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truck turner


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1974 blaxploitation flick has soul music legend Isaac Hayes playing ex-football player turned bounty hunter, Mack “Truck” Turner. Mack and his partner Jerry (Alan Weeks) are hired to track down a vicious pimp named Gator (Paul Harris) who has skipped bail. Turner is forced to kill Gator in a gunfight and now must face his vengeful girlfriend/madame Dorinda (Star Trek’s Nichelle Nichols) and her new associate Blue (Yaphet Kotto). With hired killers on his tail and a target on his back, Truck Turner is taking the fight to them to protect the ones he loves!

Aside from watching the future Duke Of New York in action and getting to see Star Trek’s Uhura as a foul mouthed madame, there isn’t too much to recommend about Truck Turner other than the obvious nostalgia. The film is sloppily directed by Jonathan Kaplan from a script that took three writers to concoct it’s simple story and hilariously vulgar dialog. The action scenes are badly choreographed and shot and the film feels like it was edited with a chainsaw. Not to say there isn’t some fun to be had from it’s epic badness or the brazen machismo in which Hayes seems to be impervious to gunfire, yet hits his target almost every time. The dialog is filled with profanity and racial slurs, which can be amusing…and quite shocking for those not used to an era long before politically correctness set in. It has something to offend everyone in today’s age of oversensitivity and if the racial slurs and portrayal of women as whores doesn’t accomplish it, a certain scene with Truck’s cat will. The thing is, the movie isn’t trying to offend, it was made at a time where exploitation films ‘went there’ and where proud of it. Still, despite it’s bravado, it seems to be just a little too badly made to really be enjoyable as camp. It is a very amateurish flick, but it did make money back in the day and does have a cult classic reputation, so who am I to argue. The legendary Hayes did the soundtrack himself, so at least there is that.

The cast play things surprisingly serious and that helps. Hayes is as cool as they come and gives his bounty hunter a confident swagger and yet there is a heart under all that testosterone. Nichelle Nichols is delightfully over-the-top and vulgar and really cranks out the trashy sex appeal as vicious madame Dorinda. Actually shows she is a versatile actress when allowed to play something other than Lt. Uhura. Yaphet Kotto gives threat and menace to his pimp Blue and Weeks is a solid enough sidekick for the macho Truck. It’s in the supporting cast that we start to run into trouble and performances range from adequate to awful with the various pimps, prostitutes and hit men. Also features small roles with Dick Miller and frequent John Carpenter guy Charles Cyphers.

Not sure why I didn’t enjoy this one. Normally I love this kind of stuff and maybe just went in with the wrong expectations. I was expecting something more on a Shaft level and maybe wasn’t ready for something that was a blatant exploitation flick that took itself far less seriously and was far less well-made. Perhaps then I will revisit Truck Turner once day and be ready this time for it’s badness, crudeness and rudeness. For now, I see it as a bad flick that was a little too bad for it’s own good at times.

-MonsterZero NJ

A generous…it is Isaac Hayes after all…2 and 1/2 bullets.

last_stand rating







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someones watching me


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As John Carpenter is one of my all-time favorite filmmakers, I am almost embarrassed to admit that it is only recently that I finally caught up with the one film of his I haven’t seen, the 1978 TV movie Someone’s Watching Me! The film tells the story of pretty Leigh Michaels (Lauren Hutton), who has moved to the West Coast from NYC for a new job, new apartment and new life. Soon after moving into her luxury high rise digs, Leigh starts receiving strange phone calls and gifts from someone disguising themselves as a travel company. As she resists the increasingly odd advances, the tone of the calls and letters become’s increasingly hostile. Soon, Leigh realizes she is being stalked by a highly deranged individual and the police can do little until the creep acts…but, Leigh isn’t going to wait to become a victim and the stalker becomes the stalked!

TV movie was written and directed by Carpenter just before he became a horror household name with Halloween. It is a very slow burn, but an effective one and really takes us through the process where odd calls and letters evolve into threats and mild concern turns to panic, fear and finally fighting back. We see some of the same qualities Carpenter wrote into Laurie Strode here, as Leigh, at first, is terrified, but then decides to do some detective work and stalking of her own when the police prove ineffective. Obviously, this is 1978 and in today’s world these type of situations are acted on far quicker, but it is entertaining to watch our heroine and her new boyfriend (David Birney) do the investigating that the investigators won’t do. Carpenter also turns up the tension a bit by letting the audience know that this individual’s admiration will turn fatal attraction at some point, so we know what might await Leigh. Drawbacks are that it is slow moving, but it is intended to be a slow boil and being filmed in a TV format and mostly on sets, it doesn’t quite have the look or feel of a Carpenter film. As it is scored by prolific 60s-70s TV composer Harry Sukman, we also miss Carpenter’s trademark electronic beats. Still, the final confrontation between Leigh and her stalker is intense and again shows that Carpenter was writing strong female characters long before it became commonplace in the 80s with the classic final girl types. It’s not his best work, but shows indications of things soon to come from the master director.

