Posts by Brent Lorentson

In 2017 What the Waters Left Behind made some waves as a horror film that came out of Argentina.  It was shot on a pretty low budget, but it seems it was successful enough to warrant a sequel. I actually stumbled across What the Waters Left Behind on a streaming service one late night when I couldn’t sleep. The film is pretty much made for late-night viewing; it has a fun midnight movie vibe. The first film follows a group of documentary filmmakers that are traveling to the town of Epecuen that was wiped out in the 80’s, and the filmmakers want to check out the ruins of the town. What follows is a fun Texas Chainsaw Massacre meets The Hills Have Eyes romp filled with plenty of gore and the terrible demise of this film crew that wandered where they didn’t belong. Now it is five years later, and we have the sequel What the Waters Left Behind: Scars.  This was unexpected, but just what did I think about this Latin-flavored bloodfest? Well, it’s pretty much what I expected, and that’s a good thing.

In 1986, long before Luc Besson gave us such classics as Taken, The Fifth Element, or Leon: The Professional, he helped co-write and produce the wacky sci-fi/thriller Kamikaze.  I’m a fan of Besson, and not only had I never seen this film, I had never heard of it, so I was more than happy to check it out. In my opinion Luc Besson is one of the best action filmmakers out there. Whether he is writing, directing, or producing, he manages to put out an enjoyable product on a more consistent basis than many others.  If you are unfamiliar with the guy’s work, go ahead and take a moment to check him out on IMDB, and I’m pretty sure you’ll find a few titles on his resume that you’ve enjoyed.  Now in the 80’s you can say he was still cutting his teeth and trying to make a name for himself and had some moderate success. Subway (1985) is a fun little standout, and in 1988 he had The Big Blue.  In that time he handed off the script for Kamikaze to Didier Grousset, his Assistant Director from Subway, to direct the film, and as they say, the rest is history.

This 1975 Burt Reynolds film is nothing like I expected, and for the most part I’d say that is a good thing. When I first picked up the title, I pretty much expected this to be a fun yet somewhat forgettable action film from the 70s, something in the same vein as Stick or Gator, but instead this is a more complex story that takes many strange twists and has an ending that was pretty unexpected. The film was directed by Robert Aldrich, who was fresh off of directing The Longest Yard and also to his credit directed one of my favorite war films, The Dirty Dozen.  Aldrich is one of those directors who I’d put in the same category as Don Siegel who were just fantastic at directing “tough-guy” films that just oozed testosterone in just about every frame.  In other words, directors that Hollywood would try to cancel in a heartbeat if they were working today. That being said, this is one of those films that is a product of the time it was made, and it has enough offensive moments that would make a modern audience want to stand up and protest, and, well, it’s what makes me like this film a little more than I should.

This remake of the 1936 screwball classic My Man Godfrey very much works as a snapshot of the time and how the wealthy as well as the social elite acted.  In many ways we can still see this behavior on display when we look at some of the modern celebrities (looking at you, Kardashian family) we can view it as harmless privilege or simply an abuse of wealth. Either way, when watching this film, though it has plenty of charm, there is plenty to cringe about when viewing the behavior of some of these characters.  When watching this, it’s best to go into it thinking of it as nothing more than a silly story and just ignore how improbable any of this could actually be. The film opens up with a chase taking place. Irene Bullock (June Allyson) is in hot pursuit of her sister, Cordelia Bullock (Martha Hyer) as they speed through the back streets of New York.  Irene is trying to catch up with her sister who has stolen a goat that she intends on using for a scavenger hunt. It’s when the pursuit is taken to a pier where the ladies encounter Godfrey Smith (David Niven) who is posing as a vagrant but in reality has illegally jumped ship when traveling from Austria in search for a new life.

The name Shirley Temple is about as iconic as it gets when it comes to film history, and despite how many films I’ve seen in my lifetime, I had somehow managed to never see a film with Shirley Temple in it. When I volunteered to check out this film, I honestly thought it was going to be the 1980 version of the film that had Walter Matthau and Julie Andrews, simply because I didn’t realize that there were at least three versions of the film that were made. Despite the mixup, I was happy to get a chance to see the film and find out for myself what made Shirley Temple such a cinematic darling on the screen and made her memorable enough to even have a drink named after her. Personally, I’m not sure if this is the best example of her work, but it is certainly a product of its time.

In the mid-80’s this was pretty much the height of teen cinema across all genres.  John Hughes had success with Sixteen Candles and in 1985 would put out a little film called The Breakfast Club. That same year Secret Admirer would come out which would borrow a little from Cyrano de Bergerac and add in a healthy dose of the 80’s teen comedy and would almost strike gold.  But what may be the film’s most noteworthy factoid is that in 2016 a writer and director by the name of Eduardo Ortiz releases a film that was a word-for-word and scene-by-scene ripoff in Puerto Rico and was found out days upon its release.  One could only imagine he felt the film was such a hidden gem that no one would notice, but thankfully people did find out, and now with Kino putting out this Blu-ray, perhaps this will give new audiences a chance to check out this charming little film that is filled with familiar faces from the 80’s and absurd hijinks that were acceptable back then.