Films of the 1980's

Easily one of the most original takes on horror of all time, there's no other film that has quite the look and feel of The Shining. Kubrick leaves much open to interpretation, never quite answering, one way or the other, if the ghosts are real or mere figments of unstable minds. Filmed during a time when the divorce rate in the U.S. was sky-rocketing, the success of the terror in this film lies in Kubrick's ability to tap into the core fears of dysfunctional families: a child hearing his parents argue, a wife on the brink of an abusive relationship, or even a husband who blames his family for his own shortcomings. Perfectly cast, Nicholson's character is as frightening and uncomfortable to watch as is Duvall's feeble and at times irritatingly spineless. An eerily haunting sound design and nervous anticipation keeps the viewer painfully riveted to the screen, while the quickly flashed images of horror linger in their mind's eye long after the film is over.

Scorsese focuses on the common misconception that fame and fortune bring confidence through boxer, Jake, who believes that once he reaches status of Middleweight Champion, he'll have proved he's a true contender. However, Jake's deep-rooted insecurities stop him from focussing on anything but the 'middle' part of his title as he realizes his boxing is an outlet for his internal rage and atonement. Masterfully filmed, Scorsese makes us an intimate observer of Jake's life in a way that doesn't feel contrived. Religious metaphor and unusual editing choices give a feeling of fluidity and timelessness, transgressing this movie into an art film.

Brilliant storytelling. A dark comedy which makes us question the idea of God, morality, guilt and justice in the world...or the lack thereof (after all, life's not a Hollywood movie, you know...)

Go, Indy, go! Exotic locations and non-stop action keeps the viewer glued to the screen in this ageless and perfet adventure. The special effects still look cool and you can't take your eyes off Indy and Marion. From snakepits to submarines, Indiana Jones continues to take us on one hell of a ride!

Scorsese focuses on the mediocrity of television, and how it has numbed audiences into being entertained with shows and performances that aren't bad, per se, but simply unexceptional. He even films this movie mimicking the style of TV shows which are usually inoffensive, unobtrusive and too brightly lit with straightforward, unexciting camera angles. De Niro delivers what is arguably one of his best performances as Rupert Pupkin (even his name sounds pathetic), a comedian of average talents, desperate for fame. Suffering from severe insecurity, Pupkin is convinced that 15-minutes of fame will change his life... and the irony here is they do. We've all known characters like Pupkin and our hearts yell at him to stop as he flusters away in self-induced humiliations, losing the little dignity he has left. De Niro's delivery of his dialogue is awkward and painfully hilarious, as time and time again our eyes open wide with surprise and we wonder, 'Did he just say that?!' Also touched upon is the danger fame brings through obsessive fans like Masha, a truly frightening character. Scorsese delivers a character study with a difficult blend of comedy and horror, and compassion and antipathy in a film that will keep the viewer enthralled from start to finish. Watching Rupert is like watching a train wreck - completely mesmerizing.

An emotional rollercoaster from start to finish, the film's unpredictable ups and downs mirror the ups and downs of Tomas and Tereza's unstable relationship. It explores love, sexuality and sacrifice in a very original way through its three main characters and their complex relationships with each other. What is truly beautiful is the fact that Tereza never loses her childlike innocence, and instead humbles those around her. The ending is arguably bittersweet yet completely fulfilling. Brilliantly edited by Walter Murch, the viewer is kept riveted to the screen despite the movie's length.

(2007 Director's Cut) Ridley Scott brilliantly amalgamates classic film-noir with sci-fi. This story's many layers outline the complications behind human cloning. The clones may also be a metaphor against genocide or the death penalty as, at the film's core, is the question, is one type of life more important than another? An intricately detailed set design makes Blade Runner an absorbing visual experience, completely drawing the viewer into Deckard's world.

Clearly a labor of love for Puppet Master Jim Henson, The Dark Crystal is still one of the most brilliant works of puppetry put to film. Henson spares no expenses in his attention to detail to bring his fantasy world to life, and the results are truly mesmerizing. The story is a typical hero's journey but ends somewhat thought provokingly with the evil Skeksis absorbing back into the gentle Mystics reminding us that, within each of us, is both good and bad.

A bizarre tale of murder and intrigue in a small town. Perversely disturbing, the film is filled with jarring and unsettling images, but what's more disturbing is Lynch's insinuation of societies being secretly attracted more to the wicked than to the wholesome. Dynamite performances by Rossellini and Hopper.

