Wednesday, August 17, 2016

The Orion Files: 1984

1984 was actually a relatively decent year for the company in terms of reviews, though their films were still not making a lot of money. Some hidden gems, one or two legit greats and a lot of stuff in between ranging from Oscar bait to stuff that would be better off as fish bait.

Robert Hays is an investigative reporter in England who is drawn into a farcical web of espionage, lies, murder and deceit with the fun twist being he's aware of the con the entire time even as he's being conned. Hays is fun in the lead and John Gielgud has a great time hamming it up as an old con man. Pamela Stephenson is also good as Gielgud's niece and partner in crime. The plot gets relatively convoluted and loses some of its fun spirit as Hays is accused of his wife's murder but for the most part, this is a light comedy that is quite entertaining and easy on the brain.

Woody Allen directs and stars in this very enjoyable comedy as a hapless talent agent who tries to help a washed up singer he used to represent make a comeback and ends up being targeted by a gangster whose ex-girlfriend (Mia Farrow) is the singer's mistress (the gangster thinks she's with Allen's character though thanks to a funny mix-up). Allen concocts his usual quality script with a good cast (I also like the touch of shooting it in black and white given that the story is told in flashback by a bunch of comics at a deli in New York) and a nice, easygoing pace. I'm not the biggest fan of the guy's films but this one is pretty damn good.

Paul Newman starred in, co-wrote, co-produced and directed this drama about a father and son relationship that got bad reviews.

The poster is probably the best thing about this offbeat comedy/drama based on a novel by John Irving. It tells the tale of an eccentric, dysfunctional family that ends up owning and running a hotel while living through all sorts of personal disasters ranging from rape to sudden death to suicide, told in a very loose fashion. The cast is solid but honestly, when the mere synopsis of the film has me imagining a better movie... Sharp tonal shifts and excessively wacky characters do not make for a good time.

Another entry in the 80's teen comedy sub genre, this stars Tim Matheson as a college student who is in his twelfth year (and he's not a grad student either) who teams with three other misfit students to participatre in a high stakes whitewater rafting competition put on by the obligatory stern dean (John Hillerman in this case, on break from Magnum P.I. for one scene). This film is one of, if not the last production from old school B-movie house Arkoff International Pictures and it is a thoroughly typical snobs vs. slobs comedy with the requisite crass humor; lewd gags and occasional funny moment.

Next up for the company was this fantastic version of Mutiny on the Bounty. Anthony Hopkins gives a richly layered, intelligent reading of Captain Bligh while Mel Gibson makes for a quite good Fletcher Christian. The film is well directed and shot with the entire cast turning in good work (though Hopkins really steals the show, as he tends to) and the end result is one damn fine movie.

Drama about the breakdancing/hip-hop scene in New York that ended up being overshadowed by Cannon's own breakdancing film Breakin'. That was probably a pretty major shot to the collective ego of the studio heads.

Here's an odd one. The director of the second and third Howling films (to be fair, apart from the first film those are the two of the best in that franchise) gives us a drama about protecting the bald eagle starring Rutger Hauer, Donald Pleasence, Kathleen Turner and Powers Boothe.

Cheech and Chong star in this spoof of the Alexandre Dumas novel and it's... Well, the poster kind of says it all. This is pretty much the last thing the duo did together. They tried to move away from pot humor but as it turns out, that was pretty much all they had.

Gene Wilder directs and stars in this comedy about a married man who falls for an incredibly sexy woman played by Kelly LeBrock. A remake of a French comedy (we generally know that's a sign for disaster), this garnered publicity for LeBrock (who is quite easy on the eyes) and little else.

The first of several Best Picture winners from Orion, Amadeus is perfect Oscar bait that also happens to be a legit terrific movie. Tom Hulce is great as Mozart, giving the man a distinct rebel rocker persona (in a way, this plays out like your standard rock and roll biopic except it's set in Vienna in the late 1700's with classical music)and F. Murray Abraham earned a well deserved Best Actor award for his turn as Salieri. The film also benefits from nimble direction from Milos Forman who tells a good dramatic story and also gives the viewer some nicely funny bits to balance out the drama.

This is an obscure drama about a struggling artist, his friend and their romance problems. I think I'd rather watch a blank screen for 98 minutes than this.