As for the cast, it is definitely Hutton’s show though she gets good support from Carpenter regulars Charles Cyphers and Adrienne Barbeau…the film where he and first wife Barbeau met…and familiar TV face, David Birney. Hutton is strong in a refreshingly eccentric part. Leigh is not your average girl. She has a bit of a mischievous sense of humor and prone to amusing  conversations with herself that make her very real and very likable. When she is first seeing signs of a problem, she stands her ground and it’s only till the problem escalates that she starts to panic. Hutton takes us through a variety of emotions and we root for her when she is pushed too far and takes the fight to her mysterious admirer, forcing the final confrontation. She outwits a man who has been very good at not only hiding his steps and crimes, but even setting up a patsy as well. It is an example of Carpenter’s strong skill at creating memorable characters and Hutton being a bit underrated as an actress.

An interesting part of Carpenter’s filmography, the movie was filmed in just ten days, according to Carpenter in the DVD extras. While it is a very slow burn and more of a character study of a woman being preyed upon by an unknown individual than a slasher, it shows hints of what we first saw in Assault On Precinct 13 and then in Halloween, with Carpenter’s penchant for strong and memorable female characters. His Leigh is a bit of an oddball, but she is smart, strong and can only be pushed so far. The TV format does restrain some of Carpenter’s cinematic signatures, but his craft for suspense and intensity is apparent. Not his best work, but interesting as it shows the elements that he would use masterfully in Halloween and future projects, coming to bare.

-MonsterZero NJ

3 old-style touchtone phones.

someones watching me rating








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escape from NY


Escape From New York is one of my all time favorite films (see full review here). It’s the film that cemented John Carpenter as one of my favorite directors. A starkly original idea featuring one of the greatest, and sadly underused, film anti-heroes of all time. There have been a few editions of the film on VHS, DVD and even a feature-only blu-ray, but, now Scream Factory has delivered this classic flick in a special 2-disc edition loaded with extra features that gives this quirky Sci-Fi adventure the treatment and respect it deserves!

The print is a new remaster from the original negative and is absolutely gorgeous. The image is crisp and clear and the colors are vibrant without betraying the look and feel intended by the filmmakers. The movie has never looked better and having seen it on screen, on VHS, on DVD and on previous blu-ray, I can say that with the utmost confidence. It’s never looked better. The audio is DTS-HD 5.1 and sounds great. It’s like seeing and hearing the movie again for the first time. It’s a beautiful presentation of this classic movie. Now on to the fun stuff…

We get some nice audio extras… not one but, three commentary tracks. There is a new track featuring actress Adrienne Barbeau and cinematographer Dean Cundey. Also, previously released tracks from Joe Alves and Debra Hill, as well as, the classic John Carpenter and Kurt Russell commentary, which is almost as entertaining as the film. More on-set insight than you could ever hope for. As for video treats and featurettes, the second disc holds a mix of new and previously released material. The first featurette is new and is a really cool look at EFNY’s SFX. It contains behind the scenes stills and interviews with Dennis and Robert Skotak, who worked at Roger Corman’s New World Pictures, which did the visual effects for the film. The Return To Escape From New York documentary from the MGM collector’s edition DVD is also included here and is filled with interviews from all the principles. We get the now legendary deleted bank robbery/arrest scene with an added new interview with actor Joe Unger, who played Snake’s partner Taylor in that deleted sequence. There’s a fun new look at scoring the film and the legacy of the soundtrack, with co-composer Alan Howarth. There is a great interview/slide show with on-set photographer Kim Gottlieb-Walker, who recently released a book (review here) featuring her work as a photographer on a number of Carpenter’s films. We get an interview with filmmaker David DeCoteau, who was working as a PA with New World Pictures at the time and got to visit the EFNY set. The disc then finishes up it’s extra’s section with theatrical trailers and two photo galleries on top of all the rest of the features. A great selection of extras to compliment the film.

