by Steve Habrat
Way before Tim Burton’s Batman franchise fell into the hands of hack director Joel Schumacher and was turned into a giant neon toy commercial with nipples; a similar fate struck another DC Comics superhero hero. In 1983, comedic director Richard Lester shifted Richard Donner’s Superman franchise from serious-minded optimism into full-on sight gag camp. The result was Superman III, a comic book movie that isn’t nearly as horrible as some may have you believe but is by no means a cinematic masterpiece. On its own, Superman III is a fun action comedy that will keep your ten-year-old son preoccupied while you take a nap, but when compared to the stellar Superman and its awesome follow-up, Superman II, the film is a humongous disappointment that only intermittently entertains. While every single one of the players tries their darndest, the one who is solely responsible for running the franchise into the ground is Lester, who flat-out refuses to take the Man of Steel seriously. To make things even worse on Superman III, Lester casts funnyman Richard Pryor as the thorn in old Superman’s side. As if he sensed this was a giant turd, returning star Christopher Reeve steps in front of the camera with fire in his eyes and he single handedly makes the entire thing, well, sort of watchable.
Superman III introduces us to Gus Gorman (played by Richard Pryor), an unemployed goofball who lands a job as a computer programmer at Webster Industries. Unhappy with his pay, Gus begins embezzling money from Webster Industries, but it doesn’t take long for him to grab the attention of the power hungry CEO, Ross Webster (played by Robert Vaughn). It turns out that Webster, his sister, Vera (played by Annie Ross), and his mistress, Lorelei Ambrosia (played by Pamela Stephenson) are out to take over the world financially and they plan on blackmailing Gus into helping them out. Meanwhile, Clark Kent (played by Christopher Reeve) and Jimmy Olson (played by Marc McClure) travel back to Smallville for Clark’s high school reunion where he reunites with his old childhood friend and recent divorcée Lana Lang (played by Annette O’Toole) and her young son, Ricky (played by Paul Kaethler). After being led to believe that Clark knows Superman, Lana pleads with him to convince Superman to attend Ricky’s birthday. Smallville turns the appearance into a celebration but Gus and Vera crash the party and present Superman with a chunk of synthetic kryptonite in an attempt to weaken him and prevent him from stopping their evil scheme. At first, it appears that the synthetic kryptonite has had no effect on Superman, but soon he becomes depressed, angry, and selfish, just when the world needs him.
Superman III begins with a chain reaction of slapstick disasters and sight gags that are all painfully unfunny and just way too drawn out. As if this isn’t bad enough, the sequence almost feels like it is poking fun at the hero we are supposed to be rooting for. The mocking tone never fully disappears, but every so often, Lester cuts through the carefree camp with a perky rescue sequence, but for the most part, the film is a far throw from the thrilling Superman II, which he worked on when Donner was fired. When we are introduced to the villains, things don’t get much better for Superman III. There is no Gene Hackman as the barking Lex Luthor and there is no Terence Stamp as the authoritative General Zod, but rather three screwballs who cower behind a giant super computer as Superman stomps their way. You could almost mistake them for Bond villains. Together, they wouldn’t make an infant tremble and they sure as hell don’t seem like they could do much damage to old Supes but somehow, to the horror of this viewer, they actually manage. While their plan is beyond stupid, it actually opens a door for Reeve to save the entire picture from crashing and burning.
It is undeniable that Reeve is the heart and soul of this entire Superman franchise and it makes me shiver to think what it would have been like without him. Even in Superman III’s worst moments, Reeve is almost too good. When the script asks him to be bad and play a bunch of juvenile pranks around the world (he straightens the leaning tower of Pisa and he blows out the Olympic flame), Reeve manages to keep his composure, which is really something special because anyone else would have been on the ground laughing at how idiotic these moments are. As Clark Kent, he is still the sweet and bumbling fool we all know and love, but this time around, he actually gets to throw a few punches. In the film’s highlight scene, the corrupted Superman projects the good Clark Kent and then gets into a fistfight with him in the middle of a rusting junkyard. Naturally, the scene is loaded with unnecessary laughs, it goes on for about five minutes too long, and it is wildly unclear as to how exactly Superman exactly split into two people, but it is really fascinating to see Superman, a force of complete good, at odds with himself. I didn’t think I’d write this, but well done, Lester!
