Adams Movie Reviews

I am a huge Bill Plympon fan. This film, however, was a bit of a dissapointment for me. For some reason, I just couldn't get into it. Perhaps it was too sex-heavy for too long. Perhaps it was the poor animation quality (which is Bill's style) that got to me over an extended viewing. Perhaps it was the silliness.

I guess excessive is the perfect way to describe this film. It was too excessive in every way. Yes, excessive is a perfect description!

If you have not seen or are simply just not a fan of Bill Plympton's work, this movie probably isn't for you. However, if you have experienced any of his incredibly imaginative and hellaciously bent animated shorts and/or features and could not only mentally handle but actually enjoy them, this is something you just gotta see.

It's everything you'd expect from Plympton (sketchy animation that looks like it was done mostly with colored pencils and crayons, characters and scenery morphing with an almost hallucenogenic quality, and a sort of lunatic surrealism that still holds a sense of almost little-kid-imagination innocence), then add in sex. Not just with people. Birds, electrical outlets, and even army tanks. Next, throw in violence. Ridiculously graphic violence, the likes of which you'd expect in a Monty Python flick.

The plot: average Joe gets zapped in the back of his neck by an off-kilter satelite dish beam, and now has the ability to make anything he imagines actually happen. Results: the most creative argument-with-the-in-laws you're likely to see; a very yucky yet hilarious stand-up comedy routine; and probably one of the top 5 most hysterical sex scenes in movie history.

In short, it's Bill Plympton uncensored...you've been warned.

This animated filth-filled film is a trip. Packed with animated violence, gore, sex and nudity it's a rare guilty pleasure for the insane side of us all. Well not everybody, I take that back. Some will find "I MARRIED A STRANGE PERSON" appalling and self indulgent. Yes, I guess it is self indulgent being that it's right up my alley as far as morbid, sex crazied entertainment goes.

I really thought this was pretty lame movie, and in NO way a comparrison to Reservoir Dogs or Pulp Fiction the way one reviewer described. The attempt is to tell a story about some kid, played by Stephen Dorff, who becomes a pop-culture icon because he was held hostage and apparently didn't care. At least thats what I got out of it. I think what turned me off the most about this movie was Dorff's character--an "uber-cool" rebel type who's mean to his apparently oppresive father and cry-baby of a mother, slam dances and tears up his room (I guess to prove to us how cool he is), and who can get in front of an audience of high school kids and proudly cuss for no other reason then he'll know it'll get laughs. In real life someone like that would be considered a slacker or an (...), but for the case of this movie I guess he's cool. Anyway, my problems with the character aside, this movie just wasn't that good to begin with. A REALLY weak script, and I swear each of these leading actors could have, and have done, about ten times better since, so I wonder why the only put in half the effort for this one. Maybe they knew it wasn't going anywhere and needed the paycheck. As cool and revolutionary it tries to be, S.F.W. doesn't really do anything all that spectacular. The gun battle at the end with the terrorists, as well as the movie's protrayal of the media are the best (and really only good) things about this movie. But, most of you kiddies out there will probably like it because it has people cussing and drinking beer. But that's just my opinion, I could be wrong.

Overall a good movie, with a very good message. Although an obvious overuse of the "F" word, which tends to make one sick after the first 40 minutes. The movie seems a lot longer than it actually is. Pretty slow-paced in-between the flashback scenes, but how else could it be done? The story is well done and in-depth. The movie mocks the media and how it affects the public- a great message in my opinion. Acting is decent. Best if watched alone.

I love this movie. Its an independant/cult film about a guy who is held hostage and becomes a hero by saving himself and one other person. The fame is a little overwhelming and he lashes out a bit until the next person comes in for there 15 minutes of fame. OUt of all of Stephen Dorff's film this is my favorite. The character of Cliff Spab seems genuine and honest in how he expresses himself. Yes, hes extrelemy charming and cocky but you get the underlying messge from the film overall. I am so glad its finally out on DVD.

