Sully is a rogue, one of those All-American rebel princes who wander towns and drink and seduce women without serious consequence or ambition. People are going to be out to get you because, well, you're just so All-American. And adorable. And you just aint buying that establishment thing of education or ambition or what have you. Or being a father to your son, or a husband to your wife. But this story is so fresh and original it side-steps the ethical blind spots and leaves with the kind of melancholy sense of regret you know that Sully is going to fade into.
Paul Newman, Bruce Willis, Jessica Tandy, Melanie Griffith, Dylan Walsh, Gene Saks, Josef Sommer, Philip Seymour Hoffman, Philip Bosco
Gripping, accurate account of 1972 plane crash in the Andes that stranded a group of rugby players in the barren, snow-covered mountains with no food or shelter, except for the remains of the fuselage. After realizing that the search for them had been called off, they resort to cannibalism to survive for 90 days. With renewed strength, they embark on several expeditions, to find the tail section and the bodies of passengers who were sucked through the back of the plane as it crashed. In spite of the salacious subject matter, the film is restrained and somber, emphasizing the role of the passenger's devout Catholicism in their survival, and in their decision to eat the bodies of their dead colleagues. The dialogue is wobbly and the acting is weak among the secondary characters, but the story is compelling, and the scenery (British Columbia stood in for the Andes) is stunning. The real story was probably more sensational than the version told in the movie. They actually ran out of "meat", and had to climb up to retrieve bodies of the other passengers, as they began to run out. One of the passengers who fell out of the plane as it slid down a snow covered valley, strode off in the wrong direction and fell off a precipice. The actual rescue took two days as bad weather intervened and the helicopters could only remove three survivors each at a time. And odd, interesting postscript: an extraordinary percentage of the survivors went on to rather illustrious careers in business, television, and politics. This suggests one of two things: they were all from upper class families to begin with, and the ordeal did no permanent damage, or that something about surviving the awful conditions contributed something to their characters, which helped them do well in their lives afterwards. Extraordinary story, and extraordinary movie.
ETHAN HAWKE
Fairly interesting saga of young couple and infant stranded in mid-west blizzard. Workmanlike, nothing special.
Agreeable, entertaining film about a child chess prodigy, and conflicts between father, mother, and chess teacher. An interesting sidelight is the games in the park the child plays against homeless chess aficionados, which his teacher opposes. Well acted and directed, if somewhat predictable.
Sometimes funny, often sentimental film about a divorced father who tries to maintain a tight connection with his kids by disguising himself as a wonderful nanny, Mrs. Doubtfire. Unbelievable and cloying at times, which shouldn't matter but does. There is the capital affrontery of the Williams character cutting a boring television children's program host to shreds, and then putting on the same tired bs when he gets the chance to host his own show. Nice message, redeemable, but disappointing.
Wondeful, quirky, unpredictable film about a black man who wanders into the lives of several wealthy families, through contacts with a friend of their children. Though occasionally slightly mawkish, more than makes up for it with fascinating twists in plot, stylish interpretations, and unusual dialogue. Refreshing and biting, and sometimes sardonic, as when the college-aged children enter the action.
Sometimes violent, sometimes humours account of three thugs, ups and downs of their criminal careers, told through the eyes of Liotta's character. Well acted, written, and directed, but if we really needed another "Godfather" type film, why this one? Doesn't tell us anything about mob violence that we didn't already know, and doesn't particularly add to the canon on motivation, character, or purpose. Appealling but not entirely satisfying.
Charming, somewhat loosely edited story about a young woman whose mother insists she remain single in order to care for her in her old age, and who marries off her true love to her sister. "Tita" finds a way to translate her passion into her cooking, affecting all around her. Amusing and interesting. Subtitled.
Kristy Swanson is the delectable Valley Girl who discovers that her destiny is battle rather tacky vampires in this quirky but uninspired parody. Has it's moments-- well, almost. Donald Sutherland is wasted. Can't tell from this whether Swanson can act or not, but she has one of the most perfect faces in the business.
We saw this long ago, but watched it with the kids on this date. Yes all three of them-- a mistake in judgement. Neither Paul nor Danielle liked it and Christopher found it scary.
