One of the best written episodes of the series. It fleshes out some interesting character traits.
Reviews
12 Reviews
June Bride
(1948)
A great film except for that last moment..
30 May 2020
Warning: Spoilers
June Bride is a tender and affectionate romantic comedy, whose shape is taken from a broken relationship of two hard working professionals who could not make it work years earlier, but somehow find that their love never really died. The plot pushes them together when writer Montgomery gets called back from his European assignment, to either take up writing for his ex-girlfriend, now a powerful editor of a sister publication, or get fired.
The complications that ensue from this set up are delightful. Montgomery, in his always droll fashion, makes the most of his comedic moments and Davis matches him.
Of course, we know this once passionate couple will be thrown together, the backdrop of a teen wedding playing as subtext. But when Davis finds she really does love this guy, rushes back to NY to tell her editor (played by that lawyer who wanted to send Santa Claus to jail in Miracle on 34th St), only to find him in the office listening to her resignation speech, just misses the mark. The scene, played by two strong and assertive individuals, gets reduced to Davis relinquishing her autonomy and nearly kneeling at Montgomery's feet, when he pleads that he has to be the one who "wears the pants in the family." It's a ludicrous, sexist ending, one that does not even give the audience a satisfying ending embrace.
The two stars have a great chemistry and match wits in many scenes. The supporting cast is uniformly excellent. The movie is quite wonderful, right up till the end!
The complications that ensue from this set up are delightful. Montgomery, in his always droll fashion, makes the most of his comedic moments and Davis matches him.
Of course, we know this once passionate couple will be thrown together, the backdrop of a teen wedding playing as subtext. But when Davis finds she really does love this guy, rushes back to NY to tell her editor (played by that lawyer who wanted to send Santa Claus to jail in Miracle on 34th St), only to find him in the office listening to her resignation speech, just misses the mark. The scene, played by two strong and assertive individuals, gets reduced to Davis relinquishing her autonomy and nearly kneeling at Montgomery's feet, when he pleads that he has to be the one who "wears the pants in the family." It's a ludicrous, sexist ending, one that does not even give the audience a satisfying ending embrace.
The two stars have a great chemistry and match wits in many scenes. The supporting cast is uniformly excellent. The movie is quite wonderful, right up till the end!
Hail, Caesar!
(2016)
A Day in the Life
6 February 2016
Lots of disappointing comments about how this movie does not live up to the Coen Brothers "standard" (I guess that means laugh-out-loud), is full of stars who get fleeting screen time, has no plot to speak of, no great villain or other dramatic concoction to keep up glued to our seats, etc., etc.
What it is is a funny "day in the life" story of the guy (Eddie Mannix--superbly played by Josh Brolin) who has to keep some kind of lid on the craziness that is the studio system of the late 40's/early 50's. Looked at from that character perspective, this is an examination of one man's struggle not only with the insanity of his star stable (Clooney/Johansson/Ehrenreich), but with the question the movie actually revolves around--will Eddie decide to stay, or will he go to Lockheed, who have offered him a job that will make him more money and get him home on time for dinner. The confessional scenes that bookend this movie allow us a fuller glimpse into why Eddie does what he does.
Brolin allows us to feel the conflict Eddie is experiencing, amidst the ever rising chaos around him (from a kidnapping, to a possible paternity suit, to having a cowboy actor take over the part in a drawing room comedy), to discover he actually likes what he does, and actually finds a sense of personal worth in handling the ever-escalating mess that is constantly pressing on him from all sides.
Brolin's performance is so tight, so controlled and so real, that he is able to carry that storyline with great vigor and compassion. The rest of the lunacy, from the underwater Ester Williams scenes, to the Gene Kelly dance spoof, to the cowboy (Ehrenreich absolutely adorable and on point) and Carmen Miranda get together, simply provides the backdrop. You don't need to know any of the Hollywood history to appreciate this film, other than to know that a good portion of movies, at that time, were not pot-boiling epics, or racy, foul-mouthed satires, but rather quiet movies about individual struggle. Brolin keeps that focus throughout this film, making the ending, just like the movies of the past, a very happy one.
