JayDee's Movie Musings

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Miss Vicky's Loyal and Willing Slave
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Year of release
1971

Directed by
Don Siegel

Written by
Harry Julian Fink
Rita M. Fink
Dean Riesner

Starring
Clint Eastwood
Andrew Robinson
John Vernon
Reni Santoni


Dirty Harry

-

Plot – The city of San Francisco is being terrorised by a killer who stalks the city's rooftops, going by the name of Scorpio. Unless he receives $100,000 he promises to continue killing. Police detective Harry Callahan makes it his mission to hunt down and stop the psycho, using his unique brand of justice if required.

I know what you're thinking. "Did he fire six shots or only five?" Well, to tell you the truth, in all this excitement I kind of lost track myself. But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: "Do I feel lucky?" Well, do ya, punk?”

A cracking, iconic piece of dialogue. However would it have worked quite so well if Frank Sinatra (first choice for the role) had been the man delivering it? Somehow I don't think so. Every so often there is a performance that after you've seen it you just can't imagine anyone else could have played the role. This is one of those performances. Eastwood just oozes cool and a ruthless machismo as Harry Callahan. As this savage warrior, trying to find his place in modern society, he brings a terrific intensity.

This is a really taut, spartan offering from Don Siegel. It's a relatively simple story, told in an extremely straightforward manner which barely wastes a minute. We open with the killer's first strike against the city, and from then on the film is almost solely concerned with the ever escalating conflict between Scorpio and Dirty Harry. Outside of one line about his wife we don't really learn anything personal about Harry. We don't get to see his home life, we don't see what motivates and drives him, what it is that has crafted his current character. And to be honest it doesn't really feel like we have to see any of it. The character is just so unshakable and determined in his actions that we accept it without having to wonder why he is like this.

We only get a few breathers from the main story to see what kind of cop Harry is, and the actions he takes in the line of work. We see his unique involvement in a bank robbery and an attempted suicide. We see that he is pretty much a bad ass who doesn't care who he upsets as long as he gets the job done.

The film shares a lot of the same qualities of the other Siegel movie I've watched recently, Charley Varrick. As well as a charismatic central performance, the film is driven by Siegel's energy and style His style is not overly fussy or ostentatious; he just delivers captivating cinema with some dynamic action. Also like Charley Varrick the film is awash with colourful characters and some cracking, rich and vibrant dialogue. Eastwood is given most of these great lines to growl, and outside of the iconic “do you feel lucky?” other favourites of mine included his response to being asked of his involvement in the assault on Scorpio - “Anyone can tell I didn't do that to him...cause he looks too damn good!” and explaining some of previous actions - “When a naked man is chasing a woman through an alley with a butcher knife and a hard-on, I figure he isn't out collecting for the Red Cross.” The further work of Don Siegel is certainly something I plan on checking out.

As well as just delivering a great piece of blistering action the film also tackles the issue of justice, and if it can be served correctly when you give the criminals too many rights to the detriment of the rights of the victim. To try and stop the bad guys from further crime the cops may step over the line and do something that allows the criminal to walk free. Where the film was once considered controversial and indeed fascist, now it feels very standard, clichéd even. Any cop worth his salt these days, whether it be on the big screen or small, has to be a maverick who plays by his own rules. A man not frightened to play 'dirty' as long as achieves the right results.

This film stands out from much of the other 70s fare so far. Whereas most of the films you could describe as leftist and critical of authority/establishment, this is a rare deviation from that. In a landscape of anti-nuclear (The China Syndrome), anti-government (All the President's Men) and anti-establishment (Dog Day Afternoon) films this certainly seems to stand out as a bit of a wet dream for those of a right wing persuasion. Perhaps the fact that the film was produced and released before the events of Watergate and Attica, and before the end of the Vietnam war, means that while there may only be a few years difference from most of the other films I've viewed, it's a product of a very different time.

