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Jeannot
Reviews
Australia (2008)
Okay, but.....
An E for effort. An over-the-top melodrama that was fun if you aren't in too critical a mood.
I agree pretty much with NonSequitur's more detailed comment. The problem I found was too much corny Hollywood stuff--and this is an Australian film. There were hair-raising rescues, escapes, and all manner of derring-do. Good guys vs the bad guy is the old melodramatic tradition.
But if you want something to pass the time in an acceptable fashion, this is the movie for you. A lot of effort went into it. This is an epic that goes back to the old days of the classic Hollywood Western.
Phone Call from a Stranger (1952)
Redemption
A run-of-the-mill melodrama, redeemed by Bette Davis' stunning five-minute "bedroom" scene. Her accident, plus Keenan Wynn's love, makes her a very wise woman. Her disquisition on lovefor Gary Merrill's benefitis worth the price of admission, and then some. Her characteristic forcefully enunciated speech pattern has never been put to better use.
Her situation is somewhat parallel to that of Merrill's wife, and her statement on what true love is, is the catalyst that prods Merrill to call his wife and tell her he's coming home. And maybe her statement that only a few very strong men could do what Wynn had done for her.
Paths of Glory (1957)
A gem
I believe that PATHS OF GLORY is to war movies what THE ASPHALT JUNGLE is to crime/noir films. It is a gem, perfect in every detail.
One of the neat touches is that the enemy, the Germans, are never seen, and are thus all the more threatening for that.
[SPOILER??} The theme, executing men to further one's career, or to shift blame from oneself, is one hardly confined to the French army, or to the military, for that matter. Fundamentally, this is not JUST a war film. It doesn't JUST show the horrors of war. Rather, it shows the lengths to which the human ego will go: other people's lives are a small price to pay for MY aggrandizement.
Relevance today? How about politicians who execute people, including the retarded, just to further their careers and to satifsy the bloodthirsty mob?
Bottom Line: A highly recommended movie.
Levity (2003)
A moral fable
LEVITY seems to be a moral fable in which a man tries to make up for a mindless murder he had committed. He has a moral sense, and is continually bothered by what he had done. When the opportunity presents itself, he tries to make amends.
Though the mood is noir, the presentation of the story is largely anti-melodramatic, and presents rather, the nitty-gritty of human interactions. Morgan Freeman, himself a criminal, functions somewhat like The Church of the Second Chance in Ann Tyler's novel SAINT MAYBE. Twice during the film, Jordan (Thornton) meditates on the five steps of Repentance (I can't remember all of them), and figures it's impossible for him to carry them out.
SPOILER:--Yet I believe this is exactly what he does. Although his victim is long dead, he saves his nephew/namesake from committing a murder, which might have resulted in his own death. He thus makes amends, at considerable cost to himself. And in the process, also seems to save Kirsten Dunst's character. And partly rights himself with Holly Hunter.
Also, the movie is in the tradition of the man who comes into town, corrects a situation, then leaves town at the end.
Bowling for Columbine (2002)
Powerful
Sure, Moore is a showman and a bit of a ham. And sure the scenes were staged; they had to be because there was a big movie camera in the room.
But he made his points. And he backed down not only Charlton Heston but also K-Mart.
The message I came away with is that Americans have a tendency to be paranoid--more so than, say, Europeans or Canadians. We believe that the best defense is a good offense. And in preemptive strikes. We're trigger-happy. And we think it's cool to say "Shoot first and ask questions later."
Jacques Lacan said the the Ego IS paranoia in its essence. Well, maybe, but I would say that paranoia is a fearful ego. And Moore said that that was exactly the problem--fear, exaggerated by the government and by the nightly news.
Unfortunately, I can't cite the figures, but I remember reading somewhere that there are more relatives than intruders killed by guns in the house. Since so many families are nests of violence, or at least simmering resentments, etc, why would guns in the house be a good idea?
I'm not saying BOWLING FOR COLUMBINE is flawless. I'm only saying that it's a powerful, effective film.
