Cujo

Tags

1980's, Christopher Stone, Cujo, Daniel Hugh Kelly, Danny Pintauro, Dee Wallace, Ed Lauter, Horror, Lewis Teague, Stephen King

Film Title

Cujo

Director

Lewis Teague

Starring

• Dee Wallace as Donna Trenton
• Danny Pintauro as Tad Trenton
• Daniel Hugh Kelly as Vic Trenton
• Christopher Stone as Steve Kemp
• Ed Lauter as Joe Camber

Although a terrifying and tense film based on the Stephen King novel, Cujo falls down in pacing and a sometimes over the top nature. It’s thankfully saved due to some horrifying sequences and a powerful turn from Dee Wallace that raise Cujo up a few levels, even if the overall product is flawed.

In the opening, we observe the friendly St. Bernard named Cujo chasing a rabbit. He gets his head stuck in a cave when looking for the rabbit, but awakens the bats that reside there. His presence scares the bats(which are rabid) and they respond by biting him. Slowly, Cujo begins exhibiting signs of rabid behaviour, that no one seems to notice. Meanwhile, in the town, various dramas are at play. Housewife Donna Trenton is married to advertiser Vic and has a young son named Tad. Although she cares for both, she has grown restless and dissatisfied. This has led her into an affair with local stud Steve Kemp, although Donna attempts to resist this. A problem with the family’s car forces them to visit alcoholic mechanic Joe Camber, who is the owner of Cujo. The dog is progressively getting more frightening and infected, but everyone is concerned with other things to truly take note of it. Donna, feeling guilty about her indiscretions, admits to her affair to Vic. Having to deal with a crisis at work and the knowledge of his wife’s affair, Vic leaves for business, which makes Donna be in charge of sorting the failing car and grappling with not knowing what the future holds. Little realising what awaits them, Donna and Tad head to Camber’s house to finally get the car sorted out. Unfortunately, by this point Cujo has become a rabid animal that has killed Camber and his friend. The dog soon sets upon Donna and her son, isolating them in their car that the battery has run out of. Trapped inside the car and terrified, Donna must summon up all the resolve she has to survive the attacks of Cujo and ensure the safety of her son.

Lewis Teague makes a good stab at directing this horror tale and does manage some very scary moments. His control over pacing and narrative is less assured, as he could have brought a bit more immediacy to things to increase the shocks. When the movie gets the nitty-gritty of the rabid dog attacking people and ultimately trapping Donna and Tad , is where the big strength and effectiveness of Cujo lies. It’s the build up to the unleashing of violence that provides a stumbling block for the movie. In one respect, some of it builds suspense and comments on how wrapped up everyone is in their own lives, that they fail to notice a change in Cujo. Yet the other narrative points are too melodramatic and soap opera style that they feel extremely out-of-place. It’s a conundrum to be sure, and just when you may consider turning the movie off, the horror kicks in and the better parts of Cujo become noticeable. With odd camera angles and a frenetic energy, the latter half of Cujo makes up for the stale first part. It gets straight to the fear of Man’s Best Friend going awry, which is a frightening notion brought to shocking life here. The use of what at first looks likes the point of view of the beast, that ultimately isn’t is impressively used when Cujo jumps out of nowhere and puts your body in a jolt. The dog of the title is terrifying yet pitiful, as it isn’t the dog’s fault that it became rabid. Still, the sheer size and appearance of the animal is ferociously rendered and towering when it menaces Donna and Tad. Above all, the theme of a protective mother and her child is brought forth, and is what gives Cujo the life-blood it needs to be memorable. Watching as they are holed up in the run-down car, near dehydration and completely traumatised makes for some nerve-shredding suspense and a sympathy for their plight. A creeping and capricious score enables suspense and terror to influence the atmosphere in the film and make it stick.

