Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Very lightweight fare indeed is this hollowly energetic film designed
to showcase a lovely and lively Fay Wray, a work that is hindered by a
poorly constructed script that is full of predictable dialogue and
sequences, so that despite adequate production support from Columbia
Pictures, only the stunt work is completely satisfying, although Wray
does contribute a good deal of pepper with her performance as a
pampered rich girl. Dan Bailey (Ralph Bellamy) is a professional
instructional pilot employed, during this highly cinematically
pictorial biplane era, by Western Petroleum, owned by E.J. Reid
(Thurston Hall) whose daughter Joyce (Wray) is madly in love with
Bailey, but after the latter insults Reid he is fired, immediately
thereafter hiring on with another company that ships him, along with
two airplanes, by freighter to China for oil exploration purposes, Dan
being unaware that his new employer is actually under the control of
Reid whose intent through this sea voyage is to have the Pacific Ocean
between romance coated Joyce and the flier. Ruthless Chinese warlord
Fang Wu has suborned the services of the freighter captain, placing his
surrogate Mister Wong (Paul Guilfoyle) on board playacting as the
skipper's ostensible servant, while in reality controlling the ship's
passage while Bailey, his sidekick Andy (Edward Gargan), along with the
pair of aircraft are being shanghaied into the custody and service of
Fang, an unfortunate Joyce, remaining smitten with Dan after his
canning by her father and stowing away to be near him, also being
ensnared. There are some exciting stunts seen in the air and upon the
ground, but elsewise journeyman director Albert Rogell has scant
material available from within a weakly cobbled script to elevate the
silly storyline. Wray garners acting honours, obviously enjoying her
part and always looking good, substantially due to costumer Samuel
Lange, while Otto Meyer's able editing helps to smartly move along this
largely forgettable fondue.
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