(DVD) I agree with Mr. Rapchak. In addition to the missing scenes he outlines, there are other missing scenes near the beginning of the movie. The bar scene after Gleason is worked over by mob muscle; Quinn wandering the street, meeting a down-and-out ex-fighter/boozer and tussling with his boss, broken up by Gleason and Rooney. Quinn trying to get a moving van job...etc. There's no warning on the DVD cover that it does NOT contain the movie Requiem For A Heavyweight but rather selected scenes from the real movie. On the back of the DVD case however there are two pictures from scenes in the movie...they are among the scenes that are NOT included on the DVD. That strikes me as deceptive. I have seen the entire movie on satellite TV and the Columbia/Tri-Star version is a rip off. If you want to see the real Requiem For A Heavyweight then you'll be very disappointed with this butchered version of the movie. Maybe the VHS version will have the complete movie; I don't know.

C'mon, guys!!! This is the age of DVD "extra-mania" with every sort of outtake, alternate scene, missing scene, lost scene, director's cut,, etc etc being an ESSENTIAL part of a film's legacy as preserved in the DVD format.

In the case of the moving and powerful "Requiem" (and I agree with the customer who feels that the Jackie Gleason/Julie Harris staircase scene belongs at the top of the all-time list of great movie scenes), the film was obviously released in several different versions.

The confusion begins,in fact, immediately after the staircase scene. There are AT LEAST THREE SCENES from the latter part of the film that are NOT INCLUDED on the DVD:

1.) Gleason's encounter with the vile Ma Greeny in the hallway when he tells her he'd "like to run into her when you're not grafted to that torpedo..." (referring to her big thug/bodyguard).

2.) A lengthy (and painful) scene where Quinn is training to be a wrestler, and the moronic Pirelli (Stan Adams, the only actor to reprise his role from the 1956 TV original version) signals Quinn's wrestling partner to intentionally gouge his bad eye, whereupon Quinn beats the crap out of the guy.....

3.) Gleason's final speech on the rotten world of Prize Fighting which he delivers to the young wanna-be.....

If Serling ultimately wanted these scenes cut, WHY IN THE WORLD were they ot included as EXTRAS??? I have old video copies of late-night, local TV airings of this film that are FAR MORE COMPLETE than this state-of-the-art DVD release.

What a pity---to see such a cool film treated so poorly (the audio is also very low on this disc; I had to jack the TV volume all the way up to get a decent signal).

If the use of the word 'Requiem' in the title doesn't give the game away, let me assure you that this superb film is as far removed from the wisecracking of Errol Flynn's 'Gentleman Jim,' the ludicrous spectacle of Elvis wearing boxing gloves in 'Kid Galahad,' and the pathetic, testosterone driven fantasies of 'Rocky,' as it's possible to get while making a film about the same subject matter' the 'fight game.' Filmed in stark black and white in 1962, 'Requiem for a Heavyweight' doesn't waste a single second of it's barely 90 minute running time in getting started, and features one of the most electrifying opening sequences I think I've ever seen.

First of all we see the viewpoint from a camera backing up behind a bar, watching the patrons, all men, as they stare intently at a TV screen up on the wall 'behind' the camera. They're watching a boxing match, and we know this because of the hyperbolic commentary coming from the TV; ''the old pro won't quit even though his blood is spattered all over Clay!' The 'Old Pro' is a boxer named ''Mountain' Rivera,' and he's being beaten to a pulp in front of a baying crowd by a young kid named Cassius Clay, the boxer the world now knows as Mohamed Ali!

The camera cuts to the boxing ring, and what we see is blurred and distorted. Clay moves into view, firing off punches, moving out of reach, then coming in for the kill; suddenly we're looking up at the lights, the referee is standing over us, counting to 10, then mercifully, it's over. Mountain's manager and trainer rush into view, help him up, our view of the world shifts and blurs as the trainer tends to cuts and abrasions; helped out of the ring on unsteady legs, Mountain is led through a jeering crowd, and still we are seeing the world as he sees it. They go through a door, heading for the changing rooms and showers, a distorted face suddenly looms into view, and just a quickly shrinks away, shocked and horrified; the camera spins around, and finally we get our first look at the boxer. Dazed and confused, supported by his manager and trainer, Mountain is a battered mess, his swollen face runs with blood from cuts around the eyes and cheeks, he looks uncomprehendingly at his own reflection in the mirror of a cigarette machine' if this opening doesn't draw you in, nothing will!

