Archive for Dee Wallace

E.T. the Extra-Terrestrial

Posted in Classics, Movie Reviews, Sci-Fi/Fantasy with tags , , , , , , , on December 22, 2013 by Mystery Man

PLOT (spoiler alert!!!):

In a California forest, a group of alien botanists collect flora samples. When government agents appear on the scene, the aliens flee in their spaceship, mistakenly leaving one of their own behind. The scene shifts to a suburban home, where a 10-year-old boy named Elliott is trying to hang out with his 16-year-old brother Michael and his friends. As he returns from picking up a pizza, Elliott discovers that something is hiding in their tool shed. The creature promptly flees upon being discovered. Despite his family’s disbelief, Elliott lures the alien from the forest to his bedroom using a trail of Reese’s Pieces. Before he goes to sleep, Elliott realizes the alien is imitating his movements. Elliott feigns illness the next morning to stay home from school and play with the alien. Later that day, Michael and their five-year-old sister Gertie meet the alien. They decide to keep him hidden from their mother. When they ask it about its origin, the alien levitates several balls to represent its solar system and then demonstrates its powers by reviving a dead plant.

At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication due to the alien drinking beer, and he begins freeing all the frogs in a biology class. As the alien watches John Wayne kiss Maureen O’Hara in The Quiet Man, Elliott kisses a girl he likes.

The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott’s urging, dubs itself “E.T.” E.T. reads a comic strip where Buck Rogers, stranded, calls for help by building a makeshift communication device, and is inspired to try it himself. He gets Elliott’s help in building a device to “phone home” by using a Speak & Spell toy. Michael notices that E.T.’s health is declining and that Elliott is referring to himself as “we”.

On Halloween, Michael and Elliott dress E.T. as a ghost so they can sneak him out of the house. Elliott and E.T. ride a bicycle to the forest, where E.T. makes a successful call home. The next morning, Elliott wakes up in the field, only to find E.T. gone, so he returns home to his distressed family. Michael searches for and finds E.T. dying in a ditch and takes him to Elliott, who is also dying. Mary becomes frightened when she discovers her son’s illness and the dying alien, just as government agents invade the house. Scientists set up a medical facility there, quarantining Elliott and E.T. Their link disappears and E.T. then appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless alien when he notices a dead flower, the plant E.T. had previously revived, coming back to life. E.T. reanimates and reveals that his people are returning. Elliott and Michael steal a van that E.T. had been loaded into and a chase ensues, with Michael’s friends joining them as they attempt to evade the authorities by bicycle. Suddenly facing a dead end, they escape as E.T. uses telekinesis to lift them into the air and toward the forest.

Standing near the spaceship, E.T.’s heart glows as he prepares to return home. Mary, Gertie, and “Keys”, a government agent, show up. E.T. says goodbye to Michael and Gertie, as Gertie presents E.T. with the flower that he had revived. Before entering the spaceship, E.T. tells Elliott “I’ll be right here”, pointing his glowing finger to Elliott’s forehead. He then picks up the flower Gertie gave him, walks into the spaceship, and takes off, leaving a rainbow in the sky as Elliott (and the rest of them) watches the ship leave

REVIEW:

Over the years I’ve been doing this blog, I’ve reviewed some films that have been pretty well-known, some that have gone on to become huge hits, some that are supremely obscure, and some classics that as soon as you mention the name, it takes you back to feeling you had when you first saw it, be it in the theater, home, or other. E.T. the Extra-Terrestrial is one of those films.

What is this about?

Steven Spielberg’s 1982 smash hit tells the heartwarming story of the special bond 10-year-old Elliot (Henry Thomas) forges with an alien he names E.T. The adventures they share as Elliot tries to hide his new friend and E.T. tries to get back to his planet (“E.T. phone home!”) provide plenty of action, laughter and tears.

What did I like?

