Joanne Jordan Movies

John Cassavetes' harrowing masterpiece charts the emotional meltdown of a suburban housewife and its effects on her blue-collar Italian family. Gena Rowlands stars as Mabel Longhetti, a mother of three whose husband Nick (Peter Falk) works as a construction worker; a mismatched couple like so many others in Cassavetes films, the Longhettis seem to be complete opposites: she's impetuous, extroverted, and fragile, while he's controlling, distant, and hard-bitten. Their differences underscore a series of domestic dramas, culminating in a nervous breakdown that sends Mabel to a psychiatric hospital for six months, only to return to a home environment on even thinner ice than before. The improvisational style central to Cassavetes' vision is at its most acute throughout A Woman Under the Influence. Like its title heroine, the film threatens to veer out of control at any time, its shape and scope defined not by narrative but by the emotional upheaval at its center. Embracing the full spectrum of the Longhettis' relationship, from seismic bursts of high drama to small, even trivial moments of domestic tedium, its long scenes relentlessly probe every nook and cranny of the family's life, drawing out each moment for maximum emotional impact; the film is by turns beautiful and ugly, illuminating and frustrating, and it features a performance by Rowlands as heartwrenching and unforgettable as any ever committed to celluloid. ~ Jason Ankeny, Rovi

A six-foot biker chick grabs a shotgun, jumps on her Harley and hits the highway with two compadres to search for the ones who murdered her brother in this lurid actioner that is the first biker flick to have a female director. ~ Sandra Brennan, Rovi

With a style and tone that wreaks of the late '60s, this cheap-looking adaptation of an H.P. Lovecraft story plays like an obvious reference to the battle between the establishment and the counterculture. The film stars Dean Stockwell as Wilbur Whateley, a brooding young man who makes a connection with a pretty librarian named Nancy (a very out-of-place Sandra Dee). Whateley wants to get his hands on the Necronomicon, a diabolical book that he believes will help him to open a doorway to a dimension inhabited by unspeakable creatures known as the "Old Ones." Hypnotized by Whateley's spell, Nancy accompanies the man back to his cursed home where he lives with his nutty grandfather (Sam Jaffe) and an unseen "thing" that is kept in an upstairs room. Meanwhile, the Necronomicon's owner, Dr. Armitage (Ed Begley), does some detective work on Whateley when he begins to fear for Nancy's safety. He quickly realizes that Whateley means to sacrifice Nancy in order to accomplish his diabolical plan. Whateley manages to steal the Necronomicon and begins the ritual to resurrect the Old Ones. As Armitage races to stop him, the thing from the upstairs room breaks out and beats a murderous path towards Whateley as well, leading to a final confrontation that leaves a lot to be desired. ~ Patrick Legare, Rovi

Faces is right: this definitive John Cassavetes film consists almost exclusively of tight, uncomfortable close-ups. It takes place in the fourteenth year of the marriage of Richard (John Marley) and Maria (Lynn Carlin). Neither husband nor wife is content with the conditions that prevail; Maria joins her friends looking for romantic satisfaction elsewhere, while Richard secures the services of a prostitute (Gena Rowlands). Maria herself has a one-night stand with a hippie (Seymour Cassel), but this is no more satisfying than her dead-end marriage. If you think that Faces is an exhausting experience in its current 130-minute length, imagine what it looked like in Cassavetes' original six-hour cut. Alternately clumsy and profound, it is nonetheless a work of deep sincerity, as recognized by the Venice Film Festival, which bestowed no fewer than five awards on the film, and it perfectly exemplifies Cassavetes' improvisational, cinéma vérité style and searching explorations of modern relationships. ~ Hal Erickson, Rovi

Dale Robertson stars as the Son of Sinbad in this tongue-in-cheek Arabian Nights romp. Hoping to rescue Bagdad from the forces of the dreaded Tamerlaine, Sinbad Jr. enlists the aid of the Khalif (Leon Askin) by promising to deliver the secret of "Greek Fire". To expedite this, he enlists the aid of the lovely Kristina (Mari Blanchard), who has memorized said secret. When the bad guys threaten the safety of hero and heroine, slave girl Ameer (Sally Forrest), who heads the all-female descendants of the original Forty Thieves, come galloping to the rescue. Personally produced by Howard Hughes, Son of Sinbad seems to be a clearing house for all of Hughes' voyeuristic fetishes; at one point, stripteaser Lili St. Cyr performs an exotic (and erotic) dance wearing the equivalent of a postage stamp, earning a Condemned rating from the Catholic Legion of Decency. The overabundance of feminie pulchritude gets a little wearing after a while, and it is up to Vincent Price to steal the show as Omar the Tentmaker, improvising passages of his unpublished "Rubiyat" (with a few anachronistic Shakespearean quotes thrown in) as he tries to keep apace with the hero. Also on hand is an uncredited (and fully clothed) Kim Novak as a handmaiden. More silly than sexy when seen today, Son of Sinbad is acceptable nonthink entertainment. ~ Hal Erickson, Rovi

Bank teller Mike Donovan (Barry Sullivan) takes the first step on the road to Perdition when he fails to report a $49,000 shortage. Accused of theft, Donovan is fired from his job. He is then prevented from finding other employment by Javert-like insurance investigator Gus Slavin (Charles McGraw). Despite many setbacks, Donovan holds out the hope that he'll be able to clear his name, but even his loyal wife Ruthie (Dorothy Malone) doesn't believe this will ever happen. Filmed on location in Los Angeles and Malibu, Loophole nevers loosens its grip on the viewer for a single second. ~ Hal Erickson, Rovi