Movie reviews for movies released theatrically in 1983, the year I turned 2.
1. Man of Flowers, directed by Paul Cox (10/10)
This is a truly remarkable film. It’s a meditation on art and sex, and it seems like that’s all it is, for quite some time. That would be fine in itself, as it’s quite engrossing, and it’s very well-made (the flashbacks with the old stock are seamless). But then there’s the other thing that happens. It caught me so off-guard I was genuinely shocked. It’s amazing. That a film could be both is awe-inspiring, that such a film could come from Oz, where there wasn’t really a tradition of great cinema at the time (apart from a few select filmmakers) is even more amazing. Just awesome.
2. Sans Soleil, directed by Chris Marker (10/10)
This is quite astounding. I think it’s probably one of those movies you have to watch over and over and over to get everything. And it works better because we understand who the narrator is, unlike with La Jetee. It’s a remarkable movie.
3. A Christmas Story, directed by Bob Clark (10/10*)
4. A nos amours, directed by Maurice Pialat (9/10)
4. El Norte, directed by Gregory Nava (8/10)
This is an important, landmark film that is worth watching despite some significant issues. Perhaps the biggest issue is the lighting. Using day-for-night filters and (especially) lighting the inside of a sewer pipe makes it harder for us as viewers to relate to the true hardship. I know that day-for-night was common then and attempts at realistic lighting were rare, but better lighting, especially in the tunnel scenes would have vastly improved the film. Also, though the ending is hardly happy, it is too upbeat. For the film to be truly effective, Enrique’s actions should have been different. But these are quibbles over what is probably the first important fictional film about the struggles of Latin American illegal immigrants.
6. The Meaning of Life, directed by Terry Jones (8/10)
7. The Right Stuff, directed by Philip Kaufman (8/10*)
8. Zelig, directed by Woody Allen (8/10)
9. The Day After, directed by Nicholas Meyer (8/10)
10. Local Hero, directed by Bill Forsyth (8/10)
11. Scarface, directed by Brian De Palma (8/10*)
12. Videodrome, directed by David Cronenberg (8/10*)
13. Rumble Fish, directed by Francis Ford Coppola (8/10)
This is the most artsy American teen movie since The Last Picture Show and it’s about 8 times as artsy as the latter. Sometimes it’s too artsy. But most of the time, it’s effectively bizarre. The stilted language must be in reference to something, otherwise it doesn’t make any sense (and is bad…but I’ll give Coppola the benefit of the doubt). The production design is very original (time lapse photography, giant clocks and odd lighting on top of the strange camera angles make it very interesting to watch) and makes amends for the lack of narrative drive.
The cast is quite notable (Matt Dillon, Mickey Rourke, Diane Lane, Nicholas Cage, Chris Penn, Laurence Fishburne, Tom Waits) but most of these people have bit roles. You wonder what exactly some of them are doing in the movie.
I really don’t know what to make of it. I might have to watch it again. But my first thought would be that it’s good, but it’s not great. It’s a little too vague for its own good. However, it’s nice to see something by Coppola post-Apocalypse that is actually inspired and worthwhile watching. The few movies I’ve seen that he’s made since 1979 have been utter hack-jobs. This is definitely not one of those. It’s worthwhile seeing if you’ve got an open mind, but it’s probably a love it or hate it film (strangely enough, I don’t think I love it or hate it). If you can make it past the first 10 minutes, then you should be okay.
14. Trading Places, directed by John Landis (7/10*)
15. The Dead Zone, directed by David Cronenberg (7/10)
16. Terms of Endearment, directed by James L. Brooks (7/10)
What we have here is a noble attempt at making the European art house / American Renaissance drama mainstream. In fact, I’d argue this is as much a commercialization of the American Renaissance as Jaws or Star Wars. The most obvious aspect of this is the score, which is atrocious and obnoxious and often utterly overwhelming (I would get so infuriated by the score I would miss dialogue). It tells us what to think and it over-sentimentalizes many scenes which were clearly not intended that way.
Brooks is not a ballsy filmmaker and he makes this fairly unconventional (for early ’80s Hollywood) material as conventional as he can. He is fairly adept at handling the children but that’s about it. I think this could have easily been a great film in another director’s hands. I’m sure the novel is better.
17. Something Wicked This Way Comes, directed by Jack Clayton (7/10*)
18. To Be or Not to Be, directed by Alan Johnson (6/10*)
19. Krull, directed by Peter Yates (6/10)
20. The Osterman Weekend, directed by Sam Peckinpah (6/10)
21. Star Wars: Return of the Jedi, directed by Richard Marquand (6/10*)
One word: Ewoks.
22. Vacation, directed by Harold Ramis (6/10*)
23. WarGames, directed by John Badham (6/10*)
24. Nate and Hayes, directed by Ferdinand Fairfax (5/10*)
25. Cujo, directed by Lewis Teague (4/10)
I have never read any Stephen King, but I assume the reason he has so many fans is that his stories spend a long time on character development and sense of place – a sense that these are real people in real situations. And I must presume that this is what makes his horror work for so many people.
26. Sudden Impact, directed by Clint Eastwood (4/10*)
27. Octopussy, directed by John Glen (4/10)
28. Sleepaway Camp, directed by Robert Hitzik (2/10)
First off, the acting is atrocious. It’s worse than the norm for a slasher, which is really shocking. Especially the opening seen. Also the mother / aunt is beyond terrible. The climax might work if it weren’t physically impossible. The problem is the killer has an alibi. Oops. It would have been forgivable if the acting (and clothing) had been a lot better.