The film also makes it extremely easy to root for such an anti-hero, and cheer on his questionable acts, by pitting him against such a despicable and heinous villain. While actually based on the real-life Zodiac killer Scorpio feels a lot like the kind of comic book style serial killers found in the TV show Dexter, with his 'cool' name and over the top manner. A lot of credit should go to Andy Robinson for helping to create this vile monster. He is extremely hateful. As well as being vicious when he's hunting, when he becomes the prey he turns into a pathetic, snivelling creep; begging for his rights and to be left along. He's not a particularly well crafted or written villain. We don't learn anything about his background, or the reasons that have motivated and moulded him to this point. So it has to be his actions that power the character and there are a number of striking and disturbing scenes which do so. Perhaps the most powerful being when he pays a man to beat him to a bloody, swollen pulp. Though he actually has to be one of the worst serial killers ever committed to celluloid. While he does rack up a few kills he also comes close to being captured a number of times throughout the film, his escapes more to do with luck than any real skill.

There are a number of other elements in the film which added to my extreme enjoyment of it. There's the funky, psychedelic score from Lalo Schifrin and the moody, atmospheric use of shadows as the majority of the film takes place at night. Particularly impressive and indeed quite eerie are the scenes taking place in the football stadium as Harry chases down Scorpio. I also think it's a great 'city movie', on this occasion wonderfully showing off San Francisco. It feels like a real time capsule of the city from that time. Oh and while the role of Gonzalez isn't given a great deal of screen time, the relationship between him and Callahan is well handled as Gonzalez goes from a useless rookie in Harry's eyes to a cop who has earned his respect and gratitude.

I also really enjoyed the finale of the film. It really highlights the old-style values of Harry. Like a sheriff out of the Old West he guns down his target, before taking his badge and throwing it into the river, walking off into the sunet never to be seen again (except in the four subsequent sequels of course! ). Even the setting for this final showdown; an old mine, helps to evoke the environment and era were this character would seem more comfortable.

Conclusion – A thrilling, searing piece of action. A truly great cop movie, well deserving of its iconic status. A film that set the benchmark and template for so many action films to follow, particularly in the 80s with the arrival of Stallone, Schwarzenngger, Seagal etc



Miss Vicky's Loyal and Willing Slave
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Year of release
1972

Directed by
Joseph L. Mankiewicz

Written by
Anthony Shaffer

Starring
Laurence Olivier
Michael Caine



Sleuth

+

Plot – Andrew Wyke, a wealthy writer of crime novels, invites Milo Tindle round to his house. Aware that Tindle is having an affair with his wife, Wyke initally seems to happily accept it and indeed has a plan that will benefit both of them. Everything sounds good. Except that Wyke has a little 'game' in mind for Tindle.

I had high hopes for this one. Going by the plot it sounded like it could a very entertaining, playful treat. While it was still quite enjoyable, it eventually came up as a bit of a disappointment.

My touchstone nowadays when it comes to thrillers is Alfred Hitchcock, and again this is a film I could easily picture him having been involved with. Indeed with the back and forth relationship between Wyke and Tindle, and the macabre nature of the 'games', it has quite a strong resemblance to Hitchcock's own Rope; a film I much preferred.

My main problem was that most of the story felt quite obvious and telegraphed to me. I was able to guess very early on about each twist and turn that was to come, which just left me waiting for the film to catch up. Not exactly what you want from a film that is trading on suspense and mystery. It was only in the last 20-30 minutes really that some doubt comes into proceedings that I moved from just fairly enjoying the film and started to get really hooked. Even then however there were a couple of plot holes that annoyed me and slightly ruined an otherwise satisfying ending. While there have been a number of realistic films in this season of 70s thrillers, and a few that resemble docu-dramas, this is very clearly a production. And a production that at times feels restricted by its stage roots.

Adapting his own play Anthony Shaffer produces an sharp script which just about lifts the film above its fairly ludicrous plot and developments. For example the way that Caine's character jumps back and forth so quickly from being suspicious of Wyke's plan, to being all for it doesn't feel that credible. And even when he agrees to go along with it, the fact that he would go so far in terms of the clown costume and ladder etc feels a bit farcical. And surely he would question why Wyke wouldn't arrange to be away from the house with an alibi to support that. That aside however the sharp dialogue and cutting one-liners are able to create a great battle of wits in this verbal sparring match. And while it is fairly ridiculous, the script also takes the time to look at the theme of class struggle as the upper class author with a rich English heritage clashes with the working class hairdresser of Italian descent, both men seeming to resent the other for their ancestry and supposed birthrights.

