Supergirl (1984) Review:

After studios witnessed how successful super hero films could be with the release of Superman (1978), Superman II (1980) and Superman III (1983), the ball was beginning to roll for other properties. While Swamp Thing (1982) had proven to be adequate, Warner Bros. wanted to bring another hero from the planet krypton to the big screen. Being that Kara, Superman's cousin was the only other well known person, it was decided to move along with her own story. Mind you this is where the possibility of a shared universe was in its infancy. This was years before anything MCU or DCEU related. Unfortunately for Supergirl, her initial outing wasn't the success producers wanted. When finishing the feature, it can be seen as to why this happened. It was a bold step, but perhaps, a little too bold for its own good.

Helen Slater as Supergirl

The plot is about a powerful orb known as the omegahedron that Zaltar (Peter O'Toole) loses to Earth. The orb itself powers the place Supergirl (Helen Slater) and Zaltar live in. Thus Supergirl goes after it, only to have to blend in with society. Meanwhile, Selena (Faye Dunaway), an evil witch, her assistant Bianca (Brenda Vaccaro) and on-off boyfriend Nigel (Peter Cook) discover the omegahedron and seek world domination with it. This in itself is pretty outlandish already, but that's what was written by David Odell. Surprisingly that's really the only thing to this movie that isn't done well and the end product suffers greatly because of it. There's just so many questions going on with it, it's a lot to take in without hesitating first. Odell was also known for writing The Dark Crystal (1982) and Masters of the Universe (1987).

To start off, all actors seem to very invested in their roles. No matter how over the top some may come across, they are making their character their own. Faye Dunaway and Brenda Vaccaro play off of each other very well even though they portray themselves as the most casual villains ever. Helen Slater portrays our heroine well too. She's naive, kind, pretty and puts her best food forward. Peter O'Toole as Zaltar gives some insight into the omegahedron as well as the phantom zone. Peter Cook as Nigel is an interesting character as well, since he's familiar with the dark arts, as is Selena. All of which these actors have been in various movie credits that are well known. Even Marc McClure as Jimmy Olsen appears, which proves this film was supposed to be the start of a shared universe. So who ripped off who again?

However, as to what the characters do is another thing. Right when Selena finds the omegahedron she is able to make it do things for her (occasionally). Half of the time she knows how to work it, while other times not so much. It doesn't make any sense. She's never had the orb before so where's the logic? Even Nigel has understandings of the dark arts but only introduces a powerful artifact at the very end out of nowhere. Okay I guess. Not to mention the fact that Selena's motivations are clearly out of her range. World domination? One step at a time lady. Her plan behind this is to woo a guy name Ethan (Hart Bochner), who will then help her in completing her mission. Not sure how. Let's also not forget that he mistakenly falls for Supergirl. It's rushed and utterly silly.

"I look soooo evil.....yesssss"

This kind of jagged story structure leads to the pacing of it all. It's okay in various spots, but other moments it just lags for periods at a time. Jeannot Szwarc, the director of this film and Jaws 2 (1978) should know better than this. Believe it or not, the visual effects of the film are decent for 1984 standards. Most of which still hold up now. The weakest area belongs to the flying sequences which is understandable. Alan Hume as the cinematographer helped with that too. Being that he had worked on other movies like Star Wars: Episode VI - Return of the Jedi (1983) and Octopussy (1983), it shows he knew what had to be done. Musical score was also impressive thanks to Jerry Goldsmith. While it may not be as recognizable as John Williams music from Superman (1978), Goldsmith gives the lead her own theme and the sound is overall very upbeat.

While the actors try really hard to make things entertaining, the cinematography is competently shot and the music well composed, it is ultimately not enough. The script has too many flaws, the plot is too reliant on one thing and the pacing is uneven. It's not a horrible outing, but it's not the best either.

Points Earned --> 5:10

Out for Justice (1991) Review:

While Steven Seagal was sort of late to the whole action macho role explosion trend that occurred during the 1980s, his debut was very successful. With other films like Above the Law (1988), Hard to Kill (1990) and Marked for Death (1990), Seagal wasn't stopping. As much negative critiques that he got, he was still able to produce a sizable following in box office tickets. However Seagal's films did have a bunch of things in common; they were productions that were either just above or at par when it came to viewing. Was it the worst thing put to the film? No. Was it a decent action fest? Not really either. It was just adequate. Not surprisingly, the trend continued further with this movie. After viewing this feature, there are things that work here but other times, it seems like things are just boring. So let's dive in shall we?

"Hey Gino, you really think this is enough protection?"

In the crime ridden streets of New York City, the alleys are monitored by the local law enforcement and also the Italian mob. For Gino (Steven Seagal), he has the luxury of being allied with both. Gino works for the police, and the mob respect him too. However there's one guy who isn't fond of him and that's Richie (William Forsythe). One day, after Richie guns down Gino's partner, Gino makes it his mission to take care of Richie once and for all when he finds him. In order to find out Richie's whereabouts and why he shot his partner, Gino begins a city wide search for anyone who knows. The problem is, nobody seems to have the information he wants. Written by R. Lance Hill, the screenplay isn't deep nor does it create any shocking twists. That doesn't mean the characters don't have back story though. There is a history between Gino and Richie.

The bigger issue though, is that Hill's writing produces very little intrigue among anything else. Viewers won't care about what happens to any of the characters except the main two because all other subplots are left up in the air. Gino's going through a divorce and his wife Vicky (Jo Champa) wants him to be around for their kid more often. But that goes nowhere, so it doesn't matter apparently. Hill was also the writer to The Evil that Men Do (1984) and Road House (1989). The director to this feature was John Flynn, known for movies like The Outfit (1973), Rolling Thunder (1977), Lock Up (1989) and Brainscan (1994). As to just how exactly this production did not manage to be more than just average is unclear, since both these individuals have fairly well-known credits to their names.

Aside from the script, the other flaws in this showing was unfortunately a few components. Surprisingly Steven Seagal is not that engaging in his role. Most of the time he goes around asking where Richie is and flipping his lid when no one gives him an answer. And by that, he just harasses many supposed suspects. He walks around in a sleeveless black shirt and wearing a beret flashing around his badge. Not exactly a by the books kind of cop and it looks really unrealistic. Who does that in real life? Only vigilantes do that sort of thing. The only bit of entertainment that Seagal provides are his quick action skills. Some of the violence is bloody but not by a lot. Much of the time it's just shoot outs and occasional fist fights. Nothing more than that. Not even an explosion. That's the truth. Even Jerry Orbach is more believable than Seagal.

William Forsythe

As for William Forsythe, he's the exact opposite of Seagal. Whenever Forsythe is on screen, his presence is known. Although he's definitely chewing a lot of the scenery, he gives a much more memorable performance than his co-star. At least there it feels like he's putting in the effort as to Seagal's rather underwhelming charisma. The camerawork provided by Ric Waite wasn't anything to be impressed with either. Much of the scenes have unappealing street settings, grungy looking interior sets and limited lighting in various shots. Considering he also worked on 48 Hrs. (1982), Footloose (1984) and Cobra (1986), it's disappointing. Then there's the music composed by David Michael Frank. Being that he had made music for other early Seagal features, perhaps his creativeness was lessening. Thankfully that same year he would make his best score for Showdown in Little Tokyo (1991).

The bare bones plot, William Forsythe's performance and the action is what really stands out in this Seagal movie. Sadly Seagal isn't one of those positive things. Not only does he sound bored, but so does the cinematography and music. The pacing feels slow at times and the much of it is just Seagal asking questions and after that knocking skulls.

Points Earned --> 5:10