The Fog (1980).

Review #2312: The Fog (1980).

Cast: 

Adrienne Barbeau (Stevie Wayne), Tom Atkins (Nicholas "Nick" Castle), Jamie Lee Curtis (Elizabeth Solley), Hal Holbrook (Father Patrick Malone), Janet Leigh (Kathy Williams), Nancy Loomis (Sandy Fadel), Ty Mitchell (Andrew "Andy" Wayne), Charles Cyphers (Dan O'Bannon / Dan the Weather Man), James Canning (Dick Baxter), John F. Goff (Al Williams), George Buck Flower (Tommy Wallace), Regina Waldon (Mrs. Kobritz), Darwin Joston (Dr. Phibes), Rob Bottin (Blake), and John Houseman (Mr. Machen) 

Directed by John Carpenter (#068 - Halloween (1978), #634 - Escape from New York, #712 - The Thing (1982), #732 - Escape from L.A., #1221 - Dark Star, #1298 - They Live, #1479 - Big Trouble in Little China, #1605 - Starman, #1874 - Assault on Precinct 13, #2130 - Vampires)

Review: 

"I think the primary reason I'm making movies is to get a response from the audience, is to get the audience to go with me down on whatever path I'm trying to take them with, whether it's to make them laugh or make them jump."

Admittedly, it does feel nice to inquire further into the works of John Carpenter. The Fog was the fourth feature film of his after the broadcast of Someone's Watching Me! (1978) and Elvis (1979). Of course, the genesis for what became The Fog came a few years prior around the time of Assault on Precinct 13 (1976), which had featured Debra Hill as a script supervisor and assistant editor in her first collaboration with Carpenter (with whom he wrote Halloween [1978] with). Apparently, the inspiration came when the two were promoting Assault in England and saw Stonehenge in the mist. This would collide with inspirations such as Val Lewton's films such as Isle of the Dead or I Walked with a Zombie to go along with the 1958 film The Trollenberg Terror, the Tales from the Crypt books, and the wreck of a ship called the Frollic. The Fog was written by Carpenter and Hill, who produced the film as part of a two-movie deal with AVCO Embassy Pictures, which was then followed the following year with Escape from New York (1981). The manner in which Embassy did a deal with Carpenter and Hill irritated Irwin Yablans, who apparently had a verbal agreement to produce the film and did a lawsuit. The result of this was that Carpenter and Hill wound up on working with an eager Yablans for Halloween II (1981). Prior to release of The Fog, Carpenter oversaw reshoots of the film because the original version apparently didn't work in his eyes to go along with needing to compete with horror films that would be released around the same time (with their levels of gore). The prologue alongside certain moments of gore to go with tinkering with the nature of the climax (such as showing the top of the lighthouse) are the most significant things that were done in these re-shoots. The movie was made for roughly $1.1 million and was a relative success with audiences. A remake was directed by Rupert Wainwright in 2005 (with Carpenter and Hill being producers) to tremendous failure.

 

It's interesting that the movie starts with a quote from Edgar Allan Poe’s poem “A Dream Within a Dream" ("Is all that we see or seem/But a dream within a dream?"). The faceless horror that arises from a strange ghost story (well, aside from the climax that sort of feels like a zombie film when they try to board up the church), complete with Houseman being the perfect voice to sell the opening in gentlemanly fashion. A. & A. Special Effects (as operated by Dick Albain Jr) were behind the fog effects, which they did on soundstages with fog machines that combined with various uses of dry ice, fog juice and optical effects (in one instance, a miniature of rocks, black velvet and dry ice to combine later) for what you see here. Barbeau had considerable television experience (most notably on Maude) but this was her film debut, one in which her character doesn't even share a scene physically on-screen with anybody other than her on-screen son. She still manages to pull off a strong performance here, charming and strong enough to carry the tension for sights and sounds. Holbrook is the logical choice for sobering truth in such carefully curated time on screen, one wracked with unnerving energy at seeing cracks form in his faith at the hands of a terrifying discovery (namely coordinating death). Curtis and Atkins are as familiar to us as bread with their warm presences, but (to me, anyway) that is a fun thing to have when seeing people get wrapped in terror. You do get your moments of slashing every now and then, but it mostly is a film trying to roll along with atmosphere (such as an expected on-point music score from Carpenter) and a threat of fog that can in some ways work out for suspense, by the time it gets most of its characters in line for the climax. The 90-minute runtime does end a bit abruptly, but it is still strange but enduring horror experience in which one gets bit of shock and gore at the revenge-plot play out ("six must die", as one sees). As a whole, Carpenter's fourth effort as a filmmaker managed to make an old-fashioned ghost story work out with eerie enjoyment and a solid cast that makes for a pretty good time to see play out all the way to its end. A neat little gem that ranks firmly in the second tier of Carpenter films, you won't miss with this one when it comes to calmly-built terror. 

