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Wuchakk
My All-Time Favorite Movies: http://www.imdb.com/list/ls070122364/
Film Axioms:
- No genre is beyond redemption or above contempt.
- Just because a movie's good doesn't mean you'll like it; just because you like it doesn't mean it's good.
- Italians have been making the worst movies for a hundred years.
- Howard Hawks supplied the simplest definition of a good movie: "Three great scenes. No bad scenes."
- Nine out of ten times when there's a bar scene in a movie there's a fight.
- Every great auteur/actor has a bad or dubious film; but, remember, even God created the cockroach.
- People who go overboard with criticism -- e.g. "This is the worst film ever!" or "I'd give this 0/10 if I could!" -- lose credibility as reviewers. The same goes with overrating a movie.
- Honest reviewers must resist the influence of mass hype when a popular film debuts. Separating it from the initial epidemic fervor is mandatory in determining it's true worth. (Remember when Roger Ebert gave Peter Jackson's "King Kong" a perfect rating of 4/4 Stars? Why sure!).
- Movies are life with the boring bits taken out.
- A movie can be technically well-made, but void of depth. The reverse is also true: A movie can be technically deficient (usually due to low-budget), but thematically wealthy. Whereas the ideal is to have both, sometimes a movie's budget doesn't allow for top-notch filmmaking, but it can still soar in the realm of worthy mindfood. Some excellent examples from my reviews include "From Within," "Billy Jack" and "Tribes." Many episodes of the original Star Trek TV series are great examples as well, such as "Space Seed," "The Naked Time" or "The City on the Edge of Forever."
- Movies must be critiqued and graded according to what they are and aspire to achieve. For instance, 1998's "Godzilla" is a colossal-creature movie and should therefore be reviewed on that level. Compared to the original "Apocalypse Now" it's dreck, but how does it stack-up to other gigantic-monster movies?
- Reviewers who intentionally say false things about a film reveal a personal vendetta against it and lose all credibility as reviewers. Don't even give these types of "reviewers" and their "reviews" the time of day.
- Movies are the modern-day campfire tales of centuries past. They entertain, amuse, inspire and mentor. Generally speaking, they provide the mythology that helps the modern world cope with reality.
- I see a lot of reviewers giving movies 10/10 Stars or 1/10 Stars when, the reality is, most movies fall between 5/10 Stars and 7/10 Stars.
- Disregarding profits, the main purpose of a movie is to entertain; the secondary purpose is to convey a message. The better the entertainment and message, the better the movie. The reverse is also true.
- In 99 out of 100 movies, if something doesn't happen by the end of the first reel, nothing's gonna happen (at least nothing compelling, effective, original or inspiring).
- Popularity at the box office is very important for people who's opinion of an artistic work needs validated by others (rolling my eyes).
- A movie that doesn't do well at the box office isn't always an indicator that it's bad; it could mean something interesting is going on that's too far out of the norm for mass consumption. "Watchmen" and (believe it or not) "The Wizard of Oz" are good examples ("Wizard" bombed when it debuted in 1939).
- Watching a movie is like seeing someone else's hallucination. You have to be willing to enter into the film's 'world' to appreciate it. If you can't, you won't.
- The rating of a movie is irrelevant (G, PG, PG-13, R). Does more gore, more nudity, more cussing, more overt sexual situations determine the worthiness of a film? Maybe for 13 year-olds. Is "The Wizard of OZ" a lousy film because it's rated G? How about the original "Planet of the Apes"?
- While good movies can be made with big budgets, big names, big stunts and incredible F/X, they can also be made with small budgets, creative writers & directors and no-name-but-quality actors.
- No one sets out to make a bad movie.
- It's always preferable to watch an entertaining mess over a competent bore-fest.
- Art (including film) is not meant to be an imitation of reality, but rather an interpretation of it.
- Never watch a movie starring Jean-Claude Van Damme.
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RATING GUIDE:
10/10 Stars: A+ (Top-of-the-line)
9/10 Stars: A (Excellent)
8/10 Stars: A- (Breaks the threshold of greatness)
7/10 Stars: B+ or B (Very good or, at least, good)
6/10 Stars: B or B- (Marginal "thumbs up")
5/10 Stars: C+ or C (Too flawed to recommend, but some worthwhile aspects)
4/10 Stars: C or C- (Severely mediocre or flawed)
3/10 Stars: D+ or D (Cinematic flotsam)
2/10 Stars: D or D- ("Brain and brain, what is brain?")
1/10 Star: F (Worthless garbage for one important reason or another)
Note: Like everyone else, I tend to watch movies I think I might like, which explains my numerous positive ratings.
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Favorite Film of All Time:
Apocalypse Now
TV Axiom:
- Every ten years or so a TV show comes along that doesn't suck.
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againThis list includes films from all three types of sword & sandal movies: 1. historical or realistic, 2. fantasy ones that typically have an element of magic/sorcery (i.e. "sword & sorcery") and 3. biblical, which is arguably one-and-the-same as the first type.
Some heralded Westerns aren't on the list because either 1. I'm not a fan (e.g. "The Searchers") or 2. I generally like them, but not enough to make my favorites list (e.g. "The Good, the Bad and the Ugly" & "Butch Cassidy and the Sundance Kid"). In some cases, I might have yet to see the film (e.g. "The Great Silence").
There are other Westerns that I remember liking and they may make my list in the future, but I have to give 'em a fresh viewing because I haven't seen them for so long.
Feel free to give your feedback, thanks!
Most cult movie lists curiously contain utterly horrid flicks, like "Pink Flamingos" (Seriously?) and "Plan 9 from Outer Space" (get real) or fruity wannabe hip crapolla like "Rocky Horror," which explains the title of my list. While numerous of the films on this list are loathed by the masses they're actually worthwhile movies for various significant reasons. My commentaries provide evidence.
I'm not including widely-known movies that you'll often see on cult movie lists, like "The Wizard of Oz," "King Kong," "Apocalypse Now" and "Pulp Fiction," because -- although I wholly agree that they deserve their devotees -- they're just so popular that they're not really cult films.
Some definitive cult flicks, like "Aguirre, the Wrath of God" and "Mad Max," aren't on this list simply because -- while certainly worth seeing -- they're just not entertaining enough to make my list; and entertainment (one way or another) is the name of the game.
Lastly, any cult movie list that includes every Tarantino flick -- or practically all of them -- should be rejected out of hand. (Pick one or two that best represent his repertoire and be done with it).
