Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Jenni Devyn Worth seeing just to witness how winsome it is.

Ali Catterall This exploration of a unique decade in US cinema begins with the fall of one ailing, out-of-touch empire and culminates with the unstoppable rise of another, equally associated with escapism and box office receipts. Meet the new boss, same as the old boss. Or, as Peter Fonda observed in Easy Rider, "We blew it." In between, from Bonnie And Clyde to Star Wars, the young Turks (some under the guerrilla tutelage of Roger Corman) were creeping under the wires to produce some of the greatest artworks of the 20th century. While the story is already familiar from Peter Biskind's Easy Riders, Raging Bulls directors Demme and LaGravenese are less concerned with muckraking than in providing a platform for the filmmakers and stars themselves.Everyone from Martin Scorsese to Francis Ford Coppola and Julie Christie is interviewed and a roster of well edited clips places the decade in a socio-cultural and economic context. If their responses are self-congratulatory (to say the least), they're also highly quotable, funny and revealing, making this something of a cinephile's wet dream. Director William Friedkin reveals how the original The Exorcist poster was to feature a little girl's hand holding a bloodied crucifix and the legend 'For God's sake, help her", before he complained. Former Warner Bros.' head John Calley recalls that when he first saw Robert De Niro in Mean Streets he assumed Scorsese had secured a psychopath's day release for the shoot.Happily, a certain amount of hard perspective has crept into the mix, as might be hoped from a politically motivated, consciousness-expanded generation; Hopper stresses "there's a lot of real crap in there too". Julie Christie observes that 1970s US cinema was "not a good time for women". But if Demme responds with a spoonful of sops to women's movies - brief clips of Alice Doesn't Live Here Anymore, They Shoot Horses, Don't They and Klute - we're soon dragged back to the usual male wall-pissing contests.The shift from tough, socially-conscious film-making to no-risk crowd-pleasers like Jaws for 'Nam-weary, fantasy-craving audiences is also documented, though a little rushed. But kudos too, for the inclusion of lesser-sung, but equally relevant films like Panic In Needle Park and Joe. "We weren't handsome," muses Bruce Dern on his contemporaries. "But we were f****** interesting."

Cosmoeticadotcom In 2003 the Independent Film Channel produced a nearly three hour long three part documentary called A Decade Under The Influence (a nod to the 1974 John Cassavetes film A Woman Under The Influence), about American cinema during the 1970s. The general posit of the film, co-directed by Ted Demme and Richard LaGravenese, is that the 1970s were a 'tweener period between the collapse of the old Hollywood film studio system and the rise of the Lowest Common Denominator summer blockbuster mentality, ushered in by George Lucas and Steven Spielberg, that destroyed the template of directors having control and authorship of their works.Now, anyone that has even a passing interest in film- American or otherwise, cannot disagree with this premise. The problem is that the documentary itself is all style (including a great opening musical track) and no substance. In short, it's an MTV-like hyperreal and scattershot take on the films from that decade which were anything but hyperreal and scattershot. Imagine Steven Spielberg bemoaning the loss of Orson Welles when his career is the utter antithesis of that man's. Hypocrisy is a word that floats to mind. That or an ironic streak beyond sharp. Go with the former, people!The film starts out with an homage to the European greats of the 1960s, who helped inspire the younger Americans. It also has the usual 1970s crowd of filmmakers- from greats like Woody Allen, Robert Altman, and Martin Scorsese to once-greats like Francis Ford Coppola and Hal Ashby, to has-beens like Peter Bogdanovich and William Friedkin, to never weres like Monte Hellman. And there are some classic clips from Easy Rider, The Godfather, Bonnie And Clyde, Chinatown, One Flew Over The Cuckoo's Nest, Midnight Cowboy, Taxi Driver, The Graduate, Annie Hall, Network, and others, but it's all perfunctory, surface, and vain. Not a single film nor scene is really looked at, analyzed, put into a blender and studied for why it worked, why it worked in the context it did, nor why such scenes are absent from the films of the Peter Jacksons and Michael Bays….This film lacks any real insight and is too fawning, as if a study of a small group of