As fan of Escape From New York, you couldn’t ask for a better special edition. The film looks great, sounds great and there is a nice selection of nostalgic and informative features and interviews to bring you back to 1980 when the film was being shot. I personally had the opportunity to see this flick in a theater…my beloved Oritani Theater…back in January of 1981 and it instantly became one of my all time favorites. Now I can enjoy it like never before thanks to this newly remastered, extra-filled, loving tribute from Scream Factory.

-MonsterZero NJ




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double feature_EFNY_SHAKE


This week’s double feature combines two movies I’ve covered before but, since NYC was on a lot of people’s minds this past week and the World Trade Centers figure prominently in both features, I decided to pair up two of my favorite 80s action guilty pleasures! Enjoy!



Escape From New York is one of my all time favorite B movies and a bonafide film classic. I instantly fell in love with this film upon seeing it opening night at the legendary Oritani Theater in Hackensack, N.J. and John Carpenter solidified himself as one of my favorite directors.

An outrageously original idea has New York City in a war torn, crime filled, future turned into a maximum security prison, and legendary director Carpenter makes it work by taking his subject matter just seriously enough to make the audience buy it. Add to that a colorful cast of characters, including one of the greatest, and sadly underused, film anti-heros of all time, Snake Plissken (Kurt Russell) and you have the recipe for a B movie classic. The story is simple, war hero turned outlaw, Snake Plissken has been captured and is about to be sentenced to life imprisonment in New York City Penitentiary. But, fate intervenes and the President’s (Donald Pleasence) plane is hijacked on the way to a crucial peace summit and crashed inside the city. Former special forces soldier Plissken is the only man skilled enough to sneak in quietly and get him out alive and Snake now has a chance at a full pardon for all his crimes if he takes the job. But, a vicious gang leader called The Duke Of New York (Isaac Hayes) has other ideas for both The President and Snake, who has less then 24 hours to complete his mission or the world goes back to war.

Director and co-writer (with Nick Castle) Carpenter creates some nice tension and suspense and his visual eye is great at creating a gloomy hellhole out of the world’s greatest city. And Dean Cundey’s cinematography is absolutely beautiful as it captures the world inside New York, which is very effectively portrayed on a small budget. Carpenter moves the film along well, although not as fast paced as today’s audience are used to, and there is plenty of action and chases to keep one entertained. And despite being released in 1981, this film may be the last film to have a real 70s feel to it before the Lethal Weapons and Die Hards changed action films forever. Another film that inspired many and was imitated many times and another great Carpenter film score to add to the atmosphere.

As for the cast… Kurt Russell does his best Clint Eastwood as Snake and it’s only natural then to pair him up with Eastwood co-star Lee Van Cleef as Police Commissioner, Bob Hauk. Rounding out the cast is Halloween vet Donald Pleasence as the President, Harry Dean Stanton as Brain, Carpenter’s then wife, Adrienne Barbeau as Maggie, Ernest Borgnine as Cabbie and legendary soul man Isaac Hayes as The Duke of New York. And not to forget, there is also genre favorite Tom Atkins as Hauk’s right hand man, Rehme and frequent Carpenter collaborator Charles Cyphers as the Secretary Of State. A simply classic B-movie sci-fi/action flick and one of my all time favorites! MONSTERZERO NJ EXTRA TRIVIA:  The studio wanted Charles Bronson as Snake, but, Carpenter fought for his choice of former Disney child actor, Russell and the rest is history. Also, the SPFX were done in part by a then unknown James Cameron, who went on to direct Terminator and Titanic. And despite it’s setting, most of the film was lensed in St. Louis and L.A. with only one night actual shooting in NYC at the Statue of Liberty.

One of the greatest B-movies of all time!

A classic 4 Snakes

escape rating




Shakedown is an 80s action guilty pleasure from Exterminator director James Glickenhaus that is not only his best film but, a darn entertaining cop thriller that is one of the last to take place in NYC before the 42nd street clean up and thus presents New York in all it’s sleazy pre-90s glory.

