alangalpert Reviews

Psycho (1960)

Iconic film

[10/10 · 27 May 2010]

"Psycho" is unquestionably one of the finest films of all time, and probably the greatest thriller (although there are several other contenders, all directed by Hitchcock). The acting is first-rate; the cinematography is superb; and the musical score (by Bernard Herrmann) is iconic. (Incredibly, the score did not receive an Oscar nomination.) Hitchcock has been deservedly praised for his direction, but I feel it is time to give credit where credit is due. I recently read the book on which the movie was based, also titled "Psycho". It was written by Robert Bloch in 1959, a year before the movie was made. Except for two scenes that weren't in the book, and a couple of memorable lines (most notably, "Well, a boy's best friend is his mother"), the movie follows the book so closely that almost all of the credit should go to the author of the book, not the director of the movie. If you have seen and enjoyed the movie, pick up a copy of the book. Only then can you appreciate who the real genius was behind "Psycho".

There are quite a few, mostly minor, differences between the book and movie. As I read the book, I wondered why the changes had been made. Here are some examples. In the movie, Ms. Crane's name is Marion; in the book, it is Mary. In the movie, she lives and works in Phoenix, Arizona; in the book, she is from Ft. Worth, Texas. In the movie, Norman Bates is thin and young; in the book, he is fat and middle-aged. In the book, he wears glasses; in the movie, he doesn't. In the movie, there are twelve cabins at the motel; in the book, there are six. I found no fewer than thirty-five differences, but almost none of them made any sense to me.

Blind Vision (1992)

Suspenseful and clever

[7/10 · 19 May 2010]

Despite being inspired by (you could even say 'ripped off from') "Rear Window", and having a lot in common with a number of other erotic thrillers, I found "Blind Vision" to be suspenseful, well-acted, and even clever. Unlike "Rear Window", the photographer in this case is truly a voyeur, and he isn't recovering from an injury. Nor does he witness a crime, as such, but he does observe abusive behavior which precedes a crime. We are left guessing as to whether the abuse and the crime are related. It is even possible that the photographer himself was involved, which could not have happened in "Rear Window".

"Blind Vision" is not quite the nail-biter that "Rear Window" is, but it is more complex than its famous predecessor and, in my opinion, more intriguing. There is an original plot twist that elevates the film above the standard fare in this genre. But it is subtle, and you have to think about it. (I do not refer to the ending, which is also surprising.)

There is an even stronger resemblance to a Brian de Palma film called "Body Double", which was made six years earlier, and also stars Deborah Shelton. If you liked that film, you will probably like "Blind Vision". I think "BV" is slightly inferior, but it is better than the low rating leads one to expect.

Forces of Nature (1999)

Much more than meets the eye

[8/10 · 16 May 2010]

On one level, "Forces of Nature" falls squarely in what I will call the "Murphy's Law tradition" of cinema. In other words, whatever can go wrong, does go wrong. This tradition includes the likes of "The Out-of-Towners" and "Planes, Trains, and Automobiles". In these movies - usually comedies - the principal characters are bedeviled by a series of obstacles which threaten to derail their plans; the obstacles range from human malfeasance to natural disasters. As the title strongly suggests, the primary obstacles in this movie are courtesy of Mother Nature. The probability of just one of the unfortunate events is extremely low. The probability of all of them occurring within the space of two days is nonexistent. (The antecedents of this tradition predate cinema by several thousand years, of course. Remember the trials of Job, and the plagues of the Old Testament. Indeed, at one point Ben says something about waiting for the locusts to come.)

As "Forces of Nature" begins, Ben Holmes (Ben Affleck) and Bridget Cahill (Maury Tierney) are about to be married. Ben lives in New York; Sarah is from Savannah, Georgia, where the wedding is to take place. Everyone is on edge because a hurricane brewing in the Atlantic threatens to wreak havoc on the impending nuptials. Two days before the event, Ben boards a plane for the trip south. As luck would have it, a hapless seagull is sucked into one of the plane's engines, and it skids off the runway, resulting in minor injuries. One of the passengers is a young woman named Sarah Lewis (Sandra Bullock), who is en route to Florida to transact some business. Following the crash, she credits Ben with saving her life. Concerned about the possibility of another aviation mishap, they decide to share the cost of a rental car. There are no cars available, but they meet a man who already has one, and he agrees to drive them to their destinations. From this point on, the aforementioned Murphy's Law intervenes with a vengeance.