What else can one say about this one that hasn't already been covered? One of the best action films of the 80's, this was a sleeper hit for Orion who ended up losing the home video rights to Hemdale in the early 90's and its huge success on home video is another blemish on their record as Thorn EMI/HBO Video ended up getting most of the stateside profits. They probably could have done just fine financially just based on the VHS sales of this alone.

Lastly is this costly Francis Ford Coppola flop that honestly, I'd love to see because it did get some decent notices. A well cast flick about the jazz club in Harlem in the 30's, this was beset by production issues ranging from script rewrites to missed deadlines.

1984 was not the most profitable one for Orion but it did yield some decent to great movies as noted in the intro. The next year, however, would be a near-disaster.

Coming soon: Orion in 1985

Tuesday, August 16, 2016

The Orion Files: 1982-1983

Orion continued to do well in 1982, expanding outwards a little with Orion Classics, a division dedicated to showing international films stateside as well as smaller independent productions. The division would stay fairly consistent until the company's financial troubles ended up drying out the division. I won't be covering those releases but I wanted to mention it here. They also bought out the struggling company Filmways and set up a TV distribution branch which had its first hit in Cagney and Lacey.

This is also where some of their problems as a company start to come into play. Orion was always sort of an odd duck when it came to their output. They tended towards more mature, adult projects (nothing wrong with that and they certainly kept Woody Allen busy for a good ten years) but whenever they ventured out into the more commercial realms of film, they either failed or were rather sheepish about any success they had to the point of not really bothering with setting up their own home video division until the late 80's (I think around 1987 or thereabouts). For the most part, their stuff ended up being released by either Warner, Thorn EMI, Embassy or Vestron. This led to other companies making more off their movies than they were getting and, as tends to be the case, things added up and they eventually got into financial trouble.

Now for 1982.

This is the first in a batch of collaborations with Francis Ford Coppola's American Zoetrope studio and is an obscure coming of age story that was one of the last gasps for Coppola's studio. Not much to say about this one, really. It sort of flew under the radar and has remained there since 1982.

This, however, represents probably the most successful partnership Orion ever had. Starting with this movie, Woody Allen would spend the next ten years making films for Orion. In this case, it's one of the many films Allen made that were inspired by the works of Ingmar Bergman, though in this case its an actual comedy.

German director Wim Wenders directs this middle of the road riff on classic film noir/pulp fiction detective stories with a fictional version of author Dashiell Hammett (Frederic Forrest) ends up helping an old friend for the obligatory "one last case". A good cast and decent idea, this ended up being almost entirely re-shot by the studio and the end result is uneven and fairly uninspired.

Really sleazy prequel to the 1979 hit, this comes to us from Dino DeLaurentiis and purports to tell the tale of the family who lived at the Amityville house before the events of the first film. Spoiler alert: they end up dead for the most part. Chock full of unpleasantness, this is one of the crummier sequels to a hit movie to come around. Burt Young is fairly repulsive as the abusive father of the family, the overall tone of the film smacks of sleazy exploitation and while there are some nice special effects at the end where the possessed older son of the family undergoes an exorcism after offing his family (the f/x work is nice, I never said the film made any sense), you have to wade through a pretty scummy buildup to get to it. There is crap from the same period only shown in grungy 42nd Street theaters (the kind that makes you realize why janitors have a union) that was less unpleasant than this one.

Drama about a young man who gets involved with a cult and his family's attempts to get him out. Interesting cast, that's all I got for this one.

I've written tons about this already in my Carolco Files post so let's just say it's awesome and move along to 1983.

Ditto for this one, the best thing Chuck Norris ever did. Great action, fun cast and my review can be found here.

Richard Gere stars in this remake of the 1960 Jean-Luc Godard classic that reverses things a bit by having a young French woman get infatuated with an American criminal as opposed to the original which had the reverse happen.

A band of comedy all-stars comes together for this massive flop of a pirate comedy. Yellowbeard stars former Monty Python alumni Graham Chapman as the title character, a massively over the top character who escapes prison to take possession of his massive treasure. What ensues is an occasionally funny, frequently vulgar comedy as Chapman learns he has a son (Madeline Khan is okay as his wife); tons of well known comics (Peter Cook, John Cleese, Marty Feldman in his last role, Cheech and Chong in... not their last roles) do what they can with the sloppy, thin script they are given. The end result is a dark, uneven, sometimes amusing comedy that understandably bombed horribly at the box office.

