Maledetta estate

****SPOILERS**** Superior crime drama set in South Florida during it's "mean season" when the winds pick up and the storms and hurricanes come rolling in and with them rolls in a serial killer who's more interested in publicity for his crimes then his victims who are a result of them.

Coming back from a vacation in Colorado Miami Journal reporter Malcolm Anderson, Kurt Russell, is assigned to the murder of teenager Sarah Hooks, Tamara Jones, who was found dead by the beach that morning. A few days after filing the story Malcolm gets a phone call at his desk at the Journal from someone claiming to be Sarah's killer.

Told by the caller a fact that is not known to the public about the crime Malcolm as well as the police officials Ray Martinez & Phil Wilson, Andy Garcia & Richard Bradford, that he got in touch with who were on the case realize that the caller is the real McCoy and begin to tape Malcolm's phone at the newspaper to identify and capture the killer. The killer, in his calls to Malcolm, tells him that he's duplicating a number of killings that he did some time ago and got no recognition for.It's later found out by someone who knew him Albert O'Shaughnessy, William Smith, that his name is Alan Delour, Richard Jordan, and that those killings were in Chicago a number of years ago.

The serial killer wants Malcolm to be his link to the outside world, via his newspaper to prove that he's the one who committing those crimes and tells Malcolm that there will be, like those that he didn't get credit for, five more killings before he's finished. As his murder spree continues it's Malcolm who's getting all the publicity and the killer feels cheated and takes it on on Malcolm for his failure to get him the recognition that he wanted. That leads in the killer kidnapping Malcolm's girlfriend Christine, Mariel Hemingway, and threatens to murder her.

One of the better crime dramas that came out of the 1980's thats smoothly paced and finely acted as the serial killer gets bolder and bolder with each killing to where he unnecessarily exposed himself, to Malcolm, in order to get his ego enhanced.

Malcolm's life becomes a horror as the killer starts to take it out on him for his overshadowing his actions which lead to Christine's kidnapping. Tense suspense murder drama with an unsuspecting ending makes "The Mean Season" a modern Film Noir classic.

I think the worst crime a film can commit is to be dull. It doesn't matter what your film is about, there is always a way to catch the audience off-guard and throw some surprises into the mix. 'The Mean Season' is one of those films that plays out exactly as expected. It checks all the boxes the studio would want it to, but man is it a forgettable ride.

Even when the killer is on the phone everything just feels so safe and watered down. The most daring thing the film does is a gratuitous nudity scene (seriously, where did that come from?). Near the end there is a little mini-twist I'll give the film credit for, however it's a bit late by that stage.

I didn't hate this film though. It was just such an interesting premise that I wanted more out of it. I wanted it to fire some shots and take some risks. It didn't though and for that reason I suspect I will have forgotten about this film by tomorrow morning. 6/10.

Based on the John Katzenbach story "In the Heat of the Summer", this Florida-lensed crime thriller does hold ones' attention with its straightforward telling of an intriguing tale.

Kurt Russell is aces as Malcolm Anderson, a star reporter for the Miami Journal who is contacted by a murderous psychopath (Richard Jordan) who has killed once and who promises that there will be other murders. The killer, who craves the spotlight, decides to use Anderson as his mouthpiece, creating a very uneasy "collaboration" between killer and reporter. Things start to really turn South when Anderson starts getting the bulk of the attention, leaving the killer feeling resentful.

This is an interesting set-up for a movie that ultimately does indeed lose a fair deal of its impact by turning conventional for its final act, but until then it's solidly entertaining, with the performances of Russell and Jordan serving as effective anchors. The give and take between their two characters is compelling stuff, and it's a good thing that Anderson isn't treated as some typically infallible movie hero.

The supporting cast is mostly strong; Mariel Hemingway as Andersons' schoolteacher girlfriend Christine is appealing as she always is, but her character has little to do besides look and act concerned and eventually be put into peril. Richard Masur (reunited with Russell, along with producers Lawrence Turman and David Foster, three years after "The Thing") is Andersons' editor, Andy Garcia (in one of his earliest movie roles) and Richard Bradford are the weary detectives on the case, Joe Pantoliano is a photographer, and the almighty movie tough guy William Smith appears briefly as a character supplying critical information.