If "Forces of Nature" were nothing but a succession of calamities, it would be funny, but nothing to write home about. On another level, however, it is an exceptional movie with a great deal of heart. There is a tradition for this type of movie, as well, and it includes "It Happened One Night", which won an Oscar for Best Picture in 1934. The worst thing that can happen to anyone about to be married is to fall in love with someone else. Ben finds Sarah enchanting and unique, and soon he develops feelings for her. To make matters worse, nearly everyone he meets has a horror story about marriage. Before long, Ben's pre-wedding jitters turn into a panic, and he is in turmoil. The hurricane gaining strength off the coast of Georgia is nothing compared to the storm wreaking havoc on Ben's peace of mind. To paraphrase Hamlet, "To wed or not to wed, that is the question".

Ben Affleck is not an especially exciting actor (in my opinion), but in this movie he is very convincing as a man in the throes of indecision. Sandra Bullock is terrific as a free spirit who turns out to have more depth than you might expect. The supporting cast is entertaining, as well, and the dialogue is witty and intelligent. If you can forgive the director and writer for straining the limits of credulity with a preposterous plot, you should find this a very funny and poignant film.

The Freshman (1990)

Marlon Brando makes Matthew Broderick an offer he can't refuse...

[8/10 · 13 May 2010]

I'm not sure if this movie should be called a "masterpiece", but it is highly original, fiendishly clever, and very funny. It is full of great lines and intriguing plot twists. Though obviously a comedy, there is even an element of suspense to it. I have seen so-called thrillers that were less exciting.

It would be a crime worthy of Vito Corleone to divulge the plot in its entirety. Let us just say that nothing is quite as it seems. In this regard, two other great movies come to mind. The closest resemblance is to George Roy Hill's enduring classic, "The Sting". "The Freshman" isn't quite as good as that, but it displays much of the ingenuity of its esteemed predecessor. The tone is also very similar. I am reminded, as well, of "The Sixth Sense". Of course, that is not a comedy. But the endings of both movies compel the viewer to see everything that has happened in a different light, and that brings with it a feeling of satisfaction.

The actors are all fine, but I have to single out Brando. He is wonderful (even if unintelligible at times), and is clearly enjoying himself a great deal. I never would have thought that "charming" could describe him, but it does in this movie.

The scene at the Gourmet Club is sheer genius. All by itself, it is worth the price of admission. So is this quote, from a soliloquy by Clark (Broderick): "There is a kind of freedom in being completely screwed, because you know things can't get any worse."

Kingpin (1996)

Howlingly funny!

[8/10 · 10 May 2010]

"Kingpin" is either the grossest funny movie or the funniest gross movie I have ever seen. Few comedies, even good ones, can make me laugh so hard that I cry, but this one did. Half the time I was laughing; the other half, I was shaking my head at the raunchiness of it all. If you can watch this movie without laughing uncontrollably, you should consider replacement surgery for your funny bone.

As others have said, the cast is perfect. Vanessa Angel is so hot I was afraid my VHS tape would melt. Randy Quaid (looking a lot like a much larger version of the Little Dutch Boy) is dopey and lovable. Woody Harrelson is smooth and cocksure when he should be, and pitiable when the situation requires it. And the always amazing Bill Murray might be the most detestable (but hilarious) egomaniac on celluloid - it is no small feat to be both detestable and hilarious.

I have no idea how "Kingpin" qualified for a PG-13 rating. Even an R is a stretch, although there is no nudity or graphic violence.

The movie has a kick-ass soundtrack, but perhaps a few too many songs. Music should enhance a film, not overwhelm it, as it sometimes does in this case.