Shakedown is the story of public defender Roland Dalton (Peter Weller) who is moving on to a Wall Street law firm, run by his future father in-law, and as his last case, defends a drug dealer (Richard Brooks) accused of killing a cop. But, the dealer says it was self defense, he was defending himself in a robbery and the officer never identified himself. Dalton investigates along with lone wolf cop Richie Marks (Sam Elliot) and they discover a conspiracy of criminals and dirty cops who now want them both dead.
Sure some of the action is a bit overblown and the FX in the final showdown very cheesy but, Shakedown, as written and directed by Glickenhaus, is a down and dirty good time with a New York City bathed in neon lights, covered with empty crack vials and where sex, drugs and murder are a common occurrence. Add some 80s nostalgia to the mix and you have a whole six pack worth of Saturday night entertainment that is both grind-house action flick and slick crime thriller.
But, aside from it’s dirty, backstreet depiction of New York and some over the top action scenes, what really makes Shakedown work is that Elliot and Weller makes such a great team. They work very well together and it’s a shame the film never caught on enough to further the adventures of Marks and Dalton. The characters and the actor who portray them, really click and begged for a series. Supporting cast all perform well too, including Antonio “Huggy Bear” Fargas as drug lord Nicky Carr, Blanche (Sixteen Candles) Baker as Dalton’s fiance’ and hot Patricia Charbonneau as the assistant D.A. and Dalton’s former flame.
One of my favorite 80s guilty pleasure action flicks. A fun movie.
MONSTERZERO NJ EXTRA TRIVIA: The original title for the film and it’s title in other parts of the world was Blue Jean Cop which is a term used in the film for a cop on the take (dirty cops can afford designer jeans as opposed to Wranglers or Levis). Also, Director Glickenhaus made a few more flicks, including the campy Gary Busey action vehicle Bulletproof, before leaving show business to work at his father’s investment firm and became a successful investment professional and car collector.
3 and 1/2 bullets!
raid rating




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Tasked by producer J.S. Kaplan to make a low budget film for him, John Carpenter came up with this violent and action filled urban version of one of his favorite Howard Hawks westerns, Rio Bravo. Two years before he hit big with Halloween, Carpenter wrote, directed, edited and composed the score for this cult classic about a remote and soon to close ghetto police station under siege by a vengeful and well armed youth gang. Lt. Ethan Bishop (Austin Stoker) is sent to oversee the closing night of the Anderson ghetto police precinct, an assignment he expects to be routine and dull. But across town a youth gang with a cache of stolen guns and already sworn to avenge the death of some members by a police ambush, roam the streets looking to take their anger out on someone. They pick a poor ice cream vendor (Peter Bruni) and when a little girl (Kim Richards) gets in the way, both vendor and his young customer are brutally murdered. When the little girl’s father (Martin West) follows and kills a gang member, the rest chase him across Anderson where he finds himself at the skeleton crewed police station. Add to that the arrival of a bus carrying prisoners being transported to a state correctional facility who stop at the precinct when one prisoner takes ill and we have a recipe for a night of violence, revenge and a fight to survive. Now Bishop and the meager staff of the precinct must decide if they can trust two hardened criminals as the gang Street Thunder lays siege to the station with intensions of killing everyone inside.

Assault On Precinct 13 is a great little action flick that definitely foreshadows the type of intensity, suspense and style that John Carpenter would become known for. The film is loaded with tense action as the gang tries to get into the station and slaughter all inside and the uneasy alliance of cop and inmate must somehow fend them off with very little arms or ammo. And it works, because not only has Carpenter set up this claustrophobic situation of a remote and small building surrounded by vicious enemies, but fills it with great and endearing characters like the noble Bishop, the death row inmate with a sense of honor, Napoleon Wilson (a great Darwin Joston) and resilient and tough secretary, Leigh (Laurie Zimmer).

The acting is top notch with Stoker, Joston and Zimmer really giving intense and well rounded performances in their respective roles and a good supporting cast including Carpenter familiar faces Charles Cyphers, as the prison bus commanding officer and Nancy Loomis as meek secretary Julie along with, Tony Burton as prison inmate Wells. We never get to personally interact with the vengeful gang, instead they are presented as a malevolent and deadly force, a faceless wall of death that surrounds and closes in on the station’s occupants and this approach keeps them a dangerous and unpredictable element whom we fear because, like Michael Myers in Halloween, they appear less human and more a force of homicidal rage. It gives them a supernatural quality despite being very much flesh and bone.

The action scenes are very intimate, but intense, fast paced and well shot and, as with all Carpenter’s movies, the film has a great visual style that makes good use of it’s desolate locations and it’s largely night set scenes. While the film didn’t get much notice upon release, it was a hit in Europe and, as with a lot of Carpenter’s work, is now recognized for the classic film that it is. In my opinion it is one of what I call ‘Carpenter’s Core 5’ which in my opinion are his best films… or at least my favorites… Assault On Precinct 13, Halloween, The Fog, Escape From New York and The Thing. A great low budget action classic!

