Category Archives: Karen Allen

Cruising-1980

Cruising-1980

Director William Friedkin

Starring Al Pacino, Paul Sorvino, Karen Allen

Scott’s Review #1,469

Reviewed March 9, 2025

Grade: B+

Cruising is a 1980 effort that brought the LGBTQ+ community into mainstream cinema at least for a brief moment shortly before HIV/AIDS changed its image and trajectory.

The film was derided by critics and gay rights protesters who believed it stigmatized them.

Decades later, Cruising has become more accepted and even admired by some, especially in the LGBTQ+ community. It’s a film that most community members have heard of, allowing it to make its mark in cinema history.

William Friedkin, famous for directing The French Connection (1971) and The Exorcist (1973), writes and directs the film, loosely adapting it from a novel by The New York Times reporter Gerald Walker.

The story is about a serial killer targeting gay men, particularly the men associated with the leather scene in the late 1970s. A psychopath is scouring New York City gay clubs and viciously torturing and stabbing gay men to death.

Resembling the victims physically, Detective Steve Burns (Al Pacino) is asked to wear leather attire, and frequent the city’s hardcore clubs to lure the killer.

As Steve becomes immersed in club hopping, he begins to identify with the subculture more than expected. Meanwhile, he behaves distantly around his girlfriend, Nancy (Karen Allen), the police force’s homophobia becomes apparent and the killer remains at large throughout one hot summer.

Initially, Richard Gere was slated to star but Pacino ended up with the role.

Pacino, being Pacino, gives it his all in an uneven script and unclear character motivations. The ending is exceptionally muddled and peculiar, leaving an unsatisfying feeling, while I also somewhat admire its ambiguity.

Dusting off this relic was an absolute pleasure. It gave me a glimpse into the LGBTQ+ leather scene of long ago, with authentic New York City gay clubs and clubgoers.

Cruising also features a variety of exterior NYC locales, such as Columbia University, the Meat Packing district, and an opening view of the Manhattan skyline.

Though too young to remember the scene being showcased, I do remember traveling into Manhattan to go to work with my father as a very young boy and the dangerous city I was always warned about.

Friedkin and cinematographer James Contner exceptionally depict New York City in the late 1970s/early 1980s. The gritty and crime-ridden streets capture the time like similar films Taxi Driver (1976) and Gloria (1980) did.

I also adore seeing the clubs and bars from an LGBTQ+ perspective, though I’m unsure if non-LGBTQ community members would appreciate this aspect of the film.

Nonetheless, fans of Pacino should add this to their list. While not on par with his most tremendous role as Michael Corleone in The Godfather series (1972-1995), he was in his prime before he started overacting and taking on inferior roles.

It’s also a damned good crime thriller!

Cruising reminds me of a Dirty Harry (1971) film only set in NYC, particularly the killer. With a low and taunting voice, and a fondness for teasing his victims before killing them, the similarities are apparent and work well.

The killer’s motivation is weakly explained in a flashback with his father.

Since we more or less see the killer’s identity early on, the film is not so much a whodunit until the final scene when another character is found dead after the killer is apprehended.

Is the new killer Steve or the victim’s jealous boyfriend? Is Steve closeted? These questions are left unanswered.

The production is superior and the glowing park scenes with shadows and insect sounds only enhance the thrills and perils of the characters.

The film shows plenty of bare male asses unusual for this time in American cinema and dares to show plenty of simulated and apparent complete on sex. Forty minutes of X-rated male-on-male action footage needed to be cut, in which Pacino may or may not have participated.

While the screenplay has gaping holes and the conclusion less than satisfying, Cruising (1980) is a win in my book for showcasing an unrepresented group of people and taking me back to a fascinating time.

In the Bedroom-2001

In the Bedroom-2001

Director Todd Field

Starring Tom Wilkinson, Sissy Spacek, Marisa Tomei

Scott’s Review #1,313

Reviewed October 29, 2022

Grade: A

Todd Field is an American actor and director who has made very few films. This shows that he must choose his projects carefully.

Little Children (2006) is one of my favorite films.

Based on a 1979 short story called ‘Killings’ by Andre Debus, In the Bedroom (2001) is an independent project representing what independent films do brilliantly. They tell stories about real people, with emotions, conflict, choices to make, and repercussions to face.

The story depicted in In the Bedroom is one that anyone viewing the film can either directly relate to or sympathize with any number of characters within.

The film centers on the inner dynamics of a family in transition. Matt Fowler (Tom Wilkinson) is a successful small-town doctor practicing in Maine and married to Ruth Fowler (Spacek), a music teacher.

Their son Frank (Nick Stahl) is involved in a summertime love affair with an older single mother, Natalie Strout (Marisa Tomei). He professes it to be merely a fling but her violent ex-husband is jealous.

As the beauty of the summer comes to an end, these characters find themselves amid an unimaginable tragedy. They must make difficult choices to persevere through the dark autumn and winter.

Having seen the film when it was released in 2001 and not again until 2022 I wondered how it would hold up over twenty years later. Would it feel dusty and dated or fall into the ‘one and done category like many films do?

The story is just as riveting and this is because of superior acting by the entire cast and exceptional direction and pacing by Field.

The lurid, quiet landscape is still and lonely in most scenes and this is frightening unto itself. The lush and serene Maine water, lobsters, lighthouses, and cabins are fraught with danger because of the human threat lurking in its midst.

The atmosphere is everything.

Fields reveals a story about a small town and the secrets buried beneath the surface. Even during a summer barbeque, there is tension when an unwelcomed guest arrives unannounced. With glances between characters, there is a lot of unspoken communication.

