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SonicAndy
Reviews
Hercules: The Legendary Journeys (1995)
Good but inaccurate
Hercules is a good show, with some interesting twists and turns, although it is hardly a correct re-telling of the Greek hero's life. The man himself was not the goody two-shoes portrayed by Sorbo, but was in fact a person wracked by personal problems and with a taste for bloody deeds, such as killing his entire family in rage, as well as smashing his music-teacher over the head with a lyre when he dared to criticize the would-be hero's lack of dexterity. Being a swede, the show that really stood out as another fine mess was the one with the Norse gods. Some enlightenment: The viking-age took place some 2000 years after Hercules had died. Odin is one-eyed, and he meets his end in Ragnarok. Thor's hammer (Mjollnir) has a shortened shaft due to Loki's interference. Loki is described as a dark-haired, beautiful man (with a devious mind). But since this is a fantasy - who cares ? The acting is mostly fine, with Iolaus as the most complex character of the two, giving the show some depth. And there are some great characters coming and going, such as the self-absorbed thief Autolocus, the money-loving Salmoneus, and Falafel the chef, for comic relief. The women portrayed are for the most part strong and independent, with a will and resourcefulness to match the men, especially Echidna, Aphrodite, and the no nonsense Amazon warriors. Its a pity though that they didn't put Athena in the script, since she is the embodiment of female ingenuity and power - it would have been fun to watch the ongoing feud between her and Ares, but as it is, Xena is a worthy successor to the part. On the whole, this is a very nicely produced series, which, although it isn't a history-lesson, should generate some interest in the original sources - and that is never a bad thing.
The Luzhin Defence (2000)
Check mate ? No way....
spoilers
This is a film that had the opportunity to be great - at least in a minor way- but someone forgot to bring nerve and tension to the script-meetings.
Luzhin is a boy with an uncanny ability to kick anyones keister whenever there is a chessboard handy. For this he isnt loved, but used instead as a tool by people who has, lets say, an ambiguous relationship towards his talent. Cold loneliness arrives as soon as Failure turns its head toward the high-strung chessplayer. Dropped off into the street like a defenseless kitten by his mentor, Luzhin is left to his own devices. He certainly is good but not winner-material, the cruel, jealous mentor have determined. Turturro is always interesting to watch, as he usually gives life and depth to the character- but alas, he does not bring his magic to the party this time. Everything about this movie seems rushed, and his portrayal of the great lonely genius does not ring true. Instead of subtlety, there is mannerisms, and instead of the chores of a chessmaster, we are given an incredulous love-story. And as Turturro acts out his bumbling fool routine: enter love interest Watson - a rich gal on holiday with Mother, for whom the world is filled with up and coming young fellas, perfect matches all for her daughters hand in marriage. The two, of course, fall in love - and we are left wondering "Why?"
The scenes themselves seem to be sadly detached from one another. Its as if director Gorris uses every angle in the book to show off her ability, which is uncalled for most of the times. Sadly, its downright bad in some scenes, as being prominently displayed in the scene in which Luzhin plays the Game of A Lifetime, with the camera shooting him from a distorted, nervous angle, invariably bringing an alien, overly dramatic feeling to the story which distracts the viewer, as well as when Gorris cuts between the two lovers doing it, and the chessplayers downstairs in their head to head-battle for glory. Or when Luzhins cigarette-intake increases dramatically as soon as he believes himself to be a Winner. These things seem to merely be tricks, pulled from the sleeves. The subtleties are left to their own devices here, letting a strange combination of being both rushed and over-ambitious replace any true feeling that could have come out of this interesting story. There is not one bad actor among them, and yet the story fails miserably. Nabokovs books usually works on many different levels, and that might be what gives this movie its limp. For chessplayers, it is fun to recognize Capablanca in Luzhins nr 1 opponent, as well as Alekhine, Rubinstein and Morphy in Luzhin himself. As for the end, well....Who didnt see that one coming ? Its apparently not the ending of the book, and one might see why. The true weakness is revealed in the final chessbattle, when Luzhins genius are supposed to shine through. I dare anyone with some knowledge of the game to pause the movie and figure out the outcome when the chessboard is in the shot. It should take a few seconds to see whats to come, or at least no more than a minute, for sure. If you are into chess, this is not for you. If you like tv-movies, with nice sceneries, and old-fashioned clothes and values, then by all means see it.