Connection. As we settle in and get to know and laugh at E.T. as he stumbles around trying to figure out the way things work and if there is a way he can use these crude inventions to help him contact his home plane. He and Elliot, played by Henry Thomas, develop a bond that is so deep that they can feel each other’s feeling. This is best on display during the frog scene where E.T. is watching something, I forgot what, drinking beer, and letting his feeling flow through Elliot, which culminates is his kissing a young Erika Eleniak (future “Baywatch babe”). A downside to the connection is that as E.T. appears to die, he turns white and everything, Eliot gets really sick. I’ll go more into that in a little bit.

Music. Anytime you get a score from one of the best film score composers of all time, John Williams, you’re sure to get something great and memorable. The score he came up with for this film is no exception, but it is the majestic way he mixes the score with what is happening on screen. This is no more obvious than in the flying scene. The masterful way he builds up the theme as it climaxes just as the kids are in the center of the moon, as it were, is a thing of beauty!

E.T. This is a sci-fi film from the early 80s, so you can imagine that there are fantastic creatures to be seen, right? Well, other than E.T. and his species that appear at the beginning of the film, everyone else is human. However, the design of E.T. is great. The rumor is that this was Spielberg’s imaginary friend after his parents divorced. I wonder if I can parlay my imaginary friend from childhood into highly successful movie character. Aside from the great design, E.T. is also a character that we feel for. We want him to get home. We want him to not be caught by the kids’ mother or the government guys. There is a connection that he has with the audience that is developed in a very short amount of time.

Matters of the heart. When I was little, my dad went to Korea for a TDY assignment (he was in the Air Force). Aside from some Korean stuff, he brought my sister and I back E.T. plushes. Being the wanna be artist that I was at the time, I drew a heart on mine and also doused him in baby powder. The powder came off easily, but to this day, he still has the heart drawn on him. Why did I try to turn him white? Well, in what is the most emotional scene of the film, E.T. and Henry Thomas’ character are caught by the government and, because of his apparent sickness, being studied. E.T. appears to be getting worse, as his skin has turned from slimy brown to dried out white. After a few moments, he apparently dies. When this happens, you can just feel the life sucked out of the room and a tear comes your eye. Talk about a powerful scene!

What didn’t I like?

Change. I happen to have the 20th Anniversary DVD. What is wrong with that? Well, there are scenes that E.T. is CG. I am never going to be a fan of CG, especially when it is added in as this is. E.T. was animatronic and, in some scenes, I believe someone in a puppet suit. As bad as the CG E.T. was, and trust me, it is bad…noticeably bad, the fact that someone decided to take the guns away from the cops later in the film and replace them with walkie-talkies is just stupid! Yes, I said walkie-talkies. Our society has become so squeamish that these days if someone is smoking it adds a rating to a film, i.e. PG becomes PG-13, at one point they were talking about taking the twin towers out of any and all films featuring New York City, etc. UGH!!!! Well, apparently, they changed the guns to walkie-talkies because…well, I don’t really know, but it makes no damn sense to me! Thankfully, though, Spielberg listened to the backlash about this and for the 30th anniversary edition the guns are back.

Drew. Making her debut is 8 yr old Drew Barrymore and she is cute as a button. That is the problem. A very small problem but, as is the problem with many child actors, it is hard to see her as a young ‘un compared to the gorgeous hottie she grew up to be.

When all the dust is cleared, the credits have rolled, and E.T. has gone home, what did I ultimately think of E.T. the Extra-Terrestrial? I think you would be hard pressed to find a better film for the whole family. There have been many duplicators, imitators, and what not, most notably Mac and Me, but none came anywhere near the quality of this great classic. Do I recommend? Yes! Emphatically, I say this is a film that you must see before you die!

5 out of 5 stars

The Frighteners

Posted in Comedy, Horror, Movie Reviews with tags , , , , , , , , , , on December 17, 2013 by Mystery Man

PLOT (spoiler alert!!!):

In 1990, architect Frank Bannister loses his wife Debra in a car accident. He gives up his profession, letting his unfinished “dream house” sit incomplete for years. Following the accident, Frank gains the power to see ghosts and befriends three: Cyrus, a 1970s gangster, Stuart, a 1950s nerd, and the Judge, a gunslinger from the Old West. The ghosts haunt houses in the area to accumulate work for Frank’s ghostbusting business; Frank then “exorcises” the houses for a fee. Most locals see him as a con man.

