Set the wayback machine to 1998. Parallax View
presents reviews of films released 20 years ago, written by our contributors
for various papers and websites. Most of these have not been available for
About halfway through Small
Soldiersit struck me: just
who is this film’s audience? On the surface it’s an adolescent boy’s fantasy
turned nightmare, a “War Toy Story” with a pair of spunky teenage
heroes in the line of fire. But there’s another film here too, a consumer
satire crammed with pop culture references and movie quotes aimed at much
bigger kids – well, adults actually.
[Originally published in Movietone News 42, July 1975]
Clint Eastwood does his own mountain-climbing rightly enough, as a camera swooping out from closeup to acrophobic helicopter longshot verifies time and again. One tight-lipped smile of appreciation for that, and little remains to be said in favor of Eastwood’s fourth directorial outing. From the behind-the-credits sequence of an unidentifiable supporting player ambling through some locations-for-locations’-sake European streets, TheEigerSanction lacks shape, rhythm, and any notable tone or point-of-view. Its grotesques—Thayer David as a 100-percent albino named Dragon who directs an international Murder Inc. from a secret red-lit room, George Kennedy as a hot-damn-buddy Western type, and Jack Cassidy as a patently treacherous faggot—are (un)directed so broadly, yet without a true sense of outrageousness, that one is inclined to feel sympathy for the performers (though only Kennedy seems to deserve any). More ordinary sorts are blatantly set up over and over to be knocked down by an incredibly predictable putdown script (Gregory Walcott, as a Dragon man who keeps rubbing Eastwood the wrong way, is such a clod that the only thing conceivably dangerous about the character is his incompetence as a tough guy). After sharing with us his own amusement at being proffered as a professor of art history who has retired from the killing game in order to enjoy the stash of masterworks bought with his ill-gotten gains, Eastwood walks uninterestingly through the rest of his part, counting on the uninflected slam-bam-thank-you-ma’am machismo that didn’t see him through HighPlainsDrifter either; on the evidence of his second and fourth films (he didn’t take a role in Breezy and I’d appreciate a chance to reconsider PlayMistyforMe), he should leave the direction of himself to other people. The story involves the Eastwood character in one of those murky internecine projects wherein, by the time the action has run its course, we’ve had it demonstrated ad nauseam that the potentiality for betrayal is inherent in any relationship a truism that has been worked out more scrupulously in other thrillers where the conclusion didn’t seem so foregone. Read More “Review: The Eiger Sanction”
[Originally published in Movietone News 60-61, February 1979]
Scrapers of cinematic barrel bottoms, stand advised: John Hough has laid incontestable claim to his long-sought title, the new James Goldstone. This department confesses to having been remiss in not calling your attention to the first change in the wind, the old James Goldstone’s 1977 realization of Rollercoaster, a Sensurround disaster pic so inoffensive, even moderately competent in execution, that it alienated the taken-for-granted audience for such fare and failed at the box office. At this time we can only conjecture whether Goldstone’s unanticipated lurch toward respectability will continue unchecked or prove an aberration in an otherwise execrable track record. Meanwhile Hough, the most flagrantly conscienceless hack to appear in the past decade (SuddenTerror, Treasure Island and above all the loathsome Dirty Mary Crazy Larry), has seized the day.