Short Attention Span Review - Tron (1982)

Fun, colorful, and thoroughly unique, Tron remains an exciting motion picture experience that is equal parts cool and curious.  Jeff Bridges, Bruce Boxleitner, and David Warner are among the gifted performers appearing in this Disney classic, but the real star of the picture has to be the stellar effects.  The computer world that is the setting for most of the movie is realized due to an inventive process that yields an amazing product that will never be duplicated.  Despite arriving at the very infancy of modern computer effects (the Academy supposedly refused to consider nominating Tron for its special effects work because the use of computers was considered "cheating"), the jazzy blend of kooky sets, computer graphics, and black and white photography that was subsequently animated is still a joy to behold.  The plot is a cool medley of corporate intrigue and video game glory, the score is bold, and the action sequences are riveting.  Tron is a great example of imagination and technical wizardry joining forces to tell a dynamic story.  There's little to complain about when it comes to this beloved film that was widely viewed as a flop upon its release.  Maybe the characterizations are fairly routine and suspense is often generated at the expense of drama.  Honestly, it doesn't really matter.  The characters are likable enough and this is a picture that is more interested in blowing minds than enriching them.  In somewhat of a surprise, time has been rather kind to Tron and those who enjoy science fiction and family time may have a hard time finding a better movie to share with their loved ones.  

Final Grade: A

Jeff Bridges may have been the budding star in 1982
and Bruce Boxleitner may have played the titular character,
but David Warner nearly stole the show as the icy villain in Tron.

Short Attention Span Review: Firefox (1981)

Firefox is another curious entry in Eastwood's filmography.  While no one was better at portraying hardened gunslingers, be they cowboys or cops, he was never opposed to trying his hand at something new and different.  Firefox is a special effects treat from 1981 that stars Clint as a troubled pilot who is thrust into a daring bit of Cold War espionage despite suffering from some serious PTSD.  It seems that the Russians have assembled a visionary aircraft and the U.S. is determined to steal this plane in the name of all that is fair and good.  Surprisingly, while the early stages of the picture lead one to think that this movie won't really take off until Clint gains control of the titular aircraft, it's actually the cat-and-mouse game between Eastwood and the KGB that takes place prior to the big dogfight at the end that makes Firefox worthwhile.  Now, to be fair, once the movie takes to the air, we're treated to some thrilling aerial warfare and the special effects are solid.  It's just that the intense and grim second act of the film is far more riveting and dramatic.  Eastwood directed the film with flair and while there aren't any other major stars in the mix, Firefox is loaded with potent performances.  I thought Warren Clarke was nothing short of sensational as Pavel, a gruff ally who sacrifices everything for Clint's mission even though he doesn't seem all that impressed with Clint himself.  In the end, Firefox isn't typical Eastwood fare, but he does a fine job as the lead.  I like the fact that the character he plays is engaged in a fierce battle with his inner demons as that makes him far more intriguing than most of the dependable heroes featured in similar pictures.  This may not be one of Clint's best efforts, but it's still an exciting motion picture that benefits from his charisma and his passion for filmmaking.

Final Grade: C+

Firefox is a serviceable thriller despite the fact that the events leading up to
Eastwood climbing inside the titular aircraft are far more exciting
than the big finale that ensues once he's in the cockpit.

Short Attention Span Review: T2 (1991)

Schwarzenegger returned to one of his most thrilling roles in 1991, but this time out his Terminator got to be the hero of the picture.  I actually think the first Terminator movie is more entertaining primarily due to Arnold's magnificent presence as the villain, a vicious machine programmed to kill, and the lean runtime doesn't hurt either.  Having said that, those who claim this bigger and far more dramatic sequel is superior to the original certainly have a strong case.  This isn't just one of Schwarzenegger's better movies, it's definitely one of the best action movies ever produced.  The effects are incredible, the choreography is splendid, and the performances are top-notch.  It is a bit long, but it never drags--the movie is overflowing with riveting sequences that must be seen to be believed.  Arnold's fearsome Terminator is now programmed to protect John Connor (Edward Furlong in perhaps his only role of note, though I thought Brainscan was okay) from a more advanced killer machine from the future.  This new baddie, the T-1000 (played to perfection by the underrated Robert Patrick), is a shapeshifting and seemingly invincible assassin made of "liquid metal."  The creativity that James Cameron brought to the table provides this frightening nemesis with an abundance of cool things to do and Stan Winston's supreme effects work was nothing short of amazing.  Upon its release, T2 was widely regarded as the finest special effects extravaganza ever lensed, and it has certainly aged well--it still towers above most science fiction movies, to include many recent releases from major studios.  The chases and throwdowns that populate the picture are executed to terrific effect and there are few directors who could depict such carnage as well as Cameron.  I prefer The Terminator but I can't take anything away from T2, it's a terrific successor that is surely worthy of all the praise and acclaim that it has generated over the years.

