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| 161. Papa's Delicate Condition Director: George Marshall | |
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Reviews (5)
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| 162. Taras Bulba Director: J. Lee Thompson | |
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Reviews (14)
Instead of focusing on Brynner, the film makes Tony Curtis, as his son, the central character. Curtis makes absolutely no effort to look like a Cossack so it is not surprising that he doesn't act like one either. While the rest of the Cossacks are swarthy, burly, scalplocked he-men, the sons of Taras Bulba look more like a couple of surfers who have wandered in from the film next door. Worse still is Curtis's love interest - the enemy girl he falls in love and betrays the Cossack Brotherhood for. She is played with wan listlessness by Christine Kaufmann in a performance so wooden it's a wonder Curtis didn't get splinters in their love scenes. Still, in real life, he must have fancied her because he left Janet Leigh to marry her. Even with its insipid love story, Taras Bulba could still have achieved greatness through sheer spectacle. The costume department certainly did their bit - although some of the Polish uniforms are needlessly naff. The music thunders and roars - except for the obligatory love song sung by an oversweetened choir over the equally obligatory sixties montage sequence. Filming in Argentina may have been a good fiscal decision, but it doesn't help the look of the film - pampas are not steppes. Still, there are some exciting and effective sequences, notably the Ride To Dubno during which Brynner's followers grow from a handful to an army. The battles scenes are as lively as the Polish university scenes are dull. Sometimes the scale of the enterprise impresses. But you end up wanting to like the film more than you do. Perhaps the film's uncertain tone is best illustrated by a post-production anecdote. At a pre-release screening, director J. Lee Thompson supposedly turned to Yul Brynner and said: "I still don't see why you had to shoot Tony."
To create the phenomenal scenes of the mighty Cossack armies clashing with the Polish levies, the entire - and I mean ENTIRE -Argentine army was enrolled for 6 days. During this critical period the borders of the country were left completely undefended, making it possible for any neighboring power to swoop down and capture all the key strategic points in Argentina. This provided the Paraguayans with the perfect opportunity to avenge the war of 1860, and even gave the sea-less Bolivians the chance to regain a coastline, not to mention the ever present threat of the crafty Chileans. The Brazilians might also have been tempted to pitch in were it not for the fact that their entire army was simultaneously engaged in shooting a water-borne Carmen Miranda swimming-and-dancing extravaganza. Luckily none of Argentina's jealous neighbors found out in time to take advantage of this once in a lifetime opportunity. After watching this movie, I am sure you will agree the results were well worth the risk to Argentine national security.
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| 163. The Desperate Hours Director: William Wyler | |
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The first and only pairing of superstars Bogart and March is a tightly-wound thriller, written by Joseph Hayes (based on his novel and stageplay, inspired by actual events), and directed by Hollywood veteran William Wyler, distancing himself from the 'women's pictures' he had helped to popularize during the 1940's (THE LITTLE FOXES, MRS. MINIVER, THE HEIRESS etc.). Photographed in gleaming deep-focus VistaVision by Lee Garmes (SCARFACE, THE PARADINE CASE), the movie wrings incredible tension from the claustrophobic settings and frequent stand-offs between staunch family man March and embittered con Bogart. The movie's themes are fairly conservative and the outcome is never really in doubt, but this is a top-drawer thriller from Hollywood's 'golden age'. Also starring Arthur Kennedy, Martha Scott, Dewey Martin and Gig Young in crucial supporting roles. Unmissable. The movie runs 112m 25s on Paramount's region 1 DVD, and the image is letterboxed at approx. 1.85:1 (anamorphically enhanced), the recommended aspect ratio of most VistaVision movies. The beautiful black and white photography is supported by a strong Dolby 2.0 mono soundtrack, and the disc contains English captions and subtitles. There are no extras, not even a trailer. NB. Though nowhere near as dreadful as most critics would have you believe, Michael Cimino's remake DESPERATE HOURS (1990) isn't a patch on the original.
Don't confuse this with the pallid 1990 remake starring Mickey Rourke, directed by Michael Cimino.
That's really all that can be said for this William Wyler "thriller." While the performances of all of the principles (with the notable exception of Humphrey Bogart) are almost laughably unconvincing, even Bogart's magic isn't enough to elevate this drama filmed in DesperationVision to anything above passable ... yes, even for cinema's golden years. Perhaps if they had given Bogey more screen time, I might feel different, but, that fact aside, HOURS plays out like hours ... upon hours ... upon hours ... upon hours ... ZZzzzzzzzzzzzzzzz ..... ... Read more | |
| 164. The Nightmare Before Christmas Director: Henry Selick | |
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Amazon.com Reviews (247)
About the DVD edition: I've seen this movie in the theater, on TV, on VHS and now on DVD and I must say that the DVD edition had the best sound quality. They could have included some bonuses (a "the making of..." type of feature is really missing) but the excellent sound and decent picture quality was good enough for me. Go ahead and give it a try, especially if you're a Burton/Elfman fan!
