Also known as: A Chip Off the Old Blob (script title), Beware the Blob, Son of Blob, Son of the Blob, The Blob Returns (alternative titles)
Release Date: June 10th, 1972 (San Antonio, TX premiere)
Directed by: Larry Hagman
Written by: Anthony Harris, Jack Woods, Richard Clair, Jack H. Harris
Music by: Mort Garson
Cast: Robert Walker Jr., Carol Lynley, Godfrey Cambridge, Gwynne Gilford, Richard Stahl, Richard Webb, Marlene Clark, Gerrit Graham, J. J. Johnston, Danny Goldman, Dick Van Patten, Cindy Williams, Burgess Meredith (uncredited), Sid Haig (uncredited)
Jack H. Harris Enterprises, 87 Minutes
“Hippie, schmippie!” – Unidentified Rabblerouser
This is a strange fucking movie.
That doesn’t mean that I didn’t like it, though.
I mostly found it entertaining and amusing but taking the concept of The Blob and making a sequel that’s a comedy was an odd choice. But I get it, the monster is basically just killer toxic snot.
While the humor is borderline slapstick and lowest common denominator stuff, it’s still funny because the actors really committed to some of the more absurd things and it just worked because of that.
This also featured some notable people with a very young Gerrit Graham, Burgess Meredith as an old hippie, Cindy Williams of Laverne & Shirley fame, Dick Van Patten and Sid Haig in a small role.
Still, at its core, this is a really goofy movie and it doesn’t really add anything new to The Blob concept other than comedy and drug use.
Also known as: Hexensabbat (Germany), De Watcher (Netherlands)
Release Date: January 7th, 1977 (New York City premiere)
Directed by: Michael Winner
Written by: Jeffrey Konvitz, Michael Winner
Based on: The Sentinel by Jeffrey Konvitz
Music by: Gil Melle
Cast: Chris Sarandon, Cristina Raines, Martin Balsam, John Carradine, José Ferrer, Ava Gardner, Arthur Kennedy, Burgess Meredith, Sylvia Miles, Deborah Raffin, Eli Wallach, Christopher Walken, Jerry Orbach, Beverly D’Angelo, Hank Garrett, Nana Visitor (as Nana Tucker), Tom Berenger, William Hickey, Jeff Goldblum
Jeffrey Konvitz Productions, Universal Pictures, 92 Minutes
“It’s all right. Listen, listen. I know everything now. The Latin you saw in that book was an ancient warning from the angel Gabriel to the angel Uriel.” – Michael Lerman
The Sentinel came out in a decade that was packed full of religious themed horror movies after the successes that were 1968’s Rosemary’s Baby and 1973’s The Exorcist. So it’s easy to see why it may have gotten lost in the shuffle. However, in my opinion, it is one of the better ones out there.
The film also has a really great cast, even if most of the parts are fairly small, except for the two leads: Cristina Raines and Chris Sarandon. Sprinkled throughout though are Martin Balsam, John Carradine, José Ferrer, Ava Gardner, Burgess Meredith, Sylvia Miles, Eli Wallach, Christopher Walken, Jerry Orbach, Beverly D’Angelo, Nana Visitor (of Star Trek: Deep Space Nine), Tom Berenger, William Hickey and Jeff Goldblum. Needless to say, there’s a lot of great talent here and the film truly benefits from it, as just about every scene includes someone of note and none of them are simply dialing in their performance.
The plot revolves around a young woman with a pretty screwed up past, wanting to live on her own for awhile. She moves into an old building near the water in New York City. However, the attic apartment has an old blind priest that just sits in the window 24/7. The place is also full of bizarre residents and as the film rolls on, we come to learn that these people are ghosts. We also learn that the building is a gateway to Hell and the old priest sits there to keep the evil from escaping the walls of the house.
The story almost feels like it’s ripped from a ’70s Italian demon movie. But also like Italian demon movies, this is eerie as hell and really effective. It’s just creepy as shit in the greatest way possible.
I like how the story evolves and brings in the detectives played by Eli Wallach and Christopher Walken. I like both of those actors tremendously and they were great together in this. In fact, I kind of wished they had their own film as two NYC detectives in the gritty ’70s.
The real scene stealer for me was Chris Sarandon. I’ve loved the guy since I first saw him in Fright Night when I was a little kid. He’s just solid in this and I like what they do with his character over the progression of the story.
