SUPERMAN II: THE RICHARD DONNER CUT

Ursa and General Zod blow the hell out of Grand Central

SUPERMAN II (1980). The Richard Donner Cut.

Richard Donner, who directed the first Superman, did a lot of work on the sequel -- the two were filmed concurrently, actually -- before being fired. Some of his work was redone by the director of record, Richard Lester. This cut assembles the version as it might have looked in theaters if Donner had not been dismissed.

At the end of Superman, the Man of Steel (Christopher Reeve) stops Lex Luthor's missile from wiping out California, but he doesn't realize that the explosion of this same missile in outer space has freed three notorious and vicious Kryptonian villains from their prison, the Phantom Zone. Hulking Non (Jack O'Halloran), bitchy Ursa (Sarah Douglas), and imperious General Zod (Terence Stamp) make their way to earth where they find they have developed the same powers as Superman. Before long they have invaded the White House where the not-so-good general forces the president (E. G. Marshall) to his knees. "Oh, God," says the president. "Zod," corrects the general. Where is the man of steel? Lois Lane (Margot Kidder) has finally figured out his secret identity and the two make love in his Arctic Fortress of Solitude. Then Superman decides to quit being the Man of Steel, always off saving the world, so that he can spend his life with Lois; he uses Kryptonian technology to do this. (This begs the question: since it was Superman that Lois fell in love with and not Clark Kent, would she really want him just as an ordinary human?) Too late, he discovers what has happened in Washington D.C., and makes his way back to his fortress as an ordinary man ... what a guy -- he doesn't even wear gloves! Conveniently, he is able to get his powers back.

The centerpiece of the film in any version is the battle between the revivified Superman and the three villains in New York City (rechristened "Metropolis," of course). Beautifully shot, edited, and choreographed, this sequence remains one of the best superhuman battle scenes in any comic book movie. (Today's super-hero films often present very sloppy and poorly articulated battle sequences.) A special highlight is when the bad guys use their super breath to literally blow dozens of pedestrians -- who are after their blood after they seem to have killed the Man of Steel -- down the streets near Grand Central Station. Buses are thrown, towers are toppled, Zod and his colleagues bounce Superman around and vice versa, and the special effects throughout are still outstanding.

This version (and probably the theatrical version as well) of Superman II has its problems, mostly having to do with Gene Hackman and his cohorts, played by Ned Beatty and Valerie Perrine. The movie is "adult" enough to show Lois and Superman in bed (although this is by no means a sex scene), so why does it have such stupid humor as Perrine flushing a toilet in the Fortress of Solitude? These campy characters never fit comfortably into this or even the original movie anyway. Hackman gives a perfectly good comic portrayal, but his presence is not required. The sequences with him are tedious, and there is dialogue in the film that betrays a dated seventies sensibility. Continued from the first film, the whole business with Superman's dead father, Jor-El (Marlon Brando) somehow counseling his son, raises more questions than it answers. Anti-climactic and twenty minutes too long (even it it's shorter than the theatrical version), Superman II is nevertheless a very worthwhile comic book flick. Reeve and Kidder are fine but the picture is nearly stolen by Terence Stamp, who makes a rather sexy and very sinister General Zod -- it's a terrific performance. And he is nearly matched by Sarah Douglas as the strutting, sexy, and highly anti-social Ursa. John Williams contributes his usual effective scoring, and Geoffrey Unsworth's cinematography is first-rate. As in the first film, Superman reverses time again, so that Lois no longer knows his secret identity (this was done differently in the theatrical version, I believe), but that insures that events that no longer could have happened are referred to afterward -- confusing, as usual. Followed by Superman III.

Verdict: Worth it for the Times Square battle if nothing else. ***.

SUPERMAN IV: THE QUEST FOR PEACE

Margot Kidder and Christopher Reeve take flight

SUPERMAN IV: THE QUEST FOR PEACE (1987). Director: Sidney J. Furie. (Based on a story by Christopher Reeve).

