cult film freak: joan goodfellow

Showing posts with label joan goodfellow. Show all posts

Written by James M. Tate / 5/27/2021 / No comments / action , charles grodin , comedy , exploitation , farrah fawcett , gumshoe , joan collins , joan goodfellow , neo noir , robin clarke , romance , seventies

CHARLES GRODIN AND FARRAH FAWCETT BASKING IN 'SUNBURN'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsScbne-f22xr8-X874nm7P5jUDn2O-Pg5jYEzMFdMgsMxNR1xj1bODL9e5vX9Vu2vSiQwKLLoAKBYXzPBmv7VgCjsPpbBVg8ruE-Wa1Xcrk9gZQwg9EQz5pdQk9FUBXGHVnpSHh7Tk7p/s869/Screen+Shot+2021-05-19+at+7.44.08+PM.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="690" data-original-width="869" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsScbne-f22xr8-X874nm7P5jUDn2O-Pg5jYEzMFdMgsMxNR1xj1bODL9e5vX9Vu2vSiQwKLLoAKBYXzPBmv7VgCjsPpbBVg8ruE-Wa1Xcrk9gZQwg9EQz5pdQk9FUBXGHVnpSHh7Tk7p/w400-h318/Screen+Shot+2021-05-19+at+7.44.08+PM.jpeg" width="400"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Sunburn poster resembling Killer Fish circa 1979 Rates: **</u></td></tr></tbody></table><p>Around the time <a href="http://www.cultfilmfreaks.com/2014/04/saturn-3.html">Farrah Fawcett</a> and husband <a href="http://www.cultfilmfreaks.com/2020/04/Majors-of-Steel.html">Lee Majors</a> produced <i>his</i> <a href="http://www.cultfilmfreaks.com/2019/08/blackfish.html">KILLER FISH</a> in sunny Brazil, <i>she</i> went to sunnier Acapulco in an action-comedy almost entirely lacking humor; and yet, helmed by VANISHING POINT director Richard C. Sarafian, the action sequences are pretty good along with neat shots of the glistening locale with a scantily-clad Farrah who, having just left CHARLIE'S ANGELS, was so hot/popular that anything she starred in could pass as Exploitation Cinema, although SUNBURN is mostly a mainstream venture juggling too many characters while losing focus on the main plot: A rich old man's car crash might not be accidental, and his insurance company has to reluctantly shell out 5M...</p><p>So Grodin, supposedly a troublesome private eye, is sent with Fawcett as his fake wife... But there's hardly any trouble or suspense surreptitiously investigating the man's family that includes a lusty Joan Collins and the dead man's kids in a quaint <a href="http://www.cultfilmfreaks.com/2012/09/buster-and-billie.html">Joan Goodfellow</a> and her playboy brother. Meanwhile, Art Carney... as a gumshoe's gumshoe mentor... gets lost in a mix of neo noir crime and chaos wherein, since Grodin plays it so dry he hardly seems there at all, only Fawcett really shines... Which was obviously this film's backup plan that ultimately becomes pretty much everything.  </p><p><span></span></p>

action, charles grodin, comedy, exploitation, farrah fawcett, gumshoe, joan collins, joan goodfellow, neo noir, robin clarke, romance, seventies

CHARLES GRODIN AND FARRAH FAWCETT BASKING IN 'SUNBURN'

Sunburn poster resembling Killer Fish circa 1979 Rates: ** Around the time Farrah Fawcett and husband Lee Majors produced his KILLER FISH...

