Category Archives: J. T. Walsh

1990 Films, Frances Sternhagen, Horror, J. T. Walsh, James Caan, Kathy Bates, Lauren Bacall, Richard Farnsworth, Rob Reiner, Stephen King, Thriller

Misery-1990

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Misery-1990

Director Rob Reiner

Starring Kathy Bates, James Caan

Scott’s Review #1,511

Reviewed January 18, 2026

Grade: A-

Kathy Bates and James Caan deliver exceptional performances in Misery (1990), a thriller/horror hybrid set in the snowy hills of remote Colorado over the course of a couple of winter months.

Caan plays famed novelist Paul Sheldon, who is held captive by Annie Wilkes (Bates), an obsessive and unpredictable fan. Bates won the Academy Award for Best Actress for her role.

Thanks to Rob Reiner’s superior direction, the film never lags and continuously keeps the tension boiling at a heart-racing pace. From an early sequence involving a terrible car accident to a slasher horror-worthy finale, Misery contains something for everyone.

The film is based on the enthralling 1987 Stephen King novel and a screenplay by Academy Award-winning writer William Goldman (All the President’s Men, 1976).

After completing his latest novel involving a beloved series character named Misery, Paul’s car careens off a snowy mountain road, leaving him stranded and unconscious. He is rescued by former nurse Annie, who claims to be his biggest fan.

Annie brings him to her remote cabin to recover, where her obsession takes a dark turn when she discovers that Sheldon is killing off Misery, her favorite character.

The success of Misery is due to the chemistry between Bates and Caan. While no romantic sparks exist, the taut scenes of captor and captee are enthralling as the audience nervously awaits what could happen next.

At first, thankfully rescued by Annie, Paul quickly realizes he may be better off dead. Seemingly shifting from kind to rage, Bates flawlessly reveals to the audience that something is not quite right with Annie.

As the actors play cat-and-mouse with their characters, each scene is potent as deeper layers of character texture surface, especially with Annie.

The fact that she is no longer a nurse is shocking.

They even share a tender scene dining over a lovely meal of meatloaf and red wine, though one character’s intentions are spoiled before too long.

Bits of dark humor surface mainly as Annie uses the words ‘cockadoodie’ and ‘poop’ and greedily munches on chips while watching her favorite game shows.

Keeping with the suspense, Reiner’s direction employs several jumps. It starts as Annie suddenly appears out of the blue, fiendishly hovering over the injured Paul in his bed, with a look of rage or, in some cases, of unrequited love.

Comparisons to the television series Twin Peaks (1990-1991) and the films Fargo (1996) and What Ever Happened to Baby Jane? (1962) can be recognized.

Supporting characters, the capable Sheriff Buster (Richard Farnsworth) and the horny Deputy Virginia (Frances Sternhagen), are also a married couple, and the cold, snowy small town with peculiar characters like the folksy general store clerk comes to mind when thinking of the aforementioned 1990s efforts.

The claustrophobic bedroom setting, in which one bedridden sane character relies on an insane character for food and medicine, recalls the 1960s cult classic well.

When another character uncovers the charade and tries to save the victim, the audience lets out a brief sigh of relief before the rug is pulled out from under them.

Finally, with little to do as Paul’s book agent, it’s nonetheless a treat to see legendary screen actress Lauren Bacall appear in the film.

While many of Stephen King’s adaptations are mediocre or less, it’s nice to see Misery (1990) achieve its due. Alongside Stand By Me (1986), this makes two successful King adaptations by director Reiner.

Oscar Nominations: 1 win-Kathy Bates-Best Actress (won)

1991 Films, Action, Donald Sutherland, J. T. Walsh, Jennifer Jason Leigh, Kurt Russell, Peter Ramsey, Rebecca De Mornay, Robert De Niro, Ron Howard, Scott Glenn, Thriller, William Baldwin

Backdraft-1991

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Backdraft-1991

Director Ron Howard

Starring Kurt Russell, William Baldwin

Scott’s Review #1,216

Reviewed January 2, 2022

Grade: B

Backdraft (1991) is a highly entertaining yet completely implausible action, thriller film directed by Ron Howard. If made today it would be on par with Chicago Fire or any other of the slew of similar procedural NBC television shows that currently exist.