Overall, I give it 8 out of 10 stars.

Well, that is a wrap on Halloween: The Week After VI. We had plenty of fun going through a historic October (45 reviews, because I just had to look for as many "different" films as possible) to go along with some useful loose ends fulfilled for this first week of November. Anyway, here is the list of candidates that just missed out on the cut of October 1 - November 7:

The Monster, The Man Who Changed His Mind, The Collector, The Gorgon, The Last Broadcast, Torture Garden, The Wolfman (2010), Quatermass 2, The Bride, The Thing That Wouldn't Die, Vampire in Brooklyn, Amazing Mr. X, Underworld 2, Friday the 13th Part 3, Frankenstein 1970, Alraune, The Plague of Florence, The Student of Prague (1926), The Bat, One Exciting Night, Wizard of Gore, Mary Reilly, Color out of Space, The Invasion, I Know What You Did Last Summer, Final Destination 3, The People Under the Stairs,  The Fly II, Van Helsing, Candyman: Farewell to the Flesh, Hello Mary Lou: Prom Night II, It's Alive, Martin, Monkey Shines, I Vampiri, The Abominable Snowman, The Aztec Mummy, From Hell It Came, The House on Sorority Row, Vampire in Venice, Blood for Dracula, Scream Blacula Scream, Planet of the Vampires, Ravenous, The Grudge, Hellraiser II, 

Death Line, Squirm,...

...As for what might be next, well, I do have one surprise up my sleeve.

Creepshow.

Review #2128: Creepshow.

Cast: 

Wraparound story: Joe King (Billy Hopkins), Tom Atkins (Stan Hopkins), Iva Jean Saraceni (Mrs. Hopkins), Marty Schiff (Garbageman #1), and Tom Savini (Garbageman #2) 

"Father's Day" segment: Carrie Nye (Sylvia Grantham), Viveca Lindfors (Bedelia Grantham), Ed Harris (Hank Blaine), Warner Shook (Richard Grantham), Elizabeth Regan (Cass Blaine), and Jon Lormer (Nathan Grantham)

"The Lonesome Death of Jordy Verrill" segment: Stephen King (Jordy Verrill) and Bingo O'Malley (Jordy's Father/Doctor)

"Something to Tide You Over" segment: Leslie Nielsen (Richard Vickers), Ted Danson (Harry Wentworth), and Gaylen Ross (Becky Vickers)

"The Crate" segment: Hal Holbrook (Henry Northup), Adrienne Barbeau (Wilma "Billie" Northup), Fritz Weaver (Dexter Stanley), Robert Harper (Charlie Gereson), and Don Keefer (Mike the Janitor)

"They're Creeping Up on You" segment: E. G. Marshall (Upson Pratt) and David Early (Mr. White) Directed by George A. Romero (#738 - Night of the Living Dead (1968), #1155 - Dawn of the Dead (1978), #1588 - Day of the Dead, #1901 - The Crazies)

Review: 

To put it lightly, hell yes, I was ready to do this film for quite a while. What better combination could one have for an anthology film than a director as damn good as George A. Romero and a writer in Stephen King? What better way to do it than to have five stories and a runtime of two hours too? Three of the stories were done by King straight for the film while the other two are based on short stories King had previously done before. It is made as a homage to those EC Comics of yesteryear such as Tales from the Crypt, complete with animation utilized to depict it as a comic book (Jack Kamen, who did story art on a handful of Crypt stories, contributed the comic book artwork). It came out in the middle between Knightriders (1981) and Day of the Dead (1985) for Romero, which one would say is a good place to cite for a director as dedicated to delivering enduring films. Two sequels followed, albeit with less fanfare. The second film (released in 1987) had Michael Gornick (cinematographer of the first film) serve as director while Romero wrote the screenplay based on three stories as done by King, while the third film (released in 2006) had none of these aspects. In 1983, Romero and Richard P. Rubinstein went to work on an anthology TV series that was loosely based on the film (of course since Warner Bros. released Creepshow, one couldn't just keep the framing device from before): the result was Tales from the Darkside, which ran for four years and even had two King stories serve as episodes while Romero also wrote a few episodes. In 2019, Shudder (a streaming service) premiered a show based on the film,  which has run for four seasons.