In the midst of all the vulgarity and chicanery, there is even a moral. After spending seventeen years drunk and in denial, Roy (Harrelson) comes to realize that, in the end, we have no one to blame for our problems but ourselves.

Eat a Bowl of Tea (1989)

A delightful movie

[8/10 · 9 May 2010]

"Eat a Bowl of Tea" is a charming and often amusing story about the challenges of both marriage and living in an immigrant culture. Ben Loy, the son of a Chinese immigrant to New York, was recently discharged (honorably) from the army. Pressured by his father, he returns to China to find a bride, which he does. Back in New York, the couple rents an apartment, and he becomes the manager of a restaurant. The hours are long, and the job is stressful. When he gets home, he is too tired to "work" on the grandchild his father desperately wants. His wife feels neglected and grows lonely. You can probably guess the rest. Their troubles are exacerbated by gossip - the unfortunate downside of life in a closely-knit community.

There are no Caucasians in the cast, which lends authenticity to the film. The actors are all good, and the script is smart and believable. The soundtrack is very listen-able, with a mixture of jazz from the period (early 1950s) and Chinese-inspired music.

Heartburn (1986)

Yuppies Behaving Badly

[7/10 · 5 May 2010]

"Heartburn" succeeds much better as an autobiography than as a comedy. Real life isn't terribly funny (unfortunately), so the level of hilarity we expect from a true story isn't very high. That is especially true when the subject matter is the break-up of a marriage. Because it was written by Nora Ephron ("Sleepless in Seattle") and directed by Mike Nichols ("The Graduate"), I assumed this was a comedy, but it isn't. There are some funny moments, but the funniest one - an homage to Soupy Sales, so to speak - comes nearly at the end of the movie.

The acting is top-notch, as one would expect from the only man ever to win three Oscars for Best Actor (Nicholson), and the only actress to be nominated for an Oscar sixteen times (Streep).

"Heartburn" is the quintessential "chick flick", so heterosexual men can expect to be bored. But anyone interested in the marriage and divorce of screenwriter Nora Ephron and Watergate journalist Carl Bernstein, might want to take a look at it.

Stage Fright (1950)

Very suspenseful

[8/10 · 3 May 2010]

"Stage Fright" is seldom included in any short list of Hitchcock's best films. Maybe it shouldn't be, but it is suspenseful enough, and the acting is good enough. The reason for its lack of popularity is most likely due to its cast. Except for Marlene Dietrich (who shines as a manipulative diva), the others do not possess the star power on display in such films as "Notorious" or "Rear Window" - at least in the United States.

It is possible to take away from this film a very cynical attitude toward love, and its effect on people. Eve (Jane Wyman) loves Jonathan (Richard Todd). He doesn't love her, but he uses her to escape from the police. Because she loves him, she believes everything he tells her about his innocence. Jonathan loves Charlotte (Dietrich). She doesn't love him, but she pretends to, in order to get the man she really wants, Freddie. A sad state of affairs (no pun intended), but it has the ingredients for a terrific suspense film.

The Railway Station Man (1992)

Beautiful film, but...

[8/10 · 3 May 2010]

"The Railway Station Man" is beautiful in many ways. The locations in Ireland are beautiful; Julie Christie is beautiful; and the acting is beautiful. But because of the ending, it is one of the most depressing films I have ever seen.

Helen Cuffe (Julie Christie) is a widow living alone in a quiet seaside village. She paints as a hobby, and is visited occasionally by her son, who is attending college in Dublin. Roger Hawthorne (Donald Sutherland) is a newcomer to the village. An injured war veteran, he dreams of restoring the defunct railway station, using money he inherited from his mother. Mrs. Cuffe and Mr. Hawthorne have both settled into lives of "quiet desperation" (as Thoreau put it), and are resigned to live them out alone. He is wary of her at first, but after a few false starts, they become lovers. Being in love awakens her creativity and his enthusiasm for life.

Unfortunately, this is Ireland and Mrs. Cuffe's son is involved with a terrorist group. He is only a messenger, but she worries greatly about his safety - with good reason, as it turns out. I won't go into detail about the ending, except to say that the happiness that seems imminent for Mrs. Cuffe and Mr. Hawthorne is suddenly and cruelly denied them. Realistic, perhaps, but undeniably tragic.

