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Reviews
Oppenheimer (2023)
Summer Movie School - History Lesson
"Oppenheimer" is a three hour, dialog- driven narrative that's nearly the life story of the man chiefly responsible for inventing the atomic bomb. The movie gives Cillian Murphy and Robert Downey, Jr. The roles of their careers, as they become dueling scientists over the years. Emily Blunt brings a stark intensity to the role of Oppenheimer's wife. There's a twenty minute sequence just before and after the test explosion in the desert that displays the anticipated visual thrills, but viewers looking for mind-blowing effects throughout will be disappointed. Audiences looking for a rather sophisticated depiction of a troubled period in global history, however, might enjoy this. Gary Oldman is on screen for no more than 90 seconds near the end, but he gives a devastating portrayal of President Truman, who meets with Oppenheimer briefly, weeks after the end of the war. The movie not once falls into the trap of trivializing the subject by being a roller coaster ride of special effects, and for that reason alone, Nolan should be congratulated.
Everything Everywhere All at Once (2022)
Oscar Self-Destructs
The movie has everything everywhere all at once that today's younger audience might want from movies: it's frantically paced, crazily plotted and doesn't follow any of the traditional notions of clarity or coherence. As science fiction, it makes Star Wars and Star Trek seem like outdated museum pieces. It has the feel and look of an endless video game - a movie where rules don't apply and there are no real consequences for anyone, anywhere.
The only ingredient that registers with any brain that might be in the audience is the talent of the performers who, as professional actors, remind us of what better movie roles hopefully wait for them in the future.
Try to imagine trivial, mindless entertainments from the past, like Blazing Saddles or Animal House, winning the Best Picture Oscar; or even higher quality sci-fy movies like Alien or Zardoz - once upon a time, it seems, there were standards. The votes this received for Best Picture must surely have been cast by members who think the Academy has reached the end of the line.
Sadly, maybe it has.
Dracula Untold (2014)
Most Entertaining, Thrilling 'Big D' Origin Story
Luke Evans has just the heroic persona to draw us in to this exciting, semi-historic but mostly fanciful prologue to the Bram Stoker horror novel. His performance is the solid foundation for the tough fairy tale elements that permeate the first half hour of this movie. The relationship between Vlad and his young son is nicely depicted and gets the narrative off to an involving start. Colorful, often lavish production values are on full display. Clearly, no expense was spared in the making of this movie.
Vlad's dark deal with the demonic vampire in the mountain cave has a distinct Faustian flavor that seems appropriate here. His fantastical victory over his enemy's hordes of soldiers hints at the supernatural horror his future life as the King of the Undead will become. It's interesting to see him both shocked and excited by his newfound ability to transform himself at will into not merely one bat, but a swarm of the nasty creatures. By rooting Dracula into Transylvanian history and myth, the screenplay stresses the human core of emotions and familial bonds that gave readers and movie-goers excuses to find him to be at least a somewhat noble and seductive character.
A good movie, engaging and under-appreciated.
McCabe & Mrs. Miller (1971)
Altman's Haunting Western Poem
Casting a potent spell like no other movie of its time, Robert Altman's western might best be enjoyed by watching it alone - simply because if two people view it, the odds are that one will find it intolerable. To avoid conflict, watch it solo. Give yourself a chance.
The slow rhythm of the mournful opening credits song sets the tone, and perhaps foreshadows the heartbreaking turn of events at the conclusion. We see Warren Beatty on horseback, dressed as though wandering in from another, more civilized movie. He's arriving at a town that's a work-in-progress: lots of new wooden structures are going up in this cold, mountainous frontier terrain. Someone else is soon to arrive - Julie Christie, and she will be running a whorehouse in this town where rough customers seem to be plentiful.
Something that only occasionally resembles a plot every now and then begins to take shape, but the primary blurry focus of the film are the dreams of wealth and success of the title characters. But neither Mrs. Miller nor McCabe seem tough enough or durable enough to survive. Maybe there's just enough magic in the air, in the form of opium, to keep them going for a while - maybe. We get a feel for what can happen to people when they bring not only their material possessions but also their hopes and dreams to set up a new life in such a barren wilderness. Survival of the fittest, indeed.
This great work of movie art has a polarizing effect on audiences - not unlike Kubrick's "2001." You will
fall into one camp of the other.
