Category Archives: Keith Gordon

Jaws 2-1978

Jaws 2-1978

Director Jeannot Szwarc

Starring Roy Scheider, Lorraine Gary

Scott’s Review #1,307

Reviewed October 13, 2022

Grade: A-

Because of the enormous critical and commercial success of Jaws in 1975, a sequel was created. Important to keep in mind is that in the mid-1970s it was not yet common to produce sequels especially if the director, Steven Spielberg, had no interest in participating.

Jaws 2 (1978) was an enormous box-office success but the reviews were only mixed.

I adore the film which mixes thrills with the horror genre and wisely sets up the kills like a slasher film.

The teenagers are savagely attacked and killed by the Great White shark, one by one style, using a lurking and effective musical score.

The film’s tagline, “Just when you thought it was safe to go back in the water…” has become one of the most famous in film history and has been parodied and homaged several times.

I’d like to assume it led to a healthy almost now mandatory helping of subsequent sequels of other successful films.

Unfortunately, Jaws 2 also spawned a couple more sequels of its own which were piss-poor and laughable but we won’t get into that here.

Fun fact is that the film was nearly as troubled as Jaws was. The first director for the film, John D. Hancock,  was deemed incompetent and was replaced by Jeannot Szwarc.

Star Roy Scheider, who only reprised his role to end a contractual issue with Universal, was also unhappy during production and had several heated exchanges with Szwarc.

Maybe that should have been a sign not to make any more Jaws films.

Years after the shark attacks that left Amity Island reeling, Sheriff Martin Brody (Scheider) finds new trouble lurking in the waters and must rise to the occasion.

To add conflict, Mayor Vaughn (Murray Hamilton) wants to end the beach town’s poor reputation. But the sudden disappearance of a pair of divers suggests that something is up. When Sheriff Brody voices his warnings about holding an exciting sailing competition, everyone thinks he is suffering the effects of post-traumatic stress.

That is until a shark fin is spotted in the water sending the town into panic mode.

There’s no logical plot reason to make Jaws 2 but somehow I’m okay with that. The film entertains with enough frights and jumps to satisfy and the formulaic approach works well.

Besides the enthralling final sequence when Brody must rescue his sons Mike and Sean (Mark Gruner and Marc Gilpin), the opening sequence involving scuba divers and a female water skier is quite enticing and the best part of the film.

The musical score by John Williams who fortunately returned to the fold is fabulous and enhances any peril the characters face. The slick and clever approach gives the audience a clue that danger lurks nearby but we don’t know when or where the shark will strike.

I mentioned slasher films earlier and this formula is used in Jaws 2. As the teens set sail for the competition it is good fun to wonder who will get killed and who will live to see another sunny beach day.

Despite Scheider not wanting to do the film, you’d never know it by his terrific acting. He doesn’t phone in his performance and provides macho swagger and muscle. He’s everyone’s favorite dad who only wants to save and protect.

Jaws 2 (1978) attempts to scare and entertain and it succeeds. There is little character development but it’s not the type of film that needs deep texture.

The reason to watch is to see folks who intend to enjoy the water get attacked and ripped to shreds.

Back to School-1986

Back to School-1986

Director Alan Metter

Starring Rodney Dangerfield, Keith Gordon, Sally Kellerman

Scott’s Review #1,089

Reviewed December 7, 2020

Grade: B

Back to School (1986) is a formulaic, mid-1980s comedy featuring obnoxiously loud funnyman, Rodney Dangerfield, the comedian you may love to hate.

On paper, this film might have been a train wreck, but some proper pacing and good casting save it from being classified as a drivel. Let’s be clear- it’s not great filmmaking, but it serves a purpose- to amuse and delight.

A vehicle for Dangerfield with a character mirroring his real personality, the film works. With a brisk one hour and thirty-six minutes, the film sticks to the script, not wasting time getting its point across, nor pretending to be some serious film with a clever message.

No, there is little special or inventive about the film, but it’s light, entertaining fun.

The premise, a middle-aged man who returns to college and tries to persevere, is a setup rife with standard situations and comedic moments.

Director, Alan Metter, known for gag films, one of his most notable, and big studios, Orion, takes full advantage of the task at hand. They provide a mainstream, summer popcorn flick approach.

