simon_sparrow Reviews

Afterglow (1997)

Enjoyable offbeat comedy

[8/10 · 16 August 2001]

Julie Christie is magnificent as Phyl Mann, wife of Nick Nolte's Lucky "Fix-it" Mann. Age has not been kind to the couple until they find an odd path to revitalization. Nick Nolte makes the offbeat casting work, and Charlotte Rampling has a magnificent supporting role.

Straight on Till Morning (1972)

Tiresome morality play

[3/10 · 16 August 2001]

Rita Tushingham is an intensely vulnerable actress. In her early classics, such as The Trap and A Taste Of Honey, directors used these distinctive qualities to capture cinematic eloquence. In this Hammer film, these traits become parodies of themselves, and as a result, Rita and those around her, are merely grotesque. This is especially true of the strikingly pretty psychotic for whom she falls, played indifferently by Shane Briant. For all its faults, the film does have two remarkably clever scenes, but they are no so good as to warrant exposing yourself to 90 minutes of this sewage.

The Cool Ones (1967)

Hideously terrible

[1/10 · 16 August 2001]

All attempts to be cool fall horribly flat in this showcase for some of the weaker musical talents of the 1960's. Roddy McDowell delivers the worst performance of his career in a character as shrill as he is inconsistent. It then proceeds in tortoise-like fashion to an obvious conclusion. This is a worthy candidate for the worst big budget film in the history of the cinema.

A Face in the Crowd (1957)

Elia Kazan's masterpiece

[10/10 · 16 August 2001]

Elia Kazan directed many great movies including On The Waterfront. In my opinion, not one combines the complexity and power of A Face In The Crowd. Andy Griffith gives a chilling performance as a small-time con man who uses Patricia Neal to get his shot at the big time. The film has shrewd insight into human character and frailties. Anthony Franciosa is magnificent in a supporting role. Lee Remick is delectable in her screen debut. I consider this one of the most powerful essays ever produced in the American cinema.

Bigger Than Life (1956)

Mason is terrific in intriguing character study

[7/10 · 16 August 2001]

James Mason gives one of the best performances of a quite distinguished career as a sickly teacher who is diagnosed with a rare disease. He seems to experience a miraculous recovery after he is prescribed an experimental drug. Unfortunately, shortly thereafter, he becomes addicted to the drug which alters his personality in disturbing ways. Mason's chemistry with Barbara Bel Geddes is ideal, and thus heart-rending when he is forced to make his Hobson's choice, as it were. Walter Matthau performs in a satisfactory manner as a supportive teacher.

The Man Between (1953)

Impeccably acted and atmospheric post-war drama

[9/10 · 16 August 2001]

James Mason gives a tour-de-force performance as a tired clerk who knows not who to trust. Hildegrade Knef is magnificent in a complex supporting role. Carol Reed has directed some great movies and this is among his best. The ending sequence is so poignant, it always brings tears to the eyes.

The Dresser (1983)

Nicely done but a tad rambling

[6/10 · 14 August 2001]

The first half of the movie evokes its era with great panache. The entire cast is brilliant. Costumes, set design, and photography are all rather first rate. The end itself is equally well performed and memorable. However, director Yates gives Courtenay much too much slack in his leash prior to the denouement. The result is a series of interminable ramblings leading to a none-too-shocking disclosure. Nevertheless, the film recovers nicely at its conclusion.

A Little Night Music (1977)

Perfectly dreadful adaptation of brittle and whimsical musical

[2/10 · 14 August 2001]

The first atrocity made by director Prince, whom should know better, was casting Elizabeth Taylor in the part originated by Glynnis Johns. E. T. is a total fish out of water in this film. Filming the stage play would have been infinitely superior to this garbage. Only Hermoine Gingold offers some bright moments.

A Man for All Seasons (1966)

It is impossible for me to imagine a better film.