I was definitely pleasantly surprised by this movie. I’ve known about it for years but never got around to seeing it. Had I known how many great actors were in this, I probably would’ve watched it years earlier.
Pairs well with: other religious horror of the ’70s.
Release Date: November 27th, 1985
Directed by: Jeannot Szwarc
Written by: David Newman, Leslie Newman
Music by: Henry Mancini, Leslie Bricusse
Cast: Dudley Moore, John Lithgow, David Huddleston, Judy Cornwell, Burgess Meredith, Carrie Kei Heim, Christian Fitzpatrick, Jeffrey Kramer, Christopher Ryan
Calash Corporation, GGG, Major Studio Partners, TriStar Pictures, 107 Minutes
“Now, all those within the sound of my voice, and all those on this Earth everywhere know that henceforth you will be called Santa Claus.” – Ancient Elf
I actually wrote about this movie in an old article titled How Dudley Moore Ruined My Childhood – A Christmas Story. In that article I outlined the plot of this movie from memory but I was kind of off, as I hadn’t seen the film since 1985.
Anyway, seeing this now, it’s a much better movie than I remembered and I kind of enjoyed it in spite of my complaints in the previous article and how it destroyed Santa Claus for my seven year-old brain.
This is a movie with really odd pacing and plot structure where the first act seems like it takes up the first full hour of this 107 minute movie. But I do really like the first act, which shows the fantastical origin of Santa Claus. It’s so well shot and orchestrated that the picture feels otherworldly but incredibly magical and soothing.
David Huddleston was perfectly cast as Santa and his wife and the elves were also great, especially Dudley Moore and Burgess Meredith. We also get to see Christopher Ryan in a small role as an elf, which I thought was really cool. He’s best known, at least to me, as Mike from The Young Ones and as different Sontaran commanders from Doctor Who.
After the first hour or so, we are introduced to the film’s villain B.Z., played by the great John Lithgow. As a kid, I always loved this character and sort of saw him as the Lex Luthor of Christmas. I guess I remembered his role and his presence in the film being bigger than it actually was but that’s probably because Lithgow was so solid that it left a big impression on me.
There are also two little kids in the movie but they’re kind of annoying and overly happy all the time. But I guess you need kids in a Santa movie and they’re supposed to be the narrative stand-ins for the kids in the audience, imagining themselves hanging out with Santa and the elves.
The film looks really dated though and I remember thinking that it looked older than a 1985 movie in 1985. Also, the special effects aren’t great but the matte painting work and sets kind of make up for that.
The story isn’t great either but trying to see it through the eyes of a kid, it’s fine.
In the end, this is a weird but comforting movie. I feel like it’s been lost to time and mostly forgotten but I still think that people would like it if they gave it a chance.
Pairs well with: other family Christmas classics.
Release Date: June 24th, 1983
Directed by: John Landis, Steven Spielberg, Joe Dante, George Miller
Written by: John Landis, George Clayton Johnson, Richard Matheson, Melissa Mathison, Jerome Bixby
Based on: The Twilight Zone by Rod Sterling
Music by: Jerry Goldsmith
Cast: Dan Aykroyd, Albert Brooks, Scatman Crothers, John Lithgow, Vic Morrow, Kathleen Quinlan, Burgess Meredith (narrator), Dick Miller, Steven Williams, Al Leong, John Larroquette, Selma Diamond, Priscilla Pointer, Nancy Cartwright, Christina Nigra, Donna Dixon
Amblin Entertainment, Warner Bros., 101 Minutes
“Hey… you wanna see something really scary?” – Car Passenger
After recently watching the Creepshow television series, as well as revisiting the movies for the umpteenth time, I got the itch to rewatch Twilight Zone: The Movie, as it has a lot of similarities and I hadn’t seen it in at least a decade.
I like the highpoints of this movie almost as much as the Creepshow films. However, Twilight Zone is pretty inconsistent, as the first two segments are weak while the latter two are really good. And maybe it was put in this order in post-production because Steven Spielberg felt the same way, even though one of his segments was one of the crappier ones.
The prologue and the first segment were both directed by John Landis, coming off of An American Werewolf In London, a true horror classic. The prologue was a pretty good setup and I loved it when I was a kid. Landis’ segment, however, plays more like an episode of Amazing Stories.
Although, two of these segments play like Amazing Stories episodes and maybe this movie is what inspired Spielberg to create that show just two years later.
