Dir: James Goldstone, 1977. Starring: George Segal, Timothy Bottoms, Richard Widmark, Henry Fonda. Cult.

Situated somewhere in the middle of two closely related movie trends of the 1970s - the "All-Star Cast Disaster Movie" (The Poseidon Adventure, The Towering Inferno, Earthquake) and the "Terrorist Disaster Movie" (Two-Minute Warning, Skyjacked, Black Sunday) - Rollercoaster from 1977 nestles nicely in its own netherworld, not realizing that the genre was running out of steam (Beyond The Poseidon Adventure anyone?). Although the "Disaster Movie" would continue to reemerge in Hollywood for decades under new guises (Independence Day, 2012, Dante’s Peak, etc.), its Golden Age was really when a guy like George Kennedy or Charlton Heston was at the rudder and stars from Hollywood’s Golden Age were still available to be carted in on their wheelchairs to make an appearance and collect their checks. Rollercoaster did manage to dig up a couple of legends (Richard Widmark and Henry Fonda) and a sorta cult name actress (Susan Strasberg, maybe more famous as the daughter of Actor’s Studio guru Lee Strasberg), along with a pair of '70s names (George Segal and Timothy Bottoms). Director James Goldstone, whose most important credit may actually be the second pilot of the Star Trek TV series, manages to employ some Alfred Hitchcock cat-and-mouse tricks to generate suspense and give a dying genre a last gasp of breath.

To think that Bottoms started the decade off with two great movies (The Last Picture Show and The Paper Chase), in Rollercoaster he plays “Young Man,” a zombie-like psycho who is blowing up rollercoasters around the country in order to extort a million dollar ransom from the companies that own the parks. After an explosion on a rollercoaster, ride-inspector Harry Calder (Segal) is the first to figure out that this was no accident. He’s a regular guy with a teenage daughter (Helen Hunt, in her first movie) whom he often pawns off on his girlfriend (Strasberg), and a deep anti-authority complex, to the chagrin of his hateful boss (a brief Fonda clearly trying to up his SAG pension numbers). Bottoms makes Segal his point man as he threatens more bombings and the FBI joins him, with the angriest FBI head-man of all time (played by the one time great Widmark, who just spews intensity here) who seems to hate Segal even more than Fonda. The highlight is an intense scene in an amusement park, as Segal is forced to deliver money to Bottoms and instead ends up carrying a bomb onto a coaster. It all leads to Segal having to argue with the dumbbells in charge of the investigation and a showdown with the terrorist who looks to ruin the upcoming 4th of July festivities at one of the many possible amusement parks in America (and he does end up slightly disrupting the big Sparks concert at Six Flags Magic Mountain).

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Posted by:
Sean Sweeney
Feb 11, 2014 2:44pm

The Films of Michael Haneke (Boxset)

7 Essential Works By the Master of Discomfort

Michael Haneke is one of the most innovative and exciting filmmakers currently working. His films can be extremely shocking and, at times, graphically violent. But unlike most thriller directors, Haneke chooses to downplay his violence. Haneke prefers a cold austerity to the melodramatic hysterics that characterize modern thrillers. His characters are cold and unfeeling, resulting in an atmosphere of psychological turmoil, emotional paralysis, and impending doom. His paradoxical approach to violence instills an unnerving tension within any well-balanced viewer, and this tension quickly turns into utter terror. Haneke thwarts his viewers of their moment of cathartic release:  that tantalizing moment in which viewer and filmmaker can share a moralizing sigh of relief and say, “Ah, wasn’t that horrible?” No one is bailed out of a Haneke film; instead, the viewer must deal with and eventually accept the bleak situation that confronts him.

Haneke’s unapologetic approach to cinema expects more from its audience than your normal pure entertainment thriller or horror film. When watching Haneke’s films, despite the discomfort we feel, we must never alienate ourselves from the violent acts depicted on screen (and in the specific case of Funny Games, we are even encouraged to play along). His films always provoke social thought and personal introspection. Ultimately, Haneke wants his viewers to ask more questions, and to view this tiny world and all its complexities with a more critical eye. Oh, and yes, they are quite riveting to watch as well…

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Posted by:
Joey Izzo
Dec 19, 2007 4:27pm
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