Then we have Pryor as the film’s reluctant baddie, Gus Gorman, and really, he isn’t that bad, he is just grossly miscast. Pryor does drop a few laugh bombs along the way, but he seems like he is on a short leash by the director and the producers. He also really has no business being anywhere near a superhero movie, especially a Superman movie. Still, you can’t really fault him for trying. As far as the other villains go, Vaughn’s Webster practically blends into the woodwork, a cardboard stand-in for Hackman’s diabolical Lex Luthor. Annie Ross brings a bit more mean to her small role as Vera, Webster’s sister who in the final moments of the film becomes an android-like monster that does absolutely nothing (yeah, don’t think too much about it). Stephenson is irritating as Webster’s seemingly ditzy but surprisingly smart mistress, Lorelei, who doesn’t miss a chance to seduce the corrupt Superman. Margot Kidder, who was not pleased when Donner got the axe on Superman II, is reduced to basically a cameo, a shame considering how entertaining and frankly spot on she was in the role. The new love interest here is O’Toole as Lana Lang, a sweet old pal of Clark’s that slowly develops feelings for the bespectacled nerd. O’Toole is good, don’t get me wrong, but is it too much to ask for Kidder’s Lois Lane back?
I wish I could tell you that Superman III has some spectacular confrontation at the end, but instead it is approached like some forgotten Atari video game that was left on a dusty shelf. It takes forever to get to a real showdown between the two parties, with the plot practically stopping to take a nap at certain points. At least twenty minutes could have been cut from the finished product, including the fist-fighting traffic light stick figures bit that will actually tempt you to get up and turn the whole thing off. I wish there was something at stake here or some sort of actual threat looming over Superman’s head as he battled with his demons, but instead the bad guys would rather hang out on top of their skyscraper that has been fashioned into a ski resort and chat about defeating Superman. Through all the bad, Reeve is still the glue that keeps the entire thing from falling to pieces. Overall, it is big, dumb, bloated, and flat lining in the creativity department, but a handful of soaring rescues and Reeve’s irresistible warmth manage to triumph over the long line of groan-inducing jokes that Lester insisted upon. Maybe that Reeve was some kind of Superman.
Superman III is available on Blu-ray and DVD.
by Steve Habrat
It is damn near impossible to find someone who loathes the idea of watching Bob Clark’s now classic A Christmas Story around Christmas. Unless you’re my mother, everyone else can’t get enough of young cherub-faced Ralphie’s epic quest to make sure there is a Red Ryder BB gun nestled underneath his family’s Christmas tree come the big day. For some odd reason my mother hates this film and I have never been able to figure out why. For me, I love watching it on Christmas Eve, but then again I am someone who falls head over heels for schmaltz. I remember watching this film as a kid and relating to it because who didn’t have that one gift that they were dying to find Christmas morning? The one where you anxiously tear off the paper, hands a bit shaky with anticipation, and then your eyes growing as big as saucers as you see the glorious treasure that was hidden behind Santa Clause stamped wrapping paper! It’s about the gift that makes you forget about every other gift that has your name written on it. But A Christmas Story ends up being about a little more than just getting that special gift. It’s about the trials and tribulations as a kid–swearing in front of your parents (Fudge!), getting beat up by older bullies, not paying attention in class, receiving average grades in school, dealing with siblings, etc. It touches on your father’s passive attitude about Christmas, your mother’s efforts to make sure it’s a cozy holiday with hearty food, the journey to meet Santa, and more! Even if you don’t watch it as a Christmas film, there is still something that can be cherished and reminiscent about your own childhood.