Anyway, Landis’ segment is actually incomplete due to an accident involving a helicopter on the set of the film. The accident killed two kids and actor Victor Morrow. It was a pretty controversial event back when it happened (see here) and it forever ruined the working relationship between Steven Spielberg and John Landis.
Moving on to the second segment, it’s the one directed by Spielberg himself and it is also the other segment that feels like an Amazing Stories episode. It’s also really boring and slows the movie to a crawl. But thankfully, Joe Dante’s segment gets the movie back on track.
By the time the third segment rolls around, you might find yourself in a comatose state that even the gentle, kind and always fly Scatman Crothers couldn’t pull you out of during the previous story. But once you get to the midpoint of the film, everything picks up, gets better and the movie delivers.
The third and fourth segments feel almost as good as the best segments from the Creepshow franchise and they save this movie from being a total disaster.
Where the first story dealt with an unlikable, old, racist piece of shit and the second dealt with old people getting to feel young again, the third deals with a young boy with special powers and a nice lady that eventually wants to help him, played by Kathleen Quinlan. It has more energy, it’s a more interesting story and the monster effects that Dante had created for this are superb. I love the third segment and it’s actually a story I would revisit if ever there were a followup to it. Plus, it has Dick Miller in it.
Now the fourth segment is directed by George Miller, the man behind the Mad Max franchise, and it is a remake of the most famous Twilight Zone episode.
The story sees an airplane passenger freak out over a monster on the wing of the plane. It may sound like an odd setup but it is a great segment that builds suspense incredibly well and also benefits from the great talent of John Lithgow. I also really liked the young Christina Nigra in this, as she added some good comedic seasoning at just the right moments. She was also really good in Cloak & Dagger, alongside Henry Thomas, a year later.
The final segment features the best (and only real) monster of the movie. The special effects are outstanding and the payoff in the finale makes the rest of the movie worth sitting through.
In the end, Twilight Zone: The Movie is a good example of what I don’t like about anthologies: consistency. The first half is bogged down by dry, slow, boring stories that one has to suffer through in an effort to get to something better. Thankfully, the second half of the picture is good.
In retrospect, though, it feels like this is almost a movie length pilot to Spielberg’s anthology television series Amazing Stories. If you’ve ever seen that show, this feels like an extension of it more than it feels like it fits within the Twilight Zone franchise. However, this would also lead to the Twilight Zone getting resurrected on television. In fact, it relaunched just a few days before Amazing Stories debuted.
Going back to the Spielberg segment with the old people experiencing their youth again, there are a lot of parallels to it and Ron Howard’s Cocoon. I’m not sure if this was an inspiration for that movie and its sequel but it’s very possible.
In fact, Twilight Zone: The Movie seems to have had quite the impact between launching a new TZ television series, influencing Spielberg’s Amazing Stories and its similarities to Cocoon, all of which came out two years later in 1985.
Pairs well with: other horror anthology films of the time: the Creepshow movies and Tales From the Darkside: The Movie, as well as the television shows Amazing Stories and Tales From the Crypt.
Release Date: April 10th, 1981
Directed by: Martyn Burke
Written by: A. Roy Moore, C.R. O’Christopher
Music by: Gil Melle
Cast: Lee Majors, Burgess Meredith, Chris Makepeace, Alexandra Stewart
Argosy Films, Canadian Film Development Corporation, Crown International Pictures, 101 Minutes
“This man’s dangerous. This little joyride he’s on is undermining the entire balance of this country.” – Hawkins
Even for 1984 standards, this movie is of such poor quality that I was surprised to find out that this was released theatrically and not just made for TV as a CBS “movie of the week”.
The film stars Lee Majors and Burgess Meredith as two dudes way past their prime but unable to get rid of their youthful tendencies.
The Last Chase takes place in a dystopian future where crazy environmentalists rule society and have outlawed vehicles. Majors plays a former race car driver that has been secretly building a new race car in his garage for twenty years. Burgess Meredith plays an old man that used to be a fighter pilot back when jets were still in use. Majors and some teenage sidekick take his race car on a cross country joyride that angers the fascist government, who then sends in old ass Burgess Meredith to catch these speed demon criminals in a fighter jet.
Does the premise sound awful? It should, because it is.
So Meredith hunts down Majors, shoots at him and we get an elderly vehicular duel with a bunch of unnecessary non-action scenes thrown in to break up the tension that doesn’t actually exist in this picture. I’m not sure what the point of this movie was but at least I finally got to see a Penguin fly.
