Dan the Man's Movie Reviews

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Tag Archives: 1979

Going in Style (1979)

Every person needs that one last score.

Senior citizens Willie (Lee Strasberg), Al (Art Carney) and Joe (George Burns) all lead relatively boring, mundane lives. Sure, while they’re fine with it, they also know that life has passed them by and, for the most part, they’re just waiting for the day until they pass. It’s a little sad, but hey, they make the best of it. Their lives all change once one of them gets the idea of robbing a bank together, getting stinking, filthy rich and of course, living out the rest of their days in total, absolute luxury. The only issue is that they have to go through with the heist itself, which may be hard for a bunch 70-year-old-men, neither of whom have a criminal record. But still, there’s a certain fun bit of excitement they all feel while planning this heist that makes them feel years younger again and reinvigorates their lives, and everything else around them. But then they pull off the heist, and well, things don’t go as perfectly as planned.

Or perhaps they did.

“1979 already? Sheesh!”

Going in Style, believe it or not, doesn’t have much style, much drive, or even all that much originality to it that makes it the kind of movie worth watching immediately. It’s a perfectly serviceable and fine piece of comedy-drama that, if anything, gets by solely for the fact that it features some of the best comedy-presences to ever grace a screen, together, in their later years, and yes, just having some fun. For most, it may be a bummer that it’s not funnier, or even as exciting as you’d think, but it’s still a movie that features George Burns, Art Carney, and Lee Strasberg, sitting in a room, talking and being, unsurprisingly, funny.

For that, Going in Style works and it doesn’t have to try too hard to work with that.

Burns is, as usual, sweet and sometimes mean; Carney’s the loudest, most obnoxious one of the bunch, but always seems like he has the biggest heart; and Strasberg is the more softer-spoken of the three, but definitely gets the most emotional movie in the whole scene. Altogether, they’re quite the package; there’s something joyous and absolutely lovely about watching a bunch of old-timers, who know exactly what they’re doing, do it together and act as if they’ve never missed a step. On some occasions, you’ll never know what’s actually scripted, or what they guys are making up as they go along – no matter what, though, they’re having fun working together and as a result, we do, too. It would be hard not to, but trust me, there are movies out there that have wasted a huge group of talented folks, and not given them a single thing to work with that would warrant their talents in the first place.

Think any Adam Sandler movie, for instance.

But regardless, Going in Style does work for the fact that it’s also a tale about aging, growing old, and trying to relive your glory days, when it seems like the rest of the world is there just to tuck you away and forget about you. Director Martin Brest gets some nice moments out of these guys who show us that there’s beyond the old, cranky facades that they often present, and instead, shows us three dudes who just want to bring some life into their later years, any way that they can. If it just so happens to be a robbery, then so be it.

No one will ever look for/find a guy who looks like George Burns, looking like Groucho Marx.

The only issue that the movie runs into is that it is quite uneven and for a movie that’s just a little bit over 90 minutes, it can often feel longer. Why? Well, it’s because the momentum is constantly changing itself, making you believe that it’s going to go down a faster, more exciting route, only to then slow things up and focus more on the melancholy of the plot. Maybe this was intended to work more along with our protagonists, but it could often be frustrating, considering that the heist scene, as well as a gambling scene later on, are both shot well and add a bunch of fun to a movie that can be pretty depressing.

Still, it is a movie about old people, getting older, and realizing that their lives are in fact passing them by and that they can’t do anything else about it, except accept it, move on, and try to make the most of it. So yeah, maybe it’s not the most joyous flick out there, but it’s still one that’s sweet enough, but maybe a little too sad for its own sake? I’m still not sure.

Oh well.

Yeah, just don’t listen to me.

Consensus: With three great talents in the lead roles, Going in Style works both as a comedy, as well as a sweet look at aging, but also can feel uneven.

6.5 / 10

Life is grand, so live it up fellas. For as long as is necessary.

Photos Courtesy of: Three Movie BuffsThe Spinning ImageIMDb


Mad Max (1979)

Drives to the supermarket just got a whole lot more intense.

In a savage, post-apocalyptic land, Officer Max Rockatansky (Gibson) is the law and runs it his way; whether people like it or not, is strictly their problems. Things got real hot and heavy, however, when a group of nomadic bikers led by the deranged Toecutter (Keays-Byrne) murder his friend and attack his family, forcing Max to unleash revenge the only way he knows best.

You got to hand it to director George Miller because this guy took a budget of only $400,000, used that cash to bring out some sick-ass looking cars, fashion statements, and guns, only to end up grossing nearly over $100,000,000 worldwide and influencing every piece of pop-culture from Saw to Chris Jericho. Yeah, this guy’s got a lot on his plate in terms of love and respect and with good reason, because this film still hits as hard now as it did back in 1979.

What’s solid about Miller’s direction is what he does with these car/bike chases. Nowadays we see onslaughts of CGI and special effects tamper with the image of what an automobile accident should look like, so it’s pretty refreshing to see a guy use not one piece of that and get some of the craziest, most realistic-looking accidents ever filmed. There’s a type of kinetic style and energy that Miller brings to this material that makes all of the action scenes that much more amped-up and intense than they probably already are, and it makes the crashes look even better, especially when in the first ten minutes you see one blow up into little, tiny pieces.

Max isn't mad? He's happy and romantic?!? Ew!

Max isn’t mad? He’s happy and romantic?!? Ew!

And when you have a movie where hardly any character drives below 65 mph, then you definitely need to make sure things are moving no matter what.

The way Miller uses the dead center of the Australian desert works too, in that it makes it seem like this flick is taking place in a Western town, where everything just went to shit because of some terrible apocalyptic happening. There’s not a lot of effort and money put into the set designs, but when you have gangs that dress like Judas Priest, sexy-ass cars that you can literally hear and smell a mile away, and have dudes who don’t shave but always look bad-ass, you don’t need to because you’re already set in creating a pretty screwed up and weird place to begin with. Just goes to show you that what you can do with little or no money at all and still make it look like hell on Earth.

Well, hell on Earth with a lot of gasoline and leather.

But despite all of this slick and cool style that Miller gives off, his story seems to falter. There’s nothing really flashy with this story that hasn’t already been done before but what bothered me is where it ends up going. The first act and the last act are both filled with insane amounts of cool action that keeps the flick moving at a brisk, fun pace, but then there was this middle act that just seemed to meander along without anything happening. What’s even worse is we get one of those sappy, happy montages that almost changes the whole mood of the film completely. Maybe Miller wanted to save up on all of his action and violence for the end (you know, for money purposes), but he could have really given me something better in the meantime to hold one’s interest.

