#63. Blue Thunder (1983)

 

 

This is another one of those movies that I sought out primarily because of the actors involved. Anything that includes Roy Scheider (even if he only took the job to get out of Jaws 3-D), Malcolm McDowell, Candy Clark, Daniel Stern, and Warren Oates is something that I probably should've seen by now.

 

But while the cast is undeniably great, it's the action that makes Blue Thunder worthwhile. The concept of a helicopter being some unstoppable killing machine is actually pretty novel to me, and the movie really makes the most of this premise, with its state-of-the-art technology and badass weaponry. I shudder at the thought of flying in airplanes, much less choppers, but there were a handful of moments where I genuinely wished I could ride in that thing.

 

I'll concede that much of the conflict between Scheider and McDowell is pretty contrived, and the conspiracy subplot isn't developed or resolved nearly as much as I'd like, but the movie makes up for both with a half-hour climax, complete with fantastic aerial stunts and explosions (not to mention ridiculous amounts of collateral damage), and even a car chase where Clark is allowed to get in on the action. As go-for-broke third acts go, this one doesn't disappoint.

 

Grade: A-

 

#45. Dracula (1979)

 

 

Prior Viewings: 1

 

When a story has been adapted as many times as Dracula has, certain iterations are bound to get lost in the shuffle. And while that's arguably the case here, I really don't think that fate was deserved. This version is every bit as good as anything Universal or Hammer ever made, in my opinion.

 

Granted, I can see why it didn't blow audiences away. The pacing's pretty slow, the washed-out visuals don't exactly pop, and the tone emphasizes romance over scares, which likely disappointed many viewers. But there's something about the elegance of this one that really works for me. Between the characteristically gloomy atmospheres, the dreamlike movements, and the fog-and-cobweb-covered sets, Dracula '79 creates the exact kind of classy-yet-spooky texture that I want from these movies. 

 

It also breaks from the typical structure, which I actually find pretty refreshing (frankly, a lot of adaptations start to lose me a little once Dracula leaves his castle and travels to London). I get that this is by no means the definitive version of the character, but I like that it was daring enough to take a few liberties here and there, and I like that it focused on mood and style over anything else.

 

Grade: A-