The 1980's was a time when capitalism was charging full steam ahead in the U.S. and the baby boomers were running the show. It was a time of excess and waste in production and manufacturing, but where was it all coming from? A ballet of stunning imagery by Godfrey Reggio to haunting music by Philip Glass, Koyaanisqatsi was a work far ahead of it time. Completed in 1982, it is one of the first wake up calls to man's footprint on the planet as he scrambles for economic prowess. However, rather than sending out a preachy lecture, Koyaanisqatsi evokes a subtler, more neutral tone, tending to merely show What Is. The film is without traditional structure and instead depicts a grander scenario of the world. It starts off with arid landscapes which transgress into the natural power and balance of nature and ultimately lead to the unbalanced and crowded hustle and bustle of urban life, where man is completely dependendent on technology and has become blind-sighted to the wonders and needs of the planet. The pairing of cinematographer, Ron Fricke's eye for perfection with Director Reggio's overall sensibilities truly result in the creation of a work of moving art.

Cameron asks the viewer to take a look at societal violence by incorporating an interweaving theme of man being mirrored throughout the story, which is reflected in an opening quote by Nietzsche. A cleverly crafted film, The Abyss is essentially a study of human behavior but apart from the societal message, this film works on two other levels: a straight forward action film and a sci-fi alien adventure, and despite it being twenty years old, does not feel dated. The action sequences continue to provide edge of your seat thrills while the incredible sets draw the viewer into the underwater world completely.

An extremely interesting character study, this film's timeless subject matter holds up well even today. Its straight-forward filming style and simple locations is an inspiration for young filmmakers.

With dynamite performances by Michael Caine and Dianne Weist, Allen explores the complications of sibling relationships. The underlying message speaks for one's search for love; people either look for it in the wrong places, or mistake lust for love, or not recognise it when they have it.

Star Trek grows up - literally. The issue of the passage of time and aging interweaves all through the film from opening with Kirk's birthday and being surrounded by young trainees filled with energy and gusto, to ending with the birth of a new planet. Feelings of becoming obsolete haunt Kirk, however, it's the experiences he's gained which continuously save him and his crew from seemingly impossible predicaments. Time also provides the foundation for his and Spock's time-tested friendship. However, where there are lifelong friendships, there are also long time grudges, as in Khan's hate towards Kirk. In terms of technology, Wrath of Khan made breakthroughs in special effects with being the first to incorporate CGI in the simulation of the Genesis Project. But it's the relationship between all the characters, the crew's respect for their Captain and his for them, which makes this an exceptionally involving and emotionally touching experience.

This quirky little film is hilarious in the most unconventional way; long awkward silences litter scenes where nothing seems to be happening while the characters represent the epitome of average. The irony, however, is that Eva, Willie and Eddie are more honest representations of ordinary people than the polished heroes we're used to seeing in mainstream movies. In fact, this entire film is very accurate of average days where nothing special happens, and the minimal score only adds to the realism. But Stranger Than Paradise is far from uneventful and it's not until the end that its objective becomes clear: the discovery of one's roots. Eva, an immigrant, is the catalyst which forces Willie to acknowledge his Hungarian heritage and even get back in touch with forgotten relatives, she is also the reason that Eddie finally travels outside of New York to experience firsthand the states he's only heard about. Jarmusch incorporates obvious cuts to black at the end of each scene as if he's treating the viewer to a series of snapshots (or moving photographs, if you will) of these people which just happen to capture a particular part of their day. Form also compliments content here as throughout the film either one or all the characters are in the process of travel, and what's the normal thing to do when travelling? Why, take photographs, of course. Welcome to comedy Jim Jarmusch style.

Paris, Texas is about righting old wrongs, but Wenders lays nothing on the nose. Minimalist cinematography captures the rural landscape of the American southwest, while interlacing highways serve as a metaphor for life's never ending journeys and decisions. A road movie at its core, we're swept along with Travis as he delves into his troubled past, having lived in denial for many years. He realizes he must recognize the truth of his life if he is to move on and face up to his future, even if reality is the barren Paris, Texas rather than the alluring Paris, France.

