Tag Archives: Michael Biehn

#69 Favorite Film, 1978 Films, Alice Ghostley, Annette Charles, Antonia Franceschi, Comedy, Darrell Zwerling, Didi Conn, Dinah Manoff, Dody Goodman, Edd Byrnes, Eve Arden, Fannie Flagg, Frankie Avalon, Jamie Donnelly, Jeff Conaway, Joan Blondell, John Travolta, Lorenzo Lamas, Michael Biehn, Musical, Olivia Newton-John, Randal Kleiser, Romantic Comedy, Sha Na Na, Sid Caesar, Stockard Channing, Top 100 Films, Top 250 Films, Wendie Jo Sperber

Grease-1978

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Grease-1978

Director Randal Kleiser

Starring John Travolta, Olivia Newton-John

Top 250 Films #69

Scott’s Review #354

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Reviewed January 9, 2016

Grade: A

Grease (1978) is the ultimate musical fantasy that comes to life and can be appreciated by anyone looking to re-live their high school days through song, or merely escape life’s stresses with a fun, bright musical that is very well made.

Is it realistic? Not, but sometimes escapism is just what the doctor ordered, and Grease is one of my favorite films that meets that criteria.

It is light-hearted and sweet, and above all, it contains wonderful legendary musical numbers.

The time is the 1950s, and we meet Danny and Sandy on a windswept beach with cascading waves and bright sunshine. It is summer break for the two high school students, who meet in California, she vacationing from Australia, and he is a local boy.

They say their goodbyes and return to normal lives, but cannot forget about each other.

Suddenly, Sandy arrives at Rydell High in Los Angeles, coincidentally, where Danny goes to school. Her parents (whom we never see) decided to stay in California.

Danny is a “tough guy” in high school, much different from who he was on the beach with Sandy. He is the leader of the infamous T-birds, a group of boys who love their black leather jackets and cars.

Torn, he maintains his tough image, and he and Sandy find their way back to each other through classmates, songs, and dancing, intermingling with fun supporting characters who encourage them to find true love.

Travolta and Newton-John have magical chemistry, which allows this film to work.

Grease has appeared on stage numerous times, but these actors are fine together. I bought them as teenagers in love, although both were well beyond their teen years.

The supporting cast is excellent- specifically Stockard Channing as the lead Pink Lady, Rizzo, and Sandy’s kind-hearted friend, Frenchy.

Interestingly, no parents ever appear in the film, as it is not about the adults.

However, Rydell’s female principal, Mrs. McGee (played by Eve Arden), and her dotty Vice Principal, Blanche (Dody Goodman), are marvelous as comic relief.

Rizzo is an interesting character and can be argued to be the only one who threatens to steal the thunder from Danny and Sandy. Containing a tough exterior, she is also vulnerable as she fears she has become pregnant mid-way through the film.

Being unmarried and pregnant in the 1950s was quite the scandal, and Channing conveys layers of emotion during her solo number, “There Are Worse Things I Could Do”.

The wonderful high school dance scene is choreographed amazingly well. The excitement of the student body at being filmed for a special television show is apparent as dance numbers and dance contests, some raunchy, follow.

The musical numbers “Grease”, “Greased Lightning”, “Hopelessly Devoted To You”, and “Beauty School Dropout” are intrinsically memorable, all of which are personal favorites of mine.

Grease is a film meant not to be analyzed but rather enjoyed for its fantastic chemistry and energy.

Sometimes, in a film, all the elements come together perfectly, and Grease (1978) is an excellent example.

Oscar Nominations: Best Song-“Hopelessly Devoted to You”

1989 Films, Dick Warlock, Ed Harris, Fantasy, Mary Elizabeth Mastrantonio, Michael Biehn, Science Fiction

The Abyss-1989

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The Abyss-1989

Director James Cameron

Starring Ed Harris, Mary Elizabeth Mastrantonio

Scott’s Review #1,210

Reviewed December 19, 2021

Grade: B+

Well before he created Titanic (1997) and Avatar (2009) and became a household name, director James Cameron made the gorgeous, special effects-laden film The Abyss (1989).

The film followed hits like Terminator (1984) and Aliens (1986).

These films undoubtedly allowed him to make a film that he wanted to make with the necessary freedoms.

The Abyss is completely visual and the interesting cast of characters with possibilities for development are never allowed to shine through instead feeling stale. They are usurped by the constant flow of underwater lush worldly spectacles that utterly encompass the film.

Even when the central characters get a moment to dig deeper into their backstories Cameron never goes for the emotional jugular instead encouraging the viewers to focus on the extraterrestrial and science fiction elements rather than his characters.

That’s the type of director Cameron is and recommended watching The Abyss on the big screen, or the biggest screen possible. I did not and recognize the sheer bombast that a cinema watching would render.

I missed out.

The film, and specifically Cameron, must be heralded for the vast loveliness of the art direction, visual effects, and cinematography.

Forget the convoluted plot entirely and sit back and enjoy the spectacle.

Ed Harris and Mary Elizabeth Mastrantonio portray Bud and Dr. Lindsey Brigman formerly married petroleum engineers who still have some issues to work out. When an American submarine sinks in the Caribbean, a US search and recovery team works with an oil platform crew, racing against Soviet vessels to recover the boat.

Deep in the ocean, they encounter something unexpected and the American team is determined to find out what. Is it the Russians or a deadly and intelligent extraterrestrial force?

The story is overly complicated and riddled with stereotypical plot points. As the team becomes submersed in their submarine they experience the standard trouble- a hurricane, a rogue team leader, a flooded rig, and freezing temperatures.

Harris and Mastrantonio have pretty good chemistry here but we never fully grasp their marital problems or why there is a distance between them. Thrown together on this mission they predictably face peril and come close to losing each other.

