User Reviews (11)

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  • This is playing On-Demand and is presented in its original 1.85:1 aspect ratio for the first time on home video.

    The Good: The acting talent speaks for itself: Eric and Julia Roberts, Burt Young, Giancarlo Giannini, Elias Koteas, Michael Madsen... The cinematography by Toyomichi Kurita is beautiful. Themes: Late 19th century California, the beginning of wine culture, immigrant vs. business interests, William Jennings Bryan populism vs robber baron statism. All the tools are there for a great film.

    The Bad: The screenplay is the problem. It needed a page one rewrite from someone who could write dialogue, and who could write scenes to emphasize the political, religious, and economic issues of the period. The characterization is almost non existent, with only Giannini's part getting some depth. There is so much wasted talented in this film. Usually Eric Roberts is criticized for overacting, but this picture could have definitely benefited from his passion. Also the music by Carmine Coppola is so old-fashioned and silly that it borders on soap opera cues.

    The first half will keep your attention. After that, it becomes boring. Bad dialogue, bad music, and pedestrian mise-en-scene kill the movie. I was actually rewriting the scenes in my head as I was watching the film.
  • Warning: Spoilers
    This film was actually shot and made in 1987 but it didn't hit the theaters until 1990. As I watched this film I could see the good intentions that it had but I'm afraid there wasn't much talent or experience behind the camera to make it work. Story takes place in California in the 1890's and some Italian immigrants who own vineyards are told they have to leave their land so a railroad can come through. Dennis Hopper plays William Berrigan who has offered money for the land but has been turned down. Giancarlo Giannini is Sebastian Collogero and he is to proud to leave and asks the other farmers to stand up and fight to keep their land. Berrigan grows impatient and hires a bunch of thugs to force everyone to vacate. These thugs are headed by a man named Andrews (Burt Young) and he doesn't hesitate to kill anyone who gives him problems. Andrews and his men kill Collogero one night and his son Marco (Eric Roberts) vows to seek revenge and get the land back for everyone. Marco blows up the bridge that the railroad was going to need and they also destroy a tunnel and this sets back the project for several months and Berrigan now starts to get heat from other investors. This film was directed by Peter Masterson and besides "The Trip To Bountiful" he has at best a spotty career in directing. He's a fine actor but here he seems to be in over his head. This was a film that desperately needed more attention to detail and its easy to see that it didn't occur. Roberts hairstyle is perfect for the 1980's but this is suppose to be 1890! The cinematographer is Toyomichi Kurita who ended up being a good cameraman but this was only his fourth film and he certainly had not learned everything at that time. Its not a sharp looking film at all and I noticed in several shots during the day that the sun would be glaring off of something and the scenes just don't have the crispness that would have helped the overall look. The script is just a revenge story and no surprises take place during the course of the film. We know Giannini is going to get it and it seemed just a matter of time. The cast is top notch and they do their best but the whole film comes across as uninspired. This was promoted as Julia Roberts film debut but I'm not sure that is correct. She might have appeared in a film called "Firehouse" before this.
  • This was obviously a low budget film. It shows in every scene. What is nice to see is where it was made. A lot of the film was shot in Columbia, CA, in the Sierra Nevada Mountains near Sonora, CA. Some of the film was also shot in Jamestown, CA, very near Columbia. There is a railroad museum in Jamestown and they used some of the old trains in the picture. "High Noon" was also shot in Jamestown, as was "Back to the Future III".
  • If this movie hadn't been shot in color, I might have mistaken it for a '40s B Western. Tell the truth: the plot was lifted from The Mark of Zorro and the names were changed, right? At least those '40s actors didn't appear to forget their lines. Or maybe no lines were written for those embarrassing scenes in Blood Red where there are painful, inexplicable gaps in both dialogue and action. This film is noteworthy only as the single film to date in which both Julia and Eric Roberts have appeared together. That's the only reason I watched it as long as I did. And what brilliant, inspired casting! They played brother and sister. My Video Movie Guide is right: this is a turkey.
  • SnoopyStyle8 November 2016
    Sebastian Collogero (Giancarlo Giannini) is the patriarch of a Sicilian family farming and making wine in rural California. His roguish son Marco (Eric Roberts) pursues neighbor Antonio Segestra's daughter Angelica. They are an immigrant community proud to be new citizens. Land baron William Bradford Berrigan (Dennis Hopper) is looking to take over the valley to build his railroad. Sebastian Collogero leads the farmers in opposition. Mr. Berrigan brings in Andrews (Burt Young) and his thugs to kill Collogero. Devoted daughter Maria Collogero (Julia Roberts) witnesses the lynching and Marco leads a war against Berrigan.

