An American Indian and his wife are in crisis. Their Psychiatrist over-comes tribal prejudices to get an Indian Medicine Man to help them. The healing ceremony proves as harrowing for the ... See full summary »
Pete Sandich and buddy Al Yackey are daredevil aerial forest-fire fighters. Pete finds True Love with Dorinda but won't give up the job. When he takes one risk too many, Dorinda faces deep grief and cannot easily put her life back together. Written by
When Ted gives CPR to the bus driver, he is clearly pretending to perform chest compressions and breathe into him.
Doing real compressions on a beating heart can actually cause the heart to stop. See more »
[starved for petrol, the #2 engine dies]
Tanker 57 to tanker base. I've got a small inconvenience here.
Talk to me Pete.
I may have overestimated my fuel just a tad, but I can see the base from here and my right engine is fine, so I don't think there's going to be any...
[right engine splutters]
Pete, what do you need? What do you need?
[#1 engine finishes sputtering to a stop]
[rings the crash alarm and announces over the PA]
We've got a situation here. We've got a ...
[...] See more »
Spielberg deserves a fresh look. I open with that because as I read the decidedly mixed thoughts on this and other films of his, I notice the same thought over and over again. People who review Spielberg usually want to pigeonhole him into a type: the ET-warm-and-fuzzy-alien children's storyteller versus the special-effects-heavy-but-rather-empty-plot dreamer. All the while there is the generic whine of 'why doesn't he ever try to do something else (SCHINDLER'S LIST notwithstanding)?' Then when he does, as evidenced here, there are wails of dissatisfaction that he tried to do something over his head. Oy.
It's so silly to label and categorize a filmmaker so much. ALWAYS is, first and foremost, a love story. A remake of an earlier film to be sure, but even this 1989 treatment looks and feels nostalgic with its amber-tinted cinematography, the sentimental presentation of the devoted fighter pilots, even Holly Hunter's birthday gift of 'girl clothes' tips a hat to 1940's elegance. And you can't get more nostalgic than the appearance of the ageless, magical Audrey Hepburn (sharp as a tack in her last film as a bright-eyed, no-nonsense angel). All of Hepburn's scenes with Richard Dreyfuss are wonderful (especially the first one when she tries- slightly befuddled- to explain his state of existence), as is the leitmotiv of "Smoke Gets In Your Eyes-" used in two dance sequences with Dreyfuss and Hunter: one at a charming birthday party (watching all the burly firemen clean up is a riot), the other in a bewitching soliloquy of mourning. And once again, John Goodman rises to the occasion as the best friend anyone could ever have. Just saw it on TCM, rounding out a July 2005 tribute to Ms. Hepburn. You should check it out.
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