Anthologies are hard to do right, particularly for horror, as demonstrated by ones given general praise such as Dead of Night (1945) or the ones with even better quality such as Kwaidan (1964). Creepshow is a damn good showing of the macabre with clear enthusiasm shown for each and every story that makes a good effort in capturing the feeling of reading something cribbed from a book or someone with a really amusing sense of dark amusement in the campfire. The frame device is what else but a dad giving his son crap for reading a weird-looking book of horror that can only go one way when you've got a kid that believes those paper ads really are helpful. Interestingly, Joe King (Stephen King's son and actor here) really did become a horror writer as an adult. The first story in "Father's Day" (17 minutes) is fine. It involves a family awaiting a relative coming for cake on (what else?) Father's day, which is ironic since no fathers are actually there to eat it. Most of it is actually a yarn told about this relative who may or may not have offed her old father after he had apparently killed her lover. The folks here all get a surprise when somebody else shows up for cake...yeah, it's a decent story to get you started with eventual grisly conclusions (and one fun effects moment involving critters). Next up is "The Lonesome Death of Jordy Verrill", which runs  the shortest (next to the wrapround anyway) at 14 minutes. This is the one with Stephen King overacting a bit while playing a yokel that touches and waters a meteorite that lands on his farm. Daydreams and all, some sort alien vegetation starts growing all certain places...it makes for a decent story, even if King is probably an unusual choice to headline a story alone (for the most part). The ending is a good one in the allure of terror brought on already when it comes to things that latch onto you at night.

"Something to Tide You Over" (25 minutes) is probably the highlight of the film, if you think about it.  It has Nielsen (who I should remind you had dabbled in serious roles on TV and film for decades before Airplane! (1980) gave him his calling in comedy) in an interesting role as a man bent on letting a guy dig himself into a hole on the beach with the tide coming in. There's something enchanting about the cold energy he brings to such a deluded role, and amusingly it is being played off against Danson for that weird mix of cold blooded humor. Of course, it's the ending that makes it count, and I enjoyed seeing it from the perspective of Nielsen when it comes to what you see and can't see even with camera all around. "The Crate" (39 minutes) runs the longest for some odd reason. All it involves is something that apparently has resided in a crate for over a century that comes to the attention of Weaver and later Holbrook, who finds it a good way to interact with his onscreen wife Barbeau. It's more an offbeat amusing story than anything, complete with fantasies of offing an annoying wife, but it makes for a good tale of curiosity over just what happens with a hairy beast and open spaces. "They're Creeping Up on You" (16 minutes) closes out the proceedings with a good ol' shock story time. Marshall plays a real s.o.b. who is really obsessed with cleanliness in his place, complete with taking calls and saying as such even when they are trying to talk to him about other things (you know, business, probably leading to a guy's death...). Things just get weird when, well, something really does creep up on him to a massive extent. Not ideal for those who just ate food they know didn't have anything on it before they swallowed.  The visual stylization that occurs for each story is a neat touch, and in general the film works at giving you useful payoff without just being a starstudded mishmash. As a whole, Creepshow is a horror fan's dream when it comes to giving you a couple of good little stories that give you good payoffs to go with spirited filmmaking from Romero and company that justifies its two-hour runtime with worthy entertainment value that holds well in its time by a hard margin.

Overall, I give it 9 out of 10 stars.

Next up: Tales from the Darkside: The Movie.

Men of Honor.

Review #1645: Men of Honor.

Cast: 

Robert De Niro (Master Chief Leslie 'Billy' Sunday), Cuba Gooding Jr (Boatswain's Mate Second Class Carl Brashear), Charlize Theron (Gwen Sunday), Aunjanue Ellis (Jo Brashear), Hal Holbrook (Mr. Pappy), Michael Rapaport (Gunners Mate Snowhill), Powers Boothe (Captain Pullman), David Keith (Captain Hartigan), Holt McCallany (Machinist's Mate First Class Dylan Rourke), and David Conrad (Captain Hanks) Directed by George Tillman Jr.