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| 165. Wide Awake Director: M. Night Shyamalan | |
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Amazon.com Reviews (39)
Joshua, despite being a mere 10 years old, is amidst a faith crisis shortly after the death of his beloved grandfather. Throughout the movie, we see many flashbacks of the time spent between Joseph and his grandfather prior to his death, so Shyamalan allows his audience to come to understand how strong their relationship truly is. Unfortunately, his grandfather's death has affected Joseph in negative ways. He's confused over the existence of God and he's searching for his faith. Also, he's lost much of his independence. We see this every morning when he wakes up and goes to his private school - he can't get up on his own and brush his teeth and dress himself - his parents must help him. Joshua just wants to contact God to see how his grandfather is faring up in heaven, yet prayer and the Cardinal have been to no avail. During his religious search, we are introduced to Waldron Academy, his all-boys private school. To some of the public school population, this might seem like a different world. "Kids in uniforms don't smile much," Joshua says. He narrates the film from beginning to end. Waldron Academy was an actual school. Now, it is known as Waldron Mercy Academy and has since gone coed. How do I know? I graduated there in the year 2002. Shyamalan is another alumni - he attended when it was all-boys. So, I thought, perhaps some of Joshua's experiences were derived from his own. When filming took place, many Waldron students received the opportunity to be cast as extras. Some people are surprised this movie didn't do as well in the box office. But you've got to consider the fact that WIDE AWAKE is an independent film - it was released only in certain theatres, very few, actually. I received tickets through my school to see it at the Ritz in downtown Philadelphia. Joseph Cross does indeed deliver a strong performance, but WIDE AWAKE also has a strong supporting cast. Julia Stiles, then unknown, plays his older sister. Rosie O'Donnell gives a nice, 3-dimensional comedic performance as a nun school teacher at Waldron. Dana Delaney plays his mother, Mrs. Beal. She seems the ideal candidate for that particular role. WIDE AWAKE is an independent gem. And, unlike some films, it is the type of movie that gets better after each watch, not tedious. It finds the perfect balance between comedy and all-out seriousness during a young boy's journey in the world of faith. He comes out more self-aware, more mature, than the boy he was in the beginning. Audiences will enjoy watching as he undergoes this tranformation. However, if you hate the idea of religion, are athiest, disregard Jesus, etc., you might find this a bore. Not that you need to be a fundamentalist Christian to enjoy it, either. Religion has evidently played a pivotal role in Shyamalan's life, that's all. This movie speaks volumes of how God has effected him and that, perhaps, in turn can effect audiences.
I am not sure why some reviewers lament that it's a pretentious theme. Sure, it's not anything that'd be seen rocking boxoffice records or winning grand prizes, it even has some necessary contrivances. But it moved me, impelled me to think, and impressed me with a number of brilliant moments that are sensitive and engaging without becoming cloying. Shyamalan is now a familiar name, so I approached his debut effort with high expectations, and while it could be sappy in bits for some people, I'm guilty of having clung on until the very last shot. The writing is taut and the production values are all-round immaculate. I was not disappointed one bit! If you have kids, this is a fantastic movie to watch because of the sweet yet universal messages it couches. Plus, the kids in the movie are not freckled 10-year old brats, they have thoughts deeper than what you and I give them credit for. The script is by no stretch of imagination an overly ambitious one, but I highly recommend this underrated gem for its thoughtful dialogue and crisp direction.
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| 166. Cabin in the Sky Director: Vincente Minnelli, Busby Berkeley | |
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Amazon.com Reviews (13)
It's a pleasure to watch from beginning to end - clearly a timeless classic, especially valuable for archiving for all time the classic Waters performance and the superb acting, singing, dancing and comedic skills of some of the greatest black talent pre-World War II.
Much has been written about the plot, so I won't focus on that. I will say, however, that this movie is a tour-de-force of talent. It marked Vincent Minelli's directorial debut, and it's clear that he did a fine job. Eddie "Rochester" Anderson, Lena Horne and Ethel Waters all play their parts brilliantly. If there was any animosity between Lena and Ethel, it was easy to understand. Ethel fought tough and nail to climb the showbiz ladder, whereas Lena was the first African-American actress to be groomed specially for Hollywood. Ms Horne had specially designed gowns and mingled with the upper echelons of MGM. The moviemakers even created a special make up range for her in an effort to pass her off as an exotic Latin American belle. Lena refused to disrespect her race by denying her heritage. Anyway, back to the film. It's Ethel Water's character, Petunia, that I warm to the most. She may have been downtrodden, and reduced to scrubbing floors. However, there's a down-to-earth warmth that radiates from her. Her rendition of "Happiness is a Thing Called Joe" is superb. The late Waters was a remarkable, versatile performer, and it's a shame that she's not as well known among the masses like Lena. As for Lena's Georgia Brown, she's nothing short of breathtakingly beautiful. Ms Horne was something of a WW2 pin-up, and it's easy to see why. She tempts the viewers (and the censors, no doubt!) with her sexy lingerie, and isn't shy to show off a good bit of thigh! The only other African American woman who showed this much flesh was Josephine Baker, but she was doing her thing in Paris! The songs by Duke Ellington are great. Also look out for a young Louis Armstrong - he plays one of Lucifer's hilarious angels! Cabin in the Sky is fine musical - a classic, and it's high time is was released in the UK! However, us Brits will have to do with imports for the time being. As with all US video tapes, you'll need a VCR with NTSC playback to watch this movie.
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| 167. Evita Director: Alan Parker | |
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The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song. Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!
The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be. Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too. A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number. The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.
Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna. Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively. Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right. Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics. The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes. Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more | |
| 168. Pride and Prejudice Director: Simon Langton | |
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There are no annoying "Hollywood stars" in it like in Ang Lee's Sense and Sensibility, yet the acting is incredible. Although I enjoyed Sense and Sensibility (on the second viewing because the first time I watched it I fell asleep), it doesn't hold a candle to Pride and Prejudice. This adaption lets your imagination steep in the imagery, language, and essence of the film so you never get "pulled out" of a scence. If you're unsure as whether or not to buy this gem, just do what I did and rent it for the weekend. You'll soon discover that your movie collection will be lacking without this rendition of Pride and Prejudice.