For all the flaws that Cujo boasts, the main acting from Dee Wallace is not one of them. She really convinces as the desperate mother in a battle to save her child, while almost at the point of exhaustion. Wallace searingly plays the protective mother with committed energy and depth; you genuinely feel worried for her as the attacks from Cujo become more frequent and she must gather what’s left of her strength to fight. Between vulnerable and strong, Wallace brings a much-needed dose of power to the film that is a chief asset among the other less compelling parts. Young Danny Pintauro gets it right as the absolutely terrified child, in a horrific situation. I’ve heard some people say that he’s annoying because he screams a lot in the film, but he is a child and just think how you’d react if there was a rabid dog attacking you. The other roles in the film are OK, but nothing like that of Wallace and Pintauro. Christopher Stone does what he can with the part of spurned lover, but Ed Lauter overdoes it as the hard-drinking owner of the eponymous threat. Saying that, Lauter does have very good and shocking death scene that really kicks the film into gear

An uneven slide of horror that nonetheless has its moments of greatness, Cujo can best be described as a mixed bag. If things had been a bit more focused, it may have attained excellence. Overall a creeping atmosphere, some outstanding camerawork and fine central performance are the redeeming factors that keep you watching Cujo.

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Charlie’s Angels: Full Throttle

Tags

2000's, Action, Bernie Mac, Cameron Diaz, Charlie's Angels: Full Throttle, Comedy, Crispin Glover, Demi Moore, Drew Barrymore, John Cleese, Justin Theroux, Lucy Liu, Luke Wilson, Matt LeBlanc, McG

Film Title

Charlie’s Angels: Full Throttle

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bernie Mac as Bosley
• Demi Moore as Madison Lee
• Justin Theroux as Seamus O’Grady
• Crispin Glover as The Thin Man
• John Cleese as Mr. Munday
• Matt LeBlanc as Jason
• Luke Wilson as Pete

More sassy attitude, kicking ass and sex appeal adorns Full Throttle, the sequel to the entertaining first film. Like its predecessor, it’s completely brainless and illogical but so watchable due to that very fact, it’s difficult to not enjoy it.

The Angels( Natalie, Dylan and Alex) return to fight crime and go undercover to thwart dastardly plans. We pick up with the girls as they rescue a US Marshall from captivity in Mongolia. Returning to America, the girls are informed of what their latest mission will entail. This time the unseen Charlie sends them to recover a pair of titanium rings. Encoded in these rings are the names and real identities of everyone in the Witness Protection Program. It appears that someone wants to sell the rings to the highest bidder; which just so happens to be any of the major crime outfits in the world. Gearing up for action with an array of costumes and skills, the girls encounter former Angel Madison Lee, who has clearly turned her back on the side of good and definitely has something to do with the plot. Added to the mix is Irish mobster Seamus O’Grady, who happens to be Dylan’s former boyfriend who she put away in prison years ago before changing her identity. This revelation hits Dylan hard as she fought so hard to escape her past, only for it to now resurface. From fast car chases to martial arts fighting, The Angels are back doing what they do best; stopping bad and shaking things up.

McG is back making things bigger and employing his music video skills for the montage heavy and frankly ridiculous movie. Once again, it’s a movie that doesn’t take itself seriously and on more than one occasion, rips itself off. The plot is essentially a riff on the first movie yet is a little tighter( I say little because it’s still pretty all over the show but still highly fun). The plot is the least of anyone’s concerns when the action and innuendo filled lines hit override. That’s where the fun begins as the gorgeous girls go from a dirt biking race to performing in strip club, all in the name of stopping crime. Various sub-plots of their love lives are superfluous and don’t go anywhere, the colourful fights and array of disguises is where the film is at. Like the title says, Full Throttle is what it gives in terms of silliness and amusing sequences that are pure ludicrous and candy coloured from head to toe. The film can best described as the equivalent of a sugar rush. You know you shouldn’t enjoy it, but the sweetness is difficult to resist. And even though it is a major rehash of the first film, is anyone actually paying that close attention? The soundtrack is lively and pumping, granted there is nary a second music isn’t playing.

