Philosophy, justice, and Catholic theology are blended to a pulp in this breathtaking example of 1970s horror. By the time the '80s rolled around, cinematic exploration with special effects was at its peak in terms of prosthetics and make-up. Several masters - mainly in Italy, America, and Japan - had reached new heights and dug up several techniques from the past that were introduced as early as the silent era. The Sentinel impressed me with both its story and its remarkable efforts to pull off a complicated film. It is an adaptation of Jeffrey Konvitz's novel, and during a Q&A he expressed some issues with it, as I'm sure is natural for a writer in his position. He did have a lot to do with the production and even co-wrote the script. Aside from certain things being changed for the film, it's safe to say that the other large issue he had was with the film's production, claiming that he would have wanted a different director and a slightly different cast. I'll get to why I disagree shortly.

On paper the first Rocky may be a better film than Rocky III - and don't let the fact that Sylvester Stallone would become a muscle-headed goon persuade you that he didn't once have talent. The original Rocky was a moving film and Stallone gave a nice performance - though not sure if it deserved to win the Best Picture Oscar over All the President's Men, Network and Taxi Driver - but still, it was a film to admire. Rocky II was a dull follow up that stuck to the formula. Rocky III sticks to the formula and gives it some twists. In terms of sheer entertainment it's a knockout (that's a boxing term, get it?) and at a compact 100 minutes it's a fast and easy ride.

Bill Conte's infectious "Rocky Theme" opens the film and a recap of the final fight from the previous movie as Rocky predictably finally beats Apollo Creed (Carl Weathers). Then BAM! It’s the rockin' sounds of Survivor's "Eye Of The Tiger" and a montage of Rocky living the celebrity life while busting heads in the ring. Meanwhile a new Mike Tyson-type of up & comer, Clubber Lane, is demolishing opponents (played very well by Mr. T). After a wild charity match against a pro wrestler, Thunder Lips (Hulk Hogan looking like a giant), Clubber publicly pressures Rocky into meeting him in the ring. Clubber trains hard and Rocky trains soft. Before the fight Rocky learns from his manager, Mickey (Burgess Meredith), that he's not as good a fighter as he thinks he is - since fighting Apollo those were all tomato-cans he has been beating up on. And then in a twist to the Rocky formula Clubber gives Rocky a real whuppin', so bad in fact it kills Mickey and Clubber becomes the new champ.

Adaptations of quintessentially L.A. novels tend to either work marvelously, as with L.A. Confidential, or don't quite measure up to their source material (a category I’d lump Ask the Dust into). John Schlesinger’s adaptation of The Day of the Locust was a costly misfire for Paramount Studios which spent something like 6 months on the film and a whole lot of dough. It could have been as influential as Chinatown, but it was a flop upon release, though ultimately it had some enduring appeal as a cult film in later years. Nathaniel West’s novel is generally considered to be the very best novel on Hollywood, its more grotesque inhabitants, and its tragic allure as a festering dump where dreams go to die. That makes the novel sound sobering and self-serious but this is a story about fame whores, violently degenerate midgets, sociopathic child actors, cockfights, stag films, and a movie premiere that culminates in the apocalypse. It’s brutally dark and really, really entertaining.

CLASH DANCE
The well known and much revered stop-motion special effects guru Ray Harryhausen has brought numerous beings of various shapes and sizes to life over his career (The 3 Worlds of Gulliver, Jason and the Argonauts, Sinbad and the Eye of the Tiger). In the mythological world of Clash of the Titans there are many interesting characters and creatures. Playing God behind the camera one frame at a time, Harryhausen has brought some of his most memorable offspring to life (Medusa, Pegasus, Giant Scorpions, the Kracken).

STORYLINE OF THE GODS
Here’s the deal, Zeus (Laurence Olivier), in one of his many amorous exploits, has had a son named Perseus (Harry Hamlin). Due to Zeus’ favoritism of Perseus over the Goddess Thetis’ (Maggie Smith) son Calibos, a clash begins [insert opening credits and dramatic musical score here]. From that point on Perseus sets out on a quest to "fulfill his destiny" by defeating numerous obstacles, slaying fantastic beasts, and winning the hand of the doll-faced Andromeda (Judi Bowker). The script was penned by Beverly Cross who also scripted other Harryhausen films such as Argonauts and Eye of the Tiger.