Please note that this list refers to women "Present & Past," so there are several females who have passed away or are well beyond their physical prime. Carol Lynley is a good example. This is why I cite specific movies or TV shows in which to view these lovely ladies at their physical best.
Others have suggested several women that I should add to the list. I appreciate this and I may add them at some point when I eventually view them in a movie or show (Sofia Vergara and Sophia Loren are good examples); but some of them I'm well familiar with and -- even though they're beautiful women one way or another, perhaps even stunning -- they lack the qualities necessary to make my list (Raquel Welch, Kate Beckinsale and Jessica Alba come to mind) (some of these almost made my list, like Jessica Biel).
It was also suggested that I should add several Victoria Secrets women, but this list is limited to women who appear in movies & TV shows, even if a few of them are more singers than actresses.
Someone else criticized the list for not including "women of color," but look closely and you'll observe a sprinkling of such lasses, like Vida Guerra, Bingbing Fan, Yolanda Pecoraro, Demi Lovato, Mariah Carey, Salma Hayek, Sonia Braga and more. The obvious reason there aren't more "women of color" is because I'm a white dude (with some Abenaki blood) and, gee, I guess I tend to prefer women with lighter skin. This has nothing to do with racism; it's just personal preference and, besides, this is a subjective list.
Since this list contains movies from all production levels, film snobs who only favor flicks with blockbuster-level budgets are encouraged to skip it.
For questions, comments or rebukes, write me at: dltoes@msn.com
In no certain order.
For questions, comments or rebukes, write me at: dltoes@msn.com
Write me at: dltoes@msn.com
WARNING: Some of my comments contain SPOILERS.
(More to come)
Reviews
The Night of the Generals (1967)
Intrigue in the heart of Europe during World War 2
In German-occupied Warsaw in late 1942, a major of the Abwehr (Omar Sharif) conducts an investigation concerning the grisly murder of a German agent working as a prostitute. All he knows is that the culprit is a German general and this narrows it down to Gabler (Charles Gray), Kahlenberge (Donald Pleasence) and Tanz (Peter O'Toole). Nineteen months later they all happen to be in Paris when several senior Wehrmacht officers conspire to assassinate der Führer.
"The Night of the Generals" (1967) is a worthwhile pick if you're in the mood for the décor and intrigues of WW2 minus the battles, similar to "Triple Cross" from the year prior. Christopher Plummer starred in that earlier film and has a cameo here as Field Marshal Rommel. Both movies include the July 20, 1944, plot to assassinate Hitler in the last act, which is what Cruise's "Valkyrie" was based on four decades later.
There's a subplot concerning the beautiful daughter of General Gabler (Joanna Pettet) and her romantic relationship with a lance corporal (Tom Courtenay). The latter becomes General Tanz's driver and tour guide in Paris.
For another WW2 drama that focuses on parallel behind-the-scenes events of the German high command (minus the fictitious murder mystery), check out "Rommel" (2012).
The film runs 2 hour, 27 minutes, with the first act shot behind the Iron Curtain in Warsaw (a rarity for Western films at the time); the second act was filmed in Paris; and the final sequence in Munich, Bavaria, southeast Germany.
GRADE: B.
The River Murders (2011)
The precious and the profane in Spokane with Ray Liotta
A brutal serial killer is on the loose and it's discovered that all the victims were former lovers of one of the city's detectives (Liotta). Who's the killer and why is he targeting these particular women? Ving Rhames plays the police captain while Christian Slater is on hand as the FBI agent.
"The River Murders" (2011) comes in the tradition of sordid murder thrillers like "The General's Daughter" and "Kiss the Girls." It's not as commendable as the former, but it's better than the latter IMHO. The obscure "Cold Blooded" is another comparison. The best things about it are the brooding-yet-spiritual mood, the quality score and the notable Spokane locations, not to mention the cast.
To appreciate it, you have to be prepared for a flick that's frank about things better left unsaid, like what the killer does with the victims' rings or the skeletons of one's past sexual relations. We're talking some serious TMI here. Concerning the latter, would you want to know such details about your coworker or spouse? Probably not. Then there's the over-the-top rudeness of the no-nonsense FBI agent. I'd criticize it, but we've all met these kinds of abrasive types.
If you can roll with the crudeness and ugliness, there are quite a few positives beyond those already noted, such as confrontation, forgiveness, new life, a reverent ambiance amidst the unpleasantness and some interesting commentaries on Old Testament Scripture.
Someone criticized that the movie's too hard on Christians, but the psycho in question isn't actually a believer in light of how the Bible points out that "no (impenitent) murderer has eternal life residing in him" (1 John 3:15). Was Jim Jones a Christian, for example? Obviously not. Besides, this particular character is counterbalanced by Harlan (Patrick Treadway), who's a sound and benevolent minister.
Sarah Ann Schultz stands out on the feminine front as the protagonist's detective partner.
It runs 1 hour, 32 minutes.
GRADE: B-
Ticket Out (2012)
Ray Liotta helps a beautiful blonde escape her ex-husband in wintery landscapes
An American mother (Alexandra Breckenridge) takes her young son & daughter and flees her abusive ex, who has visitation rights (Billy Burke). As she travels from east to west in January, she is helped by a mysterious man involved in some kind of escape network (Liotta).
"Ticket Out" (2012) is an entertaining inter-state chase flick with top-of-the-line locations and quality winter ambiance, not to mention a couple of unexpected (but welcome) shoot-outs. Alexandra is a winsome protagonist and Burke makes for a quality villain while Ray's character is charismatic, but enigmatic.
The flick explores the complexities of parental rights and what's good for the children, as well as the moral conflict between doing what your profession or the legal system demands and what you know is right in your heart.
Despite its release date, the film was shot from December 14, 2008, to March 14, 2009.
It runs 1 hour, 30 minutes, and was shot in Iowa (Des Moines, Newton, Indianola, Prairie City and Adel); Badlands, South Dakota; Caribou-Targhee National Forest and Grand Tetons, Wyoming.
GRADE: B.
Les innocentes (2016)
When the soldiers of the Red Army are just as bad as the German occupiers
Seven months after the end of the European theater of WW2, a nun from a convent in Poland seeks the aid of a French Red Cross worker, who's helping French survivors of the concentration camps (Lou de Laâge). It turns out that some Russian soldiers paid a barbaric visit to the convent when they were taking over the territory months earlier.