Once in the changing room we learn that Mountain is all washed up, after 17 years in the ring, one more well placed punch to the head could blind him, permanently. What is he to do? But the boxer isn't the only one with problems, 'Maish,' his manager for all of those 17 years, owes the mob, BIG time, partly as a result of Mountain's fight against Clay. But it's Mountain's plight that takes center stage; what is he to do now that he can't fight? All he knows is life in the ring.

Almost in desperation he visits an employment counselor, and what at the outset appears to be a disaster in the making, becomes a turning point in Mountains life. The counselor is a young woman, somewhat sheltered in her upbringing; Mountain, and his world, is completely outside of her experience. But after some initial trepidation, she looks beyond the battered face, the cauliflower ears, the slurred speech and the sometimes shambling walk, to see Mountain's heart. Strong and proud after those 17 hard years in the ring, he'd never thrown a fight and was once rated the no. 5 heavyweight in the world. She tries a long shot, and against all the odds is able to offer Mountain a chance at a life outside the ring. But Maish is in a hole, and what he needs is a fighter' will he let Mountain go?

This is a superb production, written by Rod Serling of 'Twilight Zone' fame, the script is relentless in its exposure of, not only, the 'fight game,' but the dark underbelly of human nature itself. And as good as Serling's script is, what really makes this film work are the four central characters, and how they are brought to life on the screen. First and foremost, Anthony Quinn gives a magnificent, heartbreakingly honest performance as Mountain Rivera, and Jackie Gleason is slime personified as his manager Maish. Mickey Rooney, who I've long considered a 'lightweight' in the acting stakes, pours his heart into the role of, not only Mountain's trainer, but his only true friend, and Julie Harris is luminous as the Employment Counselor who offers him that all important second chance.

Much has been said in the other reviews of this film about previous and alternative versions of the story, and how they alter the perception of Gleason's character, Maish, in particular. This is the only version I've seen, although I would love to see the 'original,' and I bought this on the strength of the Amazon reviews alone, something I very rarely do. A forgotten masterpiece, 'Requiem for a Heavyweight' won't be to everybody's liking, especially those who think 'Rocky' paints a realistic picture of the 'fight game!' This is strong meat, grim and repellent, but it's also a fascinating and magnificent tale of honor, sacrifice, and friendship' HIGHLY recommended!

The "Trivia" on "Saboteur sez that the Mafia set fire to the liner "Normandie". Hogwash! The fire was caused by careless welding during the chaos of transforming the vessel into a troopship.

This is a great film. It's vert adventurous, dramatic, and romantic. Robert Cummings and Priscilla Lane make a lovely couple. It's a great film.

This is a terrific wartime thriller from Hitchcock of aircraft munitions worker Barry Kane (Robert Cummings), forced to take it on the lam and find a Nazi saboteur named Fry in order to clear his name, as he has been wrongly accused of the act of sabotage at the factory which killed his best friend. Hichcock's films often get compared unfairly to each other but taken on it's own terms this is a wonderfully entertaining suspense film with some genuinely memorable moments.

Kane is in constant danger both from the police and a network of saboteurs he has traced to a man named Tobin (Otto Kruger) at "Deep Springs Ranch". Tobin knows who Fry is and also knows no one will believe Kane. But as Kane narrowly escapes the police and the Nazi sympathizers he is aided by some along the way who can see he is a stand-up guy who has been wrongly accused.

One of those people is the blind father of Pat (Priscilla Lane), a billboard model who doesn't share her father's faith in Kane and starts out doing everthing she can to turn him over to the police but ends up falling in love and in just as much danger as he is. There is a particularly tense scene at a huge party as Kane confronts the cool and slimy Tobin but can't expose the house full of spys because Pat has been captured and will be killed if he does.

This film has some great moments of suspense. A plea for help from the trapped Pat, written in lipstick, floating down a skyscraper in New York waiting to be found, is just one of several memorable moments. The troop of a circus sideshow play a part in Kane's (and Pat's) journey as well, as his quest to clear himself takes him from Boulder Dam to Rockefeller Center to the Statue of Liberty.

There is a tight and witty script from Dorothy Parker among others, and Hitchcock's famous 'little touches' to keep this one interesting. Robert Cummings, who had proved himself in comedy the previous year with Deanna Durbin in "It Started With Eve" proved he could do more with this film. Priscilla Lane, pretty and likable, gives another nice performance here.