Great malice comes from a place of great insecurity. Written by Roger Waters, this is a scary ride into the psychosis of a man slowly going insane. One of the most interesting aspects is Waters' point of how people who commit the worst crimes against humanity are secretly the most afraid and insecure of all. This fear ultimately transforms into hate, a hate of themselves against which they lash out. In this case, Pink never comes to terms with the loss of his father who never came home from WWII, and is tormented by his teacher at school who tries to strip away individuality from the children; the reason for the teacher's anger is because he's completely emasculated by his wife at home. The combination of animation and film, the surreal imagery, often disturbing, perfectly flows with the music from The Wall which is, of course, phenomenal. The combination of the imagery to music truly feels like we're watching a Rock Opera, and despite the almost complete lack of dialogue, there's a very real story with characters the viewer becomes invested deeply in, thanks largely to Geldof's brave, hold nothing back performance. It's safe to say that Pink Floyd's - The Wall is nothing if not a true work of revolutionary art.

A film so subtle, it's easy to miss. Based on a novel by Karen Blixen, who also wrote Out of Africa, this film explores the importance of tradition, customs and religion in modest village communities. Danish director, Gabriel Axel's choice of unembellished camera angles, muted colours and virtually no score gives a visual motif to the abstinence and restraint practiced by the characters. Most fascinating is the unexpected reaction the villagers have to Babette's feast - it is at this point that we realise just how incomprehensible the idea of indulgence is to them. It's therefore ironic that the feast, considered decadent and sinful, is what brings unity to the community. In the end, Blixen flips expectations: the outwardly pious villagers show pent-up anger and bitterness towards one another, and only let go of their petty squabbles after feasting on the meal Babette has prepared, which is filled with the very love and gratitude the little community's religion preaches.

(No. 16)
As every man has a breaking point, Bond reaches his after the Brutal attack on Felix and his new wife, which so eerily resembles his own tragic wedding day, and Dalton's return as a vengeance seeking rogue agent holds all the punch and anger that one would expect from a man who has been desensitized to death. The story is tight and layered with an interesting little subplot of the fake evangelist. Robert Davi gives us one of the creepiest, and most believable, villains in drug lord Franz Sanchez, reminiscent of old-school big money, glamour and honor. Explosive action sequences keep us at the edges of our seats, culminating in a dynamite semi-truck chase through a valley of death. It's unfortunate, therefore, that with all that's going for it, the weakest points are the two women, especially American agent Pam Bouvier, whose reactions to what's going on around her feel completely inconsistent an unnatural. The exotic Lupe Lamora, as Sanchez's unwilling lover, is interesting until the third act when she suddenly falls for Bond for no rhyme or reason. In fact both the women's falling for him feels rushed and mechanical, and about as passionate as if they were holding a sign reading, 'Insert sex scene here.' Still, it's an interesting change to see Bond succumb to his emotions, showing that there's still something very human in him.

All taken into account, this is a story about love, honor and family. Written by the mega-talented Hollywood veteran, William Goldman, this quirky comedy is a fun fairytale for adults and children alike; taking the former back to their childhood, while mesmerizing the latter with an exciting world full of princesses, pirates and evil kings. However, the issue of generation gaps between grandparents and grandchildren, shown very subtly through the relationship between Peter Falk and Fred Savage, elevates this from being merely a children's story. A plethora of loveable and zany characters keep the viewer invested, but Inigo Montoya (Patinkin) steals the show with his chivalrous demeanor and single-minded pursuit of the 'six-fingered man.' All in all, this little gem hits all the points of a fairytale adventure and then some.

Shockingly frightening for its time, this raw action thriller still kicks ass with its relentless pace and a Terminator that just won't die. The in-camera effects are exceptionally well done for the time, especially when taking into account Cameron's low budget. Nothing feels compromised thanks to a tight script that doesn't stray from the central story, interesting characters and really exciting action sequences; Cameron knows how to keep us at the edge of our seat. He takes his time in revealing the true nature of the Terminator, letting us wonder how the heck this guy keeps going. Brad Fiedel's cool score embodies a feeling of the inevitable acceptance of a grave situation mixed with stubborn retribution of a will to fight back as it builds in momentum. Linda Hamilton throws herself into Sarah Connor and it's interesting to see naive beginnings of her character, while Arnie's unstoppable machine is all the more frightening for its lack of dialogue and persistence. This film has stood the test of time, and then some.

A complete guilty pleasure which not only has one of the most original concepts for an alien creature and its agenda, but is also still able to pack in the thrill of the chase in raw action sequences. Take that, alien scum!