"The Innocents" (2016) is based on the true story of Madeleine Pauliac when she was working as a doctor in Poland, renamed Mathilde Beaulieu for the movie (Lou). It has a similar milieu to "Black Narcissus" and "Agnes of God," except that it's rooted in a real-life account. It's not as good the former IMHO, but it's superior to the later.
You could call this a WW2 drama and it works as a realistic period piece. I'm glad the scriptwriters added the relationship of the Hebrew doctor with the protagonist, which works up both historical and human interest amidst the glum proceedings. Lou de Laâge is one of the highlights. She's a pleasure to behold and her lips are exquisite.
The film runs 1 hour, 55 minutes, and was shot in northeastern Poland at Morag, Krosno and Orneta.
GRADE: B.
Triple Cross (1966)
James Bond lite during WW2
When the Germans occupy the island of Jersey where a glib Brit safecracker is incarcerated (Christopher Plummer), they enlist him as an agent because of his shrewdness and lack of loyalty. After being tested by his handler in France (Yul Brynner), he becomes their top spy, assigned the mission of blowing up an aircraft factory in England. But what happens if MI5 enlists him as a double agent?
"Triple Cross" (1966) is loosely based on the true-story of Eddie Chapman, who was to be the technical advisor, but French authorities wouldn't let him in the country due to his alleged involvement in a plot to kidnap the Sultan of Morocco. Director Terence Young knew Chapman before the war, as a roommate, and also spent time with him on his first mission in Britain, which was set up by MI5 because the spy needed cheering up as he was training for his return to occupied Europe.
I call it "James Bond lite" because Terence Young directed three of the early 007 movies with Sean Connery before helming this one, and three iconic Bond actors are featured in the cast: Gert Fröbe played the titular character in "Goldfinger," Claudine Auger played Domino in "Thunderball" and Francis De Wolff played Valva in "From Russia with Love."
This is a good movie if you're in the mood for the décor and intrigues of WW2 minus the battles, similar to "The Night of the Generals," which came out the next year. A youthful Plummer is surprisingly good as the nonchalant protagonist and I like how the July 20, 1944, plot to assassinate Adolf Hitler is included in the last act (Cruise's "Valkyrie" was based on that event). It's along the lines of "The Heroes of Telemark" from the prior year, just not as good IMHO. The great "Where Eagles Dare" came out two years later.
It's a little overlong at about 2 hours, 15-20 minutes (although there's also a 126-minute American version); and was shot in France with some stuff done in England.
GRADE: B-/C+
Wish You Were Here (1987)
Emily Lloyd coming-of-age in early 50's Britain
A precocious teen in a seaside town of southern England becomes aware of her power over males while flouting conventions, which doesn't help her relationship with her rigid father (Geoffrey Hutchings) and keeps getting her in trouble, which she finds amusing.
"Wish You Were Here" (1987) is a period piece and coming-of-age flick. It's been listed as a comedy, but it's not. It's a drama with humorous touches counterbalanced by the hard facts of life. The meshing of lighthearted bits with sober elements is interesting and true-to-life.
Emily was only 16 years-old during shooting while one of the guys she is drawn to, Tom Bell (Eric), was 53. It's no surprise that she's drawn to someone her dad's age because she's desperately seeking a father's love, despite her outward spunk.
I don't take the movie as supporting any particular issue, but rather as a character study of a certain type of person, in this case a female. It's also a commentary on society's curious mores at that particular time and place. What's an individualistic person to do, especially when s/he sees glaring hypocrisies and injustices?
Don't despise the girl for the questionable things she does. Remember, she's only like 16-17. We've all done rash, foolish or disrespectful things in our teens. Then we grew up. I'm pretty sure that Lynda will be growing up real quick by the end of the film.
The title seems odd and probably kept it from greater success. It refers to the protagonist missing her mother, who died when she was 11. She was close to her mom, but obviously not her dad.
It runs 1 hour, 28 minutes, and was shot in Worthing and nearby Bognor Regis (to the west), which are about an 85-minute drive due south of London.
GRADE: B-
Cop Land (1997)
Tough Cops of NYC living in a town across the Hudson River in Jersey...
...where the half-deaf Sheriff (Sylvester Stallone) is basically a nice-guy tool of their arrogant leader (Harvey Keitel). When the angry cops engage in corruption concerning a cover-up, it attracts the attention of an Internal Affairs investigator (Robert De Niro), who tries to enlist the help of the Sheriff. Ray Liotta and Robert Patrick are also on hand.
"Cop Land" (1997) is a crime drama with an ensemble cast, the second film of writer/director James Mangold. There are a lot of characters and so it's wise to use the subtitles to keep track of who's who. It's one of those films where you have to pay close attention or you won't be able to follow what's going on and get frustrated. Siskel & Ebert's review (available on Youtube) does a good job of pointing out the movie's strengths and weaknesses: Siskel carefully followed what was happening and so praised the flick whereas Ebert got irritated by the overstuffed production.
The first time I saw it, I felt the way Ebert did but, seeing it again recently, I lean more toward Siskel's position. There's a Director's Cut, released in 2008, that adds about 14 minutes of extra footage and makes what's happening more sensible. While this is great and I want to see it, the Theatrical version is fine if you pay attention and keep track.
It comes in the noir-ish tradition of "On the Waterfront" and is similar to Bruce Willis' "Striking Distance," just less comic booky and grittier, not to mention more convoluted. Yet it's superior to both of these IMHO. The future "Crash" (2004) was obviously influenced by it.
Stallone gained 40 lbs for his role and is convincing as the pushover Sheriff, who's basically backed into a corner where he has little choice but to consider a radical turn. Meanwhile Liotta, Keitel, De Niro and T-1000 all bring their A-game with intense performances.
In the feminine department, Annabella Sciorra plays the wife of one of the cops (Peter Berg), a woman who the Sheriff evidently still loves. Meanwhile Cathy Moriarty is on hand as Uncle Ray's cheatin' wife while Janeane Garofalo plays the Sheriff's increasingly frustrated deputy.
The film runs 1 hour, 45 minutes, and was shot in Edgewater, New Jersey, and the nearby George Washington Bridge, with some scenes done across the river in Manhattan.
GRADE: B+
Peace River (2022)
Wooden acting in the first half, but stay around for the powerhouse second
A boy on a big ranch in the Southwest is guided by his wise grandfather (Benjamin M. Jones). As a young man (Chase Garland), he makes a foolish mistake and, later, suffers tragedy in the Service. Can he put the pieces back together? Jessica Nunez-Wood is on hand as the woman he loves.