Frank cons local health nut Ray Lynskey and his wife Lucy, a physician. Ray dies of a heart attack not long after. An encounter with his ghost leads Frank to discover that an entity representing himself as the Grim Reaper is killing people and marking numbers on their foreheads that only the psychic can see. Frank’s wife Debra had a similar number when she was found.

Because Frank can see the numbers ahead of time, he can foretell the murders, but this puts him under suspicion with the police, even Sheriff Walt Perry, who is usually patient with Frank. He calls in FBI agent Milton Dammers. Highly paranoid, obsessive and disturbed from years of undercover work, Dammers is convinced that Frank is psychically responsible for the killings. Frank is captured and detained after the town’s newspaper editor-in-chief Magda Rees-Jones is killed – she has previously publishing articles attacking him. During the confusion of the arrest, the Judge “dies” when he tries to protect Frank from the Reaper.

Lucy investigates the murders and becomes a target of the Grim Reaper. She is attacked while visiting Frank in jail, but they escape with the help of Cyrus and Stuart, who are both dissolved in the process. Frank wants to commit suicide to stop the Grim Reaper. Lucy helps Frank have a near-death experience by putting him into hypothermia and using barbiturates to stop his heart. Dammers abducts Lucy revealing that he had been a victim of Charles Manson and his “Family” in 1969.

In his ghostly form, Frank confronts the Grim Reaper and discovers that he is the ghost of Johnny Bartlett, a psychiatric hospital orderly who killed 12 people about 32 years earlier, before being captured, convicted, and executed. Patricia Bradley, then a teenager, was accused as his accomplice, although she escaped the death penalty due to her underage status. Lucy resuscitates Frank and they visit Patricia. Unknown to them, Patricia is still in love with Bartlett and on friendly, homicidal terms with Bartlett’s ghost. Lucy and Frank trap Bartlett’s spirit in his urn, which Patricia has kept. The pair make for the chapel of the now-abandoned psychiatric hospital hoping to send Bartlett’s ghost to Hell.

Patricia and Dammers chase them through the ruins. Dammers throws the ashes away, releasing Bartlett’s ghost again before Patricia kills him. Bartlett’s ghost and Patricia hunt down Frank and Lucy. Frank realizes that Bartlett’s ghost, with Patricia’s help, was responsible for his wife’s death and the number on her brow.

Out of bullets, Patricia strangles Frank to death, but Frank in spirit form rips Patricia’s spirit from her body, forcing Bartlett to follow them. Bartlett grabs Patricia’s ghost, while Frank makes it to Heaven, where he is reunited with Cyrus and Stuart along with his wife Debra. Bartlett and Patricia’s spirits claim they will now go back to claim more lives, but the portal to Heaven quickly changes to a demonic looking appearance, and they are both dragged to Hell. Frank learns it is not yet his time and is sent back to his body, as Debra’s spirit tells him to “be happy.”

Frank and Lucy fall in love. Lucy is now able to see ghosts as well. Frank later begins demolishing the unfinished dream house and building a life with Lucy while the ghost of Dammers is riding around in the sheriff’s car.

REVIEW:

A couple of years ago, AMC was showing The Frighteners as part of some scary marathon they were having at a time that wasn’t Halloween. I can’t remember what else was shown, but I know that Fright Night was shown either before or after this. I didn’t get the chance to watch for whatever reason, but I did say I was going to eventually get to it and, well, you get the picture.

What is this about?

Blending humor and horror, director Peter Jackson’s outlandish tale centers on shady psychic detective Frank Bannister (Michael J. Fox), who uses his ability to communicate with the dead to boost his business. But when a sinister spirit is unleashed and members of the community are mysteriously killed, the P.I. — with the help of a comely widow (Trini Alvarado) — must use his powers to get to the bottom of the supernatural slayings.