Review: 

"I realized that some of these aspects related to my path as a filmmaker. And I believe audiences will find a part of themselves in Carl - the best part of themselves - perhaps the part they haven't used lately."

George Tillman Jr wanted to make movies from a young age. The Milwaukee native was shooting things he saw with a 8mm camera he borrowed from his father as a child, but it was the viewing of films such as Five on the Black Hand Side (1973), Claudine (1974), and Cooley High (1975) that inspired him to enter the world of filmmaking. He studied film and video at Columbia College in Chicago before moving into a partnership with a fellow classmate with Robert Teitel in Menagerie Films, a directing and producing partnership. Through years of rising from production assistant to writing/directing his own script, Soul Food (1997) became a hit. Tillman has so far directed seven theatrical films while also serving as a producer on a variety of films, and this is his second overall film, for which he was attracted to the story of Carl Brashear. The son of a sharecropper that did not graduate high school, he was the first African-American graduate of the United States Navy Diving & Salvage School, having done so in 1954 after enlisting in the Navy six years prior. Sixteen years later, having overcome an accident that lost him a leg to be recertified as a diver, he became a U.S. Navy master diver. The path to making a film of Brashear started in 1980 (right after retiring from service) that bounced around from contract deals to a script in 1994 for Paramount Pictures that stalled until it went into the hands of Teitel and Tillman Jr. Budget haggling was a step to overcome alongside getting actors to appear, so here we are with a $32 million film with two Academy Award winners for stars.

There is likely a good reason that this film stood on my shelf for over a decade, because I do know my dad favored certain films that involved the military in some way or just had a good story to tell. Somewhere, in that mindset of 129 minutes spent with this film, is a struggle for something better than average when it comes to a biopic that has an interesting juggling act between its stars. On the one hand, it does manage to accomplish one basic fact: It tells the story of a man who persisted onto his goal no matter what challenge came his way (whether prejudice or one good leg), and it does so with just enough interest to hear more about the story that will likely be enough to overcome its shortcomings for those who are interested in what it wants to say. The sticking point one might have is the very fact that it is a modestly average affair all the way around when it comes to being a conventional biopic, one that just manages to not diffuse itself in tension only because the main two actors do fine enough with the material while the action in the water is at least somewhat interesting to sit through. It is as if someone wanted to make a 50s style drama biopic, one with challenges to overcome while other folks dote on them. In that sense, De Niro does just fine with what he is given, trying to toe the line between hard-driving mentor and maniac without playing to the angle of biopic scene-chewing camp. Granted, it is an angle that can only go so far in middling depth, but De Niro at least seems game for doing it straight rather than playing it off for an unintentional laugh. Gooding Jr (who found himself playing quite a few historical figures in the next few years) does well enough in his own distinct path in playing off courage and interest in the main subject without becoming just a man in a suit, one that has to deal with underwater action with patience alongside other moments that he is fairly up to task for. Theron and Ellis compliment the two in the moments away from the water with adequate results. Honestly, one wonders if there was more of the eccentric Holbrook left on the cutting floor, one who has exactly one scene of focus involving his eccentricities (alongside racism). Rapaport is there for basically three scenes as a counterpart for Gooding Jr that comes and goes.

Of course there are a few embellishments from history to fiction, and at least the film had the participation of the Navy. One particular name comes up with Alberto José do Nascimento, a Brazilian diver who was the only one to support Brashear, complete with being the only one to bunk with him (as opposed to the stutterer played by Rapaport). Of course, De Niro is playing a composite character of people that Brashear dealt with, and the whole episode involving a bar dispute settled with submerging one's head in water apparently didn't happen either. As for the amputation...well it wasn't because he wanted to go right back to the Navy but with a prosthetic - he was plagued by necrosis and infection (with a possibility of keeping the leg, but with a brace, not a cane). At any rate, it is a film of process for diving rather than big moments, building to its rise and fight again type of mantra with reasonable finish. Is it great? Not by any means, but it gets the job done in portraying a useful moment in history with a reasoned cast and director to reach the levels it wants without sinking, and that should be more than enough in the end.

Next Time: Closing time hits soon, but it's time for Selma.

Overall, I give it 7 out of 10 stars.