Le beau Serge (1958)
Friendship To The Max
A small French village in the late 1950's is the setting for Chabrol's towering first film. A young man who grew up here comes home to recuperate from an illness, but his chief purpose is to re-connect with his childhood friend who's had a rough time during the ensuing years. The first half seems unfocused and oddly rambling in the way the townspeople are presented. The troubled Serge has become hostile, alcoholic and depressed due to the tragic death of his infant son. His wife is again pregnant and he fears a second child may also not survive. The two friends are at loggerheads for a long time, due chiefly to Serge's bitterness and suspicions of his friend's motives. But Jean Claude Brialy, the actor playing the part of the returning friend, persists - and in a brilliantly staged final sequence manages to alter the downward spiral of Serge's life. This great film ends with a lingering close-up of Gerard Blain's face that is the equivalent of Garbo's mythic final shot in "Queen Christina." The closing moments of "Le Beau Serge" are exhilarating and profoundly moving - TCM showed this recently - worth seeing, worth buying (it's available in Criterion) for anyone who seriously loves movies.
Romeo and Juliet (1968)
Best Screen Version of the Great Play - Period
Though the source material is over 400 years old, the freshness and exuberance of the leads, the colorful costumes and lovely music - combine, along with Shakespeare's great poetry, to cast a heartfelt and deeply tragic spell. The only other movies of Shakespeare that come close to this level of excellence
are Olivier's "King Lear" and Janet Suzman's "Antony and Cleopatra" - both done for British television.
After such auspicious debuts as the young lovers, it's strange that the movie careers of Olivia Hussy and Leonard Whiting didn't go further than they did. Michael York as Mercutio had better luck with his career in the ensuing years - he brings a great deal of skill to his performance - as does Milo O' Shea as Friar Laurence. Robert Stephens, too, lends just the right somber touch when he speaks the closing lines. Through it all, the wonderful score adds immeasurable power to Zeferelli's impeccable direction.
One of the 15 best movies of the sixties.
Honeymoon (2014)
CRUELLY UNDERRATED LOW-BUDGET MASTERPIECE
The two leads, Rose Leslie and Harry Treadaway, give first rate performances here and hold our attention from beginning to end. "Honeymoon" builds in intensity, changing slowly from a psychological thriller into the realm of science fiction horror. It's a textbook example of achieving maximum chills with the smallest of budgets. Though I've tried to see all horror movies that hit theaters, this one got by me back in 2014 - IF it got any kind of a wide release, which seems unlikely. Luckily, it's turned up on Hulu now, so if you're a fan of these kinds of thrillers, by all means give it a chance. It's so disheartening to read the lackluster response from critics and "user reviews" here - it's as though audiences are only interested in slam-bang special effects thrillers, or big productions that are hyped by advance publicity.
On a par with "Hereditary" and "Lamb," it should appeal to viewers of those modern thrillers.
The talented people behind this superb little horror film
deserved a more encouraging response.
Hello, Dolly! (1969)
Flirts With Perfection, Mostly Succeeds
All the resources of a major studio were brought to bear on this extravagant entertainment. The fortune spent can be seen in nearly every frame of this vibrant, intoxicating musical dream of long-ago New York. It's the kind of professionalism, style and talent that never make it into the few Broadway musicals that have been attempted recently - cases in point: "The Phantom of the Opera" and "Sweeney Todd." Though "Dolly" is far from perfect, its total effect is spectacular. On every level, from costumes, sets, music and choreography, sound, lighting and overall razzmatazz - this one cannot be topped. It's studio-based movie making in the grand style - before computer generated special effects set in and infected movie making.
Luckily, the production has in Barbra Streisand a big screen presence with musical training who can carry this huge show on her back. Directed by the legendary Gene Kelly, she gives here her finest musical performance. She may have insisted on the one new song she sings, and if it had been cut, it would have helped to move things along with more energy in the second half. And there is a bit too much of the silly dining room chatter before Dolly's big entrance in the restaurant. But that "big number" is so brilliantly done, culminating in Streisand's lovely homage to Louis Armstrong's stunning turn as the leader of the band, that any flaws in the movie are wiped away.
It demands to be seen on the biggest screen possible.
Talk about movie magic - it's here, baby.
The Banshees of Inisherin (2022)
Can You Find The Love Story Here?