What did I like?

Balance. Horror comedies seem to be the type of films that everyone either love or hate, depending on if they swing toward the horror or comedy side of thing more. In this case, I believe we have a good balance between the two genres in this film, thanks to some good performances from the cast and decent direction from those on the other side of the camera.

Question. As the paranoid FBI agent, Jeffrey Combs is great. He actually reminds me of some shifty gangster turned stool pigeon from those old gangster movies, but that may be because of the hair. I wonder if he used this character as a basis for his voicing of The Question in Justice League Unlimited years later, because they have very similar timbres, except Questions isn’t insane…at least not in the same way.

Plot. I’m a little shaky as to my opinion on the plot, but if it gives an excuse to have a bunch of ghosts running around, then you can’t really complain, I suppose. The way the film climaxes is pretty nice. As a matter of fact that whole final sequence in the asylum (when did asylums become so scary, btw?) is a big payoff with all the shooting, stabbing, falling elevators, decaying floors and whatnot.

What didn’t I like?

Length. Can this be? Peter Jackson directed a film that was under 3 hrs? Even better, it doesn’t have that stretched out, padded feeling. Or does it? For me, at nearly 2 hrs, I felt this was a bit too long. Cut out a good 15-30 minutes and this would have been just fine, but that didn’t happen and we get this. I suppose it could be worse, though.

Newspaper. There seems to be some animosity between Michael J. Fox’s character and the editor of the local paper. At a couple of points in the film, I thought she was going to have something to do with the murders, or at least come back as a ghost the way the husband did earlier in the film.

Effects. For 1996, these aren’t exactly bad effects, but the Grim Reaper stuff still seemed rather cheap. Maybe I’m looking at it through modern eyes, but that whole computer grease look didn’t work, especially since a few years earlier liquid metal was done so convincingly in Terminator 2: Judgement Day, a technique that still stands up here in 2013, so there’s no excuse!

Now that I’ve watched both, I can say without a doubt that this was a heavy influence on Paranorman. With a title like The Frighteners, the movie poster, and the way a good 60% of this flick play out, one would think is it some truly scary film, but it isn’t. As a matter of fact, this is one of those Halloween party films you put in while your guests are arriving, so that you can warm up before the scary “main event” films. That being said, for what it is, this isn’t a bad film at all. I just feel it needs a little work to be better. Does that mean I don’t like it? Of course not! As a matter of fact, I actually recommend it, so give it a go, eh?

3 1/2 out of 5 stars

The Lords of Salem

Posted in Horror, Independent, Movie Reviews with tags , , , , , , , , , , , on September 14, 2013 by Mystery Man

PLOT (spoiler alert!!!):

In Salem, Massachusetts, Heidi (Sheri Moon Zombie), a recovering drug addict, works as a DJ at a hard rock station with her co-workers Whitey (Jeff Daniel Phillips) and Herman (Ken Foree). She receives a strange wooden box containing an album by a band named the Lords of Salem. At her home, she and Whitey listen to the record which is of a woman’s voice reciting a mysterious chant. Heidi has a vision of witches birthing a baby then damning it. The vision stops once Whitey turns the album off.

The next day, Heidi interviews Francis Matthias (Bruce Davison), who has written a book about the Salem witch trials. The station then plays the Lords of Salem record, which causes all of the women in Salem (other than Heidi) to enter a trance. After the show is over, Matthias tells his wife that the band’s name, The Lords of Salem, bothers him. That night, Heidi’s landlord, Lacy (Judy Geeson) insists that Heidi split a bottle of wine with her and her sisters, Sonny (Dee Wallace) and Megan (Patricia Quinn). Megan, a palm reader, tells Heidi that she is fated to succumb to her dark sexual desires: “the only reason you exist.” Disturbed, Heidi leaves the party. Later, Heidi notices her dog is acting strangely. She enters the supposedly vacant Apartment 5 and experience visions of a demon and a nude witch that demands that she lead the coven again. Heidi wakes up in bed and assumes the events in Apartment 5 were a vivid nightmare.