Harold and Maude (1971)
Spring and Winter Romance
I have a thing for odd couples, and have written a couple of stories about such pairings. The gap in age in HAROLD AND MAUDE is made more acceptable, I think, because of the comic treatment.
Harold is put off by girls his own age, who lack the gravitas that he has come to associate with death. A peculiar taste, and a morbid one, but one shared by Maude--perhaps with more reason.
Strange as this film is, I don't think it compares in strangeness with the one about the necrophiliac girl who works in a funeral parlor--I forget the title.
HAROLD AND MAUDE is a movie I would recommend to anyone with a taste for dark or warped humor, and anyone interested in offbeat romances.
Smooth Talk (1985)
The story was better . . .
Such a cliche, I know. But it was better--much more powerful. I agree with those who say that the screenwriter shouldn't have monkeyed with the ending. As it is, the ending is a trite piece of moralistic crap.
The original ending was powerful, indeterminate, and disturbing. The story, BTW, is based on the murderous career of Charles Starkweather (I think it was) back in 1950's Texas. The character of Arnold Friend (Treat Williams) is Oates' take on this serial killer. Except that now he's not a serial killer.
I agree with those who say that the acting is very well done, particularly by Laura Dern and Treat Williams. And the screenplay sticks close to the story until the very end. God knows who is responsible for the change. It could be the screenwriter, or it could be the producer or director (or their girl/boyfriends). It seems, tho, that Oates, as co-screenwriter, went along with the change. Maybe she just didn't want to be difficult.
The original story was both disturbing and subtle, with a lot of effective symbolism. I recommend it.
The Asphalt Jungle (1950)
A gem
I can only add my voice to the chorus of praise for this movie. Much more subtly and effectively done than almost any of its imitators. Even the minor roles are well done.
Marilyn is of course, memorable, but she's not the only one. Each characterization is finely wrought.
The Rain People (1969)
My kind of movie . . .
At least one kind. Very human and moving. Not out to teach a lesson or anything like that. All principals are effective. I saw the movie years ago and still remember it (but can't remember the Morgan Fairchild role).
And a nice slice of American life.
Moonlight Mile (2002)
Low key...
Low key, but dramatic. An "ordinary people" kind of flic. I liked the movie (DVD) better than my wife, who for some reason was off by Jake G's performance. But we both were taken by Ellen Pompeo, whom we found very appealing.
I was kind of lost as to the real-estate wheeling and dealing, with the Dabney Coleman role. Kind of reminded me of the role of Peter whatisname in AMERICAN BEAUTY. Anyway, he seems to want to turn all the downtown stores into a mall, and as far as I can gather, Ben (Dustin) opposes him. But I didn't grasp the details.
My wife said that the only thing that save the movie for her was Ellen Pompeo.
Murder by Numbers (2002)
Sandra is okay, but the plot creaks
This had some good features: the acting was good, and Sandra's problems were pretty well presented--tho as a crime-scene investigator, she also has a lot of other police skills (I dont' know how realistic this is)
But the plot relies on some cheap devices, like misleading us with scenes as to which boy was responsible for the murders, and then presenting us with a different version later. Not only that, but the business about the imprint of the ring left on Sandra's neck was totally unconvincing as the key piece of evidence it was supposed to be. The imprint didn't really prove anything, aside from the fact that no clear imprint would have been left in the first place. Perhaps this was the screenwriter's fault, but you never know, since screenplays are usually changed in production.
The Claim (2000)
A beautiful movie...
loosely based on Hardy's THE MAYOR OF CASTERBRIDGE, featuring a man who sells his wife and child. I agree with earlier comments that there are similarities to HEAVEN'S GATE (I was one of three people in the country who thought HG was pretty good; my wife was another), and MCCABE AND MRS MILLER.
I also agree with those who said the plot and flashbacks are a little confusing, tho maybe this is only because I wasn't attentive enough. Mila Jovovich was good; at least, she was not as hysterical as she was in THE MESSENGER.