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| 169. Dingo Director: Rolf de Heer | |
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What really makes this movie though is the music. Davis does a superb job on the jazz soundtrack and if you see this movie you'll come to a mutual agreeance. It was what initially latched me to this movie, and kept me hooked throughout. A small film with a giant soundtrack.
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| 170. Sleepers Director: Barry Levinson | |
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Such an extraordinary tale was always going to be controversial, of course, and so it proved. Upon release, book and film drew immediate fire from critics who accused author and filmmakers of embellishment and exaggeration, since no records could be found to prove that the trial depicted in the film ever took place within the Manhattan district, or that the Wilkinson Home for Boys ever existed - even though Carcaterra's book (and Levinson's script) makes it clear that most of the names, dates and locations have been changed or fictionalized to protect those involved, and that the records of all children held in institutions like Wilkinson are routinely deleted after seven years. Further scandal ensued when the movie ignited protests from those who believed the story drew unfortunate parallels between pedophilia and homosexuality, thereby reinforcing the worst kind of homophobic stereotype. The point is certainly valid, given Hollywood's shameful mistreatment of gay themes and characters over the years, but "Sleepers" doesn't seek to draw any kind of parallels, unconsciously or otherwise, merely to recreate events described in Carcaterra's book. Besides, monsters are monsters, whoever their victims may be. As a movie, "Sleepers" is competent, briskly paced, and beautifully acted by a dream cast of old pro's (including Robert De Niro and Dustin Hoffman in key roles) and a new generation of rising stars. It's an ensemble piece, and the lack of grandstanding - in favor of narrative momentum - is admirable. But while the film is consistently intelligent and engaging, it's drawbacks are significant: The kids are terrific, especially Perrino, but the adults are burdened by the gravity of the subject matter, and Patric's sombre narration seems a little too laidback at times, lacking warmth or even genuine emotion, while John Williams' rambling score clashes resolutely with the film's epic visual sweep. Also, for obvious reasons, the moviemakers were unable to depict the kind of sexual atrocities outlined in the original book, with unfortunate consequences: Here, Nokes' murder seems more like the result of a petulant outburst by a couple of thugs, rather than the inevitable outcome of horrendous physical abuse. And during the subsequent trial, it defies belief that the prosecution's key witness - a former guard at Wilkinson - would incriminate himself so readily on the stand, as depicted here. That said, however, the movie is still a worthwhile erntry, but the book is better. Warner Bros.' region 1 DVD - one of their first releases on this newfangled disc format - runs exactly 147:00 and is spread over two sides in a manner that wouldn't be acceptable today. The glorious Super 35 compositions are preserved in letterbox format (a little overmatted at 2.40:1), anamorphically enhanced, though the 5.1 Dolby soundtrack is fairly subdued, selling the drama without drawing too much attention to itself. There's a trailer and brief cast biographies, along with English captions and subtitles. Missing from this print is a brief intertitle which originally appeared before the closing credits, outlining some of the criticisms levelled against Carcaterra's original account.
The most interesting character in the movie by far is Father Bobby (De Niro), a 'cool' priest who is as comfortable beating up an abusive father as preaching. There's Fat Mancho who gives out street wisdom to kids; Danny Snyder (Dustin Hoffman), the lawyer who mutters as if to himself in court. These characters keep the movie interesting. The boys themselves, however, have little individuality. And like all coming-of-age movies (American Graffiti, Stand By Me, October Sky) there has to be oldies playing, and the number of boys has to be 4. Young Carol is an underdeveloped character whom the director expects the audience to remember later on. The prison guards (Kevin Bacon, Terry Kinney) do what the plot expects them to do, and King Benny provides simple mob flick entertainment. The grown-up boys developed some characters but, ironically, even with the Monte Christo plot, one cannot help but get the sense that the boys, whose lives would have otherwise been very unextraordinary, were saved by the dramatic event.
