Category Archives: Ed Begley Jr.

1982 Films, Annette O'Toole, Ed Begley Jr., Horror, John Heard, John Larroquette, Malcolm McDowell, Marco St. John, Nastassja Kinski, Paul Schrader, Ray Wise, Ruby Dee, Thriller

Cat People-1982

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Cat People-1982

Director Paul Schrader

Starring Nastassja Kinski, Malcolm McDowell

Scott’s Review #1,275

Reviewed July 10, 2022

Grade: B+

Cat People (1982) is a mysterious, psychological journey into the strange universe of humans possessing cat-like qualities, sometimes with a tendency towards vicious limb extraction and other mauling techniques.

It’s an absurd premise, though admittedly clever, with an identity all its own.

Feeling slightly dated, mostly due to the early-1980s synthesizer-like musical score, film style, and the casting of some actors at the top of their game, Cat People is nonetheless enjoyable and sexual.

Especially recommended is a late Friday or Saturday night viewing with as little light as possible for the best ambiance.

Since our rented DVD copy was ravaged by poor visual quality and hard-to-hear sound, a thought is to buy the film.

The 1982 version of Cat People is directed by Paul Schrader, who is best known for writing or co-writing Scorsese’s greats Taxi Driver (1976) and Raging Bull (1980).

The director also has his own share of films, including ones as recent as 2021.

His production is a remake of one made some forty years earlier, which I have not seen.

The mood of Cat People is overwhelmingly sensual and violent, a horror-thriller tale. The action immediately gets off to a sexually perverse start when, during presumably prehistoric days, a wild black panther impregnates a young girl offered to him via sacrifice.

The message is clear that this results in a weird human/cat hybrid coming into existence.

In the present, Irena Gallier (Nastassia Kinski) harbors a dark family secret she despises. She reconnects with her estranged brother, Paul (Malcolm McDowell), who shape-shifts into a savage beast. He lives in the southern city of New Orleans and has spent time in a mental hospital.

Irena visits the local zoo and finds herself attracted to handsome zoologist Oliver Yates (John Heard), even as her brother makes his incestuous advances toward her. Inevitably, the family curse rears its ugly head when Paul rips the arm off one of the zoo workers played by a young Ed Begley Jr.

I like tremendously how Schrader incorporates New Orleans as the central setting. Having nothing really to do with the story, the French-influenced city is nice to look at, as restaurant scenes feature Creole-style and other southern/European sophisticated little gems.

Ruby Dee is cast as a wacky housekeeper named Female, rippling with New Orleans flair, and who is aware of the terrible family secret.

Nastassja Kinski is perfectly cast as the provocative and sultry main character, and she effortlessly leads the charge. Others like Heard and Annette O’Toole, who were A-list stars in the early 1980s, provide a time capsule of Hollywood relevancy.

Unfortunately, this also makes Cat People feel like it’s from another time, and the 1980s film style is painfully obvious.

The growling and vicious cats feel both scary and fake during close-ups, but imagine the trickery of using real-life leopards? The filmmakers did the best they could, and this is also obvious.

Some sequences are quite grisly, and when they aren’t, there are best-remembered scenes of peril and intrigue. O’Toole’s character of Alice (another zoologist) takes a late-night dip in a swimming pool and is harassed by a menacing Irena.

Earlier, a great scene occurs when a prostitute named Ruthie visits her client in a dingy motel room, only to realize that her john is a mean leopard. We assume she will be ripped to shreds, but this dubious honor is saved for another slutty character whom Paul picks up at a funeral.

An attempted triangle among Irena, Oliver, and Alice goes nowhere, and it’s bewildering that the decision was even made to try. The power couple is Irena and Oliver, whose smoldering love scenes are sensual and skin-heavy, professing almost-immediate love for each other.

With enough explicit sex and gratuitous violence to keep many viewers titillated, Cat People (1982) has positives and negatives. When it was released, I bet it was a potboiler of juicy, relevant intrigue, but the film hasn’t held up quite as well as some others.

1988 Films, Amy Wright, Bill Pullman, David Ogden Stiers, Drama, Ed Begley Jr., Geena Davis, Jake Kasdan, Kathleen Turner, Lawrence Kasdan, Romantic Drama, William Hurt

The Accidental Tourist-1988

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The Accidental Tourist-1988

Director Lawrence Kasdan

Starring William Hurt, Kathleen Turner, Geena Davis

Scott’s Review #1,215

Reviewed January 1, 2022

Grade: B+

Reuniting stars William Hurt and Kathleen Turner from 1981’s smoldering Body Heat, director Lawrence Kasdan creates a triangle of sorts with the addition of Geena Davis in The Accidental Tourist (1988).

She brings a quirky character to the fold in a film about death, tragedy, and a disintegrating marriage.

Despite the subject matter, it’s not a downer at all but rather a romantic drama brimming with rich characters and relatable situations.

There are laugh-out-loud moments and tender moments, all about the human spirit and the choices we must make.

It’s an above-average flick that received several Oscar nominations and feels patterned after a Woody Allen-style film.

I didn’t necessarily relate to any of the characters, nor did I need to see the film a second time, but I respect that Kasdan creates a picture that doesn’t need car chases, gratuitous violence, or nudity.

The Accidental Tourist is a quiet film about life. It is based on the 1985 novel of the same name written by Anne Tyler.

When their young son is suddenly murdered, the marriage between Macon (Hurt) and his wife, Sarah (Turner), flounders, and she moves out.

After an accident puts him on crutches, Macon goes to stay with his quirky siblings at the family home, where he meets the high-spirited Muriel (Geena Davis). She is a dog trainer with a young son of her own.

Macon develops a slow friendship with them that, surprisingly, blossoms into something more with Muriel. When Sarah learns about the situation, she attempts a reconciliation with Macon, who is forced to make a painful decision.