    Eric Roberts has his fluffy flowing hair and struts around while overacting. The release was delayed and this is actually one of the first acting roles for Julia. That's probably the only interesting aspect of this movie. It is visually more align with a TV movie although director Peter Masterson obviously is shooting higher. The overall quality is not good and its higher aspirations only make it worst.
  • I'm not specifically familiar with filmmaker Peter Masterson or screenwriter Ron Cutler, but that's no specific indicator of quality. It's a considerable cast of very recognizable names that was assembled for this period piece. The very premise sounds enticing. Why have I never especially heard of this title before? Why does it seem to have had such a poor reception? Maybe it's because this is an independently produced feature without the benefits of major backing or wide release; then again, the involvement of so large a cast says otherwise, and a Coppola (Carmine) composing the score is no small get. Maybe it's because the ideas and themes herein - family, immigration, legacy, the individual versus large corporations, the inexorable march of industry and development no matter the cost, corruption, and more, all at the turn of the century - is a panoply more fitting for a protracted TV miniseries (a la 'North and south'), and this is a 90-minute standalone film. The latter facet begins to zero in a little more on the truth, I think, for while nothing about this is necessarily outright bad, small weaknesses rear their head all throughout the length, and at least in part it stems from the proceedings being shortchanged. 'Blood red' tells a compelling story, but it feels like only a fraction of the whole story being regrettably compressed.

    Perhaps the cast recognized this in the screenplay, or in the nature of the contract they signed - that the characters they would be portraying wouldn't be as fully fleshed out as they could or should be. Maybe that's why, despite all their best efforts, sometimes it seems like the actors are a little uncomfortable and out of sorts in a scene, like they just can't quite get a grasp on the whole affair. A lot of plot happens even within just the first third, and every scene and major beat to greet us feels like it's given a fraction of the attention and import that it deserves. I understand why longer miniseries don't necessarily appeal to all comers, and I readily admit that I personally prefer singular features over any extended episode by episode storytelling, yet it seems readily apparent that the saga Cutler penned needed far greater breadth to explore all the possible depth and complexity. Incidentally, a fair point of reference in terms of narrative scope and content may be the 'Godfather' films of the composer's son; imagine what those would have looked like were they in any way abbreviated, and one begins to understand the chief problem with 'Blood red.' The scene writing suffers in turn, and the dialogue, and so on down the line.

    In most every other way I think this is actually pretty well done. The cast did as well as they could, I think; the crew put in fantastic work. The filming locations are gorgeous, and the production design and art direction are superb. The costume design, hair, and makeup are splendid, and the props, all helping to visualize a particular place at a particular time. The stunts and effects are excellent. Coppola's score is highly enjoyable. I find no significant fault with the cinematography, or Masterson's direction. All this is well and good; it's unfortunate that all the potential richness of the tale is shrunk down into a fragment of what it could and should have been. From start to finish what detail and nuance there may have been in the plot is reduced to a notably smaller amount of emphatic items that are much more blunt and forthright as they present, largely stripped of the best value. As one critical, glaring example, see a scene shortly after the two-thirds mark, which for all the gravity it should have possessed instead just comes across as empty, flailing raised voices. I still think the final end result is entertaining, engaging, and worthwhile, but "satisfying" or "rewarding" are words that are much more difficult to meaningfully apply.