The Miami setting adds a lot of atmosphere, especially as the storms start coming up towards the end of the story. Lalo Schifrins' music is also highly effective. Even in light of the clichéd climactic confrontation, there is some enjoyable resonance to "The Mean Season" as it deals with the big issue of journalistic culpability, and the role that the media play in our receipt of the news. An overall grim feel to the presentation, and a spooky opening, are also assets in this generally good, if not great, and reasonably convincing movie.

Seven out of 10.

Richard Jordan who has played a number of really psychotic villains is the main reason to see The Mean Season. He quite steals the film from Kurt Russell a crime reporter and Mariel Hemingway who is Russell's girlfriend and the last woman Jordan stalks.

Russell has truly grown to dislike his job on a big city paper in this case Miami where he's gotten a specialty in crime reporting, the more lurid the better. He's considering an offer from a small town Colorado paper to take over as editor.

That's when things get interesting. Jordan is a serial killer who Russell has been writing about and in his twisted way considers Kurt to be some kind of personal publicist for him and his peers. Now he starts calling to give him heads up exclusives knowing that this will lead to Mariel's own abduction.

That's the one thing about criminals of the psychotic mind. They don't reason like the rest of us. It sounds wild and improbable the notion that Jordan has, but that's the hard part for FBI and local profiler's jobs, getting in those sick minds to see how they work.

Jordan is one sick and twisted puppy. The rest of the cast is fine, but he really stands out in The Mean Season.

Rating: ** out of ****

I must admit to having a particular fondness for the glut of crime thrillers that lasted from the late 80s to the mid-90s. Chief among these guilty pleasures are fun movies like Harold Becker's Malice, the horribly titled Jack's Back, the Goldie Hawn flick Deceived, and the terrific Jagged Edge. 1985's The Mean Season is apparently one of the earlier entries in the beginning of this trend so it earns a few points there; otherwise, it's a pretty average effort, certainly not helped by far superior films of its ilk in the years to come.

Kurt Russell stars as Malcolm Anderson, a Miami journalist who's getting burned-out covering eight years worth of deaths. Just as he's planning to leave his job behind and move with his girlfriend (Mariel Hemingway) to Colorado, his latest assignment takes him on a wild spin. While covering the murder of a teenage girl, he receives a phone call from the girl's killer himself, who reveals that he plans to take four more victims. This soon-to-be serial killer is out for fame and wants Anderson to report his crimes and whatever bits of info he chooses to give him. But as the murders progress, the killer is dissatisfied with the media coverage, believing too much of the focus is on Anderson, and as he sees it, the only way this can be remedied is by eliminating the center of attention.

Though the film is ultimately mediocre, it does get off to an effective start. The premise is fairly interesting and an instant grabber. The filmmakers' do a good job of building some mild suspense by keeping the killer's face hidden; the voice acting for this particular character is also quite effective, occasionally reminding me of the similar voice work in Joy Ride.

But the movie never really takes off like it should. Though we're intrigued by the bits and pieces of info that are revealed by the killer, very little is ultimately revealed about his motives or his past. While this is an approach that often works (The Silence of the Lambs and Seven are perfect examples), it backfires in this case, primarily because one of the more intriguing mysteries is wondering why he's duplicating these certain murders; a lot of hints are given, but trying to piece them together doesn't add up to any satisfying answers.

Once the killer's face is revealed, a lot of the movie's charm is worn off. The guy was creepy as a voice that nobody could match a face to, but feels like a generic psycho once he's fully revealed. The film also fails to take advantage of the stormy weather that's promised in the title; what could have been an instance of great visual atmosphere is totally squandered. The same goes for the Everglades setting, which I've always found had a tinge of dread and mystery to it.

For the most part the cast is quite good, especially Kurt Russell, who's one of the few movie stars out there who can exhibit a perfect balance of charisma and emotional intensity, which he does here. He's always likable, even when we think his character could use a little more common sense. A fresh-faced Andy Garcia turns in solid support as the investigating police detective. Only Mariel Hemingway comes across as subpar, but it doesn't help that her role amounts to little more than playing damsel in distress. One also wonders why Anderson and his girlfriend weren't given stronger police protection, but that's probably just for the sake of moving the plot ahead.

Middling stuff overall, but watchable enough to be worth a viewing for Russell fans or, if you're like me, you just like to watch this kind of Hollywood thriller from the 80s (and early 90s). But as far as this genre goes, all the flicks I mentioned above are preferable to this.