A very pleasant, clever, and funny effort from the Brothers. Yes, a send-off, Valentine, if you will. I can see where people who have enshrined Lebowski as the litmus test for all Coen comedy movies moving forward would be disappointed. Fact is, the Brothers can play more than one note.
What it is is a funny "day in the life" story of the guy (Eddie Mannix--superbly played by Josh Brolin) who has to keep some kind of lid on the craziness that is the studio system of the late 40's/early 50's. Looked at from that character perspective, this is an examination of one man's struggle not only with the insanity of his star stable (Clooney/Johansson/Ehrenreich), but with the question the movie actually revolves around--will Eddie decide to stay, or will he go to Lockheed, who have offered him a job that will make him more money and get him home on time for dinner. The confessional scenes that bookend this movie allow us a fuller glimpse into why Eddie does what he does.
Brolin allows us to feel the conflict Eddie is experiencing, amidst the ever rising chaos around him (from a kidnapping, to a possible paternity suit, to having a cowboy actor take over the part in a drawing room comedy), to discover he actually likes what he does, and actually finds a sense of personal worth in handling the ever-escalating mess that is constantly pressing on him from all sides.
Brolin's performance is so tight, so controlled and so real, that he is able to carry that storyline with great vigor and compassion. The rest of the lunacy, from the underwater Ester Williams scenes, to the Gene Kelly dance spoof, to the cowboy (Ehrenreich absolutely adorable and on point) and Carmen Miranda get together, simply provides the backdrop. You don't need to know any of the Hollywood history to appreciate this film, other than to know that a good portion of movies, at that time, were not pot-boiling epics, or racy, foul-mouthed satires, but rather quiet movies about individual struggle. Brolin keeps that focus throughout this film, making the ending, just like the movies of the past, a very happy one.
A very pleasant, clever, and funny effort from the Brothers. Yes, a send-off, Valentine, if you will. I can see where people who have enshrined Lebowski as the litmus test for all Coen comedy movies moving forward would be disappointed. Fact is, the Brothers can play more than one note.
The Homesman
(2014)
Really, really disappointing
7 December 2014
Warning: Spoilers
The talent is there, Jones, Swank, Spader, Streep, but the movie turns on Swank's character (Cuddy) decision to do something so startling that you simply can't believe it actually happened. As an actress, she brings such depth to this character, such compassion and faith. So seeing her character choose a path that suggests she is more a woman of the flesh, than a woman of God, breaks credibility. As a director, Jones, in no way prepares his audience for this, and we are as lost as his character, Briggs. The movie, which was Cuddy's story until then, pretty much stops, and with no where to go, the last hour is a poor set up for a clichéd ending.
Any talk of this film being just a sad, non-redeeming, noir expose, is just trying to put some lipstick on this pig.
And, no, even Clint Eastwood couldn't save this.
Any talk of this film being just a sad, non-redeeming, noir expose, is just trying to put some lipstick on this pig.
And, no, even Clint Eastwood couldn't save this.
And So It Goes
(2014)
Nothing Boring About This Film
3 August 2014
This movie has been crucified by most critics as being bland and vapid, lacking in any emotional connection that would raise it to the level of, oh, say, Something's Gotta Give (another Keaton vehicle), or whatever other older rom-com you might want to mention. It is not that bad. I sat in the theater, before the show, and read the critical reviews on IMDb and was waiting for disaster! But I was pleasantly surprised! The guy who wrote As Good As It Gets penned this film. It's a knock off on that effort, one that one several Academy Award. I left feeling the same way I did after watching that film.
This is a good movie. It is engaging and poignant, and has lines (particularly those from Frances Sternhagen) that are hilarious.