Cameron Diaz, with her mega watt smile and perky energy, is delightfully goofy and animated in the best possible way. Drew Barrymore stands out the most as tough chick Dylan, who has to deal with the ghosts of the past. The film is hardly deep at all but the little bits of drama that reveal more of her( whenever the chance is given) are played remarkably well by Barrymore. Lucy Liu provides many laughs and feistiness as the brainbox of the troika, who can really deliver Once again, the three share a good rapport and have sparkling levels of energy. Some actually effective laughs come courtesy of Bernie Mac playing Bosley; his loud and frequently hysterical outbursts are just what the doctor ordered in this fizzy cocktail of a movie. Demi Moore, looking gorgeous and acting diva like, has fun as the vampy former Angel now on the side of evil and taking no prisoners. She seriously has a good time as the villain of the bunch and suits the over the top nature of the film. Justin Theroux, though underused, is pretty menacing as Dylan’s psychopathic ex who wants revenge on her for turning him in. Crispin Glover returns as the inherently creepy Thin Man, unfortunately he is ill-served by the film that doesn’t make the most of his unusual appearance and mannerisms. In support, John Cleese gets a few good moments Alex’s oblivious father. Once again, Matt LeBlanc and Luke Wilson are not really necessary or well used in the film and their parts could have easily been trimmed.

 

Virtually a variation on the first film with more explosions and killer stunts thrown in, Charlie’s Angels: Full Throttle is guilty pleasure viewing of the highest echelon. You wouldn’t tell a friend you like this movie, but you’d secretly bask in its sheer dumbness when you needed a popcorn movie.

Charlie’s Angels

Tags

2000's, Action, Bill Murray, Cameron Diaz, Charlie's Angels, Comedy, Crispin Glover, Drew Barrymore, Kelly Lynch, Lucy Liu, Luke Wilson, Matt LeBlanc, McG, Sam Rockwell, Tim Curry

Film Title

Charlie’s Angels

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bill Murray as Bosley
• Sam Rockwell as Eric Knox
• Kelly Lynch as Vivian Wood
• Tim Curry as Roger Corwin
• Crispin Glover as The Thin Man
• Matt LeBlanc as Jason
• Luke Wilson as Pete

Based on the hit 70’s show of the same name, Charlie’s Angels is not the kind of movie you go to watch for deep, introspective lessons. It’s all about the action, silliness and sexiness of which it provides a slick and entertaining package.

The Angels of the title are goofy Natalie, sarcastic Dylan and knowledgeable Alex; three beautiful and strong women who work as private investigators for the unseen Charlie. He communicates with them via voice messages and agency handler Bosley. Getting out of scrapes and risking life and limb is what they’re good at, as well as doing it with some serious style and kick ass moves. Their latest case involves rescuing electronics millionaire Eric Knox, then finding his valuable software. The software is state of the art voice recognition that uses phones as its main communications base. If it were to fall into the wrong hands, it could be used to end basic privacy through the usage of satellites and put tens of thousands in mortal danger. The main suspect appears to be a rival businessman by the name of Roger Corwin, whose known to be very ruthless when it comes to getting his hands on the much moneymaking thing. Cue much action, chases and sexy outfits and it’s another day at the races for the Angels. But something more sinister may in fact be right under their noses and ready to strike.

From the get go, director McG, who used to be a prominent stylist of music videos, lets us know that this film is one to just sit back and bask in with his brash use of colour and tongue in cheek humour. He isn’t trying to be intellectual in the slightest and that very approach makes Charlie’s Angels a big guilty pleasure. It’s a pastiche and ode to glamour of the past( the original theme tune and voice of Charlie remains the same) and modern technology that bathes in its own craziness. I mean how can any of the film be taken seriously when you have these ladies defying gravity with their karate moves and changing clothing at lightning speed, in between disposing of bad guys? And yet, that is where the fun lies, in the sheer implausibility and fantasy of it all. None of this is rooted in the real world and doesn’t try to be; it just wants you to have a blast on the action score and comedy and not aspire for anything else. With colourful splashes of quick editing and slow motion for sensual purposes, the film whizzes along at such a rapid rate that you don’t have to think about a single thing, just being thrilled and excited is the response that will most likely garner. Watching the sexy trio move from one outrageous situation to the next is fun enough in itself as they kick serious ass and showcase bountiful sex appeal. Laughs and naughtiness go hand in hand( watch as Alex dresses up dominatrix style to infiltrate a corporate facility and causes every male worker to be her slave.) High energy and a prominent soundtrack ensure that Charlie’s Angels is a kinetic ride that doesn’t require brain power, yet wants you to just surrender to its frequently goofy content.