"Peace River" (2022) is a sentimental and reverent drama that's all-American with rodeo action and military-based aspects. The main characters are believers and so there's a little spirituality of that nature. As noted in my title blurb, the acting in the first half is relatively deadpan, but serviceable enough to roll with, keeping in mind that this is a modest-budget production and not a blockbuster with actors who are paid millions.
Despite some second-rate performances, the first half features nice cinematography in the big sky country of northern New Mexico, not to mention quite a bit of horse-related activities. Even better, there are quality bits of wisdom here or there. It's the latter portion where the movie really shines, though, as it doesn't fail to honestly address the intrinsic problems of life in a fudged-up world, yet doesn't leave you empty and hopeless.
Life's most important things are stressed: Friendship with God, family, friends, meaningful work and the loyalty of your animal, whether a horse or otherwise. Everything leads to a potent sequence that conveys simple truths that are essential to all-around health. See Psalm 55:22 and 1 Peter 5:7 to get my drift.
One time I was venting to the Creator and it got pretty primal with spit flying and tears flowing. My cat wasn't afraid, but rather came close to comfort me in a scary time of desperation.
It runs 2 hours, 15 minutes, and was shot in northeast New Mexico in the Cimarron area at the Philmont Scout Ranches, etc.
GRADE: B+/A-
Catch Me If You Can (2002)
Life on the run from the FBI
From 1964-1969, a teen from New York (Leonardo DiCaprio) turns to confidence scams to survive, including posing as a Pan Am copilot, a doctor and a lawyer while raking in huge amounts of money via check fraud. Tom Hanks plays the FBI agent intent on nabbing the con artist.
"Catch Me If You Can" (2002) was inspired by Frank Abagnale Jr's tales about his life. It comes in the tradition of films like "To Catch a Thief" and "The Great Impostor," albeit with the more modern tone of "The Fugitive" (1993), minus the great action sequences of that film.
You can watch the real-life Abagnale in his appearance on Johnny Carson's Tonight Show in 1978 on Youtube; he shared several of the stories that made it into the movie. Whether or not they're true is another story (he was a conman, after all), but they make for an entertaining movie set in the '60s.
The script was based on Abagnale's autobiography, which is more of a biography since he sat down with Stan Redding for a few interviews. Then Redding wrote the actual book, tweaking it for the purposes of entertainment. Abagnale said about 80% of it was accurate. As for the movie, he said some things are off, like the fact that he didn't keep in touch with his dad after running away, not to mention he had two siblings and his mother never remarried. Also, the plane escape took place through the kitchen galley, not the toilet in the rest room. Lastly, the character of Hanratty (Hanks) is a composite of several FBI agents who pursued him.
Amy Adams appears in a secondary role; she was 26 during shooting, but looked like a teenager. Jennifer Garner, Elizabeth Banks and Ellen Pompeo have smaller roles.
It runs 2 hours, 21 minutes, and was shot in several locations, including Burbank, Downey, New York City (and nearby Orange, New Jersey), LA International Airport, Ontario International Airport, Quebec City and Montreal.
GRADE: B.
Starry Eyes (2014)
Into the diabolical abyss of Hollywood
A young woman in Los Angeles works at Big Taters (Alexandra Essoe) while trying to land a role in a cutting edge film. Is she willing to pay the unspoken price for fame and wealth?
For the first hour, "Starry Eyes" (2014) is a drama with droll humor, but it slowly morphs into psychological horror in the manner of "Rosemary's Baby" before taking a body horror turn with slasher elements. So, the set-up mixes "Hollywood Boulevard" and "Rosemary's Baby," but the flick evolves into something along the lines of "Lillith" (2019).
Unlike "Lillith," which had technical deficiencies, this one's proficiently made, just marred by a muted palette (which was also the case with "Lillith"). Fabianne Therese stands out on the female front as brunette Erin.
Someone criticized that the film glorifies devil worship and selling one's soul to the dark side. Why Sure!
It runs 1 hour, 36 minutes, and was shot in Los Angeles and La Cañada Flintridge, the latter of which is a 30-minute drive northeast of Hollywood.
GRADE: B-/C+
The Legend of 5 Mile Cave (2019)
Good Western with human interest based around the Colossal Cave Legend
In 1929, a man shows up at a farm in Kentucky that's facing foreclosure (Adam Baldwin). The widow allows him to stay in the barn in exchange for work (Jill Wagner) while her boy bonds with the mysterious man. The kid is especially interested in his true-story about outlaw gunslinger Shooter Green (Jeremy Sumpter) from 1887 Arizona.
"The Legend of 5 Mile Cave" (2019) mixes "Secondhand Lions" and "Places in the Heart" with the Colossal Cave Legend of the Old West. The latter revolves around the caves located 30 miles southwest of Tucson being used as a hideout for outlaws in the mid-1880s wherein they hid loot stolen from Southern Pacific Express on two different occasions. William Castle's 1951 Western "Cave of Outlaws" was also based on these ambiguous historical events.
There are variations of the tale, naturally, and I like the creative twist here. The film scores high with human interest and Allie DeBerry as Josie Hayes is a highlight in the female department while Jill Wagner ain't no slouch as Susan.
Critics complain about the clothes and general hygiene looking too good for the time periods featured, but multitudes of traditional Westerns were guilty of this, so what else is new? And, besides, wouldn't the average person care about how s/he looked, even back then, whether at a farmhouse in the East or a town in the Old West? Of course they would, unless they were dirtbags. One legitimate flaw, however, is a scene that shows vinyl siding behind the characters in 1929, but this material didn't come into use until the 1950s. Yet this flaw is so fleeting, who cares?
Then there's the clueless armchair critics who pan the move for supposedly being 'faith-based.' Are they serious? There's literally one scene where the three main characters pray at the table and that's it. This might come as a shock to Lefties, but people prayed at the table back then and many do to this day, including in public. Don't get me wrong, I suppose the flick is 'family friendly,' but so is "Secondhand Lions," "Places in the Heart," "Shane," "3:10 to Yuma," "True Grit" and so on.
It doesn't overstay its welcome at a lean 1 hour, 30 minutes. It was shot in Georgia (for the 1929 scenes) and the Greater Tucson area of Arizona (for the 1887 flashbacks). The latter locations include Old Tucson, Colossal Cave Mountain Park, Sonoran Desert, Ironwood Forest National Monument, Tucson Mountains, Sierrita Mountains, Superstition Mountains, and so forth.
