jbarrow-27014 Reviews

M*A*S*H (1970)

maybe there's a generation gap. . . .

[9/10 · 11 November 2022]

When this movie was released in 1970 I was astounded--it was hilarious, serious, sad, humane and unlike anything that had come out of Hollywood. Reading a number of the reviews today, I am surprised at how many people really dislike MASH. Many of them praise the TV series (I never saw it, didn't own a TV in those days). I think that those of us old enough to remember the Korean War have a very different opinion of MASH. It's not flawless, to be sure. Even in 1970 I felt the treatment of Hot Lips was needlessly cruel and didn't advance the story at all. The Tokyo episode seemed like it was there to fill time. The final football scene clearly made its point but seemed like a different movie. What really delivered, though, were the daily scenes at the camp, the humanity of the characters, the generosity of spirit. The overall compassion was paired with a lack of sentiment, especially the goodbyes.

I haven't seen MASH since 1970 but came across on TV today (it's Veterans Day). Much has changed in society over the past half-century. We have a keener awareness of bigotry, sexism, racism. I still find the movie worthwhile.

Babette's Feast (1987)

for mature audiences

[9/10 · 6 March 2022]

No need to summarize the film, as others have done that job admirably. It's for 'mature' audiences not because of any erotic or crude content, but because it digs very deep into what life means. I first viewed this film when I was middle-aged, about twenty years ago, and thought it was slowly and not especially interesting. Just viewed it again today and was blown away by its profound meditation on life, art and spirit. On this second viewing it didn't seem slow at all.

Never Look Away (2018)

worthwhile but overdone

[7/10 · 22 February 2019]

Florian von Donnersmarck's first film, "The Lives of Others", is my favorite film of the past 20 years, a true masterpiece. After hearing friends rave about "Never Look Away" I saw it this afternoon and was somewhat less impressed. The opening scenes--about an hour--are truly brilliant (I'm referring to the story-telling quality). From then on the movie is very leisurely as it continues to tell the story of the artist's life. I felt the middle section, when he is an art student, is much too long. Also, I found the evil character (Sebastian Koch) to be the most compelling, yet his story peters out without us getting a sense of what became of him, why he was so evil, and how he managed to elude capture. The theme that finding truthful expression in art allows the artist's wife to become pregnant was a bit of a cliche. It's a very good film, if too long.

Soapdish (1991)

Funny and entertaining

[10/10 · 4 February 2019]

Comedy is hard to bring off. The cast and crew of Soapdish succeed brilliantly. Wonderful cast who take their characters seriously, despite the silliness--the actors are sublime. Definitely worth seeing.

Ladies in Lavender (2004)

worth seeing

[8/10 · 22 August 2018]

A quiet movie with moments of great emotion. The sudden arrival of the young man both disrupts and enriches two elderly sisters' lives--it is a reminder that very unexpected things can happen to us.

The Russians Are Coming the Russians Are Coming (1966)

A great, great comedy

[10/10 · 8 January 2018]

One of the funniest and most enjoyable movies ever made. Brilliant cast (led by the one and only Alan Arkin), sweet story, eccentric characters, picturesque setting, all in the service of a meaningful message. Definitely one to see.

The Railway Man (2013)

powerful and moving

[9/10 · 23 December 2017]

We've seen plenty of war films; most of them end with an American or British victory. The Railway Man is unusual in that it addresses the aftereffects of war, and specifically of torture. Based on the true story of Eric Lomax, who many years after WWII ended, met his torturer. Colin Firth gives a remarkable performance, as does Hiroyuki Sanada. Nicole Kidman is quite good as Patti Lomax. My only objection is that the wartime prison camp sequences go on too long. Otherwise this is a movie worth seeing.

Love Me Tonight (1932)

charming

[10/10 · 3 December 2017]

For anyone who enjoys musicals this is a must-see. It's more like an operetta than a big, splashy MGM musical. The script is precise and witty. The songs amplify and reveal character. Maurice Chevalier is just right as the tailor who is mistaken for a nobleman. Jeannette McDonald is warm and believable. The maiden-aunt chorus is hilarious. They don't get much better than this.

Three Billboards Outside Ebbing, Missouri (2017)

Seriously overpraised

[6/10 · 3 December 2017]

The actors are superb, but the script fails in several ways. My immediate reaction, seeing the opening shots, was that this was not Missouri. I guessed it to be the southern Appalachians (where I have spent a lot of time), and so it was. The characters did not behave or speak the way real Southerners speak or behave. Martin McDonagh has written his fantasy of what he thinks Southerners are like. He got it wrong. He works in film sort of the way D. Trump works in politics--he shocks, he amuses, he appeals to our base instincts. But he doesn't tell a coherent story.

The central characters are not sympathetic, and indeed they are borderline sociopaths, including Frances McDormand's character. Sam Rockwell's ludicrous cop character would not be tolerated, even in small-town South. Viewers are left to wonder why Woody Harrelson's wife is a much younger luscious babe with a foreign accent. (Also a real Southern man, even a lout like Harrelson's character, would not use foul language in front of his two small daughters.) The period was not clear; observing the cars in the film it seemed to be the 1980s or 90s. Yet there were no computers seen in the police headquarters of the advertising company office. Yet near the end McDormand uses her cell phone. Other reviewers have noted the recurrent racism of the screenplay.

I kept wanting to get up and walk out, but stayed for a simple reason. As with any whodunnit, I wanted to find out who did it. Guess what? McDonagh never lets his audience know who did it. As author he must know, yet he keeps this information to himself.