    I see what this tried to be, and I commend the effort. Whatever the reason was for this precise realization, however - lack of resources, lack of vision, anything else - when all is said and done the picture is just casually disappointing. All its star power, and all the hard work of those behind the scenes, can only go so far when the necessary minutiae that would lend to the weight and impact of the storytelling are so heavily diminished if not outright omitted. Frankly, I would very much like to see another filmmaker take up Cutler's screenplay, and expand upon it to give it the treatment it deserves. The sad fact remains that even at its best 1989's 'Blood red' is a shade of the film it might have been, and it's hard to speak of it as any more than a soft recommendation. Whether you're a fan of this period in history, and all it entails, or of those involved, it's still worth checking out, but keep your expectations in check and don't go out of your way for it.
  • So many people seem to hate this film! Yes, it's flawed (script is generic and predictable) but I still liked it, as it entertained me and had interesting subject matter. And an interesting cast too... At least check it out to hear Hopper's Irish accent.
  • fudges7239922 March 2009
    This is a very good movie. It is well done in all respects. It is a good script with good casting. It is a delight to see the two Roberts together even though Julia has a very small role. IF you like good old fashioned tales about good and evil, good guys and bad guys, crooks and decent people, you will love this movie. Dennis hopper does what he does best, play a mean and nasty person - in this case, the railroad baron. Eric Roberts takes on the role of hero and fills that role very well. He is forced into his heroic stance by circumstance not by choice, making it all the more entertaining. This movie has it all, a villain, crooked politicians, good politicians, betrayal, a love story, little guys against giants, people fighting for their land and homes, – what more could you want. Fix yourself some popcorn, turn out the lights, sit back and allow yourself to be entertained in classic fashion. This movie does what all movies should do – no political agenda, no great moral – it is just good, old fashioned entertainment.
  • Warning: Spoilers
    (Some Spoilers) Taking place in California's wine rich Naper Valley circa 1895 the movie "Blood Red" has to do with a group of recently arrived Italian immigrants who've finally achieved the American dream of owning their own land. That's until a number of greedy and unscrupulous railroad and cattle barons decided to take it away from them! And with deadly force if necessary.

    Using all the underhanded tactics available to him railroad bigwig Bradford Barrigan, Dennis Hooper, gets some of the wine growers-through treats and intimidation- to give up their land so he can bulldoze his railroad, the Barrigan Pacific, through it. It's when defiant Sabastian Collogero, Giancarlo Gianne, puts his foot down and cause a wine growers revolt that Barrigan calls in reinforcements, or paid head crackers, to put the wine growers in their proper place. Off their land and on the welfare rolls.

    Not really interested in the family business young handsome and fun loving, especially towards the young ladies, Marco, Eric Roberts, is having a lot of trouble with his dad Don Sabastian is having an affair with his bitter rival, in the wine growing business, Don Antonio's, Al Ruscio, pretty daughter Angelica, Lara Harris. These differences between the two families, Marcco's and Angelica's, are soon forgotten when Barrigan through his top thug Andrews, Burt Young, starts making trouble for them.

    With Sabastian refusing to give into Barrigan's unreasonable demands, give me your land or else, he ends up being brutally beaten and strung up by Andrews' goons who also attempted to burn down his home with his family in it. With negotiations, between the local wine growers and Barrigan conducted by the well meaning but very naive state Senator Endicott (Gary Swanson) falling apart, due to Barrigan's stonewalling, Carlo together with his two friends American Indian Samuel Joseph, Joseph Running Fox, and the not at all Italian looking fellow Italian Enzio, Michael Madsen, take matters-as well as their sturdy Italian shotguns-into their own hands.

    Fine period piece reflecting on the bitter struggle of the common man against the big cooperations when the United States was coming into its own as a world power in the beginning of the 20th Century.