Taken on it's own this is a really good film, a great 'popcorn' movie for a lazy saturday afternoon. There's nothing wrong with that.....

Like Bakshi's other works (except for Lord of the Rings, which I happen to like) it is well-animated and the rest is terrible. The fact that I say this has nothing to do with the fact that it is offensive, and I get irritated when reviewers imply that the "mainstream/establishment" critics just can't handle Bakshi's subversive filmaking.

Watching Ralph Bakshi is something of a guilty pleasure. You always get the feeling that things could be a whole lot better, and yet no one else ever seems to bring animation to life with such a personal style. Heavy Traffic has a lot of faults, and may also be the best thing he's ever done (though I know there are a lot of Wizard and even Ring fans out there). Not for everyone, but fairly entertaining in its own troubled way.

Like Fritz the Cat and Bakshi's other works, Heavy Traffic moves into city life to show the darker side of America. Bakshi once said in an interview: "If Disney was going to animate for the middle class, I was going to animate for the guy on the street." Heavy Traffic is Bakshi accomplishing that.

The film isn't just a social statement though, it also has a lot of creativity behind that. It opens with the live action version of our main character Michael playing pinball. Michael is a cartoonist, and as he asks questions to himself he slowly dives into his world...a world similar to the one he lives in now, but a caricature of themselves. Michael deals with his crazy mother, corrupt father, a relationship with a girl, and trying to get a job - a hard task as his ideas involve events such as God getting shot in the face with a shotgun.

If you were offended or put off by the brashness of "Fritz the Cat" then you should give Heavy Traffic a try. The nudity and sex is still there, but on a toned down scale. The social satire and goofy humor is still there, and that just makes it all the more a good film.

Bakshi considered this one of the top three best films he did (next to Fritz and Streetfight). It is deservedly so.

Is this a great film? No, let me say that is a great concept, truly stretches ones imagination, and it is a good film. The concept is wonderful, although the film itself leaves you just tantalizingly short of where it could have gone.

The basic premise is a scientific discovery where a person's thoughts, emotions, and experiences can be captured on "tape", recorded, and then experienced by someone else by simply playing the tape. The concept is fascinating. While the special effects are excellent for a film this old, the most powerful scenes for me were the depictions of a couple on the verge of divorce getting to experience the other's perspective of shared events. The experience of seeing themselves and their behavior though the other's eyes changes their relationship forever. This aspect of the concept is not played out as fully as it could be.

This film is also the last movie of Natalie Wood, who died tragically during the production of the movie. Christopher Walken is excellent as the lead actor.

The ending of the film touches on something so fascinating that they simply couldn't pull it off. Overall, I recommend this movie, as a fascinating concept that will leave you thinking after the film is over. Always a sign that the movie is worth watching.

Now sadly better known as the last film Natalie Wood worked on (she died during production in November 1981), BRAINSTORM is actually a painfully underrated science fiction/suspense thriller with a fascinating and sometimes chilling premise.

Christopher Walken and Louise Fletcher are the lead scientists in an experiment to develop a device that can transfer the sights, sounds, thoughts, smells, and impressions of one person to the mind of another. When success finally comes as the result of a series of tests, first with their principal backer (Cliff Robertson) then a group of willing participants, they know that they've created one of the great scientific breakthroughs of all time.

Problems, however, arise when government agents step in, putting their own design on the device for something much more sinister--Brainwashing. When Fletcher dies of a heart attack, they see their way into taking the machine by force. But Fletcher has also recorded a tape of her death throes, and Walken becomes so obsessed with playing that tape that he is forced into a conflict with both Robertson and the feds. As he tells his wife (Wood), this is a chance to take a scientific look at the scariest thing a person ever has to face.

Combining science fiction with metaphysics, BRAINSTORM is effectively directed by Douglas Trumbull, the special effects maestro behind the landmark effects work of Kubrick's 2001: A SPACE ODYSSEY, whose first film, 1972's SILENT RUNNING, is now a minor sci-fi cult classic. The special effects work here remains incredibly first-rate, and the music score by James Horner, a mix of orchestral and choral elements, is absolutely right for the film. That such a film should be concerned with metaphysics and the afterlife is not surprising; the story (which screenwriters Robert Stitzel and Phillip Frank Messina adapted for the screen) is by Bruce Joel Rubin, whose 1990 screenplay for GHOST would win an original screenplay Oscar.