The film is even set in Chicago just like the television series.

The story involves an arsonist on the loose and the subsequent investigation to catch them.

Howard is an influential and respectable director but his films frequently harbor the safe territory rarely veering too left of center. With Backdraft, I assumed I would get a by-the-numbers masculine film and that is exactly what I received.

The beefy cast includes Kurt Russell, Billy Baldwin (brother of Alec), and Robert De Niro with Jennifer Jason Leigh and Rebecca De Mornay serving as secondary female characters.

Chicago firefighting brothers Stephen (Russell) and Brian (Baldwin) have been rivals since childhood. Brian, struggling to prove himself as a worthy firefighter, transfers to the arson unit where he aids Inspector Don Rimgale (De Niro) in his current investigation. There is a rash of fires involving oxygen-induced infernos called backdrafts.

But when a conspiracy implicating a crooked politician and an arsonist leads Brian back to Stephen, he is forced to overcome his brotherly competitiveness to crack the case.

Anyone involved in their local fire department or who has a strong sense of loyalty or brotherhood in a blue-collar vein will love Backdraft for its message. The strong family unit that shrouds most firehouses or police stations is prevalent throughout the film which brings a united and community feeling.

It’s a nice feeling and sets the tone for the viewer to feel a part of things and root for the heroes to defeat whoever is responsible for the arsons. Could it be an unstable member of the fire community or an outsider harboring a grudge?

The story, despite being somewhat of a whodunit is not the strongest aspect of Backdraft nor much of a reason to tune in and follow. Too often the writing is lazy or languishes in television drama territory with obvious and melodramatic situational setups.

The realism is not there. The fire sequences are completely stagey and meant to perfectly parlay the story elements rather than have an identity of their own.

With all that said, the star of the film is the visuals that give Backdraft its adventure and edge-of-your-seat thrills. Even though I knew the fires and explosions were manipulated I felt like I was inside a burning room with the hissing and crackling sounds of the fire and wind enveloping me.

It’s all for dramatic purposes of course but the state-of-the-art special effects are cool to experience.

This is the key to the success of a film like Backdraft and enough for me to keep watching and become invested in the entire work.

Yes, many characters are types and despite the big A-list stars Russell and Baldwin are the only ones who have much of anything to do. Their brotherly relationship though fraught with friction is at the heart of the characters though sometimes the corny dialogue slips into soap opera territory.

Backdraft (1991) is a cinematic Hollywood mainstream film that works on many levels. Forget the lazy storylines and the predictability factors for a minute. It provides a blazing-hot inferno of sharp visuals that are to be commended and appreciated for their merits.

Oscar Nominations: Best Sound Effects Editing, Best Visual Effects, Best Sound

1992 Films, Aaron Sorkin, Christopher Guest, Cuba Gooding Jr., Demi Moore, Drama, J. T. Walsh, Jack Nicholson, Jason Bernard, Kevin Bacon, Kiefer Sutherland, Matt Craven, Rob Reiner, Tom Cruise, Xander Berkeley

A Few Good Men-1992

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A Few Good Men-1992

Director Rob Reiner

Starring Tom Cruise, Jack Nicholson, Demi Moore

Scott’s Review #1,012

Reviewed April 15, 2020

Grade: B+

A Few Good Men (1992) is a film firmly ensconced in the mainstream Hollywood courtroom drama genre.

If all the necessary elements had not been well-weaved the results might have been trite or even cringe-worthy. Nonetheless, with big stars and excellent acting, director Rob Reiner (yes, “Meathead” from All in the Family), lucks out with a predictable screenplay that compels and is made better by the sum of its parts.

The film will never bore and is a standard edge-of-your-seat thrill ride.

The drama was rewarded with several year-end niceties including nominations for the upper-crust Academy Awards. Best Supporting Actor, Best Film Editing, Best Sound Mixing, and surprisingly the lofty Best Picture statuette.

With no shame for the embarrassment of riches, deserved or undeserved is the real question, the film walked away empty-handed on Oscar night.