Under Capricorn (1949)

Compelling drama

[9/10 · 1 May 2010]

"Under Capricorn" is a great drama. There is plenty of suspense but, unlike most Hitchcock films, it is not a thriller. Instead, the suspense is generated by the tensions among the main characters - tensions so strong that a palpable feeling of foreboding permeates the film. In the end, however, the story is not as tragic as it might have been if one or two things had happened differently.

The acting is uniformly excellent. Michael Wilding is handsome and dashing, with a generosity of spirit that is uplifting. Ingrid Bergman is wonderful as a fine lady with a tormented soul, who has fallen into alcoholism. And Joseph Cotten shines as her long-suffering, devoted husband.

Visually, the film is a little disappointing. It has a washed-out look, and would probably benefit from a thorough restoration. The exterior shots are obviously paintings. But none of this matters very much, compared with the intensity of the emotions on the screen.

In one respect, "Under Capricorn" is the reverse of another Hitchcock film starring Joseph Cotten. In "Shadow of a Doubt" he plays a guilty man who, at first, is thought to be innocent. In this movie, it is the exact opposite. There is also a similarity to another Hitchcock film starring Ingrid Bergman. In "Notorious", Bergman's character is essentially held prisoner by her Nazi husband, played by Claude Rains. She is liberated at the end by Cary Grant. In this film, her character is a virtual prisoner of the housekeeper, who plies her with alcohol so she will remain helpless, and she herself can be in control. This time her rescuer is Michael Wilding.

Midnight in the Garden of Good and Evil (1997)

Boring and dishonest

[5/10 · 1 May 2010]

This movie is a very tedious and drawn-out affair. Many users have remarked on the "padding" that needlessly prolongs the movie, particularly the scenes involving Minerva, the hoodoo practitioner. To that I would add (as being mostly irrelevant) the transvestite entertainer The Lady Chablis. Ironically, however, this padding provides the only real interest the film offers.

The acting is good enough. As eccentric millionaire Jim Williams, Kevin Spacey is quite convincing. I have never seen Mr. Spacey give a bad performance. I first saw him in a "made-for-tv" movie portraying disgraced PTL founder Jim Bakker. That was many years ago, but to this day when I think of Jim Bakker, I picture Kevin Spacey.

Producer and director Clint Eastwood should be taken to task for twisting some of the facts. The story is told from the perspective of John Kelso (John Cusack), a magazine reporter from New York who comes to Savannah to cover the annual Christmas party given by Jim Williams. Kelso is really John Berendt, the author of the book on which the movie was based. Berendt is gay, but Kelso is not. The only plausible reason for changing his sexual identity is commercial. Presumably more people (esp. women) will go to a movie featuring a straight man than a gay one, especially when there is romance involved. (Toward this end, a relationship between Kelso and a local woman named Mandy - played by Alison Eastwood - was fabricated for the movie.) While that is probably true, it is mercenary and deceitful, nonetheless.

Another inaccuracy is that there were actually four trials, not one. The first trial ended in a guilty verdict and a sentence of life in prison, but was overturned on appeal. It wasn't until eight years after the murder that Williams was finally acquitted. Also, the movie implies that Williams died only days after the trial ended. In fact, he died some six months later. Lastly, the name of the victim was incorrect. His name was Danny Hansford, not Billy Hanson, as it was in the movie. This is a minor point, but I don't know why the name of the deceased was changed, while the name of the accused wasn't.

Savannah was previously best known as the home of songwriter Johnny Mercer, and the town that Sherman spared after burning Atlanta. When "Midnight in the Garden of Good and Evil" was published, and even more so after the movie came out, Savannah became known as the city where an infamous murder took place. Interested parties can even take a guided tour of the important sites associated with the crime and trials.

Meet the Parents (2000)

Extraordinarily funny!!