The Daily Planet, where Clark Kent (Christopher Reeve) and Lois Lane (Margot Kidder of Black Christmas) work as reporters, becomes the casualty of a hostile takeover by a sleazy tabloid king (Sam Wanamaker) and his pretty daughter, Lacy (Mariel Hemingway of Manhattan). In a more significant development, a young boy writes to Superman that he should make the world safe by getting rid of all nuclear missiles. The Man of Steel complies, sending the missiles hurtling into the sun, but then has to face a solar-spawned nightmare in the form of Nuclear Man (Mark Pillow), created by the nefarious Lex Luthor (Gene Hackman of The Firm) and his zany nephew, Lenny (Jon Cryer). Upon its initial release, Superman IV was excoriated by fans and critics alike, but it's always been a fun, entertaining movie that truly resembles an eighties (or perhaps a seventies) Superman comic book. Hackman and Cryer dumb down the story, yes, but are not too intrusive, Kidder and Reeve are fine, as always, and Mariel Hemingway scores as Lacy, the "rich bitch" who turns out to have both a brain and a heart. Mark Pillow certainly looks menacing and turns in some highly effective pantomiming as Superman's nuclear adversary. One amusing sequence has Clark/Superman using his speed powers to date Lois and Lacey at the same time. But the highlight of the film is the protracted battle between Superman and Nuclear Man (as well as the magical sequence when Superman takes Lois for a flight). The film's special effects work came in for criticism, which I have always found perplexing, as I find the numerous process shots in the film to be seamlessly done and very striking. Superman once again reveals his true identity to Lois, and once again he hypnotizes her into forgetting it (this is a fine romance!) There are signs of post-production tampering, as the continuity is confusing, and it's never made clear exactly why Nuclear Man kidnaps Lacy at one point. John Williams' score is excellent and there is top-notch cinematography from Ernest Day, including one especially good shot when Nuclear Man spirals his way down into an active volcano. Although this, like the previous films, is supposed to take place in "Metropolis," this is clearly New York City.

Verdict: Great battle and a lot of comic book style fun. ***.

THE REINCARNATION OF PETER PROUD

Michael Sarrazin as Peter Proud

THE REINCARNATION OF PETER PROUD (1975). Director: J. Lee Thompson. Screenplay by Max Erlich, from his novel.

College professor Peter Proud (Michael Sarrazin) keeps having weird dreams of being murdered with a paddle by a woman in a boat, so he seeks help from everyone from shrinks to a sleep researcher named Sam (Paul Hecht). Of course, the title of the movie clues the viewer in early on that what Peter thinks are dreams are actually memories of his former life as Jeff Curtis (Tony Stephano), a war hero who played around a little too much on his wife, Marcia (Margot Kidder). Determined to find out what happened, Peter searches for the town he/Jeff grew up in, and encounters his former wife and daughter (Jennifer O'Neill of Scanners), with whom he ... well, let's just say it isn't incest if the two aren't biologically related. The acting in the film is perfectly okay [although Kidder is not especially convincing as a woman in her fifties], but the movie is just kind of blah. The best, very moving scene has Jeff's almost hopelessly senile mother seeing Peter in a nursing home and recognizing him as her son. Very downbeat ending and a somewhat strange score by Jerry Goldsmith.The picture came out at a time when the subject of reincarnation had once again become very trendy, as it does every few years or so. Stephano was a handsome male model who appeared in only one other film, Tron, seven years later. Hecht has had a busy career, mostly on television. Thompson also directed Happy Birthday to Me and many other movies.

Verdict: As this is currently being remade, maybe it will come back as a much better movie. **1/2.

THE AMITYVILLE HORROR (1979)

James Brolin and Margot Kidder

THE AMITYVILLE HORROR (1979). Director: Stuart Rosenberg.

After a real-life multiple murder case in a house in Amityville, Long Island, the new owners, George and Kathleen Lutz, claimed that the place was haunted, that they had horrendous experiences, and had to flee to a motel in the middle of the night, never to return. Writer Jay Anson cobbled together a book telling of their "true" experiences, and enough gullible people bought it to make it of interest to Hollywood. Even American-International was surprised when Amityville turned into a monster hit; it's spawned two theatrical sequels, a remake, and a host of direct-to-video movies. In the meantime, only the intellectually challenged believe this is anything other than fiction. Even the stars of the movie thought the Lutzes' story was, well, not quite believable. The lawyer for the real-life murderer later sued the Lutzes for a cut and claimed they all dreamed the whole thing up while drinking wine.

In the film, the Lutzes move into the house although they know of its bloody history. A priest (Rod Steiger) who comes to bless the house is assailed by flies and nearly gets in a car accident, then becomes blinded by an accident in his church [apparently the "evil" in the house has a long reach]. Other odd things happen, such as the doors of the house being blasted off in the night, and they discover a walled-up chamber in the basement which is supposed to lead to Hell. [No one can say the Lutzes weren't ambitious in their fantasizing!] The implication is that the house's evil force is taking over the mind of George Lutz (James Brolin)  as it supposedly did the man who murdered all those people in the house [apparently his defense lawyer didn't bring that up at trial.] Kathy Lutz (Margot Kidder) looks up a photo of the murderer and he resembles her husband, even though George is approaching middle-age and the killer (Ronald Defeo) was only 23 at the time of the murders. It all meanders along not very suspensefully until a conclusion that has a couple of minor harrowing moments. The Amityville Horror is basically an inept bit of horror fiction with passable performances and a score by Lalo Schifrin that rips off Psycho at key "shock" moments. It's also quite tedious. The best scene of the movie has a bunch of priests being bitchy with each other when Steiger talks about the evil in the house and his superior (Murray Hamilton) basically tells him he's nuts.

Verdict: A stinker for the sub-literate. *.