How I like to drive. Especially during rush hour.

How I like to drive. Especially during rush hour.

Let me also not forget to mention that since this is in fact, a straight-up B-movie, there are the usual tendencies that all B-movies seem to go through. Some moments here are so freakin’ campy that it almost feels like the film is doing a self-parody on itself. One sequence in particular was when Max stumbles upon his partner in a hospital bed, being burnt to a crisp. For some reason, Miller thought that this scene needed that extra “oomph” to really gain our attention, so he adds a terribly loud and dramatic score that seems like it came right out of a Hitchcock movie. That wouldn’t have seemed so bad had Miller gone for that type of movie, but for the most part, it doesn’t seem like he is, so of course, some of this plays off as a bit more ridiculous than it probably intended on being.

However, at the center of it all is Mel Gibson; somebody who, despite all of the controversy surrounding his name, is incredibly talented in proving himself to be a total and absolute bad-ass. This isn’t something people knew about him back in the day, but his big-screen debut in Mad Max changed that and it’s no surprise. Max, the character, goes through a whole range of emotions that change up throughout the whole flick and it’s Gibson’s charisma and energy that he puts into this role that really makes it stand out. Sometimes this character can go into the usual conventions, but Gibson just about rises above that and makes this character cool, violent, and also one scary person you do not want to piss off. Gibson’s career as of late seems to be going in and out, but regardless of what happens next for him, we’ll always have this gem of his to remind us of the young up-and-comer that he once was.

That is, before he started drinking and telling cops how he exactly felt about them.

Consensus: Certain cracks here and there in the narrative, but overall, Mad Max still works as a solid, low-budget, B-movie that also has the novelty of featuring a very young, but very compelling Mel Gibson in the titled-role.

8 / 10

Big yellow taxis ain't got nothin' on Max.

Big yellow taxis ain’t got nothin’ on Max.

Photos Courtesy of: Movpins

Escape from Alcatraz (1979)

Yes, they may have been debunked it, but I still like to think that these three are somewhere out there right now, just sippin’ on Pina Coladas, with a couple of honeys by their sides.

Lifer Frank Morris (Clint Eastwood) has just landed his ass in The Rock for apparently trying to break out of his last prison-stay in Atlanta. The Rock is Alcatraz, and apparently nobody can escape it, no matter how hard many have tried and seemingly failed to do so. Frank finds this almost as a challenge as he, and a couple of other fellow inmates pick out every little clue that they can find to bust them out of the joint. Some of it’s a bit ridiculous, but it’s all they got and it’s all that they’ve got to live for, unless they want to rot away in a place that could care less if they were even around.

We all know the story about the dudes who escaped from Alcatraz, and were never to be found again. Some think they survived and lived under scrutiny for the rest of their days; while others, well, they think they just drowned, died, and got their remains eaten by all sorts of creatures of the lake. Nobody knows what the truth really is since they never found any bodies of any sorts, however, the fact of the matter is that these men did escape out the prison that was deemed “inescapable”, and got by without ever being noticed until 12 hours later. I don’t know about you, but that deserves it’s own movie, especially one starring everybody’s favorite leading-man: Clint Eastwood.

"Can't wait to get home and tell those kids to get off my lawn."

“Can’t wait to get home and tell those kids to get off my lawn.”

But what makes this movie pretty good, even after all of these years, is that everything in it seems reasonable as if it was meant to be put in the film, only to further on the emotion and the intensity of the prison escape itself. With a movie like this, for something that actually happened, there needs to be feeling, heart, and depth with these characters and the situation, so that when they do get the hell out of jail (literally), you feel more and more towards them and whether or not they’re going to make it out alive. We all know how the story ends and it all depends on what side of the boat you’re on as to whether you believe that they’re dreams were fulfilled or not.

For me, I think the dudes lived and are still having a grand old time to this day, but that’s just me. You know me, the type of person who believes that the human-spirit who can overcome anything. Even the deep, dark, and freezing waters of San Francisco, on a very cold night. Yup, even then, the human-spirit overcomes all, baby.

And that’s sort of the idea that this movie taps into, but not too much to where it feels like it’s preachy or overly-dramatic. It keeps itself subtle, steady, and relaxed, as if you are along with these guys, just living out the nights and days as they continue to wait and wait until their time to go bye-bye comes around. It also allows the movie to pick itself back up once the prison escape actually begins and really get you involved by making you wonder if they’re going to make it, how, or if they’re going to get caught by somebody. Like I said before, you and I all know how the story begins, continues on, and ends, but the fact that it might just go against expectations and really take you for a loop still shows up in your mind many times. That’s when you know you have a good movie on your hands, albeit, a very tense one as well.

If anything, the tension does swell back up what’s a pretty straight-forward story, especially one that I’m not too sure I believe in after seeing it a couple of times already (3 to be exact). The reason why Morris decides that he wants to get the hell out of the prison and be free is a bit cheap. There’s this character Doc, who’s the usual harmless and innocent dude you’d see in any prison movie, who has a bit of a problem that Morris apparently takes notice to and gets upset about. So upset, that he decides it’s his time to flee from serving his life-sentence. Let’s all forget though, that the dude has an IQ of “Superior”, as they show early on in the movie, he looks around everywhere he goes, and also has broken out of the last prison he was in, hence why he’s in this one. Yup, forget about that. Nope, just add the old cooky guy that the warden throws his power and anger on, to seal the deal and give Morris some inspiration. I thought this way of making Morris more human and giving him a reason to break out was sort of stupid and didn’t fit well with the rest of the movie, as it didn’t seem to really go with the over-the-top dramatics of what a usual movie such as this goes for. There could have been somebody like Doc in prison when these guys decided that they wanted to get the hell out, but I highly doubt it.

The thought inside everybody's minds right at that moment, "Shit, he gonna finish that?"

“Shit, he gonna finish that?”

But at least Morris is given some sort of levity as a human-being, due to Clint Eastwood playing him, or, essentially playing himself. When it comes to Clint Eastwood, you don’t get much else different other than him playing himself. I can’t say that’s a bad thing because the dude’s pretty damn good and charming at playing it, while also being able to give him a smarter attitude towards certain situations and predicaments that makes it seem understandable as to how he figured out how to break out, and why. I mean, the movie does tell us early on (remember the IQ level thingy?), but even if it didn’t, we would have already known that this dude was one smart cookie that was not to be messed with. Why? Cause it’s freakin’ William Munny! That’s why!

