Category Archives: Perry Lopez

Chinatown-1974

Chinatown-1974

Director Roman Polanski

Starring Jack Nicholson, Faye Dunaway, John Huston

Top 250 Films #27

Scott’s Review #321

374030

Reviewed January 3, 2016

Grade: A

Chinatown (1974) is like a perfectly aged fine red wine- with each passing year or viewing, it becomes more and more spectacular.

A thinking man’s film, if you will, Chinatown is a complex puzzle, just waiting to unravel in a layered, complicated fashion. However, this is to its credit, as it is a fantastic, rich film noir, and as good as cinematic writing gets.

Set in the 1930s, the set pieces and art direction are flawless – as great a film in terms of look as it is in story.

Director Roman Polanski and star Jack Nicholson are primarily responsible for the film’s success.

The direction is a marvel, with cinematography, flow, and pacing that are astounding. A slow build, the film takes off at just the perfect point as the mystery deepens, building to a crescendo.

Nicholson plays Jake Gittes, a handsome Los Angeles private investigator hired by a woman claiming to be Evelyn Mulwray. Evelyn desires to have her husband followed, as she suspects him of having an affair with another woman.

Jake begins tailing the woman’s husband, only to uncover an intriguing mystery involving the Los Angeles water supply. Soon, the real Evelyn Mulwray (Faye Dunaway) turns up, and the film segues into a masterful web of complications and twists.

One will not see the ending coming.

Nicholson leads the film as only he can. With his charismatic, aww-shucks attitude, mixed with humor, he is eye candy for the camera as he takes the case and becomes more and more immersed in the action.

This film was a pivotal point for him as he began a slew of worthwhile and abundant performances in pictures.

Let us not forget Dunaway’s acting performance. Smoldering, sexy, classy, intelligent, and vulnerable, she perfectly plays almost every emotion.

Chinatown, Bonnie and Clyde (1967), and Mommie Dearest (1981) are her best works in a career that spanned decades of success.

Chinatown (1974) is an entity unto itself in film noir. It is incredibly well-written, nuanced, and flawless.

This film simply must be seen.

The final thirty minutes- in addition to the “great reveal” are also violent, shocking, and extraordinary. A blueprint of what great filmmaking truly is.

Oscar Nominations: 1 win-Best Picture, Best Director-Roman Polanski, Best Actor-Jack Nicholson, Best Actress-Faye Dunaway, Best Original Screenplay (won), Best Original Dramatic Score, Best Sound, Best Costume Design, Best Art Direction, Best Cinematography, Best Film Editing

Death Wish 4: The Crackdown-1987

Death Wish 4: The Crackdown-1987

Director J. Lee Thompson

Starring Charles Bronson, Kay Lenz

Scott’s Review #1,319

Reviewed November 29, 2022

Grade: C+

I have an interesting relationship with the Death Wish films. Besides the first and maybe its follow-up, they pretty much suck, and that’s being kind.

They possess a machismo and right-wing, pro-National Rifle Association stance that’s just not my cup of tea.

To make matters worse, poor acting, stagey action sequences, an explosive overuse of smokey ammunition, and endless cliches riddle the screen throughout nearly every scene.

Sure there’s usually some heartwarming romantic moment or a justification for the killings but the series is solidly amateurish.

With my nose to the grindstone I somehow, someway, plodded through all five of the Charles Bronson film series installments and lived to tell.

I refuse to see the tepidly reviewed unrelated 2018 incarnation starring Brice Willis.

But, the funny thing is with all the cinematic negatives the Death Wish films are fun in a campy, silly way. Hardly high art, they instead provide the viewer with fluff and a quick ninety-minute experience in shoot ’em-up revenge-seeking bloodletting.

With Death Wish 4: The Crackdown (1987) the filmmakers cleverly leverage the 1980s excess with a witty subtitle channeling the crack epidemic of the day set against the backdrop of lusty Los Angeles and the drug carnage seeping over the United States border from neighboring countries.

Some thirty-five years later the premise is dated to say nothing of riddled with stereotypes but at the time the plot must have seemed downright modern.

Paul Kersey (Bronson), who is no stranger to vigilante justice, is pulled back into the underworld of gritty Los Angeles when the daughter of his new girlfriend, Karen (Kay Lenz), dies after an overdose of crack cocaine.

Intent on dishing out a healthy dose of vigilante justice, he goes after the drug lord who ultimately supplied the crack, apparently forgetting to focus on the social issue of why the young girl was taking drugs in the first place.

The First Lady Nancy Reagan’s famous anti-drug slogan, ‘Just say no’ fell on deaf ears.

As he hunts down the kingpin’s henchmen, Paul starts taking out a large part of the city’s drug-dealing population on a violent killing spree while posing as a dimwitted bartender.

The acting is laughably bad from Bronson on down to the bit players.

My favorite bad scene is when an interracial couple squabbles on their way out to dinner from the luxurious highrise apartment they inhabit.

As she sits in the limo brooding and cursing her mate who forgot something from the apartment, he is suddenly hurled from his penthouse onto the limo as she shrieks with anguish, after wishing him dead only seconds prior.

Director, J. Lee Thompson, well past his prime in the late 1980s forgot to tell his actors to add a bit of humor to the horrendous line delivery.

Or, he might have just phoned the whole thing in himself.

The film is by the numbers and one attempt at a twist toward the end is an inspired effort. A pivotal character is shockingly killed and it ain’t Paul who meets his maker either.

I didn’t see this surprise coming.

Nonetheless, despite the myriad of bad qualities contained within Death Wish 4: The Crackdown, the bad guys do get their just desserts which are delightful to witness.

Death Wish 4: The Crackdown (1987) is best served up on a rainy afternoon when the viewer can munch on popcorn and lazily escape the day away with solid cinema trash.