Young Sherlock Holmes (1985) – DVD

**/**** Image A Sound A
starring Nicholas Rowe, Alan Cox, Sophie Ward, Anthony Higgins
screenplay by Chris Columbus
directed by Barry Levinson

by Walter Chaw Fresh from The Natural and with a couple of films to go until Rain Man, Barry Levinson snuck in Young Sherlock Holmes, another adventure of a gawky idiot savant hero, which I initially saw as a lad of twelve one afternoon with my best friend before either of us had developed much discretion. Touted as the first picture to feature a completely computer-generated character and featuring a post-end credits epilogue that we found out about however it was that dorks found out about stuff like that before the Internet, the picture came to me the winter after the summer I'd spent reading the collected works of Arthur Conan Doyle, and the entire experience left me thoroughly enchanted. But in revisiting this slightly sadistic boy's tale, what emerges is less a sense of thrill and awe than a recognition of the oppressive influence that executive producer Steven Spielberg had on this and all of the projects under his pre-DreamWorks aegis, Amblin Entertainment.

Jim Henson’s The Storyteller: The Complete Collection (1987) – DVD

Image C Sound B
“The Soldier and Death,” “Fearnot,” “The Luck Child,” “A Story Short,” “Hans My Hedgehog,” “The Three Ravens,” “Sapsorrow,” “The Heartless Giant,” “The True Bride”

by Walter Chaw For the span of nine delirious, enchanted episodes, “The Storyteller”, Jim Henson’s too-brief foray into mature anthology fantasy television, is gorgeous for its faithfulness to its mythic source material. Although the show’s longevity was certainly not helped by Henson’s hard-to-shake reputation as the benevolent primogenitor of “Sesame Street” and “The Muppet Show”, looking closer at Henson’s twin, sterling blue masterpieces The Muppet Movie (which he didn’t direct but definitely spearheaded) and The Dark Crystal reveals an artist steeped in a tradition of stung, existential melancholy. It’s easy to laugh at Kermit’s swamp lament or to dismiss, albeit less easily, the heroism of a soon-to-be-extinct species desperate to save a dying world that has all but snuffed them out, but from a perspective of legacy, it’s unwise to file Henson under “kid’s stuff” and leave well enough alone.

Loverboy (1989) – DVD

*/**** Image C- Sound B+
starring Patrick Dempsey, Kate Jackson, Carrie Fisher, Robert Ginty
screenplay by Robin Schiff and Tom Ropelewski & Leslie Dixon
directed by Joan Micklin Silver

by Travis Mackenzie Hoover Loverboy is a brightly-lit sex comedy from the '80s; for those who lived through those dark times, this statement is criticism enough. But I know that there are vast numbers of young people who have never had the distinct displeasure of watching rich people with enamel-white houses and shoulder-pad dresses have their way with Patrick Dempsey, thus it behoves me to warn this lost generation of the perils of this film and all of its ignoble brethren. If you are watching something out of the corner of your eye late at night while channel-surfing, and you notice a lack of cuts, no discernable attempts at style, and a whole lot of ugly pastels, you are in serious danger of seeing Loverboy. Change the channel immediately, for the discomfort and nausea will be acute and irreversible. The fact that a DVD exists is mind-boggling.

Everybody’s All-American (1988) + That Championship Season (1982) – DVDs

EVERYBODY’S ALL-AMERICAN
*½/**** Image B Sound B Extras C
starring Jessica Lange, Dennis Quaid, Timothy Hutton, John Goodman
screenplay by Tom Rickman, based on the book by Frank Deford
directed by Taylor Hackford

THAT CHAMPIONSHIP SEASON
**/**** Image C+ Sound C+
starring Bruce Dern, Stacy Keach, Robert Mitchum, Martin Sheen
written and directed by Jason Miller

by Walter Chaw SPOILER WARNING IN EFFECT. Taylor Hackford’s Raging Bull, the episodic pigskin melodrama Everybody’s All-American boasts a trio of fantastic performances at the service of a picture that’s all sturm and no drang, a weightless thing packed to the rafters with heaving moments over the course of a twenty-five-year span that somehow fail to add up to an affecting whole. It comes at the tail end of the prolific Dennis Quaid’s most prolific era, rounding up unqualified successes like The Big Easy and Innerspace (and unqualified miscues like D.O.A.) and serving as a handy career summary for Hackford, who hit it big with the revered cheese classic An Officer and a Gentleman, which he’s been dutifully remaking in one form or another ever since. Success is an unforgiving mistress–so is lack of range and imagination.