Interesting, provocative movie about life and death, morality. A middle-aged couple with children comes to question their relationship and the meaning of their lives after a series of troubling incidents, including a near assault, and the shooting of a close friend. Well acted and written, interestingly filmed, and sometimes compelling. Suggests the power of random acts of kindness, forming a chain of positive effects. [99-3-17] The problem with this film is that Kasdan is sometimes a bit coy with his presentation. The strength of this film is that the minute you start thinking Kasdan is being coy, he has a character or incident express the very doubts you have about what you just saw. You think Mac is goofy for trying to set up Glover with an acquaintance, and then you see Glover picking up the girl and talking about what a goofy thing Mac has done. In spite of its flaws, it's a compelling film. It's the expression, and a sincere one, of a man struggling to understand "good" in a bad world. If Kasdan sometimes comes off as paranoid, he at least lets the characters develop their own responses to the fears he loads them with. Twin Bill: Six Degrees of Separation, or City of Hope, and Grand Canyon.
KEVIN KLINE, MARY O'CONNEL
Bizarre, but not necessarily brave comedy about housewife (Kathleen Turner) who goes on a rampage. Turner is entrancing at times, clever, and funny, but the movie doesn't deliver on it's promise. Tries to be off kilter but doesn't ever rise above adolescent mischief. Supporting cast is also somewhat disappointing.
Very, very funny, intelligent comedy about New York shyster "lawyer" (Pesci) coming to small Alabama town (Wazoo) to defend cousin and friend charged with murder. Well-written and filmed. Gwynne is a delight as stern but fair judge-- and nicely counter-points the stereo-typical cliches about "Southern Justice". Film relies on veneer of believability for laughs, and coasts on fine edge throughout. Filled with delightful, low-key comedy, and the rapport of two leads is believable. Marisa Tomei is utterly charming, though her other films don't display the kind of spark she displays here. Supporting cast is excellent. No deep message: just a fresh and entertaining story.
MARISA TOMEI
Consistent with the first two entries in this series, occasionally broad and vulgar, but generally funny. Nielson as usual times himself well, and the script occasionally includes some clever parody or political allusions. Enjoyable, if somewhat vacuous.
Tragic story of Polish man who shelters a Jewish woman, owner of the shop he works in, during Nazi roundup of Jews. I saw only last hour. Seen from the start 2018-11-22. Brilliant dissection of a small Slovakian community's response to occupation by the Nazis and imposition of the race laws. Tono Brtko is a indolent carpenter with a shrill wife, Evelyn, whose brother is an enthusiast of the new order and becomes a member of the puppet police force. He gets Tono the position of Aryan manager of Jewish shop on main street. But the elderly Jewish woman who owns it thinks he is a employee and is fundamentally clueless about the Nazis and the war and the occupation. Tono eventually is drawn to the woman and undergoes an intense moral crisis as the Nazis close their snare around the Jewish residents, rounding them for extradition. Unusually close and credible dissection of the differing attitudes of the townsfolk, and the real moral dilemma of people like Tono, who were not heroes but understood what was wrong with Nazi regime. Exceptionally well-acted and filmed, beautifully written, and intense.
Bizarre story about a scientist who keeps his lover's head alive while searching for a perfect body for her. She resents the plan. A mutant is kept in a locked room. Strange movie--- sometimes inspired, especially in casting of "head", a sanguine, sometimes vicious, sometimes pathetic creation. Shocking.
Superb animation highlight this mythical tale about Jack Skellington, the Halloween king, trying to hi-jack Christmas. Dark and brooding at times, sometimes downright scary. Produced by Tim Burton. Dazzling.
Fascinating bio-pic on Lennon and Stuart Sutcliffe and Beatles until just before international fame period. Sutcliffe is a struggling, moody artist, not fully committed to success of group, meets Astrid Kirschner in Germany, and becomes more interested in her, and the world of avant garde art. Not especially well-acted, but well directed, honest, and interesting.
Rather tiresome comedy filled with anal humour and traditional Brooks slapstick. Carelessly made-- secondary characters seem to stand around waiting for their parts. Carrie Elewes is not funny enough to carry the title character and Brooks as a Rabbi has nothing new to offer. For the record, the kids liked it.
Amusing, vulgar film about a call lady who rises to the top of her profession by providing kinky sex for rich, powerful men. Rarely tasteless, always interesting, surprisingly well acted. Transvestite maid is particularly amusing and interesting.
