R.I.P., Karen Black

Goddamnit, another great one gone.  And she truly was one of the greats– effortlessly switching between the sorts of films worthy of being called art (DAY OF THE LOCUST, EASY RIDER, FIVE EASY PIECES, BORN TO WIN) and the sorts of films that you read about on this site (TRILOGY OF TERROR, IT'S ALIVE III: ISLAND OF THE ALIVE, INVADERS FROM MARS '86).  She was capable of restraint and tremendous subtlety, but could go over-the-top with the best of them.  

She'll be missed.



And I wish I had more Karen Black content, but here goes:
TRILOGY OF TERROR
THE OUTFIT
HOMER & EDDIE
BURNT OFFERINGS
TALES OF THE CITY

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Television Review: TRILOGY OF TERROR (1975, Dan Curtis)

Stars: 4 of 5.
Running Time: 72 minutes.
Notable Cast or Crew: Karen Black, Karen Black, Karen Black, Karen Black, Robert Burton (LASSIE, Karen Black's then-husband), Gregory Harrison (TRAPPER JOHN, M.D.; RAZORBACK), Jim Storm (DARK SHADOWS, ONE LIFE TO LIVE), George Gaynes (PUNKY BREWSTER, TOOTSIE). Based on stories by Richard Matheson. Special effects by Erik von Buelow (THE FOOD OF THE GODS, EMPIRE OF THE ANTS).
Tag-line: None.
Best one-liner: "This can't be happening! This can't be happening!"

Every once in a while, you have one of those rough days at work. You're a high-powered television executive, and the office is gettin' ya down. Some guys from downstairs are goin' out for happy hour, and you resolve to join them for just one. One turns into two, you're havin' a fine time of it, two turns into three, then four, and the next thing you know, you wake up at your desk realizing you've greenlit a horror picture where Karen Black plays four roles.

It takes brass balls to make a picture like (the Richard Matheson-penned and Dan Curtis-directed) TRILOGY OF TERROR. Seriously- you're in an 'ABC movie-of-the-week' scenario and the temptation must be to make the simplest, dumbest, most kiddie-friendly fare imaginable. The last thing you need is a thousand calls to the network bustin' your balls about some inappropriate content or the like. So we get a horror triptych which tackles such issues as: inappropriate student-teacher relationships, roofies and date rape, sexual blackmail, gang rape, incest, the failings of the mental health system, and much, much more. I remarked to my girlfriend as we watched this- Holy God, I'd hate to have been a parent in 1975, hosting a Saturday night creature-feature slumber party for the neighborhood kiddies, and having to field these awkward questions during commercial breaks, questions like 'what's a roofie' and 'why was he photographing her in that hotel room' and 'what does it mean when he says he has a bunch of friends he'd like her to meet?'

She surmised that playing dumb and hoping they'd forget about it would be in order, and I had to agree. But the purpose of my bringing this up is not some priggish rant: I applaud TRILOGY OF TERROR for refusing to censor itself, and, like so many imaginative films of the 70's and 80's, rejecting the idea that horror films for children and adults are necessarily mutually exclusive.

The first segment, "Julie," which could have easily been entitled "Hot for Teacher" if they weren't going with the whole character name thing, is about a fuddy-duddy female professor and the amorous Big Man on Campus who only wants to take her out on the town and drug her and photograph her in compromising positions and blackmail her and enter into a sexually extortive relationship.


As the collegiate lothario in question, Black's then-husband Robert Burton delivers a legendarily sleazy performance combining the creepy leer of Gary Busey with the pompousness of an 80's teen movie villain.



Black retorts by exuding pathos in a nuanced performance as the sad sack teacher, overwhelmed by the fiendishness of it all. Now, as is often the case with horror omnibuses, the ending of a promising segment will be 'Ye Olde Switch-a-roo,' a twist ending so ludicrous that it may force you to mock the piece as a whole. While "Julie" certainly is done no favors by its looney finale, it's a silly enough turnaround that I am wholeheartedly able to support it.

The next segment, "Millicent and Therese" sees Karen Black really entering tour-de-force mode. As both halves of a pair of twisted sisters who each think the other is evil and insane, Black prompts me to quote Loverboy in assessing her performance: "the kid is hot tonight."

Millicent is an old maid in the vein of Katherine Hepburn who dresses like an extra from THE CRUCIBLE and wears glasses capable of sizzlin' ants right off the sidewalk.