Give My Regards to Broad Street (1984) + Paul McCartney: The Music and Animation Collection – DVDs

GIVE MY REGARDS TO BROAD STREET
**/**** Image B Sound B+
starring Paul McCartney, Bryan Brown, Ringo Starr, Barbara Bach
screenplay by Paul McCartney
directed by Peter Webb

PAUL McCARTNEY: THE MUSIC AND ANIMATION COLLECTION
*½/**** Image B+ Sound B+ Extras B+
directed by Geoff Dunbar

by Travis Mackenzie Hoover Self-absorption is probably an occupational hazard at a certain level of fame: once the world lays itself at your feet, pelts its money at you, and replaces your mirrors with airbrushed portraits, it's well-nigh impossible not to be nudged a little closer to the realm of the narcissistic. Such is the case with Paul McCartney, who, having been canonized during his stint with The Beatles, apparently came to believe that anything involving his personage would be a celestial experience for all. The ego trips of 1984's Give My Regards to Broad Street and his more current forays into animation show a McCartney trapped in his own private hall of mirrors, one whose past musical triumphs are looking ever more distant from the tepid easy-listening of his present-day output.

Sword of the Valiant (1984) – DVD

Sword of the Valiant: The Legend of Sir Gawain and the Green Knight
ZERO STARS/**** Image D+ Sound C-

starring Miles O'Keefe, Cyrielle Claire, Leigh Lawson, Sean Connery
screenplay by Stephen Weeks and Philip M. Breen and Howard C. Pen
directed by Stephen Weeks

by Walter Chaw A film that is actually exactly bad enough to be uproariously funny, Stephen Weeks's Sword of the Valiant: The Legend of Sir Gawain and the Green Knight (hereafter Sword of the Valiant)–peculiarly, Weeks's second adaptation (after 1973's Gawain and the Green Knight) of The Rose Poet's fourteenth century Arthurian epic "Gawain and the Green Knight"–is one of those Golan-Globus productions that helped redefine the bottom of the barrel in the early Eighties. It gives Miles O'Keefe of Tarzan the Ape Man fame a short-lived and wholly unjust stay of career execution (decking him out in a Prince Valiant wig that makes him look suspiciously like Mary Worth with abs), and it furthers my contention that Sean Connery is pretty much just the Scottish Burt Reynolds. I'm not sure what Weeks and company had in mind when embarking on this project, but the result is something so deeply stupid as to inspire hopefulness and hopelessness in equal draughts: anyone can do it, apparently–but is it worth doing if it turns out to be Sword of the Valiant?

Permanent Record (1988) – DVD

***/**** Image C- Sound C+
starring Keanu Reeves, Jennifer Rubin, Alan Boyce, Pamela Gidley
screenplay by Jarre Fees and Alice Liddle and Larry Ketron
directed by Marisa Silver

by Walter Chaw Before Bill & Ted's Excellent Adventure trapped Keanu Reeves in an amber of his own inexplicable sun-baked imbecility, he appeared in a couple of genuinely good films, nursing the mistaken impression that he was actually acting. One of these pictures is Tim Hunter's elegy to ennui River's Edge; the other is Marisa Silver's curiously affecting teenage-suicide melodrama Permanent Record. In both, Reeves demonstrates a now-unsurprising affinity for the soulful burnout character, a moral compass in the morass of the amorality of Eighties introspection and hedonism. A neo-hippie destined to become Neo for real, Reeves brought to his early work a kind of befuddled earnestness that informs his best performances (in My Own Private Idaho for instance, or even the first Matrix)–a quality causing genuine concern for "Hellblazer" fans, who probably deserve a more complex Constantine. Prior to mega-stardom, however, the most enduring image of Reeves is a scummy sleeping bag tryst in River's Edge, and his awkward take on drunkenness via Ray Bolger during the climax of Permanent Record.

