Reviews written by registered user
|3075 reviews in total|
The personal tales of various prostitutes who occupy a Japanese
Okay, so the opening music is wild. And then for most of the film the music is very mellow or non-existent. What are we to make of this? I have no idea.
Criterion has put this film in their box set of Mizoguchi's "fallen women", appropriately enough. For over twenty years, he really captured women in questionable roles -- from adulteress to prostitute, and never did it in a way that exploited them or shamed them. He was honest and fair.
Some people like his early work better, some like the later stuff. This is his last film, and indeed the polished look is far different from his earliest attempts. Good or bad? Hard to say. One wonders if the war could change a man and his art...
Ayako (Isuzu Yamada) becomes the mistress of her boss, Mr. Asai, so she
can pay her father's debt, and prevent him from going to prison for
embezzlement. She also sends money to her brother Hiroshi to pay his
university tuition, but her father intercepts it.
Mizoguchi considered the film his first serious effort as a director, and while I am not familiar with his earlier work, I have to say this is the kind of film that leaves a mark. Either Mizoguchi or his cinematographer had an excellent awareness of the camera -- the door closing to block the camera early on in the film -- years ahead of its time.
The subject matter in general is impressive. I am not sure what the typical morality was in pre-war Japan, but to feature adultery and whatnot in the 1930s seems quite bold.
The battle of the sexes and relationships among the elite of Britian's
industrial Midlands in the 1920s. Gerald Crich (Oliver Reed) and Rupert
Berkin (Alan Bates) are best friends who fall in love with a pair of
sisters: Gudrun the sculptress (Glenda Jackson) and Ursula the
schoolteacher (Jennie Linden).
I just wanted to mention the nude wrestling scene. Wow. To have this in a film is pretty incredible, but then to have it with a notable actor (Reed) is even more incredible. A bold move for everyone involved.
The film won the Golden Globe Award for Best English-Language Foreign Film, an honor they discontinued in 1973 when it occurred to everyone that this makes no sense.
A misfit reindeer (Billie Mae Richards) and his friends look for a
place that will accept them.
As I write this (2013) the film is nearing a 50th anniversary. And despite being animation -- which generally ages poorly -- this remains one of the greatest Christmas classics ever made. The film is just as good as it ever was and has taken on a life of its own.
Interestingly, Rudolph is shown to be Donner's son. This may be the only time this connection is ever made -- I am unaware of any other Rudolph tale mentioning the family link. We also learn that Donner (voiced by Paul Kligman) is an incredibly insensitive jerk.
Story of the night that Mary Shelley gave birth to the horror classic
"Frankenstein." Disturbed drug induced games are played and ghost
stories are told one rainy night at the mad Lord Byron's country
When you have a horror film directed by Ken Russell, starring Gabriel Byrne as Lord Byron, Julian Sands as Percy Bysshe Shelley and Natasha Richardson as Mary Shelley, you expect a certain level of quality, or at least entertainment. And I think this more or less hit those marks.
For me, the most troublesome part was the poor quality DVD. Maybe there are good ones and bad ones, but the one I had was pretty fuzzy -- not unlike a VHS transfer. This is the sort of title that Shout Factory could do wonders with.
Details the graphic and shocking, yet undeniably tragic story of Rome's
most infamous Caesar, Gaius Germanicus Caligula (Malcolm McDowell).
The film should have been good. Written by Gore Vidal, and starring an actor who was not afraid to tackle sex and violence... how do you mess up the biography of one of the most disturbing people in history? And yet, Roger Ebert gave it a rare zero stars rating, calling it "sickening, utterly worthless, shameful trash", criticizing not only the film's vulgarity in its depiction of sex and violence, but also its technically incompetent direction and structure.
I watched the R-rated version (at 101 minutes) and thought it was no masterpiece, but hardly the tripe some say it is. Perhaps the unedited version is much worse.
Get ready for some holiday spirits as the first family of fright
rallies to show melancholy Eddie Munster (Bug Hall) some of the holly,
jolly magic that only Santa (Mark Mitchell) can bring.
With no one from the original cast involved, and not even the second cast, you might think this would be terrible. And for some people, it might be. Grandpa's makeup is pretty questionable, and only Lily really looks close to the way she should.
But the actors involved are mostly notable and not just bums off the street, and the overall humor is pretty good -- the yard decorations, the bikers, the fruitcake. I think this is not necessarily a must-see Christmas film, but far better than some of the rubbish out there.
Late on Guy Fawkes Day, 1892, Oscar Wilde arrives at a high-class
brothel where a surprise awaits: a staging of his play "Salome," with
parts played by prostitutes, Wilde's host, his lover Bosey, and Lady
The film was shot for $800,000 over a four-week period in London. Director Ken Russell had been signed by Vestron to a three picture deal after the success of "Gothic", of which this was the first. Imogen Millais-Scott went blind three weeks before filming after contracting glandular fever, but Russell insisted on still using her. This was the right choice.
This film met with modest critical acclaim. The review in the New York Times called it "a perfumed, comic stunt," but noted that "Russell forces one to attend to (and to discover the odd glory in) the Wilde language, which, on the printed page, works faster than Valium." And seriously, how can you go wrong with Jewish midgets, flatulence and Biblical sexuality?
Two garbage truck drivers in Hollywood become celebrities overnight
after they find Cuba Gooding Jr.'s Best Supporting Actor Oscar for
"Jerry Maguire" and suddenly their lives go topsy-turvy.
I loved how this was such a novel concept, and made me wonder: who really collects celebrity trash? Whoever is in that position could easily use it to their advantage. Now, they are not going to find an Oscar, most likely, but they might be aware that Billy Baldwin eats a lot more fish sticks than the average person.
Unfortunately in this case, the film never fully takes off. There are some good moments and a few key cameos, but the overall arc is a low one. I feel like there could have been a little bit more going on, a bit more zaniness. Oh well. At least we got Michael Madsen.
At an inn which is only open on holidays, a crooner (Bing Crosby) and a
hoofer (Fred Astaire) vie for the affections of a beautiful
This film was the precursor to "White Christmas", and today is probably the lesser-known of the two. How that happened is unclear. While I do think "White Christmas" is the better film, it is hard to deny some of the great dance sequences with Fred Astaire.
I watched it as part of my Christmas movie viewing in 2013... and I am not sure I will be making it part of 2014. I guess I just did not fully connect with it. That, and it really has relatively little to do with Christmas.
|Page 1 of 308:||          |