Anyway, this was featured on the original first season of Mystery Science Theater 3000 and this isn’t one of the films that the revisited once the show went national on Comedy Central. That’s probably because it bored Joel and the ‘Bots to tears the first time.
Pairs well with: Death Race 2000 and Cannonball, both of which are much, much better than this.
Release Date: August 26th, 1988
Directed by: Michael Dinner
Written by: Hugo Gilbert, Stephen Neigher, Charlie Peters, Andy Breckman (uncredited)
Music by: Danny Elfman
Cast: Bobcat Goldthwait, John Candy (voice), Dabney Coleman, Virginia Madsen, Tim Kazurinsky, Mary Gross, Burgess Meredith (voice), Chino ‘Fats’ Williams
Warner Bros., 88 Minutes
“[about the atrium in his new apartment] What is this a little yard?” – Fred B. Cheney
When Bobcat Goldthwait handed this script back to his agent, he wrote on the cover, “Why would I do this?” His agent returned the script after writing “$”. Needless to say, the script is terrible and the movie bombed but it was the most money that Goldthwait made at the time.
Many people will tell you that this is a terrible movie and it mostly is but it is a stupid movie with some solid comedy players and you don’t watch a film about the weirdest guy from Police Academy and a talking horse and expect to see Terms of Endearment.
Not only do you have Bobcat Goldthwait, who was a comedian I absolutely loved as a kid, but you get the voices of John Candy and Burgess Meredith playing horses, the always stupendous Dabney Coleman, Bobcat’s heterosexual life partner (at least in the ’80s) Ted Kazurinsky, as well as Virginia Madsen and a small part for Mary Gross.
The plot is about this dimwitted son of a rich woman who passes away. His stepfather (Coleman) is a slimy shyster that wants to weasel Bobcat out of his half of a lucrative financial firm. Bobcat also inherits a horse who goes on to give him amazing stock tips that makes Bobcat a superstar in his company. The majority of the plot deals with the rivalry between Bobcat and Coleman and ends with Bobcat playing a jockey, racing his John Candy voiced horse in a derby against Coleman’s prized steed for control of the company.
Yeah, the plot is friggin’ ludicrous but I still enjoy the picture because Bobcat and Coleman have always made me laugh, even in their dumbest moments. I also really love their scenes together which are accented by the absurdity of Coleman’s mouth prosthetic that gave him buckteeth throughout the entire film.
Originally, Elliot Gould was the voice of the horse but the test screenings went so poorly that the film was delayed for about a year and the horse’s lines were re-dubbed by John Candy who ad libbed his lines and ignored the script. Also, it’s worth noting that Bobcat’s role was originally intended for Joan Rivers and the script went through rewrites when Rivers turned the film down and Bobcat was cast.
Most people hate this movie. I just can’t. It’s completely asinine but I guess that’s what I like about it.
Pairs well with: The classic TV series Mister Ed, the Police Academy movies with Goldthwait and Kazurinsky in them and the John Candy films Armed and Dangerous and Who’s Harry Crumb?
Also known as: Action Force: The Movie (UK)
Release Date: April 20th, 1987
Directed by: Don Jurwich
Written by: Buzz Dixon (uncredited)
Based on: G.I. Joe: A Real American Hero by Larry Hama
Music by: Johnny Douglas, Rob Walsh
Cast (voices): Don Johnson, Burgess Meredith, Sgt. Slaughter, Michael Bell, Arthur Burghardt, Corey Burton, William Callaway, Brian Cummings, Dick Gautier, Ed Gilbert, Chris Latta, Morgan Lofting, Mary McDonald-Lewis, Bill Ratner, B.J. Ward, François Chau
Hasbro, Sunbow Productions, Marvel, Toei, 93 Minutes
“I will stain my hands with your blood! No one defies Golobulus and lives… NO ONE! The last thing you will hear… is the cracking of your vertebrae… one… BY ONE!” – Golobulus
G.I. Joe: The Movie is where G.I. Joe: A Real American Hero jumped the shark. Granted, I don’t completely hate it and there are a few positives but at it’s core, this is not G.I. Joe.
This motion picture, which was originally intended to be a theatrical release but ended up being released on VHS instead, takes everything that was established in G.I. Joe and turns it on its head.