The Last Unicorn (1982) – DVD

*/**** Image D Sound D
screenplay by Peter S. Beagle, based on his novel
directed by Arthur Rankin, Jr. and Jules Bass

by Walter Chaw Rankin & Bass’ typically sloppy adaptation of Peter S. Beagle’s classic The Last Unicorn (adapted for the screen by Beagle himself) is terribly voiced and animated, even by the ’70s Bakshi/flash-frozen/Saturday-morning conveyor belt standard. The melancholy poetry of Beagle’s novel, rife with dread and the vertiginous feeling of falling into chaos, is notable for its similarity to the big eye, little mouth of traditional anime but falls short of that gold standard in terms of performance and detail. Mouths don’t move, backgrounds are static and recycled, and it doesn’t help that the colours on the print making it to the DVD format look as though they’d been left in the front window for too long.

A Room with a View (1985) [Two-Disc Special Edition] – DVD

***/**** Image A- Sound A- Extras B-
starring Maggie Smith, Denholm Elliot, Helena Bonham-Carter, Simon Callow
screenplay by Ruth Prawer Jhabvala, based on the novel by E.M. Forster
directed by James Ivory

Roomwithaviewcapby Travis Mackenzie Hoover Somebody says to one of the more priggish characters in E.M. Forster's A Room with a View, "You were all right as long as you kept to things, but when it came to people…" It's a line that doubly applies to James Ivory's 1985 film version, which indeed has more to say about the things surrounding its characters than it does the characters themselves. Great care has been taken to tastefully capture the physical details of Italy and England circa 1908, and great care has been taken to provide the actors with the fashions to match. But when the lights come up, we don't really have a strong impression of the characters, who simply populate the period tableaux like mannequins.

The Pink Panther Film Collection [6-Disc DVD Collector’s Set – Special Edition] – DVD

THE PINK PANTHER (1964)
*½/**** Image A+ Sound B+ Extras B
starring David Niven, Peter Sellers, Robert Wagner, Capucine
screenplay by Maurice Richlin and Blake Edwards
directed by Blake Edwards

A SHOT IN THE DARK (1964)
***/**** Image B+ Sound B+
starring Peter Sellers, Elke Sommer, George Sanders, Herbert Lom
screenplay by William Peter Blatty and Blake Edwards, based on the play by Harry Kurnitz
directed by Blake Edwards

THE PINK PANTHER STRIKES AGAIN (1976)
***½/**** Image A- Sound A-
starring Peter Sellers, Herbert Lom, Lesley-Anne Down, Burt Kwouk
screenplay by Frank Waldman, Blake Edwards
directed by Blake Edwards

REVENGE OF THE PINK PANTHER (1978)
*½/**** Image A Sound A-
starring Peter Sellers, Herbert Lom, Burt Kwouk, Dyan Cannon
screenplay by Ron Clark, Frank Waldman, Blake Edwards
directed by Blake Edwards

TRAIL OF THE PINK PANTHER (1982)
*/**** Image A Sound A-
starring Peter Sellers, David Niven, Herbert Lom, Joanna Lumley
screenplay by Frank Waldman, Tom Waldman, Blake Edwards, Geoffrey Edwards
directed by Blake Edwards

by Bill Chambers If you've never seen the one that started it all, then it will probably surprise you to learn that The Pink Panther is all but a pre-emptive strike against a possible franchise–practically the only thing about it that became canonical and conventional was the animated title sequence. (This upheld tradition of a cartoon beneath the opening credits formalized a cottage industry for James Bond distributor United Artists.) Series lynchpin Inspector Clouseau (Peter Sellers) isn't even the central figure; that would be Sir Charles Litton (David Niven), a playboy plotting to steal the coveted Pink Panther diamond by ingratiating himself with its owner, Dala (Once Upon a Time in the West's Claudia Cardinale), a pampered princess decompressing at a ski chalet in Cortina.