The supporting cast in this movie is pretty solid, especially Paul Benjamin as “English”, the worker from the library that Morris befriends. Together, they share a nice dynamic that’s not just playful, but full of respect and touched my heart a bit more once they get their final scene together. It’s a good one, so just wait for it. Also, be on the lookout for a very young and dashing Fred Ward in a role as one of the escapees. Nice to see when the dude was such a young whippersnapper!

Consensus: Some may consider Escape from Alcatraz “slow” and “boring”, but if you’re in the right mood for a prison movie that takes its grand old time to develop characters and tension, then you’ll be watching the right flick. Not one of the best, but definitely one of the more definitive ones.

8 / 10 = Matinee!!

A beaut, ain't she?!?

A beaut, ain’t she?!?

Photo’s Credit to: IMDBJoblo

Manhattan (1979)

I guess you can’t fall in love in Brooklyn?

A neurotic writer named Isaac (Woody Allen), who was just recently dumped by his ex-wife (Meryl Streep) for another woman, is finding love in all the strangest places. Take for instance, the new gal he’s going out with: 17-year-old Tracy (Mariel Hemingway). Together, they surprisingly share a nice connection that’s built more upon the fact that she has plenty to learn with her life, but will spend whatever life she has now with him, that is, until she gets bored of his old-ass and goes for somebody younger and more nimble in the sack. However, it may take some by surprise that Isaac is in fact the one getting a bit bored with his jail-bait and is finding himself more and more attracted to his best friend’s mistress, Mary (Diane Keaton).

Here’s the quintessential, Woody Allen comedy that everybody loves and considers a masterpiece and yet, I have no idea why. Is it because I’m not from New York? Is it because I’ve never been involved with a person that’s 25-years-younger than me? Or simply, is it because I’ve already been spoiled by Annie Hall so close to this movie? I think it’s more of the latter, considering I watched Annie Hall literally two nights before I popped this in the VCR, but still, something doesn’t seem right with me and this movie, and I’ll try my hardest to explain why, even though it probably won’t come out the best way imaginable.

"For some reason, I feel a slight attraction to girl's way, way younger than me. Oh well, no reason to worry. It's probably just a phase."

“For some reason, I feel a slight attraction to girl’s way, way younger than me. Oh well, no reason to worry. It’s probably just a phase.”

Woody Allen’s knack for turning an actual issue like human-beings, the way they interact with one another, and best of all, love one another, into a thinking-piece as well as a bit of a joke, never loses it’s bite no matter how many years go by. It’s been 30 years since this flick came out, and you’d think that we’d all get bored and tired with the same old, richy-rich, New York-types that go way too into depth about art and philosophical ideas, and don’t think enough about other people’s feelings at the most opportune moments, but it surprisingly doesn’t. In fact, it’s still fresh and edgy even by today’s standards, which is mainly because I couldn’t tell you who “our version of Woody Allen” is right about now. I mean, the dude’s still making movies and whatnot, so I guess we sort of have to wait till he croaks in order to crown the new leader in Jewish, neurotic comedies, right?

As with most of Woody’s flick, it’s always interesting to listen to these people talk, no matter what the subject may be, and to see how each and every one respond to the other, which is used to great effect here. The movie isn’t as big as you may think, with maybe 6 or 7 actual main members of the cast getting more than a couple lines of actual dialogue, which means that there is plenty time for us to just get involved with these character’s lives, understand them, their problems, and what they’re going through whether it be a broken heart, broken mind, writer’s block, or a simple, mid-life crisis that can’t be solved by an inordinate amount of drugs. And that was all fine with me because Woody’s writing is always snappy, always entertaining, and always worth a listen, even when he seems to be reaching a bit farther with this material than you’d expect.

There’s a lot of talk about love and how it makes people lose their minds and the essence of reality, and nobody’s more guilty of that then Woody himself. Most of his movies, in fact, feature him swooning over the idea of love, making things up in his mind about it, and getting a bit too carried away. However, that’s the darker side of love that Woody is more than happy to explore, but here, he’s surprisingly a little less cynical about love and probably more hopeful. Rather than leaving us on a depressing note that makes us question the person we lay next to be with every night, it makes us wonder whether we should have more faith in love, or human-beings for that matter. We’re always so used to blaming others for being so idiotic with even the most simplest tasks like keeping a relationship afloat, when we always forget to hold out some hope just in case they don’t screw it up. Woody’s always a bit mean with his views and opinions about the idea of love and whether or not it’s ever-lasting for all of the reasons we may think, but he shows that he was growing softer in his older age and better yet, was getting a little sweeter as well.

Because come to think of it: It was only a matter of time until he met a little lady named Mia. And then, shortly after that, it was only a matter of time until he met another little lady, this time, named Soon-Yi.

Nothing strange here at all. It's just a dude and his granddaughter out and about.

Nothing strange here at all. It’s just a dude and his granddaughter out and about.

Some of you may be wondering why I chose to bring this up, considering that it’s all been done to death by now whenever the name “Woody Allen” gets mentioned anywhere, but seeing this plot and realizing that it was about 13 years earlier before what actually happened in real-life, takes it on for a whole other spin that’s very, very disturbing once you get to thinking about it. Woody’s character gets mixed-up with this 17-year-old, and it’s never explained how or why, we are just dropped-down in the middle of it occurring/blossoming and are told to accept it for what it is. If it was any other writer/director at work, it probably would have been way too creepy to even get by, but somehow the man makes it work because he has a certain amount of grace and skillfulness to showing it that’s more about the actual love part, and not about the age part, even if it is too hard to not think about the latter when you think of the former. Or maybe it’s just me, I don’t know.

Anyway, age problems aside, Woody’s great in this role because he does everything we know and love him for, and it never gets old. Mariel Hemingway, on the other hand, really gets us going because she’s so good and so interesting as a female character, that it’s a shame we don’t get much more of her in this flick. Obviously Hemingway has that whole “young, innocent”-presence about her going on that works and makes us care for her, especially when Isaac shows a slight sign of boredom in their adventures as a couple, but she also shows some adult-like sensibilities in the way she acts and speaks that has me wondering just where the hell this dude found her, and why was she so attracted to him in the first place. I believed that they were a couple and could actually be together for awhile, but I didn’t understand why she was so naive when it came down to realizing that she has a full-life to live, but still shows that she’s smarter and more capable of making smarter decisions than half of the adults in this flick. I didn’t quite get it, and I think it was more of a screen-writing trick that Woody tried pulling so we wouldn’t pay too much attention to the creepiness of what was going on, but I latched on pretty quickly. Hemingway is still good, and so is everybody else, but maybe this is where Woody’s tricks started to show a bit more obvious now. Then again, maybe it’s just me. I don’t know.