Yes, the theatre was not full when I went, and those in attendance were over 50. I'm not sure why critics would be so upset, just because a movie plays to a particular demographic...
My only complaint about Mr. Reiner (whose directorial efforts seem to be continually skewered) is that he really didn't need to play the piano player....otherwise, this film works, just as many other older rom-coms do. The supporting cast is uniformly excellent and the only clichéd scene is the abrupt childbirth sequence.
This is a good movie.
This is a good movie. It is engaging and poignant, and has lines (particularly those from Frances Sternhagen) that are hilarious.
Yes, the theatre was not full when I went, and those in attendance were over 50. I'm not sure why critics would be so upset, just because a movie plays to a particular demographic...
My only complaint about Mr. Reiner (whose directorial efforts seem to be continually skewered) is that he really didn't need to play the piano player....otherwise, this film works, just as many other older rom-coms do. The supporting cast is uniformly excellent and the only clichéd scene is the abrupt childbirth sequence.
This is a good movie.
Skin Game
(1971)
A Well Crafted Film
10 July 2014
Thank goodness for Encore Westerns. They keep showing films that rarely see the light of day, but ones that, for whatever reason, were either ignored or forgotten. This is one, from the paucity of reviews, that has slipped through the cracks.
Skin Game is slightly, and only one star slightly, less than the sum of its parts. By that I mean..watch this film for the acting (one, in these PC days, can complain about the possible racial slurs). Not one sour note in this cast. We know Garner can act, can do his Maverick/Rockford thing to perfection, but how about Susan Clark? Lost in the silliness of the Webster TV show 80's phenomenon, she shows an amazingly playful sensuality throughout. I don't think I have seen a more erotic scene than between her and Garner, relaxing near a stream after she breaks him out of jail, finding that a con can love a con, with a camera fixed on the close-up the entire time. What a marvel of chemistry that is created (and forms the basis for the rest of the plot). Paul Bogart, that master TV director of nearly 100 All in the Family episodes, finds his angle and just stays there. Well Crafted and on the money.
Throw in well-rounded performances from Lou Gossett and Brenda Sikes (watch THEIR sensuous hayloft scene!), and absolutely solid support from a gang of supporting stars who anchored many a 60/70's movie...Duggan, Jones, Dano, Baer, O'Malley...and Asner is such a hoot as the slave trading merchant. Not sure any white actor could deliver a line with the "n" word in it and not make it sound anything other than business-like!
This film holds up well, and its acting pleasure are numerous. Not to be missed.
Skin Game is slightly, and only one star slightly, less than the sum of its parts. By that I mean..watch this film for the acting (one, in these PC days, can complain about the possible racial slurs). Not one sour note in this cast. We know Garner can act, can do his Maverick/Rockford thing to perfection, but how about Susan Clark? Lost in the silliness of the Webster TV show 80's phenomenon, she shows an amazingly playful sensuality throughout. I don't think I have seen a more erotic scene than between her and Garner, relaxing near a stream after she breaks him out of jail, finding that a con can love a con, with a camera fixed on the close-up the entire time. What a marvel of chemistry that is created (and forms the basis for the rest of the plot). Paul Bogart, that master TV director of nearly 100 All in the Family episodes, finds his angle and just stays there. Well Crafted and on the money.
Throw in well-rounded performances from Lou Gossett and Brenda Sikes (watch THEIR sensuous hayloft scene!), and absolutely solid support from a gang of supporting stars who anchored many a 60/70's movie...Duggan, Jones, Dano, Baer, O'Malley...and Asner is such a hoot as the slave trading merchant. Not sure any white actor could deliver a line with the "n" word in it and not make it sound anything other than business-like!
This film holds up well, and its acting pleasure are numerous. Not to be missed.
The Temp
(1993)
Almost good
25 June 2014
Warning: Spoilers
This movie has all the trappings to be a sexy thriller in the vein of Basic Instinct, Fatal Attraction, Body of Evidence, but it misses on three counts....