The tagline on the poster tells you all you need to know about this poorly reviewed comedy/drama.

This may be my favorite Woody Allen movie as it not only dials down his usual neurotic stuff (Annie Hall is really the only time that version of Allen really worked for me), it also adapts a clever mockumentary style while essaying the role of a man who becomes a literal chameleon and a national sensation. I also enjoy the way Allen splices himself into newsreel footage, an idea later refined by Robert Zemeckis for Forrest Gump.

Rodney Dangerfield is an irresponsible slob of a man who stands to inherit a large fortune from a dead relative if he can clean up his act for a year. A fairly routine plot is livened up by Rodney (who is always good) but the film is about halfway over before the plot kicks in and to be honest, most of the folks involved with this can and have done better.

I get a real kick out of this charming, thoroughly entertaining love letter to 50's science fiction movies. It has a neat premise (aliens landed in a small town in the 50's but never moved forward with the times for some reason); a good cast and some nice alien designs though the end sequence probably has too many scenes of them revealing their true selves. Still, Strange Invaders is a eminently watchable little flick.

Interesting political drama based in Nicaragua with a solid cast and a good reputation.

Utterly cheesy third entry in the haunted house series, this time taking full advantage of the rebirth of the 3-D craze. Probably the best film in the franchise (that says more about how bad the other films are than anything else), this does the usual routine with haunted house films as a team of investigators is beset by horrors. The difference is that this time, the effects are cheesy 3-D shots.

Orion ended 1983 with this solid thriller starring William Hurt as a Soviet police officer investigating a brutal triple murder and Lee Marvin as a shady American businessman. Performances are good across the board, though none of the Russian characters sound even remotely Russian (a few sound straight out of London and Hurt sounds like he's auditioning to be the next James Bond), except for Joanna Pacula who is Polish but still sounds more Russian than anybody else in the film. It was a conscious choice by director Michael Apted but that doesn't make it any less odd. The mystery is interesting and different (not too often the fur industry gets mentioned in a thriller); the characters are agreeably watchable and the scenery is very nice to look at. Overall, Gorky Park is an underrated gem that should probably be better known than it is.

1983 was an okay year for the company with a few surprise hits films that got mostly acceptable to good reviews. The next year though, would be a little less than stellar.

Coming soon: Orion in 1984

Sunday, August 7, 2016

Batman vs. Superman: Dawn of Justice (2016)

With the stuff coming out of the San Diego Comic-Con indicating that the apparent cluster gang bang that the recent DC superhero flicks were turning into might be averted, I thought it was about time I look at the recent Batman vs. Superman flick. I opted to not see this one in theaters (toxic reviews and the genuine desire to not potentially whizz twelve bucks down my leg played a large part in my thought process) but thankfully Amazon Video is there for me. Shining like a beacon of hope. Or at the very least, letting me spend four bucks on a potentially life wasting experience rather than twelve.

The experience of watching this movie is not unlike being told a story by an un-medicated lunatic in the middle of a full psychotic breakdown. And I don't mean that in a good way. For an insanely long two and a half hours, BvS lurches from one drab and joyless scene to another with only the occasional funny line from Jeremy Irons as Alfred to liven the mood. The titular showdown is exciting and well staged but the two main characters are so unlike how they should be  that it might as well be an alien and some random guy in a gimp suit duking it out (yeah, both are being tricked by Lex Luthor but it just doesn't work).