However, Levinson has created a masterpiece, and a film that everyone should watch. Sleepers might've not been the most eloquent courtroom drama, and the tactics used might be unrefined, but I absolutely loved it. It showed the consequences of prison guards' sadism, which affected the boys for the rest of their lives. All the actors give mindblowing performances, with no conceivable weak link. This includes the four child actors, who dominate half of the movie, but obviously don't receive as much press as their older counterparts. These four kids were outstanding in roles that must have been truly harrowing to play, especially the young boy who played John. Even Brad Pitt shows that under the right direction he can be more than a candy face. Add to this a great score from John Williams, and you will come back to this film time and time again. The DVD has great features too so in all a very worthy purchase. ... Read more | |
| 171. Salsa Director: Boaz Davidson | |
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Like the series of movies made with Elvis, Salsa is a movie that presents many contrived excuses to have the main character dance.(Speaking of Elvis, his non-salsa hit "Blue Suede Shoes" also is in the movie) The high points are cameos by Salsa legends like Celia Cruz and Tito Puente among others, who provide a chance to view and listen to pre-1988 salsa tunes by their original artists. There are non-salsa songs plus a lot of free-style dancing. The acting, plot, filming, etc. should have been much better. Instead of a cinematic masterpiece, this is a 1980's dance movie, but that's what you expected from the title. However, Robby Rosa, who plays "Rico" often jumps from salsa to his own free-style dance, much to the dismay of one of his dance partners in the film and fans who watch the movie expecting to see good salsa dancing from the main character.-and this movie centers around "Rico". Two scenes were particularly upseting. (1)The opening of the film has Rico and his male co-workers provocatively dancing with each-other. A female dancer appears briefly but she quickly vanishes, as the men get along. At this point we almost thought we had mistakenly gotten a gay-male movie instead of a dance movie (2) Rico's shower scene and naked tush later in the film also were not keeping with the title/theme of the movie. The title should be "Robby Rosa as Rico and Some Salsa Dancing" rather than "Salsa"
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| 172. The Sound of Music Director: Robert Wise | |
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"The Sound of Music" is such a popular movie that people can't enough of making fun of it, which is understandable: I mean, a nun, seven children, songs by Rodgers and Hammerstein, and Austrian landscape. In reality, most of these people probably haven't sat down and watched this movie, because it is an absolutely unforgettable experience. Julie Andrews is absolutely magical as Maria. When she runs on the mountaintop and starts singing the famous lyrics "The hills are alive...," it sends chills down my spine to this day. Christopher Plummer cuts a good figure as the captain but gave a rather stiff performance: he doesn't bring anything extra to the role. Eleanor Parker, as the Baroness, was wasted--a role like that was far beneath her talents. But the children were all wonderful, especially Charmian Carr who was charming as Liesl. This movie is ultrasentimental and proud of it. But I'll stick with this rather than some of those one-dimensional slasher flicks which are in fashion these days. It has a plausible story, some of the world's most remembered songs, and the glorious Austrian and Swiss Alps in the background. Overall, I can't say anything other than I loved it.
So this is a must buy. Also the commentary is very good here. But given the price for this on Amazon, just buy the 2 set version. I got the one disc version at a very good price so it is not a bad buy. But for $6 more, why not enjoy the double DVD? This is a must get for any movie fan, and if you are not into the extras, by all means buy this one. This movie, like all of Rogers and Hammerstein's work is emotional without ever being fake or sentimental. It is full of sentiment and completely honest sentiment at that, but never sentimentality. It totally puts to SHAME almost every director and producer and writer working in Hollywood today. Complete and total shame and disgrace. Nothing coming out of Hollywood today can hold a candle to this. Entire director's careers with academy awards can't even begin to even compare to just this one movie. So get some version, especially if you have young ones. Sit them down, and let them experience what a real movie can be.
I bought the easy piano scores for her to play the songs on the piano, and singing lessons on CD "Voice Lessons TO GO", by Vaccarino (They're great and a lot cheaper than private voice lessons!) for her, (even though I use them when she's at school). So she is confident to sing along while she plays her Edelweis and Do a Dear. We love it. ... Read more | |
| 173. Heavenly Creatures Director: Peter Jackson | |
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Amazon.com essential video Reviews (124)
This movie is based in truth. Much research can be done online as to the factual content of the movie. Many people question if their friendship turned into any sort of lesbian relationship. Other questions have been raised as well. However, fact or fiction, this is one of the most incredible movies out there for viewing. It's beautiful and breathtaking and something everyone should see. I can't recommend it enough.
In 1952, Pauline Parker (Melanie Lynskey) is a loner at her proper New Zealand school, until the day Juliet Hulme (Kate Winslet) arrives -- an intelligent, witty, daring girl who appeals to Pauline. They share a love of the arts, writing, sculpting, drawing, fantasy, and tenor Mario Lanza. Soon the two of them are nearly inseparable, spinning their fantastical tales of castles, knights, unicorns and beautiful ladies. (The foremost ladies, Deborah and Gina, are modelled on themselves) Even Juliet's four month stint in the hospital doesn't separate the girls through their letters and shared fantasies. But soon Juliet's father (Clive Merrison) becomes concerned that their close friendship is "unhealthy." It is, but not just in the way he thinks. The two girls' emotional attachment has turned incredibly intense, so that they barely think of anyone but each other, and the fantasy stories begin to seep into reality for them . Pauline drops out of school and stops talking to her parents; Juliet learns that her mother is sleeping with one of her clients, and that her parents are divorcing. Now she's being sent to South Africa, and there is no telling when she will see Pauline again. Unless they do something about their parents so that they can stay together... such as murder. Peter Jackson kicks off "Heavenly Creatures" by emphasizing what a beautiful, in most ways peaceful country (via a cheesy 1950s documentary). But he rapidly shows that beauty is not everything -- the complex and beautiful fantasy land of Borovnia has a sort of amorality in its stories, that reflects the girls' own minds. Their mothers are problematic -- one is selfish, the other is controlling -- but the girls begin to see them as mere obstacles to be dealt with. Jackson doesn't just show what the two did, but showed why they did it. But even then, he doesn't sugarcoat anything. Melanie Lynskey is excellent as Pauline; she has something of the look of both a child and a woman, switching between smiles and sullenness, depending on who she's speaking to. And the luminous Kate Winslet plays the somewhat devil-may-care Juliet, whose vivacity and charm overrule any of Pauline's reservations. "It's everyone else who's bonkers!" she says gleefully when Pauline casts doubt on her own sanity. The supporting actors are also good, especially Clive Merrison and Honora Peirse as Juliet's dad and Pauline's mom, who are both concerned about their children. The dialogue is outstanding, both chilling and simple ("Our main idea for the day was to murder Mother"; "we decided to use a rock in a stocking, rather than a sandbag..."). And Richard Taylor's handling of the CGI and prosthetics is oustanding. One particularly vivid scene has a hillside transforming into an exquisite garden. And nobody except Peter Jackson could have pulled off the idea of including living clay figurines or four-foot-wide butterflies, but somehow it not only works, but adds to the surreality of the story. Jackson's unique camerawork is here as well; if you enjoy his swooping shots and close-ups, then this will be a treat to watch. There is some sexual content, including Pauline in bed with a young man, and the two girls in bed with each other (where they envision the other as the guy they desire -- a very creepy scene). The DVD is pretty bare-bones, unfortunately, without a "making of" or director's commentary. There are some trailers for other movies, and the trailer for this one as well. (Which is not so amazing because it wobbles a little as it played) While Juliet went on to become bestselling murder mystery writer Anne Perry, no one is entirely certain what happened to Pauline. This movie is frighteningly vivid, beautifully made, and exquisitely directed, destined to be a modern classic.