When they embrace in the final scene it is a wrapped up like a tight bow sort of ending that underwhelms.

But, man are the visuals amazing. When the team drops at the alien city in the deepest trenches of the ocean floor the beautiful underwater camera shots take center stage. The technical consistencies are simply breathtaking and become the focal point of the film.

I daresay The Abyss (1989) features the greatest underwater sequences ever seen on film to this date but somehow decades later the film feels forgotten or overshadowed by Cameron’s other works.

Perhaps the dated Cold War plotline and the traditional romance have not served the film well in the long run.

Oscar Nominations: 1 win-Best Art Direction, Best Cinematography, Best Visual Effects (won), Best Sound

2007 Films, Bruce Willis, Comedy, Ethan Maniquis, Fergie, Freddy Rodriguez, Horror, Horror-Comedy, Josh Brolin, Michael Biehn, Michael Parks, Quentin Tarantino, Robert Rodriguez, Rose McGowan, Tom Savini

Grindhouse: Planet Terror-2007

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Grindhouse: Planet Terror-2007

Director Robert Rodriguez

Starring Rose McGowan, Freddy Rodriguez

Scott’s Review #692

Reviewed October 15, 2017

Grade: B-

The umbrella title of “Grindhouse” is part of a 2007 double-feature, one film directed by Quentin Tarantino (Death Proof), and the other directed by Robert Rodriguez (Planet Terror).

The gimmick was part of an attempt at something novel and also book-ending fictional trailers within the films. The term “grindhouse” refers to a cinematic specialty of either B movies or exploitation films- largely during the 1970s.

While Planet Terror gets credit for being unique and fun, it is oftentimes too cartoon-like and rather over the top throughout.

The premise of Planet Terror is not one to be taken seriously- as our heroine, Cherry Darling (Rose McGowan), quits her stripper job vowing to move on to bigger and better things, she runs into her ex-boyfriend, El Wray (Freddie Rodriguez), and the two teams up to lead a group of rebels, who are fleeing for their lives after a vicious zombie outbreak.

The attack was caused by a group of military officials, led by the vicious Lieutenant Muldoon (Bruce Willis).

The film contains an undeniable retro feel- the sets and the props traverse back to the 1970s in style and look, however, characters do use cellular phones.

Rodriguez attempts to make the film an homage or a throwback to a different time in cinema- this feat is quite impressive and the film is a marvel from a stylized perspective.

Another positive is that the film is reminiscent, by the camera styles and angles, of an actual 1970s film, with grainy elements and a comforting old-style texture, which works.

The plot, though, is the source of frustration, and many aspects of the film are just plain silly. The actors play way over the top as they were probably directed by Rodriguez to do, but the result is too much like watching a cartoon rather than a piece of art.

Rodriguez appears to be copying many aspects of Quentin Tarantino films- specifically, the mixture of violence with camp, although these attempts do not always work.

The acting and casting are fine. Bruce Willis shines in the lead villain role and plays demented to the hilt. Unquestionably “borrowed” by Rodriguez through Tarantino, Willis, who was dynamic in Pulp Fiction, knows how to do his thing well in films such as this.

Muldoon is quite a different character than boxer Butch Coolidge in 1994’s masterpiece, Pulp Fiction, but the acting style is the same.

Stars such as Josh Brolin, Kurt Russell, and Rosario Dawson also make appearances so the film is assuredly a star-studded affair.

The casting of McGowan and Freddy Rodriguez as the leads is acceptable and the pair make a decent screen coupling. Still, her artificial leg which doubles as a deadly machine gun, and his maniacal persona seem somewhat forced and, again, way over the top.

Planet Terror was a moderate box office success upon release in 2007, but watching the film in 2017, ten years later, unfortunately, some of the clusters have been tarnished and the gimmick is not as catchy as at the time of release.

Still, a decent offering in the horror, cartoon, and campy genres, but much better films exist, like anything by Tarantino.

1986 Films, Bill Paxton, Carrie Henn, Horror, James Cameron, Lance Henriksen, Michael Biehn, Paul Reiser, Science Fiction, Sigourney Weaver, Walter Hill

Aliens-1986

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Aliens-1986

Director James Cameron

Starring Sigourney Weaver

Scott’s Review #80

Reviewed June 29, 2014

Grade: B+

Aliens (1986) takes away the rawness of the original Alien (1979) and infuses a glossier, slicker look to the film franchise.

The film was made eight years later, but story-wise, it is set fifty-seven years into the future when Ripley, played to perfection by Sigourney Weaver, awakens.

To her horror, she discovers that the aliens have colonized, and she is forced to return to prevent a catastrophe. The militia is in tow, adding a helping of masculinity that supports the film throughout.

This scenario perfectly sets the stage for what is to become an excellent sci-fi adventure story.

There are wonderful special effects that were quite extraordinary when the film was shot in 1986. The tunnels and spacecraft are perfectly lit and designed, creating a bright, fun setting, and the audience knows that doom is lurking.

The actual aliens are visually frightening and, compared to the original, are more plentiful.

Sigourney Weaver takes center stage and leads this film successfully.

I’m not sure many other actresses could pull off her level of authentic toughness and, in the process, give off no sex appeal and still get away with it.

The only detractor from the film is that it seems a bit dated in a purely 1980s way. It has an 80’s look to it, and that’s not a positive.

Not on par with the excellent original Alien, but otherwise, a well-made, supernatural thrill ride.

Oscar Nominations: 2 wins-Best Actress-Sigourney Weaver, Best Original Score, Best Sound Effects Editing (won), Best Sound, Best Art Direction, Best Film Editing, Best Visual Effects (won)