[9/10 · 30 April 2010]

"Meet the Parents" is undoubtedly one of the funniest movies ever made. Someone once said that "only the truth is funny", and that certainly applies here. Every young man who is going to meet his girlfriend's parents for the first time is filled with trepidation, and has the feeling that he is about to be subjected to an Inquisition. This film takes that impression one step further, making literal what is ordinarily only figurative. In this case, the hapless suitor (Greg Focker, played by Ben Stiller) is to be probed and dissected by an ex-CIA man, who has years of experience and all the tools of the trade at his disposal, including contacts at the Agency. To say that Jack Byrnes (Robert de Niro) is an overprotective father is like saying that Krakatoa was an explosion. Unlike her husband, Dina Byrnes is generally supportive of Greg and sympathetic to his plight, but Jack is calling the shots. Greg strives gamely to win them over, but everything he does backfires, or at least fizzles.

I have only one minor criticism. The lie detector idea was brilliant, but it could have been used to better effect. After the earlier scene when Greg is questioned about his feelings toward cats, the polygraph gave Jack the perfect opportunity to find out the truth, but he doesn't ask Greg about it.

There was an earlier, much shorter version of "Meet the Parents" that came out in 1992. It had basically an unknown cast, and very few people saw it. The lie detector bit from the 2000 film was the inspiration for a television reality show called "Meet My Folks", which ran on NBC for all of one full season. In contrast to the film, it was not primarily funny, although many viewers found it so.

The Avengers (1998)

Rather disappointing

[5/10 · 29 April 2010]

There are really only three good things about this movie: the opening credits, which are a psychedelic masterpiece; seeing Uma Thurman in a bright red "cat-suit"; and the radio-controlled dive-bombing attack hornets (or whatever they are). If "The Avengers" is a spoof, it isn't as funny or self-mocking as spoofs should be (e.g. "Austin Powers", or the first "Casino Royale"). If it isn't a spoof, it is pretty inane.

Ralph Fiennes is a good actor, but he was simply miscast. He is much too meek and lacking in panache for a Secret Agent (in the movies, anyway). The special effects at the end are fairly well done, even though most of what we see is a model.

The Wind and the Lion (1975)

Entertaining, but flawed.

[7/10 · 27 April 2010]

"The Wind and the Lion" is undoubtedly great entertainment, but it takes regrettable liberties with the truth. I strongly object to movies that pretend to be historical, but set aside unexciting facts in favor of more dramatic fictions. In reality, a man was kidnapped, not a widow and her two children. Only the kidnapping victim's last name was retained when his story became the basis for the movie.

Such is the power of good acting and writing that most IMDb users seem to regard Raisuli (Connery) as a noble character. How quickly these users forget that in the opening scene, Raisuli and his men gallop through Mrs. Pedecaris' (Bergen) estate, slaughter her servants and a house guest, and carry her and her children off to parts unknown. (We learn later that he does all of this just to spite his brother.) In another scene, Raisuli summarily beheads two unfortunate nomads who had the audacity to drink from his well. Not only have IMDb users forgotten these atrocities, but apparently Mrs. Pedecaris herself forgot about them, because at the end of the movie she is willing to risk her life and her children's lives in order to rescue him. I couldn't imagine a more preposterous ending.

Besides Brian Keith's justly praised portrayal of Teddy Roosevelt, and Sean Connery's convincing turn as Raisuli, the real stars of the movie may be cinematographer Billy Williams and composer Jerry Goldsmith.

Starman (1984)

Exceptional movie!

[8/10 · 26 April 2010]

This is an extraordinary film in many ways, with an intelligent twist on a familiar plot. Certainly most of it is not new. The idea of an alien assuming the identity of a human being is straight out of "It Came from Outer Space", which was the progenitor of all films about alien visitation. We have also seen the scenario of a misunderstood, peace-loving visitor from another world being pursued by ignorant and vicious earthlings. The uniqueness of "Starman" lies mainly in the romance that slowly develops between the two main characters. It is quite touching, and yields a totally unexpected blessing. There are also moments of magic throughout, and even touches of humor, something you don't often find in a film of this kind. And I don't want to forget the soundtrack, which is mesmerizing.