We find out that Cobra Commander is some snake dude and that he is from some secret Shangri-La like society called Cobra-La. The G.I. Joes and Cobra both get pulled into Cobra-La’s bizarre world and quickly discover a bunch of weird looking people who don’t use technology like humankind but instead have an organic type of technology. I guess it makes them similar to the alien Yuuzhan Vong from the polarizing New Jedi Order era of the Star Wars Expanded Universe continuity that Disney ignores now. Cobra-La is led by Golobulus, a creepy dude that sounds an awful lot like Mickey Goldmill from the Rocky movies.
The Cobra-La twist just really screwed G.I. Joe up. It didn’t feel right, at all. It just didn’t vibe with the great and rich mythos I had come to know before this movie hit video store shelves in 1987.
However, as I stated earlier in this review, there were some positives. So I’ll talk about those.
To start, I liked a lot of the new characters albeit not the Cobra-La ones. Lt. Falcon, who was voiced by Don Johnson, might not have had enough time to really have his story told properly, but he came a long way in this film and became a leader when it was all said and done. He started out as a womanizing, slacker douche but tragedy forced him to grow up and conquer insurmountable odds.
I also liked most of the new G.I. Joe recruits and it was cool seeing most of the old faces, as well. The scenes where Beachhead is annoyed at training the newbies makes for some good comedy.
Also, I like that the film scratched the surface with actual mortality. Duke dies in this. Well, they fixed it so that he was just in a “coma” and survived at the end (due to public backlash over Optimus Prime’s death in 1986’s Transformers: The Movie). Serpentor is also (presumably) killed when we see Lt. Falcon stuff his cape into a turbine engine, which sucks him in and grinds into his back as he screams in absolute agony and flies through the air to what should most definitely be his violent and gory death off screen. Although, he would be alive three years later in the Operation Dragonfire miniseries that kicked off the awful DiC Entertainment era.
The animation is consistent in style to the Marvel/Sunbow era of the cartoon. Although, the animation is also a bit better and a step up. That’s probably due to this having a bigger budget than the standard G.I. Joe television episodes. This would also be the last time we got the classic animation style, as DiC would take over after this film and they would turn out some really shitty looking art.
G.I. Joe: The Movie is better than the worst episodes of the Marvel/Sunbow era but it doesn’t come anywhere near the quality of the best episodes. Being that this was supposed to be the big theatrical film debut of G.I. Joe makes the end result a disappointment. It certainly isn’t unwatchable and was kind of fun in spite of its bizarre wackiness and major changes to the mythos. My mind doesn’t really consider this canon, even though it was made by the same people who gave us two great season of the show before it.
Pairs well with: The other Marvel/Sunbow G.I. Joe and Transformers stuff.
Release Date: November 16th, 1990
Directed by: John G. Avildsen
Written by: Sylvester Stallone
Music by: Bill Conti
Cast: Sylvester Stallone, Talia Shire, Burt Young, Sage Stallone, Tommy Morrison, Richard Gant, Kevin Connolly, Tony Burton, Delia Sheppard, Burgess Meredith (cameo), Carl Weathers (archive footage), Dolph Lundgren (archive footage),
United Artists, Metro-Goldwyn-Mayer, 104 Minutes
“Now, like your Mark Twain once said, ‘Virtue has never been as respectable as money.'” – George Washington Duke
I have never gotten the level of hatred that people have for Rocky V. Is it the best in the series? No. But I also don’t think that from a quality standpoint, it is anywhere below the later sequels III and IV. It actually has a great and important story and examines some areas of a boxer’s life and boxing as a sport that were probably long overdue in being explored in this long running film series. There is one big negative but I’ll get to that.
First, the film deals with Rocky Balboa getting brain damage after his bout with Ivan Drago in Rocky IV. It also deals with how athletes are often times taken advantage of by financial crooks, as we see Paulie give power of attorney to their accountant, who lost all their money in a failed scheme. Additionally, we get to see the crookedness of high profile boxing promoters with the character of George Washington Duke, who was an obvious caricature of Don King, who exploited several young boxers that he “owned” for his own personal monetary gain. Lastly, the film deals with a boxer and his relationship with his family and also with his personal struggles when his career is over. Rocky V is a film with a lot of layers, all of which I found to be interesting.
And that’s the thing. You could say that there is too much going on in Rocky V from a narrative aspect but I like that the film addresses these issues, shows them play out naturally and doesn’t have to spell everything out for the audience or beat them over the head with each issue. It doesn’t take a rocket scientist to recognize the challenges as they appear and to understand that ultimately, Rocky has always had what he needs most and that the solution is simply embracing the love in your life.
