he focused on making a love story for geeks who live in their parents basement, he encountered a resistance that sadly endures.

If you want Dune, it's obvious you need to read the books. If you want a love story, watch this film.

The Time Machine (1960)

By which all others are judged.

[8/10 · 19 October 2021]

Two of the best time travel movies, Back to the Future and Time After Time, pay homage to Pal's inspiring Time Machine in different ways.

In Pal's Time Machine, when George is demonstrating the model to his friends, Sabastian Cabot is holding the box and George lifts the cover in front of Cabot's face, where he lifts his head and his eyes peer over the rim. Zemeckis plays this same move when Marty meets Biff in the diner and his eyes peer over his left shoulder.

In Time After Time AND Pal's Time Machine, the time traveller is none other than H. G. Wells but in Time After Time Stevenson and his friends call him Herbert, but in Pal's Time Machine they call him George. Herbert George Wells is our beloved Time Traveller in two separate films.

This needs to be remastered in High Definition. Actually the entire Pal catalog needs a complete digital makeover, especially The Seven Faces of Dr. Lao.

Time After Time (1979)

A hidden gem of suspense, action and romance.

[8/10 · 21 July 2016]

Time After Time was one of those films I saw in my youth (I was 13 in 1979) and it left an indelible impression on me. More of a romance than sci-fi, the viewers suspension of disbelief needs to be fluid here as we watch Meyer take liberties with history and turn our beloved writer into a time hopping romeo out to save the world from the evils of Jack the Ripper. However the deeper entertainments here are the chemistry between Steenburgen and McDowell, who were married after filming completed. So in a sense we are watching a romance in real life unfold similarly like in the film, and all the more better with a lush Rosza score behind it, which really is the best thing about the film. Why this movie is not on Blu-ray completely baffles me but it doesn't exactly stand out in terms of photography. The effects are simple and well placed, external shots are functional and appealing but not epic, but an HD remix is desperately needed here as the SD version is the only available through Amazon. Sometimes studios do this because HD can sometimes make the movie look worse, and if there is no budget to clean it up, keeping it in Low-Fi sometimes is best. However Time After Time deserves a view if you like on screen romance mixed with compelling situations reminiscent of the Hitchcock school of Love meets danger.

Muppets Most Wanted (2014)

Sad. Really Sad.

[3/10 · 9 September 2014]

I wanted to cry watching this movie. The musical numbers lacked any kind of charm, partially because I couldn't understand what they were singing part of the time (and I have a theater sound system). The cover songs were empty shadows of other songs, probably because they were mostly sung by prison inmates, and the original numbers were forgettable. The Muppets themselves, who almost always come through with empowering breakthroughs if not snappy comebacks, were unflinchingly stupid and helpless from beginning to end, and this was the biggest disappointment for me. The fact that they didn't know that Kermit wasn't Kermit kept breaking my heart. Animal knew, but nobody listened to him and there was no punch line to it, therefore that aspect could have been ditched entirely. The pop culture references were beyond stupid. I can dig them in some cases, but having random stars show up in predictable situations (Usher as an usher?) is just cheap and easy, if not boring. Sometimes they fail all together, like Kermit having a poster of Miss Piggy to hide his escape efforts A-La Shawshank Redemption. My thought during that whole scene was..."How many children are going to get that one?". And while some may say that they try to appeal to a broader audience, I can understand that but the Muppets in every respect have mass appeal because they are LIKE children, struggling to be seen, to be heard and accepted in a world that ignores them. The Muppets always had a broad audience because even as adults we love to see how a piece of cloth wrapped around someone's hand can come to life, but here we really do just have pieces of cloth. So I don't know who these Muppets are, but they're not MY Muppet's. My Muppet's would have figured out that Kermit was the wrong Kermit, that Ricky was the bad guy and they needed to stop what they were doing to fix things. But these Muppets acted more like stupid adults with no brains, ready to do what the man says. They had all the energy but no fire, no gumption, no magic; the magic of wonderment, discovery and empowerment, that was the signature backbone of Jim Henson's Muppets. I don't know where these Muppets came from, but please, send them back.

Guardians of the Galaxy (2014)

Pop is eating itself.

[5/10 · 8 August 2014]

In a previous review, one writer said that Marvel could have "played it safe, but went into a bold new direction".

Well I don't know about you, but filling a movie with pop culture references to hook the money-spending adult-child demographic of 30 and 40 somethings, in what is quite literally "just another sci-fi adventure", is NOT taking a risk.

From the very minute the film started I knew I was going to be manipulated in the most direct way, but even then sometimes you ask for it, like watching "Old Yeller" for example. But in the case of GOTG, it's pretty much shoveled in our mouths from the beginning, and with more than a spoonful of sugar.