Set in 1940, in Hohman, Indiana (It was actually filmed in Cleveland, Ohio. My stomping grounds!), A Christmas Story follows young Ralphie Parker (Played by Peter Billingsley) and his adventures during the Christmas season. The film picks up with Ralphie seeing the Red Ryder BB gun in a storefront window and falling in love with rifle. He then launches a massive campaign to convince his parents, his stern mother (Played by Melinda Dillion) and his grumpy Old Man (Played by Darren McGavin) to get the gun for him for Christmas. Each attempt is met with “You’ll shoot your eye out” and disappointment for little old Ralph. But every door closed is another door opened and Ralphie takes advantage of every opportunity. Along with his little brother Randy (Played by Ian Petrella), the two Parker boys also face a terrifying visit with Santa, neighborhood bullies, a tongue getting frozen to a light post, embarrassing winter gear, flat tires, and their father’s prized lamp, all with hysterical results.
Director Clark approaches A Christmas Story with a dreamy haze that lingers through the entire movie, appearing as the flashback it is. The film is enthusiastically narrated and guided along by a much older Ralphie (Voiced by Jean Shepherd) and boy if that voice isn’t iconic now. This film is loaded with unforgettable moments, from the soap shoved into Raphie’s mouth after he drops the F-bomb to the tongue stuck to the light post that is both uproarious and pitiable. Who can forget that notorious lamp being delivered and the jubilant Old Man outside the house basking in the sensual glory? But there is also some beautiful shots in this film, from Ralphie peering out his bedroom window on to a snow covered lawn on Christmas morning, to one of the final shots of the Old Man and the mother sitting together on the couch, tree lit and watching the snow fall on to the front yard. These images look like they are ripped from 40’s Christmas cards. They are both vintage and modern, all in the same breath.
A Christmas Story wouldn’t be as popular if it wasn’t for those performances from all involved. Billingsley’s Ralphie is all starry-eyed innocence. A true product of the time he is growing up in. You can’t help but adore him. His brother Randy is a whiny little runt, one who is always pleading for the sympathy of Ralphie. Their mother is an incandescent woman, bursting with love and affection but stern when the chips are down. The Old Man is a gruff chap, one who comes down hard if the boys step out of line, but he has a heart of gold buried beneath all of his toughness. They all add up to be the face of a true old-fashioned family. There is also the rabid Scut Farcus (Played by Zack Ward) and Grover Dill (Played by Yano Anaya), the two nasties of the neighborhood. There is also the hilarious and creepy Santa Claus who bears down on children with intimidating and booming “HOOO! HOOO! HOOO!”s. He has the red nose and rosy cheeks, appearing almost too real at times.
There is a whimsical side to all the chaos in A Christmas Story, with knee-slapping fantasies that only a kid could come up with. Ralphie fantasizes that he returns to his parent’s home and has been stricken blind. Another fantasy finds him as a gun-toting cowboy picking off stereotypical black and white stripe clad burglars. As they “die” they wear black Xs over their eyes. The Wizard of Oz characters consistently pop up too, adding a much desired and achieved eeriness. Yet A Christmas Story finds the quirks in real life too. Ralphie is forced to wear an atrocious pink rabbit suit. A trio of Chinese waiters sing Christmas carols and mispronounce the “fa-la-la-la-la” parts. A bowling ball is dropped on the Old Man’s groin, sending his voice through the roof. According to Clark, the world itself and everything that happens around us is outlandish with a touch of cartoonish.
If you find yourself as one of the only people on the face of the earth who has never seen A Christmas Story, do yourself a favor and see it immediately. It has become a Holiday tradition for it to play continuously on television networks on Christmas day. My ritual, if I am able to, is to watch it on Christmas Eve, as it always really helps you get into the spirit of Christmas. In my eyes, it stands next to classics like Miracle on 34th Street, It’s A Wonderful Life (One of my all-time favorite films), The Nightmare Before Christmas, and Christmas Vacation. Perhaps my adoration of this film stems from the fact that it was filmed in the area which I hail from. Either way, the film remains a tradition every year, allowing those who see it to take a break from relentless shopping, wrapping, cooking, and decorating to reminisce about what Christmas looked like as a kid. Reminisce about a time when life was so much simpler. I think that many new viewers are not as hip to the film as many older viewers are, but the film still lives on. It lives on and replays just like our fondest Christmas memories.
