Network (1976)

In pursuit of higher ratings an unscrupulous TV network mercilessly exploits the increasingly unstable mindset of ageing news anchor Howard Beale (Peter Finch), while his closest friend Max Schumacher (William Holden) can do little but watch, partly because Max has personal issues of his own to deal with.
The savagely satirical media-whoring parts of the film are well-scripted, but it's when it explores human relationships that it really hit the mark for me - the scene between Max and his wife is a perfect example of what I mean. In many ways, the politics of fragile people eclipses the politics of financial profits.

3½ corporate manoeuvres out of 5

The Towering Inferno (1974)

Previously it was a watery death that an ensemble star cast had to run from, now it's a fiery one. They're opposing elements, but the end result is a similar kind of disaster movie, again produced by Irwin Allen (Dir. John Guillermin).
With a story adapted from two different novels (The Tower by R.M. Stern; The Glass Inferno by T.N. Scortia and F.M. Robinson), the script doesn't rush to the big event, but nor does it dally. An epic establishing scene effectively gets us to where the (hot) shit goes down. Thereafter the two male leads, Paul Newman and Steve McQueen, are cleverly kept apart for the longest time but are dependent on each other's skills at crucial moments throughout.
The villains of the piece are hobnobbing rich folks who feel that their life is somehow worth more than that of the average Joe.

3½ corners cut out of 5

Supergirl (1984)

Not only does Supergirl not fit into the existing Superman mythos created by the films that came before it, it fails to keep even its own self-contained designs on the world intact. The story has witches, black magic, an invisible demon and an unravelling script that would confuse even Mister Mxyzptlk.
Faye Dunaway's pantomime villain/cougar is a lot of fun, but what holds it all together is Helen Slater’s ability to give the titular character the innocence and naivety she needs to be sympathetic in the alien world.
Helen's months of training on the wire really paid off. When she flies around it's like a dance, full of elegance and grace.

2½ dicky bows out of 5

THE RULES OF ATTRACTION [2002]

Director Roger Avary's theatrical follow-up to Killing Zoe is an adaptation of Bret Easton Ellis' unhinged dark satirical novel The Rules Of Attraction.
It's the surreal story of three attractive Camden College students who lead jaded lives filled with sex, drugs and a multitude of selfish deeds.  Easton Ellis excels at creating despicable characters who we can't help but be intrigued by, knowing damn well he makes sure they all get their dues by the end.  Here, Avary does a fantastic job at capturing the non-linear storytelling of the novel, while giving it a gnashing bite all his own, which quite often you wish would be just a bit more subtle than it is.  The film completely lacks any sort of charm or anything even remotely pleasant to make it a comfortable viewing.  Front-to-back, it's pretty disgusting and if you realize that's exactly what it sets out to be and you're down with it, then it's pretty damned entertaining.  Who doesn't want to see Kevin Arnold shoot up heroin or Dawson Leery attack a guy with an electric carver?

3 vaginal infections out of 5

LITTLE BIG MAN [1970]

Director Arthur Penn's adaptation of Thomas Berger's novel Little Big Man is one of the first Western films to properly portray Native Americans and have a poor view on the U.S. Military.  

As serious and distressing as the subject matter is the film manages to fit in some great humor at all the right moments making for one of the better and more entertaining "epic" films ever produced.   Dustin Hoffman is magnificent as the pint-sized protagonist who just can't seem to catch a break and when he does it's short-lived.  It might be based on historical facts but the story itself is purely fictional so with that in mind, it's easier to not take quite as seriously as many might be fooled into.  

It's an impressive job at taken a touchy subject then blending it with humor that hasn't outdated it self to this very day.  

4 Soda Pop Kids out of 5

Eyes of Laura Mars (1978)

A slightly better than average suspense/thriller penned by Horror maestro John Carpenter but directed by Irvin Kershner. Fashion photographer Laura Mars experiences flashes of actual murders seen through the eyes of the killer and, worst luck, it’s people she knows.
Faye is believable in the Laura role one minute and the Queen of melodramatic overacting the next. Tommy Lee Jones gives support and looks weird being so young (I assumed he was born old).
It’s essentially an Argento style Italian Giallo film in English.

3 frustrated voyeur types out of 5

CHINATOWN [1974]

Jack Nicholson shines opposite Faye Dunaway in director Roman Polanski's neo-noir classic Chinatown.

More like a classic hard-boiled detective film of the Golden Age, Chinatown never really relies on harsh language, violence or sex to blanket it in the broody, dark atmosphere it relishes in.  The story starts out quite simple then builds in well-paced complexity but never so much it loses the viewer.  

Classy film-making at some of it's best.  

5 nicks in the nose out of 5