4 classic bullets.

assault rating




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What better way to wrap up our month long look at some of my Halloween Favorites then by taking a look back at one of the all time great horror flicks and a bonafide classic that is appropriately named after my favorite holiday. John Carpenter’s Halloween is recognized as a masterpiece of suspense and terror and while it wasn’t the first film that fits the definition of slasher, it did start a horror trend that gave birth to quite a few other classics during the following decade and beyond. It’s also simply one of the quintessential horror flicks to watch on All Hallows Eve!

The story starts out in sleepy Haddonfield, Illinois where 6 year old Michael Myers (Will Sandin), for no apparent reason, takes a butcher knife to his teenage sister Judith (Sandy Johnson) and brutally slaughters her. Fifteen years later on the eve of Halloween, Michael (Nick Castle in costume, Tony Moran when briefly unmasked), who has been incarcerated in the Smith’s Grove Sanitarium, awakens from his trance-like state and escapes the facility with his psychiatrist Dr. Samuel Loomis (the great Donald Pleasence) in pursuit. While no one believes him, Loomis is certain he knows where the escaped Myers is going…home. And Haddonfield is exactly where the soulless killer is heading and soon teen babysitter Laurie Strode (Jaime Lee Curtis) and her friends are going to be trick or treated to the most horrifying night of their lives as evil returns to their little town and leaves a trail of bodies in his wake. Despite Loomis’ warnings, can Myers be stopped on the night HE came home?

John Carpenter takes this simple concept…from a script he co-wrote with Debra Hill based on a story idea presented by producers Irwin Yablans and Moustapha Akkad…of a killer stalking a small town and turns it into a masterpiece of suspense and terror as he establishes not only that our killer has, overtime, become a soulless vessel of evil, but gives him a likable batch of typical teens such as Laurie and her friends Annie (Nancy Kyes) and Lynda (P.J. Soles) for us to fear and cheer for, as this fiend targets them for the slaughter. He then uses his camera lens and the cinematography of Dean Cundey to create tension setting shots of Laurie and her friends innocently going about their lives while Michael, or the car he stole, lurks in the background letting us know evil has found them while they remain blissfully oblivious. When Myers begins his carnage that night, we get shots that are filled with shadows from within which evil may lurk and more shots of Michael and his haunting white mask peering in windows or from behind trees watching his unaware prey. And once the audience is drawn in, we get to watch Michael start to eliminate this likable cast in brutal fashion leading to an intense last act that is literally one long stalking chase as Laurie tries to fight back and escape the mysterious killer who has targeted her as his next victim. The legendary director cranks up the pace after a deliberately slow burn and really gets our hearts pumping as the film heads toward it’s haunting conclusion. Carpenter stages all these scenes perfectly and we are with Laurie through one close call after another as the seemingly unstoppable boogeyman is relentless in his pursuit of the babysitter and her young charges (Brian Andrews and Kyle Richards). If his keen direction isn’t enough, Carpenter himself wrote and performed the haunting and now legendary score which really intensifies the atmosphere and accents every scare.

The cast are all good. Pleasence creates an iconic character as the frustrated and desperate Dr. Loomis, In her first film role, Jamie Lee Curtis gives us simply one of the greatest horror movie heroines of all time as Laurie. Nancy Kyes and cult favorite P.J. Soles are endearing as Laurie’s horny gal pals and Charles Cyphers is convincing as a small town sheriff who is more doubtful then concerned…until it’s too late. There is actually little gore in the film, but what bloodshed we do get is well executed, though it is sound FX that really make these kills effective as Michael’s knife makes impact with his unsuspecting victims. The sound is chilling as is his victim’s struggles when the killer simply uses his bare hands to finish them off. Which in my opinion is even more horrifying. Whatever flaws this film has, they are minor and it is a text book example of how to make a low budget horror, achieving a lot with very little.

Whether the film is an allegory on the dangers of teen promiscuity or simply a damn good horror flick, it all comes down to Carpenter’s camera and how he uses it that creates a lot of the tension and suspense. While today’s generation brought up on more blunt and visceral horror may find this too tame, I think it is truly the masterpiece of horror that it’s reputation suggests and quite possible changed horror films forever. A classic and one of the greatest Halloween season flicks of all time.