adepts who have a secret they don't want others to know. The problem is that their secret is well known and their acting like they can keep it is just plain silly….A critic like Kenneth Turan or Roger Ebert would likely have remedied those sorts of shortcomings, but, as with many possible fruitful avenues it could have gone down- such as viewing the decade through the lens of a dozen or two key films, and analyzing scenes for what they meant and how they expressed their points, the whole film fails. It lacks the substance and edginess that it claims for its very subject matter, even though some good insight is provided by, of all people, the British actress Julie Christie.Then there is the smugness. Don't get me wrong- guys like Coppola and Scorsese made great films in that decade, and while Scorsese's only gone downhill in the last decade, Coppola's artistic drought is nearing thirty years since Apocalypse Now. And while Scorsese is not totally condemnatory of modern Hollywood, Coppola seems to buy in to the 'Evil Suits' theory of American film destruction. No doubt that that is mostly to blame, but many of these young directors got big egos and vanity took over, resulting in critical and financial disasters like Michael Cimino's Heaven's Gate, or the crash and burn personal lives of filmmakers like Peter Bogdanovich (whose career never recovered) and Roman Polanski (whose career did). The only person in the film who even comes close to telling these truths is a production designer from Bogdanovich's The Last Picture Show- Polly Platt, who blames the loss of the edginess that the 1970s films had on just this fatness and sassiness, claiming that the young auteurs, especially, got old, rich and lost touch with the very things they and their films once were icons for….A Decade Under The Influence is a so-so attempt to reveal the depths of a subject better left for a ten or twelve hour PBS documentary by one of the Burns brothers. That's because the two directors of this film are too soft and intimately related to the subject matter (as example, Ted Demme's uncle- Jonathan Demme, was one of the young 1960s auteurs). A more objective approach to the film was needed, and this lack of objectivity is the underlying problem that results in all the film's aforementioned problems. In short, while they are the symptoms, a lack of objectivity is the cause, and the best documentaries always strive for objectivity, lest they become Michael Moorean agitprop. And that's a fate and storyline as bad as any lame Hollywood suit could brainstorm.

ShootingShark A documentary dealing with American films made in the nineteen-seventies, with major emphasis on experimentation with new styles of cinematic expression and departure from the traditional style of film production.It's tough to generalise, but I think the seventies is my favourite decade of film. This is a quality documentary about that period, which correctly identifies my reasons for feeling that way - the waning big studios giving rise to the auteur, non-prohibitive costs and the first "movie-brat" generation of film school graduates. However, it then turns into an all too predictable film critics' textbook examining how cinema reflected the social upheaval of the period and champions the usual directors - Altman, Hal Ashby, Bogdanovich, Coppola, Pollack, Scorsese and so on - and their de-Hollywoodised, European-influenced approach. It even goes so far as to hint that the huge successes of Steven Spielberg and George Lucas (who had the temerity to make imaginative, exciting, crowd-pleasing genre pictures) killed artistic creativity and put the studios back on top, a suggestion which pisses me off to no end. Everybody has different tastes - I love Coppola and I can't stand Altman - but I find it ironic that although the films discussed and the interviewees are almost always championing anti-establishment stances, by doing so the documentary is virtually a propaganda film for cinema's Critical Establishment. Some of the comments are spot-on (Dern's analysis of the difference between his acting generation and the preceding one, Schrader's synopsis of the big studios' transition from factories to banks), some are wildly inaccurate (MASH was not the first film to treat war as comedy by a long chalk), but all are interesting and almost all the talking heads are witty and erudite, particularly Corman, Friedkin, Grier, Lumet, Mazursky and Platt. At the end of the movie there is a politely amusing slide which reads, "I can't believe they didn't mention (insert filmmaker here).". I could insert specific filmmakers (Ralph Bakshi, Mel Brooks, John Carpenter, Larry