Sgt. Pepper's Lonely Hearts Club Band (1978)

Sgt. Pepper’s Lonely Hearts Club Band is one of the finest Beatles albums, and sadly, it’s also the name of this campy story starring 1970s music icons like The BeeGees, Peter Frampton, Billy Preston, Earth Wind & Fire, Alice Cooper and Aerosmith (as the Future Villain Band singing ‘Come Together.’)

As much as I wish to declare this musical an abomination, there is something strangely good about it. The only thing The Beatles have in common with this film is the music. The film—a loose concept story of Billy Shears and his band hitting it big and leaving the wholesome town of Heartland and Shears’ girlfriend Strawberry Fields behind. Heartand is taken over by Mr. Mustard. Strawberry goes to find Billy and the band to help save the city. There’s some horrible plot to destroy decency and Sgt. Pepper’s Lonely Hearts Club Band.

Watching and listening to Frampton and Co muck about in crazy tight pants and colorful half-opened shirts is nuts! There is no actual dialogue spoken—it’s all sung and sometimes badly. (See aforementioned Earth Wind & Fire singing ‘Got to get you into My Life’.) George Burns narrates the film. The acting is, well, this is The BeeGees and Peter Frampton we’re talking about here. It’s awful too. The skateboards, the hair, the sad special effects… well, it’s awful and therein lies the charm.

The cast—no matter how wooden—is fun to watch. Barry and Maurice Gibb are hysterical. Steve Martin pops up for ‘Maxwell’s Silver Hammer’—utterly nonsensical and oddly charming. You don’t who or what to expect. Barry Gibb singing my personal favorite ‘A Day in the Life’. Billy Preston pops up shooting sparks, singing ‘Get Back’ and zapping Peter Frampton. Hearland City Hall looks strangely familiar—like the museum in the remake of House of Wax.

As I see it, Sgt. Pepper’s Lonely Hearts Club Band is hysterical. The randomness (Frampton and Steve Tyler ‘fight’ it out, the brothers Gibb rescuing the chick) and poor acting is funny enough to watch because of the people in it. A cult film if there ever was one.

Time After Time (1979)

Jack the Ripper (David Warner) has escaped Scotland Yard and found his way to the 1970s to continue in his heinous killing using H.G. Wells’ (Malcolm McDowell) time machine. H.G. is determined to set things right again and travels to California in pursuit. Along the way, he meets Amy (Mary Steenburgen), a lonely bank employee. Fascinated by this man with impeccable manners, Amy forms a quick attachment to H.G. who is disappointed that the 20th Century is not the Utopia he hoped.  The unlikely duo partners to hunt down Jack.  Along the way, H.G. and Amy share their worlds.

Time After Time is a great bit of sci-fi adventure. Limited only by the technology available, the film is smart with its cat and mouse play. More interesting is McDowell’s portrayal of writer and scientific wonder H.G. Wells. McDowell is convincing as 19th Century gentleman and scholar. David Warner is equally good as the ambivalent surgeon turned evil incarnate.

All historical inaccuracies aside, Time After Time is a lively thriller. The added subplot of Wells’ assimilation into the 20th Century and whether he would have been pleased or disappointed—here he struggles with the overwhelming violence reported on television—by what he sees gives the viewer something to think about. One of my sci-fi favorites!

The Stepford Wives (1975) (2004)

The original film starring Katherine Ross as Joanna Eberhart is a complete atmospheric creep-out. Joanna and her husband Walter (Peter Masterson) leave the hustle and bustle of NYC for the peace and quiet of Stepford, Connecticut. Soon after arriving to Stepford, Joanna notices not only a change in her husband, but odd behaviour from its residents. The tension builds as Joanna and her new friend Bobbie (Paula Prentiss) dig deeper into the lives of the neighborhood ladies who seem content with household chores. As the truth is revealed, the viewer alongside Joanna is dying to escape the horror.

In stark contrast is the 2004 remake starring Nicole Kidman and Matthew Broderick. Kidman is pitch perfect as a Stepford wife. Glen Close is equally cold and vacant. But sadly the remake misses its mark. Somewhere between cleverly campy and thrillingly creepy is this waste of time.