The gorgeous trio of Cameron Diaz, Drew Barrymore and Lucy Liu contribute significant fun and sexy prowess to match. It helps that they look like they’re having a really fun time playing the glamorous crime fighters, who get to raid the dress up box frequently and dispatch sassy one liners. That enthusiasm( from Diaz’s ditsy but sometimes very resourceful Natalie, Barrymore’s sassy, attitude heavy Dylan and Liu’s sophisticated and poised brainiac Alex ) is the key to the enjoyment of Charlie’s Angels as they sell the silliness all the way. Bill Murray is hilarious as the occasionally bumbling and sardonic Bosley, with his knack for humour in high supply and an utter delight to watch. Sam Rockwell is pretty eye-catching as the man supposedly in trouble, who might be quite different from the geeky persona he projects. Kelly Lynch is much the same as his partner who just know is dodgy from the moment she appears. Tim Curry does what he can with his ludicrous material and is quite amusing, while Crispin Glover is ideally unusual and freaky as an assassin known as The Thin Man. Matt LeBlanc and Luke Wilson on the other hand, come off as rather superfluous when playing two unsuspecting boyfriends of two of the Angels. Considering the cheesy script, the cast is mostly competent, particularly the sexy Angels.

It’s scattershot at best and virtually devoid of any real plot, but Charlie’s Angels delivers the fun and sassy goods, bolstered by the energy of the three women at the front of it. Defiantly ridiculous and outrageous, it’s best enjoyed as cheesy fodder and sexy fun.

Tightrope

Tags

1980's, Alison Eastwood, Clint Eastwood, Dan Hedaya, Geneviève Bujold, Richard Tuggle, Thriller, Tightrope

Film Title

Tightrope

Director

Richard Tuggle

Starring

• Clint Eastwood as Detective Wes Block
• Geneviève Bujold as Beryl Thibodeaux
• Dan Hedaya as Detective Molinari
• Alison Eastwood as Amanda Block

A thriller that functions as a study of the lines between the hunter and the hunted blurring and strange sexual predilections, Tightrope retains an impact as it explores one man’s journey into murky waters that are complicated by startling links with a killer.

In New Orleans, a spate of sexual murders among prostitutes and massage parlour girls is baffling the police. Experienced and tough Detective Wes Block is the main person investigating, while having his own demons to contend with. His wife left him a while back and he is caring for his two young daughters. While he’s a dedicated father, there is a void in his life that he fills with a dark and possibly damaging string of nocturnal activities, they will become integral later on. Beryl Thibodeaux works at a council centre for a rape prevention program that teaches women self-defense and offers shelter from abuse. She advises Block on certain aspects of the case, but Block is initially standoffish with her. Investigating further, Block discovers that he shares quite a lot of similarities with the killer; the main one being the frequenting of downtown New Orleans for hookers in exchange for kinky encounters. This profoundly disturbs Block, who is trying to balance the dark and good of his life carefully. Unfortunately the killer is very much on his tail and when women that Block has employed the services of start to fall, it starts to get extremely personal for Block. Added to this are his growing feelings for Beryl that seem almost foreign as he’s met by a woman who takes no guff and is far from willing to surrender. He must now track down the taunting killer, who seems to know about his own dark needs and is using it to his advantage to torment him.

The unobtrusive direction brings more attention to the story than just having visuals( which are very good at setting the seedy atmosphere) doing it for them, letting it play out as a slow burn that takes its time with what it wants to say. Richard Tuggle is in the director’s seat, though there have been claims over the years that Clint Eastwood actually directed most of it. Whatever the case with who directed it, Tightrope grabs the attention in a way that isn’t obvious, but still enthralling to watch nonetheless. Where Tightrope particularly soars is in the exploration of how Block sees women, and how his deviant side is given a kicking once the killer latches on to him. This proves to be fascinating to watch, particularly in how his relationship with Beryl forms and he begins to let his guard down, for perhaps the first time in a while. What Tightrope sometimes lacks in tension, it makes up for in character development and thematic value. Saying that, there are a number of chilling scenes, not least when Block’s family are targeted by the killer and the case gets very anguishing for him. It’s more the examination of the man and his attitudes that really makes Tightrope worth the watch, with the thriller parts still there but exceptionally allowing the other content to emerge. The seedy underbelly of things is never far from view as Tightrope isn’t afraid to project the unusual sexual angle to the murder, but these are thankfully not just there for sick exploitative material. They actually serve a purpose and to be honest, a lot of the horrible things that happen occur off-screen. Jazz is featured heavily in the film and excellently counteracted by an electronic pulse whenever darkness drives on the scene, providing a flip on the usually relaxed big band stuff that we hear in the beginning.