She accuses her sister Therese of practicing demonology, pornography, incest, Satanism, voodoo, and of being a chippy.

Black plays Therese as an over-the-top blonde wig wearing floozy, and this was definitely the point in the film when I realized that I was going to love every minute of it.

She sweet-talks her psychiatrist ("You know you're a very handsome man, Doctor..."), breaks little girls' dollies, and slinks around the house like a wacko, ill-advised caricature of female sexuality.

Again, the finale involves the Ye Olde Switch-a-roo, and a glaring plot hole which I will not specifically address should sink the whole thing, but instead you're left in a complete state of bemusement, because said finale also involves a voodoo doll embellished quite wonderfully with fingernails and rhinestones.

In the final- and most notorious- segment, "Amelia," Black plays a newly independent young lady with mommy issues who comes into possession of a Zuni fetish doll that wastes no time in awakening, stalking her about the apartment, stabbing her ankles, biting her legs, and all that jazz.

With gnashing teeth and sunken eyes, the doll itself is extremely freaky and may have inspired everything from BLACK DEVIL DOLL FROM HELL to CHILD'S PLAY. This segment seems to have scarred an entire generation of youngsters, but in hindsight, it's wildly entertaining and often hilarious. A lot of the credit belongs to voice actor extraordinaire, Walker Edmiston (THE FLINTSTONES, H.R. PUFNSTUF) whose constant, high-pitched "HUMMANA HUMMANA NUM NUM NUM NUM YAH YAH YAH YAH YAAHHHHHHHHs" fuse with the stilted movements of the tiny puppet to create one of the most surreal and enjoyable setpieces ever to grace our televisions.



Because the production schedule required such a quick turnaround, the special effect often leaves a little bit to be desired (i.e., the Bela Lugosi BRIDE OF THE MONSTER school of special effects, whereupon the performer holds the rubbery monster to their own neck and flails), but this only works in the film's favor. Regardless, Black holds it all together with élan: she is the only human character in the segment, and her connection to her character's many trials is palpable. Ultimately my favorite segment of the three, "Amelia" even pulls of a Switcharoo ending that's bold, a little scary, and actually feels like an appropriate payoff!

Four stars.

-Sean Gill

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Film Review: HOMER AND EDDIE (1989, Andrei Konchalovsky)

Stars: 2.2 of 5.
Running Time: 102 minutes.
Notable Cast or Crew: James Belushi, Whoopi Goldberg, John Waters (director of PINK FLAMINGOS and SERIAL MOM), Anne Ramsey (THE GOONIES, DEADLY FRIEND), Mickey Jones (TOTAL RECALL, EXTREME PREJUDICE), Karen Black (FIVE EASY PIECES, INVADERS FROM MARS), Vincent Schiavelli (ONE FLEW OVER THE CUCKOO'S NEST, LORD OF ILLUSIONS), Tracey Walter (REPO MAN, MORTUARY ACADEMY), 'Tiny' Lister (EXTREME PREJUDICE, JACKIE BROWN), Pruitt Taylor Vince (NATURAL BORN KILLERS, WILD AT HEART), Wayne Grace (DANCES WITH WOLVES, MULHOLLAND DR.), Robert Glaudini (CUTTING CLASS; GRUNT! THE WRESTLING MOVIE).
Tag-line: "She's ruthless - He's witless - They're on the road together and falling apart at the seams!"
Best one-liner: "What the fuck is a brain stem?"

Sometimes when I can't tell if a film is supposed to be a comedy or a drama, and James Belushi happens to be in it, all I have to do is look at his credit: if it says 'Jim' (SNOW DOGS, CANADIAN BACON, ABRAXIS: GUARDIAN OF THE UNIVERSE, JUMPIN' JACK FLASH) it's probably intended to be a comedy, and if it says 'James' (SALVADOR, WILD PALMS, THIEF), it probably means that he wants to be taken seriously. HOMER AND EDDIE is a film which pendulates wildly between the full on-whacky and the quasi-profound, but for the record, he's credited as 'James.'

