Reviews written by registered user
|4 reviews in total|
-Mr. Ripley- is a well-crafted psychological mind-bender that pulled me in
from Tom Ripley's arrival in Italy. Most reviewers believe the storyline to
be either ridiculously poor or intensely enthralling; I belong in the latter
category. The only fault I see with the movie is the ending, which makes the
film feel incomplete.
To address the opinions of other reviewers:
* The movie is too long - The movie does start off slowly; the first 40 minutes are mainly exposition and set-up for the "meat" of the story. After that, though, the story picks up with enough plot points and guileful Ripley machinations to where you're always asking what will happen next, and whether or not Ripley's tangled web will eventually unravel.
* "Gee, aren't I interested in some rich, gorgeous, self-centered schmuck and the dweeb who actually looks up to him. I mean, come on people? Is that America? Are my fellow Americans just dying to be perfect and rich; and nothing more?" - No, they're not, and the fact that Tom Ripley is NOT what most of our fellow Americans are like is what makes his character so intriguingly disturbing. Also, even though Ripley is a disturbed man, the fact that Dickie Greenleaf is a "rich, gorgeous, self-centered schmuck" makes many a viewer side secretly with Ripley in a twist of nefariously guilty pleasure.
-The Talented Mr. Ripley- is a film that definitely deserves to be seen and enjoyed.
Of course, by "dark side" I'm not talking about the underworld of drugs
depicted in this movie, but rather the film's cinematography (and my use
the term is more loose than a bad bowel movement). Although many awful
elements have already been mentioned, another thing to note is the subtle
lack of timeline continuity. The arrival in L.A. features Christmas
decorations, but about two thirds of the way through the movie, a drug
trafficker talking to Buzz on the street reminds him of a meeting on "May
2." Nothing else in the movie ever suggests that the plot plays itself
As StinkerCritics mentioned, this film has the worst continuity error in movie history, which is probably why -Girl- was the last editing job ever given to Leo H. Shreve. (Who?) I bet the "magic diner teleport" scene exists because the filmmakers couldn't break the budget with the $5 worth of film needed to reshoot the start of the scene with Buzz in it. Of course, reshooting it might've also meant depriving Mr. Shreve of his entire salary for this movie.
Cradle Will Rock is an ambitious cinematic project that many will have
difficulty understanding during the first half of the movie. The filmmaking
style weaves several subplots together into a cinematic collage, and it
takes some effort to mentally catalog each subplot while the film is
running. Oftentimes, the images on screen seem like part of a stream of
consciousness, especially scenes when we take a look into the creative
process of the playwright Marc Blitzstein (Hank Azaria). The style aside, I
found the subject matter quite intriguing. The film reminded me of those
high-school studies of the anti-Communist crusades of the 30's and 40's, and
I was fascinated by the various ways in which the prevalent political
sentiment of the day touched the lives of different people practising
different forms of art and human expression.
After warming up to the film's unconventional style, I was able to derive some enjoyment out of it. I do wish, though, that more time was given to character development (not an easy task, I realize, with the number of characters in the movie). I could envision this as a three-hour movie or even a mini-series. More solid character development would've probably given more impact to the film's ending, which seemed a little bit contrived and didn't attain the climactic feel that a moviemaker would seek. My rating: 6/10.
Das Boot is by far one of the greatest war movies ever made. The thing
makes this movie so wonderful is its truthfulness - especially that it had
the audacity to present WWII Germans as real human beings. In addition,
rather than portraying war with the typical feel-good sugar-coated glory,
bravery, honor, etc., it portrays war for all it really is: a twisted,
terrifying experience that no person should ever have to face. Indeed, Das
Boot is masterful at showing how the zeal and enthusiasm of young men
(practically boys) slowly erode with each passing day spent in this
humid sardine can they are forced to call home during their tour of
The Director's Cut is a fantastic piece of work. The battle scenes especially feature extended, masterfully done tension-building sequences. Often, little more than silence and facial expression heighten the drama, drawing the viewer further and further into the waiting game - Is the enemy ship gone? Is the next depth charge about to explode? Many of the greatest moments in the film occur when these men utter not a single word.
In his DVD audio commentary, Wolfgang Petersen tells of how a couple of Hollywood deals fell through before his team finally decided to make a real German epic in "the German way." Thank heaven that Hollywood didn't get a chance to taint the story with some fluffy pro-American slant that would've defocused the whole point of this film: War is hell - and that's all you really need to know. My hat goes off to him, his crew, and his actors for their commitment in producing one of finest examples of quality filmmaking in existence.