The Girl from Rio (1969) + Sadomania (1981) – DVDs

Die sieben Männer der Sumuru
*½/**** Image  A- Sound A- Extras A-
starring Shirley Eaton, Richard Wyler, George Sanders, Maria Rohm
screenplay by Peter Welbeck
directed by Jess Franco

Sadomania – Hölle der Lust
Hellhole Women
ZERO STARS/**** Image B+ Sound A- Extras A-
starring Ajita Wilson, Ursula Fellner, Robert Foster, Gina Jansen
screenplay by Jess Franco and Günter Ebert
directed by Jess Franco

by Walter Chaw Theoretically, I'm not opposed to the idea of the exploitation film. In the right hands, its disreputable ingredients of sex, violence, and "shocking" behaviour (the girl and the gun of Godardian legend) could be a thrilling camera subject and a springboard for lush stylistic excess. But for every Russ Meyer, Dario Argento, or Suzuki Seijun who knows his way around a camera, there are scores of Lucio Fulcis, Ruggero Deodatos, and Jess Francos who have no clue as to how to make a movie that hangs together. The latter of that unholy trio is a case in point: the current DVD release of two of his films is an occasion for seeing how far the exploitation formula can go wrong. Running the gamut from ridiculous (The Girl from Rio) to repellent (Sadomania), they lack any real stylistic brio to enliven their rote excesses and cheap perversions, succeeding only as possible subjects for Mystery Science Theatre 3000-style mockery.

Fresh Horses (1988) – DVD

*½/**** Image D+ Sound B-
starring Molly Ringwald, Andrew McCarthy, Patti D'Arbanville, Ben Stiller
screenplay by Larry Ketron
directed by David Anspaugh

by Bill Chambers As Tipton, best friend of Matt (Andrew McCarthy), Ben Stiller whispers in Andrew McCarthy's ear, "Look, when the horse underneath us drops, we take a fresh one." Yes, and the wet duck flies at midnight. Fresh Horses is all too effortlessly characterized as Pretty in Pink by way of Cormac McCarthy, or a Walker Evans BOP spread. Hot off of Hoosiers, director David Anspaugh seems to be aiming for something even folksier and more naturalistic this time around, but his three leads–McCarthy, Stiller, and Molly Ringwald–are the least likely actors he could've cast. The effect is a movie from Mars.

Allan Quatermain and the Lost City of Gold (1987) – DVD

*½/**** Image B+ Sound A
starring Richard Chamberlain, Sharon Stone, James Earl Jones, Henry Silva
screenplay by Gene Quintano and Lee Reynolds
directed by Gary Nelson

by Travis Mackenzie Hoover Bad-film enthusiasts will surely remember King Solomon's Mines, the 1985 H. Rider Haggard adaptation (and Indiana Jones rip-off) starring Richard Chamberlain and a pre-fame Sharon Stone. A fetid mixture of ridiculous situations, papier-mâché production design, and hopeless dialogue that takes off for camp heaven within minutes of unspooling, it was a moderate-sized hit for the late lamented hack studio Cannon Pictures, meaning that two years later emerged Allan Quatermain and the Lost City of Gold. But though the sequel is just as shoddy as its predecessor, it lacks a certain visionary quality that blasted King Solomon's Mines into the stratosphere of corn. While the original had the purity of madness backing up its tacky sets and costumes, Allan Quatermain and the Lost City of Gold is merely tacky, seeming just as tired, in the end, as the strip of polyester leopard skin that's wound around Quatermain's signature fedora.

