Amazon.co.uk Review
The script for Fast Times at Ridgemont High is based on filmmaker Cameron (Jerry Maguire, Almost Famous) Crowe’s time as a reporter for Rolling Stone. He was so youthful looking that he was able to go undercover for a year at a California high school and write a book about it. The film launched the careers of several young actors, including Jennifer Jason Leigh, Judge Reinhold, Phoebe Cates and, above all, Sean Penn. The story line is episodic, dealing with the lives of iconic teen types: one of the school’s cool kids, a nerd, a teen queen and, most enjoyably, the class stoner (Penn), who finds himself at odds with a strict history teacher (a wonderfully spiky Ray Walston). This is not a great film but very entertaining and, for a certain age group, a seminal film experience.–Marshall Fine, Amazon.com

On the DVD: Amy (Clueless) Heckerling and Cameron Crowe’s commentary is revealing and indicative of a time where nudity on celluloid was shocking rather than the norm as they talk about the issues which contributed to the film’s original X-rating, as well as all the actors who originally auditioned for the roles. The transfer quality is high with little grain, and although the soundtrack is in mono rather than Dolby 5.1 it is not detrimental to the film. There’s a retrospective documentary called “Reliving Our Fast Times at Ridgemont High” featuring new interviews with most of the cast and crew, plus a highly original feature about the locations used in the film, how they looked in 1982 and how they look now. For fact buffs there’s the usual mix of biographies, theatrical trailer and production notes.–Kristen Bowditch

Fast Times at Ridgemont High

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The first and only film shot entirely in subtitled Latin, Sebastiane is Derek Jarman’s first work as a director (though he shared the job with the less well-known Paul Humfress) and is a strange combination of gay nudie movie, pocket-sized Ancient Roman epic and meditation upon the image of Saint Sebastian. It opens with the Lindsay Kemp dance troupe romping around with huge fake phalluses to represent the Ken Russell-style decadence of the court of the Emperor Diocletian in AD 303, then decamps to Tuscany as Diocletian’s favourite guard Sebastian (Leonardo Treviglio) is demoted to ordinary soldier and dispatched to a backwater barracks because the Emperor (Robert Medley) suspects him of being a covert Christian. The bulk of the film consists of athletic youths in minimal thongs romping around the countryside, soaking themselves down between bouts of manly horseplay or sylvan frolic. It all comes to a bad end as the lecherous but guilt-ridden commanding officer Severus (Barney James) fails to cop off with Sebastian and instead visits floggings and tortures upon his naked torso, finally ordering his men to riddle the future saint with arrows, thus securing him a place in cultural history. The public schoolboy cleverness of scripting dialogue in Latin–a popular soldier’s insult is represented by the Greek “Oedipus”–works surprisingly well, with the cast reeling off profane Roman dialogue as if it were passionate Italian declarations rather than marbled classical sentences. The film suffers from the not-uncommon failing that the best-looking actor is given the largest role but delivers the weakest performance: Treviglio’s Sebastian is a handsome cipher, far less interesting than the rest of the troubled, bullying, awkward or horny soldiers in the platoon. Peter Hinwood, famous for the title role in The Rocky Horror Picture Show, can be glimpsed in the palace orgy. The countryside looks as good as the cast, and Brian Eno delivers an evocative, ambient-style score. –Kim Newman

Sebastiane

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The controversy that surrounded Stanley Kubrick’s adaptation of Anthony Burgess’s dystopian novel A Clockwork Orange while the film was out of circulation suggested that it was like Romper Stomper: a glamorisation of the violent, virile lifestyle of its teenage protagonist, with a hypocritical gloss of condemnation to mask delight in rape and ultra-violence. Actually, it is as fable-like and abstract as The Pilgrim’s Progress, with characters deliberately played as goonish sitcom creations. The anarchic rampage of Alex (Malcolm McDowell), a bowler-hatted juvenile delinquent of the future, is all over at the end of the first act. Apprehended by equally brutal authorities, he changes from defiant thug to cringing bootlicker, volunteering for a behaviourist experiment that removes his capacity to do evil.

It’s all stylised: from Burgess’ invented pidgin Russian (snarled unforgettably by McDowell) to 2001-style slow tracks through sculpturally perfect sets (as with many Kubrick movies, the story could be told through decor alone) and exaggerated, grotesque performances on a par with those of Dr Strangelove (especially from Patrick Magee and Aubrey Morris). Made in 1971, based on a novel from 1962, A Clockwork Orange resonates across the years. Its future is now quaint, with Magee pecking out “subversive literature” on a giant IBM typewriter and “lovely, lovely Ludwig Van” on mini-cassette tapes. However, the world of “Municipal Flat Block 18A, Linear North” is very much with us: a housing estate where classical murals are obscenely vandalised, passers-by are rare and yobs loll about with nothing better to do than hurt people.