GRADE: B+/A-
Trancers (1984)
Fun time-travel sci-fi thriller with a young Helen Hunt
A no-nonsense detective in 2247 (Tim Thomerson) has to go back in time to stop a cult leader who has the power to mesmerize people into a zombie-like state. He enlists a likable blonde to assist him, an assistant for Santa at the local mall (Helen Hunt).
"Trancers" (1984) has similarities to "The Terminator" mixed with a little "Blade Runner" and Humphrey Bogart, but that more popular James Cameron film is vastly superior because it had 14 times the budget; it also beat it to theaters. This one has a wink of amusement, like they weren't taking it too seriously. Still, if you can roll with that, it's entertaining enough and has some interesting ideas, like the unique method of time travel with people going back by injecting a drug that enables them to take over the body of an ancestor.
It obviously influenced "Warlock," which came out five years later, and was popular enough to produce six sequels between 1988-2002. I'm including the 20-minute 1988 short "Trancers: City of Lost Angels," which wasn't actually released until 2013 because it was originally set to appear on a shelved anthology called "Pulse Pounders." The proper full-length sequel, "Trancers II: The Return of Jack Deth," debuted in 1991 with Thomerson, Hunt and Biff Manard returning from this one.
Helen was 21 during shooting and never looked better. Exhibit A is her opening scene in a green leotard.
The flick's short 'n' sweet at 1 hour, 16 minutes. It was shot in Los Angeles, except for the beach scene in nearby Malibu. The mall sequence was filmed at Panorama Mall.
GRADE: B-
Forbidden World (1982)
Another Corman-produced knockoff of "Alien," with softcore
In the distant future, a troubleshooting flying ace (Jesse Vint) is redirected to a remote desert planet in order to help a bio-engineering team deal with a mutating organism.
"Forbidden World" (1982) is the second "Alien" knockoff produced by Roger Corman and even uses some of the sets of the previous one from the year prior, "Galaxy of Terror" (as well as some space F/X from "Battle Beyond the Stars"). Other than that, the films aren't connected.
While my title blurb is condescending, Ridley Scott's iconic movie itself ripped-off every main aspect of the first half of "Planet of the Vampires" from 1965, aka "Terror in Space." So it wasn't exactly original, although it was well-done and superior.
Like "Galaxy of Terror," there's a comic book flair to the proceedings that "Alien" lacked (because of its blockbuster budget). Still, if you like the grim adult-oriented science fiction of that film, you should appreciate this one (and "Galaxy"). The problem is that the monster in the last act looks cheesy in the manner of something borrowed from "Little Shop of Horrors," although up to that point the various mutations are effective, particularly for a Corman-budgeted flick.
"Alien" featured statuesque but too-thin Sigourney Weaver in her underwear in the last act and so Corman upped the ante with the two females here, shown pretty much fully nude in some scenes, with 1-2 sex-oriented sequences. The joke is that the tagline was "In space no one can hear you get naked." Obviously, you should stay away if that's disagreeable to you. The aforementioned two females happen to be Dawn Dunlap (Tracy), who was only 17 during shooting in October, 1981, while blonde June Chadwick (Barbara) was a month shy of 30.
The nudity can be criticized as exploitive, of course, but there's another way of looking at it. It drives home how people stuck on a remote station in the galaxy would still function like everyday people on Earth: sleeping in light clothing, walking around in their underwear or a robe, bathing, using a sauna, having sex and so forth. In other word, people are people, even 100-200 years in the future in outer space with the great technology thereof.
The movie runs 1 hour, 17 minutes, and was shot at Corman's studio in Venice, California, his "renowned lumberyard facility," as well as Vasquez Rocks in Agua Dulce for the outside scenes.
GRADE: B-/C+
Galaxy of Terror (1981)
Corman-produced sci-fi in the wake of "Alien"
In the future when humanity is involved in space travel and governed by "The Master," a rescue spacecraft is sent to a remote planet to investigate a crashed vessel. Things go from bad to worse.
People tend to write off "Galaxy of Terror" (1981) as an "Alien" knockoff," which it is, but that iconic Ridley Scott film itself ripped-off every main aspect of the first half of "Planet of the Vampires," aka "Terror in Space" (1965). So it wasn't exactly original, although it was well-done and superior. This is basically a combination of those two films with bits borrowed from "Forbidden Planet" and, of course, Star Trek (both the Original Series and the first movie).
Unlike Roger Corman's "Battle Beyond the Stars" from the year prior, there's no Star Wars-like cuteness. This is dead-serious adult-oriented sci-fi in the manner of the aforementioned works, perhaps best known for a giant slimy maggot sequence involving statuesque blonde Taaffe O'Connell (Dameia),
It's also known as the movie that paved the way for James Cameron's breakthrough. He was the art director and talked Corman into being the second unit director. He wrote & shot the arm-severing sequence wherein two producers happened to be in the studio. They were so impressed that they hired James to direct his first movie "Piranha II: The Spawning." After that, he was ready for "The Terminator" and the rest is history.
Aside from Taaffe in the feminine department, there's Erin Moran as a crewmember with psychic powers. Meanwhile Grace Zabriskie is surprisingly appealing (and convincing) as fit Captain Trantor. I say "surprisingly" because I only know her from roles when she was older, such as Susan's mother, Mrs. Ross, in several episodes of Seinfeld.
Notables Ray Walston, Robert Englund and Sid Haig are also on hand.
Like "Planet of the Vampires," this starts to get dull in the mid-section with crewmembers scampering around dark sci-fi sets, usually in terror, but the grim atmosphere is palpable and the ending is fairly interesting. It influenced "Aliens" (Cameron went on to direct that famous film five years later), as well as "Event Horizon" and "Sphere."
It runs 1 hour, 21 minutes, and was shot at Corman's studio in Venice, California, his "renowned lumberyard facility," as well as Santa Monica.
GRADE: B-
Siege at Red River (1954)
Decent early 50's Western with Van Johnson and Richard Boone marred by dubious bits
A Confederate captain (Johnson) goes undercover in the North to steal a Gatling gun with his sergeant (Milburn Stone), but a Pinkerton operative is suspicious (Jeff Morrow). As they take advantage of an unknowing Rebel-hating woman (Joanne Dru), they hook up with a mercenary (Boone) to help them get through Indian country.