A lot of 70's and 80's movies struggle to maintain a consistent tone (INTO THE NIGHT, THE END, FREEBIE AND THE BEAN, SOMETHING WILD, HOWARD THE DUCK, and STROKER ACE come to mind), establishing themselves as Zany with a capital Z, and then pulling the rug out with something that's Heavy with a capital H. It's not to say that this will derail an entire film, or that tonal shifts can't be done well (see the Coens, David Lynch, et al.), but it's possible that two disparate tones have never been quite so at odds with one another as is the case in HOMER AND EDDIE. For example, we follow up a disquieting scene with a terminally ill woman smashing her head into a bathroom mirror...

...with one that involves hootin' n' hollerin' whilst driving past a bus full of nubile cheerleaders while set to peppy 80' grooves. A serious theological discussion that ends with Whoopi screaming, in all seriousness, "THERE AIN'T NO FUCKING GOD!" is followed by a fix-em-up montage set to tender guitar and wailin', sultry saxophone.

Directed by the writer of IVAN'S CHILDHOOD and ANDREI RUBLEV (!) and Cannon Films director-in-residence (RUNAWAY TRAIN, MARIA'S LOVERS, SHY PEOPLE) Andrei Konchalovsky, HOMER AND EDDIE is the tale of a brain-damaged man-child (James Belushi) and a brain-tumored sociopath (Whoopi Goldberg) who join forces and go on a West Coast road trip in search of the meaning of life, the meaning of family, and a missing eighty-seven dollars.

In short, it's a coming of age drama, a zany buddy-trip flick, an on-the-lam crime thriller, a fish out of water story, a Depression-era throwback (that's kind of a 1980's OF MICE AND MEN), a sex farce, and a cult movie. It's like somebody thought that combining RAIN MAN, SOMETHING WILD, and PEE-WEE'S BIG ADVENTURE would in some way be a good idea.
[The only movies of the era I can think of which can properly pull off the Americana road trip scenario along with flashes of beauty and violence and comedy and pathos are Jim Jarmusch's MYSTERY TRAIN and David Lynch's WILD AT HEART.]

Our leads do a pretty good job of 'running it up the flagpole,' so to speak. Belushi tries his hardest to pull off 'lovable, mentally disabled man.' The fact that I didn't find it entirely offensive is a tremendous credit to Belushi's acting chops.

I became something of a latter-day Whoopi fan only after seeing her performance in FATAL BEAUTY, and she's pretty amusing here, rampaging about and robbing people and uttering rejoinders such as "You're like Frankenstein and shit!" She anchors the erratic and ridiculous character with enough humanity that I was never actively pissed at her, and again, that is something of an achievement. You know a film is not hitting it's mark when I have to compliment it in terms 'what was not actively aggravating me.'

When you'd fear that all hope is lost- in a twist that really blew my mind– there's a goddamned parade of iconic cult actors in bit parts. Just look at this rogue's gallery:

Michael Ironside's best bud and ex-Bob-Dylan-drummer Mickey Jones as a redneck manhandled by Whoopi in a diner:


Legendary melancholy-faced character actor Vincent Schiavelli as a priest who refuses to grant Whoopi absolution for murder:


Former wrestler and action film standby Tommy 'Tiny' Lister as a heat-packin' clubgoer begrudingly won over by Belushi's cutesyness:


Crabby acting icon Anne Ramsey as a grizzled convenience store owner keeping an eagle eye out for shoplifters:


70's giant Karen Black as the insane madam of a low-rent, Southwestern, tin-shed whorehouse:


Pruitt Taylor Vince as an unlucky liquor store owner:


Director John Waters as a thieving, flaming highwayman who declares "Move it, maggot!":


And cult actor extraordinaire Tracey Walter as a stuttering cop and boyhood friend of Belushi.


Whew! In closing, I still like Konchalovsky. RUNAWAY TRAIN remains an all-time favorite, and HOMER AND EDDIE is by no means a terrible film, it's merely a misguided one. Probably the most inspired bit of work done on the film is by sometime Golan-Globus and Full Moon Pictures casting director Robert MacDonald (BARFLY, MURPHY'S LAW, RUNAWAY TRAIN, AMERICAN NINJA, TEXAS CHAINSAW MASSACRE 2, THE PIT AND THE PENDULUM, SUBSPECIES, CASTLE FREAK, TRANCERS II) who assembled enough eclectic performers and bizarro cameos to really keep things interesting, even if it was something along the lines of 'What notorious cult performer will pop up next?!'

