Cristina Raines

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The Sentinel (1977) Review


Very Good
Next time you rent an apartment, you might check to make sure it's not the doorway to hell before you sign the lease. Alison (Cristina Raines, who vanished from the Hollywood scene in 1987) is a suicidal model who figures this old and roomy place will offer a respite from her rough life. When she complains about the weird and loud neighbors (including an unforgettable and deliciously nasty Beverly D'Angelo, who rubs her crotch to, er, completion when Alison is over for coffee), it turns out no one else lives there. Is it a hallucination or demons? Either way, this is one hell of a sick little horror flick. Watching for stars then and now to make their appearances can alone make the film worthwhile.

The Sentinel Review


Very Good
Next time you rent an apartment, you might check to make sure it's not the doorway to hell before you sign the lease. Alison (Cristina Raines, who vanished from the Hollywood scene in 1987) is a suicidal model who figures this old and roomy place will offer a respite from her rough life. When she complains about the weird and loud neighbors (including an unforgettable and deliciously nasty Beverly D'Angelo, who rubs her crotch to, er, completion when Alison is over for coffee), it turns out no one else lives there. Is it a hallucination or demons? Either way, this is one hell of a sick little horror flick. Watching for stars then and now to make their appearances can alone make the film worthwhile.

Nashville Review


OK
Call me a heathen. I don't like Nashville.

Possibly the most celebrated film of the 1970s -- at least among film snob circles -- Robert Altman's sprawling case study of five days in the Tennessee city is self-absorbed, overwrought, and dismissive. Nor is it particularly well-made, with poor sound (even after being remastered for its DVD release) and washed-out photography, not to mention a running time (2:40) that's at least an hour too long.

Continue reading: Nashville Review

The Duellists Review


Good
In every director's past there are some strange departures. Ridley Scott's directorial debut, The Duellists, is no exception: It's a competent but slow-paced outing that offers no hint that Scott would soon be making exciting thrillers like Alien and Blade Runner.

To be fair, The Duellists (based on Conrad's The Duel) is a type of movie made often in the 1970s -- a low-tech but visually authentic historical drama. As with '70s westerns, the point was to make a new kind of period drama emphasizing cinematic realism at the expense of entertainment values (instead of the other way around). The film is based on a Joseph Conrad story about a quarrel between two soldiers in Napoleon's army which turns into an obsessive folie a deux. Kind of a Gallic High Noon, but not as entertaining as High Noon.

Continue reading: The Duellists Review

Cristina Raines

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