Though some of the dialogue is a bit clunky and the acting doesn't work all the time, one could do far worse than BRAINSTORM. To this day, it remains a visually stunning and emotionally moving experience like few before or after it.

Not too many people have seen Showscan movies. For some reason, they were released in (I think) selected Chucky Cheese's pizza shops.

Some friends and I drove 2 hours across Missouri to see Showscan and it was the most realistic picture we had ever seen.

Showscan was a 65mm film presented at 60 frames per second (fps). Studies had shown this to be the frame repetition rate at which the brain would integrate the frames seamlessly and accept it as true motion. Most movies are 24 fps, although each frame is shown multiple times to reduce flicker.

But you can tell that it's not real. US TV, which operates at 60 fields per second approximates the Showscan presentation. The difference between this and normal films is obvious - most people can tell a video source from a film source. They may not know why the video seems to have more presence, but the frame rate is the answer.

Brainstorm was originally produced to use Showscan projectors for the times when people were experiencing "reality" with their headsets. This would have clearly stood out from the rest of the film, and would have seemed much more real.

Perhaps only Doug T. saw the project in the 24/60 fps version. I know I didn't. However, from my experience with Showscan, I can state without reservation that this would have been one hell of a film as originally conceived. The "reality" changes would have more than made up for any other problems with acting or scripting. The "WOW" factor would have overridden all other criticism.

As for the dialog and acting being a little clunky - well, have you ever seen early stereo or 3D movies? They tended to concentrate on exploring the technology instead of the picture. Perhaps Showscan could have evolved to the state that 3D did with Hitchcock's "Dial M for Murder." Or perhaps not.

In any event, this would be an excellent roadshow movie (like the restored version of "Lawrence of Arabia") to show what the movie should have been.

And perhaps on a future DVD we'll have the helmet versions of reality replaced with 60 fields per second video. The difference should be obvious.

Thanks, Doug, for trying to pull this off. If you ever want to invite me to see your master copy with Showscan, I'll be out in California in an instant!

Rick

I wouldn't say that this is the best movie I have ever seen but it is pretty good. The story is interesting and the martial arts is great but it still needs work. If parents let their kids watch it they should be there.

I have seen this movie several times, and I still rewatch it. After seeing it the first time rented; I immediately went ut and bought it. This movie is not for some because it takes an imagination to truly enjoy. If you truly enjoy fantasy and a movie that makes you think about the message, this may be one for you.

This is a fun film and fighting kung fu kangaroos actually looks really good, leaps and bounds better than any of the Teenage Mutant Ninja Turtles films.

O.K., maybe I was a little hard on this film originally. I recently purchased an import copy of it on DVD and watched it again. I think in all fairness, I'd bump it up a star to 3. Now, about watching it on DVD, I can now go right to Tarantino giving his Top Gun monologue. As I've said before, it's way better then his Madonna speech. Be sure to catch this movie and give it chance when it comes out domestically on DVD (or better yet, now on VHS at this nice price). Sword fight !!!

This is a good movie, but the final 15 minutes are almost pure genius. the story comes to an emotional head, with some great dialogue, and superb acting, but Tarantino nearly steals the show with his cameo. Ever wondered why Top Gun is the greatest script in the history of Hollywood? If so watch this film!

Unlike the standard Hollywood romance, this movie gives us a realistic view of people. The characters are quirky, neurotic, confused, and not really very glamorous. They are also very likeable, as we can sympathize and identify with the dilemmas they create for themselves. Even as the movie pokes fun at them for their foibles, there is also a tenderness for them and the self-imposed suffering they must endure.

The plot revolves around a friendship between 2 men and a woman. When one of the men (Eric Stoltz) marries the woman (Meg Tilly), the angst and complications begin. Although the course of the story seems foreseeable (not a lot of surprises), the film escapes being predictable by having believable characters that are like people many of us know or could know from our own lives.

In addition, the structure is unusual....the different sections of this film were written by different writers, yet all parts do seem integrated with the whole. Add to this the fact that the scenes are seemingly artlessly put together, so that often there is almost a documentary effect....what you end up with is an experiment in film making that doesn't require you to have a film degree to appreciate.