Consensus: Though some consider Manhattan to be Woody Allen’s end-all, be-all masterpiece, some of it still rings a bit too false for me to really get engaged like everybody else, yet, the true and sweet sentiments are here for us to take in, and they work even after all of these years, if you can believe it or not.

8 / 10 = Matinee!!

We've all seen the picture 100 times, but isn't just so damn pretty?

We’ve all seen the picture 100 times, but isn’t just so damn pretty?

Rocky II (1979)

“Yo Adriaaaaaaaaaaaaaaan!! I’m baaaaaaaackkk!!”

Beginning right where the first left off, Rocky (Sylvester Stallone) marries Adrian (Talia Shire) and promises never to fight again. But when the two run into a bunch of moolah-problems and find out that Rocky can’t make a living any other way, he agrees to a rematch with heavyweight champ Apollo Creed (Carl Weathers), who wants to prove Rocky going the distance with him in their first match was nothing more than a fluke. However, there’s more skill and smarts in Rocky, but also in Apollo. Ding ding ding!

Much like other films such as Halloween, Nightmare on Elm Street, and plenty other flicks, Rocky may have been a classic film by all-means, but it’s reputation still gets hurt a bit by the endless need of unnecessary sequels that were made after the original. It’s already been six movies later, and I think it’s safe to say that everybody, and their mothers have had it up to here with Rocky, Adrian, Paulie, and all of the other, over-the-top villains they could pick-up next. Thankfully, this one didn’t do too much to ruin the legacy, but instead: just repeated it. Doesn’t hurt, but doesn’t help much either.

Rather than bringing the awesome John G. Avildsen back to the director’s chair, Stallone takes his own shot (pun intended) at writing and directing this flick and it isn’t as bad as you would imagine from this big baffoon. Stallone redoes everything here that we saw and loved from the first one, but this time, adds a little bit more drama and character development to it. I liked that approach because it not only showed us just how Rocky would grow-up as a father and a husband, but also as a guy that’s trying to make a living with whatever he can do other than knocking out other dudes. You never know what it’s like for these dudes after they hit their peak and realize that they have to live in the real-world, with real families, real people, and make real money, so that was pretty interesting to see from a sequel that was all about the hustle, the bustle, and the glam of being a pro-boxer and being stuck in that world. There’s also more development between Rocky and Adrian and it’s sweet to see, as we all know that they love each other, but never fully got the sense of it until now. It’s great to see them live together, inter-act with one another, and try their hardest to live in a nice home and not chop each other’s neck’s off. It’s a hard thing to do as a married-couple, but it can work.

It was getting relatively close to the 80's, so red head-bands seemed reasonable by then.

It was getting relatively close to the 80’s, so red head-bands seemed reasonable by then.

Then again, this direction isn’t anything all that special because it’s basically the same, exact movie, just done again with more character development. This wasn’t something that bothered me as much but it didn’t really offer me up any surprises that much either. You could practically put this and the original back-to-back and not really notice a difference at all: Rocky starts off like a bum, then focuses on jobs, then focuses on Adrian, then gets ready for the big fight *cue training montage*, and then the big fight at the end. That’s pretty much the same formula done for both movies and it seemed like a lazy-job on Sly’s part, mainly because we all know what happens, and aren’t thrown many surprises or curve balls to take us off-guard.

It was also kind of a problem that I didn’t really feel any true tension or excitement going into the big rematch with Creed, I was sort of just like: “ehhhh”. The first movie, regardless as to whether or not you actually saw it when it first came out, was a movie that people were just hyping up and up and up for those last 15 minutes, all because of the big fight. Not only was it bloody, gruesome, and ultra-violent, but it was also very unpredictable as nobody had any clue whatsoever as to who the hell was going to pull this off in the end. However, it’s pretty obvious where Sly is going to go with this story, which makes it even more obvious as to who the winner is going to be. I get that you don’t see these types of flicks to see something terribly new or original, considering that it’s all been done before, but you gotta give me something to chew-on here, or I’m going to lose my leg. Don’t know what that is even supposed to mean, but just go with it for now.

As much as the movie’s final-bout may not be as invigorating or compelling as the first’s, it still helps the movie gain some much-needed steam and end in the sort of way we’d be happy to cheer on. The ending fight in the first flick was a lot better, but this one still stands on its own two feet with a lot of close-calls that actually kept me on-the-edge of my seat, even though it’s pretty obvious you know what’s going to happen. It’s a good fight and definitely brought a lot more energy to the end of the film, but it was almost a bit too late in the movie to play up. Then again, it was entertaining so I’ll give it that.

No matter what though, Sylvester Stallone is definitely the main reason to see this flick because he does everything he did as Rocky in the first movie, and adds a lot more sincerity and heart onto him here. Stallone is such a likable character that the whole 1 hour and 59 time-limit could have been dedicated to him just making corny jokes to Adrian and slurring every single sentence, which he does show a lot of that here, but once he starts to hit the emotional moments, it may actually take you by surprise. Stallone has never been a Oscar-caliber actor by any means, but he definitely shows that he has the chops to pull off plenty emotional moments and have you believe in him as his character learns more about life. But like the rest of the movie, you could pretty much say that about the first one, just with a few more added-elements.

Deja vu maybe?

Deja vu maybe?

As for the rest of the cast, they’re all fine and pretty much doing the same thing they were doing with the first, just a tad different this time-around. Just a tad, mind you. Talia Shire is great to watch as Adrian as her and Rocky inter-act with one another and figure-out ways to get their marriage to work. The two have good chemistry and shines through in almost every moment they share the screen. Carl Weathers bothered the heck out of me with the first one, but does a fine job here as he keeps that annoying, showmanship-thang going on, but still gets to the human-aspect of his character as well. Ain’t so bad once the guy dials it all down, I see. Burgess Meredith is yelling at Rocky again and having a ball doing so, and Burt Young is being a drunk d-bag, that beats-up his sister, makes d-bag jokes, and bothers the hell out of Rocky. The typical, Philadelphian-bum. Gotta love ’em.