I have to admit up front to not really being a fan of Michael Caine. I've always found him a touch annoying, largely down to the accent. I think the fact it's also a voice that has been so often imitated and spoofed makes it difficult to buy into him in a way. I'm always half expecting him to stop midway through a film and announce “And now for my next impression...William Shatner!” So it's always going to be a struggle for him to stand out, and will mostly likely hurt the enjoyment of any film he stars in. However to be fair to him he does a fairly good job here for the most part, and has a very nice, easy chemistry with Olivier in their games of one-upmanship. Speaking of Olivier he seems to just be having a whale of a time as the always eccentric, sometimes menacing aristocrat with a great passion for playing games. As I've often found from him, while he is good it's in quite a hammy, sometimes camp style. He certainly seemed to subscribe to the sentiment of “go big or go home.” In this kind of film however it works extremely well, providing a great deal of the film's fun.

When the film works it is indeed good, devilish fun. However for me the film feels overlong, and could easily have been trimmed by a good 20/30 minutes. I just feel the energy saps out of the film at times during its first two acts. And I don't think the pacing is helped by the fact that the whole 138 minutes only features two characters throughout, and takes place solely in one location. Though on that facet a lot of credit is due. The sets are designed with such fantastic attention to detail and with so much stuff laden about that there is always something for the eye to focus on. There is such a large collection of toys, gadgets, trinkets, games etc in amongst the unusual and striking décor that we don't always notice just how claustrophobic it all is.

The set is also brought into use with the director using continuous quick cuts to shots of the automata that litter the mansion; from dolls to mannequins, from games to the incredibly creepy Jolly Jack Tar. For the most part it helps to create a quite eerie, unnerving tone before descending into just plain annoying and tedious through its overuse. In a fairly solidly directed effort I'd say this is Mankiewicz's one real failure.

Conclusion – A film that at times is really good fun as Caine and Olivier go at each other. However it's running time and obvious (for me at least) twists and turns mean that too often the action just lulls and falls short of being a very good/great movie.



“When a naked man is chasing a woman through an alley with a butcher knife and a hard-on, I figure he isn't out collecting for the Red Cross.”
I love that line too.



Miss Vicky's Loyal and Willing Slave
Forgot to add that after such a strong opening to the series I will be adding Magnum Force and The Enforcer to my list of possibilities for my seemingly never-ending season of 70s thrillers!

You mentioned that you liked all of them HK. Which is your favourite?


Next review will be The China Syndrome.



You mentioned that you liked all of them HK. Which is your favourite?
Hmm... Well, The Enforcer was the first Dirty Harry film I saw, so I really like that one. As it was the first DH film I saw, it was all new to me and ok, though not upto the standard of the previous two. Dirty Harry is probably the best (BTW, if you get the chance, check out the tv series Sledge Hammer. Great stuff and inspired by the film Dirty Harry) and I love Magnum Force, just because David Soul's a bad guy. The Dead Pool is ok, but only for those who like the series, want to see Guns N' Roses briefly (this was the main reason I saw it) or Jim Carrey as a rock star. Actually, though I've not seen it in a long time, The Dead Pool is the closest to Sledge Hammer.



Miss Vicky's Loyal and Willing Slave
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Year of release
1979

Directed by
James Bridges

Written by
Mike Gray
T.S. Cook
James Bridges

Starring
Jack Lemmon
Jane Fonda
Michael Douglas


The China Syndrome


Plot – During a routine news piece, reporter Kimberly Wells (Jane Fonda) and her cameraman, Richard Adams (Michael Douglas) are caught up in an a near disaster at the Ventana nuclear power plant. Believing that they have stumbled upon a huge story, they find themselves frustrated when their story is blocked and denied at every turn. They find an ally however in the plant manager, Jack Godell (Jack Lemmon). He is all to aware of the dangerous situation they are in, but is the only one willing to acknowledge it. Even if doing so may risk his life.