Magnum Force.

Review #1135: Magnum Force.

Cast: 
Clint Eastwood (Inspector Harry Callahan), Hal Holbrook (Lt. Neil Briggs), David Soul (Officer John Davis), Tim Matheson (Officer Phil Sweet), Kip Niven (Officer Alan "Red" Astrachan), Robert Urich (Officer Mike Grimes), Felton Perry (Inspector Earlington "Early" Smith), Mitchell Ryan (Officer Charlie McCoy), Bob McClurg (the Cab Driver), and John Mitchum (Inspector Frank DiGiorgio) Directed by Ted Post (#518 - Hang 'Em High and #662 - Beneath the Planet of the Apes)

Review: 
The original Dirty Harry was a great success as an action crime thriller upon release in 1971, having a great combination of talent and style to it, from Don Siegel as director to a screenplay written by Harry Julian Fink, R.M. Fink & Dean Riesner, with un-credited work from John Milius. This time around, the director is Ted Post, who had directed numerous television programs such as Rawhide (also starring Clint Eastwood) and The Twilight Zone along with a few feature films, with Milius doing the story and co-writing the screenplay with Michael Cimino (co-writer of the screenplay for Silent Running a year prior). It should be noted that there had been a draft for the original film written by Terrence Malick that had a vigilante who hunted wealthy criminals who had gotten free of justice, which certainly has a bit of similarity with the story that Milius came up with for the sequel - albeit with motorcycle cops. The original film certainly attracted attention (and controversy) with the way it portrayed its loose cannon main character and how he did business, but the movie was certainly a popular one due to how it reflected the time it was made. In any case, the sequel tries to follow that up with something fresh, with the villain being people more rogue than him. For the most part, Magnum Force does a fine job in generating entertainment and thrills enough to make for a decent sequel, although it certainly has its limitations. Eastwood is as tough and grizzled as ever, which certainly leads to a bunch of effective sequences, such as the one involving a pistol championship between the cops or a scene with the adversaries and Eastwood stating their differences. Holbrook does a fine job with the role, managing to not fall under the radar while providing a fair contrast between his character and the main with how they treat the system - made true with the last half. Soul and the other three cops are okay, but they pale when compared to the villain from the original, particularly since they feel a bit more disposable and not as creepy this time around - for better or worse. Perry makes an fair impression when with Eastwood as partners, for the most part. Ryan does okay with the raw bit of time he has on screen. The film certainly feels a bit long at 124 minutes (as compared to the original being 102 minutes), and it is likely due to occasional lulls in the middle. The climax does fine with helping the film end without stumbling too much, but it doesn't seem to have the kind of punch that stands out amongst other action thrillers. Milius wasn't a particular fan of the film, describing it as one he did not like much, saying "They changed a lot of things in a cheap and distasteful manner. The whole ending is wrong, it wasn't mine at all. All movies had a motorcycle or car chase at the time — except Westerns." the film certainly had its troubles, with Post and Eastwood having disagreements over how the film should be done, which led to a falling out. In any case, There certainly is a good amount of action that will satisfy people enough without being too brutal or too out of place. I can't say that this is a great film by any means, but it is at least fair entertainment and a fair sequel.

Overall, I give it 7 out of 10 stars.

Movie Night: Wall Street.

Review #095: Wall Street.

Cast
Michael Douglas (Gordon Gekko), Charlie Sheen (Bud Fox), Daryl Hannah (Darien Taylor), Martin Sheen (Carl Fox), John C. McGinley (Marvin), Terence Stamp (Sir Larry Wildman), James Karen (Harry Lynch), Hal Holbrook (Lou Mannheim), Sean Young (Kate Gekko), and James Spader (Roger Barnes) Directed by Oliver Stone.

Review
This film is a classic, pure and simple. Sheen and Douglas play each other off so well, with Douglas being the main man here, doing an excellent job, especially with his "Greed is good" Stone mixes so many things from different periods of time to get them all matched into respective characters. The one single flaw is Daryl Hannah. I don't know why, but her acting here is...Dull. I know she plays basically a lackey to Gekko, but couldn't they at least make her do a better job at it? The film is excellent in value that makes you interested and a little bit smarter at the end. We are close to 100 Reviews. Countdown: 10, 9, 8, 7, 6, 5...

Overall, I give it 8 out of 10 stars.