In 1954 two girls brutally murdered one of their mothers in what still remains, to this day, perhaps the most documented and sensational murders in New Zealand's history. "Heavenly Creatures" tells the true story of this crime drama and highlights their strange friendship. If you think before you watch this that you're just in for another stereotypical blood-splatter flick then you are very much mistaken. Pauline Rieper (Melanie Lynskey) is a typical student in a strict all-girls' school who is completely bowled over when Juliet Hulme (Kate Winslet) joins her school and tears up her pathetic existence into something radical and fresh. They have similar interests such as the arts, sculpture, English and the tenor Mario Lanza. Eventually both the romance and the frightfulness of it all reaches a tragic conclusion. In their all consuming friendship Juliet and Pauline create a "Fourth World," better than heaven (because it has no Christians), inhabited by the clay figures they have fashioned to represents their friends and where the music of Mario Lanza, the greatest tenor on earth, is always in the air. The two girls' emotional attachment has turned incredibly intense, so that they barely think of anyone but each other, and the fantasy stories begin to seep into reality for them. Not even a four-month stint in hospital for Juliet can keep Pauline away. Pauline drops out of school and stops talking to her parents; Juliet learns that her mother is sleeping with one of her clients, and that her parents are divorcing. Now she's being sent to South Africa, and there is no telling when she will see Pauline again. Unless they do something about their parents so that they can stay together...such as murder. Watching the film I felt a continual underbelly of lesbianism playing a major role. These suggestions are continually squashed, however, due to the times the movie is set in where homosexuality is an 'unnatural' subject. Kate Winslet is superb as the bright and luminous Juliet and with her posh accent, she brings a certain level of humor to the film that would have been impossible without her. Melanie Lynskey portrays Pauline superbly too, contrasting from the mature attitude of a fully grown woman to the sly grin of an evil teenage girl who knows too much. The films comedy moment can be cheesy at times, but are intentional in their positions in that they counterbalance the horrifying scenes. Many moments pre-horror build up the suspense brilliantly, then perform a sort of anticlimax. However, the peaceful and tranquil music that plays just before the brutal and obscene ending is obviously intentful. The ending is what stays with the viewer most when looking back on the film The way Jackson directed the scene to be something truly spectacular was superbly pulled off. The screams of the mother and the cuts to the alternative-world made me want to cover my eyes in fear, but I persisted and watched through the horror. The dialogue of the film is brilliant, and only Peter Jackson could come up with the idea of life-size clay models that walk and talk. Six years later he'd be making something a lot grander. Richard Taylor supplies the CGI effect and is superb in doing so making for surprisingly life-like, realistic characters - remember, this was 1994! In the end what you have here is a fantastic and timeless film that is perfect for college/University studies both in direction and content. What is most fascinating, apart from the real-life chilling theme that features prominently throughout, is the fact that Peter Jackson went on to become one of the world's most celebrated directors in history, whilst Kate Winslet went on to star in the most successful motion picture of all time! This is a film that will appeal to all generations (obviously not youngsters) of people with a thirst for crime, horror, blood, gore and fantasy. Don't try and ignore it - this film will make your head spin!
