One such role is Willard, an introverted loner who discovers an innate ability to control rats. When the original Willard was released in 1971 with Bruce Davison in the title role, Glover was seven years old and probably horrifying a helpless babysitter. Thirty-two years later, with this remake from director Glen Morgan, the actor finally sinks his teeth into the role of his lifetime.
Continue reading: Willard Review
Ah, the perils of going to an all-girls school, where lesbianism seems to run rampant. Alas, for poor Mouse (Mischa Barton, who absolutely embodies her character name here, the job of secret-keeper is heavy to bear. It's made all the worse when the roommates split up after Tory (Jessica Paré) decides she can't do the lesbian thing any more after her kid sister walks in on them -- and Paulie (a very young Piper Perabo, Coyote Ugly) will go to any lengths to get her back. Poor Mouse is caught in the middle, but rest assured, there's plenty of time for the girls to cry and talk about, you know, feelings and stuff, when Paulie isn't scheming to get back her gal. There's even a kindly gardener to lend a shoulder to cry on and some fatherly advice.
Continue reading: Lost And Delirious Review
Could there be any dobut that a horror movie starring kooky, uncanny string-bean Crispin Glover would be a weird B-movie bonanza of creepy-crawly macabre?
A proudly kitschy remake of a 1971 cult horror flick, "Willard" uses its idiosyncratic star to maximum effect as a milquetoast misfit whose only friends are the scores of rats rapidly overtaking the cavernous, ominous, creaky old house he shares with a grotesquely old invalid mother (Jackie Burroughs) who could drive a guy to go Norman Bates. Constantly humiliated by a cruel boss (R. Lee Ermey) trying to run him out of the family business after his father's death, Willard trains his rodent army to do his vengeful bidding, and soon all hell breaks loose.
Glover -- best known as George McFly in "Back To the Future" and The Thin Man in "Charlie's Angels" -- is so perfectly peculiar in this flick that I imagine it wouldn't have gotten made without him in the title role. Shaking with sublimated resentment and quaking with psychological dysfunction (accentuated by the frequent use of fish-eye lenses), yet eerily calm and contented with rats crawling all over his body, his performance is funny, sad, sympathetic and menacing -- often all at the same time.
Continue reading: Willard Review
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