Change Your Image
yvonna-1
Reviews
Long Day's Journey Into Night (1962)
Gross misunderstanding
I cannot comprehend how Mr. Goldgaber could so misread one of
the most incredible interpretations of Eugene O'Neill's
masterpiece, probably the greatest American play by the greatest American playwright. Moreover, to speak about dated expressions
referring to drug use and so forth is not to understand the ageless quality of classic theater. I'm sure much of Sopocles, Shakespeare and Racine seems dated by today's standards! So what!
And the performances by Hepburn, Richardson and Robards are among the greatest put on film.
La règle du jeu (1939)
A masterpiece
This is one of the great movies of all time. It is not only a clever
illustration of the breakdown of French classicism (after all, it is
Corneille who loses all control at the gala party), but the rabbit hunt
is a foreboding warning of the death and destruction that would
follow in the next six years. This film is a prime example of how
powerful cinema can be in the hands of an artist. Renoir was
as skilled an artist as his father.
I Sailed to Tahiti with an All Girl Crew (1969)
Great High Camp
This movie is so bad that it's enormous fun to watch. Who can forget the line:"She may not be an old salt but she sure does have a fancy shaker". I remember the first time my friend, Jay, and I watched it, we could not believe how low the movie industry could go.
The Bourne Identity (2002)
A highly disappointing movie.
I found this version of the Bourne Identity markedly inferior to the 1988 TV version with Richard Chamberlain. The latest Bourne did not follow the book very closely and often left the viewer(me) wondering how anyone could at all perceive the logic of the plot.
And I found Matt Damon totally unconvincing as Jason Bourne, who is supposed to be a man of sophistication and maturity. Compare the much more accurate 1988 Bourne and Chamberlain, an actor far more suitable to the role.
La grande illusion (1937)
One of the ten greatest films ever made.
The Grande Illusion is one of the most poignant elegies to the death of European aristocracy ever put on the screen. Although Renoir intended the film as an anti-war treatise, his graceful portrayal of an era coming to an end surpasses the movie's didactic end.
What I find particularly purplexing is how such medicre movies a s Memento and Schinler's List, among others can possibly be so high up.