This gem of a film is about choices. When it comes to gaining successs, do you leave those who helped you behind or stay loyal to them? These two viewpoints are showcased beautifully through Tina (Farrow) and Dann (Allen); she believing in a dog eat dog world, and he in trust, loyalty and going the extra mile for his friends. Completly enjoyable, Allen and Farrow are delightful together.

Reflected through Indy's character arc, the message here is about selflesness. Indy is tested when he must choose risking personal fame to rescue enslaved children. More slapstick than Raiders, Temple Of Doom is delightfully dark and a total thrill. Images of human sacrifice and slippery squirmies provide memorable visuals while a fun set design (including an epic mine car chase!) helps sell the viewer to a mysterious and exotic land. A total guilty pleasure!

There's an existential quality to this film but it's a negative existentialism in the sense that Macon keeps himself shielded from experiences. An outstandingly subtle performance by William Hurt introduces a character so closed minded that his entire life, even the way he talks and moves, feels like an guide book; impersonal, cut off and dully unwilling to indulge in new experiences - an irony considering his profession. Muriel (Davis) on the other hand is the polar opposite; she's eccentric, assertive and revels in life with all its wonders (she savours the extra pickles added to Parisian Whoppers, even relishes them!) Much is conveyed through a simple look or gesture; a clear testament to the many top notch performances captured in this little gem. Kasdan's soft approach to a strong message shows that even though life is full of tragedy, it is equally full of beauty, and it's up to us to choose which of the two we wish to focus on. After all, what is life if not a state of mind?

Confidence is the name of the game in this, Mamet's directorial film debut. One might even say it's an extreme take on feminism as the normally restrained character of Margaret breaks free of the self-imposed mores of society showing that hell really hath no fury as a woman scorned. Mamet's seemingly effortless ability to get nail-biting conflict out of every scene is everpresent. His signature rhythmic dialogue is quickly accepted, lulling the viewer as they get wrapped up in the actual story which keeps them guessing till the very end.

Smart writing and stellar directing keeps the twists and turns coming in this sordid tale of moral justice. Unconventional camera angles make each scene a piece of cinematic artwork, while a striking play between shadow and light give it a film noir feel. The Faustian-inspired premise has a strong lesson about morality but is told in a way that does not sound preachy.

Scratch a little deeper on the surface of this straight out action feature fit for any testosterone junkie, and you'll get a lesson on morality and small town prejudice. Stallone is wonderfully repressed and understated, full of pain and that feeling of confusion and abandonment - he fought in war for his country which has now turned its back on him. On the surface, he acts like a feelingless killing machine yet, just like the film, scratch a little deeper and you'll find a scared and lonely individual who simply wants to find home and acceptance.

Cameron puts his audience right in the middle of the alien war with explosive action sequences culminating in Ripley's hand-to-hand combat with the alien queen. The use of actual models gives these sequences an organic quality which is to be admired. A great ride!

Carpenter takes the idea of love crossing boundaries to the extreme. A brilliant performance by Jeff Bridges showcases the kinder, more innocent, side of humanity. Is the fact that he's an extra terrestrial an ironic coincidence or a message the filmmakers want us to think about?

(No. 12)
James matures into an agent with morals in what is perhaps the most down to earth Bond film. Not only does he not take advantage of the eager young ice-skater, and instead chooses a woman closer to his own age, but he also seems to genuinely care about the lovely Melina Havelock. There's even a moral message against seeking revenge as he tries to save Melina's soul; his soul may be past redemption, but Melina's isn't. A well written and tight story whisks the viewer all over Europe while daredevil ski and motorcycle chases keep them riveted to the screen. And even though there's a 'we've seen it all' feel towards the 007 series by now, what's truly inspiring about this addition is how we actually care about almost all the lead characters.

(No. 13½)
Despite a twelve-year hiatus, Connery returns an older Bond who's still got what it takes in this remake of Thundreball. Released just four months after Octopussy, Director Kershner gives a more serious tone to Never Say Never Again, reminiscent of the original Bond films. Also reminiscent are in-camera action sequences and purposefully clumsy fight choreographies, while Brandauer's portrayal of eerie Max Largo is amongst the best of the Bond baddies and Kim Basigner is surprisingly one of the better of the babes. Despite the score sounding dated and bland, this unofficial release captures all the signature excitement and exoticness of this one of a kind franchise.