The era of 1953-1954 featured great Westerns like "Shane," "Destry," "Garden of Evil," "Johnny Guitar" and "Vera Cruz," as well as formidable ones like "Arrowhead," "Escape from Fort Bravo," "Gun Fury," "Hondo," "Pony Express," "Broken Lance" and "The Raid." I bring that up because "Siege at Red River" (1954) doesn't exactly place with these Westerns as it's flawed by amusing, yet generally unfitting humor and a too-busy giddy-up score, which is seriously quaint.
This isn't helped by splicing in Indian-fighting footage at the climax from "She Wore a Yellow Ribbon" from five years earlier. Another problem is the disingenuous geography in the first half that's supposed to be areas near the Ohio River, but is obviously the Southwest (of course, this was more of a 'B' Western and it would simply cost too much to transplant the cast & crew to somewhere in the East for those particular scenes).
Nevertheless, there's a lot to enjoy in this old Western. Van Johnson's non-cowboy mannerisms actual fit the role since Capt. James S. Simmons/Jim Farraday hails from Atlanta back East. Johnson had charisma to spare and Milburn Stone is entertaining as the sidekick. Meanwhile Boone was unsurpassable as the unlikable character with "toxic masculinity." Add to this winsome Dru, the beautiful scenery and the interesting Gatling gun subplot and you have an entertaining enough early 50's Western with some lame elements.
It runs 1 hour, 25 minutes, with outside shooting done in east-central Utah at Professor Valley, Colorado River, Castle Valley and Dead Horse Point; as well as in Durango, Colorado, which is 158 miles southeast of there.
GRADE: B-/C+
Battle Beyond the Stars (1980)
Star Trek and Star Wars are met together (on a lower Corman budget)
When the planet Akir is threatened by a galactic tyrant (John Saxon), a young man with no experience in warfare (Richard Thomas) ventures into space to enlist the aid of several mercenaries (George Peppard, Robert Vaughn, Morgan Woodward, etc.).
"Battle Beyond the Stars" (1980) meshes the space-oriented science-fiction of Star Trek (the Original Series and the 1979 movie) with the space fantasy of Star Wars for a colorful interplanetary adventure on a Roger Corman budget. The protagonist's planet is called Akir and the denizens Akira because the basic plot was taken from Akira Kurosawa's "Seven Samurai" (which, of course, was also the basis for "The Magnificent Seven").
On the female front, Darlanne Fluegel is noteworthy as Nanelia, the potential mate of our young hero (Thomas). Meanwhile stunning Sybil Danning works well as Saint-Exmin of the Valkyrie warriors, albeit hammy. Julia Duffy can be observed as one of the Akira.
This was one of the first fairly big theatrical films to be scored by James Horner (although he previously did "Humanoids from the Deep" the same year), which paved the way for his notable career (think "Wolfen," "Star Trek II," "Star Trek III," "Cocoon," "Aliens," "Field of Dreams," "Glory" and so on).
Corman's $2 million budget was mostly spent on the salaries of Peppard and Vaughn, but he had to up his game with the special effects to compete with the new standards set by "Star Wars" (which cost $11 million), "Alien" ($11 million) and "Star Trek: The Motion Picture" ($35 million). Sure, the F/X aren't as good as those movies, technically speaking, but they're quite effective (and fun) all things considered, not to mention superior to "Buck Rogers in the 25th Century" (the theatrical movie that was also the pilot for the TV series), which had $3.5 million to work with.
It was very profitable at the box office and deservedly so since it's all-around entertaining. You could say that it was the low-budget precursor to the Thor and Guardians of the Galaxy flicks of modern times.
It runs 1 hour, 43 minutes and was shot at Corman's own studio in Venice, California, his "renowned lumberyard facility."
GRADE: B.
Unhuman (2022)
Teens come-of-age in colorful horror-comedy set in southeastern Louisiana
Several students survive a school bus mishap and find refuge in an abandoned hotel in the thick woods. Who or what are the ferocious antagonists? Will any survive?
I thought "Unhuman" (2022) was going to be a survival venture akin to "A Question of Survival" by Steve Gerber in Adventure Into Fear #18 with the Man-Thing (1973), which involved survivors of a vehicle accident traversing the jungle for succor. It starts out like this, reminiscent of "Zombie Island Massacre" from the mid-80s and the more recent "The Summoning," just mixed with "Night of the Living Dead" and "Shock Waves" (1977), particularly the dilapidated resort-facility of the latter.
Just when things get boring at the defunct hotel, an interesting twist is implemented. At the end of the day, this is an amusing commentary on teens turning the tables, non-entities rising to the challenge and bullies potentially being redeemed.
Brunette Ali Gallo stands out on the feminine front as Tamra with her big eyes. Too bad she spends most of the film with a jacket tied around her waist (rolling my eyes). Lo Graham is also worth a mention as blonde Jacey. On the masculine front, one of the guys looks like Peter Frampton.
While the flick is vibrant and hip, highlighted by Ali Gallo and the curveball, the last act becomes tedious despite the flashy editing and (empty) action. It needed tweaked for a more rewarding experience. Still, there are some worthwhile profundities.
It runs 1 hour, 31 minutes, and was shot in outer New Orleans.
GRADE: B-
The Raid (1954)
Civil War "Western" that takes place a dozen miles from the Canadian border
In September-October, 1864, a Confederate officer (Van Heflin) coordinates a group of 21 young soldiers, mostly ex-POWs, for an attack on a prosperous town in northern Vermont. His motive isn't just revenge, but to fund the Confederacy with desperately needed funds, as well as to divert Union troops from the South.
"The Raid" (1954) was loosely based on the St. Albans Raid, the northernmost engagement of the Civil War, led by 21 years-old Lt. Bennett H. Young and organized by George Sanders, a Montreal-based agent of the Confederacy. Heflin (at the age of 45 during shooting) basically plays a conglomerate of these two real-life people.
It's great to see so many familiar faces when they were young, like Lee Marvin, Anne Bancroft, Richard Boone, Peter Graves and Claude Akins. The film starts out with some quality action concerning a prison break in northeast New York, but then settles down with the Major inspecting the town over the course of a week, masquerading as a businessman from Montreal. He finds himself drawn into the lives of the townspeople, particularly a young widow (Bancroft) and her boy.
While some might argue that the story bogs down at this point, it successfully establishes the main characters and the flick delivers the goods in the last half hour, starting with a notable scene involving the Major's loose-cannon Lieutenant (Marvin). Human interest is effectively added to the historical events, which inspired me to research the incident further (I have read about it in the past, but wasn't up on all the details).
