Michael Kenworthy Movies

After the phenomenal box-office and critical success of David Cronenberg's 1986 remake of The Fly, a series of big-budget remakes of '50s horror favorites rode in on its coattails in the late 1980s -- though none managed to rise above mere camp clones of their elders, albeit garnished with modern makeup effects in an attempt to draw modern teen horror-junkies. One remake that managed to live up to its cheesy inspiration was Chuck Russell's version of The Blob, in which the title goo crashes to earth and promptly begins digesting the residents of a small California town while growing to gargantuan proportions. The clean-cut teen hero originally portrayed by Steve McQueen (his first starring role) is replaced here with a rebellious outsider (Kevin Dillon) whose preppie rival (Donovan Leitch) for the affections of the cute heroine (Shawnee Smith) is quickly eliminated by the all-consuming space-gelatin. No sooner has the plasma menace set up house in the town sewers when a shadowy government Blob Squad shows up under the direction of the grandfatherly Dr. Meddows (Joe Seneca), to clean up the mess... or not. This high-spirited remake replaces the '50s "Daddy-O" conventions of the original with '80s cynicism -- not even likeable characters are spared from the slaughter -- and anti-government sentiment. It also pushes the gore envelope in ways unavailable to its low-budget parent -- e.g. the scene in which one victim is sucked through a sink drain was only hinted at in the 1958 film, but here viewers are treated to the entire bone-crunching ordeal. Though the quality of blob effects seems inversely proportional to the creature's size (some of the climactic "wall-of-blob" footage is painfully cheap-looking), the end result is more blob for the monster-movie fan's dollar. ~ Cavett Binion, Rovi

'Night. Mother was adapted by Marsha Norman from her own harrowing Pulitzer Prize-winning play. Outwardly normal Sissy Spacek calmly informs her mother Anne Bancroft that she's about to commit suicide. Thus the stage is set for a war of nerves between the determined Spacek and the distraught Bancroft, who uses every emotional and psychological device at her disposal to stave off the inevitable. The film's tension grows not from its plot development--we know from the outset how it's going to end--but from whether or not we're going to learn all the reasons for Spacek's decision. She's an epileptic, an alcoholic, and supremely miserable, but she always holds a little something back, prompting the viewer to lean closer to the screen in hopes of ferreting out more answers. In the original play, the outcome was never predictable; perhaps understandably, there are many who prefer the staged 'Night Mother to the screen version. ~ Hal Erickson, Rovi