Lush adaptation of Edith Wharton novel about repressed desire in turn of the century New York. Michelle Pfeifer is the love interest, Daniel Day-Lewis joins Anthony Hopkins in the self-repression hall of fame, and Winona Ryder is the most interesting thing in the movie. Never really goes anywhere... because they never consummate their passion? Or because, as I believe, this story is technically well-filmed and well-acted and possesses all the correct pedigrees, but is fundamentally poorly written. The dialogue never takes us into the hearts of the characters and the actors are too busy being "significant" to notice that they're not talking about anything real. Hollywood trying to be important.
Extremely violent, graphic film about pair of mass murderers, their capture, imprisonment, and escape. A parody, but seriously bloody. Question: what does it mean? Answer? Stone doesn't know. He mocks the media for their fascination with violence while serving up dollops of it himself, including his other films. Original, yes. Artsy, yes. Meaningful? No. Preposterous? But not in a way that serves to comment intelligently on its subject.
Powerful true story of the imprisonment of the Irish Conlon family on trumped up charges of IRA activity. Day-Lewis is superb... uniformly good cast. Stretches a bit a times, but maintains high level of intensity throughout. Final court scene seems abbreviated.
You get the feeling the producers thought it was good. Overly long, sometimes boring drama about a young woman who causes a scandal by hanging around with a native Indian (Victor Banerjee) whom she subsequently accuses of rape. Hard to believe she ever allowed to charge to stand, considering her behaviour until then. Miss Adela Quested is played nicely by Judy Davis, with longing eyes and hungry demeanor. Peggy Ashcroft won a supporting actress award.
Mildly funny at times, then overly sentimental. Aimless fluff about impersonator who actually takes over for ill President and does a better job than he does. Sigourney Weaver is grossly miscast as the supposedly "warm and loving" wife of the President.
Exciting thriller about gang of cons who hold a subway car hostage for $1 million. Good cast, especially Mathau. Deft comic touch at times. Cynical view of politics but some refreshing, unexpected sketches. And the famous ending-- the sneeze!
Check director! Movie version of powerful Mamet play about ruthless salesmen confronted with head office directive: whoever sells the most by the end of the week gets an Eldorado; 2nd place gets steak knives; third place gets fired. Strong language. Superbly acted.
Memorable, well made portrait of four Chinese women, immigrants to U.S., and their assimilated daughters. Explores mother-daughter relationships, family, love, self-esteem. Not always well-acted, and sometimes rather maudlin, but generally good.
Lively and lavish fantasy about a girl who disguises herself as a boy, recruits assorted colourful allies, and takes on a deadly dragon. A key recruit, a powerful sorcerer, is replaced by his incompetent apprentice. Generally enjoyable, but scary.
Another Altman masterpiece, with a bit more flare for the satirical than most. Tom Robbins is a Hollywood producer, surrounded by comers, disposing of ideas and inspirations with cruel Hollywood efficiency. One day, a writer starts sending him threatening postcards. He narrows the field of suspects and ends up inadvertently killing him, then has an affair with his lover. Notable cameos by established stars has desired effect: they become part of the casual background upon which Altman sketches his fable.
Pretty good biography of "Gaby" (Gabriela) Brimmer, born with cerebral palsy, but who surmounted opposition to educate herself. Unusually frank film for the topic, including sex scenes with Lawrence Monoson that are tasteful, honest, and moving. It needs to be stated that in real life, neither Levin nor Monoson are disabled.
Mysterious, compelling film about a California woman who nearly dies in a car accident, recovers, meets a strange man with a two-headed snake living in the desert, and discovers that she possesses a mysterious ability to heal sickness and wounds. She returns to conservative small town home in Kansas to a mixed reception. She moves in with an impulsive loner who pushes her to acknowledge that her gift is spiritual in character. Very eerie, powerful, raw, intelligent film. Superlative performances by Burstyn, Shepherd, Farnsworth. Reverberates. Neither the director nor the writer ever produced anything remotely like this before or since.
Haunting biopic, about the scupltoress Camille Claudel, who came under the influence of Rodin, became his lover, but left him when she discovered he would not leave his wife for her. Was she a mad genius, or just mad? The film doesn't necessarily make the case one way or the other, though it makes it clear that she didn't gain the popular esteem that Rodin had, allegedly because he was better at politics and gladhanding. Adjani is outstanding, a rivetting presense, an astounding beauty who can act. Depardieu never seems to inhabit Rodin, the way the rest of the supporting cast inhabits their characters.