Boone's character, a Union Captain, was inspired by the real-life Captain George Conger, who quickly amassed a group in the town to fight back with firearms. In the face of resistance, Young & his raiders retreated, attempting to fire the town as they went, but with little success, although one person ended up losing his life and two others were injured. A Confederate was also injured. The film doesn't say, but the fleeing Rebels were apprehended by Canuck authorities and the loot returned to the three banks in St. Albans, although the men were let go because neutral Canada couldn't extradite them.
It runs 1 hour, 22 minutes, and was shot in RKO Studios in Culver City, which is just southwest of Hollywood, as well as Sherwood Forest, which is a 50-minute drive to the northwest.
GRADE: B+/A-
Masquerade (1988)
Oh, what a tangled web we weave when first we practice to...
A wealthy heiress in the Hamptons (Meg Tilly) falls for a handsome yacht captain (Rob Lowe), but there are human vultures seeking her fortune. John Glover plays her jerk stepfather while Doug Savant is on hand as a friend from her youth who's also a local police officer.
"Masquerade" (1988) is a 'hip' drama/romance with crime thrills and sweet Long Island locations, not to mention sailing sequences. It bombed at the box office because the studio was in chaos and the president's wife hated "all that sex," which resulted in Lowe not starring in another studio film for years.
Aside from Meg on the female front, there's Kim Cattrall as the yacht-owner's adulterous wife and Dana Delany as the girlfriend of the stepfather. There are a couple of R-rated sex sequences and the corresponding nudity.
As a plus, there's a good message on the power of love to redeem a person from corruption. But there's just so much duplicity going on it's hard to relate to most of the characters. It's almost comical how the heiress remains blitheful while evil people are swooping all around her. More reality and less movie-isms would've made for a better film. Still, it's worth checking out if the above piques your interest.
It runs 1 hour, 31 minutes, and was shot on Long Island (Riverhead, Sag Harbor, Shelter Island, Southampton Village and Broadview) with some bits in Manhattan.
GRADE: B-
Mine Games (2012)
Ambitious cabin-in-the-woods flick set in the wilds of Washington
Four males and three females head out to a vacation home in eastern Washington to celebrate graduating college, but they discover something disturbing in the nearby abandoned mine. Will any of them make it out alive?
"Mine Games" (2012) is cabin-in-the-woods sci-fi/horror, but not a slasher. It borrows a concept used three years earlier in "Dark Country" and, before that, an episode or two of Star Trek: The Next Generation. Thankfully, it presents it in a different setting and in a fresh way, tied to the ouroboros, the circler symbol of a snake eating its tail, which suggests cyclic renewal, life and death.
The production cost $1,500,000 at the time and is proficiently made, which is a plus seeing as how most cabin-in-the-woods flicks seem to be low-rent. So, this is first rate as far as general filmmaking goes, just with second-tier actors, who are convincing. The problem is that the second act is dramatically dull whereas the first act is an effective enough set-up and the third act is quite compelling with its revelations. The script needed tweaked to make the second act more entertaining, one way or another.
Julianna Guill is notable on the feminine front as blonde Claire, followed closely by Briana Evigan as brunette Lyla. Lindsay Lamb has a small part as blonde Sarah, which includes a fairly overt sex sequence, albeit brief (just a heads up for those who might want to steer clear). On the masculine side of things, Ethan Peck stands out as Guy, the grandson of Gregory Peck.
It runs 1 hour, 32 minutes, and was shot in eastern Washington at Gifford Pinchot National Forest, which is southeast of Mt. Rainier; Ape Cave, which is five miles due south of Mt. St. Helens; and Seattle.
GRADE: B-
The People (1972)
Little House on the Prairie with paranormal bits
A young woman (Kim Darby) takes an assignment as a teacher of a small community in the desolate rolling hills somewhere in the Southwest. She becomes increasingly aware of the peculiarities of the people, such as the kids dragging their feet and a hush-hush attitude. William Shatner is on hand as the doctor, also an outsider.
"The People" (1972) is based on Zenna Henderson's 'People' stories, which were first published in 1961 (specifically, the story "Pottage" from "Pilgrimage: The Book of the People"). It was produced as a potential pilot for a TV series that never materialized. Yet it works as a standalone rural drama that's slow-paced and mild, but with an interesting concept and the corresponding strange phenomena, which I don't want to give away.
Let's just say that I wouldn't be surprised if Stephen King was inspired by Henderson's stories to write "Carrie." Not that this is a horror flick, not at all, although it includes weird, outlandish elements. I just suspect that King maybe took ideas from Zenna's "The People" to create his more famous horror story.
It has the tone of Star Trek's first season episode "This Side of Paradise" mixed with the soon-to-come Little House series. Darby was 24 during shooting and surprisingly thin, although winsome. She previously worked with Shatner in the Star Trek episode "Miri" when she was 18.
The soothing score was composed by Carmine Coppola, Francis Ford Coppola's father. In fact, this little unassuming flick was produced by Francis' American Zoetrope.
It's short 'n' sweet at 1 hour, 13 minutes, and was shot in Nicasio, which is a 40-minute drive north of the Golden Gate Bridge (the schoolhouse); and San Rafael, which is about 12-15 miles southeast of there.
GRADE: B-/C+
La guerre du feu (1981)
A well-done fantastical portrayal of early humans
After a tribe of cave-dwelling homo sapiens in prehistory are attacked by neanderthals, three members of the group (Everett McGill, Ron Perlman and Nicholas Kadi) leave to apprehend fire, since they don't know how to create it themselves. On their journey, they run into saber-toothed tigers, cannibals, a friendly female in body paint (Rae Dawn Chong), woolly mammoths and Ika's more evolved tribe where the chief is interested in eugenics.
"Quest for Fire" (1981) is a serious attempt to depict people from prehistorical times in the tradition of "One Million Years BC" from fifteen years earlier (the one with Raquel Welch), although don't expect any dinosaurs. Like that movie, there's no talking as we understand it; only grunting and primitive lingo.
This of course prevents the flick from being compelling in the sense of interesting or entertaining dialogues, which leaves us with a dramatically dull film with amazing locales and visuals. But there are some worthwhile scenes, such as a member of the Ivaka tribe showing Naoh their advanced knowledge of creating fire with a hand drill.
