(Interview with Dee Wallace): The Diverse Dee

AN INTERVIEW WITH DEE WALLACE: 
THE DIVERSE DEE

By Jerry Saravia

Dee in 1977's "Hills Have Eyes"

Dee Wallace in 1982's "E.T."

For anyone who was a teenager or an adolescent during the 1980's, you'd have to be living under a rock to not know who Dee Wallace was. Of course, some of my readers might be a little younger than me so let's refresh the subject at hand for a second. Dee Wallace's most famous role is the divorcee and mother to Elliott in the 1982 Steven Spielberg classic, "E.T.: The Extra-Terrestrial." She was also howling to the moons as a reporter who is bitten by a werewolf in 1981's funny and spine-tingling "The Howling." Or the mother from 1986's "Critters," not to mention the 1991 cult film "Popcorn" where she was the concerned mother to Jill Schoelen's traumatized Maggie? Or the mother protecting her son from a rabid St. Bernard in 1983's "Cujo" (perhaps the goriest Stephen King adaptation ever). But Dee had started earlier, back in the late 1970's. Who can forget Dee as the young mother whom we all hoped would survive the desert family of psychos in Wes Craven's "The Hills Have Eyes"? With her trademark sensitivity and vulnerability and overall sweetness delivered in spades, Dee was the sympathetic ideal woman for horror and fantasy.

As an actress, she has amassed a total of 196 credits, ranging from small roles in TV shows such as "Starsky and Hutch," "Lou Grant," "Hart to Hart," "Trapper John M.D.," "Cold Case," "Murder, She Wrote," and "The Office" to other notable film roles that were occasionally non-horror including Blake Edwards' "10," "Jimmy the Kid" with Gary Coleman and "Extraordinary Measures" with Harrison Ford, to name a few. She has also served as an executive producer and a choreographer. 

Lately, the diverse Dee Wallace has created her own website, www.Iamdeewallace.com, in addition to a call-in radio show devoted to the art of self-creation, and has written three books: "Conscious Creation," "The Big E," and "Bright Light."She is a trifecta of talent - Actor, Healer, Best-Selling Author.

1.) I think you have been asked to death about "E.T." so let's talk about the highly entertaining "Critters." You had taken on the matriarch role in a few films at that point already, especially in "Cujo" and "Hills Have Eyes." Aside from "E.T," my favorite matriarchal role you have played was in "Critters." Did Hollywood casting agents find it easier at first to cast you as a trusting suburban mother in unexpectedly fantastic and horrific scenarios?

Dee: "I think it just morphed into it. Sometimes I think I am just a really good screamer and have a full access of emotions, and the horror genre is ripe for that. I don't think they tried to create me as that, but it's the way it played out. I love the genre--the REAL horror film, because it has arcs and opportunities to really create within."

Dee in 1991's "Popcorn"

2.) "Popcorn" is another matriarchal role you have played, mother to Jill Schoelen's Maggie. I understand the shoot was fraught with some complications, including the recasting of the Maggie role that went originally to Amy O'Neill who was replaced by Schoelen. There has been a cult developed around this film. What are your thoughts on the film itself and the renewed interest it currently enjoys that it did not initially receive?

Dee: "It's so funny to me. As long as I have been in this business, it is an enigma why fans take to the things they do. At the conventions, people will stand in line for hours to meet an actor whose face has never actually been seen on camera, while a veteran of 100 films is nearby. It's crazy. And it's beautiful. "Popcorn" has indeed become a genre classic. "Popcorn" had so many problems I hardly remember them. Producers changed, money fell out. We were on, we were off. None of it really phased me, because I had just had my daughter Gabrielle ( who is now beginning her own career in a big way) and my husband was with me. All I was worried about was breastfeeding on time!! I do remember insisting that they create it so I could get in and out of the body cast. I remember thinking, 'Geez, guys, I'm gonna have to use the restroom SOMEtime!'"

Dee and her late husband, Christopher Stone, in 1981's "The Howling"

Dee in 1996's "The Frighteners"

3.) A real break from the trusting and sincere Dee Wallace that I think we all love was your role as a murderer's accomplice in Peter Jackson's "The Frighteners." What was the Peter Jackson experience like and, though I have not seen every single film and TV role you have performed, do you wish for more variety, say a comedic role (aside from 1985's "Secret Admirer")?