Slow-moving, almost lyrical depiction of prisoner Robert Stroud, convicted of murder, who became the world's leading authority on birds and bird diseases while serving a life term (in Leavenworth, not Alcatraz, until the end). Fascinating story, well directed and shot. Lancaster is restrained, Ritter is intense as his mother, who refuses to help him get paroled.
Memorable drama about two ballet dancers, one of whom chose to have children and the other her career. Did the career dancer sabatoge the other woman's chances? The other woman's daughter is now embarking on her own career and tensions rise. Well acted, authentic.
Brilliant, sardonic portrait of rebellious prisoner, "Cool Hand" Luke in Southern Chain Gang. Luke keeps escaping and the sadistic guards keeping capturing him, beating him, punishing him. The other prisoners begin to idolize Luke, while Luke begins to resent the role thrust upon him, bearer of their hopes and dignity and fantasies of beating the system. Newman's best performance; Kennedy is also superb. Tense, exciting drama, and an unforgettable portrait, suggestive of Christ story: the prophet who bears the sins of the world, betrayed by his own, crucified. Kennedy won an Oscar for supporting actor.
Intriguing movie based on true story of Preston Tucker, an automotive engineer who came up with a radical new design for automobiles, strived mightily to get the operation going, but was felled by alleged conspiracy between big three auto makers and senators. Some "B Movie" elements, but powerful over-all story. Reminiscent of story of Avro Arrow, yet to be told. Jeff Bridges is excellent; supporting cast above average, well-filmed and directed.
Written by director Tornatore. Fine, decent film about growing up in a small Italian town. Hero "Toto" (Salvatore Cascio) learns to love movies and life from well-meaning Alfredo (Philippe Noiret). Hard to assess at times because of terrible dubbing-- another good case for subtitles instead. Occasionally moving. Doesn't succeed in the end because it hasn't been established that Alfredo is so wise and perceptive that a boy would not return to visit his mother for 30 years on his advice. Nor is the connection between Alfredo and Toto's later success clearly delineated. Warm film, but unsatisfying.
Strange, unpredictable story about a conformist businessman Daniels taken up by mischievous tramp Griffith, leading to an erotic and exotic chase through four states. Ray Liotta is Griffith's sinister boyfriend who ends up giving Daniels hard dose of reality. Very sexy scene with handcuffs. Loses a bit of energy near the end as it struggles for a resolution, which, ends up predictably with death of antagonist. Some create, unique music, especially "Wild Thing". Is the ending tacked on by producers? Doesn't jive with rest of the film.
Stunning film, far more visceral and dramatic than 1976 version. Kong is fidgety, nuanced, a primitive volcanic beast. Once action starts, film never lets up. Some of the animation is quite startling. Obviously, animation, but more poetic and suggestive than the remake. Willis O'Brien did special effects.
Awful, manipulative three-hanky hokum about four sisters who sue their father for sexual and physical abuse. Starts out well but quickly descends into Phil Donahue with a script. Mediocre performances as the four women take turns weeping their eyes out. Pointless and manipulative; pure waste of time. Notable that in a court case about incest and abuse, the words "penis", "breast", "vagina", "rectum", and even "intercourse" and I believe "incest" were never, ever used. Pathetic.
Unsure of director. Autobiography of Canadian poet Evelyn Lau. Very unusual film: heroine is not your classic buxom beauty, and other sequences are sometimes shockingly and refreshingly honest. Evelyn Lau played herself compellingly, as a young woman, rebellious, writes poetry, drifts into drugs and prostitution, then turns her life around with literary success.
Sometimes fascinating but confusing rendering of the original Dracula myth. Special effects are dazzling, acting is uniformly good, but the script veers off into bizarre melodrama at times and the story never seems to stay within itself. Keanu Reeves, of course, was a monumental mistake.
Oddball film... very high production values but the comedy is a bit unfocussed and occasionally weird. Well-acted, well-written, and Danny Kaye is very good. Plot concerns usurper of the throne, a baby with a tatoo, a little romance, and Danny Kaye impersonating a court jester who, unbeknownst to him, was hired to murder some of the King's advisers. Complex plot, excellent settings. Wouldn't watch it again though.
Haven't actually seen this one yet either. No problem. I would guess that it is a very fine film.