Clint Eastwood, through subtle degrees of vulnerability and encroaching shock, excellently layers his performance as the detective haunted by his own behaviour and having it replayed in grisly fashion. Just a stiffening of his neck or a slight uneasiness in his eyes says a lot more than simple dialogue can. Eastwood wisely doesn’t make Block an out-and-out creep, rather a tormented man who wants control and finds it through strange sexual activity. This is offset by his clear love for his daughters and how much he cares about them. Bringing the two sides together makes for one of Eastwood’s most understated yet vulnerable performance. Geneviève Bujold is equally as good playing the rape councillor who is far from a damsel and more than a match for the tough Eastwood. she is also the person who breaks down the wall Block has put up, thanks to her deep understanding and persistence. Bujold splendidly imbues her part with a sympathy and  believable forcefulness that ensure her character is taken seriously in the passionate way she helps Block and others. Dan Hedaya is somewhat saddled with role of sidekick police partner but does pretty good, while Alison Eastwood is convincingly mature as Block’s oldest daughter who just wants her dad around a bit more. It helps that she is really Eastwood’s daughter because the bond between them is very touching.

A dark film that doesn’t shy away from anything sleazy yet wisely rises above exploitation levels, Tightrope features a complex performance from Clint Eastwood that makes it extremely watchable, especially given the disturbing content. More of a character study than out-and-out thriller, the attention given to the characters is what makes Tightrope that something different.

 

The Big Chill

Tags

1980's, Comedy, Drama, Glenn Close, Jeff Goldblum, JoBeth Williams, Kevin Kline, Lawrence Kasdan, Mary Kay Place, Meg Tilly, The Big Chill, Tom Berenger, William Hurt

Film Title

The Big Chill

Director

Lawrence Kasdan

Starring

• Kevin Kline as Harold Cooper
• Glenn Close as Sarah Cooper
• Jeff Goldblum as Michael
• Tom Berenger as Sam Weber
• William Hurt as Nick
• Mary Kay Place as Meg
• JoBeth Williams as Karen
• Meg Tilly as Chloe

A seriocomic drama about reflection on the past, the difference in generations and loss, The Big Chill is a highly resonant and extremely well written film from Lawrence Kasdan. He is aided by a fine cast that do wonderful work in this look at how times change and we can feel adrift in the world that doesn’t hold the promise it did when you were younger.

A group of former friends from college in the 60’s are reunited unexpectedly years later when one of them, the much talked about and promising Alex, commits suicide. The group is made up of married couple Harold and Sarah Cooper, disillusioned television star Sam Weber, unfulfilled attorney Meg, slightly lecherous journalist Michael, Vietnam Vet and pill-popping Nick and unhappy housewife Karen. They haven’t seen each other since their heady days in college and the funeral of Alex brings them back together under dark circumstances. The wake is held at Harold and Sarah’s vacation house in South Carolina. The main people of the group, who don’t know how to deal with the suicide of Alex, stay over the weekend along with Chloe, the much younger girlfriend of the deceased. During the course of the days, the one time close-knit faction are found to be laying bare their secrets, reminiscing on the past and attempting to fathom why Alex killed himself. The big thing that hovers over them all is that lingering sensation that the best years of their lives have passed them by and their vibrant dreams of youth have gone up in smoke. Various little dramas come to light again, like Meg wanting to desperately have a child as she feels her biological clock is ticking and Karen dealing with her unresolved feelings for Sam. Throughout the time together, thrashing out their differences and opening old wounds, they are left to ponder and work out just what to do with their lives, along with whether they can rectify what eludes them and unearth how much Alex’s death has impacted on them.