Troubled, Heidi visits a graveyard church where she is sexually assaulted by a priest. She then wakes up in one of the pews, with the assault seemingly another dream. Heidi flees the church but is faced with a ghostly entity who tells her that he has been waiting for her. Meanwhile Matthias researches the Lords of Salem. He discovers some music in a book he is reading and, after asking his wife to play the notes on their piano, realizes that it is the same music heard on the record. Matthias tracks down the author, who tells him that in the seventeenth century one Reverend Hawthorne (Andrew Prine) accused a coven of witches of creating the music to control the women of Salem. As a result Hawthorne killed the witches, but not before one of them, Margaret Morgan (Meg Foster)—the witch Heidi encountered outside Apartment 5—cursed both the Salem women and Hawthorne’s descendants, calling his bloodline “the vessel by which the devil’s child would inherit the earth.” Further research demonstrates that Heidi is a descendant of Reverend Hawthorne.

Heidi’s radio station announces they will be giving away tickets to the upcoming Lords of Salem concert. The record is played once again, which causes Heidi to have more strange visions that upset her. Upset, she spends the night at Whitey’s home, but experiences more disturbing visions before waking up in her own apartment. Heidi begins smoking heroin again. While she is stoned, Lacy, Sonny and Megan take her to Apartment 5. Instead of an apartment it is a huge opera house with the demon at the top of a staircase. She approaches him as he screams, but later finds her way back to her bedroom.

The next day, Matthias tries to tell Heidi the truth about the Lords of Salem and her lineage. Instead, Lacy and her sisters kill him. Heidi hears his murder, but does nothing. At the concert, Heidi joins Lacy, Sonny, Megan and the ghosts of Margaret and her coven in a satanic ritual. The Lords’ music causes the female audience members to strip off their clothes. In the midst of surreal visions, Heidi blissfully gives birth to a strange creature atop the corpses of the naked audience members. The next day, Heidi’s station reports on a mass suicide at a rock concert, as well on the disappearance of Heidi.

REVIEW:

Rob Zombie, who some have referred to as this generation’s “master of horror”, returns with a new treat for us, The Lords of Salem. As far as horror goes, the Salem witch trials don’t seem to tapped as much as they could be, so Zombie takes a chance with this topic. I have to ask, though, why does he constantly stick his wife in every film he makes?!?

What is this about?

Soon after rock DJ Heidi airs a mysterious album she received on vinyl, the locals start clamoring to hear more from the Lords of Salem. But the group’s otherworldly sounds have a strange effect on everyone, including Heidi.

What did I like?

Passion. Say what you will about the film, you cannot deny that Rob Zombie has a true passion for horror. Some may even go so far as to say he has a talent for the genre. The minor details he pays attention to that random horror directors ignore, such as actually developing the characters and building up the suspense for a big surprise at the end, are part of what make him such a good horror director.

Visuals. This film is like an acid trip, much like anything having to with Rob Zombie tends to be, and yet it works for this film. I’m not 100% sure why this is. Perhaps it is the shift in tone from the gritty realism this flick was utilizing. It was a nice change, as it woke me up from the  near sleep this film was putting me into. I did dig the 70s vibe that was going on here, though.

Real bodies. There are a couple of scenes that show nude women. I bring this up because they are all different sizes, skinny, average, a little extra baggage, old, firm (with what I assume are implants), muscular, etc. I found this to be interesting, as most of the time when you see a group of nude women, they are all the same size 0-4. Also noted, many times, the larger women were front and center, which I found quite interesting.

What didn’t I like?