On the DVD: The extras are skimpy, with just an impressionist trailer in the style of the film used to brainwash Alex and a list of awards for which Clockwork Orange was nominated and awarded. The box promises soundtracks in English, French and Italian and subtitles in ten languages, but the disc just has two English soundtracks (mono and Dolby Surround 5.1) and two sets of English subtitles. The terrific-looking “digitally restored and remastered” print is letterboxed at 1.66:1 and on a widescreen TV plays best at 14:9. The film looks as good as it ever has, with rich stable colours (especially and appropriately the orangey-red of the credits and the blood) and a clarity that highlights previously unnoticed details such as Alex’s gouged eyeball cufflinks and enables you to read the newspaper articles which flash by. The 5.1 soundtrack option is amazingly rich, benefiting the nuances of performance as much as the classical/electronic music score and the subtly unsettling sound effects. –Kim Newman

A Clockwork Orange

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The Crow set the standard for dark and violent comic-book movies (like Spawn or director Alex Proyas’s superior follow-up, Dark City), but it will forever be remembered as the film during which star Brandon Lee (son of martial arts legend Bruce Lee) was accidentally killed on the set by a loaded gun. The filmmakers were able to digitally sample what they’d captured of Lee’s performance and piece together enough footage to make the film releasable. Indeed, it is probably more fascinating for that post-production story than for the tale on the screen. The Crow is appropriately cloaked in ominous expressionistic shadows, oozing urban dread and occult menace from every dank, concrete crack, but it really adds up to a simple and perfunctory tale of ritual revenge. Guided by a portentous crow (standing in for Poe’s raven), Lee plays a deceased rock musician who returns from the grave to systematically torture and kill the outlandishly violent gang of hoodlums who murdered him and his fiancée the year before. The film is worth watching for its compelling visuals and genuinely nightmarish, otherworldly ambience. –Jim Emerson

The Crow

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The “lost” sleeper hit of 1980 has since become one of the most revered cult movies of all time, largely due to its bawdy, irreverent story about the art and artifice of filmmaking and an outrageously clever performance by Peter O’Toole. As megalomaniacal film director Eli Cross, O’Toole plays a larger-than-life figure whose ability to manipulate reality is like a power-trip narcotic. The focus of his latest mind game is a fugitive (Steve Railsback) recruited to replace a stuntman killed during a recent on-set accident. In return for protective sanctuary, the fugitive takes a crash course in stunt work but soon discovers that he’s the paranoid player in a game he can’t control, with the dictatorial director making up the rules. Or is he? The Stunt Man is a game of its own, played through the fantasy of filmmaking, and half the fun of watching the movie comes from sharing the stuntman’s paranoid confusion. Barbara Hershey has a smart, sexy supporting role as a lead actress who won’t submit to her director’s seemingly devious behaviour; but it’s clearly O’Toole who steals the show. Director Richard Rush adds to the movie’s maverick appeal–in a career plagued by struggles against the mainstream studio system, Rush hasn’t made a better movie before or since. The Stunt Man clearly represents the potential of his neglected talent. –Jeff Shannon

Stunt Man

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The word “vampire” is never mentioned in Near Dark, but that doesn’t stop this 1987 cult favourite from being one of the best modern-era vampire films. It put then-unknown director Kathryn Bigelow on Hollywood’s radar and gave choice roles to Aliens costars favoured by Bigelow’s ex-husband James Cameron–Lance Henriksen is the leader of a makeshift family of renegade bloodsuckers, nocturnally seeking victims in rural Oklahoma; his immortal gal pal is Aliens and T2 alumnus Jenette Goldstein; and Bill Paxton is the group’s deadliest leather-clad ass kicker. Fellow traveller Jenny Wright lures Okie farm boy Adrian Pasdar into the group with a love bite and he’s soon turning toward vampirism with a combination of frightened revulsion and relentless desire. With Joshua Miller as the youngest vampire, Near Dark is Bigelow’s masterpiece of low-budget ingenuity–a truck-stop thriller that begins well, gets better and better (aided by a fine Tangerine Dream score) and goes out in a blaze of glory. –Jeff Shannon

Near Dark

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The years have endowed Saturday Night Fever with a powerful, elegiac quality since its explosive release in 1977. It was the must-see movie for a whole generation of adolescents, sparking controversy for rough language and clumsily realistic sex scenes which took teen cinema irrevocably into a new age. And of course, it revived the career of the Bee Gees to stratospheric heights, thanks to a justifiably legendary soundtrack which now embodies the disco age. But Saturday Night Fever was always more than a disco movie. Tony Manero is an Italian youth from Brooklyn straining at the leash to escape a life defined by his family, blue collar job and his gang. Disco provides the medium for him to break free.