So far during my 70s run I've come across a lot of recurring themes – anti-authority sentiments, cover-ups, conspiracies, paranoia, suppression of the truth etc. This film again features many of them. In particular this shares much in common with The Andromeda Strain, so much that it almost mirrors it, with the only change being from the issue of a virus of extraterrestrial origin to the issue of nuclear power. They both deal with the theme of man's reach exceeding his grasp and bringing about his own destruction though human error and complacency.

And just like The Andromeda Strain (and indeed a few others of late) the film comes close to resembling something of a docu-drama. It is able to aim for and achieve moments of documentary style realism, due in no small part to tight scripting and directing. The complete lack of score music just reinforces this tone, were even the closing titles roll by in complete silence. This is a film with a message, and the odd generic Hollywood moment aside, there is little light relief to be found.

The film is spearheaded by a great performance from Jane Fonda, and a truly wonderful showing from the legend that is Jack Lemmon. Each of them well deserving of the Oscar nominations they scored for their work. Fonda as the determined news reporter out to prove herself, and Lemmon as the plant supervisor who has a great dedication to his job but is smart enough to spot trouble, and who cannot quiet his conscience the way that others can. They are also supplied with some very strong support from Michael Douglas' impassioned cameraman, and Wilford Brimley as Lemmon's co-worker.

Lemmon's character is a great believer in nuclear power, and has great affection for the plant where he works. So to have to do what he does really tears him up. He doesn't want to hurt the industry he works in but feels he has no choice, eventually leading him to take drastic and explosive action. His performance, and the character he has taken on, just grows and grows as the film goes along. A truly superb actor delivering another in a long line of high quality performances.

Right from the start we are given a great introduction to Fonda's character and her motivations. We see her preparing meticulously for what seems sure to be a serious, hard-hitting piece of journalism. Only to have it revealed to be a puff piece about singing telegrams. Clearly this is a woman who wants to tackle serious news and believes she is more than capable, desperate to prove to everyone at the station she is more than just the 'redhead' as she is frequently referred to as. When this incredible story falls right into her lap, she is not about to let it go.

The film does not come across as a particularly neutral or objective work. It certainly seems t have chosen its side and set out its stall accordingly. It strongly questions the use of nuclear power and the precautions we have in place, as well as criticising those officials who place economic considerations above the safety of the public. It also seems to implicate the media who choose to cover-up the truth when threatened with legal action.

Particularly well handled is the initial accident which sparks everything off. We really feel the incredible, almost heart-stopping tension of the accident, due in large part to the wonderful performance of Lemmon. His anguished looks of desperation and fear, and eventual relief, really drag us into this predicament. Then after a slow (but nicely paced) build of the tension for about 90 minutes the last act of the film really ramps up the action and power as Lemmon's plant manager can no longer stay silent, choosing to aid Fonda in revealing the truth. As he does so however an element of deception and cover-ups come into play to try and stop him in his tracks. Realising what he is up against he takes matters into his own hands, creating a riveting and tragic conclusion

Just 12 days after this film was released there was the infamous accident at Three Mile Island. All of a sudden this piece of paranoid-drenched fiction was given an incredible seal of credibility. And sadly its message on the dangers of nuclear power are still very relevant over 30 years later, as we are just over a year away from the terrible incident that befell the Fukushima Nuclear Plant in Japan.

Conclusion – This is an intelligent and focused thriller that works both as a plausible story able to make serious points, while at the same time proving to be a gripping and enthralling piece of suspense. Its a storyline that could very easily be found on a TV movie, but is lifted high above that level by a number of impressive technical elements, not the least of which is the terrific acting.



We've gone on holiday by mistake
Rep for Day of the Jackal and Dirty Harry.

I love how you are witholding giving 5 stars and can't wait to see what films you actually deem worthy of top marks!



Miss Vicky's Loyal and Willing Slave
Loving these reviews, JD. You've really stepped it up over the last few weeks.
Thanks once again HK. I think that's the 3rd or 4th time you've written that exact same sentence. And I appreciate it everytime!