BTW, as I recall in the novel, the mayor loses his interest in his supposed daughter when he finds out she really isn't his daughter. In the movie, tho, the Sarah Polley character just walks coldly away when she finds out she is his daughter. The result in both cases of course is alienation.
I thought the cinematography and acting were excellent.
Signs (2002)
Worthy of Ed Wood
Terrible. Truly awful. I don't know which was worse, the acting or the story. Kids in grade school have written better stories. For example, we have an alien invasion of the world, and somehow it focuses on a PA farmhouse. Why?
This movie is a mystery to me, because I know that Shaylaman can do better. I was impressed by SIXTH SENSE. But I think he's gone downhill since then.
Somehow, the invasion of the world is defeated. But not ours to know who or why--or how. But oh yeah, there's one alien left behind. And in keeping with the writing, the aliens are like those that a fifth-grader would draw.
And as if we needed any more schmaltz, there's some guff about religious faith.
Bottom line: this doesn't even come up to the standards of a 1950's melodrama. THE DAY THE EARTH STOOD STILL was much better.
The Deep End (2001)
Huh?
Roger Ebert said something like, many movies would have no plot if the characters behaved intelligently. We can all think of examples of this, I think (JEEPERS CREEPERS, e.g.). Well, I'm afraid to report that DEEP END falls into this category.
The movie lost me near the beginning when Tilda Swinton takes it upon herself to radically rearrange a crime scene because she thinks her son has been involved. What defies explanation, tho, is that she takes what looks like an accident and makes it look like murder. Why?
The acting was adequate, and the budding love affair between the blackmailer and Swinton had some interest, but even this is schmaltzed up in the end.
I prefer tightly plotted films. I guess we have to blame this one on the writing.
Monster's Ball (2001)
Touching, well done.
A non-sensational story of love that transcends societal barriers. Racism is overcome by simple human contact, and by the alcheny of love.
Well directed, well acted, and well photographed. An adult story.
The Man Who Wasn't There (2001)
A chiaroscuro gem
Not everyone's cup of tea, but compelling for Coen and/or noir aficionados. I'm not as knowledgeable in these areas as many of the reviewers here, but I was fascinated by the movie. The suggestion by one reviewer that the protagonist is a closeted homosexual never occurred to me while I was watching, but upon reflection, it does make some sense.
The main character leads a brittle, low-key life. He treads softly, because this seems to be the only way he can get by. And yet, he's a barber who wants to be more than a barber, and thus is led to investing in an ill-considered scheme. (BTW, I didn't think dry-cleaning was such a new thing in the '50's)
Altho he is a blackmailer, there are redeeming traits in this guy. He really seems to love his wife, and does all he can to save her from the chair. SPOILER: Her suicide seems unmotivated, but may indicate that underneath, she loves him too, or at lest, feels remorse for hurting him.
In addition, the guy really tries to help a young girl to achieve a career -- even tho she is not suited for it, and doesn't really want it. In short, he comes off as incompetent, but good-hearted.
The movie is highly stylized. The acting, direction, and photography are first-class.
The Day of the Jackal (1973)
A masterpiece
I agree with the majority judgment that this is a masterpiece. One reason I believe it is, is Forsyth's and Zinneman's focus on plot rather than character. In a thriller, that's what you want, rather than the tiresome mushy Hollywood focus on character and motivation.
Here, everything is crisp and rational. There is a nice alteration of scenes between pursuers and pursued. Plus, a beautiful broadening of focus as we get to Liberation Day, the day the planned assassination is to take place.
Highly recommended.
Carnival of Souls (1962)
Deservedly a classic
SPOILERS:
This low-budget ($28,000, I heard) anticipates SIXTH SENSE and THE OTHERS in that it also deals with a character who's dead but doesn't know it. A great idea, if it is done well, and I think that in these three movies it is.