As I see it, the original is well-executed psychological thriller. It’s remake is mess-terpiece.

Girly (1970)

Mumsy, Nanny (Pat Heywood), Girly (Vanessa Howard), and Sonny are a perfect family—a perfectly evil family who lure unsuspecting men into their expansive mansion for role-playing games. Refuse to play by the rules and the new playmates are quickly dispatched to ‘play with the angels’. When Girly and Sonny’s newest friend (Michael Bryant) decides to play by his own rules, the entire household becomes topsy-turvy.

This oddly grisly cult film from the 70s is just weird. Like a train wreck, you can’t look away. Girly isn’t particularly gory despite horrific deaths—it’s the incestuously creepy relationships of the ‘perfect family’ and their Stepford Wives ways that freak this viewer out. Mumsy is clearly the head of the house with her weirdly little ticks. Nanny is obediently subservient. One gets the sense that she’s more than a nanny. Girly is this stunningly beautiful woman who lives in baby-doll gowns and schoolgirl uniforms with pouty lips and heaving chest. Sonny is cruel hateful boy despite his years. Both children sleep in cribs. This perfect family adheres to a whole other set of psychopathic values.

As I see it, Girly--perhaps better known by it’s UK title: Mumsy, Nanny, Sonny, and Girly--is perfectly ghastly. Reminiscent of Whatever Happened to Baby Jane, the film is a must for any horror-film fan.

The Rocky Horror Picture Show (1975)

How about you pretend not to read this and I'll pretend I didn't see it.  DEAR GOD!  MY EYES!!  OH!!  MY EYES!!

Hannie Caulder (1971)

At some point in this western starring a stunning Raquel Welch, Christopher Lee, Ernest Borgnine, Jack Elam, and Robert Culp, it was discovered the budget ran out.  How else can I explain this hodge-podge of events and abrupt ending?!

Dry, dusty hills of Mexico are the backdrop of piddly robbers, over-qualified gunslingers, and Raquel Welch. It was neat to see a youngish Lee.  As I see it, Hannie Caulder is a niche film and not a very good one at that.

Johnny Got His Gun (1971)

'Powerful antiwar' film—at least that’s what they say.  What I stayed around for a crazy mess.

Hair (1979)

I wonder if movies from this time period are supposed to make sense. Or maybe I should be stoned in order to really enjoy them. Either way, Hair is ridiculous. But I think it also captures the period nicely.  {Not from experience, mind you.}

On the eve of his Army enlistment, Claude (John Savage) meets a hairy group of hippies in Central Park. The naïve Oklahoman is fascinated by this bunch of dope-smoking free thinking weirdoes. The next 24 hours becomes a haze of random activities that include song and dance numbers.

Hair is a fun time warp. The settings, costuming, hair and dialogue—it’s all a trip. Clark Griswold’s wife is the love interest for Claude. I found the songs to be a riot—sometimes shocking, but always eye-roll inducing. The film’s climax is surprisingly heartfelt.

As I see it, Hair is a solid period film.  One that you won't get much out of unless you lived it.

One Flew Over the Cuckoo's Nest (1973)

Add One Flew Over the Cuckoo’s Nest to the list of greatest movies ever. Much like The Sixth Sense and Fight Club, One Flew Over the Cuckoo’s Nest is a mind-blowing experience.

Incredible performances from Jack Nicholson, Louise Fletcher, and Will Sampson are at the center of this masterpiece. In what is essentially a film about the oppression of individualism, there are several other storylines that involve supporting characters that solidify themes of repression, careless optimism, redemption, and friendship.

Nicholson stars as R.P. McMurphy, who in an attempt to get out of a prison sentence, pleads insanity and gets sentenced to a mental institution. McMurphy’s belief that a sentence carried out in the asylum will be easier than prison. It’s not long before the McMurphy is butting heads with the institution’s wards and the iron-fisted head nurse Ratched. His defiance and optimism finds him continually at odds with Ratched much to the entertainment of his fellow patients.