It was the snake-hipped dance routines which made John Travolta an immediate sex symbol. But seen today, his performance as Tony is compelling: rough-hewn, certainly, but complex and true, anticipating the fine screen actor he would be recognised as 20 years later. Scenes of the Manhattan skyline and the Brooklyn Bridge, representing Tony’s route to a bigger world, now have an added poignancy, adding to Saturday Night Fever‘s evocative power. It’s a bittersweet classic.

On the DVD: Saturday Night Fever is presented in 2.35:1 anamorphic widescreen with a Dolby Digital 5.1 surround soundtrack, both of which help to recapture the unique atmosphere of the late 1970s. The main extra is a director’s commentary from John Badham, with detailed descriptions of casting and the improvisation behind many of the scenes, plus the unsavoury reality behind Travolta’s iconic white disco suit. –Piers Ford

Saturday Night Fever

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The Heathers are a clique of bitchy classmates in this dark comedy from 1989. The film itself was a good showcase for Winona Ryder, the Queen of Teen in the late 1980s, playing a high-school girl forced into the social world of “the Heathers”, and Christian Slater, doing his early Jack Nicholson thing. While Ryder’s character muddles over the consequences of giving up one set of friends for another, her association with the new boy in school (Slater) turns out to have deadly consequences. Director Michael Lehmann turned this unusual film into something more than another teen-death flick. There is real wit and sharp satire afoot, and the fusion of horror and comedy is provocative in itself. Heathers remains a kind of benchmark in contemporary cinema for bringing surreal intelligence into Hollywood films. –Tom Keogh, Amazon.com

Heathers

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The “lost” sleeper hit of 1980 has since become one of the most revered cult movies of all time, largely due to its bawdy, irreverent story about the art and artifice of filmmaking and an outrageously clever performance by Peter O’Toole. As megalomaniacal film director Eli Cross, O’Toole plays a larger-than-life figure whose ability to manipulate reality is like a power-trip narcotic. The focus of his latest mind game is a fugitive (Steve Railsback) recruited to replace a stuntman killed during a recent on-set accident. In return for protective sanctuary, the fugitive takes a crash course in stunt work but soon discovers that he’s the paranoid player in a game he can’t control, with the dictatorial director making up the rules. Or is he? The Stunt Man is a game of its own, played through the fantasy of filmmaking, and half the fun of watching the movie comes from sharing the stuntman’s paranoid confusion. Barbara Hershey has a smart, sexy supporting role as a lead actress who won’t submit to her director’s seemingly devious behaviour; but it’s clearly O’Toole who steals the show. Director Richard Rush adds to the movie’s maverick appeal–in a career plagued by struggles against the mainstream studio system, Rush hasn’t made a better movie before or since. The Stunt Man clearly represents the potential of his neglected talent. –Jeff Shannon

The Stunt Man

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The comedic genius of This Is Spinal Tap is confirmed by the fact that a majority of studio executives were utterly clueless about its brilliance. As a first-time director and cowriter, Rob Reiner must have felt simultaneously frustrated and elated, knowing that the obtuseness of movie executives was a clue to his debut project’s potential greatness. Now, of course, the clarity of hindsight and the rarity of superior satire have turned This Is Spinal Tap into one of the funniest documentary spoofs of all time. Reiner and the members of “Tap” (Christopher Guest, Michael McKean, Harry Shearer) couldn’t have picked a better target for their satire, because heavy metal music in the early 1980s was already a borderline case of self-parody. From the bizarre, premature deaths of the band’s drummers to the backstage squabbles over sexist cover art and meddling groupies, this movie scores about a hundred comedic bull’s-eyes for lampooning every possible aspect of rock pomposity in the age of Kiss. It’s a virtual bible of rock & roll irreverence, so accurate in its observations that it’s become a tour-bus classic for real bands around the world. On the one-to-ten scale of satirical inspiration, This Is Spinal Tap is like the modified amplifiers that Christopher Guest so hilariously demonstrates: this one goes to 11. –Jeff Shannon

This Is Spinal Tap

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