Oh Sheri. In every movie Rob Zombie has directed, Sheri Moon Zombie has a part, usually a starring role. I have to ask why, though. Unlike with Kevin Smith and his usual crew, Adam Sandler and his frat pack, and the Tim Burton-Helena Bonham Carter-Johnny Depp love triangle, Sheri is not a good actress and her look are overrated, especially as she’s getting older. Rob, we get that she’s your wife and you want to show her off and everything, but seriously, dude, find someone else to star in these things because she’s not cutting it!

Freakshow. For me, this came off more as a film that showed more freaky rituals than anything that was scary. I was expecting to see a certain amount of freakiness, to be sure, but I was also expecting to get some scares, which didn’t happen. I’ve been more frightened of the Haunted Mansion at Disneyworld than what I saw here, which is a damn shame!

Cast yourself. I have to wonder why it is that Rob Zombie found someone with similar hair to him to be the de facto love interest for his wife. Was he trying to make a sex tape without actually being there and it turned into this? Does he just want a look-alike t be with his wife? If so, then why didn’t he just do those scenes himself? Its not like this guy, Jeff Daniel Phillips, is the star.

My expectations for The Lords of Salem weren’t very high, but I did expect something more entertaining than this. A couple of my friends went on a tirade about this film on their DVD/Blu-ray podcast and I thought they were just over exaggerating, but now I may be changing my tune. Let me stop beating around the bush. This is not a film that should be seen, even if you’re a Rob Zombie fan. He has better films *COUGH* House of 1,000 Corpses *COUGH* Avoid this film like the plague, if you know what’s best for you!

2 out of 5 stars

10

Posted in Classics, Comedy, Movie Reviews, Romantic with tags , , , , , , on June 6, 2012 by Mystery Man

PLOT (spoiler alert!!!):

During a surprise 42nd birthday party for George Webber, a well-known composer of popular music, he finds himself coping badly with incipient middle age. When he catches a glimpse of a mysterious woman en route to her wedding, he is instantly obsessed by her beauty, and – despite the presence of his lover Samantha Taylor – follows the woman to the church where he crashes into a police cruiser and is stung by a bee. George visits the priest, and learns that the woman is Jenny Miles, daughter of a prominent Beverly Hills dentist. Later that night, Sam and George have an argument about George’s failure to give her the attention she needs, his use of the term “broad”, and the fact that he and his neighbor (a wealthy porn producer) watch each other perform carnal acts using telescopes. The final straw for Sam occurs when George makes a remark subtly impugning her femininity at which point Sam leaves in a huff.

The following day, George and Sam suffer a series of mishaps that prevent them from reconciling, including George spying on his neighbor until hitting himself with his telescope and falling down an embankment, causing him to miss Sam’s phone call. In addition, George schedules a dental appointment with Jenny’s father, and while in the dentist’s chair, subtly leads the dentist into disclosing that his daughter and her husband went to Mexico for their honeymoon. The examination also reveals a mouthful of cavities, requiring the dentist to spend the entire afternoon inserting fillings in George’s teeth. The after effects of the novocaine, which are aggravated by his heavy drinking immediately after, leave him completely incoherent and when Sam finally reaches him on the phone she mistakes him for a madman and calls the police. The police storm his house, but recognizing him they leave amicably. He visits his neighbor’s house to take part in an orgy just as Sam arrives at his house, and she spots him through his telescope, widening the rift between them.

Later, George impulsively follows the newlyweds to their exclusive hotel in Manzanillo, Colima, Mexico. In the bar, George encounters an old acquaintance, Mary Lewis, who suffers from a lack of self-confidence because she blames herself for a series of failed relationships. When they attempt a fling that night, she interprets George’s inadequacy in bed as confirmation of her insecurities despite her better-than-average looks and easygoing disposition.

One hot day at the beach, George sees Jenny – suntanned and dressed in a one-piece swimsuit and her hair braided in cornrows – which furthers George’s obsession. He notices that David, Jenny’s husband, has fallen asleep on his surfboard. Pretending to inquire about renting a surfboard, George learns that beyond a certain point are powerful currents that can sweep a swimmer or surfer dangerously far from land. George rents a catamaran, clumsily but successfully rescues David, and becomes a hero. Both Sam and his songwriting partner see him on TV Network News and Sam tries to call him, but George (unaware that it is Sam) refuses the call. David, badly sunburned, stays in the hospital, allowing Jenny and George to spend time alone together, culminating in Jenny seducing him to the sounds of Ravel’s Boléro.