The special effects were shot live with no optical additions done in post-production. The Smilodons (saber-toothed tigers) were obviously just lions with long canine teeth added while the woolly mammoths were played by trained circus elephants.
Rae Dawn Chong does well in her role as the lithe girl, but don't expect a stunning female on the level of Lisa Thomas as Sura in "One Million Years BC" or Beth Rogan in the 1961 version of "Mysterious Island."
The film runs 1 hour, 39 minutes, and was shot in Canada (Greig's Caves on the Bruce Peninsula near Lion's Head, Ontario, and Cathedral Grove on Vancouver Island), Kenya (Lake Magadi) and Scotland (the Highlands and Tsavo National Park). I heard the mammoth scenes were done in Iceland.
GRADE: B-
Babettes gæstebud (1987)
The moment when "Mercy and truth... have kissed each other"
In a northern Jutland village, two daughters of a pietistic Lutheran pastor are dutiful spinsters by 1871 (Bodil Kjer and Birgitte Federspiel) when they take-in a Parisian refugee who "can cook" (Stéphane Audran). Fourteen years later, the latter insists on banquet for the dwindling congregation and a Hussar general, a former suiter of one of the sisters from decades earlier (Jarl Kulle).
A Danish production, "Babette's Feast" (1987) was based on the short story by Isak Dinesen, aka Karen Blixen, who's also known as the author of "Out of Africa." I point that out because this has the same quietly dramatic tone, just transplanted to a family of ascetic rural Protestants in 1800's Denmark.
To enjoy it, you have to be in the mood for period drama along the lines of "Mysteries" (1978) or "Mayflower: The Pilgrims' Adventure" (1979). This is even more mundane and subtle than those, but it's rich with underlying meaning, such as two opposing things meeting at the table of the true artist for respite, e.g. Worldly disillusionment and stiff pietism, Protestant and Catholic, upper-class and lower-class, the experienced and the naïve, bickering congregant and fellow congregant, older self and younger self, etc.
I said the movie was subtle, and it is, that is until the third act when a couple of bits are laid on too thick. But, man, I loved the part about loving someone every day, decade after decade, even though you can't physically be together for one reason or another.
It's at least 20 minutes overlong at 1 hour, 42 minutes. And was shot in Denmark with the village located at Vigsø, Thisted Kommune.
GRADE: B-
Mysteries (1978)
Eccentricities, romantic obsessions and suicidal tendencies on the north coast of Europe
A peculiar, but charismatic man shows up in a coastal town (Rutger Hauer) where he befriends a persecuted small person (David Rappaport) while developing an interest in two completely contrasting women (Sylvia Kristel and Rita Tushingham).
"Mysteries" (1978) is based on Norwegian Knut Hamsun's hailed 1892 novel "Mysteries," which I read before eventually viewing this cinematic version. While Hamsun's tale takes place on the coast of Norway, the film was shot on the shores of the Isle of Man (which is 45 miles off the northwest shores of England), but it doesn't matter much since both locales are the coast of northwest Europe, right? And, really, the filming locations are one of the flick's highlights, not to mention the costumes and general milieu of the Victorian Age.
It brings to life the book very well. Johan Nagel is an interesting character because, as he admits, he's a walking contradiction: He heroically stands up for the persecuted, but engages in his own form of abuse. He's virile and smacks of success, but has no qualms about doing something grossly desperate and unhealthy. He says one thing, but the truth is the opposite.
At the end of the day, it's a colorful examination of perplexing human nature and existence that is entertaining and inspires reflection while offering few if any answers. Being a Euro-production (Netherlands), it has that flair with the expected additions of curious, but artistic nudity.
But why's Nagel even in the coastal town? Where'd he get the unending supply of cash that he's able to throw about? Why does he walk around with a vial of poison? I guess that's why it's called "Mysteries." I should add that, while the movie's faithful to the book, it adds a couple of new ideas at the very end. I didn't mind these additions, but purists might object.
Unfortunately, the only version currently available seems to be one transferred from a VHS tape.
It doesn't overstay it's welcome at 1 hour, 28 minutes.
GRADE: B.
Elmer Gantry (1960)
The story of traveling tent revivalists in 1920's America
A fast-talking salesman from Missouri (Burt Lancaster) is attracted to the troupe of a winsome evangelist (Jean Simmons). Once he proves his abilities as a charismatic preacher, he joins the "road church" show, but a woman from his past threatens to shake things up (Shirley Jones). Arthur Kennedy plays a reporter who travels with the group by train.
"Elmer Gantry" (1960) was based on less than one-fourth of the 1927 book by agnostic-turned-atheist Sinclair Lewis. It makes fundamental changes to the two main characters by painting them sympathetically and therefore less one-dimensional and more interesting. This makes the movie better than the novel (at least the parts on which it was based). I should point out that Jean Simmon's character, Sharon Falconer, was inspired by the notable-but-controversial Aimee Semple McPherson.
It goes without saying that the film must be interpreted separate from the novel. The message is somewhat ambiguous and leaves it up to the viewer to draw their own conclusions, which is a sign of quality art IMHO. While it's clearly not anti-Christian, it criticizes how revivalism can attract charismatic people of dubious credentials and questionable morality, which naturally results in troubles that could've been avoided with a little wisdom.
The movie version of the title character is a fascinating study. At the beginning he clearly basks in partying in a bar at Christmas, but is willing to drop everything in order to passionately help a worker for the Salvation Army acquire donations. Why? Shortly later, he's traveling penniless and shoeless, but is drawn to the lively worship at an all-black assembly where the congregants stare at him curiously, until he happily joins in the singing of "Canaan Land" to show that he's really just one of them, despite his skin-color: A poor man seeking the Creator and salvation or redemption.
The movie's basically a story about people in positions of influence vacillating between carnality and spirituality, a condition of which most viewers can relate. But, as Jim Lefferts (Kennedy) points out: "We don't like our gods to be human."
While the flick definitely has its points of interest, such as the milieu of 1920's Middle America and Shirley Jones never looking better, "The Apostle" with Robert Duvall is a less artificial experience that addresses some of the same issues more effectively.
It's ironic that Sinclair Lewis made his character Elmer Gantry have a weakness toward booze seeing as how the author perished in 1951 due to advanced alcoholism.
At 2 hours, 26 minutes, the film's overlong by about half an hour. It was shot in the studio in Culver City and Hollywood, as well as the Columbia/Warner Brothers ranch in Burbank, except for the Tabernacle sequence filmed in Santa Monica.
GRADE: B-/B.