Culminating to a dramatic bittersweet victory, One Flew Over the Cuckoo’s Nest is a convincing story of human emotion like no other. Every element of this film builds upon the next to create a production worthy of praise. Director Milos Forman exacting formula creates a cold feeling of isolation, despair, and hopelessness amid Nicholson’s hapless optimism.

The screenplay is top-notch. The cast of supporting characters—all patients of the ward—add unbelievable subtle nuances. Brad Dourif as Billy Bibbit, a mentally challenged stutterer, Danny DeVito as the slow and harmless Martini, Christopher Lloyd play Taber, a voluntarily institutionalized man—why, we’re just no sure. Then there’s Chief, a tall Indian man who the others call ‘deaf and dumb’ played exquisitely by Will Sampson. All of these performances are multi-faceted and beautifully executed.

Finally, there’s Nurse Ratched, perhaps the most evil villainess known to cinema. With one cold stare, one even-handed comment, she can stunt the most collected of men. Her cold, calculated ways are the things nightmares are made of.

One Flew Over the Cuckoo’s Nest is a stunning piece of cinematic achievement. Exceptional at every angle, this film is must-see. I cannot think of a more thought-provoking, riveting film that is so ugly and so beautiful even now.

Scrooge (1970)

Albert Finney (Big Fish, The Bourne Ultimatum) is Ebenezer Scrooge in this musical rendition of Charles Dickens’ perennial favorite. Thought I had seen every interpretation, but this musical was new to me. Scrooge isn’t cold, or witty, or hateful, but rather he looks to be sucking on sour marbles. The contorted, puckered face is off-putting.

The real treat is Sir Alec Guinness as Jacob Marley. The character has a stronger role here. In retrospect, one can see the influences of this film on the most recent release. I see Zemeckis’ version in a whole new light. The special effects found here are perfectly moribund. The ghosts of Past, Present, and Future Christmas are fascinating. But the film really lacks luster for me.

Let’s be honest. The musical number can’t win any awards. The warbling herein borders on torture. They all last a little too long. The Scrooge/Marley foray into hell is silly.

It’s funny how polarizing Dickens’ short story has become. Scrooge is the favorite of many a friend and colleague. I, however, am steadfast in my love of Alistair Sims. As I see it, there is a version for us all.  Which one do you prefer?  Do tell!

31 More Days of Horror: Shock Waves (1977)

During WWII, there was rumored to be a Nazi Death Corp. This unstoppable SS unit was the result of scientific experimentation. Though these monster troopers were never found or captured, the rumor lives on somewhere…

If you’re fortunate enough to have seen Shock Waves, a 70s camp classic, then you know the creep factor is top-notch. There’s something in the way these zombie like soldiers pop out of the water that makes your skin crawl. Though not crazed zombies, the uniformed freaks are eerily haunting. The melodramatic score really helps too.

Peter Cushing (Grand Moff Tarkin) stars in this out-of-print horror gem. As a reclusive Nazi Commander, Cushing is equal parts terror and sad. As their ‘keeper’, the commander warns the shipwrecked vacationers to leave the desolate island immediately. To stay means death. Ah, yes! The resort-ers throw caution to the wind and explore the island while in great peril.

Night doesn’t have to fall before these zombies come out of the water. All you have to do is splash. And these zombies—well, they aren’t really zombies. They’re not brain-obsessed creatures. These crazed goggle-wearing soldiers are the plotting, strong and silent type that just want to kill you—nothing more.

Shock Waves is low on gore and high on atmosphere. Cushing and John Carradine are real treats. Brooke Adams (Invasion of the Body Snatchers, 1978) spends most of her time in a smokin’ hot yellow bikini and Luke Halpin isn’t bad either. For 70s low-budget horror, this one can’t be beat.

31 More Days of Horror: Theater of Blood (1973)

Following a review of Zombieland with a movie like this--I'll probably lose half my audience.  I have sung the praises of Vincent Price for years.  I continue to do so with this one.

Denied recognition for his work, thespian Edward Lionheart (Vincent Price) is driven mad with rage and commits suicide. Years later, the harshest critics of his work are being killed. The victims are found dead in scenes derived from Shakespeare’s plays. His daughter, Edwina (Diana Rigg) is the prime suspect, but what if it’s not her?