Antonia (1995)
Men are such fools, right ? Wrong !
spoiler
I, unfortunately, saw this when it came back in 95. As I saw it with my then girlfriend, I had to stay put and endure this unspeakably boring piece of....art. To recap: All women are possessed by brilliance and deepest wisdom, and they never make mistakes. The men on the other hand are morons, idiots, stupid and vile beyond belief, with one exception, a geezer who lives by himself, surrounded by books and his own debilitating vulnerability. He, of course, kills himself. This, apart from the movie Other Peoples Money, is the only film-experience where I´ve groaned and sighed out loud by sheer boredom, and by the feeling of being deeply insulted by the makers of such a trite and self-righteous movie. And yeah, my girl agreed with my assessment as we left the theater.
The Maltese Falcon (1941)
11 out of 10
Some Spoilers
If ever a movie deserves to be labeled a classic- well, this is the one. Bogies real breakthrough signaled a new kind of tough guy, one who is perfectly ready to sacrifice anyone or anything for the sake of principle alone. Its perfectly feasible to imagine that Rick Blaine was actually Sam Spade at some time, before he ended up in Casablanca and Bergmans arms. They share the same point of view on most things, although Rick softens and does the "right" thing in the end. Joel Cairo is an excellent figure to have in the middle of a crimestory, conveying the European flamboyance which is either thoroughly inbred or totally phoney. A character Peter Lorre was born to play. Some people seem to think that Mary Astors Bridgid O´shaugnessey was a case of miscasting, but since she is rarely remembered for anything other than this picture, one might claim that they are not altogether right. I think she does a great job as the (at least) two-faced Brigid, who manages to sway Spade to take her side in the beginning, only to stumble and fall horribly at the finish. Elisha Cook Jr does the role of his life as Wilmer, the gun-tooting, hot-tempered youngster, with the countenance of a choirboy. A small role yes, but perfectly executed. As for Gutman, its hard to imagine anyone other than Sydney Greenstreet doing the part. His golden years was to come during the forties, as his whole movie-output was made during this decade, the first of which was The Maltese Falcon. He is the embodiment of knowledge, worldly charm, intriguing loquacity and the odd knife in your back whenever he finds a promising opportunity to put it there. Although Bogart carries the movie on his tense shoulders throughout, the cast is what makes it happen. And its superbly cast too, besides the already mentioned characters, right down to the easily-fooled Archer, Archers distraught wife, Spades more than able secretary, and the coppers, hassling him with accusations whenever the donut-shop is closed. Hustons first film deserves its status as the ultimate crime-noir, wearing the rugged mark of greatness with ease.
Chasing Amy (1997)
One for the bin
This is a dreadful film, with a juvenile script and acting to boot. Its a sad thing, when someone tries to be "daring", and doesnt pull it off at all, in any way. Few people can use four-letter words and make it sound natural - Kevs project shoves a stake into its Nerd-but-wants-to-be happening-heart when it tries to be "cool" and "matter of fact". I didnt even see it through to the end (was there one ?), I must confess. The flashbacks from being a 15, 16 year old kid again got the best of me, and I decided I´d waddled in enough mush and pretence for the night. This is not for those who have passed the big 2 0.
The Misfits (1961)
Great Art
Make no mistake: this excellent drama is about loneliness and the pain of losing. The superb cast were well versed in these matters, as their performances show with striking clarity, with Gables tragic loss of wife Carole Lombard during the war, Clifts horrific car-crash a few years earlier, and Monroes ongoing breakup with Miller paired with her own personal demons. Ritter and Wallach are equally great at displaying their vulnerability and ( in Wallachs case at least ) jealousy - although this film belongs in many ways wholly to Gable and Monroe, with some great scene-stealing from Clift whenever he is in the shot. There is not much to say about the plot, except its handling of a bygone era which remains in the hearts of those who knows no other way, and the consequences it has on the onlooker - and that the tale allows more depth into its simple frame than could be expected. This film may not be for everyone, as Hustons intentions clearly were to make a haunting piece of work, with no holds barred, and with no excuses concerning the characters follies, longings, or shortcomings.
Key Largo (1948)
Robinsons Vehicle
SPOILER - BEWARE !
Although the Bogie and Bacall pairing is the main attraction here, the movie only really lifts when Robinson enters the story, taking a bath with a cigar stuck between his lips. His portrayal of the small-minded, greedy crook with a panache for cruelty towards friends and former lovers is formidable, and comical for all the wrong reasons. His is a character who lives in the shadow of his own former greatness as a gangster kingpin, surrounded by a posse of yes-men and psychopaths, and, suffice it to say, adversity and "wise guys" are dealt with with no small amount of cowardice and brutality. This is one of Robinsons finest moments, compatible with such classics as Little Caesar, The Stranger, and Double Indemnity.