(No. 15)

For what this is, a kooky, fun road trip flick, Midnight Run delivers tenfold. De Niro and Grodin are positively hysterical together to the point that we don't know who to look at. The story starts off with a bang and continues on an ever increasing pace until we, like Walsh and Mardukas, feel like we're on the run too. A plethora of boisterous supporting characters ups the ante of laughs as well as complications for our protagonists in a story that's not uncomplicated. Recognition must be given to writer George Gallo for snappy character dialogue and a tight script which doesn't lose itself, and kudos to director Martin Brest for not glazing over the character moments between Walsh, his wife and daughter and even Mardukas. It's precisely these moments that elevate this film to something a little deeper than brainless entertainment. In a nutshell, Midnight Run is good, clean, light-hearted fun for the whole family.

Seemingly fantastical and light-hearted, this film taps into the desire of wanting what one can't have. Cecellia longs for escapeism from a life lacking luster while Tom hates his fantasy life and wishes to come to the real world. Which is better? Who's really to say?

Teeming with sexual innuendo, 'Ghostbusters' is still fun after all these years. Bill Murray steals the show with hysterical, dead-pan one-liners while Sigourney Weaver holds nothing back as the horney Gate Keeper. The special effects, great for their day, feel dated but this only adds to the charm of a trip down memory lane for those who grew up watching it.

A very original story for its time, Tron has made its mark in cinema thanks to its special FX breakthroughs. By todays standards, however, it definitely feels dated and very innocent.

Despite Star Trek IV's quirky nature, there's something inherently charming about it. The crew of the Enterprise tickle our funny bone as they fumble around in current day San Francisco and, despite ourselves, we can't help but chuckle. Nimoy's ever-stoic, ever-literal Spock steals the show thanks to spot on comedic timing between him and Kirk, who comes in a close second. Apart from the sheer entertainment value of The Voyage Home, there's also a great premise that isn't completely unbelievable. What an interesting idea to ponder on alien visitors communicating with Earth life, before mankind's existence. Still more interesting is the idea of man's survival being linked to creatures in ways not immediately obvious. There's plenty of talk of how the extinction of species will affect us but it's usually done in a more biologically direct way, and never quite like this. Having said that, the slingshot around the sun (twice!) and transporting two whales into future waters of which the elemental compounds must be very different to what they're suited to, is asking a lot of the viewer to accept. But this is all forgivable when taking into account the important (albeit on the nose) environmental message, as well as the efforts being made to keep the franchise feeling fresh.

This film's fascinating premise makes watching it a thought inducing experience. William Hurt's biblical flashbacks are filled with beautifully disturbing imagery, reminiscent of surrealistic paintings. Having said that, however, the special effects which may have been ahead of their time, appear dated by today's standards. It's unfortunate that character moments and emotions are glossed over as they would have provided for a better-rounded feel to the world of our characters and their states of mind. However, despite its flaws, Altered States is a bold and intelligent film - perhaps one of the last of its kind.

Ageing remains the predominant them as Search for Spock picks up right where Wrath of Khan left off ...perhaps a bit too soon after. Having Spock's reemergence so soon weakens the effect of his incredible sacrifice and loss and one wonders what was the hurry? Still, if planet Genisis is to be taken as a metaphor, perhaps its message is that one cannot rush growing up as it's through the process of ageing that we gather the experience to learn how to deal with situations both physically and emotionally. Also still relevant is the question of mankind playing god. Are we ready to attempt recreating what's taken nature millions of years to evolve, and if not, will we ever be? It's a constant battle between man and nature with the former being caught in the latter's turbulence as the planet falls apart. It seems the harder we try to harness nature, the more this proves to be an impossible task. The in-camera effects of the planet breaking up around them are exciting and quite well done, as is the hand-to-hand scuffle between Kirk and Kruge (played by Christopher Lloyd) over molten lava (...Obi-Wan and Anakin, you were beaten to it!).

The two main themes addressed here are: (1) if we live long enough, we risk losing our humanity, and (2) everybody is looking for love and companionship, and it's this very love that can be our soul's saving grace. Bill Paxton is "finger lickin' good" as the frighteningly brutal Severen; his unflinching performance is incredibly uncomfortable, unpredictable and very quotable. Even though this is clearly a story about vampires, Director Katherine Bigelow makes a point to never mention it by name, choosing instead to let the viewer decipher it for themselves. A very original amalgamation of the vampire genre set against a western backdrop, there's nothing quite like this cool cult classic.