For its status as a (misconceived) labor of love and a treasure trove of unexpected personalities: a little over two stars.

-Sean Gill

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Film Review: BURNT OFFERINGS (1976, Dan Curtis)

Stars: 3 of 5.
Running Time: 116 minutes.
Notable Cast or Crew: Oliver Reed, Karen Black, Bette Davis, Burgess Meredith, Eileen Heckart (HEARTBREAK RIDGE, THE BAD SEED), Dub Taylor (BONNIE AND CLYDE, THE WILD BUNCH), Anthony James (VANISHING POINT, UNFORGIVEN), Lee Montgomery (GIRLS JUST WANT TO HAVE FUN, THE MIDNIGHT HOUR). Based on the novel by Robert Marasco (author of the Tony-award winning CHILD'S PLAY- no relation to Chucky).
Tag-line: "The perfect summer rental for the last vacation you'll ever take."
Best one-liner: "I hate this place! I want to get of here. I HATE IT!"

Sort of a proto-SHINING (it's a 1976 film based on a 1973 novel, and King's novel wasn't published until 1977), BURNT OFFERINGS is a fairly enjoyable specimen of both the 'gothic haunted house' and 'descent into insanity' subgenres. A family (patriarch Oliver Reed, matriarch Karen Black, kiddie Lee Montgomery, and wacky aunt Bette Davis) is tasked with caring for a mansion while its owners (a crazed Burgess Meredith and Eileen Heckart) are away, but they encounter an evil, Victorian presence which draws them closer and closer to the brink of madness. Directed by the legendary purveyor of horror television, Dan Curtis (DARK SHADOWS, THE NIGHT STALKER, TRILOGY OF TERROR), it's atmospheric, dark, and labyrinthine, but it never quite congeals into an effective film.

BURNT OFFERINGS is dreamlike. When one says that a film's atmosphere is "dreamlike," it's often the highest of compliments– after all, one of filmdom's greatest ambitions is to transmit one's ethereal fantasies and nightmares onto the tangible substance that is celluloid. So allow me to elaborate: "the movie was so dreamlike I nearly fell asleep."

Occasionally filmmakers, in the service of making a sequence hazier or more phantasmagorical, will use a soft focus, an overexposure, some vaseline on the lens, or some combination therein. BURNT OFFERINGS uses this on every single shot.

I don't know if it's the fault of the DVD transfer or part of Dan Curtis' original vision, but needless to say, it's a bit much. So I'm gonna go ahead and say it: the movie drags, it's often nonsensical, and in general it feels as if you're peering at the narrative through a pair of non-prescription reading glasses purchased from the Drug Mart clearance rack for $1.59. But all is not lost, by any means. There's still a lot of reasons to like BURNT OFFERINGS. Here are nine of them:

#1. Filmed at the historic Dunsmuir House in Oakland, California (where they also shot PHANTASM!), the location is spectacular enough to carry even a generic haunted house tale.


#2. Remember when we were hanging out that one time and I was like "Man, I wish there was a movie out there where Bette Davis got her sweet ass slapped" and you were like "Yeah, it's too bad she passed away, now it'll never happen" and then we both kinda looked off into the distance, feeling at once deviant and forlorn?

Well, for your benefit and mine, Ollie Reed took the plunge with kind of a grab/pat which is rendered all the more disturbing since he's doing it to his (in-film) aunt. Mr. Reed must have been big on the impromptu ass grab, 'cause he does it to Karen Black, too:

God bless ya, Ollie Reed.

#3. Speaking of whom, if there's four states of matter (solid, liquid, gas, & plasma), there are two states of Oliver Reed (drunk, and in need of a drink). I could bore you all with the equations and formulae, but I shan't. Just take my word for it. We get both kinds in BURNT OFFERINGS.

Exhibit A: Oliver Reed drunk.


Exhibit B: Oliver Reed in need of a drink.

Note the frustration and inner tumult.

#4. Continuing in this vein, we bear witness to the rare phenomenon of an Ollie Reed summertime belly flop.

Either, A. the man does not know how to dive in a pool, B., it was a specific character choice, or C., he was drunk. I'll allow you to answer that one for yourself.

