Reviews written by registered user
|13 reviews in total|
I find it amazing to see this listed as a crime drama or a thriller. It
is a semi-black comedy throughout. How anyone cannot see that hapless
franchise tax board lady as anything but hilarious is beyond me.
Michael Rapaport, who after all started out as a stand-up comedian, is completely amazing as a bumbler who borders on the sinister, and leaves you guessing right up to the end. And Bruce Dern is so far over the top as a crime boss hiding out as a veterinarian (!!) that anyone should be able to see how this is meant to be comic exaggeration, not real evil.
Lesvesque is absolute perfect for the role, and Parker Posey is her usual wonderful self.
This is one of the poorest excuses for a movie ever made. It takes a
lot of random photos of the crowds, racing cars, and individuals at
1970 Le Mans, intercuts them with the barest minimum of stories and
even less dialogue. The only good line is a rip-off. McQueen is telling
the widow of a man whose death he caused the reason he continues to
drive though it could mean death: "Driving is life. The rest is
waiting." This borrows the original of the line by Kurt Wallenda of the
Flying Wallendas, a high wire walking family: "To be on the wire is
life. The rest is waiting."
I have never seen a longish film with so little story. When one watches a Chris Marker film, one expects little in the way of narrative elucidation, but in the end the whole becomes a very interesting and even moving narration.
And that two finger salute at the end, which has been interpreted as saying, "#2" is, in the European context, the equivalent of our own "one finger salute"or giving the finger.
I absolutely loved this film as a child. When I watched it again after
60 years it was even better than I remembered. Instead of the phony
Polynesians of the earlier adaptation of the original novel Benjamin
Blake (Son of Fury with Tyrone Power) the acting is excellent, and the
story, reset in France prior to theRevolution makes great social
comments on the excesses of the aristocracy and their vile treatment of
lower classes, it includes a serious interest in science and
This is definitely worth seeing. The photography is great, and the scenes of actual inhabitants of Central America in their rituals and dancing made it ring.
Cornel Wilde was perfectly fine in the role. And the old Scotsman added interest and wisdom.
This film is very well done. But I have to say that as it has the 1946
date, and came out in 1947, it was done before the big 'purge' that
started in 1948. After that year, Hollywood felt it had to knuckle
under to the new political agendas of our nation, and could no longer
lightly or even comically criticize big business tycoon, Madison Avenue
or the new 'religion' that held making money was all.
The performances of all the stars, from Gable to Gardner, but especially Kerr are exceptional; every possible nuance of their responses to each other is made very clear, and yet one cannot know in the course of the film just where it will be going. Keenan Wynn's small role is incredibly well done.
I'd never seen it till it appeared recently on TCM. Bravo to them for screening it.
I was shocked to see this film after hearing of the popularity of Ayn
Rand among conservatives and economists for years, I expected something
clear, possibly formulaic, but watchable.
Imagine my surprise when I discovered it to be nothing more than an approving showcase for the monstrous egotism of the architect Gary Cooper and the predatory lust of the wealthy Patricia Neal, his patron and employer -- all the result of the architect's genius, which puts him so far above the common man, for whom ethics and morality are just motivated by envy -- that he need not care for such petty things.
The craven characters in this film, who put themselves before everyone and everything else is almost frightening to see, especially as the film celebrates sexual depravity and brutal egotism as if they were virtues.
How could anyone think this a great film is beyond me.
I found it odd that reviewers, and the plot summary, center on Glenn
Ford coming to investigate his brother's murder.
The plot does not actually center on this, since Ford comes a bit late into the film. Moreover, he is skeptical that his brother committed suicide, but murder is not established until later in the film.
The spotlight is really on Rita Hayworth, who plays the role very well, being both good at being the cabaret singer-dancer that she is, and a straightforward and caring person hoping to help the British authorities bring justice to the case. It is, as barely noted, actually a spy thriller! And it is very well done, given that one cannot actually discern if the spies are committed Nazis or some kind of eastern Europeans--in other words, as distinct from other cold war era films it doesn't go after the Russians as well it might have.
This is one of the best of the cop shows out there; almost, but not
quite, in the NYPD Blue league for its grittiness and for its hiring
good actors both in main roles and as extras. I never thought I could
be convinced by Michael Imperioli as a policeman rather than a Mafioso,
but he is really very good. The story lines are also complex enough to
be occasionally quite intriguing rather than predictable. James
McDaniels is as good as he was on NYPD Blue, with the same dignified
style and obvious intelligence. The Detroit that also is a 'star' of
the show is very well presented: realistically, but without obvious
For the life of me I cannot see why ABC gave the very silly show Body of Proof a second season and not this one!
Will someone pick up the series and continue it?
I found this gem of a movie on television. Charles Laughton was
outstanding. He conveyed perfectly the thesis of the film: that Nazism
and the New World Order depended on corrupting those they occupied,
tempting them with rewards for betraying their fellow countrymen more
than even the brutal intimidation we are all familiar with.
I was also quite interested to see the collaboration between the big industrialists and the Nazis, who corrupted them by catering to their anti-unionism. The fact that being against unions was a pillar of Nazi ideology has not been well known, but Renoir's film made it crystal clear.
All the performances were well above par; Sanders played the self-seeking weasel who has a change of conscience very well, in a very legible, nuanced way. Maureen O'Hara was also excellent, as always.
But it was Charles Laughton, standing before the collaborators, Nazis and his own mother as he comes to realize how crucial the Rights of Man are to living decently and honorably, who wins the day.
We love this show. The action is light, the dialogue snappy, the love
interests are sensitive without any sappiness.
This is one of the best of the multiple detective shows that inhabit our TV universe. First of all it is unique insofar as the hero is not constantly in a jam with his superiors and is not full of the most unpleasant character flaws, which most cop shows emphasize. Nor does he have a not-very-understanding wife and family. Passmore plays it extremely well, quick with his tongue, reserved about his insights, and most of all able to do what most cops on TV cannot: communicate nuanced feelings with his eyes and face.
His co-star is an amazingly well depicted woman with way too much to do but always responsible and never too lazy to do whatever she does and do it very well. She's a great actress and the only other film I've seen her in, The Perfect Getaway, she did the same thing as here: playing someone completely down to earth but with enough interiority and mystery to make her very compelling.
We hope the show goes ON!
Reviewers simply don't "get" the underlying tension of the film, which
probably relies too much on viewers' understanding that many, many
aristocrats/Tories were trying to avoid war with Hitler and often
sympathized with him. If you don't know that, then you don't grasp the
stakes of the film. Few British people would NOT know this, given that
their abdicated king Edward and his wife Wallis Simpson openly admired
Hitler, and many other high-borns found him quite right to attack
democracy in its heart.
Romula Garai, one of the world's finest new actresses, carries the movie with her endless shading of emotions, her eyes opening to the horror that her family really is despite its large, warm embrace of her. And Bill NIghy is absolutely transcendent as her loving father and Tory MP who is supposed to negotiate American aid to Britain and who lets us know he is fiercely anti-war because of the destruction and death it deals. Is he what he seems, though?
I found this one of the few grounded portrayals of the British upper class attitudes pre-war than anything else I've yet seen.
|Page 1 of 2:|| |