Consensus: Rocky II has the same heart, look, feel, and entertainment from the original classic, but that’s just it: it’s practically the same movie. Yeah, it’s more character-based and features development of those said characters as they move-on with their lives, but it isn’t anything special when you take into consideration how land-mark and iconic the original was, where this just seems to cash-in on that name and love. Sadly, it would continue on for a couple more years, only to be deceased by Sly himself. Thank heavens for that.

6.5 / 10 =Rental!!

So. Many. Autographs!

Beautiful shot of the city I love, and a bunch of people running away from it. Oh, sweet, sweet Philadelphia.

Apocalypse Now (1979)

War is hell. Especially when you’re dropping acid.

This film tracks the journey of Captain Benjamin L Willard (Martin Sheen), a USA Army Intelligence Officer sent on a hazardous mission up river into Cambodia to terminate “with extreme prejudice” American renegade Colonel Walter E Kurtz (Marlon Brando) who has spun out of control and out of his mind. What Willard has to go through in order to get to Kurtz is unlike any other.

Jesus H. Christ. Where do I begin with this one? Well to start, I should say that this isn’t the first time I ever saw this movie, or even the first time I ever reviewed this movie. Confused as to why I’m doing a total double-take? Well, the first time I watched this flick I wasn’t as fully into it as I should have been and my review at that time (along with many others), come off as very lazy to the point of where it seemed like I was reading off of Rotten Tomatoes and piecing them altogether. Trust me, that’s not what I did but if you go back and read it, you’ll think it by all of the jibber-jabber that I typed. But after checking it out for the second time, I finally realized the beauty and the ugliness that lies behind this film but I said it once and I will say it again: this film is somewhat overrated.

Anybody who has ever done research about this film probably heard about how director Francis Ford Coppola literally went to hell in pre-production just to get this film done in his way (it’s actually the subject of a documentary, one that I need to still see), and thank heavens for that because this film would have not worked without his direction. Seriously, no way in hell would it have. What catches your eye right from the start is the beautiful, but deadly images of a Cambodian jungle being blown up to pieces, all played to a tune from The Doors. It’s the perfect combination of a dark song and a dark image coming together and starting this baby perfectly right off the bat, and it gets you ready for what’s about to come and that is pure, utter craziness that’s all from the point-of-view from Coppola.

Let me just say that this film is probably one of the more beautiful ones I have ever seen in my entire life. I don’t know how Coppola got some of the shots that he did, but the long, sweeping shots of helicopters blowing shit up to the tune of Wagner still sticks in my mind every time I think about this film and the beauty it has. Oh, and there’s also the famous bridge blowing up scene where the only source of light throughout the whole scene is just fireworks and gun shots being lift-off in the sky. But regardless of what specific scene I’m talking about, there’s something inventive Coppola does with the colors in his film and it’s just that he constantly mixes them with every new frame. One shot you got purple, the next you got yellow, the next you got red, the next you got orange, and so on and so forth. Coppola has a great eye for colors and how they convey moods for a film and that’s what really caught my eye every time with every shot. When you look at this film and the way that it’s shot, you know that you have to give Coppola enough credit for that but that’s not all he does that makes this film work. No sireee!

The whole general story of this flick starts off pretty strange, but only gets worse after that whole “Wagner sequence”. We start to see these soldiers go across Vietnam running into other soldiers that are either completely insane, or have no guidance whatsoever, or run into a bunch of innocent Vietnamese that are just trying to make it across without getting killed or hurt, or just another bunch of people that keep on making this film tick and tick away some more. There are no sunshine and peachy days with these people that we soon meet on this “trip”, if you will, and they automatically shock and compel you every time somebody new shows up. This is fairly one of the strangest films of all-time, with characters that only make it so, but it’s all there for a reason and that’s to show you the type of effect the war has on people from all different sides of it.

Not once do we see the enemy from their point-of-view, or do we ever really see them up-close-and-personal. Instead, we get to see plenty of the American soldiers that are fighting against them and just how much of a terrible toll this isolation and destruction is taking on their bodies, on their minds, and on their lives as well. This is all some scary shit that we have seen before in anti-war flicks of the same nature, but never this disturbing to the point of where you really feel like it’s about to get bad. Coppola gives us the images to really stick in our heads, but he also gives us the situations and characters to think about and how all war, brings pain and misery no matter whichever way you make it out to be.

However, you heard me going on and on about this film but the one question in your head still has to be left there thinking, “Just what the hell does this cat think is so overrated about this movie, because all he’s doing is having orgasms over it?”. Well, have no fear because here’s the answer to exactly why I think so: not as much character development as there should have been. That’s right, in this whole 2 hour and 30 minute movie, we get plenty of crazy and bizarre-o characters that pop in-and-out and provide us with a lot of philosophical shit to chew on for the time-being, but when it came to the main players of the story, I found it very hard to care for.

Let me give you the prime example of this flick, and that is Martin Sheen‘s character, Captain Benjamin L Willard. Willard is a very confused fellow that seems like he has no motivation for this duty he has to do, other than the fact that he literally had nothing else to do and was just assigned to it. We see Willard go throughout the whole war, meet up with new characters that eff his mind up as much as it effed mine up, challenge what he thinks is suitable of the war, and teach him some new things about life that he never once realized. Problem is, I think I’m looking into that a little bit too much because we never get much from this Willard guy, other than a very cold and intimidating stare from Sheen. Don’t get me wrong, Sheen does an amazing job with this role and handles the lead with such ease and perfection, but he’s not given much to work with outside of just looking pissed and barely saying anything. All of his motivations and convictions feel real, it was just that we don’t really know what to think about him since the guy is so damn stern the whole time and barely loosens up with the exception of a couple of scenes where he actually cracks a smile.

Everybody else kind of suffers from the same thing, but that doesn’t matter as much because of the awards-caliber performances they give as well. Robert Duvall is a sensation to watch as the hip, fun, and cool as Lieutenant Colonel Bill Kilgore. Of course everybody knows the famous “Napalm” line that Duvall utters in this film but honestly, how can you not love that line as well as this dude’s charisma? The whole film is essentially one, big downer of a movie and Duvall brings a whole bunch of comedic relief to the film that makes you appreciate him a whole lot more once he’s out of the film for good but you never forget one of the lines he says, and trust me, it’s not the “Napalm” one either. You’ll see.