Rep for Day of the Jackal and Dirty Harry.

I love how you are witholding giving 5 stars and can't wait to see what films you actually deem worthy of top marks!
Thanks Gandalf. While I am a generous reviewer and rater (I'll throw about 4.5 often) it's rare that I'll give out a 5. And I don't think I ever do on a first viewing



Tell you what JayDee. I've seen almost all the films you have reviewed but I'll read the reviews anyway because your review style is exceptional.
I like the way you write. It kind of reminds me of Bruce Williamson's style. He used to to write movie reviews exclusively for a well known magazine.
Do you know who I'm talking about?



Thanks once again HK. I think that's the 3rd or 4th time you've written that exact same sentence. And I appreciate it everytime
That's because they're just getting better and better, so each time it's true.



Miss Vicky's Loyal and Willing Slave
That's because they're just getting better and better, so each time it's true.
Awww. I'm touched. We need a hug smiley!

Tell you what JayDee. I've seen almost all the films you have reviewed but I'll read the reviews anyway because your review style is exceptional.
I like the way you write. It kind of reminds me of Bruce Williamson's style. He used to to write movie reviews exclusively for a well known magazine.
Do you know who I'm talking about?
Wow thank you very much CA. Although I think 'exceptional' might be going a bit far.

Never heard of Bruce Williamson but I'll assume he's well thought of (and hope he's not seen as a hack! ) and say thank you. Will have a look into him and his work if any is about

Oh and thank you (or congratulations if you see it as a big deal! ) for leaving me my 1000th piece of positive rep.


Next review will be up later on. Just finishing it off just now



Miss Vicky's Loyal and Willing Slave
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Year of release
1971

Directed by
Boris Sagal

Written by
John William Corrington (script)
Joyce H. Corrington (script)
Richard Matheson (novel)

Starring
Charlton Heston
Anthony Zerbe
Rosalind Cash



The Omega Man

+

Plot – A biological conflict between Russia and China has left the world in ruins as a plague has wiped out most of the human race. Doctor Robert Neville (Charlton Heston) is the last unaffected man alive, or at least he believes so. While trying to work on a cure, he also must fight off a group of mutated humans known as 'The Family', led by the enigmatic Matthias (Anthony Zerbe).

Talk about your drop-offs in quality. Now I know I'm a generous reviewer and rater but for the most part I think I've been watching some high-quality films in my little 70s thriller season. As a result this sticks out like a sore thumb. Even the films I haven't fallen madly in love with have at least had some impressive qualities that I've admired and been interested by. This however in terms of acting, scripting, directing and production design is just dreadful. This is some cheap, cheesy, ham-fisted stuff.

Using Richard Matheson's I Am Legend as its inspiration (though quite loosely from what I understand) the film has a great premise to base a film on; that being the story of the last man alive. After that however it depends on where you go with it.

The film actually starts fairly decently (almost masterpiece like quality compared to what it descends in to) as Heston drives through a deserted Los Angeles, and does battle with the ghouls that stalk and haunt him. It creates an entertaining and somewhat eerie tone to kick off the film. But then people start talking and things start to quickly fall apart! In fact that's kind of the story of the whole film, it's at its best when everyone is just keeping their mouths shut.

One of the film's main (and many) failings are the albino zombies/ghouls/vampires/whatever the hell they are meant to be. They are just too ridiculous and downright cheesy to take them seriously. With their pale faces (seemingly dusted with talcum powder) and black robes they are just laughable; reminding me of some of the really cheap, dodgy creations you would get on the 60s Batman show or old episodes of Doctor Who. And the grandiose way in which they talk about their new world order drivel doesn't help matters. And for the main threat in a film they are also pretty damn hopeless. They are incompetent, disorganised and constantly outwitted and outfought by one solitary man.