Spielberg, having accumulated millions of dollars from a series of highly commercial artistically sterile mega-hits (Jaws, Jurassic Park, ET) suddenly decides he wants "respect" and thus issues "Schindler's List", which, in his mind, is a cultural event of mind-blowing significance. What it really is, is Spielberg applying his "B" movie sensibilities to a subject that arouses a respectful hush when you simply utter the word: "holocaust". Based on the true story of a German industrialist who ran factories seized from the Jews by the Wehrmacht and eventually made a sequence of baffling moves to rescue his Jewish slave workers from the concentration camps. Schindler was a puzzling man. He was a womanizer, and he may well have profited from his factories, at least in the early stages of the war. Why he suddenly decided to risk his life on behalf of his workers and spend his entire fortune trying to rescue them remains an enigma, one barely touched upon by Spielberg in this facile treatment. Nor does Spielberg acknowledge that Schindler tried to recoup his expenses after the war, from Jewish agencies. The special effects, the recreation of the factories and camps and so on, are impeccable, and the performances of Neeson (Schindler) and Ralph Fiennes (Amon Goeth) are good. But Spielberg can't resist serving up emotions in small, chewy, bite-sized pieces, as when a girl in a red coat flees the SS during a round-up in the ghetto, or when Schindler breaks down and cries at the end because he didn't save even more Jews than he did (an incident that did not occur in real life, because Schindler had to flee the on-coming Russians for fear of summary execution, and because it was not in Schindler's character to do so in the first place). We are asked to believe that the Jewish factory workers, having seen all of their possessions seized and family members murdered in cold blood, and having been brutalized by the German guards, are movingly sympathetic to the wealthy German industrialist as he is about to drive off in his fabulous car. It is a creepy, disturbing scene. The real tragedy of the holocaust is the way that people like Spielberg keep packaging it for popular consumption and subtly encourages us to remain detached from the evil that continues to persist around us. We know the Nazis are evil because of this kind of Hollywood mythology. It would be wonderful if we would know the same evil when it disguises itself as patriotism or "realpolitick".
LIAM NEESON, RALPH FIENNES
Beautifully filmed but somewhat stodgy version of the classic book about children living in an emotionally suppressed English home. The child actress (girl) has an extremely expressive, fascinating face. Produced by Frances Ford Coppola, and it shows: a lot of similarities to "Black Stallion", both in cinematography and style. However, Secret Garden is not nearly as well written or directed.
A powerful, austere, frightening movie about a couple who try to kick heroin addiction together. No holds barred, no pulled punches. Gutsy, yes, brilliant? Good performances. Very, very raw. So what was the problem with memo edit here? I don't know.
Hilarious, terrific farce, with Groucho as operatic impresario trying to help a young couple of singers out. Famous stateroom scene is not as funny as I expected, given it's reputation, but Chico explaining how he and his two friends flew across the Atlantic (they almost made it but then they ran out of fuel and had to turn back) is hysterical, as is the chaos at the opera house at the end.
Not their best film by any means, but full of hilarious moments, as when Groucho joins Margaret Dumont at the formal party, the foreign conductor drifts away to see, and the circus takes over. Unfortunately, has a lame romantic sub-plot, but generally very enjoyable.
Rivetting at times, unpredictable, Bob Hoskins plays a violent but well-meaning hood who becomes chauffeur to a black call girl. He falls for her and does her the favour of looking for a friend of hers who has fallen into the lower realm of drug addiction, walking the streets. Caine plays an evil pimp. A little unsatisfying in the same way the Crying Game was, but well written and acted.
Vastly over-rated, sometimes vicious reassessment of the 1960's through the eyes of an idiot (of course) who, like Chauncy Gardiner, is intended to represent a kind of naive genius whose goodness and innocence presevere in a corrupt, cynical world. What is really cynical is the way the film reverses--indeed Reaganizes-- the baby boomer's perceptions, showing the war veterans as heroes and the pacifists as violent psychotics. The other problem with this film is the traditional American anti-intellectual juice in it: Gump is good, even heroic, because he is stupid. And his success is not due to accident or fate-- but because he is foolish. This is a fantasy and defenders of the film claim it is only a fantasy, but that doesn't jive with the political implications of Gump's heroism in Viet Nam. Zemeckis has done better: see "I Wanna Hold Your Hand".
TOM HANKS, ROBIN WRIGHT, GARY SINISE, SALLY FIELD
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