MEMORIAL BAGFUL OF JAN-MICHAEL VINCENT ARCHIVE REVIEWS

The best moments involve jarring situations that seem vividly real but aren't really happening (seen in Vincent's mind)... one has Mitchum destroying a pick-up-truck with a tire iron... or flashbacks viewed in present-time locations ala IN COLD BLOOD. It's a breezy character-study but without much character-development, neither Mitchum or Vincent becoming fully realized, nor their past fitfully resolved, but it's nice seeing the two steely mavericks together either way.<br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Jan-Michael Vincent in Hard Country YEAR: 1981 Rates: ***</u></td></tr>
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<u>HARD COUNTRY:</u> One of those blue collar beer guzzlin' factory worker films where if you're not one of the endearingly-flawed good guys, you're a shady, sinister rich jerk... with no in-betweens: Plot centers on a disgruntled factory worker, played by Jan-Michael Vincent, who loves drinkin' and lovin' his girlfriend – in that order – and his better half, a young Kim Basinger, who wants to move to California for a better life: one that doesn't include drunken cowboys and bar fights.<br>
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This movie can't get any more predictable but the two leads carry things decently enough till the end, which you'll see coming for miles. Michael Parks is Vincent's real estate mogul brother who, once he spouts a racial epitaph out loud, you know he'll eventually fall by the wayside. Tanya Tucker is Kim Basinger's famous country singin' older sis who plants the seed that Texas is a place to get out of while the gettin' out is good. Daryl Hannah is Kim's younger sister who digs Texas fine enough – just as long as there's another car to fix. And character-actor Gailard Sartain, usually cast as an uptight stuffed-shirt (the fat cop in HOLLYWOOD KNIGHTS), plays Vincent's comic relief buddy. Meanwhile, up front, Jan-Michael provides his usual slow-burn cool, and, donning a Bronson-tough mustache, is as great to watch as ever – as long as you don't mind the simplistic and forced classy envy undertone.  <br>
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<tr><td class="tr-caption" style="text-align: center;"><u>Jan-Michael Vincent w/ Joan Goodfellow 1974 Rates: ***1/2</u></td></tr>
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<u>BUSTER AND BILLIE:</u> Even in the good times, a touch of melancholy permeates the idyllic existence of Buster, played by
 Jan-Michael Vincent: Good looking and friendly, he's different 
than most cinematic popular high schoolers, hanging with town 
outcast Whitey (Robert Englund), he dates the lovely and uptight Margie 
(Pamela Sue Martin) and shoots pool, hustling young locals more envious than loyal...<br>
<br>
When Buster meets a quiet backwoods girl named Billie, who’s been 
around the block with all of Buster’s friends, the shift changes into a 
melodic, strange love story. Their scenes together, spending time in the
 plush woodsy exterior, feel like two people with nothing left on earth 
but each other; while the romance, with few words spoken, is never corny
 or melodramatic: This is one of Jan-Michael Vincent’s 
best performances: he’s intense, caring and tough at the same time. But 
it’s Joan Goodfellow’s Billie that mesmerizes not only our smitten hero,
 but with her subtle beauty and sad eyes, provides a gentle substance – 
like she's caught in a daydream. All leading to an explosive doubled-edge climax both shocking and tragic, albeit you’ll<i> </i>see it coming for miles.<br>

action, bagful, eighties, exploitation, jan-michael vincent, joan goodfellow, melodrama, post-apocalyptic, robert englund, robert mitchum, sally kirkland, science-fiction, seventies, tribute

MEMORIAL BAGFUL OF JAN-MICHAEL VINCENT ARCHIVE REVIEWS

Jan-Michael Vincent and Robert Mitchum Year: 1971 Rates: *** GOING HOME: This obscure drama, bordering on intentional page-turning melo...

JAN-MICHAEL VINCENT IN BUSTER AND BILLIE

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<tr><td class="tr-caption" style="text-align: center;">year: 1974 rating: ***1/2</td></tr>
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What begins as a somewhat standard “good times roll in the late 40’s small town” flick becomes a deeply heartfelt love story – although a touch of melancholy permeates the idyllic existence of Buster, played by Jan-Michael Vincent.<br />
<br />
A good looking high school kid, he’s open minded and friendly to people no one else likes – different than how popular guys are usually portrayed. He hangs around with town outcast Whitey (Robert Englund), dates the lovely yet uptight Margie (Pamela Sue Martin), and shoots pool at a scant LAST PICTURE SHOW style dive, hustling young locals more envious than loyal.<br />
<br />
When Buster meets a quiet backwoods girl named Billie, who’s been 
around the block with all of Buster’s friends, the shift changes into a 
melodic, strange love story. Their scenes together, spending time in the
 plush woodsy exterior, feel like two people with nothing left on earth 
but each other; while the romance, with few words spoken, is never corny
 or melodramatic: This is one of Jan-Michael Vincent’s 
best performances: he’s intense, caring and tough at the same time. But 
it’s Joan Goodfellow’s Billie that mesmerizes not only our smitten hero,
 but with her subtle beauty and sad eyes, provides a gentle substance – 
like she's caught in a daydream. All leading to an explosive doubled-edge climax both shocking and tragic, albeit you’ll<i> </i>see it coming for miles.<br />
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<tr><td class="tr-caption" style="text-align: center;">Jan-Michael Vincent as BUSTER in BUSTER AND BILLIE</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Joan Goodfellow as Billie in BUSTER AND BILLIE</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Buster's got his mind on Billie</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrOTV0N0pujD1Q4Gr8Pl_9M4HLzBXH1F6Sc5ev1mOL7dssCSzDvYkTKW5kZaHUwZWndIbhXXlfzdMwbOtLwIYexIE6A4nepxoixcEazvLsTticZ8J1CNjbefPMNGRR-1ewG9t109zTWiu/s1600/photo-2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbrOTV0N0pujD1Q4Gr8Pl_9M4HLzBXH1F6Sc5ev1mOL7dssCSzDvYkTKW5kZaHUwZWndIbhXXlfzdMwbOtLwIYexIE6A4nepxoixcEazvLsTticZ8J1CNjbefPMNGRR-1ewG9t109zTWiu/s640/photo-2.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.ioffer.com/i/buster-and-billie-%E2%80%93-dvd-%E2%80%93-jan-michael-vincent-204403888">Available at a low price at this IOFFER store</a></td></tr>
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drama, exploitation, jan-michael vincent, joan goodfellow, pamela sue martin, robert englund, romance, seventies, teen