What’s most fascinating are the dirty little secrets George Butler chooses to leave off-screen, starting with the competition itself.
What I once hailed as the best movie in the history of the world (I was 13) is an uncomfortable thing that doesn’t rank with its creator’s best.
One part ‘70s rogue male action movie, another part innovative Hollywood blockbuster pushed all the way to “11.”
It was a joke, of course. But not entirely. Rambo II offered not just entertainment, but lessons.
Digging further into the film raises many more questions than it answers, because as contrived and frail as the main “plot” sounds, it’s got nothing on the various B plots.
Prior entries had their fair share of dodgy moments. A View to a Kill is a cascade of them, a jumble of half-baked ideas.
The tension between the brain and the fist is kept alive by failure and hopelessness.
A busier and more densely populated film than either of George Miller’s first two pared-down, souped-up, post-apocalyptic road epics.
It has a handful of gratifying moments and nuances you don’t expect from the genre, starting with girls who eat and curse like boys.
Sesame Street was a safe, warm place for a child to be, but like real life, serious issues would crop up at random.
Kasdan’s film, containing respectful homages to a lot of the great westerns, is neither the summing up nor the revival that Kasdan wanted it to be.
It boggles the mind to think that within the span of a mere three months, two new and very different films penned by Dan O’Bannon were released.
The pacing is great and there are many interesting shots and uses of the camera, but nothing too showy.
Some long overdue appreciation is due for the best American example of a cinematic tale of the undead from the 1980s.
For Boorman, the motif of environmental spoliation was never the message but the metaphoric medium for his continuing vision of the human being.
I think the only thing it validates is itself, and the decision to give the Brat Pack the celluloid equivalent of a Reykjavik summit.
An initially naturalistic depiction of late medieval existence quickly becomes a larger-than-life mixing of history and fantasy.