Reviews written by registered user
|8 reviews in total|
European thrillers tend to be much more down beat then their American
counter parts and this one is no exception.
A family is taken hostage by two young thugs who take great delight in physically and psychologically terrorizing them.
The movie is a sadist's masterpiece. It is unbearably tense and I think it is the director's intent to bring the viewer into the movie and feel the character's terror. It is well made and I don't think the violence is exploitive, but nonetheless I felt like taking a shower afterwards.
This film promotes itself suggesting it re-imagines the 40 minutes
excised from the movie "Crusing". It is actually a contrived and boring
"behind the scenes" making of 10 re-imagined minutes from the original
movie and, as shown, I highly doubt they are what Friedkin would have
The re-shot "Crusing" minutes are provocative and very sexually explicit, but they don't make up for the other 50 minutes where we watch the straight actor in the Al Pachino role trying to come to terms with taking on a gay-themed role.
I thought the 60 minutes of this movie would never end.
This is basically the filmed version of the 1982 Tony awarded Broadway
revival. It therefore comes across as very stagy, and its' impact is
diminished on the small screen. Nonetheless, the camera does capture two
great performances that help make it a powerful viewing
Zoe Caldwell is amazing (she won a Tony award) as the mad Medea who exacts revenge on her husband in this classic Greek tragedy. She turns in a performance that I have found to be the best interpretation of the role. Judith Anderson is also astonishing as Medea's maid, and she shows what great talent can do with a small role.
If you get an opportunity to see this production it's worth a look.
This movie is certainly a companion piece to the "Blair Witch Project",
but it is a much better film for two reasons: (1) everyone can relate
to it due to the fact we all have to sleep at night and what might go
on around us while we're sleeping puts us at our most vulnerable; and,
(2) the climactic scene is a much better payoff than the ending to
The film also puts most of the more recent Hollywood horror films to shame because its plot is simple. It's not trying to remake "The Sixth Sense" by providing you with an unexpected twist ending or convoluted plot that ends up making no sense at all. You know at the start what's going to happen at the end and much of the movie's suspense comes from that sense of dread as well as from small, mundane occurrences filmed in a very sinister way.
There is a little too much comic relief from the banter and squabbling of the two main characters which becomes annoying after awhile, but this is a minor complaint.
Definitely a horror movie worth seeing, which stays with you after it's over, which makes it the best kind.
I was able to see a grainy print of this "movie" at a revival theater. I
don't know where they got the print, but it's a real shame that it's not
on video or DVD. It is jaw droppingly awful in a way that makes it
Liza Minnelli gives an early, clunky performance as Red Riding Hood and Cyril Richard is a scream as the wolf/granny. The best moment is when the two of them sing "Ding-a-Ling". Cyril looks ridiculous dressed up and hamming it up as granny, while Liza jumps around the tv set doing some of the worst dance moves ever recorded on film.
See this movie if you ever get a chance, it's priceless.
The American Film Theater made about 10 films of notable plays which
retained the feel of seeing a theater production, but employed high caliber
actors to fill the roles, and enhanced production values so you are not just
simply watching actors perform on a stage. The movies that were made (A
Delicate Balance, Luther, Galileo, The Maids, The Man in the Glass Booth,
Butley, In Celebration, The Homecoming) are interesting, but not really
The camera doesn't replace the experience of seeing a live performance, and since the actors are employing theatrical techniques in their performances they do come across as overblown and somewhat hammy.
"The Iceman Cometh" comes across better than most of the AFT productions. The cast is steller with Robert Ryan and Bradford Dillman being particular standouts. The only weak performance is delivered by Jeff Bridges who was probably too young at the time to rise to the demands of O'Neill's work.
This is a long movie (4 hours)and character driven, but worth the viewing.
Maximilian Schell gives a brilliant performance in this movie about a Jewish
industrialist brought to trial for Nazi war crimes. Schell was justly
nominated for an Academy Award. His ending speech about Hitler is amazing.
It's a shame that this movie is not more available.
To really appreciate Schell's performance and get the full impact of this story, it helps to have an understanding about Hitler and the theories about what motivated his actions and beliefs. Without this background this movie will come across as hopelessly contrived, but taken as an allegory about the dictator, it is extremely powerful. It is curious why Robert Shaw had his name removed from the credits.
Much criticism has been lodged against the makers of "United 93" saying
the film is too recent to document the horrors of 9/11 and that it is
exploitive of the passengers aboard that doomed flight. Having seen the
movie, I can say nothing could be further from the truth. In less than
an hour those passengers had to overcome confusion, fear and shock in
order to attempt to take back control of their plane. This film is a
tribute to those passengers, and an important testament to human
courage and the will to survive.
Filmed in a cinema verities style, the first two thirds of the movie concentrates on the air traffic controllers and the military as they struggle to come to terms with what is occurring aboard several aircraft, and what they might do to avoid further casualties as the events unfold. One of the main strengths of "United 93" is that it makes these events more human, and avoids laying blame in regards to what was an unprecedented and chaotic situation.
Interspersed throughout these scenes are the happenings aboard flight 93. The movie doesn't provide us with back stories about the passengers and yet we come to understand and identify with them as we witness the horrific incidents that occur. The movie shows the struggle in the cockpit, and the murders of some of the crew, but it doesn't exploit them close ups, rather it simply films what is believed to have happened.
The last thirty minutes of the movie is devoted entirely to the passengers and their fight to take back control. It is during this last half where the movie takes a brilliant turn with direction, acting, editing and music all merging together to make for powerful and gut wrenching conclusion. It is also during this half that we see the passengers making phone calls to their love ones in an intense montage as they express their love, their emotions, and their resolve to stand up for themselves. It is raw, it is hard to watch, and yet it is beautiful to see.
The criticisms that I have are that I think there was too much hand held camera work in the control room scenes. I did feel a little nauseous at points as my eyes tried to focus. I also am not sure how true some of the events are that movie documents towards the end (there seems to be a little artistic license), but these are very minor criticisms. Overall, I think this movie is one of the best directed films I've seen since "Requiem for a Dream".
I can understand people not wanting to see this movie. It's not easy to sit through, but for those who can, I do believe they will come away feeling moved, and oddly a little more optimistic about life and the events of 9/11.