[10/10 · 14 August 2001]

This is not only the best film I have ever seen; it is the best I could ever hope to see. Every syllable of dialogue is the essence of artistry. Paul Scofield captures every fibre of the soul of Saint Thomas More. His is the best lead actor performance I have ever witnessed. Wendy Hiller, Susannah York, Nigel Davenport, Leo McKern, Robert Shaw, Orson Welles, and John Hurt all create three-dimensional people so vividly real that I can't bear to see anyone else in their roles. Fred Zinneman is one of the most underrated directors of the 20th century. His Oscar here was well-deserved -- the pacing is impeccable and the scenes flow fluidly.

Americans can boast all they wish about Citizen Kane, Gone With the Wind, Raging Bull, Vertigo, and American Beauty. All five pale in comparison to A Man For All Seasons.

The Match (1999)

Juvenile and repetitive antics abound

[2/10 · 13 August 2001]

Every male character in this movie behaves as if he had the maturity of a ten-year old, or worse. A pub is put on the line for no particular reason. Everything is over-the-top and overplayed to the hilt. Producer Brosnan has a pointless cameo. I found the entire experience an utter waste of my money and time.

Otley (1969)

Broad and uneven comedy

[6/10 · 13 August 2001]

Otley contains several inspired scenes with Tom Coutenay at his most outrageous. But, the bad scenes outweigh these moments of inspiration. This is especially true whenever Freddie Jones appears on camera to take over proceedings. His first appearance inspires guffaws. But his relentless clowning grows quickly tedious.

An Everlasting Piece (2000)

Too clever by half with much more style than substance

[4/10 · 12 August 2001]

Barry Levinson is a clever director. Mr. McAvoy is a clever actor/screenwriter. In this case they combine for three wonderful ideas that would carry a short story or a half-hour sitcom episode marvelously. There is not enough here to sustain a movie, however. So after the first half-hour, An Everlasting Piece runs out of steam and attempts to reach the finish line with smoke and noise. A movie that begins combining wry whimsy and clever wordplay with offbeat characters quickly degenerates to a laboured farce that plays like a three stooges marathon.

Almost Famous (2000)

Pleasing period piece

[9/10 · 12 August 2001]

Almost Famous is a highly enjoyable tale about an adolescent movie critic who spends an uforgettable summer with a second-rate band and their loyal groupies. Although credibility must be suspended for full enjoyment, the early 70's rock scene is recreated in painstaking detail. The young actor in the lead is excellent. Billy Crudip and Philip Seymour Hoffman are excellent in their key roles, and Kate Hudson is magnificent.

Getting to Know You (1999)

Matarazzo shines in Lisanne Skyler's labour of love

[7/10 · 12 August 2001]

It is obvious that director Lisanne Skyler has tremendous respect for the writings of Joyce Carol Oates. She weaves several stories together in this intriguingly conceived film about lost souls meeting in a bus station. Heather Matarazzo follows up her amazing performance in Welcome To The Doll House with a more measured, but nonetheless brilliant, essay of a displaced teen trying to make sense of what is left from her life.

Zach Braff is phenomenal in the confined role of her brainy and equally depressed brother. Bebe Neuwirth also shines as their mother, Trixie. Only Mark Blum as the father seems badly miscast.

Bo Hopkins does a wonderful supporting turn as a security guard, and Chris Noth and Celia Weston also bring great panache to their supporting characters. Skyler does a masterful job weaving the different stories and diverse characters into her quilt in the first 60% of the film. However, the pacing slows down considerably and her directorial rhythm falters when she focuses solely on the narrative explaining the siblings' predicament which quickly decays into a study of repetition.

However, viewers who persevere will be rewarded. Upon returning to the bus terminal, the characterizations are bestowed dimension in quite skillful and unexpected manners.

Private Parts (1997)

Marvelous feature with shockingly original screenplay and approach

[10/10 · 12 August 2001]

I detest Howard Stern and viewed this film under protest. Surprisingly, I found it to be my favorite American film in some time.

Whilst the movie is based upon biographical material and many of the principal characters play themselves, director Betty Thomas does a marvelous job of creating a fresh feel of taking us behind the scenes. Equally surprising is that Stern allows his warts and ego to be on full display. Private Parts, in its own way, is a far more trenchant essay on the state of the American entertainment industry than The Player or Network.

