Rampage (1987): For a movie that went through distribution hell, was reviled by Friedkin and is now only available in specky VHS, I thought Rampage was more interesting than not. Two things that immediately stand-out: it starred Michael Biehn, his first movie after Aliens, and it was scored by Ennio Morricone. Unfortunately, Biehn’s performance is wooden, but this is made up in style by Alex McArthur, a mix between Rob Lowe and Lee Pace, who plays one of the best maniacal murderers I’ve seen on film. It’s a shame he doesn’t have more screentime, as the movie presents his case of insanity in a laboursome courtroom drama. The context however is not without merit, as we are offered glimpses into the ideological priorities of various parties over the question of the death penalty. It’s all in all a messy movie, but I think there are enough chilling moments to make it worth a watch – and a revival. 7
Blue Chips (1994): Nick Nolte stars in this sports movie about how money has corrupted American basketball, written by Ron Shelton (White Men Can’t Jump, Bull Durham). At its best, it’s story that features compelling performances, strong-willed characters and some nifty camera action. At its worst, it’s preachy, predictable and one-note. On the balance of things, however, I felt there’s more to like than to dislike – ironically, probably better if you are less of a genre fan and more of an enjoyer of the acting game. With a cast that includes Ed O’Neill, Mary McDonnell, Alfre Woodard and J.T. Walsh (and Shaquille O’Neill), there’s a lot to enjoy. And if you don’t do that, just take in Bob Cousy not able to miss a shot during an extended scene with Nolte. 6
The Night They Raided Minsky’s (1968): The movie Friedkin readily admits he fluffed up, the Norman Lear written story takes us back to the 1920s at a burlesque theatre, where the line between “proper” and “risqué” is about to be crossed. Britt Ekland plays a young amish girl with dreams of becoming a dancer who immediately draws the attention of Minsky stars played by Jason Robards and Norman Wisdom for mischievous purposes. The movie also features Elliot Gould and Bert Lahr, though the latter fell sick and passed away during filming (“His absence left a hole in the film’s emotional center”, per Friedkin). I found it to be a mildly entertaining musical in the first part with a contrived and weak second part, because the story is slight and the finale doesn’t play satisfactorily at all. Even so, watching some of the actors on stage for this one has at the very least a historical allure to it. 6
The Brink’s Job (1978): Another minor entry in the Friedkin pantheon, TBJ feels oddly out of place between Sorcerer and Cruising. It’s a bank-heist movie with comedy inflections, about a 1950 robbery and the subsequent chase for the culprits. The movie stars some big names, starting with Peter Falk, who had just finished his core Columbo run and, as Friedkin realized, “it was quite the challenge to “it was tough to take Columbo out of the character he played”. Nonetheless, I thought the cast was good enough to carry this mildly entertaining tale that’s particularly fun to look at with a modern day awareness of the complexity similar movies deploy. 6
The Hunted (2003): Despite its impressive cast, there’s very little to be excited about when watching The Hunted. The movie pitches an army assassin gone rogue after witnessing genocidal horrors in Kosovo (ah, that brief moment in time when the “bad guys” were European) and the man who trained him – the former, played by Benicio del Toro, the latter by Tommy Lee Jones. Themes are the ones we should by now be familiar with: obsession, guilt, inner conflict. Unfortunately, the connection between the two characters isn’t developed sufficiently, which makes this whole chase feel emotionally sterile. The drab, bleak blueish tint accompanying us along the way enhances the sense of how unremarkable a thing it is that we are watching, with a final knife fight set against raging waters the odd exception. At least the movie gave us this little Friedkin anecdote and it concludes on a Johnny Cash song. 5
tributary stu 