    Feeling his native Italy Sabastian expected to realize his dream in finding a land of freedom justice and opportunities, not with its streets paved with gold, that would allow him to provide and care for his family. Having thugs like Barrigan and Andrews trying to take all he worked for, his land, away from him almost destroyed, as it did him, that dream. That's until his son Marco woke up and finally smelled the coffee-or cappuccino-and stopped chasing girls and got down to business by kicking a** in kicking Barrigan Andrews and all his goons out of Napa Valley.
  • planktonrules22 February 2022
    When a friend told me about this film, I looked up "Blood Red" on IMDB and was shocked to see that it the pathetic overall score of 3.8. This would seem to indicate that the film is garbage, as even films like "Plan 9 From Outer Space" (once named the worst movie ever made) has a score of 4.0! To earn a 3.8, the film would have to be truly horrible in every way...which, oddly, it isn't. Now I am not arguing that the film is great or even really good....but the only thing about this film that should earn a 3.8 is Eric Roberts' ridiculous and anachronistic hairdo!

    The story is set in the late 19th century. The main characters in the film are generations of Italian-Americans who love the land and its healthy vineyards. However, a greedy railroad tycoon (Dennis Hopper) is intent on running his trains right through their farms...whether they like it or not. And, when the farmers won't leave, the railroad responds with violence. But because the railroad has bribed local officials, it looks as if the farmers will have to take care of business themselves.

    I have no idea if this story is based on facts or if it's all fiction. But it's an interesting story...and is in some ways like a western in style and plot. In old westerns, a rich bully trying to take everyone's land is among the most common themes.

    So why do I think it earned a 3.8? Well, actually, I am not exactly sure. While it's not among the best acted or paced films, it's not boring and kept my interest. The ending, I admit, was handled poorly...and made little sense. It's also a rare film because you can see the siblings Eric and Julia Roberts in the same movie...though Julia's part is quite small.
  • My review was written in April 1990 after watching the movie on Nelson Entertainment video cassette.

    "Blood Red", a saga of oppressed Sicilian winegrowers in 19th century California, is an unsuccessful throwback to earlier forms of filmmaking. First-time screen teaming of siblings Eric and Julia Roberts makes this a definite curiosity item.

    Project was announced in 1976 by producer Judd Bernard, filmed in 1986 and given a pefunctory release last summer by Hemdale.

    Future film historians will ponder why this wasn't a Paramount picture, since it conforms to the themes and mood of "The Godfather", "1900" and Eric Roberts' first staring pic, "The King of the Gypsies". All that's missing is the late Sterling Hayden.

    A robust Giancarlo Giannini is patriarch of one ot two families in Brandon, California, and soon is warring with robber baron railroad magnate Dennis Hopper (fitted with an unconvincing Scottish brogue here determined to get his land for his railroad's right of way.

    Giannini's rebellious son, Eric Roberts, is in love with the beautiful daughter (Lara Harris) of another winegrowing clan. Hopper hires Burt Young (miscast) and his gang of mercenaries to convince Giannini and the other growers to clear out, resulting in violence. Pic ends in boring fashon with a whimper.

    Ron Cutler's utterly predictable script is mainly to blame for draining "Blood Red" of interest. It emerges as a depiction in black hat/white hat terms of history in the mode of "Heaven's Gate" but without that film's controversial (but awesome) production values. Peter Masterson's direction is flat, and though there are some pretty shots, the love of the land and specifics of winegrowing are not developed.

    Eric Roberts is more subdued than usual as the script fails to develop a three-dimensional character for him. His scenes with real-life sister Julia, cast as his sister, are intriguing because of the visual match. She doesn't get much chance to emote, but that nascent star quality already is evident.

    Alexandra Masterson is a good match as the third sibling, while helmer's wife, Carlin Glynn (previously featured in Masterson's "The Trip to Bountiful") is solid representing the local gentry in supporting the Sicilan's just cause.

    Carmine Coppola delives a romantic musical background that underscores the genre connection.