Good LORD, I loved it. Kate Winslet and Melanie Lynsky were absolutely phenomenal; the story was at once disturbing, brilliant, and cute; the scenery was breathtaking, and the direction showed that Peter Jackson was brilliant long before making LotR. All in all, if you enjoy movies that make you think, you'll love this. I loved it when I saw it, but after having a while to process it, and mull it over, it's become an instant favorite. This movie at times has a VERY David Lynch-type vibe to it, and as I said, will definitely make your head spin. I dont think I could possibly recommend this movie more. SEE IT! ... Read more | |
| 174. Bright Eyes Director: David Butler | |
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Amazon.com essential video Temple's movies are today marketed as children's films, but, like the classic Warner Bros. cartoons, they were made for adults. Her plucky, indomitable spirit helped America get through the Depression. She's perky and precocious to beat the band, but she suffers so on the way to the inevitable happy ending. When she gushes, "It's the best day I've ever had in my whole life," you know tragedy is imminent. In Bright Eyes she is also at the mercy of bratty Smythe (scene-stealing Jane Withers), a pint-sized tantrum-throwing terror who makes Linda Blair in The Exorcist look like a Teletubbie. A further parental advisory in these politically correct times: Joy's eagerly awaited comeuppance is a real slap in the face. --Donald Liebenson Reviews (17)
I've always been a sucker for little Shirley Temple singing "On The Good Ship Lollipop" and couldn't resist picking up this DVD.From 1934, this story takes you back to a time of innocence that just can't be done again in today's world. Shirley will tug at your heartstrings and you're happy to let her do it! This story was tailor made for Temple's charms. Already having lost her father, "the best aviator there ever was", she is now the apple of they eyes of all the flyers at the airport.Espcially one,'Loop' Merritt(James Dunn), her father's best friend who loves her dearly.Shirley lives in the home of a wealthy but nasty couple where her mother is a maid. When tragedy strikes again, and Shirley's mom meets with an unfortunate accident, the fight begins over who will adopt this adorable orphan. In the short span of 83 minutes, it's a story that has laughter, tears, adventure and lots of love. If you love Shirley..this is a must have. But it's not just the Shirley show...the rest of the cast is terrific. James Dunn, Jane Darwell,and Lois Smith will all touch you, but the two that nearly steal the show are Charles Sellon as Uncle Ned, an old curmudgeon who becomes a real softy around Shirley, and little Jane Withers...the brattiest brat there ever was. All this little tyke wants for Christmas is a machine gun! I was very pleased with this DVD by 20th Cent Fox. Yes it was a bit on the grainey side, but the film, now 70 years old, showed no scratches, lines or cracks.I hope I look that good at 70! I nearly had a panic attack though when I read the back of the box and it said that this version was colorized, but don't worry, when you pop it in the player, the first thing that comes up is a choice of the original B/W or the colorized version..so you can watch both and see which you prefer. You also get the choice of viewing it in the newly enhanced stereo or mono.There are also subtitles in English(captions), and Spanish. It's a nice one to watch during the holidays as a good part of the story takes place during Christmas.If you are a fan..introduce a new generation to Shirley. This a great one to start with. Sweet Landings.....Laurie
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| 175. Breathless Director: Jean-Luc Godard | |
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Francois Truffaut, who is responsible for the script, once said all that you needed to make a movie was 'a girl and a gun.' Breathless appears to be Truffaut putting his theory into action, but there's a little more going on than that suggests. It is a film that transports classic era Hollywood to the Paris of the late 50's. Jean-Paul Belmondo's character is obsessed with Humphrey Bogart. He is also on the run from the police, and off to visit his girl, Jean Seberg in Paris. So far, so blah. But what director Godard does with this simple 40's noir plotline is to treat it in a way that feels intuitively wrong. He promotes the relationship between Belmondo and Seberg to centre stage and leaves the man-on-the-run-from-the-police story as a virtual subplot. To this end there is a lengthy scene of the couple talking in a bedroom - it must last twelve minutes. You practically forget that there's a Hollywood B-movie plot somewhere in the background. It is testament to the performances, and particularly to Truffaut's script that you really don't mind. You just sort of get carried along by the thing. It's important not only because it's dead, dead good and genuinely entertaining rather than just clever for the sake of it, but also because it plays so loose with genre and structure, it gave subsequent directors the right to experiment as well. No Breathless, no Pulp Fiction - despite Tarantino's claim to prefer the (much inferior) American remake with Richard Gere. Jean-Luc Godard subsequently disowned the movie, considering it to be far too conventional. Perhaps he also disliked Truffaut's humanism, which shines through as it does in everything he was involved in. Godard went on to make more challengingly, more confrontational pictures but never really recaptured the youthful exuberance of Breathless. Think of a movie like Citizen Kane. If you've seen Kane you'll recall that the viewer feels Welles's joyful iconaclysm, even sixty years or so on. Same deal with Breathless. Even though the jump cut and gleeful genre-bending have both become standard you can still feel the exhiliration from everyone concerned in doing something genuinely new. A must own.
That said, though, this movie is a lot of just pure fun. In the leads, Jean-Paul Belmondo and the absolutely gorgeous Jean Seberg seem to inject their portrayals of young thief-and-killer Michel Poiccard and his indecisive American girlfriend Patricia with a sense of humor and joy. The couple they portray are given moments where they're not really pushing the action forward, where they're reveling in what it feels like to be young and in lust, if not love. The scenes where they're lying in bed just talking or riding together in a car and talking about Paris are perhaps the most delightful aspect of the film. Even though the character of Michel is almost certainly doomed from the moment he steals a car and guns down a police officer, he has a lot of fun with his last days, wandering the streets, stealing from friends and trying to get Patricia to sleep with him. Patricia, likewise, is given moments of joy, despite worrying about her pregnancy and job, wondering if she should betray the man she loves to the police or run away with him to Rome. That spirit, in addition to its technical wizardry and the passion of its makers, is what made the film different in 1960, and it's the spirit behind it that just makes "Breathless" fun Sunday-afternoon viewing now.
That having been said, the style of this film is really what is important. Looked at today, when its innovations have been absorbed into mainstream film, TV, and commercials, some of the flaws are more apparent. Especially towards the end of the film, when the story gets wackier and the style gets over-the-top, it became hard to restrain my Mystery Science Theater comments. That is the problem with being the first in anything - you go too far and you date yourself. Although Goddard started the Nouvelle Vague, I think that Truffaut - as evidenced by his script here - is the more important artist. This is the film that paves the way for better films like The 400 Blows. However, Breathless is still a good film and a must for any serious student of cinema. Although there are few extras on this DVD, the film looks great. For all its flaws, Breathless still has an air of authenticity that few films today can dream of.