Then of course, you got Marlon Brando who caused all types of shit (as usual) on the set of this film by showing up overweight, needy for money, and dicking everybody around like he normally does. However, it’s kind of hard to be mad at him for something like that especially when he gives off such a commanding but brief performance as Colonel Walter E Kurtz. As soon as Brando shows up, the film takes a much darker turn, which I thought wasn’t even possible, but once I started hearing all of the shit Kurtz discusses, then I realized it was. Brando hits like a wrecking ball in these types of roles and his small role here as Kurtz is no different and you can’t help but just wait, and wait for him to show up as soon as you see his picture-perfect face within the first 10 minutes.

Also, be on the lookout for plenty of other supporting performances from people you obviously recognize, but other’s, you don’t by how young they are. Especially a very young Laurence Fishburne, who deserves major props for being 14-years old in this film and still not getting blown out of the water with the type of talent they have on-display here. Nice going Morpheus!

Consensus: While it’s not the pitch-perfect masterpiece so many people laud it as being, Apocalypse Now is still a powerhouse of a film to watch, mainly because of the inspired direction from Coppola that pulls out all of the stops, awesome performances from this wide ensemble, and plenty of themes and moral issues to chew on about the war and all of the misery it brings to those involved.

9/10=Full Price!!

Alien (1979)

Now people understand why we don’t send more humans into outer-space.

In deep space, the crew of the commercial starship Nostromo is awakened from their cryo-sleep capsules halfway through their journey home to investigate a distress call from an alien vessel. After landing on a barren planet, Warrant Officer Ripley (Sigourney Weaver) works to decipher the transmission and discovers that the signal is actually a warning, not an SOS. But it is too late to turn back as three members of the crew have already left to investigate the derelict ship.

Movies like this are hard as hell to review because they are just loved by so many people, that it’s almost like a death sentence if you say one bad thing about it. So by the time this review is over, I’ll have to be looking over my shoulder at every corner now.

All of the credit for how awesome this film is, probably has to go to director Ridley Scott. First off, the film starts with all of these slow-moving shots of the space shuttle, where there’s nothing really going on except for there being an eerie feeling the whole way through. This was a great way to start off this flick in my opinion as it showed that the horror film that I was about to see, wasn’t just your ordinary, jump-scare horror flick, it was actually going to be more of a slow-burner that would take its time to build up its scares. Scott uses a lot of slow pans here to fully capture the set designs and spooky atmosphere but also depends on a lot of sounds (or lack thereof) to gain some spookiness too. So many horror films nowadays, feel the need to bring in this huge, grandiose score that makes you feel like you should be scared but somehow doesn’t. Here, Scott depends on a lot of moments of silence in certain scenes where we don’t have some soundtrack telling us what to feel at a certain moment and the noises that Scott usually replaces them with (the computer sounds still give me a chill till this day), actually take you more into this atmosphere than you expected.

Scott also did a pretty awesome job at making this spaceship, and just space itself, look absolutely beautiful with it’s amazing production that is still some of the most inventive in sci-fi movie history. The inside of that spaceship, is pretty freakin’ scary because you never know how big it truly is, what places are safe and what aren’t, and also, top all of that with a whole bunch of darkness that Scott adds in to truly mess with your heads. Hell, even the way those ventilation shaft doors shut gave me the chills! The film also ventures out to an unknown planet that also looks very beautiful, with it’s long, sweeping terrain to give the Alien egg farm some more creepiness to it than it already needed. I don’t know if I’m doing this flick any justice by the way I’m talking about it, but I can say that Scott did a perfect job of filming it all and gave it a very stylized look, even though it mostly takes inside a spaceship.

But it wasn’t just his art direction that kept me involved with this flick, it was mostly the fact that I knew some crazy shit was going to go down and Scott continued to build that idea up and up and up until, the whole film starts to go crazy (along with everybody on the ship). There’s always a sense of eerie dread in the air, something that Scott builds on and lets it get inside of our head the whole way through. You never know what’s going to happen next, but you know it’s not going to be good and whenever something bad does happen, it’s injected with so much frenetic energy, that almost don’t realize that they only last for a couple of seconds. We also never get to see the Alien quite as much you would think (the movie is named Alien for Christ’s sakes!) but every time it did show-up, wooooooo-weeee, did it create a lot of tension!!

The one problem that I did keep on finding myself running into was probably one of the dumbest details, but it was also one of the biggest of the whole movie: the cat. I had no idea what this cat was even doing here in the first place, which was fine with me, but the film started to bring it into some key moments like where a person would have to go look for it, only to get killed off the next second, or to have people at the end of the movie trying to save it, while the Alien is ready to kill and all-over-the-place. This just seemed like a cheat to have some characters die and give the characters a reason to go back on the ship, even though it’s about to self-destruct and strapped with a killer Alien on-board. Seemed really dumb, for a movie that was doing so many smart things with itself.

What I loved the most about this film, was how each and every character in this flick got the same amount of screen-time, which also meant that you cared for them a lot more rather than just being a bunch of walking cliches you would normally expect from a horror movie about a crew entrapped on a spaceship with large monster. Tom Skerritt is pretty manly and tough as Dallas, and it’s pretty easy to see why this dude was the head-honcho of the crew. Sigourney Weaver, as we all know, is pretty bad-ass as Ripley and gives her this smart and sassy edge, that really comes out of her by the end when it comes down to nut-up or shut-up time with the big Alien. Don’t know why she had to get half-naked at the end, but hey, she looks pretty good, don’t she?? Veronica Cartwright is a cutie-patootie but isn’t given much to do here, and even when she does do something, it seems like she’s just yelling, screaming, and worried about whether or not she’s going to die. Probably the lamest character out of the bunch, which is saying much. Harry Dean Stanton was a lot of fun as Brett, who brought a lot of humor with his usual, dead-pan delivery. Still can’t believe that dude is 85 now! Sheeesh! John Hurt is good as Kane but I do wish we could have seen more of him because we all do know what eventually happens to that dude. Ian Holm is creepy as balls, playing the freaky scientist, Ash, and just plays up that whole weird, off-kilter dude perfectly. Oh, and Yaphet Kotto is a lot of fun as the token black guy you always need to have in a sci-fi/horror movie. Not saying it’s a bad thing, it’s just something you usually need to have to round it all out.