Burton's stunningly stylized vision of Gotham City and its six-foot bat is an amalgamation of Superman's Metropolis meets Blade Runner. Beautiful art deco inspired sets, reminiscent of the swingin' '30s, and snazzy suits with matching fedoras, suit the villains' gangster appeal, but its Nicholson who steals the show. Prince's wacky music modernizes the film while Danny Elfman's dynamite score adds a brooding quality. Two big plot points which lose fans of the original comic books: tying in the Joker to Bruce Wayne's parents' deaths (-a little too contrived) and Alfred bringing Vicky Vale to the Batcave (-come on!) Vanity and greed seem to be some of the underlying themes but, unfortunately, neither is explored fully. Nonetheless, a big thank you goes out to Burton for bringing the 'dark' back to the Dark Knight.

Plunging into the deep end of human nature, Robert Redford bravely captures the complications of familial relationships in this, his directorial debut. It's heart wrenching to watch the downward spiral and breakdown of communication between mother Beth and son Conrad. Timothy Hutton's guilt drenched performance as Conrad is well worthy of its Oscar, win while Mary Tyler Moore's icy portrayal of a proud natured mother unable to come to terms with her new family dynamic is like watching a car wreck - we want to look away, but can't. And even though we may not agree with her behavior, we empathize with it. In Beth, we have a glass doll that is being held together by the weakest of glues, ready to shatter at any minute. And the glue holding everything together is father/husband Calvin, played understatedly by Donald Sutherland. All three lead performances are top notch and it's clear the actors have respect for the characters they're representing. On the flip side, 'Ordinary People' feels like a TV movie, lacking cinematic scope, and when compared to other small scale films can be emotionally manipulative. Still, it's quite engrossing and a movie worth watching, indicating that some fractures can never be mended.

(No. 14)

Campy, yes. Flawed yes. But, if nothing else, Fright Night provides lots of cool visual effects and a tinge of nostalgia for the bygone days of old-fashioned horror movies. Director Tom Holland uses stereotypical characters, set-ups and images borrowed from B/W monster flicks, paying them tribute. Perfect with a bag of popcorn!

(No. 13)
An eerie opening with 009 promises high hopes for this next 007 adventure, however, not even exotic India, a phenomenal fist fight atop a twin-engine plane, and some very cool acrobatics can save the story which spirals rapidly downwards around midpoint. Director Glen attempts to target young audiences through adolescent humor and silly situations in which our once debonair agent is made to look like a clumsy fool; not only does Bond don a gorilla suit, but he's teased by a bunch of precocious teens as he tries to (get this) hitchhike. And if that weren't bad enough, he ends up running around dressed like a clown. Having said that, it's refreshingly different to have a female king-pin in the sexy Octopussy (Adams), but her right hand girl, Magda (Wayborn,) takes the icy-coolness act a bit too far. The final straw, however, are Bond and Q arriving 'covertly' in a hotair balloon featuring a massive Union Jack - it seems that the filmmakers forgot about the 'secret' in secret agent. With plots like that, no wonder Moore's beginning to show his age.

It's easy to slam The Final Frontier so, instead, let's see what it's got going for it. Shatner's directorial debut is not without fault but props must be given to him in trying to give this film more of an artistic feel through the use of unusual camera angles and moody lighting. He makes effective use of shadows to create mystery about the characters' histories and the secrets hidden within. He also spends time in showing us the more vulnerable sides of Kirk, Spock and Bones, giving us rare glimpses of their pasts and exposing their contritions in basically what is a confessional. Together in their alienation they find the understanding and companionship so missing in their lives. Then the actual premise of finding 'God' is again incredibly intriguing, and it's a treat to have Jerry Goldsmith back for the score. However, despite so many interesting elements working for the film, there are others countering it. The cheesy special effect of 'god', for example, is clichéd, to point of being laughable (- too bad ILM was all booked up with other projects). And the tone of movie seems to shift in intensity, never quite going all the way in suspenseful situations. Apparently Shatner wanted to go darker but the studios held him back in hopes to follow the success of the lighter The Voyage Home. Ultimately a strong beginning full of mystery and danger dwindles into something that's neither here nor there.

An emotional storyline, cutting edge CGI and snappy dialogue makes 'Caveman' a GREAT movie.