My only complaint is that Jenny exhibits an unbelievable lack of curiosity. Sitting beside a being from another galaxy on a lengthy road trip, she doesn't ask a single question about his world. In the beginning, of course, she is fearful for her life and is only thinking about escaping. But when she knows he isn't a threat, she still doesn't ask him anything. This doesn't detract from the film, but it seems worth mentioning.

The Sea Wolves (1980)

Amazing true story

[8/10 · 26 April 2010]

This is a fascinating story, and a riveting film. If it were fiction, it would be highly entertaining, but as a true story it is unbeatable. All the lead actors are veterans and play their parts to the hilt. But I do have a few criticisms. Gregory Peck is a great actor, but I don't know why an American was chosen to play the part of a British Special Operations Executive. Surely there are enough fine English actors who would have wanted the role. The choice of Roger Moore is also questionable. His part so closely resembles Agent 007 that anyone who didn't know it is a true story would think it is another James Bond film, especially since he made two of them before and after this one.

As I watched the scene where the commandos steal the barge, I wondered why they didn't just rent one, since they had plenty of money for the operation. Afterward, I learned that in the real incident, they did hire a boat, and didn't steal it. Of course, stealing one is more exciting, but I would prefer that the director had stuck to the facts.

How to Murder Your Wife (1965)

Hilarious!

[7/10 · 16 April 2010]

This is one of the funniest and best-written comedies I have ever seen. Jack Lemmon is in top form, and Virna Lisi (in her first American film) is beautiful, sexy and delightful. Stanley (Lemmon) is a successful cartoonist and confirmed bachelor. He is ably assisted by his manservant, Charles, played by the always-funny Terry-Thomas. Not only is Charles a confirmed bachelor, also, but he refuses to work for any man who isn't.

After a riotous night of drinking at a friend's bachelor party, Stanley awakens the next morning to find himself married to the lovely girl who popped out of the cake (Lisi). (Ironically, during the party his friend's marriage was called off.) Stanley remembers nothing, and to make matters worse, his bride speaks nary a word of English. Worse still, she hails from Italy where (at the time) divorce is forbidden. Stanley is desperate for a way to end the marriage, and quickly, but no one is able to help him. In a delicious irony, he slowly develops a fondness for his wife, only to have her leave him when he no longer wants her to. I won't reveal the rest of the plot, but the denouement is inspired, and the ending is laugh-out-loud funny.

Mame (1974)

Decent film

[6/10 · 14 April 2010]

I don't think this movie is nearly as bad as many people say. The choreography is spirited, several of the songs are memorable, the set designs are vibrant, some of the dialogue is witty, and the character of Vera (Bea Arthur) is a hoot. One song, "Bosom Buddies", is even clever. Most of the criticism seems to revolve around the casting of Lucille Ball as Mame. Granted she is not the best singer, but her acting is better than acceptable. Her face expresses both elation and sadness quite convincingly, and we can easily believe she is the free spirit that Mame is supposed to be. Two things, however, are downright stupid. Mame and young Patrick sitting on the Statue of Liberty's hat is straight out of a cartoon. Almost as absurd is Mame's skill at riding a temperamental horse when it is obvious, from the look of terror on her face, that she has never even been astride a horse before. Many movies require "suspension of disbelief", but that exceeds my willingness to do it.

The Life of Emile Zola (1937)

Great movie

[9/10 · 12 April 2010]

This is an extraordinary picture, with wonderful performances. It should be seen by anyone who likes a good drama, but especially by someone who is unfamiliar with the Dreyfus Affair, as it was called. My only complaint is that the title is somewhat misleading. We don't learn a great deal about Zola's life, except that he shared an apartment in Paris with Paul Cezanne, wrote his first major novel about a prostitute he befriended when she was running from the police, was a champion of the poor and downtrodden, and became wealthy from his many books. Eighty-five minutes of the two hour long movie is devoted to the Dreyfus case and Zola's involvement with it, so the title should have reflected that.

Paul Muni deserved to win an Oscar for his performance, which he didn't, although he was nominated. The supporting cast is uniformly excellent, as well.