1. Lara Flynn Boyle (who I adored in The Practice) does not have the chops to play a character that Sharon Stone, Glenn Close and Madonna cornered in their respective turns.
2. Faye Dunaway is so over the top that we actually applaud her final outcome.
3. The ending is just terrible. You are waiting for something more fun and climactic, but since Hutton's character was such a goody-goody, not much else is realistically possible.
This film grips you at points, but when it's over, you just wonder why you wasted your time.
1. Lara Flynn Boyle (who I adored in The Practice) does not have the chops to play a character that Sharon Stone, Glenn Close and Madonna cornered in their respective turns.
2. Faye Dunaway is so over the top that we actually applaud her final outcome.
3. The ending is just terrible. You are waiting for something more fun and climactic, but since Hutton's character was such a goody-goody, not much else is realistically possible.
This film grips you at points, but when it's over, you just wonder why you wasted your time.
Bad Words
(2013)
Impressive Directorial Debut
31 March 2014
I read many of the comments here before attending Bad Words, and what I expected, a side-splittingly funny script delivered via an outrageous performance by Jason Bateman, was not exactly what I got. No, I got a whole lot more out of this genuinely touching and insightful "dark" comedy. Working with an assurance not found by many experienced directors, Bateman delivers not only an understated performance of Guy Trilby, but also moves the audience along to where Trilby's invitation to "slumdog", in the movie's final scene, to "get the bad guys" in his newly acquired vintage police car, becomes an overwhelming cathartic moment that neatly and honestly ties together the crucial thematic tide in this flick--"Dads, you got some responsibility for your sons, so don't run out on them."
Good directing is finding the threads and moments in the screenplay that will tie us to theme, and eventually make us believe, emotionally, that what is happening is more real than we would like to believe. Bateman's clever use of color (note scenes where he decides to go sepia, rather than full color), his somewhat irreverent choice of music, and his very loving close-ups, add to making us not only like our bad-mouthed, seemingly disaffected, and lonely protagonist, but actually ROOT for him, in his amazingly serious quest to find the answer to what has caused these character malfunctions in the first place. Yes, there are some truly funny moments that stand alone, but Bateman never plays them with the heavy- handed shtick that made his The Change-Up portrayal somewhat grating. He really plays Trilby close to the vest, never working out of a very disciplined range, which makes his relationship with Jenny, the reporter, actually believable. And note that even though the probability of a blossoming "friendship" between a 10 year old and a 40 year old may seem not just outrageous, but beyond politically correct, Bateman frames this within the context of the competition, asking us to look upon these two friendless souls as equals. Willingly suspend your disbelief, dear audience, and allow yourself to see how directors generate dramatic power, thus delivering on a film's thematic potential.
I have always enjoyed Bateman's performances, but was simply stunned at the assurance he shows in his acting and, now, his directing. I hate to be too effusive, but this film is successful on just about every level. It is unfortunate that many will only look at the surface qualities of this film (or be satisfied with just the comedy), decide it is vulgar, and move on. This is one exceedingly worthy comedic effort.
Good directing is finding the threads and moments in the screenplay that will tie us to theme, and eventually make us believe, emotionally, that what is happening is more real than we would like to believe. Bateman's clever use of color (note scenes where he decides to go sepia, rather than full color), his somewhat irreverent choice of music, and his very loving close-ups, add to making us not only like our bad-mouthed, seemingly disaffected, and lonely protagonist, but actually ROOT for him, in his amazingly serious quest to find the answer to what has caused these character malfunctions in the first place. Yes, there are some truly funny moments that stand alone, but Bateman never plays them with the heavy- handed shtick that made his The Change-Up portrayal somewhat grating. He really plays Trilby close to the vest, never working out of a very disciplined range, which makes his relationship with Jenny, the reporter, actually believable. And note that even though the probability of a blossoming "friendship" between a 10 year old and a 40 year old may seem not just outrageous, but beyond politically correct, Bateman frames this within the context of the competition, asking us to look upon these two friendless souls as equals. Willingly suspend your disbelief, dear audience, and allow yourself to see how directors generate dramatic power, thus delivering on a film's thematic potential.
