Clash of the Titans (1981)

A heroic fantasy based upon the legend of Perseus and his beloved Andromeda. It's an impressive collection of Greek mythology set pieces stitched into a standard quest structure, directed by Desmond Davis but perhaps remembered most as the swansong of FX man Ray Harryhausen.
The opening is horrifying in its implication. It leads to Perseus (Harry Hamlin) being controlled like some kind of living action figure by the Gods, favoured by Zeus (Laurence Olivier) due to his being an extra-marital offspring of the wild-oats sowing beardy, but jealously despised by some of the others.
In essence, coming out as it did early in the decade, the film also feels as if it's being pushed and pulled from opposing sides: not as alluring as an actual 70s work but not yet full 80s in tone, it's personified best in Perseus' character. For me, Burgess Meredith and the stop-motion FX are the highlight.

3½ head-snakes out of 5

The Sentinel (1977)

Michael Winner’s technique can be as subtle as a sledgehammer meeting a grapefruit, but I find a lot of his stuff watchable, nevertheless. Sentinel is technically a horror film, but it’s the kind of sinister horror that builds slowly from a foundation of regular drama, not unlike Rosemary’s Baby (1968) and The Exorcist (1973), two films from which it borrows heavily.
It’s the story of a female model that moves into a NY apartment complex and quickly discovers that her neighbours are an oddball bunch. Shortly after that strange things begin to happen in the night.
A lot of it failed to catch hold of me, but there are two scenes that I’ll never forget: an uninhibited Beverly D'Angelo and a very chilling finale.

3½ abandoned hopes out of 5

Rocky V (1990)

The Rocky series attempts to go full circle, returning the retired Stallion to his roots while acknowledging that changes have occurred since his rise to fame. It’s a decent idea, but it’s barely watchable at times. Seeing an absorbed, aged fighter trying to live vicariously through someone else is depressing for all the wrong reasons. We finally get to see him be a father for a while, too. However, the downside of that is having an angsty teen’s story sandwiched between the square peg in a round hole scenario.
The money-hungry manager in his limo is like a parody of a parody.
And what's worse, movie fight scenes are an art unto themselves, but in Rocky V they’re like blindfolded finger-painting with boxing gloves on.

2 hits for the home team out of 5

Rocky III (1982)

Being on top makes you a target, so all eyes are on Rocky, including the fierce, burning gaze of Clubber Lang. Clubber wants a shot at the title and he’s got the fire to make it happen. Rocky is ill-prepared, like a writer without a muse, but help comes from an unexpected source.
Before it gets good we have to suffer the farce of Rocky Vs Hulk Hogan and the woeful dialogue that plagues about half the film.
Burgess being the gruff manager is always fun, but what makes it worth seeing is the legendary Mr T. It’s the best performance I've ever seen him give and, in all honesty, he’s perfect for the role.

3 stars on the platform out of 5

Rocky II (1979)

A sequel to Rocky (1976) that was written, directed by and starred Sylvester Stallone. At first it seems as if he didn't do himself any favours by reusing the emotional high of the first film’s ending in the opening sequence, but the contrast of what follows sets the mind straight.
The fall back to reality is hard for the Stallion, who struggles with old fashioned values and the overpowering need to be a manly-man.
Heavyweight Champion Apollo Creed is sore, his pride not just his face, and wants a rematch, but Rocky rolls to the sound of a different bell.
In some ways it’s too similar to the original, but leave enough time between the two and you’ll feel the full impact of the story. The last half hour is superb stuff, and I don’t even like boxing!

4 greasy snarls out of 5

Rocky (1976)

Despite being associated with boxing, there's very little in-the-ring action, and when we do get there it’s embarrassingly fake. Nevertheless, the film is still a roaring success. It gave Stallone an iconic role. The not very bright boxer, the thick as shit underdog, was something he personified beautifully.
The themes of self-respect and the need to prove a point, not to the world, that’s merely a by-product, but to Rocky himself are what drive the narrative in the right direction.
It was also written by Stallone, so credit is due for that.
The supporting cast are equally impressive, giving the story extra heart and deeper emotion. It's a film that deserves its lauded status.

4 because he’s a contendaaah out of 5

BATMAN: THE MOVIE [1966]

POW! BIFF! KERSPLAT!
That's the sound of your brain taking a beating as you sit through this film. Not to say I didn't enjoy it...because I did to a certain point. It's just mind-numbingly bad at times.
Mayor Adam West and uber-dork Burt Ward as the Dynamic Duo are actually quite entertaining and hilarious in their shiny undies with "lumps". Cesar Romero, Burgess Meredith and Frank Gorshin delightfully reprise their campy television roles as The mustached Joker, The Penguin and The Riddler. While Lee Meriwether steps in for Julie Newmar as the boring but sexy Catwoman.
Using less brains and more luck to defeat his enemies, this Batman almost accurately represents the comic books of that era when they were neutered by the censors.

3 Bat-stars out of 5