This is obviously not intended as a work of surrealism or Dada. Godard has a story to tell, and two characters to introduce to us. I suggest that the film techniques be measured by whether they contribute to these goals. The use of handheld camera, long shots, candid shots of Paris do. They give the film a sense of energy and reality, and have perhaps been adopted by others because of this. The "jump cuts" (which I take to mean the abrupt cuts in the middle of scenes, with no attempt to maintain continuity) do not. They are distracting and remind you, with a jolt, and indeed never permit you to forget, that you are watching a film. This is not like noticing that a great painting is made up of the artist's individual brushstrokes; more like brushstrokes that keep you from seeing the overall picture. It just comes off as amateurish, and interfers with plot and character development. Seborg didn't seem to me to work in this role. I think Godard means to tell us that she is not vulnerable but in fact the same sort of animal as Belmondo, but the toughness was not persuasive (esp. the obvious self consciousness of the closing shot). If this is not what was meant, then she failed to communicate to this viewer what exactly it was that motivated her character. Does that mean she is "deep"? ... Read more | |
| 176. The Glenn Miller Story Director: Anthony Mann | |
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Amazon.com essential video Reviews (28)
However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate). You'll enjoy the music, especially in stereo, just don't take the story seriously. Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic). Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.
The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing. He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really. I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history. Finally, I was not around during during the Miller era however, after viewing this film .. " I was there" C Pope
First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such. Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies". Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history. Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release. The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie. Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal. As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more | |
| 177. Love Me or Leave Me Director: Charles Vidor | |
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This film is a admittingly highly fictionalized bio musical drama about the famous (although now very much forgotten) 1920s and 30s torch singer, Ruth Etting. The film focuses around her struggling early start in getting small jobs at singing in small clubs, up to her huge fame as a popular recording artist, and star of broadway and talking pictures. Also a look at her offstage "hard" life, with Manager/Husband Marty "the Gimp" Snyder, who helped her become famous, but made her life hell. Both Doris Day and James Cagney are great in this movie, along with everyone else. Its a very different role for Doris Day, than you might be used to seeing her as. Cagney plays his usual "tough guy" image well, and this is easily one of the finest films the two stars made. Doris Day does not sound at all like Ruth Etting, and she doesnt try to sound like her either. This isnt a bad thing though, she still sings the songs great as "Doris Day" instead of "Ruth Etting" so to speak. A very classy, and enjoyable movie. The soundtrack album Doris Day recorded for this movie, available on CD, is well worth picking up aswell. As far as Ruth Etting goes, I feel, along with Doris Day, they are two of the greatest female singers of all-time, so you should check out any of the CD compilations available of her music (I personally recommend "Ten Cents a Dance" and "Americas Sweetheart of Song" from ASV Living Era).
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| 178. Willy Wonka and the Chocolate Factory Director: Mel Stuart | |
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The parents make it obvious why their children are so impish. When the children get into trouble at the factory, the parents blame Wonka instead of the kids' own bratty behavior. From the moment they step into the factory, they're complaining and finding fault with everything Wonka does and they take things way too seriously (much like the critics of this film)! I bet if the Oompa Loompas, with their wisdom, raised these little demons, they'd be much better. Don't miss this film. It is not only a fun to watch diversion from reality, the messages are very timely and it makes you think about the good that still exists in this world. The critics and nitpickers may not get it but anyone who watches with an open mind and doesn't take it too seriouly will.
This film was made back in 1971 and is very simple in its style. The special effects are see-through and campy but the story line is a facinating metaphor for life that is forever timeless in its message. Willy Wonka is the creative genius who becomes a recluse in his chocolate factory because of society and its greed and malice. But he never loses his belief that someone in the world exists who can still believe in imagination and dreams. He finds this person in Charlie, a poor child who lives with his mother and four grandparents in a dirty basement home. Charlie has every reason to become dispirited and negative yet he remains a shining light of great positivity regardless of his circumstances. I suspect his attitude comes from the fact that his Grandfather Joe always supports his dreams, the boy never has to hear the word "can't"! The chocolate factory holds a contest and several children, including Charlie, get invited behind the doors with Willy Wonka. While on tour they are tested with fame, fortune, greed and honesty until one by one they succumb to the failure of a human heart. All except Charlie, who keeps a smile on his face and wonder in his eyes while being faced with the simple adversities that cause the other children to fail. Sadly I feel the parents are to blame creating children who thrive on material wealth, constant TV watching, gorging on food, and looking for constant attention. The parents of the children who fail refuse to believe in the dream of Willy Wonka surrounding the atomsphere with doubt and negative beliefs. How could anyone survive under such circumstances? The Chocolate Factory is filled with wonder, color and silly songs. Regardless of your age it will satisfy your sweet tooth and fill even a hardened heart. It certainly brings to life how parent's affect their children with their own actions and attitudes. Telling a child they "can't" accomplish all that they imagine only assists in stopping the world from greatness. Don't be afraid to dream!
