Hard to believe this so-called comedy actually generated some enthusiastic reviews. I assume those reviewers are related in some way , who-though apparently talented-are completely stranded by an embarrassingly bad script. The entire project is random, haphazard and clueless-just bad and depressing. No laughs here, except at anyone who put time or money into it.
Stopped watching on Amazon Prime halfway through, then had to check IMDB to see who was involved in this junk. The cast list was so large (and so few actors had been on the screen so far) that I had to resume watching-out of curiosity. It got busier, for sure, as well as jaw-droopingly worse.
Some individual scenes are amusing-the golfing drug dealers' interaction with a golf course flunky, for example-but nothing connects into an effective comic narrative.
Really, really bad.
Reviews
8 Reviews
The Killer Is Loose
(1956)
Fast-moving but ultimately a disappointment
4 February 2013
As a huge fan of Budd Boetticher's Randolph Scott westerns, I really looked forward to this 1956 thriller. Though it certainly held my attention, the movie was a disappointment. The tension it managed to create early on as Wendell Corey escapes from a prison trustee farm really went slack--done in by a lousy script. Boetticher keeps things moving, helped immensely by Lucien Ballard's terrific black-and-white camera work. But I don't get the feeling the director was very interested, aside from the scenes focusing on Corey. Other reviewers have rightly praised the scary, yet oddly sympathetic, character that Corey creates here. It's just too bad the script was so perfunctory. Rhonda Fleming seems right as police detective Joseph Cotten's wife, Lila, but her role is so poorly conceived (and she becomes so annoying), that I lost all interest and sympathy for her. The other big negative is Joseph Cotten, at 50+, too old for the police detective. Even worse, you can't watch him without seeing Joseph Cotten; he doesn't create a character and his movements seem all wrong as a cop. Great 1950's LA locales, though. And worth catching for Corey's performance.
Borderline
(1950)
"Borderline" is marginal entertainment
2 December 2012
"Borderline" was a big disappointment, given the expectations I had from the MacMurray-Trevor star duo. They played their roles gamely in this awkwardly scripted, boringly directed melodrama (with light comedy overtones). If you forget about the tedious, poorly motivated plot line, there are a few enjoyably light and playful scenes between the two stars (both of whom look great, especially Trevor). They have good chemistry, and the inevitable romance that interferes with their respective drug enforcement chores (only because each believes the other is a criminal), works, despite the lazy script development. The romance works so well, in fact, that the plot demand that MacMurray turn Trevor in seems pretty unbelievable.
On a minor level, "Borderline" is interesting for its mid-20th century Hollywood depiction of Mexico and Mexicans. Lots of stereotyping, primarily for questionable comic effect. I disagree with IMDb's characterization of speaking "Mexican" as a goof. It struck me as intentional. That's the way some people talked then (and the way some people still do).
On a minor level, "Borderline" is interesting for its mid-20th century Hollywood depiction of Mexico and Mexicans. Lots of stereotyping, primarily for questionable comic effect. I disagree with IMDb's characterization of speaking "Mexican" as a goof. It struck me as intentional. That's the way some people talked then (and the way some people still do).
Fierce People
(2005)
Top-notch performances keep this spotty effort afloat
7 December 2009
"Fierce People" is a quirky coming-of-age tale told through the dark lens of a learning that the lives of the very rich are really blackest comedy. Uneven direction and a spotty screenplay (based by the author on his novel) almost do this movie in. What saves it is a gallery of first-rate performances by a fine cast. The acting is uniformly excellent, which keeps the viewer from focusing on what is basically very familiar territory.
You have to hand it to Diane Lane. Her role as the alcoholic (apparently recovering) mom is poorly written and inconsistently conceived by the director. But she gives it all she's got (which is plenty) and her later scenes with her son (also well portrayed by Anton Yelchin) achieve a depth and emotional impact that is a great credit to both actors. That depth sure isn't in the script.
Donald Sutherland is in great form as the seventh richest man in American who brings New York City masseuse Lane and her teenage son to the wilds of richest New Jersey. As his granddaughter, Kristen Stewart shows why she has zoomed to stardom in the "Twilight" films and to critical acclaim in movies like "Adventureland." Not only does the camera love her, she pays it back in full with a performance here that is remarkable for its subtle depths. (Watch her face when she gets in the black Mercedes in the movie's final scene.) As the grandson, Chris Evans is vivid and effective. (The camera loves him too.) The rest of the cast is great too. But highest praise goes to Elizabeth Perkins as Sutherland's alcoholic daughter (and mother of those aforementioned children). It's a small role, but she really comes across as she comically portrays a lifetime of privilege and desperation.
Despite the fine performances, many scenes fall flat and slide into confusion. Some of this may be due to the poor audio recording (at least on the DVD). Some of this may also be due to the inconsistent emotional focus of the script (which really needed another couple of rewrites, probably NOT by the author of the original novel).
Nice location work, though, wherever that estate was that most of the movie was shot!
You have to hand it to Diane Lane. Her role as the alcoholic (apparently recovering) mom is poorly written and inconsistently conceived by the director. But she gives it all she's got (which is plenty) and her later scenes with her son (also well portrayed by Anton Yelchin) achieve a depth and emotional impact that is a great credit to both actors. That depth sure isn't in the script.