Final Grade: A

T2 isn't just one of Schwarzenegger's best movies,
it's one of the best action movies of all time.

Short Attention Span Review: Pumpkinhead (1988)

Pumpkinhead is a horror film that never really got its due.  I'm not sure that the property lends itself well to the notion of a series, so maybe it's not all that surprising that a pair of toothless sequels have probably hurt this curious monster movie's appeal.  Yet it has a fanbase; many genre aficionados treasure the fantastic creature effects c/o the legendary Stan Winston, who also directed the picture. Yes, Winston's direction wasn't quite on par with his effects wizardry, but that's not akin to saying that he mucked it up.  He did a good job as director and he was working with a nifty screenplay.  He was also given quite the assist in making a startling motion picture by his star, Lance Henriksen, who gives one of his best performances in Pumpkinhead.  Just in case there's someone reading this blog who isn't in the loop, let's tell it like it is: Lance Henriksen is awesome.  Saying that a movie features one of his best performances is a big deal coming from me.  I'm a huge fan of his work (I went to see Man's Best Friend on opening night and I quote Bishop almost as much as I quote Hicks or Hudson) and I truly appreciate the stellar job he did with this material.  I enjoy the gruesome story, but it is a bit predictable and the movie could have been rather forgettable in spite of the tremendous creature effects with a mundane performer at the wheel.  Lance elevates this one into a dark morality play that is frequently as dramatic as it is terrifying.  This fright flick is riveting from start to finish, and it doesn't waste a lot of time, packing a wealth of thrills and chills into a lean 86-minute runtime.  With Pumpkinhead, one of the best effects artists ever and one hell of an actor delivered a fierce creature feature with bite--and heart.

Final Grade: B

The effects are great, but Lance's performance is even better.

Short Attention Span Review: An American Werewolf in London (1981)

I'm keeping with my "horror movies from the 80s" theme for this latest Short Attention Span Review, and it concerns the finest werewolf movie of them all.  Yes, we're talking about An American Werewolf in London.  Yes, we're talking about a genuine classic, a horror movie for the ages.  Engaging, frightening, humorous, dramatic, and utterly unique, I don't think I can heap enough praise on this John Landis masterpiece in my review.  I strongly believe that only The Howling (also released in 1981) could challenge this one for werewolf movie supremacy, and as much as I like that horror gem from Joe Dante, I think An American Werewolf in London easily takes the crown.  The performances are stellar, with David Naughton somehow offering up a gripping star turn that is rather puzzling when you consider that he never managed to do anything half as good afterward.  Griffin Dunne nearly steals the show as Naughton's undead best pal and Jenny Agutter is equally impressive as the female lead.  There are wealth of supporting roles that all add to the overall success of the picture, but perhaps the biggest star of the show is the epic special effects work courtesy of Rick Baker.  Seriously, the effects are so gnarly that this movie captured the first ever Academy Award for Best Make-Up and it boasts a transformation sequence that has yet to be topped thirty-four years later.  In addition to the legendary effects work, we have a tragic love story, a wonderful soundtrack, a main character who is haunted by his undead victims and a series of gruesome (and absurd) nightmares, a wealth of subversive humor, and lots and lots of bloody carnage.  The opening reel is sheer perfection and the movie never misses a beat, rocketing toward an orgy of violence and dismay that gives way to a tender closing.  An American Werewolf in London isn't just the best werewolf movie I've ever seen, it's also one of the best damn horror films ever made. 

Final Grade: A+

Everyone needs a best friend--unless they're dead and they
keep showing up and demanding that you kill yourself.