One day there is an annoucement that Wonka is going to open his factory to visitors, to be chosen more or less at random through finding the Golden Tickets, contained in Wonka bars (a brilliant marketing device back then). Scenes of shoppers' frenzy are shown all around with world, including a Wonka delivery van shown arriving at the White House. The five golden tickets are found all around the world - the first one in Dusselheim, Germany, by the fat boy, Augustus Gloop (played by Michael Boliner, who is now a tax accountant in Munich, and is still rather large). The second ticket was found in the UK, by spoiled brat, Veruca Salt (Julie Dawn Cole, the only Wonka child still acting), whose father, Roy Kinnear, is a well-known actor in British cinema. The third ticket was found in the USA, by gum-chewing Violet Beauregarde (Denise Nickerson, now an accountant at a nuclear plant in Colorado), whose used-car-salesman father was played by Leonard Stone (who was selected over Jim Bakus). The fourth ticket was also won in the USA, by Mike Teevee (Paris Themmen, considered a real brat by most of the cast and crew); his frantic mother was played by Dodo Denny (later Nora Denny), who was one of the few minor characters in the film to consistently act after this film. The final ticket at first is reported to be won by some shady businessman from Paraguay, but in the end, that is proven to be a forgery. Of course, Charlie buys a Wonka Bar expecting nothing, and gets the ticket. An ominous figure, Slugworth (the arch-enemy of Wonka - who knew chocolate makers also made arch-enemies?), appears to each of the winners, whispering in their ears. Charlie is also confronted, and promised a reward should he bring Slugworth an example of Wonka's latest creation, the Everlasting Gobstopper. One wonders why (a) any candy maker would make a candy that never wears out (thus defeating re-sales), and (b) why Slugworth can't just buy one himself when they are released, analyse it and ruin his own factory the same way? But I digress... Gunter Meisner, a very prolific German actor, played the villain, who wasn't in the book (nor was the 'gobstopper plot'). The grand day of the event, the winners enter the factory with great fanfare, meeting Wonka (Gene Wilder) for the first time, and get the first taste of his bizarre sense of theatre. (It is reported not only Wilder's idea for the limping/somersault introduction to the crowd, but also a condition of his accepting the role.) From that point on, what was truth? It is ironic that Wonka's entrance doesn't occur until the film is half over. What we remember of the film comes after this, but over half the film is actually set-up. This is rather like the Wizard of Oz, where most of the film is done before we see 'the major character', although admittedly Wonka is far more prominent than Oz's balloonist. Wonka, the man of mystery, only ever became even more of a mystery as the tour progressed. He is constantly switching his words ('we have so much time and so little to do'), and there are surprises at every turn. Wonka borrows a lot of his key phrases (Ogden Nash, Shakespeare, Oscar Wilde) and there are a lot of fantasy-inspired elements (Alice in Wonderland, Lord of the Rings). At each major scene, something ghastly seems to happen, but in epic-fantasy form, it doesn't seem to matter to the majority, who proceed onward with their quest. In the chocolate room, Augustus Gloop meets his untimely exit from the factory by falling in the chocolate river. Violet turns into a blueberry by chewing experimental gum, and has to be squeezed (squoozed?). Veruca, in the room with the geese who lay the golden eggs, turns out to be a bad egg herself, but has a sporting chance of going down a chute with an inactive furnace. Mike Teevee shrinks in the Wonka version of the Star Trek transporter beam, leaving in the end only Charlie, who is denied his prize of a lifetime of chocolate for a minor infraction. It would seem that Wonka had a sinister side in many ways - the boat that carries the prize winners only seated eight, implying that Wonka knew someone would be missing. The Wonkamobile only had seats for four guests. Of course, the children apparently all had sinister sides, too, including Charlie, until the end. None of them let Wonka know of their Slugworth contact. In the end, we never know what becomes of the fallen questers - we are led to believe that in this candy factory they got their just desserts. The Oompa-Loompas put the moral to each downfall in song, with a 1970s karaoke-type presentation of the lyrics as they sing. In the end, of course, goodness and justice win out, as the factory is given to Charlie after his act of unwarranted kindness toward Wonka. Director Stuart always saw this film as a 'realistic' fantasy film. Those things that are not over the top are very ordinary. The people are not superheroes, and the situations, while fantastic, are not beyond the credible. Stuart also did his best for 'real' reaction - the kids had never seen Gene Wilder before his appearance at the door, the chocolate room in the factory, or the Oompa-Loompas prior to the first scene, either, so their reactions are more natural. A great film for children and adults! ... Read more | |
| 179. Apartment Zero Director: Martin Donovan | |
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Amazon.com The heart of the film lies in the increasingly bizarre relationship that develops between the two opposites, breeding the seeds of mistrust. An original and offbeat noir-type drama, the film, cowritten by David Koepp (Jurassic Park), proceeds at a slow and deliberate pace, gradually drawing the viewer deeper into the intrigue and isolation of Firth's tortured soul. Some genuinely creepy moments and an all-around macabre mystery make this film worthwhile viewing for mystery fans everywhere. --Robert Lane Reviews (14)
Adrian and the other misfit tenants in his apartment building (a transvestite, two elderly British alcoholic sisters, a lonely housewife starved for attention, et al) are all smitten by Adrian's charming new roommate, Jack Carney (played by Hart Bochner, who smolders with every close-up). Adrian feels Jack "has a certain James Dean je ne sais quoi," but he soon finds out that his gorgeous roommate is not all he appears to be. Great acting by Firth and Bochner. Lots of suspense, double-entendre and sexual innuendo, plus an over-the-top ending you'll never forget.
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| 180. Bizet - Carmen / Maazel, Migenes, Domingo Director: Francesco Rosi | |
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About the cast...well...incredible... Migenes: well I can't understand some other reviewers who accused her of ruining the performance. I thought she was incredible. She is an amazing actress. Although she never sang carmen on stage, she has however a very deep understanding in the role...perfectly reflected in this movie. The toreador (raimondi) and micaella are also good. Well..overall the cast is great ...and the decor is AMAZING...the opening scene is a bit brutal...but also...what can i say...the music in the prelude IS brutal and the sets are just following the music..isn't that opera??? I highly recommend this DVD.
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