The Good:
  • Ben Affleck makes for a strong Bruce Wayne and Batman. While the character is poorly written (Batman generally isn't this much of an extreme moron but the film at least tries to give him a reason), Affleck does what he can with the material and manages to squeeze a modicum of charm out of his part. I also kind of like him using an actual gadget to enhance his voice, as opposed to Christian Bale roaring incoherently like an ass while Christopher Nolan look on n0odding in approval. It also helps that the man actually enunciates his lines.
  • Special attention must be given to Jeremy Irons who provides most of the intentional humor of the film. Given how the actor felt about the film, not real sure some of his lines were just Alfred snarking at Bruce.
  • Gal Gadot is fun as Wonder Woman, mainly because she doesn't have to play much of a role in the overall plot where most of the stupidity lies. All she has to do is interact with the other good thing about the movie a few times and show up for the finale. Gotta say I'm looking forward to the solo movie next year way more than I am the Justice League film (even with the entertaining preview  released a few weeks ago).
  • As dumb as the setup is (and I'm understating things quite a bit here), the actual Batman/Superman fight is pretty damn good.
  • Amy Adams and Laurence Fishburne are fine as Lois Lane and Perry White.
The Bad:
  • Oh man, where to begin! I don't want to turn this into an epic review so I'll be as brief as I can. Muddled script that tries to shove in too much? Check!
  • The twist where the only thing keeping Batman from killing Supes is that they have a mother with the same first name is one of the more moronic things in a Superman movie. And given that Superman III and Superman IV: The Quest for Peace are quite easily accessible... Damn!
  • Outlandish dream sequences that come off like the fever dream of the deranged lunatic I noted in the first sentence? Check!
  • The oddest version of Lex Luthor ever conceived? Check, though Jesse Eisenberg does his best to make things interesting.
  • A Superman who comes off like he's heavily sedated and low on energy? Check, and Henry Cavill isn't helped much by the script either.
  • The dour tone of the film that makes The Dark Knight look like an episode of Batman '66? Check! I've said it before but even Batman Returns, a pretty damn gloomy movie in its own right, had fun with the concept! This film doesn't need an extended cut, it needs Prozac!
At the end of the day, BvS is a loud, sort of dull, fascinatingly awful movie that sort of works in the end thanks to some good action but for the most part, it's not essential.

Saturday, August 6, 2016

The Orion Files: 1981

Orion continued to make films, though there was some apprehension about financing big budget productions, an attitude that led to them passing on Raiders of the Lost Ark. As I said in the first part of this series (and will repeat liberally throughout), this weird pseudo-snobbery on their part would reap great benefits and also bite them in the ass at the same time. Still, 1981 was a productive one for them. Not an amazingly profitable one, mind you but productive.

We ended the first part of this series with a crummy thriller set in Egypt and for the opener in this part, we get another one, this time based on a novel by Robin Cook. Lesley-Anne Down is an Egyptologist doing some research on an ancient architect who gets caught up in murder and intrigue, as tends to happen quite often in movies like this. Frank Langella also stars as the head of the UN antiquities division who Down falls in love with (A dull, chemistry deficient love. But love nonetheless). The film got panned when it was first released and given how languid the pacing is (it's nearly two hours but feels much longer), it's not hard to see why. Really the most amusing thing for me is that it has small roles for John-Rhys Davies and John Gielgud, both of whom would appear in far better films in 1981 (Raiders of the Lost Ark and Arthur respectively). Sphinx has all the ingredients for a good thriller (good cast, an interesting premise, nice locations) but it does nothing with these. The cast is barely there, the locations are just there and the story is muddled with last second twists and idiotic events to the point where it seems like the film is pulling them out of its ass to pad the running time out. The end result is a silly yet utterly boring bad film that is hard to care much about.

Damn good sword and sorcery flick that retells the King Arthur legend in lush, vivid, yet sort of lackluster fashion. A terrific cast (Nicol Williamson is especially fun as Merlin) does what it can with the rather plain script but it is a visual feast if nothing else. John Boorman directs it just fine but one does sort of find themselves wishing he'd been on the same drugs he was on when he made Zardoz. It wouldn't have made the movie better, but it would certainly pep it up a bit.

Of all the films Michael Caine has done, this one could have a legit claim at being the worst. An early Oliver Stone film, this is your bog standard "evil hand" horror film with Caine as a comic book artist who loses his hand in a gruesome accident and is subsequently stalked by said appendage. Or is he? I can honestly say I kind of like Jaws: The Revenge better than  this one. At least it has unintentional hilarity working in its favor. This is just crap.

Charming smash comedy that made Dudley Moore as huge comedy star and landed John Gielgud a well deserved Best Supporting Actor Oscar. Moore plays a rich drunk who falls for a working class girl played nicely by Liza Minnelli and Gielgud plays Moore's butler. There are many funny moments throughout and it ends up being one of the better romantic comedies I've seen.

1981 was a pretty damn great year for werewolf movies (The Howling and An American Werewolf in London were and still are two of the best werewolf movies ever) and Wolfen is an interesting variation on it as in it's a wolf horror movie minus the "were". Albert Finney is the highlight (was there ever a movie where he wasn't?) in the lead role as a NYC cop and there are some nice attack scenes. It's not a perfect film (in fact if you don't know what you're getting into it can be quite a letdown) but it does benefit from a strong cast and the aforementioned attack scenes. Like most horror films (amongst other genres) from Orion, however, there is that faint sense of guilt coming from them because they've released a genre picture.