Lawrence Kasdan fashions a heartfelt yet perceptive evocation of people dealing with responsibilities and thinking back on how much they changed since college. The script that he wrote, along with Barbara Benedek, invests The Big Chill with a quick wit and revealing nature, that benefits the struggles and issues the group go through. They all feel at sea in the materialistic 80’s, when all they crave is the feeling of life and hope that the 60’s gave them being baby boomers. The plot largely revolves around the group discussing their problems, reminiscing of the good old days, smoking pot and wondering where the time has gone. Some may find that idea more than a little boring, but The Big Chill is the total opposite because of the amount of personal feeling injects do into it. You really get to relate to the characters and what they’re going through, even if they don’t know how best to deal with grief and a sense of something missing. It’s one of those things that is universal for everyone; the knowledge that life is different from how you expected and hasn’t taken the path you wanted. Thankfully as tinged with melancholy as The Big Chill is, there is a balance it strikes with quick humour long the way. The film, like the characters goes between laughs and tears, with an unexpected clarity and wisdom that shines through. Even if some of it feels a tad simplistic, the warmth and depth of the piece are always in evidence. The soundtrack is one of the best parts of the movie, recalling the youth of the characters with Motown hits and 60’s grooves. Music plays a very integral role for all of the group and also the audience, as music holds a special place undoubtedly for all of us with the wistful memories it can evoke. The opening sequence is a masterful example of combining music with telling a story. In it, each of the group receives the news and we catch glimpses of how they react, as the sound of Marvin Gaye’s ‘I Heard it Through the Grapevine’ plays in the background.

The Big Chill boasts a simply star-studded cast that are given a moving and frequently funny script to work with and deliver natural, unaffected performances in the process. This is a beautiful ensemble of acting that allows everyone a chance to shine. Kevin Kline is very good as the amiable joker Harold, who has his own deliberations to deal with along the way. Glenn Close beautifully supplies a nuanced turn as the earth mother and good listener, who attempts to keep everyone and herself together and not fall apart. The typically sardonic personality of Jeff Goldblum covers the seedy journalist character, while Tom Berenger sells the feeling of alienation that fame has brought him over the years. William Hurt is on lugubrious form as an overly cynical and morbid man whose life is like an empty shell and needs some lightness to brighten it. Mary Kay Place has the right amount of humour and pathos to bring Meg’s need for a child to life, complimented by some wily observations. Rounding out the main group of reunited friends is JoBeth Williams. She quietly but noticeably gets across the aching want for some love that her character finds has missed her, and there is a real tenderness to her pining for Sam. Meg Tilly, as the youngest member of the cast and most youthful character, has a boundless and quirky energy of a girl who doesn’t react to death the way you’d think. Her character is mainly a symbol of the exuberance and wistfulness of being young and idealistic, that the group is wrestling with the knowledge that they aren’t anymore. The whole cast works convincingly together, selling the fact that their friendship despite the years remains quite intact and there to be rediscovered over the weekend of rumination.

A nostalgic as well as very honest depiction of bittersweet grappling with all sorts of change and facing up to the different ways that life affects us, The Big Chill still has a large impact of being moving and amusing. This is largely thanks to the splendid direction, script and cast that make the experience really something.

Body Double

Tags

1980's, Body Double, Brian De Palma, Craig Wasson, Deborah Shelton, Gregg Henry, Melanie Griffith, Mystery, Thriller

Film Title

Body Double

Director

Brian De Palma

Starring

• Craig Wasson as Jake Scully
• Gregg Henry as Sam Bouchard
• Melanie Griffith as Holly Body
• Deborah Shelton as Gloria Revelle

An outrageously and stylishly updated reworking of Vertigo and Rear Window, Body Double dials up the lurid material and shocking content. It may bite off more than it can chew, but Body Double is by and large a spellbinding example of Brian De Palma’s signature direction and his gleefully unapologetic content.