Donald Sutherland is in great form as the seventh richest man in American who brings New York City masseuse Lane and her teenage son to the wilds of richest New Jersey. As his granddaughter, Kristen Stewart shows why she has zoomed to stardom in the "Twilight" films and to critical acclaim in movies like "Adventureland." Not only does the camera love her, she pays it back in full with a performance here that is remarkable for its subtle depths. (Watch her face when she gets in the black Mercedes in the movie's final scene.) As the grandson, Chris Evans is vivid and effective. (The camera loves him too.) The rest of the cast is great too. But highest praise goes to Elizabeth Perkins as Sutherland's alcoholic daughter (and mother of those aforementioned children). It's a small role, but she really comes across as she comically portrays a lifetime of privilege and desperation.
Despite the fine performances, many scenes fall flat and slide into confusion. Some of this may be due to the poor audio recording (at least on the DVD). Some of this may also be due to the inconsistent emotional focus of the script (which really needed another couple of rewrites, probably NOT by the author of the original novel).
Nice location work, though, wherever that estate was that most of the movie was shot!
Westbound
(1958)
Director and Cast Elevate Mediocre Western
16 November 2009
Agree with other viewers that "Westbound" is the least of the seven Budd Boettcher/Randolph Scott westerns. But the assured work of both Director Boettcher and Star Scott take this up a notch or two from the run-of-the-mill fifties oater. Nice work too from Michael Pate as the arch villain (watch the way he moves). And it's good to see Virginia Mayo, even in a throwaway role. In most other respects, though, this just isn't up to Boettcher's other work with Scott, and the fact Boettcher dismissed and virtually disowned it is no surprise. The movie lacks the tough, lean feel that makes the others real classics that can be seen over and over. One viewing is enough for "Westbound."
Across the Universe
(2007)
A Real Dud
28 April 2008
Julie Taymor may be a competent Broadway choreographer, but she displays a total lack of movie-making skill with this dreadful film. Though the Beatles songs are competently sung, they are wrenched out of their musical context in a way that completely put me off. Further, Taymor trvializes the Sixties in a contrived, mechanical and offensive way, hitting everything with the same superficial note. Even the choreography, supposedly her strong suit, is lacklustre. The actors are helplessly adrift in what amounts to a poorly conceived and executed procession of music videos. You can tell this movie is going to be bad within the first five minutes; by mid-point, things are hopeless. Not even enjoyably terrible, "Across the Universe" is a real dud.
Escape to Burma
(1955)
Mediocre camp, mildly enjoyable
23 February 2008
Direction, acting and virtually everything else about this mid-fifties pulp action flick are too flat to make it more than mildly enjoyable in a camp way. Ryan and Farrar fare better than Stanwyck, whose performance here unintentionally verges on self-parody. Stanwyck is very watchable here, but the script is so lazy and routine that her typical (and admirable) energy in tackling the role works against her. Ryan more appropriately gives the script its due,expressing obvious contempt for some of his lines. For a fifties flick, the quick sexual hookup of Ryan and Stanwyck is surprising (though a 10-year-old kid could see the film and not know what was happening between them).
I think this and "Cattle Queen of Montana" are Stanwyck's only color films. Black and white works better for her; the heavy makeup here makes her look inappropriately feverish, even for a jungle flick.
"Escape to Burma" is enjoyably bad in a mild way. I loved the back-lot jungle sets and obvious tropical foliage decoration. Nice house Stanwyck has there in the jungle too. Super art direction (always an RKO forte).
"Slightly Scarlet," "Silver Lode" and "The River's Edge" are far more enjoyable and interesting Allan Dwan efforts from the fifties.
I think this and "Cattle Queen of Montana" are Stanwyck's only color films. Black and white works better for her; the heavy makeup here makes her look inappropriately feverish, even for a jungle flick.
"Escape to Burma" is enjoyably bad in a mild way. I loved the back-lot jungle sets and obvious tropical foliage decoration. Nice house Stanwyck has there in the jungle too. Super art direction (always an RKO forte).
"Slightly Scarlet," "Silver Lode" and "The River's Edge" are far more enjoyable and interesting Allan Dwan efforts from the fifties.
Just Across the Street
(1952)
Pleasing comedy, expertly performed
5 May 2007
"Just Across the Street" is worth seeking out--an pleasing example of the kind of modest comedy (often placed on lower-half of a double bill) that Hollywood stopped making almost a half-century ago. It's brisk, powered by a clever mistaken-identity romantic plot, and filled with entertaining comic performances by old-time pros like Cecil Kellaway, Natalie Schaefer and Billie Bird. Nobody handles this kind of light farce better than Ann Sheridan. Although this came rather late in her career, she shines as the no-nonsense female lead, caught up in a situation that spins out of her control. She is well-matched by John Lund, one of the best light-comedy performers. They make a strong romantic and comedic team. The film is directed with a surprisingly light touch by U-I studio standby Joseph Pevney. Though certainly small-scale and lightweight, it has an appealing, non-condescending small-town America feeling--plus, it's just funny.
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