[7] Ron Howard (Splash, A Beautiful Mind) directs this sweet story about a group of nursing home residents who discover a ‘fountain of youth’ in a nearby pool. Turns out, though, that the pool’s power is extra-terrestrial. Soon the old folks become friends with aliens and an interesting proposition is made: Would you like to leave Earth and live forever on an alien planet? Wilford …
[8] A psychotic businessman (Christopher Walken) plans to plunge Silicon Valley into the ocean to create a worldwide microchip monopoly for himself in Roger Moore’s final outing as James Bond. A View to Kill is more aggressively paced than other Bond films, and features more than its fair share of set pieces and stunts, including a parachute jump off the Eiffel Tower and a climactic gunfight atop …
[3] Clint Eastwood directs and stars in this flick about a Russian jet that is undetectable by radar. This is probably my least favorite film in Clint Eastwood’s rather large filmography. The first half of the movie is unbearably boring, and when we finally get to the action, it’s too poorly paced and executed to save the movie. Adding insult to injury, Eastwood’s character is …
[7] Agent 007 must stop an arms dealer from starting World War III in the 15th installment in the long-running franchise. Timothy Dalton makes his debut as James Bond. The Living Daylights is less campy than many previous Bond films, attributed largely to Dalton’s more serious take on the character. What it lacks in cheeky charm, it makes up in action. The script does a spectacular …
[4] Sean Connery returns for his final outing as James Bond in Never Say Never Again, a remake of Thunderball and the only Bond film not produced by Cubbi Broccoli’s EON Productions. Since it’s an “unofficial” entry in the franchise, you won’t hear Monty Norman’s famous theme music anywhere, nor will you see another snazzy title sequence from Maurice Binder. And who are these strange …
[4] I don’t think a Psycho sequel could ever possibly work, but that doesn’t stop screenwriter Tom Holland from giving it the old college try. The script paints Norman Bates (a returning Anthony Perkins) very sympathetically — reformed, recently released, and ready to start a new life. But someone keeps playing tricks on Norman, leading him to believe his domineering mother is still alive. The …
[6] Eastwood directs and stars in this Western tale of revenge. The most interesting thing about Pale Rider is the mysterious nature of Eastwood’s character, a preacher/gunfighter who enters a mining colony’s life in answer to a young girl’s prayer. The film suggests he might be a ghost, and without this ambiguity, the movie is pretty standard genre fare. Bruce Surtees gets kudos for making …
[5] Licence to Kill is the anti-Bond. Timothy Dalton is out for revenge in this one (his second and final outing in the role), and the performance is desperately missing the character’s trademark nonchalance. Without it, it just isn’t Bond. It’s one of a number of generic 80s action flicks fueled by revenge, centered around the drug trade, full of explosions, and scored by Michael Kamen …
[6] Sally Field and James Garner star in this story of a divorced mother who moves to a small town and tries to open a successful horse ranch. She quickly befriends the town pharmacist (Garner) and the two strike up a surprisingly unsentimental relationship. The plot thickens when the ex-husband comes to town trying to patch things up, creating a love triangle that has to …
[7] Street Trash is grade-A schlock, precisely the kind of movie that would make your mama cry if she knew you were watching it. An unwitting liquor store owner discovers an old crate of booze and starts selling it to the local homeless population. Unfortunately, the toxic brew has a nasty side effect — the drinker quickly disintegrates into a puddle of bubbling goo! The …
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