Theater of Blood is a fine example of Price's flourish.  The actor stand alone with untold expression.  Though his films have become the standard for camp, look closer and you'll see brilliance. As Lionheart executes each critic with mounting gore and debauchery, Price shines.   Spouting the words of the Bard, Price is equal parts ham and villain.

The film is deliciously morbid with inspired, splattery deaths.  Headless corpses, fried by curlers, baked in a pie--who knew Shakespeare could be so cruel?! 

Theater of Blood asks its audience to have a rudimentary knowledge of Shakespeare in order to relish the impending deaths of the critics.  Alas, I do not.  But I think any horror fan with an appreciation of the masters can easily relish the opening sequence here for the chill it delivers.

The Man Who Fell To Earth (1976)

Every now and then a film comes along that is more pretentious than even I can stand. I shall defend 2001: A Space Odyssey to the death as there is method to Kubrick's maddening classic. This movie, The Man Who Fell to Earth, I will not.

David Bowie stars as Thomas Jerome Newton, a humanoid alien, who comes to Earth in search of water for his own planet. Infinitely smart, Newton employs patent lawyer Oliver Farnsworth (Buck Henry) and turgid genius Nathan Bryce (Rip Torn) to execute his numerous start-up companies all with the intent of funneling money towards his return trip home. That is where the story ends and the frail, enigmatic Newton becomes enraptured of human vices.

The Man Who Fell to Earth is guilty of unending pretension that wastes quality cinematography and intriguing concepts on opiate fiends. I daresay how else could you enjoy this vapid psychedelic mess without the assistance of illicit drugs?!

The film is a series of poorly executed edits that unsuccessfully meld the alien and the human. Studded with numerous sexual encounters that needlessly assault the senses and overwhelmingly odd chain of events, this film is dumbfounding.

David Bowie is brilliantly weird and upsetting as the eccentric Newton. His features suit the role perfectly. Equally weird, but not in the brilliant way is his whiny drawling mistress Mary-Lou (Candy Clark). I'd rather bleed from the ears whilst listening to Michael Bolton and Kenny G duet than endure her again.

As I see it, The Man Who Fell to Earth is a disjointed, tedious and self-important film. Billed as a sci-fi cult classic, the film falls flat unlike Bowie's oft-engorged member found here.

J4T: 0 stars

The Godfather (1972)

One more item to check off the 'things to do before I die' list. The Godfather heralded as cinematic masterpiece, found on AFI's and everyone else's Top Everything List. It's loved, hated, copied, spoofed, derided, but ultimately celebrated. I suppose the final push for viewing this one was finishing up Steven Spielberg's five recoms.

In truth, I knew only of The Godfather from various pop culture references but dismissed watching it because it was a 'gangster' movie. Oh, and the endless hype of being the 'best movie...ever...'

With Francis Ford Coppola at the helm, The Godfather is a masterful production. The writing, direction, casting, score... it all blends seamlessly to create a world of family, greed, deception, murder, loyalty and revenge. It's a film of beautiful contrast worthy of distinction.

Marlon Brando is exceptional as Don Corleone--a pitch-perfect benefactor with equal tenderness and icy brutality. A young James Caan and Robert Duvall are fascinating, but Al Pacino is simply riveting. As the youngest Corleone son, the only one not in the family business, baby-faced Pacino is spot-on. Imbuing the son with tempered innocence and hopeful determination his evolution from student to Don is remarkable. Pacino grows subtly; his face more grim and hardened as the film progresses. It's an interesting character study.

The conscience and unconscious intricacies of the film are overwhelming. Plots weave in and out; each character seemingly at the center of the viewer's world. Death comes swiftly, without regret. Family is first. Respect is demanded, trust earned.

The film is visually arresting. The production is dark and lavish. From pinstripes to suicide doors, the execution of every detail is top-notch. With cinematography that makes the most of each frame, Coppola speaks volumes in a whisper. The balance between heavy-handed Coppola and the screenplay from Mario Puzo is brilliant.

As I see it, The Godfather is an investment clocking in at nearly three hours. Still with untold extravagance, the film delivers eloquent storytelling in masterful form.