At first, we think that Mary may be the sole survivor of an accident. But as the film progresses, we see more and more of her alienation from the people around her, some of whom don't even see her. She is between two worlds, but is gradually being pulled toward the carnival of souls, the world of the dead (where her soul apparently already is, I believe. It's been a while since I've seen it)
I agree with those who think that this movie demonstrates that large budgets and F/X aren't needed to make a good horror movie. This, and NIGHT MONSTER prove that it's the basic idea, plus the way it is handled that makes a good horror flick. Money in the hands of talentless writers and directors is just wasted. These clowns think that horror lies in blood being spattered around. It is they who are scary, not their movies.
Jeepers Creepers (2001)
What's scary is that some people thought this was good.
One reviewer said that since it's a horror movie, people are expected to do dumb things. Sure, if the writer/director has no imagination. I don't recall that anybody did anything especially dumb in PSYCHO or THE EXORCIST. Things followed pretty much logically from a premise.
But this movie has no detectable premise. This time we can blame the script, since the director IS the writer. But maybe there was no script; it just seemed to be made up as it went along. Maybe this guy thinks it's cool to make up stuff on the set. If so, maybe he should go back to film school.
The expectation that people do dumb things in horror movies just shows the level to which these movies have sunk. The first rule of character development is MOTIVATION. You have to have a good reason to do something, and then you have to act with a little common sense--AND THEN you still fall into the monster's clutches. And speaking of motivation, what motivation does the monster here have? Why is he doing these things? Is he a demon? A cannibal? A cannibal-demon? And who cares?
As far as the two leads go, they may be able to act, but it was difficult to tell, since very little of it was required. The guy saw something horrible, then becomes way too traumatized afterward. Struck speechless. Of course, he seems to be someone with very limited communication skills in the first place. This is one of those movie which Roger Ebert referred to in which there would be no movie if anyone said or did the obvious thing.
And the camera was always cutting to the horror-stricken, panicky look on the guys face. It got really boring.
I think the general deterioriation of horror movies is shown by remakes of CARNIVAL OF SOULS and of THE HAUNTING. Maybe someday we'll again see true horror, done with intelligence, wit, and a mimimum of F/X.
Jeepers Creepers (2001)
What's scary is that some people thought this was good.
One reviewer said that since it's a horror movie, people are expected to do dumb things. Sure, if the writer/director has no imagination. I don't recall that anybody did anything especially dumb in PSYCHO or THE EXORCIST. Things followed pretty much logically from a premise.
But this movie has no detectable premise. This time we can blame the script, since the director IS the writer. But maybe there was no script; it just seemed to be made up as it went along. Maybe this guy thinks it's cool to make up stuff on the set. If so, maybe he should go back to film school.
The expectation that people do dumb things in horror movies just shows the level to which these movies have sunk. The first rule of character development is MOTIVATION. You have to have a good reason to do something, and then you have to act with a little common sense--AND THEN you still fall into the monster's clutches. And speaking of motivation, what motivation does the monster here have? Why is he doing these things? Is he a demon? A cannibal? A cannibal-demon? And who cares?
As far as the two leads go, they may be able to act, but it was difficult to tell, since very little of it was required. The guy saw something horrible, then becomes way too traumatized afterward. Struck speechless. Of course, he seems to be someone with very limited communication skills in the first place. This is one of those movie which Roger Ebert referred to in which there would be no movie if anyone said or did the obvious thing.
And the camera was always cutting to the horror-stricken, panicky look on the guys face. It got really boring.
I think the general deterioriation of horror movies is shown by remakes of CARNIVAL OF SOULS and of THE HAUNTING. Maybe someday we'll again see true horror, done with intelligence, wit, and a mimimum of F/X.
Drop Dead Gorgeous (1999)
Delicious Deadly Satire
Very enjoyable, if you have any taste for satire. The target is teen beauty pageants, and beyond that, small-town life, where such pageants are a BIG DEAL.
This was an ensemble piece, with all hands performing admirably. Everyone seemed to have the Minnesota Swedish accent down. Especially noteworthy in this regard were Kirstie Alley and Kirsten Dunst. (After seeing THE VIRGIN SUICIDES, I can say that Ms Dunst is very talented)
The satire is somewhat broad but effective. There are several laugh-out-loud scenes, but others more subtle. And some are EXPLOSIVE.