A Christmas Story is now available on Blu-ray and DVD.
by Charles Beall
One must approach 1983’s Psycho II with an open mind. That is, there will never be a worthy follow-up to Psycho; that film exists and there is nothing that can top it. However, one can wonder what Norman Bates has been up to since his dirty little secret was discovered and that is precisely what Psycho II attempts to accomplish.
The film was released in 1983, a decade wrought with slasher films. Indeed, Psycho II arrives right at the tail end of the beginning of the gore decade and you can see it trying oh-so-hard not to be a slasher movie (but more on that later). What we have here is a film that respects its predecessor, but also tries to break out of its shadow by imitating the film it is trying so hard not to be (but really, really wants to).
The film starts off with the original shower scene, easing into the main titles while looking at the famous Bates mansion. Totally pointless, if I do say so- if you’re trying to break away from the original, you don’t start off your film with one of the most iconic scenes in film history. The shower sequence serves no purpose to the audience. What image comes to you immediately when you hear Psycho? A shower? Precisely. One must trust the audience.
As the catchy tagline so cleverly states, it has been 22 years since Norman Bates was incarcerated and we are witnessing his parole hearing as Psycho II truly opens. Bates (awkwardly played again by the legendary Anthony Perkins) has been deemed “restored to sanity” by the State of California and he is hereby released. “But what about his victims, don’t they have any say?” asks Lila Loomis (played by a deliciously bland Vera Miles), presenting a petition to the courts against his release. Her argument doesn’t hold up, and boy is she angry!
Norman is escorted back to his house on the hill by his psychiatrist (Robert Loggia), where he is immediately haunted by, you guessed it, Mama Bates. As part of his release, Norman is now employed at the diner down the road (the one Norman suggest Marion go to on that stormy night?) as a cook’s assistant. There he meets a waitress named Mary (an annoying Meg Tilly) whom he strikes up a friendship with. After a falling out with her boyfriend, Norman invites her to stay at his motel for the night, free of charge. She reluctantly agrees and walks home with Norman, eventually ending up spending the night in the house after Norman gets into a fight with the motel manager (an awesome Dennis Franz) that has been keeping an eye on the place.
This is the basic setup of Psycho II and it is one of the reasons why it works- to an extent. We are focused on a core group of characters, and there are really only two for the bulk of the film, Norman and Mary. The premise is promising, as Norman begins to receive calls from Mother and he slowly feels that he is losing his grip on reality. Mary attempts to be his rock (or pretends to attempt to), which brings a more human aspect to Norman than we have ever seen before. Perkins is such a brilliant actor, and even though some of the dialogue written for him is weak, he tries his best to humanize Norman in a way that hasn’t been seen before. The slow pacing of the film allows the character to develop even more, drawing the audience into the conflicted mind of Norman Bates. Then, of course, there is the twist that is a bit obvious, yet still clever for a film such as this (a sequel to a classic horror film).
Unfortunately, the film begins to unravel in the final act and the bodies begin to pile up as demanded by the 80s “horror” genre. Then, something totally comes out of left field, something so absurd that it nearly brings down the entire film (but obviously sets it up for Part III).
Psycho II is indeed admirable. Its intentions are of the purest form; director Richard Franklin respects the source material and tries his best to make it a solid mystery/psychological thriller like its predecessor. However, the ending to the film seems tagged on at the last minute and brings down everything the film was so sincerely trying to attempt.
Psycho II is not a worthy follow-up to the original Psycho– there will never be a film that can accomplish that. However, if you throw all of your preconceived notions aside and give it an honest chance, you will be pleasantly surprised if not disappointed at what could have been.
Grade: C+ (but an “A” for effort!)
Tomorrow, Norman Bates is back to normal, but mother is off her rocker…again. Check in, relax, and take a shower with the directorial debut of Anthony Perkins, Psycho III.