Jake Scully is a B-movie actor with a big problem. As he often stars in horror films(frequently as a vampire) he has to be in confined spaces. The trouble is that his latent claustrophobia has evinced itself of late and has lost him jobs. Out of work, things get worse when he finds his girlfriend cheating on him. He moves out and is struggling to find a job, when he meets the charming Sam Bouchard. Also an actor, he takes pity on Jake and takes him under his wing. Sam is currently house sitting for a rich friend and offers Jake the place to stay. Jake jumps at the chance and is taken to the panoramic house in the Hollywood Hills. Sam points out that there is a display that will interest him in one of the houses nearby. With a telescope, Jake views the sultry dancing every night of Gloria Revelle, a beautiful, young housewife. What starts as just a glancing curiosity slows gives way to increasing obsession on Jake’s part. Added to this is his realisation that a strange-looking figure is also observing Gloria with ill intentions. Continuing to grow more infatuated with her, Jake follows her and observes her, once again seeing the grotesque figure looming large. Sadly, through his obsession , Jake is unable to stop Gloria’s brutal murder at the hands of the stalker. As the only witness, he can’t do much as the police know that he was also covertly watching Gloria and didn’t report what he saw. Jake can’t help but feel guilty about his indirect involvement and how he could have prevented the murder. Yet various things are not adding up and what seemed coincidental may in fact be pre-meditated. Still shocked, he finds himself more determined to unravel events that look very untoward and discovers a link between the slaying and the world of X-rated movies. Desperate Jake is soon lead into the dark recesses of the adult film industry, where the gorgeous porn star Holly Body may hold the key to everything.

As is befitting of a film by Brian De Palma, Body Double sports oodles of visual effectiveness and cinematic flourish from the very start. He frequently teases and tests us with what we are witnessing and how true it is, best envisioned by a series of scenes in which we believe we are watching the film, only for it to reveal that it’s the making of a film in the story. A fantastic example is when Jake makes his way on to a porn set and it is played out to the tune of Frankie Goes to Hollywood’s ‘Relax’. At first it just appears to be part of the filmic story, before pulling back to show that it’s an adult production within the confines of the plot. We, as the audience, are permitted to be unwitting voyeurs throughout Body Double, whether we like it or not, due to the use of point of view shots to illustrate the illusion of watching. I must confess that in the latter half of Body Double things start to feel a bit rushed, especially in comparison with the slow burn of the earlier pacing. But the outrageous core and De Palma stamp ensure you keep watching as it redeems itself once Holly takes centre stage and brings a much-needed shot in the arm. So it does get uneven in stretches when it could have been tighter and a bit more coherent, but I found myself very engrossed by Body Double that I can somewhat overlook its collection of flaws and bask in the sheer unpredictability of it all. Body Double is a sly beast that is very mysterious and shrouded in red herrings, that you may not quite realise at first glance. Brian De Palma is very impish in what he presents, frequently reeling us into a twisted fantasy that has its tongue jammed firmly in cheek. He is not caring about whether you squirm or find the content repulsive; this is his vision and what he wants to put out there, like it or not. If anything, the winding plot takes a backseat to the directors love of things cinematic and how manipulative the medium can be. A major plus in Body Double(along with the luscious cinematography) is the mood-setting music, courtesy of Pino Donaggio. Using an electronic pulse to produce a slinky and scintillating ambiance, its music that really gets its talons into you and gorgeously sets a scene. The score is akin to the dance that Gloria performs; it invites you in yet knows how to tease and be mysterious.

Craig Wasson is a bit of a wooden actor, yet that very thing is used to great effect in playing the unlucky and low-rent star, caught in a web. His very ordinariness and nothing too special appearance plays in well to the way that he becomes utterly besotted with someone he barely knows and then more than a little suspicious that something stinks. Gregg Henry lends an ingratiating and seemingly supportive presence as the actor who helps Jake, but who may be very different behind it all. Melanie Griffith appears late in the film, but immediately makes an impression as the seductive but brighter than you’d think adult film star. While being obviously attractive, Griffith digs into a street smart attitude and subtle vulnerability of a girl who knows how to handle herself, but doesn’t quite realise the extent of how deep she’s in. Both a smart and confident performer( watch as she reels off just what she will do and not do in a movie) and a pawn, the part of Holly is memorably envisioned by Melanie Griffith. Seen with not much in the way of dialogue, Deborah Shelton is still extremely enigmatic and beautiful as the ill-fated woman, whose demise throws Jake into a tailspin.