Dee: "I adore Peter and everything about him. I had a ball murdering everyone. Although my beloved Christopher died during the shooting, I still remember it fondly. Peter is a class act all the way. As far as comedy, I have had two sit coms on, baby! I like comedy if it's good. I hate it if it's corny. Far out, stupid stuff definitely does not rock my boat."

4.) Now that you have worked twice with director Rob Zombie, specifically on "Halloween" and the voice of Trixie in "Haunted World of El Superbeasto,", tell us what kind of role you have taken on in "Lords of Salem," your third film with Zombie, and what kind of atmosphere does Zombie create on the set?

Dee: "Geez. I love Rob. Truly. He is an artistic genius who is a really nice guy. I get to play all sides of Dee: the E.T. Dee and The Frighteners Dee. It's a great arc. He wrote it for me, and I am honored. It is very different from his other films. Can't wait to see the response!!"

5.) Lastly, tell us about your Thursday morning radio talk show, "Conscious Creations." It seems, after listening to one of your broadcasts, that your purpose is to stress the self, that you are the maker of your self and follow your heart, themes that need to be stressed within our consumerist, practically selfless society. Overall, am I on the right page because that is a message that needs to heard?

Dee: "By George, you got it! Both my radio shows focus on taking self responsibility in the creation of our own lives. It is amazingly powerful work, and my channel is clear and correct. The information that comes through astounds us, and we can discern instantly where a person is blocked and why. Tune in, baby! You'll love it!"

For more info on the radio show and her books, Go to http://www.iamdeewallace.com for everything Dee!

Listen to Dee every Monday from 5 to 6 pm PDT/PST on Bright Light on The Awakening Zone~(714) 364-4335.  http://www.awakeningzone.com/Show.aspx?ShowID=34

Conscious Creation, free call in show~(646) 915-9919.  Thursday 8 to 9 am, PST/PDT.

http://www.blogtalkradio.com/ConsciousCreation

How good a singer is Jewel vs. Alanis Morrisette?

HELL'S GATE (2007)

Reviewed by Jerry Saravia

(Viewed in Spring 2008)

A few weeks ago I saw "Lucky Number Slevin," which had style to spare but no story to tell. "Hell's Gate" is just the opposite - it barely has style to spare but it also has a story with a surprising twist.

Kevin Kinney (Brian Faherty) is an ex-con and former stock broker who is in desperate need for cash. He owes money to the mob but his past friends refuse to give him a nickle. Kinney's loose cannon pal and former cell-mate, Ben Deardon (Jeremy Cohen), has a meeting with a certain British gentleman named Mr. Nobody (Teddy Alexandro-Evans) who has a profitable job for them - to kidnap a billionaire's daughter (Chelsea Miller)! For Kevin, this is a long way from Wall Street but he reluctantly takes the job. The kidnapping is successful, thanks to good old chloroform. Unfortunately, the two ex-cons and the billionaire's daughter, who is tied to a chair, have to stay in some hideout until Mr. Nobody comes back from delivering a ransom note! Are these protagonists doomed? Will Mr. Nobody actually double-cross them and kill them? Inevitably.

The comparisons to Tarantino's edgy, postmodernist crime flicks are also inevitable. There is a pungent discussion on the singers Jewel and Alanis Morrisette and their respective love songs. I also caught a reference to Man From U.N.C.L.E. And the movie zigzags from flashbacks to flashforwards to intertitles. The idea of two ex-cons with a hostage inside a building can find its roots as far back as John Ford, concluding with John Carpenter and Quentin Tarantino. I could say that, folks, the thrill is gone. We have seen interminable gangster/ crime flicks and, more often than not, there is little variety among them. Still, I have to give debuting writer-director John Cecil credit for trying to make this more than just passable. The script can be weak but there are some inspired moments. Notably the opening scene, where Kevin is confessing about a past girlfriend, could be set in a psychiatrist's office or at a police station (we find out later the actual location). I also liked how these two criminals have no idea how to conduct themselves with a hostage, or how to properly prepare a ransom note (the hard-edged guys in "Reservoir Dogs" could eat them for breakfast).