Black Widow (1987) – DVD

**½/**** Image B+ Sound A
starring Debra Winger, Theresa Russell, Sami Frey, Dennis Hopper
screenplay by Ronald Bass
directed by Bob Rafelson

by Travis Mackenzie Hoover I suppose there are worse fates than to be made to watch Black Widow. Scripted by '80s stalwart Ronald Bass and directed by fallen '70s wunderkind Bob Rafelson, it's a coldly professional piece of work that combines some clear (if obvious) Hitchcockian doubling with the director's patented sterile master shots. But if much of the mechanics of the thing are put to good, ominous effect, that effect wears off quickly. It's not for lack of potential: pitting a well-put-together ice-queen killer against a falling-apart-at-the-seams female federal agent, its insistence on symmetry between the two solicits a conscious feminist analysis. Alas, the film is so wrapped up in defining itself as a good-time thriller that any subtextual frisson it might have had gets buried, resulting in a not-unpleasant experience that unfortunately doesn't stick.

Star Trek VI: The Undiscovered Country (1991) [Special Collector’s Edition] – DVD

**/**** Image B+ Sound A Extras A
starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan
screenplay by Nicholas Meyer & Denny Martin Flinn
directed by Nicholas Meyer

Trekvicapby Bill Chambers On the eve of a Klingon truce with the Federation, Spock (Leonard Nimoy), to Kirk's (William Shatner) dismay, has come out in support of said peace treaty, whose prevention would directly result in the extinction of the Klingon race. ("Let them die," Kirk, still mourning the loss of his son to the power-mad Klingons of Star Trek III: The Search for Spock, barks at his Vulcan cohort.) Recruited to host an ice-breaking pre-conference dinner for Chancellor Gorkon (David Warner) and his Klingon crew aboard Enterprise-B, Kirk proves a shabby host, loading up on Romulan ale (illegal, don'tcha know) in some attempt to conceal, excuse, or liberate his prejudice. Later that evening, as Gorkon's vessel Kronos One is fired on by photon torpedoes sourced back to the Enterprise, two figures cloaked in Federation gear assassinate the chancellor; evil General Chang (Christopher Plummer, tarted up to resemble Fu Manchu*) wastes no time in pinning the coup on Kirk and Bones (DeForest Kelley), who are promptly exiled to the gulag of icy Rura Penthe.

Eastern Condors (1987) – DVD

Dung fong tuk ying
*½/**** Image B+ Sound B+ (DD)/A- (DTS)
starring Sammo Hung, Yuen Woo Ping, Mina Joyce Godenzi, Yuen Wah
screenplay by Barry Wong
directed by Sammo Hung

by Travis Mackenzie Hoover "It's The Dirty Dozen meets Rambo meets Apocalypse Now!" screams the back cover of the Sammo Hung vehicle Eastern Condors, and that's true–the film caters to all of your war/Vietnam film needs, managing to be completely parasitic of the abovementioned pictures while throwing in scenes from The Deer Hunter at no extra charge. Unfortunately, Eastern Condors doesn't also manage to be as good as any of its sources. An incongruous pairing of heavy combat violence and chirpy innocent characters, it's completely divided against itself: the wafer-thin plot renders the often impressive action scenes null while the scale of these set-pieces wipes the piddling stick-figure characters straight off the screen. And though the resulting tinny irritant is too penny-ante to be painful, the film's petty annoyances far outweigh its limited and meagre virtues.

In the Line of Duty 4 (1989) – DVD

In the Line of Duty IV
皇家師姐Ⅳ直擊證人
Wong ga si je IV: Jik gik jing yan
**½/****
starring Donnie Yen, Cynthia Khan, Yat Chor Yuen, Michael Wong
screenplay by Cheung Chi Shing & Wang Wing Fa
directed by Yuen Woo Ping

by Bill Chambers Generally regarded as the best chapter in the series (and released in America prior to any of the others), Yuen Woo Ping’s In the Line of Duty 4 is an effective action spectacle and a mediocre cop drama; intense though it may be, the film is simply not of a calibre that leaves you remembering it as such. I know there are people who swear by its star, Donnie Yen, but I’ve seen him in about six pictures now (most recently, Zhang Yimou’s awesome Hero), and I don’t find his screen presence all that enthralling. If he’s eschewed the peacocking that has catapulted his contemporaries in HK cinema to international stardom, he’s also lacking in the animal magnetism that keeps your eyes on one blur as opposed to another blur during a martial-arts brawl. Good fighter, of course. Yen is probably the biggest name in In the Line of Duty 4‘s bargain cast, a fact only emphasized by the wishful misprinting of Ping’s name above the title (implying that he’s Yen’s co-star rather than his director) on the front of Fox’s new R1 DVD release.