#5. The creepy chauffeur. Glimpsed only in flashback, and played by Anthony James (of IN THE HEAT OF THE NIGHT, UNFORGIVEN, GUNSMOKE, HIGH PLAINS DRIFTER, etc.),

he's probably the creepiest element of the film. His death's head grin is quite unnerving, and his tall, skeletal form is remembered from a funeral scene in Oliver Reed's character's childhood. The presence of the Dunsmuir House and an eerie, gangly, villainous presence (at a funeral, no less...like the Tall Man?) makes one believe that this must have been an influence on PHANTASM (though I see PHANTASM as the far superior film).

#6. Bette Davis. She's better than this movie, and she knows it. She mutters remarks like "Old people- they do crazy things sometimes!" She berates other family members, and does it while holding a ludicrously long cigarette holder.

But she believes in a paycheck, even if it involves having her ass slapped by Oliver Reed. Horror fans take note: her righteous devotion to paychecks brought us such classics as RETURN FROM WITCH MOUNTAIN, THE WATCHER IN THE WOODS, and WICKED STEPMOTHER. We must not forget this.

Pass the sloppy lipstick.

#7. Ornery Peckinpah fave Dub Taylor.

He's not in the film for long, but, as always, he possesses that same old crotchety, grizzled energy that made him such a favorite in the Western genre.

#8. Burgess Meredith.

Whether it's a TWILIGHT ZONE episode, a ROCKY movie, or a scene from THE MANITOU, whenever Burgess Meredith is on screen, I am beaming like a proud parent. The man puts a smile on my face, what can I say. Confined to a wheelchair and basically only appearing in the film's opening sequence, Meredith nonetheless showers us with his completely insane, endlessly talkative, freakishly madcap joie de vivre.

#9. Karen Black.

Now, based on my SHINING comparison, one might assume that only Oliver Reed undergoes the caretaker-style descent into madness, but Karen Black really gets in on the action, too. Her brilliantly erratic, unpredictable talents that are on view in such dramas as FIVE EASY PIECES, BORN TO WIN, and THE GREAT GATSBY find an excellent outlet in the context of a horror film. She and Oliver Reed make for an amazingly volatile screen pairing–

it's a pity that the narrative itself does not manage to harness any of the pizazz which they're bringing to the table.

In the end, BURNT OFFERINGS brings together a phalanx of extraordinary actors to the perfect haunted locale, but fails to make anything truly interesting happen there. It certainly holds the attention, but for pure insanity's sake, I have to recommend instead THE SENTINEL, PHANTASM, HOUSE, or HAUSU; and for enthusiasts of 'melancholy horror,' I prefer THE CHANGELING, CASTLE FREAK, or ANGEL HEART.

Still, three stars. Pass the Coors.

-Sean Gill

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Television Review: TALES OF THE CITY (1993, Alastair Reid)

Stars: 5 of 5.
Running Time: 360 minutes.
Notable Cast or Crew: Laura Linney (ABSOLUTE POWER, MYSTIC RIVER, THE TRUMAN SHOW), Olympia Dukakis (MOONSTRUCK, DEATH WISH, SISTERS), Donald Moffat (THE THING, ALAMO BAY), Chloe Webb (SID AND NANCY, GHOSTBUSTERS II, TWINS), Marcus D'Amico (SUPERMAN II, 'Hand Job' in FULL METAL JACKET), Billy Campbell (THE ROCKETEER, Coppola's DRACULA), Thomas Gibson (EYES WIDE SHUT, 'Greg' on DHARMA & GREG), Paul Gross (MEN WITH BROOMS, COLD COMFORT), Barbara Garrick (THE ICE STORM, THE FIRM, DOTTIE GETS SPANKED), Rod Steiger (DUCK YOU SUCKER, John Flynn's THE SERGEANT, IN THE HEAT OF THE NIGHT), Robert Downey Sr., County Joe McDonald (of Country Joe and the Fish), Parker Posey, Paul Bartel, Ian McKellen, Mary Kay Place, Karen Black, Michael Jeter (TRUE CRIME, JURASSIC PARK III), Stanley DeSantis (THE AVIATOR, BOOGIE NIGHTS), Marissa Ribisi, Janeane Garofelo, and many others. Based on the book by Armistead Maupin. Cinematography by Walt Lloyd (KAFKA; SEX, LIES, & VIDEOTAPE; PUMP UP THE VOLUME, TO SLEEP WITH ANGER).
Best one-liner: "Come on, and try not looking like Tricia Nixon reviewing the troops."