There are some truly dreadful moments of acting here, not helped by some of the cringeworthy dialogue they are made to spout. I think worst of all is the moment a young girl looks up at Neville and ever so earnestly asks “are you God?” And it's not just the young or inexperienced actors that are at it. Good old Oscar-winning Charlton Heston himself chips in with just about the worst attempt at a laugh I've ever heard. Heston's performance and the scrip both also ensure that Neville does not come across as particularly vulnerable. Unlike Will Smith in I Am Legend I didn't really get that much of a sense that he was struggling in this world all by himself. There are a few attempts to make him appear lonely and isolated but they don't really succeed. As a result I didn't greatly care for him or what might fate might befall him.

The film is like a car crash. No matter how bad it is it's difficult to tear your eyes away. As a result I never came close to actually giving up on it, being really quite curious to see just how much worse it could get. And it did get worse. Spectacularly so! While it wasn't exactly a classic in the making the film was going along fairly harmlessly and un-annoyingly (I don't care if that's a word or not! ). And then it introduces heavy blaxploitation elements, some hippies and worst of all a Jesus allegory that is so heavy-handed that I just about suffocated under the weight of it. We watch Neville's self sacrifice as he gives his blood 'so that others may live', eventually resulting in him displayed in a crucifixion pose. There is also an interracial romance between Neville and Lisa which I imagine may have been a bold move at the time in the current landscape, but feels dubious and quite pathetically created.

Following the decent opening there are a few other moments which stand out from the rest of the dross. Rosalind Cash provides quite a fiery and engaging performance as Lisa, even if she is seemingly plucked straight out of a blaxploitation flick, and stuck with some embarrassing jive talk.. And there are also a couple of entertaining scenes – a fairly well crafted motorcycle chase, and an eerie scene in a wine cellar that unbeknownst to Heston is crawling with ghouls.

With so many elements similar to Planet of the Apes (Heston as the last 'normal' man in a post-apocalyptic world, taking on mutant oppressors, captured and put on trial etc) the film feels like it is desperately trying to replicate that magic, but fails on every conceivable level.

Conclusion - To be fair to the film in its own way I suppose it does have a cheap, naïve charm. And I can just about see how some people would love it as a guilty pleasure. It's just that I didn't. Given all my problems with it, it may seem I've given it a fairly 'high' rating. That's because some of it actually is quite fun, it's just that it's rarely of the intentional variety.



Miss Vicky's Loyal and Willing Slave
And following that here is the updated status report on my 70s thriller season.


Marathon Man - +
All the President's Men -
Assault on Precinct 13 -
Dirty Harry -
-
Three Days of the Condor - ++
The Day of the Jackal - +
The China Syndrome -

Frenzy -

Dog Day Afternoon - -
The Andromeda Strain -
-
Charley Varrick - ++
The Conversation - +
Sleuth -
+
Deliverance -
The Boys from Brazil - +
The Omega Man -
+


And here are the possible films that I could still watch as part of the season. It's been updated with a few more that I've stumbled across, taped or bought -

Capricorn One/ Coma/ Duel/ Escape from Alcatraz/ Family Plot/ Le Cercle Rouge/ Magnum Force/ The Parallax View/ Play Misty for Me/ Prime Cut/ Silent Partner/ Stepford Wives/ The Warriors and The Manchurian Candidate (even though it's from 1962 I could make a HK-inspired exception)

Le Cercle Rouge and Silent Partner are both ordered but still waiting on them arriving. I might also have the third entry in the Dirty Harry series, The Enforcer, taped somewhere. I know I have Dirty Harry, Magnum Force and Dead Pool taped for sure.



Miss Vicky's Loyal and Willing Slave
Definitely overrated compared to Deliverance and Sleuth.
In terms of 'quality' I'd completely agree, but factoring in my personal enjoyment I'd say it's about right.



Awww. I'm touched. We need a hug smiley!



Wow thank you very much CA. Although I think 'exceptional' might be going a bit far.

Never heard of Bruce Williamson but I'll assume he's well thought of (and hope he's not seen as a hack! ) and say thank you. Will have a look into him and his work if any is about

Oh and thank you (or congratulations if you see it as a big deal! ) for leaving me my 1000th piece of positive rep.