Since this is an independent production and I understand limitations in terms of budget and cutting corners, I will say that two actors could've been better cast. Teddy Alexandro-Evans as the mysterious Mr. Nobody lacks charisma and hardly seems threatening, even with a calm demeanor. Chelsea Miller doesn't lend her part any real weight and is summarily unsympathetic and unlikable - sure, it is hard not to wince seeing a woman beaten down by two thugs but I barely cared. The stars of the film are Brian Faherty, the straight shooter who wants a change from his current lifestyle, and Jeremy Cohen as the cokehead who is far more dangerous than anticipated. Both of these roles reminded me of Timothy Hutton and Sean Penn's characters in the fantastic "The Falcon and the Snowman" - characters as two polar opposites who may be both doomed in this kidnapping scenario (they even wear the same clothes that seem to come from a vintage 70's shop).

Though it has nothing new or refreshing to say about the so-called "honor among thieves" crossed with a kidnapping/hostage tale, "Hell's Gate" still zips along with a clever ending and two ex-cons who are unable to escape the inevitable.

This reboot is pure kryptonite

SUPERMAN RETURNS (2006)

Reviewed by Jerry Saravia

 (Viewed on June 30th, 2006)

The late Christopher Reeve captured the essence of Superman and, more importantly, the essence of Clark Kent. Reeve played the two sides of the same coin - the mild-mannered reporter who was also the superhuman, red-caped, red-booted Superman. Suffice to say, it would be hard for anyone to top Reeve's performance because he encapsulated the man and the myth in all its glory. It was such a good performance that Reeve became typecast. Off-screen he became a different kind of hero after the horrible accident that left him paralyzed. Tough standards to live up to and newcomer Brandon Routh steps in those red boots and blue tights and comes close in "Superman Returns," but something is amiss. In fact, something is amiss with the whole movie.

This Superman film is not a reimagining of the beloved comic-book hero, like last year's invigorating, darkly humorous "Batman Begins," but rather goes full-speed ahead and pretends that the awful number 3 and so-so number 4 of Chris Reeve's series never existed. This is a direct sequel to "Superman II," taking place five years after that film's events. Superman (Brandon Routh) has been MIA as he has been investigating the remains of his destroyed planet Krypton. Apparently, shards of that distant planet have landed on planet Earth and the Museum of Natural History exhibits one of those shards. Savvy, evil Lex Luthor (Kevin Spacey) wants a shard or two of Kryptonite since it can destroy Superman, his long-time nemesis (of course, unless you have amnesia, you'll recall this was also the plot of the original "Superman"). Lex can also use Superman's earthbound home, the Fortress of Solitude, to incur his own fortress by decimating America and creating his own land that will be profitable to foreign investors. That's right, Superman fans, those shiny crystals can create lands as far the eye can see (actually, they will be undesirable rock formations but never mind). Considering how much America is hated nowadays, the notorious Lex Luthor may be onto something.

But guess what has happened in five years. Lois Lane (Kate Bosworth) is married and has a son. Clark Kent shows up at the office and has his old job back, thanks to Perry White (played by Frank Langella), though he faces stiff competition from Perry's son, Richard (James Marsden), who is incidentally married to Lois. Jimmy Olson is still around, taking pictures at whim of everything in sight. Still, he faces mildly stiff competition from kids with those pesky cell phones that take far better snapshots.

Now notice how little I have said about Brandon Routh or Kate Bosworth in their respective roles. The makers of this movie have forgotten some cardinal rules, which can be applied to many of today's blockbusters. Any movie, including a Superman movie, that is filled with special-effects needs something more, something that can't be special-effected. It needs attitude, personality - the quirks that we all face with in our own lives. Those elements were brought to life in the first two "Superman" films by Christopher Reeve and Margot Kidder, the latter incidentally the best Lois Lane to ever walk this planet. Brandon Routh has the look but not the tone, and certainly not the personality. As Superman, he seems too iconic and placid to really strike a nerve (at one point, he spreads his arms in Christ-like fashion). In fact, old Supe baby had more dialogue in the regrettably uncinematic "Superman IV: The Quest For Peace" than in this movie. He can fly, he has determination, he is super indeed, but he is a taciturn man with no inner life - a blank automaton for the Internet and cell phone age that can be downloaded and compressed into thin air.
As for Kate Bosworth, bless her heart for trying but she is completely miscast. Again, no real personality and her brown curly hair is a gross injustice for a blonde (she seemed more alive on a recent "Tonight Show" spot than here).

Kevin Spacey is superbly evil as Lex yet he has so few scenes, and his ultimate plot to decimate America is the most foolish idea that this character has ever had (it seems he has the brains of Otis, his goofy partner from eons ago). And the Parker Posey of the 90's is gone - here, she plays Lex's girlfriend but has no spunk or attitude either. A spunk-less Parker Posey?