Consensus: Alien is definitely a sci-fi movie amongst sci-fi movies because it features a highly-stylized direction from one of the greats, Ridley Scott, who gives this film a very tense, dreary, and gloomy feeling the whole way through, and also keeps you guessing until the very end with scenes that are so iconic, I don’t even need to mention here. Just get out and go see it before you see Prometheus, because something tells me you’re going to have to do your homework for this one.

9/10=Full Price!!

Kramer vs. Kramer (1979)

Is this usually what happens when two very good-looking people marry each other?

Ted (Dustin Hoffman) is a career-driven yuppie until he finds out his dissatisfied wife (Meryl Streep) is leaving him and their 6-year-old son. But just as Ted begins to love being a full-time parent, his wife reappears to reclaim the boy.

Divorce is not something I have ever had to deal with in my life but from what I hear, it’s not a very nice thing to be put through. I know this through many people I know and hearing their experiences and thoughts on what happened, really makes me feel something towards them but feeling something towards a film that’s about divorce seems very, very hard. However, when you got something like this, it’s not hard at all.

Even though this is definitely not the first and definitely not the last film to use divorce as a plot, the one thing that separates this flick from all of the others is the fact that this feels real right from the get-go. All of these emotions that these people feel, all of the heart-breaking things that these people say, and just everything that everybody goes through in this film feels real and genuine except for being just another schmaltzy Lifetime made-for-TV movie. Much of this is testament to writer/director Robert Benton, who not only adapted this from the novel but directed this as well and supplies plenty of very dramatic moments but also a bunch of funny ones as well, which gives it this light side that does a really good job at keeping us happy even though it can get very sad at some points.

The whole time I was watching this film though, I couldn’t stop but try and reflect on a little bit of my own life and just realize how true this film felt. When I looked at Ted and how he cared for his son and would do anything just to tend to him, I saw my father and when I looked to the little bratty Billy, I saw myself and how that bond between us was strong no matter what because he loved me and I loved him. There are so many damn memorable scenes here that just stick in your mind but they felt like something that I would do as a kid with my dad, and the emotions that just ran out through every scene just hit me hard and strong.

What is also great about this script and its direction from Benton is that the film isn’t a very easy one for answers and barely chooses any sides. As soon as the mother leaves her son and husband, it’s pretty easy to paint her as “the bad guy”, but as the film goes on you see that some of the blame for her leaving could be also put on the father as well. The film doesn’t show us how their relationship was before this divorce, so we are able to draw up our own conclusions on to how they were before all of these problems started to actually occur. This may make it harder for some people to say who’s right and who’s wrong but when it comes down to the actual real-life feelings of losing a loved one and feeling how the other one feels, it feels like the only way to approach this sort of material considering how one-sided it all could have been.

The one problem I had with this film was the fact that the mother sort of seemed very one-dimensional the whole film. Even though I did hate her for the longest time until I saw her side of the story with everything, I still have to say that all she does throughout this film is complain about how she needed to find herself, realize who she was, and yadda yadda yadda bullshit. It would have been fine if she said it just once and left it at that, but it seemed like when anyone actually spoke to her that she just constantly kept whining and complaining that it was a real wonder to how was this chick even happy in the first couple years of marriage.

Regardless of that little problem though, the cast is just about perfect and what really serves as the icing on the cake for this flick. Dustin Hoffman is perfect as Ted. Hoffman is an actor I’m very so-so with not because I don’t like him, it’s just because I don’t think there is anything really special to him other than nailing down the whole ‘Rain Man’ thing perfectly, but here he totally makes me re-think that. Hoffman is just one of those incredibly likable dudes that seems like the perfect fit for this dad who wants to do everything to make his son happy but also be successful at what he does and how he can’t accomplish that is almost too hard to watch at times. His more dramatic scenes though are what really works and everything he says about he feels, what he’s going to do, or what he wishes he could do, feels realistic and he definitely deserved that Oscar without a doubt.

Meryl Streep is also great in a very young role as the mother, Joanna. Yeah, she’s kind of a weird itch for leaving the son and father in the first place but as time goes on we start to see her for more as a troubled human-being rather than just another nervous wreck who seems like she should be put into a clinic. I also have to give a lot of props to Justin Henry as the son because he actually holds his own between these two Oscar-winning stars and doesn’t seem like that overly annoying, too-smart-for-his-own-age kid act that we usually get with young actors.

Consensus: Kramer vs. Kramer is superbly acted by just about everybody involved and the direction feels right because we never take one persons side over the other, but where this film works is in the screenplay where it shows real people, with real problems, doing real things without ever seeming unbelievable just for the sake of dramatic sake.

9/10=Full Price!!

The Jerk (1979)

Perfect reminder for why Steve Martin is a funny mofo.

After discovering he’s not really black like the rest of his family, likable dimwit Navin Johnson (Steve Martin) runs off on a misadventure that takes him from rags to riches and back to rags again. The slaphappy jerk strikes it rich, but life in the fast lane isn’t all it’s cracked up to be and, in the end, all that really matters to Johnson is his true love (Bernadette Peters).

Knowing that this was Steve Martin’s first lead starring role, I was expecting to chuckle here and there, but goddamn was I laughing at this.

The humor is something I would just call funny as hell. This film doesn’t really give a crap just how crazy it can really get, and I must say that adds to much of the humor that worked so well. Watching all these crazy off-the-wall situations, non-stop hilarious sight gags, and some of the best slapstick I’ve seen in film just had me doing more than just LOLing.

The film also has a pretty fun, and fast pace that really keeps things moving even though it does get a little uneven at points. There are many times when you can just quote this, and although some jokes in here may be a little bit offensive, and mean-spirited, you can’t stop but help to remember by the end of this.

My only real complaint towards this whole film is that it does run a little bit out of steam, and that’s mainly to its episodic feel to it all. I liked how they told this film in a rags-to-riches tale, but by the end once it becomes all way too obvious, it didn’t really have me laughing as much as it did earlier, but I was still cracking up.

Anytime that Steve Martin decides to choose another script like Bringing Down the House, or Cheaper By the Dozen, he can watch this film to remind him that he was really, really funny. He totally inhabits this moron-like character, Navin Johnson, but all this is lovable and the whole time your watching this film, and Martin’s crazy antics you can’t help but still fall or this dude. The slapstick Martin uses here adds so much more to this film’s overall humor, and works well towards it main character. Not only does Martin shine, but others such as Bernadette Peters, Caitlin Adams, and Jackie Mason all do good jobs as well. It’s just that Martin knocks them out of the water.