Martin McDonagh's new movie takes place on an island off the Irish coast decades ago, but it could just as easily be in a rural community anywhere. Two middle aged men, apparently friends for years, are going through a mysterious crisis. One of them suddenly refuses to speak to the other, and Colin Farrell can't figure out why his old friend has turned hostile. It's Ireland, so of course there's a pub, a Catholic Church, a hovel where Farrell lives with his sister - and another where his friend Brendan Geeson lives alone. And there are goats, a dog and donkey. For a while the dialog misleads us with its quaint charm and it seems we're easing our way into comical territory. However, Mr. Geeson's behavior becomes increasingly irrational and darkly troubled. Before long Farrell, too, becomes a bit unhinged. It becomes clear that there are things beneath the surface of their relationship that are determined to break through and see the light of day. Only a few fleeting moments hint at their deep feelings for each other, but it seems a subject neither one has ever articulated. The movie is a masterful study of friendship on the edge of becoming something deeper, though the chances of that ever happening seem remote. A beautifully made, immensely moving film that gives both actors the roles of their careers - and us? We get the best movie of the year.
Tár (2022)
Great Performance, Poor Screenplay
The time is right for a greatmovie about artists who've had their careers ruined by politically incorrect behavior and comments. "Tar" is not that movie. Ms. Blanchett does everything she can to distract us from the lack of dramatic focus in the writing and its reluctance to involve us too much with the details we expect from a story such as this. This topic deserves better treatment than the scattershot glossing over the script offers us about the accusations against the conductor or the issues she is having with her "wife." When the film-maker cares so little to give us important information, why should we care about his movie? The great actress does her best to pick up the slack, and Mr. Fields is lucky to have her -,she alone makes it worth seeing.
Elvis (2022)
Engaging, YES - Appropriate tribute, NO
Watching the first 45 minutes of this movie is like leafing through a fan's Elvis scrapbook and glancing quickly at some of the photos' captions. It's a nervous, speedy ride that never gives the viewer the chance of identifying with or even understanding his motives and dreams as a youngster. For that to happen, you'd need a few scenes where characters talk (gasp!) for a few minutes to articulate their feelings - a technique beyond the ability or the wishes of this movie's creators. Before you know it, he's drafted and off to Germany - after a flashes of his inspiration by black singers and gospel music and views of his shocking on-stage pelvic thrusts. We get hints of a disturbing closeness to his mother and a look at his sudden wealth - all of this material presented with the brief but obese presence of Tom Hanks hovering in the background, as the Colonel determined to make a fortune as his manager.
And the movie makers themselves seem as fond of the superficial glamor and nouveau riche materialism that common sense tells us were the things that seduced and finally destroyed poor Elvis. Mr. Hanks' performance is an interesting though cartoonish turn; Austin Butler, on the other hand, is so talented and exciting to watch that he rises above the razzle dazzle by the energy within him. If an intelligent screenplay had given him a few early scenes to establish his character, watching his downfall could have been as moving and tragic as it surely was for those who loved the man.
But this movie was a financial success, which was what the whole purpose really was.
Barbarian (2022)
Good But Not THAT Good
The first half is exciting, turning really scary, and except for never explaining why a woman traveling alone for a job interview would rent lodgings in such a decrepit, godforsaken part of town, draws us into the whole scary house formula. There is a really nerve-jangling ten minutes in the basement when we discover the evil presence. Then there is a clever shift to the story of the house's owner, and his unscheduled visit to his rental property. It is only at the halfway point that things start to go astray, as we begin to see the script become way too involved with injecting current social issues into the material. Justin Long is a fine actor, but the script uses him in a heavy-handed way to be an example of toxic masculinity: both as an abusive boyfriend AND an absentee landlord in an abandoned neighborhood. It also becomes clear that the root of all this community's woes lies in the affluent whites who fled their suburban ideal town decades before. A career serial killer and his offspring are the wretched inhabitants that terrify those unlucky enough to visit the house in the present. A horror movie seems like a distasteful platform to use for preaching serious moral and social issues. Reminiscent of other recent thrillers more intent on giving us a lesson than in giving us excellent horror - thinking especially here of "Antlers" and "The Cursed." Still, most of this is quite effective, and if you're not troubled by the contemporary messaging, you'll probably enjoy it a lot.
Tilt (2017)
Most Under-appreciated Psychological Horror
All too believable study of a husband's gradual descent into psychosis. It works best as a case study, and not as a source of traditional scares or excitement. It creates an atmosphere of dread near the start and continues to hold us, chiefly due to the inspired performance of the actor playing the disturbed husband. The screenplay is a masterpiece of clarity as it depicts his pathetic attempts to create a documentary film while dealing with the pressure of impending fatherhood. Some viewers might be reminded of Polanski's "The Tenant," which deals with a similar situation. "Tilt," like that one, will never be popular, despite the talent and obvious skills that went into its production.