The acting is top-notch, especially Wilkinson and Spacek. Before the tragedy, they both hedgingly accept their son’s relationship with an older woman but hope it’s only a phase. They see the relationship as a major roadblock to his education at a good university.

After the tragedy, Matt and Ruth change. She becomes angry and cold, he is stoic and vengeful. Both actors seamlessly portray their characters just like real-life people.

Other players like Marisa Tomei and Nick Stahl as the younger couple met with tragedy perform their roles flawlessly.

This is a major reason why In the Bedroom resonates so well. Any viewer can put themselves in the shoes of Matt, Ruth, or even Natalie Strout. Circumstances can change our perspectives and turn us into different people, at least temporarily.

The last sequence is great. A decision made by Matt and Ruth is shocking and will follow them for the rest of their lives. The key is that they do not hastily make this decision but rather calmly ponder and strategize each step.

They are satisfied and have no regrets.

In the Bedroom (2001) is an emotionally honest and compelling journey into the exploration of character. It is powerful and humanistic, draws the viewer in quietly, and takes a forceful grip. It uses silence to its advantage making that silence haunting and melancholy.

Oscar Nominations: Best Picture, Best Director-Todd Field, Best Actor-Tom Wilkinson, Best Actress-Sissy Spacek, Best Supporting Actress-Marisa Tomei, Best Adapted Screenplay

Independent Spirit Nominations: 3 wins-Best First Feature (won), Best Male Lead-Tom Wilkinson (won), Best Female Lead-Sissy Spacek (won), Best Screenplay

Raiders of the Lost Ark-1981

Raiders of the Lost Ark-1981

Director Steven Spielberg

Starring Harrison Ford, Karen Allen

Scott’s Review #757

Reviewed May 15, 2018

Grade: A

A film that kicked off the tremendously successful and ever-so-fun 1980s trilogy, Raiders of the Lost Ark (1981) is a treasure in the adventure genre time capsule.

Director Steven Spielberg embarks on the journey of one of the most highly visible film heroes in of Indiana “Indie” Jones, a swashbuckling, aww shucks kind of guy.

Harrison Ford is perfectly cast in a role that perfectly fits him and, besides Han Solo, defined him during the decade- the best role of his career if you ask me.

Wonderful to watch in sequence with the even more superb Indiana Jones and the Temple of Doom (1984), these two films are a pure pleasure as our hero faces dangerous obstacles at every turn while either chased by or pursuing sinister robbers or other undesirables.

All the while Indie keeps his familiar sly grin and numerous jokes to entertain audiences.

Raiders of the Lost Ark has it all with superior writing, editing, cinematography, art direction, sound, and visual effects.

They reaped many Oscar nominations, quite uncommon for an adventure tale, but the merits were warranted. Atypical compared to other films of this type, the film is not overly saturated with phony machismo or unnecessary “guy” stuff, but rather appealing and genuine.

The time is 1936 and archaeologist Indiana Jones works as a professor at a University. Known for retrieving ancient artifacts he is contacted by Army intelligence officers who ask him to help stop the Nazis from acquiring the Ark of the Covenant which they believe will make their armies invincible, allowing them to conquer the world in a sinister fashion.

Events lead Indie to Marion (Karen Allen), who harbors resentment towards him for a failed past romance.

The rest of the film follows the pair throughout Nepal and Cairo in an attempt to recover the Ark before the Nazis do.

Raiders of the Lost Ark contains all of the elements of a successful “hit” movie and has blockbuster written all over it. This is not a slight against the film, but rather a testament to all involved.

Led by the successful Spielberg who knows how to connect all the dots, first and foremost Ford infuses charisma into his character so that the audience enjoys his sensibilities and desire for the truth.

Indie is intent on protecting humankind so Spielberg carves a “good versus bad” approach- making the villainous Nazis the antithesis of Jones which creates a clear rooting value.

My favorite scene in the film is nicknamed the “face-melting scene” and contains state-of-the-art special effects that compelled and mesmerized me and also led to light nightmares for any kid under the age of twelve.

The way that the bad guys see swirling, benevolent ghosts- first beautiful and peaceful, but soon turning deadly- cause their faces to melt off or shrivel-the scene is both inventive and dramatic.

Not to be dismissed as trite or fluff are the exciting and memorable scenes dubbed “the snake scene” and “the rolling boulder scene”.  In the former Indie wryly admits his fear and trepidation of snakes as he must traverse a huge pit filled with thousands of them and he comes face to face with a deadly King Cobra.

In the latter scene, Indie must outrun a speeding boulder as he takes an ancient artifact from a sacred spot inside a cave, causing boulders to collapse around him.

Both scenes are enormous fun and the immeasurable edge-of-your-seat sequences.

I never sensed much chemistry between actors Ford and Allen, but writing the characters of Indie and Marion as former lovers adds a good bit of tension and sparring between the characters- this provides some good fodder and humorous situations.

Thankfully the romance between the two is neither the focal point of the film nor all too important, but rather, in the safety that the 1980’s cinema was- merely a necessity.

Raiders of the Lost Ark (1981) is a superb adventure film holding up better than it should decades beyond release. The film is rich with good old-fashioned action, a charismatic hero, thrills, intrigue, and a good history lesson for those interested in the build-up to World War II.

The accounts are fictional of course, but Spielberg offers a fine 1980s cinematic experience that’s got it all.

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Spielberg, Best Original Score, Best Sound (won), Best Art Direction (won), Best Cinematography, Best Film Editing (won), Best Visual Effects (won)