The movie should be watched at least twice to catch everything. In some scenes, the stuff going on in the background is hilarious. And Ellen Birkin reveals a real comic gift, as does Allison Janney. And Kirstie Alley is outstanding as the mother trying to recreate her past in her daughter.
Highly recommended.
The Patriot (2000)
Klunky
A worthy effort from the director of INDEPENDENCE DAY. Meaning, it stinks.
The klunky, predictable plot creaks and lumbers along.... and along.... and along. One minor point is that the movie is about twice as long as it should be.
Historical accuracy? Fuhgeddaboudit. But this is not the only way it was incaccurate. It also made human reactions programmatic and stylized. And the acting didn't help any. The best job of acting was by the bad guy, Jason Isaacs (His character, I believe, was modelled on the actual General Banastre Tarleton)
So what's a good war movie? How about Kubrick's PATHS OF GLORY? Or THE RED BADGE OF COURAGE? Or BRIDGE ON THE RIVER KWAI? Or RAN? Or A WALK IN THE SUN? Or PATTON? And there are a number of others.
Holy Smoke (1999)
Groan...
Disclaimer: I didn't see the whole thing, but stopped watching just when Winslet was applying lipstick to Keitel. Was this scene too much for me? No, not by itself, but after everything that went before.....
At some point, this movie lost its way. Maybe it happened as early as the script, I don't know. But the whole thing seems to me SLACK. The directing is slack, the acting is slack (expecially Keitel), and thus, the whole movie is just slack -- meaning kind of directionless. It seems as though they decided to improvise every day, and reinvent the movie. The result is a mishmash.
I can't think of another movie about deprogramming to compare this with. The closest I can come is AWAKENINGS (Robin Williams, De Niro) about people coming out a virtual coma, under the chemical ministrations of Dr. Williams. AWAKENINGS I found excellent. But maybe it's not close enough to HOLY SMOKE to really be a fair comparison.
One problem with HOLY SMOKE is that I was unable to detect any deprogramming expertise on the part of supposedly the world's greatest deprogrammer. I guess we're just supposed to accept his expertise on faith, cuz we sure don't see it in practice. In fact, he acts pretty much like Joe Schmoe, and not somebody who really knows what he's doing.
Paths of Glory (1957)
A gem
I believe that PATHS OF GLORY is to war movies what THE ASPHALT JUNGLE is to crime/noir films. It is a gem, perfect in every detail.
One of the neat touches is that the enemy, the Germans, are never seen, and are thus all the more threatening for that.
[SPOILER??} The theme, executing men to further one's career, or to shift blame from oneself, is one hardly confined to the French army, or to the military, for that matter. Fundamentally, this is not JUST a war film. It doesn't JUST show the horrors of war. Rather, it shows the lengths to which the human ego will go: other people's lives are a small price to pay for MY aggrandizement.
Relevance today? How about politicians who execute people, including the retarded, just to further their careers and to satifsy the bloodthirsty mob?
Bottom Line: A highly recommended movie.
Magnolia (1999)
Flawed, but worth seeing.
Much more to offer than the average movie. And the acting is superb. I think it's clear that Anderson is an actors' director. But this has a downside too. For my taste, there were one or two many scenes displaying intense emotion. And Anderson, as a writer, seems to bend over backward to avoid on-the-nose dialogue.
But the theme (repeated, I think, three times)-- You can let go of the past, but the past won't let go of you -- does come though.
Those who liked SHORT CUTS will also like MAGNOLIA. (BTW, shouldn't we at lease see the street sign that explains the title? Maybe I missed it) Like SHORT CUTS, we have interconnected stories. And yes, I note that Earl Partridge was the originator of the kids quiz show. But that mention in rolling credits doesn't exactly tie things together.
Basically, MAGNOLIA is a morality tale. And one worth seeing. I plan to rent it.