Although George is initially elated to find all of his fantasies being fulfilled, he is horrified when Jenny takes a call from her husband while in bed with him and casually informs him of George’s presence. He is even more confused when David responds with a complete lack of concern (he had called to thank George for saving his life). When Jenny explains their open relationship and mutual honesty, George is appalled; with the thrill of enjoying forbidden pleasures extinguished, he loses interest in Jenny and he heads back to Beverly Hills.

At the end of the film, he reconciles with Sam by demonstrating a new maturity and, taking an idea from Jenny, he starts Ravel’s Boléro on the phonograph and they make love with the music playing in the background. This is in full view of the neighbor’s telescope shortly after the neighbor has walked away in disgust, complaining that he has had enough of providing erotic entertainment to George and getting nothing in return.

REVIEW:

In all the classic films I’ve seen, the 70s seem to be an era that I tend to overlook. I don’t really know why, but that is just the way it is. In an effort to rectify this, I decided to give a film I’ve been putting off again and again a shot, 10. I’m sure you’ve heard of this film, or at least how it made a star of the perfect female specimen, Bo Derek (there is a reason this is called 10, after all).

What did I like?

Perfection. The title doesn’t lie. Bo Derek is a 10, maybe even an 11, as Dudley Moore’s character categorized her.. Kudos to the casting directors for going with an unknown actress, rather than trying to force a “name” actress whose looks were overrated.

Where is the cheese? Every romantic comedy I’ve seen has been pure cheese, but for some reason, this film breaks with tradition and actually presents a decent story without getting cheesy, or overly dramatic.

Classical gas. I’m a fan of classical music, so the whole scene where Jenny and George are discussing such classical composers as Ravel and Prokofiev was a sheer treat for me. I know it probably bored or confused just about everyone else that watched this, but it was one of the highlights of the flick for me.

Gratuitous natural debauchery. Like most men of today’s society, I am a fan of full, bouncy breasts. However, there is an abundance of naked women in this film, and every one of them has a cup size that is a small C or below, I would wager. Nothing wrong with that at all. Sometimes the natural way is the best way, though I do question the fact that there couldn’t have been one or two fuller cupped women around.

What didn’t I like?

Why? I will never question Julie Andrews’ acting talents. Hell, they even found a way to let her sing in this film without it becoming a musical. However, I just don’t see why they would choose her when they could have gone with someone else who seems to be more cut out for this kind of role. I’m sorry, I just didn’t care for her here.

Dudley do Wrong. I will never be president o the Dudley Moore fan club, of that there is no question. I did find his performance to be a bit more controlled that in those Arthur films, however. I still found him to be a bit grating. Hell, I’ll just say it…annoying. Can this guy play anything besides a rich guy who has everything and is in some sort of love triangle?

WWRD? When Ravel composed “Bolero” in the 1920s, I doubt he had in mind that it would be used as sex music, yet that is exactly what they have reduced it to. I don’t believe I’ll ever be able to listen to it the same way again. They have literally ruined a truly great musical masterpiece, one that I spent quite some time studying in college.

Hair today, gone tomorrow. I have to wonder, why exactly Bo Derek had her hair in braids. If there is a flaw in her sheer perfection, that’s what it was. Why, oh why did they have to do that to her hair. Even more, why have it that way for the entire flick?!?

What did I ultimately think of 10? Well, it isn’t exactly a summer popcorn flick, but it is enjoyable. No, it isn’t laugh out loud funny, but there are scenes that will make you giggle, or at least smile. I liked it, but didn’t love it. Do I recommend it? Yes, there is no reason you shouldn’t at least give it a shot. Check it out sometime!

3 3/4 out of 5 stars