Troppo belle per vivere

This movie still holds up. I'm incredibly impatient for films to get going. So, this one is a keeper. Truly entertaining from start to finish. Even the theme song is catchy. Visually fun. Well directed.

I first saw this movie on HBO as a child. I couldn't remember the name of th movie or who played in it, but I couldn't get the scene of Albert Finney on the commercial set near the end of the movie out of my mind. After asking around using that scene as my only guide, I was finally able to get someone to tell me.

After watching it again, I was very interested in the movie's plot despite how ridiculous it seemed. For example, why would RI security officers be at the scene of a car accident? Why didn't DMI use computers to generate locations as well as models? Or why did the mustachioed man suddenly remember he had those special glasses in the car chase scene only AFTER being shot by the LOOKER gun? There are others.

But it has it's redeeming qualities as well. The music is captivating and helps to build on the excitement of some of the action scenes. And I don't believe I've seen a more passionate kick to the groin than the one given by Albert Finney. All in all, Looker would probably not stand up next to today's movies, but it has a charm about it. It must have made some kind of impression on me as a child to remain in my head for the past 25 years. Recommended rental. Buy it if you like off-beat, quasi-mainstream movies. I bought it and plan on getting good use out of it. Perfect for unsuspecting house guests.

Nearing its 20th birthday, "Looker" still holds up today as a solid techno-thriller. Expertly tucking a government/industrial conspiracy beneath a blanket of computer-phobic tension, the film manages to predate the success of the "X-Files" before cyberspace became a household word.

Finney and Coburn are subtly superb in their roles, while Crichton (unintentionally) satirizes a media-saturated culture ripe for the string-pulling. Barry De Vorzon's score is hauntingly impressive (and sadly, unavailable in soundtrack form) as is the cheesy 80's title track performed by Sue Saad (later covered by Kim Carnes on her "Voyeur" album).

People have slammed the script for its lack of explanation... however, a 15-minute scene depicting a rather detailed "summing up" of the plot was deleted from the theatrical/home video cut, but did make the film's network TV airings. With or without the scene, the film is an often-overlooked gem I would strongly recommend to anyone in the mood for a slick, sci-fi thriller.

Plastic surgeon in Los Angeles investigates after some of his most beautiful clients--all fashion models--turn up dead. Thriller has a now-dated design but a terrific set-up. Writer-director Michael Crichton keeps his premise absorbing and exciting for about a third of its length, though he later resorts to assembly-line action, ending the picture on a whimper. Albert Finney just fine in the lead, Susan Dey terrific as his sidekick, yet the characters themselves are rather one-dimensional. Strictly as a time-filler, not bad. **1/2 from ****

You can take Michael Crichton's Looker, a way-back-then-high tech thriller with a media-industrial complex, one of two ways. Either it's an interesting preview of computer graphics being used for nefarious advertising gain, with a crime mystery to solve or it's a clumsily acted and directed story of how James Coburn is out to slaughter Albert Finney and Susan Dey using all sorts of out-of-this-world gizmos and tactics.

Personally, I think it's both.

Much like Crichton's Westworld, the movie depends heavily on the computer arts to fill in for substance, and like Westworld, it succeeds. Looker is a pleasant and exciting little period piece, a time capsule for what science and advertising might be heading toward in the not too distant future.

To be fair to yourself, you must forgive the creaky performances by Finney, Dey, and Coburn (plus everyone else). It's the combination of guns, girls, and gadgets that keep the story moving (Crichton gets your attention at the very start by introducing a television lovely asking plastic surgeon Finney to alter her in strangely precise details; then you get the pre-surgery mugshots of the girl with her supposed imperfections--and what imperfections!--in full view). It's cheap and creepy, but everyone in the theater was hooked instantly by the looker on screen.

Don't look too closely, though. The plot holes are big and numerous, so thinking is not recommended. It's the flash-attachments-on-steroids that cause catatonia and the computer mapping of Susan Dey, standing there with her imperfections exposed, that keep you interested. It's strange--I've always liked Dey's looks and I'm not about to complain about seeing her in the all-together, but the bloodlessness of computers, their soul-less nature robs the scene of its prurient nature.

Crichton has hit upon something here. Computers make us so nervous, even a quarter century later, that the use of a story of cynical cyber-manipulation of consumers robs the viewer of getting his or her jollies out of seeing good-looking people nekked or in danger or both. In some ways it robs us of our interest in the human drama that movies depend on to be of lasting quality. It's a double edged sword, but it's both subtle and very effective.

In general, Looker isn't subtle, nor is it a wholly satisfying entertainment, but it does deserve a look.