Presumably, the story was conjured up by a group tasked with crafting an appropriate story for Dangerfield, and they succeeded.

The film delivers what it sets out to.

This might be a nice, nostalgic watch for parents and soon-to-be college-bound kids to watch together.

Thornton Melon (Dangerfield) is a wealthy corporate tycoon who wants his son, Jason (Keith Gordon) to get the college education that Thornton was unable to receive. While Jason is enrolled in college, he is unhappy and ready to quit. Thornton decides to enroll in the same college, determined to achieve his respect.

Jason tries to fit in with his peers while Thornton falls in love with his literature professor, the sophisticated Dr. Diane Turner (Sally Kellerman) while feuding with the college dean, David Martin (Ned Beatty).

Predictably, Thornton is hardly the college type, so he pays others to write his papers for him, which is all the fuel that the dean needs to ruin him. He also attends parties and raucous events, preferring these to study groups. Thornton is eventually found out and forced to pass an exam to prove himself.

A more straight-ahead approach would have been to make Thornton an unsuccessful man, making his need to return to school more important, and the desire for his son to obtain a college education more powerful, but this might have made Back to School too serious a film.

We can ponder why Thornton joining Jason in college will do anything but alienate the kid, and we can ask ourselves why Jason is bullied by the swim team. He is a nice, likable kid, and students aren’t typically bullied in college- this is more a junior high or high school torture.

There’s also little reason Diane would have a romantic interest in Thornton, and clichéd characters like the dean and Thornton’s bitchy ex-wife, Vanessa (Adrienne Barbeau) surface along the way.

But, Back to School isn’t a film to be overanalyzed either.

On the positive side, the chemistry between Dangerfield and Kellerman is a nice addition, not feeling as forced as it might have. They flow through their scenes with a light-hearted innocence.

The father and son relationship is a success. Gordon’s brooding counterbalances Dangerfield’s over-the-top nature, so they possess differing personalities.

I’m not sure Back to School (1986) has the legs to be remembered very well. Too similar to other successful comedies of the late 1970s and early 1980s like Porky’s (1981) or Animal House (1978) to stand out, the film is for fans of Dangerfield only.

Perhaps served up as an opening act to the better and much funnier Caddyshack (1980), one of the best genre films of the decade.

Dressed to Kill-1980

Dressed to Kill-1980

Director Brian De Palma

Starring Angie Dickinson, Nancy Allen, Michael Caine

Top 100 Films #13    Top 20 Horror Films #5

Scott’s Review #164

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Reviewed September 2, 2014

Grade: A

Dressed to Kill (1980) is Brian De Palma’s greatest work throughout his storied career.

Set in New York City the film is essentially divided into two halves.

The first half centers around Angie Dickinson, who plays a bored housewife named Kate. She is unhappy in her marriage and seeks therapy from a psychiatrist played by Michael Caine, to whom she makes sexual advances.

She is unfaithful to her husband yet is a kind, intelligent, cultured woman. She adores her son and loves her husband but is utterly unfulfilled with life.

Do we, the audience sympathize with her? Does she get what she deserves? Is she a victim? One powerful scene involves a wide-eyed little girl who cannot stop staring at Kate. Can she sense Kate’s shenanigans? Does she sense her conflict? Does Kate feel guilt?

Kate is a complex character and brilliantly played by Dickinson, who gives the character sexiness, softness, and appeal.

After a shocking event in a high-rise elevator rivaled only by the shower scene in Psycho (1960) in its surprise and terror, the remainder of the film belongs to Nancy Allen, who plays a prostitute named Liz, determined to solve a mystery to clear her name.

De Palma sets the dreamlike tone with a sizzling opening shower scene sure to make the prudish blush in its explicitness, which I found deliciously sexy.

A ten-minute museum sequence speaks volumes without dialogue as Kate has a cat-and-mouse flirtation with a stranger.

The brilliance of Dressed to Kill is its versatility and complexity and contains one surprise after another, from the elevator scene to the final reveal to the final stage itself.

It is part horror film part thriller and always stylish.

The film was not well regarded upon its release, but over the years has been respected due to its creativity and excellent mood. Many scenes are shot in slow motion adding an effect to them.

Dressed to Kill (1980) is simply brilliant on every level.