Just as we had Michael Caine's worst movie in this post, it can also be said that we have pone of Chevy Chase's worst outings (though to be fair, everything he's done since Christmas Vacation has been either kind of horrible or something good he managed to screw up). Here, he stars with Carrie Fisher in a really bad comedy that mixes the auditions for the Munchkins in The Wizard of Oz with obligatory short jokes; Nazi spy hijinks and Billy Barty who I really hope got paid well for his role as a German spy who answers to Hitler personally. I haven't watched this but just going on the synopsis, I'd say I'm missing nothing. Not a damn thing. At all. If I want to see Carrie Fisher scantily clad, that's what we got Return of the Jedi for!

Very intense, gritty cop drama from Sidney Lumet about a tough cop (Treat Williams) who finds his loyalties divided when he's asked by a federal investigation to help nail dirty cops, some of whom are friends of his. Williams gives an intense performance and the story is quite epic (at 167 minutes, it's the cinematic equivalent of a doorstop novel) though to be honest, this ground was covered pretty well by Lumet's 1973 movie Serpico.

This is a rather obscure thriller starring two ordinarily good actors with sound career judgement. Jane Fonda plays the widow of a wealthy businessman and Kris Kristofferson is a bank owner who she ends up with and the plot revolves around some sort of slush fund scam that ends up destroying the economy of the entire world. I know, sounds gripping. Doesn't it? I didn't view this because in general, if I stifle a yawn while reading the plot summary... You get the point.

One of Burt Reynolds' better films of this period (though considering his body of work in the 80's, this isn't saying a whole lot), Sharky's Machine is a pretty solid action movie starring Burt as a tough Atlanta cop who ends up falling for the call girl he does a surveillance job on. Action is solid (a pity that Burt wasn't a better director as his stuff here is good), we get a great cast of character actors. Charles Durning and Bernie Casey are fellow cops while Henry Silva makes for an adequate psycho villain though his tendency to yell insanely before he shoots someone gets more than a little silly. Actually, it's sort of a crappy performance really but the rest of the film is good enough I can overlook some bad acting. It's a true shame Burt made more films like Cannonball Run than this.

1981 would mark the end of Orion's partnership with Warner Brothers and the beginning of its existence as a separate studio. 1981 brought with it some great success (critical if not financial) and a few underrated gems, as well as some out and out duds and missteps. Yes, they had the fourth highest grosser of the year in Arthur, but as I noted, they also passed on Raiders of the Lost Ark which ended up being the biggest hit of 1981. The next few years would be interesting, to say the least.

Coming soon: Orion 1982-1983

Thursday, July 14, 2016

The Orion Files: 1979-1980

Seeing as my series on Carolco went over pretty well, I thought I'd look at another film studio, this time the initial iteration of mini-major Orion Pictures from 1979 to 1998. From the early 80's to the early 90's, Orion had a spectacular track record with huge hits, some solid sleepers and in general a fairly high quality of diverse product. In 1991, ironically the same year they released their second consecutive Best Picture winner (The Silence of the Lambs), they went into bankruptcy, delaying several movies until 1993/1994 and finally after merging with a few other smaller companies, fading out in 1999 after being purchased by MGM.

They've recently made a bit of a comeback with some VOD titles and independent releases but let's start at the beginning. Settle in, folks. This series is gonna a long one.*

*As with the Carolco series as well as the other studio bios I plan to do, this will be more of a historical piece, in other words shorter film examinations for time, space and because there is no way in hell I'm watching every single movie they put out for twenty years (though I will try to mention all of them if I can, even if it's a quick blurb). I don't have that much time on my hands.

It began in 1978 when three executives from United Artists decided to break out on their own. Teaming with Warner Brothers, they set about making movies with more of an eye on quality than commerce (a tactic that would reap great rewards but also bite them in the ass rather hard, rather quickly in both cases, oddly enough) with the first coming out in 1979...

The studio's first effort is this mild romantic dramedy starring Laurence Olivier as a sly old fellow who helps a young couple find romance. Directed by George Roy Hill (his best film is still The Sting) the film got a mixed reception though not an entirely bad one.

This is an interesting cult film about teen rebellion in a small town. Matt Dillon makes his film debut as one of the leads and while the poster may make it look like a horror film, it's actually a fairly straightforward dramatic piece.