I wouldn’t say Body Double is the best film from De Palma, yet it definitely displays some of his finest visual direction and penchant for referencing Hitchcock in typically daring style. Body Double, though uneven, is still a very intriguing thriller that reels you in to the mystery and sleazy aura that if builds so well as it surprises you with some very serpentine twists.

Upcoming Stuff On My Blog

Tags

Announcement, Upcoming Stuff

As I’m starting to get back into the swing of things following my move, I’ve decided to get a sense of order. Now I can be notoriously disordered a lot of the time, but I think it’s good to get a bit of balance and routine. I’m still exploring cinema and discovering various things. So here are a few ideas of what will probably feature on my blog in the coming weeks and months.

More Brian De Palma Movies and Martin Scorsese

I want to see more movies starring the amazing Meryl Streep

Hopefully a good few foreign language movies

A good helping of Classic Hollywood

And the Rocky franchise

If anyone has any suggestions, feel free to leave them in the comment section.

Happy Birthday Glenn Close

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Glenn Close

Sensational and highly talented Glenn Close turns 70 today. I have always admired her acting abilities and how easily she slips between characters. From being so calculating and frightening in some movies to being sympathetic and motherly in others, Close does it all and always convincingly. I can’t think of a single bad performance she’s given, which says a lot about her talent. So happy birthday Glenn Close, you’re a real legend.

A Belated Buffy Post

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Buffy the Vampire Slayer

As many people will know, Buffy the Vampire Slayer celebrated its 20th anniversary on the 10th of March. I was planning on doing a post, but the house move got in the way. Never fear, as I’ve decided to still do a post about the greatness of the show, just in belated yet graceful fashion. I love Buffy so much, it has to rank as one of my favourite shows ever. Watching as the eponymous warrior fought the powers of darkness while grappling with her personal life was entertaining television of the highest. As I could about the show for hours, I thought it better to condense my feelings into something more concise. So without further ado, here are the five reasons that Buffy the Vampire Slayer rocks like no other.

It knew how to scare you:

As a show that delved into the supernatural, it was only right that many things that our sarcastic heroine would battle would be creepy. And when I say spooky, I’m talking nightmare inducing at times. The villains and forces of darkness where never dull and had just the right amount of fright to creep you out.

It can make you laugh:

The sarcastic and often darkly humorous aspects of the show where always in high supply. In a show that was dark, laughs were generated frequently due to the comic timing of characters and the often outrageous things they would have to battle.

And just as quickly break your heart:

The amount of times I felt emotional watching Buffy are too many to count. It really knew how to get you emotional because of how well written it was. Tragedy and death formed large parts of the show, yet where always searing and ready for the tears to fall.

It’s highly innovative:

From the musical episode ‘Once More, With Feeling’ to the creepy and largely silent episode ‘Hush’, Buffy was always a show that was willing to take creative risks and challenges. And a lot of them largely paid off, which resulted in the show being a force to be reckoned with.

And of course the amazing title character:

Smart, sassy and kick ass to a fault, Buffy Summers has to be one of the strongest women warriors to hit television screens. Played to perfection by Sarah Michelle Gellar, Buffy is a girl you can gravitate towards on a lot of levels. In the beginning, she just wants to be a normal teenager though her destiny is what stops that. Over the course of the show, she grew into a woman accepting her destiny and learning how to embrace it. In short, Buffy Summers is a feisty and relatable heroine of steel and heart.

There are many other things I could list, but I’m trying to be concise as I know I’ll ramble given half the chance. All I have left to say is that Buffy the Vampire Slayer is a show that will never get old.

 

My Other Site

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Announcement

For anyone whose been reading my blog, you will know that I’m setting up an erotica blog. I can report that I have successfully done so, but it will take time for me to make changes to it which may explain the Spartan look. It is in the infancy of its content, but I have posted a teasing first part to a story. For the time being, I’ll largely be on here blogging about movies because it is my biggest passion. The other blog will be not as prolific for a few weeks, then I’ll get it going for you all. I’m currently doing stuff at my new house, when that clears the erotica blog will come into full swing. So here’s the address https://bunsareallthatyourequire.wordpress.com/