"We don't have people like her in Cleveland." –"Too bad for Cleveland!"
Capturing 1970's San Francisco with genuine loving care and paying no heed to the social mores of standard network broadcasting, TALES OF THE CITY arrived on the scene in 1993 to critical praise and a fair amount of controversy (it was funded by Channel 4 and televised in the U.S. on PBS). I've watched it many times over, and I'm unsure if a series has ever quite so wonderfully, wistfully, and mystically captured the experience of moving to a big city and spreading your wings. TALES OF THE CITY is life in transition–

Mary Ann Singleton (Laura Linney) comes all the way from Ohio to emerge from her chrysalis: she becomes an independent young woman of her own construction- adapting and absorbing, but never mimicking, never losing her sense of self (or her housecoat that looks like a mattress cover!):

Note housecoat.

Mona Ramsey (Chloe Webb, in an electrifying performance) has lived in San Francisco long enough to traverse her life with complete confidence and quaalude-tempered charm, but recently she's been thirsting for something more, maybe even that house in Pacific Heights…or perhaps she’d settle for a few dear friends:

Webb and Marcus D'Amico's Michael Tolliver polish off some Chinese takeout.


Edgar Halcyon (the lovably gruff Donald Moffat) finds himself nearing death.

Years of inhibitions have calcified like a disease, and he yearns for one final last (or is it the first?) affair de coeur before he's just a heap of moldering dust.

These characters (and many more- from Thomas Gibson's leering scamp:

to Marcus D'Amico's cheerful Florida boy to Billy Campbell's earnest gynecologist:

to Paul Gross' self-possessed waiter to Barbara Garrick's meandering high society wife in crisis to Stanley De Santis' awkward loner) all find themselves affected, in one way or another, by the epicenter of it all: Miss Anna Madrigal of 28 Barbary Lane (played with tranquil aplomb by the devoted, maternal Olympia Dukakis).

With all of these beings (and even the era itself) in transition, Madrigal becomes their guardian, their friend, and their icon- representing the human ability to break free of one's self-imposed limitations and redefine oneself, to build a community. There’s a spiritual element to it all, with Madrigal’s parable of lost Atlantis and her desire to congregate like-minded individuals, but there’s a profound goofiness as well, from Parker Posey’s Snoopy-obsessed party girl:

to Karen Black as herself (at a fat farm!) to Paul Bartel & Ian McKellen as the height of snobbery:

The height of snobbery and loving it.

to Mary Kay Place’s ludicrous roundtable of rape.

Which is funnier than it sounds.

The work explodes with these juxtapositions- profundity and disco; tourist hotspots and dubious holes-in-the-wall; dance competitions and suicide hotlines; epochal, life-changing events and casual conversations struck up at the supermaket; serious, kitchen-sink drama and an atmosphere that occasionally smacks of VERTIGO fused with ALICE IN WONDERLAND – and, as such, it's a true portrait of the city and a tribute to those irresistable souls who inhabit it…

-Sean Gill

Junta Juleil's Summer '10 Movie Series
1. HELL IN THE PACIFIC (1968, John Boorman)
2. KUFFS (1992, Bruce A. Evans)
3. THE OUTFIT (1973, John Flynn)

4. FOR Y'UR HEIGHT ONLY (1981, Eddie Nicart)

5. A*P*E (1976, Paul Leder)

6. BLIND FURY (1989, Philip Noyce)
7. HIS KIND OF WOMAN (1951, John Farrow)
8. HIGH SCHOOL U.S.A. (1983, Rod Amateau)
9. DR. JEKYLL AND MS. HYDE (1995, David Price)
10. MIDNIGHT IN THE GARDEN OF GOOD AND EVIL (1997, Clint Eastwood)
11. 1990: BRONX WARRIORS (1982, Enzo G. Castellari)
12. FALLING DOWN (1993, Joel Schumacher)
13. TOURIST TRAP (1979, David Schmoeller)
14. THE THREE MUSKETEERS (1973, Richard Lester)
15. BIG TROUBLE IN LITTLE CHINA (1986, John Carpenter)
16. TOP GUN (1986, Tony Scott)
17. 48 HRS. (1982, Walter Hill)
18. ONCE UPON A TIME IN MEXICO (2003, Robert Rodriguez)
19. TALES OF THE CITY (1993, Alastair Reid)
20. ...

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