Reviews written by registered user
|39 reviews in total|
Unintentional laughs hardly compensate for unnecessary movie. Silly
storyline was created in an attempt to use honest to god film footage
of oil field fires. Can you already see where we're headed ? JOHN
WAYNE'S character is named 'Chance Buckman' which sounds like they
stole it off of a young stud catalyst from a William Inge play. As
usual WAYNE will knock down a man or two to show us and himself what a
real man he is but of course one of these men WAYNE will come to
realize is actually up to his impeccable standards. Why the man might
actually marry WAYNE'S gutsy, perky daughter. Haven't we seen this
before ? Of course ego centric plot aside there are other WAYNE staples
here too including BRUCE CABOT as his sidekick and ANDREW McLAGLEN
(McLINTOCK) as the movie's director and just enough non-white actors to
show us how 'multi-cultural' a JOHN WAYNE movie can be. Interior sets
have the cost quality of a porn movie.
Near criminal to see someone of VERA MILES' caliber in a stinker like this. Usual fight scenes abound. During production KATHARINE ROSS who plays the DUKE' daughter with the most unflattering hairdo I've ever seen on her normally breathtaking self told a reporter that the film "was the biggest piece of crap" that she'd ever done. I'm inclined to agree.
If you like scary movies, you'll enjoy THE STRANGERS. Young couple (LIV
TYLER & SCOTT SPEEDMAN) go to his parents isolated vacation home for
the night. Arriving late at night, they're not in the house for long
before the 'strangers' begin to slowly toy with the two. Strange
sounds, moved objects, a young girl at the front door at 4 am looking
for an unknown.
I won't say anything more about the plot because I don't want to spoil it for you. I will say that the movie pulls you in from the beginning. It is fast paced and well done. Additionally the main characters in the film are sensible with the situation for the most part; unlike so many horror movies where the would be victims are constantly doing stupid things making it easier for the perpetrator(s). The film has all of the ingredients for a good scary movie and it delivers !
Sexy, schmaltzy & slick; all good words to describe this 1966 Paul
Newman vehicle. Newman cast in the title role of HARPER is a 40ish
'Private Eye' living out of his small agency office pending divorce
from his 'had it up to here' wife Susan played by Janet Leigh.
The movie starts out on an early California morning with LEW HARPER going to visit the extremely wealthy convalescent Elaine Sampson (Lauren Bacall) at her palatial mansion. Mrs. Sampson's husband has been missing for a day and one her husband's attorneys Albert Graves (Arthur Hill) has suggested that she hire his longtime friend HARPER to find the missing millionaire.
"Drink, Mr. Harper ?", offers Mrs.Sampson. "Not before lunch," the declining HARPER says as he spits out his gum. "(But) I thought you were a detective," inquires Mrs. Sampson. "New type," counters HARPER.
Mrs. Sampson's concern about her husband's alleged disappearance has little to do with his well being and more to do with his affability while drunk. Apparently Mr. Sampson has a history of going on drunken binges with "happy starlets" and giving away things. Also present at the house are Mrs. Sampson's ever snooping manservant Felix (Eugene Iglesias), step daughter Miranda (Pamela Tiffin), and Mr. Sampson's private pilot Alan Taggert (Robert Wagner) who was the last person to see Mr. Sampson.
HARPER goes on a whirlwind through southern California running into a variety of interesting supporting characters from fat boozy former starlet Faye Estabrook (Shelly Winters) who had been doing Mr. Sampson's astrology charts for the past several years, Faye's sadistic criminal husband Dwight Troy (Robert Webber), cabaret singer Betty Fraley (Julie Harris), and Claude (Strother Martin), a man to whom Mr. Sampson gave away a whole mountain that he has turned into a 'religious sanctuary'.
Throughout, HARPER is a 'smart Aleck', who runs circles around the inept police personnel, and is one step ahead of the rest of us.
Bright crisp colorful photography, to the point action as directed by Jack Smight, a terrific supporting cast (particularly Winters who didn't mind going out on a limb), & an easy background score. This film is fast paced, and thoroughly enjoyable. HARPER is Paul Newman's baby all the way.
An unnecessary remake. I couldn't help but to keep comparing this to the original and the original was not surpassed by this remake. The advances in special effects do not compensate. The movie seemed to have been made for those who are already familiar with the story because they give the audience no time whatsoever for character building. The special effects are are not only obvious, but they're too damn busy. Watching is somewhat difficult because there is so much constantly going on that it is hard to decipher which way is up, let alone giving you a moment to put it all together. A colossal mess of computer generated effects. The acting for the most part is forgettable unlike those cast in the 1972 version. A disappointment.
Unless a movie is being remade because the original was made before
sound, or was made so long ago that the acting has become antiquated, I
usually don't see the point in 'remakes'. The majority are not as good
as the originals. Not so with this 2006 version of THE OMEN. It is as
good, and in some ways better than the 1976 one.
Beautiful cinematography of overly dramatic background settings with lots & lots of thunderous downpours, there is also the subtle but effective music supplied by Marco Beltrami on Jerry Goldsmith's scoring. The by now familiar storyline of a politically prominent couple who unbeknown to them are raising the anti-Christ grabs the viewer's attention from the beginning and keeps you entertained throughout.