J4T: 4 stars

Duel (1971)

A harried businessman (Dennis Weaver) is trying to make an appointment on time. Rushing along on an isolated highway, he passes a smog-addled semi-truck. That maneuver changes everything and a seemingly innocuous interaction becomes a dangerous game of road rage with a menacing big rig.

Duel is the television debut of one Steven Spielberg. I'll be honest. That was my only reason for seeing this. Obviously, this young man has talent. Despite its age, Duel is a remarkably well executed film--even it it was made for TV.

The screenplay, by Richard Matheson, is deceptively simple. But under Spielberg's direction, Duel is a vehicle of palpable tension and suspense. Ultimately, it's the tight editing and complete lack of back story... it's all so seemingly random. Combined with a lack of true dialogue save for Weaver's inner monologue and you all the makings of a fear-inducing masterpiece.

As I see it, Duel serves to scare the he** out of you. It's simple, brilliant story-telling that you must see. To think, this movie heralded the genius that would bring us Jaws, Schindler's List, and Indiana Jones.

Willie Wonka and the Chocolate Factory (1971)

My adoration for the odd story of chocolatier/candy man Willie Wonka (Gene Wilder) and five naughty, nasty kids is no secret. Tonight, I caught my favorite version on Telemundo. Si. Telemundo.

Even dubbed in Spanish, Willie Wonka and the Chocolate Factory is a treat. It holds up surprisingly well in translation. The one disappointment? Musical number are conveniently edited during commercial breaks. I was really looking forward to Grandpa Joe (Jack Albertson) singing, too.

Knowing the film as I do, there was no language barrier, it was just strange to hear those words coming from these beloved characters.

As I see it, there's no good reason to see the film in Spanish. But fans of classic will delight no matter the language.

Escape from Alcatraz (1979)

It seems nothing can hold Frank Morris (Clint Eastwood). The convict has successfully escaped from every cell known to criminals. This impressive resume of escapes has earned Morris a ticket to Alcatraz Penitentiary. In a last fit of desperation, prison officials deem Morris as having 'superior intelligence' and believe Alcatraz just the place. Built to crush the souls of hardened men, Alcatraz looms large. Many men have tried to escape; none have succeeded, but that won't stop Morris from trying.

Based on a true story, Escape from Alcatraz contains one of Eastwood's finely nuanced performances. Teaming with director Don Siegel, Eastwood brings an intelligent and powerful character to the screen. The opening moments are powerful. You see Morris being shipped in, reviewed by a doctor, and thrown into a cell--all in silence. Siegel allows the bleakness to take hold. The viewer immediately senses Morris pulling his will, shoring it, as not to allowing this harsh reality to break him.

Patrick McGoohan stars as the Warden. Standing in stark contrast is Morris is Warden {we never know him by any other name}, ruthless and sadistic. He is the breaker of souls. It is at his command that prisoners here are destroyed. The chemistry between McGoohan (who died earlier this year) and Eastwood is riveting.

Escape from Alcatraz is claustrophobic, bleak, and every bit an overlooked classic. After viewing this, you will see how it has influenced some of the best prison films of modern cinema, i.e. The Shawshank Redemption and The Green Mile. Discover the original, Escape from Alcatraz and you'll be surprised at the blatant imitation.

The film is tautly paced. The methodical Morris calmly plotting his escape and maintaining his humanity as Warden is driven to desperate measures in his attempt to break Morris. Siegel uses the boredom of rote prison existence to build a tension-filled showdown between the two powerhouses.

Throughout the film, Siegel uses a yellow flower to symbolize the human spirit {in my humble opinion}. The contrast of this pale flower against a sea of drab blues, browns, and blacks speaks volumes.

Escape from Alcatraz is a finely crafted masterpiece with riveting performances, gritty authenticity and remarkable cinematography. Dirty Harry might be the 'one' Clint Eastwood and Don Siegel will be most remembered for, but Escape from Alcatraz showcases the masters at work. Gripping to the end, Escape from Alcatraz is a definitive must-see.