Directed by Bryan Singer, "Superman Returns" has some whiz-bang moments of awe, including Superman saving a burning plane before it crash-lands on a baseball stadium, a slow-motion shot of a bullet hitting Supe's eyeball and, well, the flying scenes are fantastic but then again, we have seen lots of flying scenes since Supe's last incarnation in 1987. But the movie is drab, indifferent, dreary and far too long (and has a scene with a poodle that will make many cringe as to its existence in this movie). This sequel has none of the verve or spice of the early Superman films, nor the excitement of even Bryan Singer's own "X-Men" movies. Christopher Reeve made us care for Superman and Clark Kent, a superhuman who wanted to be human. He had his own individual quirks, and so did Kidder's Lois. I am now in the middle of reading "It's Superman" by Tom De Haven, and it has those elements down pat. In this movie, the humanity has been peeled from the Man of Steel.

This sequel barely flies

SUPERMAN III (1983)

Reviewed by Jerry Saravia

In 1983, computers and Atari ran amok in America. BASIC was the computer language everyone talked about when I went to school. Atari was the Playstation of its day. And Superman was still the superhero everyone loved. That is until "Superman III" came along and practically trivialized the series ("Superman IV" actually destroyed it). Gone was the warmth, humor and humanity brought to the first two "Superman" films - the very qualities that elevated the series above its comic book origins. "Superman III" is a crude, lethargic machine of a movie. The special-effects are still good and Superman will still make you believe that a man can fly but there is not enough energy, no human interest. Lifeless is putting it mildly.

Christopher Reeve still does wonders with the dual role of mild-mannered reporter, Clark Kent, and the superhero who can defy gravity, Superman. It is a role Reeve can play in his sleep, and he still makes it all rather credible. Superman performs last-minute rescues as usual, including rescuing a man who is about to drown in his own car! He also saves people at a chemical plant fire by freezing a lake and dropping it into the fire. Nifty! But something is missing. There is no awe, no sense of wonder. The people of Metropolis react to the sight of Superman as if he was a balloon at the Macy's Thanksgiving Day Parade. I could swear that a pedestrian even says, "Oh, it is just Superman." Even Lois Lane (Margot Kidder) shows up briefly, claiming she is going on vacation to Bermuda. She doesn't get to mention the name Superman and, needless to say, doesn't share any scenes with him, despite sharing a scene with Clark Kent. When Lois is out of the picture then you know the movie is in trouble (this had to do with Kidder's dispute with the Salkinds over not handing the directorial reins to Richard Donner although there is dispute over that).

Anyways, the plot of this sequel deals with a genius computer programmer (Richard Pryor) who is hired by some billionaire (Robert Vaughn) to cause weather problems in Colombia so that the entire coffee crop can be destroyed! Vaughn wants to control the coffee crop and oil! Alas, when Superman saves Colombia by turning a tornado upside down, a plan is needed to destroy Supe baby. Kryptonite is used but since it is created by scientists (since no fragments are known to exist on Earth), an unknown ingredient in the rock substance is replaced by tar! This turns Superman into a boorish drunk with a five o'clock shadow. He performs deeds that make the nation question his heroism. Evil Superman makes the Leaning Tower of Pisa straight (though that is not actually possible), has sex with the terminally smug "personal trainer" to Vaughn (Pamela Stephenson), and causes general havoc at the Olympics when he blows out the torch. Oh, and there is a subplot involving Clark's childhood friend, Lana Lang (Annette O'Toole), who is convinced by Clark to move to Metropolis since she will never meet the right guy in good old Smallville.

"Superman III" has several problems. Number one: the nefarious plot by the villains is never quite clear and thus lacks any urgency (despite the building of a supercomputer that can destroy anything in its path). Number two: the filmmakers think that this movie is a comedy but Pryor is a disaster on screen, looking stupefied through the whole movie. The movie is directed by Richard Lester (who also directed number II) and it even opens with a pointless slapstick ballet that has no place in anything associated with the name Superman. Number three: The Lana Lang character works but is given too few scenes, and O'Toole is forced to say truly outlandish dialogue that is neither funny nor dramatic ("Oh, my oil pan is leaking.") Number four: The music score by Giorgio Moroder is too campy and ill-conceived, much like the movie. I could go on.