Another teen-centered film, The Wanderers is a gang film (1979 also saw the release of the much more popular and controversial film The Warriors) starring Ken Wahl, it also gained a cult following.

Though Orion only handled US distribution (the film was made by George Harrison's Handmade Pictures which could warrant a closer look at some point), it would be unconscionable if I didn't mention Life of Brian here. Arguably their best film, LoB is quite hilarious with some wonderful sequences (the Biggus Dickus scene is a showcase for Michael Palin) and a generally fantastic tone. It's not my favorite Monty Python item (the TV show is still at the top for me) but it's still funny as hell.

Malcolm McDowell and David Warner star as H.G. Wells and Jack the Ripper, respectively, in this clever science fiction piece that sees Wells pursue Jack in a time machine he invented to 1979. The film benefits from a clever screenplay and a fine cast (Mary Steenburgen is charming as a woman Wells falls in love with and who Jack is planning to kill while Warner and McDowell are fun in their respective roles) though as with most time travel stories, it's a good idea not to think about things too much. The ensuing headaches can be most inconvenient. The fish out of water stuff is handled well (McDowell underplays quite nicely here) and Nicholas (Star Trek II) Meyer does well in his directorial debut.

Dudley Moore is a middle aged man obsessed with a stunningly beautiful mystery woman played by Bo Derek in this Blake Edwards comedy. Moore got stateside recognition thanks to this film (which he would capitalize on the next year with Arthur) and it made a sex symbol out of Derek (though her subsequent movies fell on the low end of the cinematic quality scale). Julie Andrews is also on hand as Moore's girlfriend. I'm not the biggest fan of most of the principle players here (though I do like Julie Andrews quite a bit) but this is definitely one to see just for the Bo Derek stuff.

Robert Duvall stars as a hardass Marine pilot who excels in the corps but falls on his ass when it comes to being a good husband and father. A well reviewed but financially unsuccessful character drama, this netted Duvall one of his many Oscar nominations.

This is a drama about a hardass doctor whose heart softens somewhat while she treats a young cancer patient. I got nothing else on this one, its pretty obscure and we got a lot of films to cover.

Orion kicked off 1980 with this bizarre Alan Arkin comedy that stars the man as a professor brainwashed into thinking he's an alien by an all-powerful group of scientists as a joke. From what I've read and seen, this looks amusing but not essential. The director, Marshall Brickman, collaborated with Woody Allen who we will see in later installments of this series.

When your movie is about a would be musician/cab driver who ends up getting involved with a plot to kidnap a monkey that knows a formula to destroy life as we know it, it's probably not a good idea to give said movie a title that most critics will take as a dare to come up with a worse pun than their nearest local competitor.

This one is about author Jack Kerouac (Nick Nolte) around the time he was writing his book On the Road. The film got okayish reviews and more than likely, Nolte was good.

Now this is more like it! Caddyshack is one of Orion's best releases (though it took time to find an audience, like most of their films that became popular) and in the interest of not blathering on about stuff I've already enthused about, here is a link to my review from a few years ago.

Peter Sellers' last film was this pretty dire spoof of the Fu Manchu stories with Sellers in both the title role and as Nayland Smith, the arch rival to the bad guy. At the cost of coming off as unprofessional, I think I'd rather gnaw my own leg off than watch this. Actually, watching it might result in that very event, come to think of it.

I think I've kissed this movie's ass enough already, so here is my review posted way back in the early days of the blog.

Orion ended 1980 with a splat in the form of this adaptation of Bram Stoker's The Jewel of Seven Stars, previously adapted in the 70's as Blood From the Mummy's Tomb by Hammer. Charlton Heston plays an archaeologist whose daughter ends up possessed by an ancient Egyptian queen in a ponderously dull and all too serious attempt at a high class horror film. This was a trend around the time in the wake of The Exorcist's success as other major studios tried to capitalize and while some films like The Omen (which isn't exactly great itself) were successful, most went the way of Paramount's Prophecy (1979) and this snooze fest. When even Heston hamming it up towards the end can't bring the film's energy level up. Damn.

Orion's first two years of operation yielded a few interesting titles but apart from 10, not much in the way of success. 1981 would continue that trend as we will see next time.

To be continued...

About Me

I've been a huge fan of action, horror and comedy for as long as I can remember.