“Was it the Boogeyman?… As a matter of fact it was…”

A classic 4 carved pumpkins!

halloween rating




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ELIVS (1979)

I’m going to start off by saying I am almost embarrassed to admit that as a huge fan of John Carpenter and Kurt Russell, that this is the first time I have seen their first pairing together on this classic TV bio-drama. Written by Anthony Lawrence and directed by John Carpenter, who was fresh off of Halloween, Elvis (Kurt Russell with songs sung by Ronnie McDowell) depicts the legendary performer’s life up to his comeback concert in Las Vegas in 1969. The film traces The King Of Rock And Roll’s life from his poor upbringings in Memphis to rebellious teen who dreams of being a singer. A recording he makes for his mother (Shelly Winters) gets played on the radio and a star is born. The film then follows Elvis’ rocket to stardom, his stint in the military where he meets Priscilla, (Season Hubley) the daughter of an officer, and his career after making more hits and a slew of movie musicals that he grew to detest. The film also covers well, the sadness in Elvis’s life that started with the death of his mother and continued as he become a prisoner of his own fame. Elvis laments he can’t just go out and see the world like a normal man as he is swamped where ever he goes. He also become paranoid about those around him including members of his personal entourage and bandmates. Despite his love for Priscilla, his life of seclusion and his career drives a wedge between them even with the birth of his daughter. The film climaxes with his return to concert performing and while it is a success, it is also the start of the decline of his personal life and health that would ultimately lead to his untimely death that, according to this film, he disturbingly predicted himself. Carpenter handles one of his only non-genre films very well. He gives some vibrant life to the younger days of the enthusiastic Elvis’ career when a teen with a passion for music becomes a star practically overnight. The first half of the film is fun to watch with the young Memphis native enjoying his new celebrity and being able to spend money on the family that never had any. Then as we start to get into the negative aspects of Elvis’ rise to superstardom such as his feelings of being trapped and his disillusionment over Colonel Parker’s (Pat Hingle) control over his career and life, Carpenter gives us just enough to make us understand Elvis’ unhappiness and how his love of performing keeps him from walking away from it and sadly makes things worse as he sacrifices his personal life and relationship with the woman he loves to be a star. The movie never sinks too deep in the melodrama or gets exploitative in depicting the downside of this legend’s story though we clearly get a picture of a simple country boy who became more then just a man when a simple man was all he wanted to be. The film ends at the point where Elvis was on the brink of becoming a bigger star then ever yet, would also signal the downfall of his personal life and health. We don’t see his weight gain, divorce, addiction to pills but, we are give the seeds of what is to come and Carpenter and company let history do the rest without taking us there to see what we already know. The film was made in 79 so, the details of Elvis’ final years were still fresh in the publics mind. The cast are all good with Russell giving a truly haunting performance as Elvis. Russell is Elvis for all intents and purposes, at least as far as what we knew of the man. From his youthful excitement to a brooding and unhappy man who has conversations with his long dead brother, Russell is borderline brilliant. Shelly Winters overacts a bit as his mother but, not enough to harm the film. Bing Russell, who is Kurt’s real dad, plays his father and does a good job as a simple man watching his son become a superstar. We sadly don’t get to see too much of him during the later troubling times but, when we do, his concern seems genuine. Season Hubley plays Priscilla and it is no surprise that she and Russell were briefly married after the film as there are legitimate sparks between the two when they are onscreen together and she plays a woman torn between her love for her man and her own unhappiness wonderfully. Pat Hingle is appropriately slimy as Colonel Parker and we see clearly a man who found gold and mined it for all it was worth, maybe at the cost of a life. And Carpenter regular Charles Cyphers plays Sam Phillips who gave Elvis his start and sadly let him go when he knew his stardom had outgrown his little company. One has  to wonder if Elvis had stayed with Phillips, if his star would have shown less bright but, maybe Elvis would not have had such a tragic and unhappy end to his life. All in all, this is a very effective portrait of possibly the most famous performer of all time. It takes us into his triumphant rise and then gives us enough of a glimpse of the start of his fall but, without getting exploitative. It leaves enough of the gory details to our imagination so, the legacy of The King retains some of that legendary luster and, in my opinion, that was the right way to go with it. A very good movie about a music legend with an amazing Kurt Russell performance. Available from the awesome folks at Shout Factory on a beautifully remastered DVD.

3 and 1/2 guitars!

guitar rating