The best scenes in the film involve Lois Lane and a confrontation between the good and evil Superman in a junkyard (Reeve is especially good at playing a raving lunatic). Kidder as Lois Lane has a priceless scene at the end where she meets Lana Lang, and her flash of a smile at Lang's diamond "sparkler" is a hoot. But that is all there is to "Superman III." It is like watching an Atari video game of the real thing. There were rumors that an Atari video game was in the works (some of it even shows up in the movie). But with no sense of astonishment or the barest of human relationships, this third chapter never quite takes flight.

Footnote: Despite my criticisms, "Superman III" is not a complete failure and some of it is boring yet some of it is also watchable. It is one of two movies I own on DVD that, despite not working at all in huge chunks, never actually leaves my mind. I still can't figure it out.

Kneel before Zod!

SUPERMAN II (1981)

Reviewed by Jerry Saravia

Some sequels never equal or surpass their original counterparts because they often seem like rehashes. "Superman II" is that rarity - a sequel that both equals and, at times, surpasses the original 1978 classic. That is saying a lot considering how terrific the original "Superman" was, but I was surprised by how much more I liked number 2.

Christopher Reeve is back as the mild-mannered reporter, Clark Kent, and the superhero with X-ray vision and a red cape and bright red boots, known of course as Superman. In this film, Clark expresses some jealousy over Lois Lane's (Margot Kidder) infatuation with Supe Baby. After all, Superman saves her butt from being blown to kingdom come at the Eiffel Tower where some hydrogen bomb is about to detonate! Lois Lane is in love with Superman...but she senses that Clark bears some resemblance to the famous superhero. There is the Niagara Falls sequence where Clark and Lois pretend to be newlyweds, all in the service of a story for the Daily Planet. Clark fogs his glasses while being near the Falls and Lois removes them only to discover those blue eyes! After a daring child rescue by Superman where Clark is nowhere to be found in sight, Lois decides to trick Clark into saving her. She foolishly attempts to drown herself in a raging river! These scenes are superb in comic timing and pratfalls that accentuate Lois's recklessness and Clark's ability to avoid changing into Superman. I do have one question though: wouldn't heat rays through glasses cause the lenses to burn? Or maybe he lowered his glasses a bit to avoid burning them? Who cares - he is Superman after all.

The main story deals with three villains from Krypton, the leader Zod (Terence Stamp), the man-hater Ursa (Sarah Douglas), and the childlike, humongous Non (Jack O'Halloran). If you recall in the original film, the three villains were banished into the Phantom Zone by Jor-El, Superman's father. Thanks to the hydrogen bomb hurled into outer space by Superman, it explodes causing the triad to break free of their glass-shielded prison. They all discover they have superhuman powers beyond reason, can walk on the moon without a spacesuit, walk on water, deflect missiles and bullets, use their breath to create heavy winds, and, in short, rule the planet Houston, otherwise known as Earth. They can also deface Mount Rushmore by replacing former Presidents' faces with their own. So now the White House has been sieged, the President is forced to kneel before Zod, and hell on Earth has arrived. And returnee Lex Luthor (Gene Hackman) decides to provide assistance to the new leaders of the world. But where is Superman? Well, he is busy wooing Lois Lane who, in a highly emotional scene, discovers Clark Kent is Superman! This means that if Superman wishes to wed and bed Lois, he must become mortal. Good timing Supe baby.

"Superman II" has one great, humorous, dramatic, dazzling sequence after another. It is great fun watching the Phantom Zone prisoners using their super powers to destroy half of New York City (though it may be politically incorrect to say such things in this post-9/11 climate, the effects are still superb). What we get is the stuff we always wanted to see from a live-action Superman film: we see Superman and villains engaged in heavy battle using heat-ray vision, utilizing their super cool breath to freeze objects, and basically punching and beating each other on city streets without hurting any of the human pedestrians. They use pothole covers, hurl each other into cultural landmark billboards or neon signs (Superman and Coca-Cola do fit together since they are both cultural landmarks), crash into the antenna at the Empire State Building, burst through office windows, and basically create havoc and destruction. A bus full of people is even used as a weapon!