I Remember Mama (1948) + George Stevens: A Filmmaker’s Journey (1984) – DVDs

I REMEMBER MAMA
***/**** Image B+ Sound A-
starring Irene Dunne, Barbara Bel Geddes, Oscar Homolka, Philip Dorn
screenplay by Dewitt Bodeen, based on the play by John Van Drutten
directed by George Stevens

GEORGE STEVENS: A FILMMAKER'S JOURNEY
**/**** Image A- Sound A-
directed by George Stevens, Jr.

by Travis Mackenzie Hoover Andrew Sarris once remarked that George Stevens was "a minor director with major virtues" who became "a major director with minor virtues." He was referring to the point at which Stevens cast screwball frivolity aside in favour of the lugubrious, but there's more complexity to the A Place in the Sun helmer than that: he was simultaneously light and heavy, keeping details in focus as he blew small stuff way out of proportion. His dramatic talent is the kind that gets overestimated by Oscar-watchers but underestimated by intellectuals, falling in some distorted medium that is major and minor at the same time.

The Brave Little Toaster (1987); The Brave Little Toaster Goes to Mars (1998); The Brave Little Toaster to the Rescue (1999) – DVDs

THE BRAVE LITTLE TOASTER
****/**** Image B- Sound B Extras C-

screenplay by Jerry Rees & Joe Ranft, based on the book by Thomas M. Disch
directed by Jerry Rees

THE BRAVE LITTLE TOASTER GOES TO MARS
**½/**** Image B Sound B Extras D

screenplay by Willard Carroll, based on the book by Thomas M. Disch
directed by Robert C. Ramirez

THE BRAVE LITTLE TOASTER TO THE RESCUE
*/**** Image B Sound B Extras D

screenplay by Willard Carroll
directed by Robert C. Ramirez

by Walter Chaw I'm most familiar with Thomas M. Disch for his sterling non-fiction work (The Dreams Our Stuff is Made Of and The Castle of Indolence) and a few samplings of his less impressive genre short fiction, and though I was aware that he'd written a couple of children's books about a band of appliances, I'd never felt compelled to investigate. The first taste of Disch's novella The Brave Little Toaster, then, came to me by way of a feature-length animated adaptation from Disney that, a little like Babe: Pig in the City, probably caused enough consternation in the hearts and minds of studio PR to result in its relegation to a minor theatrical push with a botched advertising campaign. Here's a film, after all, that's as innovatively disturbed–as usefully frightening–as any of Uncle Walt's own vintage Merry Melodies and Silly Symphonies. In the whitewash of modern American children's entertainment via the Big Mouse, anything that isn't facile and patronizing is to be avoided and disdained.

Dream a Little Dream (1989) – DVD

*½/**** Image C+ Sound B
starring Jason Robards, Corey Feldman, Piper Laurie, Meredith Salenger
screenplay by Daniel Jay Franklin and Marc Rocco & D.E. Eisenberg
directed by Marc Rocco

by Travis Mackenzie Hoover How to describe the sublimely awful experience of Dream a Little Dream? Imagine a whacked-out homage combo to John Hughes and Nicolas Roeg–one made without the talent or intelligence of either–and you’ll have an idea of its astoundingly ill-advised combination of temporal step-dancing and teenage romance. You have to admire the guts of director Marc Rocco for going so far out on aesthetic limbs that he’ll inevitably crash to earth–if nothing else, he’s willing to try things, and his plotting and editing rhythms are so unlike anything in the rest of the ’80s teen genre that they border on the avant-garde. Dream a Little Dream isn’t actually good, but it’s certainly never dull, and it will keep bad-film enthusiasts forever wallowing in pig heaven.