The intention feels like we, the audience, are supposed to root for Macon and Muriel to get together and not feel much sympathy for Sarah, but I did. After all, she is the one ultimately ditched, and there is nothing like a woman scorned.

I didn’t feel like there was even much of a triangle because the film is centered around Hurt’s character and the choices Macon must face. It’s about how he deals with change and the unexpected turns life can throw at anyone.

Sarah and Muriel must also face the same choices and life circumstances, but the focus is primarily on Macon.

The viewer will likely immerse themselves in these characters as they reflect on their own life and the trials and tribulations they have faced.

Though I have never read the novel, I suspect it is a tad better than the film, which limits the time available to explore the characters. Novels always have more time to delve deeper.

With that said, I got a fair share of backstory about Macon, Muriel, and Sarah, but didn’t gravitate toward any of them over the others.

Regarding the earlier note about The Accidental Tourist being like a Woody Allen film, it has an upbeat, quirky tone that masks much of the heartbreak Macon suffers from with some added comedy.

When Muriel hops a flight to Paris to follow her heart and Macon, it’s something a character in an Allen film would do.

Since Macon is a travel guide writer, the film has a rich cultural and tourism flavor, which is pleasing. London and Paris are the central locales, and Kadan does a great job with the international stuff.

A tad long and dragging at times, The Accidental Tourist (1988) has enough juiciness to satisfy any viewer drawn to well-written screenplays about emotional characters and the ups and downs of life.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actress-Geena Davis (won), Best Screenplay-Based on Material from Another Medium, Best Original Score

1979 Films, Adventure, Alain Delon, Bibi Andersson, Charo, Cicely Tyson, David Lowell Rich, David Warner, Disaster, Ed Begley Jr., Eddie Albert, George Kennedy, Jimmie Walker, John Davidson, Martha Raye, Mercedes McCambridge, Nicolas Coster, Robert Wagner, Susan Blakely, Sybil Danning, Sylvia Kristel

The Concorde…Airport ’79-1979

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The Concorde…Airport ’79-1979

Director David Lowell Rich

Starring Alain Delon, Susan Blakely, Robert Wagner

Scott’s Review #1,078

Reviewed November 7, 2020

Grade: B

The fourth and final installment of the popular Airport film franchise, The Concorde…Airport ’79 (1979) has an appealing, sophisticated international flavor, mainly French, that may turn off some viewers seeking a more traditional, domestic offering.

The three previous installments contained a wholesome Americana quality that is lacking in this one. The rich culture is the high point for me in a film that by all accounts is not very good.

By the late 1970s, the disaster genre had all but crashed and burned, so the film was commercially unsuccessful, and the franchise was thus abandoned.

The plot is utterly ridiculous, even by disaster standards, and my hunch is that ideas for what could go wrong on an airplane were hard to come by. After all, it’s not easy to top an airliner crashing and sinking into the ocean, leaving most passengers unscathed.

This time, we experience an airplane flying upside down (more than once!), nose-diving (more than once!), and nearly doing backflips and somersaults (more than once!).

Disappointing is the limited amount of deaths that occur despite these treacheries, unless you count a shooting inside an apartment and a suicide that have little to do with the plane ride.

Back to my original point, the cultured and vibrant foreign presence, specifically Paris and its lustrous and historic offerings, is the high point of The Concorde…Airport ’79.

The City of Lights is prominently featured as a team of American Olympic athletes travels from Washington, D.C., to Moscow, with a layover at Charles de Gaulle Airport.

The heavenly site of the Eiffel Tower is an immediate identifier as French pilot, Captain Paul Metrand (Alain Delon), flies the state-of-the-art Concorde to the United States to transport its passengers to the games.

There is a strong French flavor to this film. During the Paris layover, George Kennedy’s Joe Patroni, now a pilot, befriends a gorgeous woman named Francine, with whom he bonds over dinner.

They and others embark on a fabulous French bistro experience and have the time of their lives. Who cares that she is later revealed to be a prostitute? The setting oozes with French goodness, food, and sexy accents.

One peculiarity is why the trip goes from Paris to Washington, D.C., back to Paris, and then on to Moscow. It’s a bit confusing and unnecessary.

Unintentionally funny is how the Concorde is attacked by a drone en route to Paris, and then a bomb is planted on the plane before takeoff to Moscow.

Trouble occurs in the same plane with the same passengers.

You would think anyone with half a brain would sit the second leg out, perhaps hopping on the nearest boat or train out of town.

The main story is secondary and quite superfluous. Robert Wagner plays Kevin Harrison, a corrupt arms dealer who plots the destruction of the Concorde because news reporter and girlfriend, Maggie Whelan (Susan Blakely) has evidence of his weapons sales to communists.

He plans to blow up the plane, killing all the passengers, instead of hiring an assassin to kill only Maggie when she lands and before she can tell authorities.

The plot is completely story-driven.

Several celebrity cameos are added mostly for comic relief and largely go nowhere.

Jimmie Walker as the pot-smoking, saxophone-playing Boise, and Martha Raye’s bathroom-crazed Loretta are ridiculous by any standards. Charo’s one scene as Margarita, a woman who sneaks her dog onto the plane and is subsequently kicked off the flight, is a waste of time.

I would have rather witnessed another scene of Loretta needing to use the restroom or Boise getting high.

And Susan Blakely overacts throughout the film.

Despite all these hard knocks, The Concorde…Airport ’79 (1979) is good entertaining fun, not to be taken seriously, and encouraged for fans of the genre.

There is much fun to be had with the guest stars, once A-list, now B or C-list, and the crash-landing finale over the snowy Alps is pretty cool.

Just know what you are getting yourself into.