But special-effects mean nothing unless they are central to the story. What director Richard Donner accomplished in the first Superman film was to recognize the human relationships in the story - we had to believe that Clark Kent and Superman had a human dimension. Ditto Lois Lane, which is what made the original so charming. This sequel ups the ante on Lois and Superman's relationship, and their love scenes are as heart-rending and poignant as they could be, given that this is essentially a comic-book story come to life. Although Donner had filmed some scenes of part II (a whole alternate version of this sequel is in existence), director Richard Lester deserves some credit for making the continuity believable since he took over after Donner was replaced (purportedly by the Salkind producers). The heart of "Superman II" is the love story between Clark and Lois - if it did not work, the movie would have been fun yet dramatically soulless.

In addition to Christopher Reeve and Margot Kidder's remarkable performances, there are rich acting roles from Jackie Coogan, back again as Daily Planet editor, Perry White, E.G. Marshall as the President of the United States with an obvious toupee, Clifton James as a small-town sheriff who is dumbfounded by Zod and his cohorts, Ned Beatty's briefly hysterical turn as Otis, Lex's bumbling partner, Valerie Perrine in her extremely short return as Miss Tesmacher, and the glorious Susanah York as Superman's mother who warns Superman of losing his immortality.

"Superman II" is vibrant, smoothly paced, and exquisitely made - it is clearly a phenomenally entertaining super sequel. It expands on the characters by showing more depth, has three great villains (including the smooth wickedness of Terence Stamp), super heroic feats and battles, and a rousing ending that will make audiences cheer. More importantly, you still believe that a man can fly. The Man of Steel never had it this good.

That is one bad outfit!

SUPERMAN (1978)

Reviewed by Jerry Saravia

"You'll believe a man can fly!" - tagline for the film "Superman"

 Of all comic-book heroes, only Superman reaches the heights as one of the greatest of all crime-fighting heroes. But there was something more to Superman, other than he was an alien. Superman fought for truth, justice and the American way. Baby Clark Kent did not land in some foreign country like China or Russia. He landed in good old Smallville, USA. Though not of this world, I would not be surprised if Clark Kent was anything other than American. And this country boy with extraordinary powers makes it to the big leagues, in this case, Metropolis, standing in for New York City.

When "Superman" was about to be released in 1978, there was speculation as to whether the film would fly. Using an unknown at the time, Christopher Reeve, to play both Superman and Clark Kent convincingly was already an alarming task. The real trick was convincing audiences that this Superman could fly, and that he could make leaps over buildings in a single bound. Casting Marlon Brando and Gene Hackman was only icing on the cake. If audiences did not believe the sight of a man flying, then the film would have been pronounced a failure.

The verdict: "Superman" is not only one of the best comic-book movies ever made, it is also one of the great fantasy films of all time. And casting Christopher Reeve was a sublime decision. He is so perfect in the dual role that he became identified with the role, thus being stereotyped as only the Man of Steel. Reeve is convincingly klutzy as the bumbling Clark Kent which is very important, so we believe that even Lois Lane can't figure out his real identity. Reeve also makes Superman mightily heroic and human at the same time, even showing slight hints of humor. He is not as stolid as George Reeves own incarnation was - this Superman seems like a Boy Scout but also has heart and charisma to spare. Consider his first appearance where he is spotted on the street: "Hey man! That is one bad outfit!" All Superman has to say is, "Excuse me," as he takes off flying.

"Superman" begins with Kal-El as a baby transported to Earth from the dying planet of Krypton in some star-shaped vessel. His vessel crashes in Smallville, USA where he is found by Ma and Pa Kent (Phyllis Thaxter, Glenn Ford) and is raised as their own son. These scenes are amazingly rich and nostalgic. We see the young Kent as a waterboy for a high-school football team. He races faster than a speeding train (witnessed by a young Lois Lane). He can kick a football harder than any star quarterback. Tragedy does strike when his father dies of a stroke. Now Clark sees his destiny as he creates his Fortress of Solitude in the North Pole and leaves for Metropolis to become a reporter for the Daily Planet. Naturally, we see those great characters of comic book lore. There is the feisty Lois Lane (Margot Kidder), who misspells words when she types fast. She is ambitious and headstrong. There is the editor-in-chief, Perry White (Jackie Coogan), who is looking for the next big story and finds it in Superman. And the naive Jimmy Olsen (Marc McClure) whose biggest contribution to the paper is taking photographs. Clark Kent is hired on the spot for his fast typing skills and superb prose style. But Lois senses something amiss in someone who uses the word "swell."

Lois: "Are there any more like you back home?"

Clark: "Uh, no, not really."