Rocky V may be cheesy at points but aren’t most of the Rocky films to some degree? Balboa is a good hearted guy always ready to crack a bad joke and those characteristics have sort of become larger than Balboa in the films themselves. Plus, by the time you get into the later films, Paulie just adds in his own sense of humor that keeps the later sequels grounded in lightheartedness even with serious subject matter.
This film also brings the original creative team of the first Rocky back together. John G. Avildsen returns to direct, Bill Conti is back on the music and ultimately, it works well to recreate the poor area of Philadelphia that Rocky, Adrian and Paulie rose out of but now have to return to. The addition of Burgess Meredith, even as a ghostly cameo, is a nice nod to the first film and brings things full circle, which was good considering that this was the last film in the series for sixteen years.
The big negative I mentioned before is Tommy Morrision, who played the boxer Tommy Gunn. The character starts as Rocky’s protege but decays into a puppet for the sinister George Washington Duke and thus, becomes Rocky’s big opponent at the end. The problem with Morrison is that he is a real boxer and not an actor. Rocky films work better with actors as the rivals. Imagine if Apollo Creed was played by George Foreman or Larry Holmes, it just wouldn’t have worked as well. Also, I felt the same way about Antonio Tarver in the sixth film and Tony Bellew in Creed. None of these guys had the impact of Apollo, Clubber Lang or Ivan Drago. Plus, Morrison’s line delivery was really painful at times.
While people knock the street fight at the end of the film, I’m fine with it. We’ve seen Rocky in the ring more than a half dozen times. Seeing him take it to the streets and embracing his roots against a jacked up farm boy was kind of cool.
I think that Rocky V came out in a time when the franchise sort of ran its course. It was the fifth film in 14 years. Plus, there was solid competition when it came out, so it didn’t perform well. Critics weren’t crazy about it but they aren’t crazy about most movies. I think people shit on Rocky V because it’s fun to shit on something that everyone hates. But I think it is more about following the crowd and not really about the movie. People just parrot each other’s sentiment and comments without much actual thought of their own but that’s why we always end up with shitty presidential candidates. But I’ll stop there and not go on some political rant.
Pairs well with: Other Rocky films.
Release Date: May 28th, 1982
Directed by: Sylvester Stallone
Written by: Sylvester Stallone
Music by: Bill Conti
Cast: Sylvester Stallone, Talia Shire, Burt Young, Carl Weathers, Burgess Meredith, Tony Burton, Mr. T, Hulk Hogan, Chino ‘Fats’ Williams, Frank Stallone
United Artists, Metro-Goldwyn-Mayer, 100 Minutes
“No, I don’t hate Balboa. I pity the fool, and I will destroy any man who tries to take what I got!” – Clubber Lang
Rocky III is the first sequel to kind of dip in quality. Regardless, it is still an enjoyable film that is actually a bit more entertaining than the previous two pictures. It’s shorter, it’s more fun overall and both Mr. T and Hulk Hogan make the fights in this film more exciting and definitely more colorful.
This film fast forwards a bit from the events of Rocky and Rocky II. Here, Rocky Balboa has been the world champion for a little while. We get a nice vignette of him conquering a myriad of challengers along the way. Plus, the beginning of this film is greatly enhanced by its theme song “Eye of the Tiger” by Survior.
The reason why I like Rocky III so much, even though it isn’t of the same quality of the first two pictures, is that it has so much energy. Hulk Hogan plays Thunderlips, a giant wrestler that Balboa fights for charity. He is a massive brute that is overly ostentatious. Then you have the real villain of the story, Mr. T’s intimidating and jacked Clubber Lang. The guy literally looks like a killing machine in boxing gloves.
This chapter also adds some serious emotional baggage that treads new territory for Rocky. He loses his trainer, loses his title and feels like he’s hit rock bottom. Then Apollo, his greatest rival, shows him how to pick himself up and find his edge. Apollo knows that Balboa is greater than Clubber Lang and his respect for Rocky pushes him into helping the fallen fighter right the ship.
I love Rocky III. It really evolved the series into a new decade, the ’80s. And like that decade, it feels more carefree, entertaining and opulent. We enter a world of excess, where Balboa is beyond poverty but with these changes, come new challenges and life isn’t a cakewalk for the warrior.
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