Some have compared this movie to Star Wars (which it's not), and even while that film was derivative of Saturday morning serials and classic science fiction films and TV, what made Star Wars unique is the creative ways it tips it's hat at the genre, and more specifically how hard everyone worked to make it their own. There was more depth to it, and it left you wondering, "didn't we see that in something else"? However GOTG embellishes with pop culture, very much like the roller-coaster ride operator who turns on the top 40 or R&B station while he locks you in your seat. That's not creating something unique, it's hopping on the back of something that's previously established, and it takes no effort to do so, only money.

But don't take my word for it, see for yourself. In going through the other reviews, on almost every page someone writes their summary as "Hooked on a Feeling". If that doesn't resemble Pavlov's Dog, I don't know what else could.

I DID like Guardian's of the Galaxy for it's art design, effects, stunts, sound design, and the battered underscore by Tyler Bates which was brilliant. But with scenes in which we have Chris Pratt making Kevin Bacon sound like a universal liberator of man during a romantic scene with Zoe Saldana, (and who references his name later in the film like a punch line) this movie is the epitome of that age old prediction, "Pop Will Eat Itself".

Speaking of Pratt, I felt he's probably the weakest leading man I've ever encountered in a blockbuster film. He felt like a composite of Indiana Jones, Norma Rae and Oliver Twist all mixed into one. I cared not a single moment for his well being, his past or even his future.

So no, Marvel didn't play it safe. Not by a long shot. They knew what they were doing when they licensed these songs, filled the dialog with prime time nods and then threw a bunch of fireworks at us. Not having read the comic, if these same kinds of references are in there, I'm sure I will find out soon enough. But that just reinforces my argument anyway, and leaves one to ask if we should expect more depth of storytelling, character development and not-so-easy references to day to day life from big budget features (I do!), or is it safe to say that today's blockbuster films will sacrifice originality for commonality and we should just go with it?

Either way, since this is obviously the first in a new franchise, I'm sure we will find out what Marvel's priorities are in the next installment. Let's hope it's not just "The next Empire Strikes Back".

Little Buddha (1993)

An interesting fantasy with a message for all who listen.

[8/10 · 2 May 2014]

To begin, this film holds a lot of mysticism within it's frames, and the magic is there for those who expect religious figures to have super human powers. Therefore Little Buddha is like any other biblical epic, from The Ten Commandments to Ben Hur to even Raiders of the Lost Ark, as Bertolucci takes the myth of the world's most popular Buddha and adds special effects on par with those previously mentioned.

Behind this backdrop of bowls that float upstream and fiery arrows that turn into flowers before they reach their enlightened target, is a message as true now as it was 2500 years ago, and through the story of three children who are believed to be the reincarnation of a beloved Tibetan Lama, we are reminded of the power of love, compassion and acceptance via the middle way.

The truth the universe staples us to the dualities of form and formlessness by sheer power of the mind, is gently brought to realization with gorgeous cinematography and stunning music by Ryuichi Sakamoto. Even Reeves is convincing as the great Siddhartha, and with understated performances from Bridget Fonda and Chris Isaak, the parents of one of the children named Jesse played by Alex Wiesendanger, all three are excellent ambassadors to this world of mindfulness and joyful.

While the film does get a little long winded at two hours and twenty one minutes, if you stick with it Little Buddha is a feast for the senses. For those with a more critical eye, try to look past the magic and see the film for what it really is, a primer for a more beautiful and healthy way of looking at life.

Little Buddha is one of my favorite films. It introduced me to the world of Buddhism at a time I needed it most, and in a world where we are becoming more and more polarized politically, as well as enmeshed in the lives of people from all over the world, the message of the Buddhia is more important than ever, at least in my opinion.

Available on Netflix in HD.

Trick 'r Treat (2007)

Reminiscent of Trilogy of Terror, Trick R Treat is a fun little bloodromp.

[7/10 · 4 October 2013]

Originally released in 2007, it's hard to believe a lot of people have not heard of this film, but I'm sure as the years go on, this will be considered a classic horror staple, much like BLACK Christmas which was released in 1974 but wasn't truly recognized as a classic till it appeared many years later on late night cable TV. Trick R Treat is a very well made gorefest that is reminiscent of classics such as Trilogy of Terror and Dr. Terror's House of Horrors, with four stories of madness and mayhem interwoven together on Halloween night. Featuring old and new ideas, with some unexpected surprises that keep you giggling and screaming till the very end. Production values are very good with some beautiful camera work and convincing makeup effects, this one will certainly be on many Halloween play lists for years to come.