John William Corrington

John William Corrington

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Battle For The Planet Of The Apes Review


Terrible
At least it is only 83 minutes long.

I guess Arthur Jacobs and Paul Dehn decided that no one would notice that this final chapter of the sage was actually a remake of the second one, Beneath The Planet of the Apes. This time around, though, the radioactive human mutants would not be telepathic.

Continue reading: Battle For The Planet Of The Apes Review

The Omega Man Review


Good
There's an entire subgenre of science fiction flicks from the '70s which feature Charlton Heston in a futuristic setting. Nowadays, these films work mostly as camp or kitsch (with the possible exception of Planet of the Apes). Soylent Green is one of those movies I suspect few people haven't actually seen. Many know it from that hilarious Phil Hartman sketch on Saturday Night Live, where he plays a hambone Heston who continually flubs his line. It's pretty funny in the actual movie, too: Heston flails his arms and screams, "Soylent Green is people! It's peopppppllllleeeee!" All right, maybe you had to be there, but to me, that's pretty hilarious stuff.

Finally, we have The Omega Man, based on a popular Richard Matheson science fiction novel entitled I Am Legend. I'm surprised that this film hasn't become part of pop culture, since it features Heston as the last virile hero on the planet (involved in an interracial romance -- a bold political move at that time).

Continue reading: The Omega Man Review

Battle For The Planet Of The Apes Review


Terrible
At least it is only 83 minutes long.

I guess Arthur Jacobs and Paul Dehn decided that no one would notice that this final chapter of the sage was actually a remake of the second one, Beneath The Planet of the Apes. This time around, though, the radioactive human mutants would not be telepathic.

Continue reading: Battle For The Planet Of The Apes Review

Boxcar Bertha Review


OK
Notable for being Martin Scorsese's first Hollywood feature and containing Barbara Hershey's most notorious nude scenes, Boxcar Bertha is genre schlock. Cineastes try to read a lot into the film -- commissioned as a reponse to Bonnie and Clyde by Roger Corman -- somehow indicating that Scorsese's greatness was evident (Mean Streets would follow one year later), but Bertha is fundamentally just a Bonnie ripoff, with Hershey and David Carradine galavanting across the Depression-era south with the goal of ruining a railroad, robbing banks and whoring it up along the way. The abrupt ending is strange but oddly relieving.
John William Corrington

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