John Sterland Movies

Behind the black cowl, Gotham City superhero Batman is really millionaire philanthropist Bruce Wayne (Michael Keaton), who turned to crimefighting after his parents were brutally murdered before his eyes. The only person to share Wayne's secret is faithful butler Alfred (Michael Gough). The principal villain in Batman is The Joker (Jack Nicholson) who'd been mob torpedo Jack Napier before he was horribly disfigured in a vat of acid. The Joker's plan to destroy Batman and gain control of Gotham City is manifold. First he distributes a line of booby-trapped cosmetics, then he goes on a destruction spree in the Gotham Art Museum while the music of Prince blasts away in the background, and finally he orchestrates an all-out campaign to win the hearts and minds of the Gothamites, hoping to turn them against the Cowled One. Meanwhile, reporter Vicki Vale (Kim Basinger) becomes the love of Batman's life-which of course plays right into the Joker's hands. Photographed by Roger Pratt, designed by Anton Furst, and scored by Tim Burton's favorite composer Danny Elfman, Batman was a monstrous box-office hit, making $100 million in the first ten days of release--$82,800,000 in North America alone. Incidentally, Billy Dee Williams' comparatively small role as DA Harvey Dent was originally designed to set up the sequel, wherein Dent was to convert into master criminal Two-Face; but by the time the producers got around to that character in 1995's Batman Forever, Two-Face was played by Tommy Lee Jones. ~ Hal Erickson, All Movie Guide

E. L. Doctorow's novel Ragtime was a sprawling fictional account of American manners and mores in the years between 1900 and 1913. Among the mosaic of colorful factual and fictional characters in the novel were escape artist Harry Houdini and radical Emma Goldman. Both characters are all but eliminated in the film version, which only concentrates on three of Doctorow's many plot threads: The story of an immigrant artist (Mandy Patinkin) who becomes a movie director; the saga of "Gibson Girl" Evelyn Nesbit Shaw (Elizabeth McGovern), for whose sake playboy Harry K. Thaw (Robert Joy); kills architect Stanford White (Norman Mailer) and a lone black man's (Howard Rollins Jr.) quest for justice when his car is destroyed by a racist fire chief (Kenneth McMillan). This last subplot consumes most of the film's running time, to the overall detriment of the pacing. There are also several scenes involving an unnamed upper-middle-class family (headed by James Olson and Mary Steenburgen) who are evidently meant to be the audience's eyes and ears, but are frankly not terribly interesting. Back in 1981, Ragtime was given plenty of press coverage as the "comeback" picture for James Cagney, after twenty years in retirement. The problem is that Cagney's character (a police commissioner) isn't in the book, and his inclusion not only throws the story off balance, but necessitates the removal of several potentially interesting characters and events. Another detriment is the gratuitous (and illogical) nudity in the Evelyn Nesbit scenes, which earned the film its "R" rating. An ornate misfire, Ragtime is of interest today only for its remarkable cast of veterans and stars-to-be, including Pat O'Brien and Eloise O'Brien, Donald O'Connor, Debbie Allen, Moses Gunn, Jeff Daniels and Fran Drescher. ~ Hal Erickson, All Movie Guide

Even in an era of cinematic experimentation, Performance stands out as a visually daring major-studio film that deals with questions of sanity and identity rarely touched on in mainstream filmmaking. The elements of Performance certainly looked attractive to studio executives at Warner Bros. -- a gangster on the lam hides out in the home of a reclusive rock star -- especially since that musician was being played by Mick Jagger of the Rolling Stones. But co-directors Nicolas Roeg (who also photographed) and Donald Cammell (who wrote the screenplay) had much more in mind than a walk on the wild side of swinging London. Chas (James Fox) is a sadistic thug who gains our sympathies only because men even crueler than he are out to kill him. After Chas arrives at the mansion occupied by Turner (Jagger) and his female companions Pherber (Anita Pallenberg) and Lucy (Michele Breton), what looks like a decadent idyll fueled by drugs and group sex turns into a series of mind games in which Turner challenges Chas' sexual preference and core identity. Even the film's one musical number, "Memo From Turner," is a William Burroughs-like monologue in which Turner fantasizes taking over Chas' role as a mobster, spewing insults to his colleagues. The film's cult status has been fueled by subsequent films of its co-directors (for Roeg, Walkabout, The Man Who Fell to Earth, and Don't Look Now; for Cammell, White of the Eye), which explored similar themes employing the same kind of jagged editing and striking visuals. ~ Tom Wiener, All Movie Guide