There is the deliciously clever genius, the archvillain to end all archvillains, Lex Luthor (Gene Hackman), who discovers Superman's weakness. This will invariably help Luthor achieve his quest for ruling most of California with the aid of missiles to cause ruinous earthquakes. Luthor has some help for his nefarious plans thanks to the glamorous Miss Teschmacher (Valerie Perrine) and the witless Otis (Ned Beatty). His aides are not exactly the smartest but they are able to pull off some stunts to accomplish Luthor's plans. It's just that Superman is getting in the way.

I need not say more. "Superman" has everything you can hope for in a fantasy movie. There is action, romance, humor, heart, and a real conflict involving Luthor. There are so many wonderful scenes that stand out. The first moment when we see Superman flying from his Fortress of Solitude. The rescue of Lois Lane dangling from a helicopter at the top of the Daily Planet building. Clark Kent trying to change into Superman in a modern phone booth. The extended chaos of the earthquake where Superman saves a train, a school bus, a damaging cascade of water from crushing a small town, and even Jimmy Olsen from falling into a dam. *SPOILER WARNING* But the scene that elevates the myth into the sublime is when Superman turns back time to save Lois Lane from being submerged in dirt during the earthquake. It is a powerful, emotional breakthrough that shows the filmmakers were serious about this character and the movie.

Richard Donner ("The Omen," "Lethal Weapon") directs with authority, minus the campiness that could have killed the legend. Reeve and Kidder have made their famous roles their own (I am sorry but Dean Cain and Teri Hatcher hardly come close). The special-effects work because they have mystery and awe to them, and particularly because they serve the story. Hackman brings great humor and sarcasm to the bald Luthor. Even good old Marlon Brando brings some poignance to the legend as Jor-El, including the scene where he explains to his son how the world works and what is forbidden to a superhero. Simply put, this "Superman" rises above all filmed attempts. It is a stirring, amazing, grandly entertaining and imaginative update that will be remembered for ages.

Gambling on a road to nowhere

SAINT JOHN OF LAS VEGAS (2009)

Reviewed by Jerry Saravia

"Saint John of Las Vegas" has got everything I love about an independent quirky road movie. It's got Steve Buscemi, which is a major plus, naked cowboys, Sarah Silverman in happy mode, handicapped strippers, odd encounters and locations (having lived outside Albuquerque, NM, I do know how odd most of that Land of Manana can be), small-time gambling, and a thousand bucks to spare on lottery tickets. What it does not have is resonance or enough of a point - the film eventually meanders and sputters out to a far too tidy finish. The journey in getting there is kinda fun though.

Buscemi plays John, a former Las Vegas gambler who works at an auto insurance company. He is hoping for a promotion from his boss, Mr. Townshend (Peter Dinklage), whose desk is surrounded by four ostentatious Greek pillars. John's latest job is to go on the road to Sin City, the place that got him into past troubles, with Virgil (Romany Malko), the top insurance fraud specialist. Together they investigate an auto accident claim by a stripper whose car was struck by another driver in the middle of the desert. Fraud is suspected.

Virgil doesn't make John's life easy. They sleep in the car instead of going to a motel. When they meet a carnival human torch (played by John Cho in one of the oddest characters I've ever seen in a movie) who is also a tow truck driver, John has to ask the questions, not Virgil. When John tries to win a Happy Face doll at the circus (the smiley face is a recurring symbol) for his girlfriend-to-be (Sarah Silverman), he can't throw worth a dime but Virgil can. And then Virgil takes John to a sudden moment of unexpectedness that you won't see coming (at least I didn't).

"Saint John of Las Vegas" is often hysterically written and directed by Hue Rhodes - he has done a capable job of maintaining an air of Coens Brothers mentality but without the often cartoonish, loud rush that inflates some of the Coens work to unwatchable extremes (I am talking to you, "Raising Arizona"). This film has sass but it is also restrained so as to not hit you over the head with its offbeat gestures and characters (the story is allegedly based on Alighieri's "Divine Comedy"). You keep wondering where John's gambling inclinations will take him. When we finally get to the ending of this 85-minute odyssey, I felt a little too underwhelmed. Don't get me wrong - the ending is an appropriate finish technically. I just felt distanced from it, wishing the film had more to say and engaged us more with Buscemi's John and Malko's enigmatic Virgil. The ride is fun and breezy but it needed more of a finishing touch.