Next review will be up later on. Just finishing it off just now
I'm shocked. When I searched Bruce Williamson on Yahoo and Google, I couldn't find him ( maybe too many Bruce Williamsons ) bu when I put my name in, it popped up instantly. I told myself, this ain't right, he should be better known than me so I did a different search. I typed in his name, put comma and then Playboy and then he popped up but basically as a eulogy.
He died on Oct, 13 1998 at the age of 71.
He had joined Playboy as a contribiuting editor and film critic in 1968 and had his own column, movie reviews till August of 1998, He retired from Playboy in June of 1998 but his last column still appeared in the August edition.
I collect back issues of Playboy and started collecting when I turned 16 in the nineties, to the dismay of my mother and support of my father, because it was a magazine that kept up with the times and just reading it, one could get a sense of the era. It had great articles and celebrity interviews and was an overall good read. Some of my girlfriends never believed that was the main reason I had all these issues. But I never really much cared for their pictorials, as they were always brushed up and the women, although gorgeous were mostly big breasted blondes and I prefer brunette petites, which most of my girlfriends were. But to try convincing them was a wasted effort, so I just ignored their comments. I had some crazy jealous girlfriends and learned the hard way. Anyway I enjoyed reading the magazines but that's while Hugh Hefner was defecto Editor In Chief and Publisher. After his daughter Christy took over ( although Hef's name still appears as Editor-In-Chief ) things changed, very subtly at first, but looking at it now and comparing I can see a big difference and I don't much care for it any more. I still collect because one day, after Hef dies, that collection will be worth a pretty penny and I want it as complete and current as possible.
Anyway, I'm rambling, so back to Bruce Williamson who's movie reviews left such an everlasting impact on me. I always enjoyed reading him and thought it was cool how with very few words he could give me a complete sense of the movies that he reviewed and after seeing those movies I almost always felt a sense of kinship, as I pretty much saw the
movies the same way. Many a time I would only read his review and the forum in the back issue and put the magazine away, especially when they had interviews of someone I wasn't interested in or didn't have any articles that caught my eye.
Bruce was succeeded by Leonard Maltin, in September of 1998 whose style I didn't enjoy nor did I enjoy a lot of the movies he selected for his interviews.
Anyway, after Bruce, I stopped paying attention to Playboy movie reviews. Now, the magazie doesn't even feauture movie reviews, instead it has Reviews and a sketchy current movie list lumped with some other stuff on the same page
and downsized to a review of movie of the month by someone named Stephen Rabello.
If that's progress, I don't want it. I want Bruce Williamson back just like I want Andy Rooney back on 60 minutes. Yes, the guy was super critical and negative in many respects, but hey, he sure analyzed and dissected
everyday stuff that most people were probably totaly unaware of.
Here I go off topic again, rambling.
RIP Bruce Williamson, you will always remain a great movie critic for me.



Miss Vicky's Loyal and Willing Slave
(BTW, if you get the chance, check out the tv series Sledge Hammer. Great stuff and inspired by the film Dirty Harry)
Just realised I didn't pick up on this. I love Sledge Hammer. Great fun. Recently finished the first season DVD, will need to pick up the 2nd at some point. "Trust me, I know what I'm doing."

I'm shocked. When I searched Bruce Williamson on Yahoo and Google, I couldn't find him ( maybe too many Bruce Williamsons )
Yeah had a look myself and after a little searching I found him but like you was mostly just relating to his passing. Unfortunately I wasn't able to find any of his reviews to look at. Guess I'll just have to start buying old Playboys. You know, for the articles!

Anyway, I'm rambling, so back to Bruce Williamson who's movie reviews left such an everlasting impact on me. I always enjoyed reading him and thought it was cool how with very few words he could give me a complete sense of the movies that he reviewed and after seeing those movies I almost always felt a sense of kinship, as I pretty much saw the
movies the same way
Well after reading how much you admired his work I'm honoured that you would compare my style to his.



Miss Vicky's Loyal and Willing Slave
Not sure about this next review. Think it might be a bit long, indepth and rambling. Perhaps I've mistaken length for quality. (There's a joke there but I'm going to ignore it. )