When cocky and handsome military lawyer Lieutenant Daniel Kaffee (Tom Cruise) and his co-counsel, Lieutenant Commander JoAnne Galloway (Demi Moore), are assigned to a murder case, their investigation uncovers a hazing ritual that could implicate high-ranking officials.

U.S. Marines Lance Corporal Harold Dawson (Wolfgang Bodison) and Private First Class Louden Downey (James Marshall) are facing a general court-martial, accused of murdering fellow Marine William Santiago at the Guantanamo Bay Naval Base in Cuba.

Kaffee and Galloway are to determine if higher-ranking officers orchestrated and forced the lower-ranking men to carry out a “code red” order: a violent extrajudicial punishment, and their form of justice, to kill the young victim, thus silencing him forever.

The questionable part of the plot is whether Base Camp Commander Jessup (Jack Nicholson) administered the order or instead ordered Santiago’s commanding officer, Lieutenant Jonathan James Kendrick (Kiefer Sutherland), to merely “train” Santiago to become a better Marine.

This is where the courtroom drama takes center stage with gusto.

As good as Moore, Sutherland, and Marshall are in offering compelling roles, the film belongs to Cruise and Nicholson, the veterans of the group. The best scenes come at the end of the film as Cruise and Nicholson spar in the courtroom with bombast and trickery.

Nicholson as Jessup is brooding and traditional, a lifelong military man channeling honor and dedication at any cost. Cruise as Kaffee has something to prove and wants to win at any cost. So, they tangle in a fierce machismo way.

When he catches Jessup in a lie, just like a spider captures a fly, the scenes crackle and spark with grit and energy.

The unforgettable line, “You can’t handle the truth!” is uttered by Nicholson.

A Few Good Men will both satisfy and dissatisfy those with a connection or a penchant for the military. On the one hand, the military is celebrated during the film as the need for efficiency in the world and the decorated appeal are to be admired.

But the film also stands up and questions the hypocrisy of one of the oldest establishments and its male domination and bullying methods not so different from a classic college fraternity.

The courtroom trial of a patriotic group is serious business.

While not a revolutionary film, sticking to a tried and true courtroom drama script seen in television drama series since the beginning of time, A Few Good Men (1992) provides a hefty two-hour and twenty minutes worth of pure entertainment.

Powerful acting across the board makes the film a superior experience and a thought-provoking message of whether blindly following orders without thought is still a relevant approach, not just in the military, but anywhere.

Oscar Nominations: Best Picture, Best Supporting Actor-Jack Nicholson, Best Sound, Best Film Editing

1990 Films, Anjelica Huston, Annette Bening, Best Feature- Independent Spirit Award Winners, Charles Napier, Crime Drama, Drama, Film noir, Frances Bay, Henry Jones, J. T. Walsh, Jeremy Piven, John Cusack, Martin Scorsese, Mob, Pat Hingle, Stephen Frears, Sy Richardson, Xander Berkeley

The Grifters-1990

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The Grifters-1990

Director Stephen Frears

Starring John Cusack, Anjelica Huston, Annette Bening

Scott’s Review #597

Reviewed January 9, 2017

Grade: B-

The Grifters (1990) is a film with witty writing and broad appeal.

It is unique and quirky, in the style of a charismatic film noir from one of the golden ages of film, the 1930s and 1940s.

Additionally, the film has a very sharp, clean look.

The performances, especially Anjelica Houston, are excellent. All three principles (John Cusack, Annette Bening, and the others) give fantastic performances and feed off each other, so the chemistry works quite well.

Cusack plays a small-time crook named Roy Dillon, inept in ways, and estranged from his mother (Huston).

When she returns to town, she, along with his girlfriend (Bening), attempts to con and outmaneuver each other for their gain.

The film is set in sunny Los Angeles.

As compelling as the film sounds on paper, I did not find myself completely captured by it. It took me a while to get into the film, and by the time I finally did, it had ended.

Overall, well-made and respectable; I can see how some people would love it, but for me, something was still missing.

Oscar Nominations: Best Director-Stephen Frears, Best Actress-Anjelica Huston, Best Supporting Actress-Annette Bening, Best Screenplay Based on Material from Another Medium

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Female Lead-Anjelica Huston (won)