Today, teen comedies involve a lot crude humor and the kids just never learn anything. "Happy Campers" has BOTH, and mixes them well which will satisfy a wide audience. Why I never saw this movie get a national release is beyond me. This movie was ten times better then American Pie's or any of the other lousy and souless teen movies.

What was written in this movie growing up I lived through. One character in the movie goes off on the same feelings I once had.
This story really taps into what kids go through today. This is a must watch folks, sit back and enjoy some laughs as well as somethings to think about from you youth or if you are in this age group of the kids in the film they might cover issues and feelings you are currently going through.

Fantastic movie!

What a movie. It was fun and also a good movie for young kids to learn from as they these kids in the movie display many of the emotions I remember and even to this day still feel. This movie is a lot deeper then you might expect. I was expecting a raunchy teen comedy. Some raunch was spouted in this movie, but this movie had brains and turned this into one of the best sleeper rentals I had all year.

I liked it so much I am going to be buying it.

(when reading the following please take into account that the numoris spelling and grammer mistakes are do to the fact that it was writtan at 4 a.m.)

This movie was amaizing it was truly well made. the cast was amazing (especcialy the hippie... damn she's hot). the script was good the actors really brought alive though. and the director really went above and beyond the call of duty on this one. all in all a great buy/rental.

I've always been a Peter Cushing fan and a huge fan of this film. I first saw this movie on a late night horror show presenter by the name of Sammy Terry (Indiana based I think...very young at the time). I loved it from the start.....biased because of Cushing/Zombi/Nazi I'm sure. I've read some of the reviews about the screen format. From what I've read it seems as if the movie is actually Open Matte widescreen as opposed to Anamporphic like the DVD suggest. You'll see examples of this with H.P. Lovecrafts Bride Of Re-animator.....the bonus of that film was that you could still watch it full screen as an option. I've just ordered this movie and if I find my assumption incorrect I will edit my review. Later my horror fan brothers!

Edit begins:
Yep as I suspected it is Open Matte.....much like the Evil Dead widescreen. Several B-movies are shot full screen and when they are shown in the theater the projectors actually have black bars at the top and bottom of the screen to make it fit the widescreen. So in most cases it is actually being show like it was originally was at the time of theatrical release.

P.S. Please don't give this movie one star just because you are unhappy with the DVD release. Rate the film itself...and then as a footnote to your review put any good/bad info about the quality of the release. Take a look, this classic film is getting an average of 3 1/2 stars. I even read one review where the reviewer said he would watch the DVD over the VHS, however according to his rating you wouldn't think he'd ever watch it again.

This isn't exactly your average buckets-o-gore, slow-moving (the zombies, not the movie) zombie film, but it's close enough and almost just as good. I say almost, because quite frankly, there could have been a little more gore...it wouldn't have hurt. The plot is the kicker. During World War II, the [Germans] experimented with making the perfect soldiers. They began their research from ancient stories of unstoppable warriors whose power comes from the ground...these soldiers are neither alive or dead, but they are rotting and can live under water all the live-long day, so I'm leaning more towards dead.
A group of tourists cruising the islands run aground a deserted island after going into what might be the Bermuda Triangle or a similar anomally and hitting the [German's] old sunken ship. They find an old hotel, inhabitted only by Peter Cushing, playing a not-quite-ex-[German]commander. The hijinks ensue as the zombies begin attacking the tourists. This is campy 70's horror at its best. Check it out.

John Carradine is a sour, crusty old sea captain on a pleasure boat for hire. He takes a group of tourists (among them, the lovely Brooke Adams) out for a cruise. They encounter a strange solar phenomenon and get lost. That night, the boat almost runs into a ghost ship. They have no idea that the derelict ship's crew of nazi zombies has risen from their watery grave! Severe engine trouble forces our merry band to flee to a nearby island. No Gilligan here! Peter Cushing is excellent as an old nazi-in-hiding who is the only one who knows what's actually going on. This is a genuinely creepy movie. There's no nudity, no gore, and very little profanity; and I still highly recommend it! ADDED BONUS: There's an extremely annoying guy in this movie! I found myself hoping for his quick demise. See if you can pick him out. Hint: He wears glasses and whines whenever he opens his mouth! Great flick! Prepare for a scare...