Consensus: Guided by a hilarious leading man debut from funnyman Steve Martin, The Jerk may feel a bit episodic, but the comedy is filled with so much stupidity, so much surrealism, and so much hilarity, you can’t deny the laughter that will be coming through your lungs during this film.


Being There (1979)

Makes me want to watch more TV.

Illiterate gardener Chance (Peter Sellers) is run over by wealthy Eve (Shirley MacLaine) and suddenly becomes educated gent Chauncey Gardiner, thanks to Eve’s misunderstanding of his mumbled introduction. Taken in by Eve’s family, Chance simply regurgitates what he’s heard on TV — from gardening instructions to economic predictions — and Washington’s political elite hail him as their next star.

I love it when movies that start off alright, turn out to be something incredible. That is the case with this treat.

The one thing I really loved about this film was its screenplay. It rides the coat-tails of being a satire, a comedy, and a drama. But all of it works together, because there’s so much heart and humor you just cannot resist the film. I liked how the story is so original. It shows this guy who literally does nothing, and is so simple, but captivates so many people, and they think he’s the most different guy in the world. But in a good way.

It was funny to see how all these different people reacted to everything Chance said. He literally is talking about something else, but they think he’s talking about another thing, and the reactions are priceless. Never have misunderstandings been so funny.

I feel though that the film wasn’t all that believable. Never would a man so simple, and yet so strange, actually be taken as seriously, as he was taken in this film. As much as the reactions of the fellow humans are funny, I didn’t quite believe them, but hey I mean I guess this could all just work as a piece of fiction.

Peter Sellers is honestly what makes this film, purely amazing. He’s known for playing all these crazy, goony characters from all these comedies, but here he changes it all up into somebody thoughtful, somebody true. He doesn’t use a single impersonation, or his constant use of jokes, he just plays it all simple, and that’s the best thing about him. Everybody around him is crazy, but he stays normal, and I loved this performance. Melvyn Douglas is good here, in an Oscar-winning role, that brings so much heart to the film, not that it was much needed. Shirley MacLaine had me laughing almost every time she was on screen, providing plenty of the scorn woman hilarity we would expect. Must I add, Jack Warden is our President in this film. Nuff said.

As everybody knows, there is an ending here, not gonna give anything away, that will totally take you by surprise. I loved the ending, and I think that’s one of the main things that really does make this film legendary. Was I expecting it? Not at all, and I think that’s the best thing about it, and this movie.

Consensus: Not all too believable, but still a classic dramedy, with winning performances from the cast, and a screenplay that surely will take you away.


Apocalypse Now (1979)

One of those trippy war films.

Francis Ford Coppola’s epic adapts Joseph Conrad’s Heart of Darkness to the Vietnam War, where special operations Capt. Willard (Martin Sheen) must travel deep into the Cambodian jungle to locate and kill the mysterious — and insane — Col. Kurtz (Marlon Brando).

The one thing right away you will notice about this film is that it is not your typical war film. And that is a good thing, but also a bad thing.

The best part of the film is just the amazing visuals that inhabit this movie from start to finish. The vibrant colors that Ford Coppola use, especially at the end, all convey a sort of emotion that nothing is right and you are in hell where there is no way out.

The film is a lot more trippier because its also about the haunting fear of the war. I liked this part and yet I thought it was pretty much goofy. One reason was because I feel like there were times where the film could have succeeded with being a natural war film with nice war scenes, but instead gets into this weird world by the end of the film that we really have no idea about and its kind of freaky, but also unrealistic.

I have to give most of the credit to director Ford Coppola who basically directs this film with sure power and makes sure no detail is left out. The way he lights his scenes, and makes them look is beautiful, but just the overall setting especially the one helicopter sequence which really shows some great film making. Ford Coppola gives you this sense of madness that is going around at this time, to a point where you feel as your going mad with these soldiers as well.

The young cast is awesome here with recognizable faces, but not so much of recognizable performances. Sheen is the fore-front of this film and brings out a lot of craziness with his character, but doesn’t get too nuts and stays sane most of the time. It was funny to see all these performances from all the actors so young like Laurence Fishburne, Harrison Ford, and a great Robert Duvall. But the best here that will leave a mark on you at the end of the film is the always great Marlon Brando. The whole movie is basically all about him waiting to be seen and the one scene when him and Sheen finally meet is just shot so perfectly, and after that Brando has a short monologue which is just so perfectly delivered gave him so much more gratitude by the end.

Consensus: Apocalypse Now is not your typical war film, but has a fearless direction from Ford Coppola, who gives us these beautiful colors on-screen, a haunting setting, and brings out great performances from its young cast.

9/10=Full Pricee!!!!

Dawn of the Dead (2004)

Next film for Halloween is Dawn Of The Dead remake.

Based on the George Romero 1979 gore classic, this remake takes place as the United States is overrun (after a plague) by millions of corpses who walk the earth as cannibalistic zombies. A small group of survivors, including a nurse (Sarah Polley) and a police officer (Ving Rhames), try to find shelter within a massive shopping mall. But the zombies have a kind of sense memory and start arriving — in droves — for a shopping spree.

This is not so much of a remake as it is an update of the 1979 classic. The whole premise remains faithful to the original but then after that makes its own elements, which really was a good thing after all.

Dawn Of The Dead really does succeed because its use of exciting action and most of all, the gore. The added on blood and violence really does make this film exciting and fun to watch. Also, in the original the zombies were really slow and if you just ran they would’ve never caught up to you. Now, they are fast as a bullet and you can’t run or hide barely, and I think that is what makes this film even better.

The film also has little unriddle social commentary, and zero exposition. For instance, when a government official is asked “what are these things? are they contagious?” he simply responds “We don’t know!”. Giving you this idea of nobody knowing what is going on.

Zack Snyder, in his directorial debut, really does show some really great direction in this film. Many of the scenes he films with the action are slick and feature a lot of good camera angles that really do fit the part of the action.

I only had little minor problems with this film that aren’t as bad as you would expect. In George A. Romero’s 1979 Dawn Of The Dead, there was a lot more comedy and a satirical take on these zombies and the incidents that are being caused. I felt like this film was toned one way throughout, and although it did have some comedy it was more blatant than wise, as the original one was.

I also found the origins of why these zombies came to be very unknown and I wish I knew more of what was actually going on.

Consensus: Dawn Of The Dead is a gruesome, violent, tasteless, and well-directed take on the 1979 classic.

9/10=Fulll Pricee!!!!