Reviews written by registered user
|54 reviews in total|
Another interesting and intelligent character-study from Robert Aldrich. The film is about a small group of very different people stranded in the Sahara desert after an aircrash. Jimmy Stewart is the epitome of American can-do decency, whilst Hardy Kruger plays the introverted but resourceful aeronautical engineer who believes he has the solution to their problems. Look-out for Stewart's remark towards the end about the future belonging to people with slide rules! Faultless performances from the whole cast.
Richard Harris gives a towering performance as a farmer determined to prevent anyone else buying a piece of land. This is a moving and powerful film about obsession, stubbornness and a refusal to acknowledge another person's view and the self-destructiveness such traits can engender.
This film about a German agent trying to escape from Britain might seem to offer limited scope for interest, but Sutherland's menacing performance and the events on the island turn it into something approaching a study in psychopathy, laden with uncertainty and fear. The vulnerability of Lucy (Kate Nelligan, a sensitive and intelligent but definitely pre-feminist woman helps to give the film an added poignancy. Sutherland's performance is such that we are always fascinated by the damaged and ruthless character he portrays. Those who dislike war films may find themselves surprised by this film.
Shlessinger has never been known as an 'optimistic' director, so it was perhaps as inevitable as some of the events in the film that he should have chosen to adapt a novel by Thomas Hardy. Julie Christie plays Bathsheeba a beautiful and financially independent woman in late Victorian England who is desired by three very different men. Hardy's highly-developed sense of tragedy is ably conveyed by all the principals in this beautifully-photographed and well-directed film, as events move towards what seems to be an almost pre-determined resolution.
A wonderful, quick-witted and beautifully acted farce. Monty Wooley steals the show as a celebrity who slips on the ice and ends-up taking-over a respectable American household. If you don't like black and white pictures you won't like this film!
William Hurt stars as the brooding janitor in this sub-Hitchcockian thriller directed by Peter Yates (Bullitt). No-one in the film is quite what they seem, and Hurt plays the role of ambivalent hero/anti hero intelligently. Sigourney Weaver shows what a fine actress she really is whilst Christopher Plummer adds gravitas to the proceedings. Like Benton's Still Of The Night the film is well-crafted and often intriguing. Definitely well worth watching.
George Kennedy plays what may well be his best performance as a man who frames himself for a crime he didn't commit so his wife can benefit from the reward money, and then becomes enmeshed in a complex and gripping spiral of events after he discovers he is not going to die after all. Anyone who enjoys thrillers will enjoy this film, and it is a mystery to me why it is not available in video.
An early piece of New Wave cinema by Goddard in the days before his films became totally incomprehensible, it was inspirational for directors like Bertolucci in its vigour and willingness to challenge conventional attitudes. The film is, in fact, deeply morally ambivalent, with Belmondo as the 'cool' hero with no apparent loyalty or obligation to anyone but himself, but like Antonioni's L'Avventura it seems to usher in a new kind of world, a world of complexity, uncertainty and, in the case of Bout de Souffle, a world dominated by the young. It would not be too far from the truth to see most pop videos of today as direct descendants of this film. Seberg's performance is strangely melancholic, presaging the later tragedies of her own life, and the image of her wandering the streets of Paris as a young girl selling copies of The International Herald Tribune is for some reason the one that I remember most clearly from this film.
A very unusual David Lynch movie, this tells the story of the life of a disfigured Victorian man and the doctor who tried to help him. Few American directors have really had a feel for Britain, let alone continental Europe, (Landis (An American Werewolf in London) and Losey (The Go-Between) are exceptions that come to mind) but Lynch's portrait of Victorian society is both powerful and poignant. Similar in concept to Bogdanovich's Mask, the film is profoundly different in execution. Lynch elicits outstanding performances from all the cast and succeeds in producing a deeply humane piece of cinema.
I liked this film very much when I saw it some years ago. It tells the story of an old woman who, as a child, had been the model for Lewis Carroll's Alice in Wonderland journeying to America on a liner and, after her young travelling companion begins to fall in love with a reporter, gradually remembering her childhood, and understanding for the first time the extent to which she had been loved (not physically) by Carroll. Carroll was in real life a tutor at Christchurch College, Oxford, and there are some wonderful remembrances of Oxford, including a charming mad hatter's tea party. The real insight of the film, though, is the way it shows that memories long buried (for whatever reason) have the power, when released, to change our understanding of ourselves and the world as we have known it.
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