Cohen, Michael Crichton, David Cronenberg, Walter Hill, Peter Hyams, John Landis, many others), but what I'd rather insert is, "Anybody who was either vaguely disreputable, made scuzzy genre movies, didn't have artistic pretensions or didn't receive critical approval.". If you evaluate the movies of the seventies which still show up constantly in revival houses and on TV, they are all genre movies; horror, science-fiction, crime, action and comedies. This documentary completely ignores them and says that the films we should be remembering are things like McCabe & Mrs Miller and Shampoo. I'm sorry, but no way. A pivotal seventies movie like George A. Romero's Dawn Of The Dead has just as much social relevance as any of the movies discussed in this documentary but, unlike them, is bloody good fun too and what's more, people still want to see it today. All this narking aside though, this is a very well-made and intelligent film, featuring many interesting filmmakers, and not to be missed by moviehounds - just remember that it only reflects a very small, critically-approved niche of seventies cinema. Sadly, co-director/co-producer Demme, who made some nice offbeat flicks (The Ref, Snitch, Blow) died of a heart-attack not long after production wrapped.

peter henderson I swore I would never allow myself to devolve into to the bogus authority figures of the sixties who told me things were better in the "good old days" – the current Australian Prime Minister is a sordid example of just such a mind set.But I switched over to "A Decade Under the Influence" because I found watching the much-heralded "Sneakers" documentary on the other channel such a dispiriting experience. I found the values expressed by the "Sneakers" interviewees too ugly to accept as reasonable. So materialistic! So devoid of any sense of outrage at a society that can countenance killing someone to steal his very ugly shoes! So lacking in any worthwhile purpose that they can report without distaste the exploitation an audience by haranguing them to hold those shoes above their heads to lock in a sponsorship deal for themselves with a company of cobblers was just too much to continue watching."A Decade Under the Influence" depicted a completely different response to the fruit of stupidity, corruption and concupiscence in high (and low) places.I have noted the change in film-making that accompanied the exposure of America's disastrous foreign policy debacles in Vietnam and so many less reported places in my www.peterhenderson.com.au website. "A Decade Under the Influence" documents the precise moment at which that change took place.Before the seventies, the armed forces were depicted in American films as an invincible fighting force comprised of decent human beings who transmogrified into conquering heroes on the battlefield. After the seventies they are generally portrayed as a dispirited rabble misled by a bunch of bureaucrat clowns in the Pentagon Before the seventies, the FBI agent and the honest cop tended to be depicted as your friend and protector. After the seventies, the FBI agents were all incompetent and the best a cop could aspire to was to ignore their foolishness and his superior's corruption and uphold justice in his own idiosyncratic manner.Before the seventies, the archetypical American "little guy", the "average Joe", the Jimmy Stewart type would face down the problems encountered and thereby gain some insight into underlying wisdom of his elected leaders and justice of the "American Way". After the seventies, Kevin Costner usurps that role, but now he is the voice of one crying out in the wilderness for evil to be exposed, or accepting his lot and making out the best he can.And now those "old time religion" mindsets have been stripped of any honesty and righteousness and portrayed (with a certain amount of justification) as sanctimonious bigotry and self-serving hypocrisy."A Decade Under the Influence" tells it like it was. "A Decade Under the Influence" tells it like it is now. It depicts the redemption of the American film industry from the hands of the artistically, morally and intellectually bankrupt studio moguls. It shows the storming of the Hollywood Bastille by the independent film makers who promised to get a disillusioned and tired audience back into the cinemas. The fact that their failures were numerous, and at times disastrous, merely underlines the greatness of their achievement. An achievement reflected in the adventurous and questioning attitudes of the big box office stars such as Clooney, Daman, Affleck etc and the directors and producers who provide the vehicles for their talent.