I have always enjoyed Bateman's performances, but was simply stunned at the assurance he shows in his acting and, now, his directing. I hate to be too effusive, but this film is successful on just about every level. It is unfortunate that many will only look at the surface qualities of this film (or be satisfied with just the comedy), decide it is vulgar, and move on. This is one exceedingly worthy comedic effort.
Lincoln
(2012)
Politically Correct
4 October 2013
As with every Spielberg picture, the trappings are here. Gorgeous sets, costumes, lights, angles, and yes, acting. But the guts of this film are truly awful. This isn't about Lincoln, it's about slavery. When Spielberg dealt with the senseless killing of Jews in Schindler's List, he was on firm ground. Here, he plays PC, goes for the obvious, with no moral grounding other than, well, slavery is bad. All the drama in the world isn't going to convince that handful of rednecks still out there otherwise. This picture is a real waste of talent and money. A true disappointment, given the visual and acting treats that are signature and obvious. I waited for this to hit cable to see it...glad I didn't waste the 10 bucks.
The Good Humor Man
(1950)
Like a Saturday Matinée
15 August 2013
If you enjoyed the Stooges, you will get a hoot out of the last 20 minutes or so of this film, as every possible projectile, from musical instruments, to table saws, to baseball bats and the eventual pie fight, all come into play. It is what we paid 25 cents to see way back when. Carson and Albright have great chemistry, in fact, I would say that her role was so proactive as to almost claim her as an early women's libber! The film is dotted with character actors (yes, even George Reeves, our eventual 50's Superman), which only adds to the delight. A fun, nostalgic film, which reminded me of how I spent my Saturday afternoons once upon a time!
The Change-Up
(2011)
It's about the acting
27 July 2013
Lots of negative reviews about how this movie is vulgar, has been done before, is even too long. I found this an enormously entertaining film, mostly because the acting is just so on point. Jason Bateman and Ryan Reynolds manage to make the "change-up" so completely real that you even begin to buy into the theme behind the plot (Mitch's growing up/Dave's becoming more appreciative of wife and family). I saw the R-rated moments for what they are--Adult! And those ironic moments where the inhabited character reacts so differently (Cara's ballet sequence is hilarious) propel the comedy to another level. The supporting cast is just as talented, Leslie Mann, Olivia Wilde, and Alan Arkin all have sterling moments!
One can argue thematic lessons here, but this film is filled with sharp, funny dialogue and produces a satisfying ending. If you're averse to nudity and the f-word, avoid. Otherwise, enjoy the acting.
One can argue thematic lessons here, but this film is filled with sharp, funny dialogue and produces a satisfying ending. If you're averse to nudity and the f-word, avoid. Otherwise, enjoy the acting.
A Charming Love Story
8 March 2013
Many comments here about how this movie is dated, a throw back to the 60's, full of clichés, and that is a decent assessment, up to a point. But if you look on this movie as a love story, one that actually stays true to the notion that impromptu travel allows for romance to blossom (that might go either way), with characters who struggle with the idea of throwing it all in for love, then this little charmer of a film provides an unusual treat.
McShane and Pleshette have an amazing chemistry, each of their characters etched strongly. Enjoy their scenes, a flashy English playboy versus a Midwestern American prude, as they tenderly fall in love, providing the anchor for the other predictable travel/nightmare hi-jinks that occur.
McShane and Pleshette have an amazing chemistry, each of their characters etched strongly. Enjoy their scenes, a flashy English playboy versus a Midwestern American prude, as they tenderly fall in love, providing the anchor for the other predictable travel/nightmare hi-jinks that occur.
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