One of the things that I found preferable to the original was casting the more age appropriate JULIA STILES and LIEV SCHREIBER as the parents. STILES particularly. She gives the role of 'Katherine Thorn' both a likability as well as fragile vulnerability. SCHREIBER doesn't possess the command of role predecessor GREGORY PECK, but does well enough. I hadn't seen MIA FARROW in a film in some time and she is excellent as the specious new nanny, 'Mrs. Baylock'. Actor David THEWLIS is good as the photographer 'Keith Jennings' who finds that some of the pictures he takes are predictions of the impending deaths to some of those in Damian's way or need for sacrifice. SEAMUS DAVEY-FITZPATRICK is not as effective as HARVEY STEPHENS was in the original. DAVEY-FITZPATRICK looks grumpy rather than menacingly evil. The film though moves consistently and with continuity. Worth watching and every bit as good as the original !
A parody of 'Date Movies', this film DATE MOVIE just isn't particularly
funny. It tries, it strains, it misses. What laughs there are are far &
few in between.
If you're a 13 year old boy, you might like it. If you're older than 13, I doubt it. Sophomoric, slap-sticky nonsense. Much of which is highly politically incorrect. Making fun of fat people, beating a homeless person for a laugh, toilet humor.
The super smokin' bodies of SOPHIE MONK & CARMEN ELECTRA are the only redeeming highlights. ELECTRA'S bit lasts less than 2 minutes.
Looks more like a 'straight to video' or a USA network original movie than a theatrical release. Dreary, stupid & unimaginative.
The now familiar story of 2 cowboys in 1963 Wyoming who unexpectedly
fall in love is one powerful movie ! Aside from the gorgeous scenery,
the first 45 minutes are rather slow viewing. Jack Twist (GYLLENHAAL)
and Ennis Del Mar (LEDGER) are hired for a summer to watch a herd of
sheep as they graze in the mountains of Wyoming. Both young men are
from poor backgrounds. Del Mar is particularly quiet and says little.
Alone out on BROKEBACK MOUNTAIN, they slowly begin to bond. One night
as they share a tent sleeping, a casual arm pulling the other nearer
leads to a suppressed release of passion. That done, the story really
begins to take off. They part ways at summer's end. Ennis vomits and
pounds a wall, partially because he's confused about his taboo love,
partially because he's not an articulate individual. Each marries a
woman that they seem to love, but not be in love with. The men reunite
4 years later when Jack is going through the town where Ennis is living
with his wife (WILLIAMS) and two young daughters. Ennis looks like he
is alive for the first time in years when his old friend arrives.
Ennis's wife sees the two men kissing during the initial visit, but
says nothing. She is numb. The men go away on a 'fishing trip' which is
a romantic liaison. They decide to go on fishing trips whenever times
allow: Once, twice a year. Jack's wife (HATHAWAY) appears not to be
aware of anything out of the ordinary except for her father's apparent
contempt for her husband. Their story continues over the course of 20
years. Their inability to communicate and how they in turn express
themselves is the real tale.
Precisely directed with standout performances by LEDGER, GYLLENHALL, HATHAWAY & WILLIAMS, this is definitely one intense, powerful piece of storytelling. Very well done, and one of the best movies with a real 'story' that I've seen in years.
Based on JOHN Le CARRE'S book, this film adaptation could have been much better. Often fragmented, annoyingly pleased with itself. I haven't heard the phrase Artsy-Fartsy in a long time, however that pretty much sums it up. By now fairly familiar story has FIENNES investigating his young wife's murder finding conspiracy much deeper than he could have imagined. WEISZ as the wife, seen in flashbacks alternates between beguiling, sweet ingénue and shrill histrionic out to save the world from conspiracy plots all around. Her voice gets to be like fingernails on the blackboard after awhile. WEISZ comes across like an intellectual LIZ HURLEY.
You see the provocative title ALL THE FINE YOUNG CANNIBALS. Then you
see the cast; NATALIE WOOD, ROBERT WAGNER, PEARL BAILEY and you think,
this one's going to be good !
Very glossy with obviously decent production values hardly compensates for this awful movie. Four young and very attractive actors (WOOD, WAGNER, HAMILTON & KOHNER) interact with one another in over the top soap opera that has got to be one of the most unnecessary melodramas of all time. Actresses (NATALIE WOOD & SUSAN KOHNER) are gorgeous and dressed and coiffed to the nines thanks to Helen Rose and Sydney Guilaroff, but they almost come across like little girls in dress up as you watch them wallow in miseries of their own making. WAGNER tries too hard as hip trumpet player who is befriended by PEARL BAILEY, an alcoholic singer hellbent on self-destruction over a lost love. All involved must have thought that they were making something 'cutting edge' because of the relationship of white boy WAGNER with black woman BAILEY. WAGNER evens gets to get on a soapbox, slap KOHNER afters she refers to BAILEY'S character 'Ruby' as the 'N' word and then describe the black woman as the only truly decent person he's ever known ! Aside from the visual richness of the film, you'll quickly realize that the story is so apparently vacuous that it's like witnessing a vicious circle in motion.
TRIVIA : The piano player 'Redd' is none other than REDD FOXX, a good dozen years before the success
I was not previously aware of this gem. I found it on TCM after it had
already been on for about 10 minutes. I kept thinking that the lead
actress looked just like SUSAN STRASBERG & for good reason. It was. The
fact that it was foreign with sub-titles threw me initially. Very
realistic, almost raw, which was surprising considering that this movie
was made in 1959.
STRASBERG as 'Nicole' works her way up through a concentration camp to become the woman in charge of her fellow prisoners. Strong language, violent situations, but this is a story about WWII, not the 'Enchanted Forest'. Good storyline, good direction, & a terrific performance by SUSAN STRASBERG that was all the more admirable when you realize that she was all of 20,21 when she made this.
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