Kramer vs Kramer (1979)

Young, career-driven Ted Kramer (Dustin Hoffman) finds the momentum knocked out of him when he finds out that his wife, Joanna (Meryl Streep) is leaving him and their 6-year-old son Billy (Justin Henry). Losing his new promotion and ultimately his job, Ted tries to balance work and fatherhood. Frustration and anger soon turn to joy as Ted discovers he loves being a full-time parent despite the occasionally mishap. Ted and Billy slowly setting into routine. Then Joanna reappears to claim the boy.

Kramer Vs Kramer is a poignant movie. Without taking sides, the human drama unfolds with honest emotion and repercussions. The performances from Hoffman and Streep drive this film beautifully. Hoffman is amazing to watch. The physical and emotional struggle that Ted goes through is remarkable and Hoffman makes every moment. Streep imbues Joanna, I think, with the emotion of any woman who has discovered she's lost her identity. Justin Henry is equally impressive playing Billy as frustrated and impertinent as his young mind struggles to deal with abandonment.

As the legal battle over Billy begins, the film takes on a whole other tone but still maintains an observers role only. Therein lies the films beauty. Both parties, led by juggernaut lawyers who warn 'this will get ugly' become observers in their own lives as they watch lawyers attack with vicious intent. In words unsaid and glances shared, Hoffman and Streep speak volumes.

Kramer vs Kramer rings with an authenticity that's not often found in Hollywood drama. Ground-breaking for its time, Kramer vs Kramer is one of the few films worthy of their Oscars.

31 Days of Horror: Halloween (1978)

It's funny, but I can honestly say when I first saw John Carpenter's Halloween, I was disappointed. Maybe it was the hype; maybe it was the setting--whatever it was, I can now say that with each subsequent viewing I continue to discover subtle nuances that really creep me out.

Everyone knows the plot; I won't rehash it here. Instead, let us examine two key elements that makes this Halloween the classic it is.

• Pure evil. There's no better explanation. There is no why or how behind Michael Meyers. He is simply evil. The idea of sheer madness is chilling enough. Michael just wants to kill, especially Laurie. Why? We don't know. That is haunting. Such randomness is inconceivable for our logic-based existence. That alone is frightening.
• Subtlety. Carpenter is masterful at every level. He replaces blood and gore with shadow and sound. He crafts each frame with purpose and detail--sometimes the viewer's in on it; sometimes not. Each moment is more menacing than the next. The film may be low budget, but the scares a highly satisfying. Much is made of the mask and the minimalist score {both decidedly perfect}, but ever notice the lighting? Or the the body language of our protagonist? The plot is deceptively simple, but intensely creepy.

John Carpenter's Halloween joins the likes of Psycho and Night of the Living Dead as some of the most influential films of the genre. Films like Halloween never get old or boring; they becomes part of our collective conscience--they live and become the rule by which cine-piles judge all others. This film lives and breaths like no other, and it is beautiful.

31 Days of Horror: The Omen (1976)

The tricycle, strains of 'Ave Satani', the name, that kid. To this day, I don't understand how anyone could name their kid Damien--I know of two as I blog. Sorry kids, all I can think of is this eerie film from Richard Donner.

This literal spawn of Satan played by Harvey Stephens is one creepy bastard. The Omen is beautifully atmospheric. I love how this film unfolds. It's the perfect storm of direction, writing, cinematography, setting, and score.

Gregory Peck is exceptional to watch as the father of said spawn, he is terse, unapologetic until the truth is exposed. The escalating horror is written all over his face. But let's talk about the gem of a boy Stephens--where is he now?! As the little Anti-Christ, his glance sends chills up my spine. He plays so innocent, but speaks volumes with slight action. It's remarkable. Lee Remick plays the tragically duped wife nicely.

Between the nanny and that damn tricycle, The Omen is more than enough to scare me. Donner keeps the film tight and moody. The Gothic feel is cold and bespeaks the underlying evil. I've read "extreme dread" as a description for this film--that is so true. Yeah, don't forget the priest's demise. The score by Jerry Goldsmith seals the deal.

As I see it, The Omen ranks alongside Rosemary's Baby as benchmarks for the creepy genre. I love never seeing anything tangible--that's when the ultimate fear takes over.