The Man Who Never Was (1956)

Majestic performance by Clifton Webb

[10/10 · 12 August 2001]

Clifton Webb was one of the best film actors of the twentieth century. This expository saga of a naval intelligence operation reflects his majesty in magnificent splendor. The story is based on a true World War II ploy. Gloria Grahame is brilliant in an emotional supporting role whilst Stephen Boyd is convincingly cunning in his character.

Doctor in the House (1954)

One of my most loved comedies

[10/10 · 12 August 2001]

This is one of the funniest movies from my youth, and I still love it completely. Dirk Bogarde is marvelous as the medical student with an incredibly bad streak of luck. Kenneth More steals every scene in which he appears. James Robertson Justice is hilarious as Sparrow's venerable mentor.

The Clouded Yellow (1950)

Nice psychological thriller

[10/10 · 12 August 2001]

The Clouded Yellow is a compact psychological thriller with interesting characterizations. Barry Jones and Kenneth More are both terrific in supporting roles in characters that both have more to them than what meets the eye. Jean Simmons is quite good, and Trevor Howard makes a fascinatingly offbeat suspense hero.

The Hidden Room (1949)

Brilliantly conceived and realised film noir

[10/10 · 12 August 2001]

Robert Newton gives a restrained and powerful performance as a cuckolded doctor exacting revenge on his high-spirited wife by abducting her young American lover, then keeping her guessing as to where he is, and whether he is still alive. Sally Gray is nothing short of brilliant as the wife. And, Naughton Wayne is magnificent as the dogged police inspector. Obsession combines brilliantly chiseled characterisations with an extremely intelligent and literate screenplay. Keep it on tape, because no one gets all the nuances the first time he or she watches it, but it's all put together so brilliantly the repeat viewings become a glorious pleasure.

Green for Danger (1946)

Whimsical mystery with Sim, Howard, and Gray in top form

[10/10 · 12 August 2001]

From the opening words of Sim's narration, mystery lovers understand that they are in store for a whimsical treat. Who is the murderer in the operating theatre? Sally Gray and Trevor Howard also deliver vivid portrayals of most interesting characters. Leo Genn also adds a nice bit as a head surgeon who is a bit of a lothario. This is marvelous entertainment.

I Know Where I'm Going! (1945)

A truly great romantic comedy

[10/10 · 12 August 2001]

No elaborate plot twists, marathon casts, over-emotive tear ducts, or special effects were needed to produce the most brilliant, moving, and whimsical romantic comedy of the twentieth century. 56 years after its making, "I Know Where I'm Going Stands Alone" as the best cinematic effort in explaining the foibles of the human dichotomy between brains and desires. Wendy Hiller, the most remarkable actress in our country's history (although she made far too few films), is magnificent as Joan Webster. She takes us into her character's heart and mind and pulse as if we lived there with her -- the highest achievement possible for an actress. She is miraculous. Roger Livesey is incredibly natural and whimsical in the male lead. The supporting ensemble is impeccable. Powell/Pressburger show once more why they were the best directorial tandem of all time.

The Hidden Room (1949)

Brilliantly conceived and realised film noir

[10/10 · 11 August 2001]

Robert Newton gives a restrained and powerful performance as a cuckolded doctor exacting revenge on his high-spirited wife by abducting her young American lover, then keeping her guessing as to where he is, and whether he is still alive. Sally Gray is nothing short of brilliant as the wife. And, Naughton Wayne is magnificent as the dogged police inspector. Obsession combines brilliantly chiseled characterisations with an extremely intelligent and literate screenplay. Keep it on tape, because no one gets all the nuances the first time he or she watches it, but it's all put together so brilliantly the repeat viewings become a glorious pleasure.

Different for Girls (1996)

Kevin McIntosh is brilliant in gender bent comedy

[9/10 · 10 August 2001]

Kevin McIntosh gives a sensation performance as Kim, a post-op transsexual who has enough problems trying to gain quiet acceptance in her new life without her former male self's best buddy meeting up with, then falling in love with, her. Rupert Graves is marvelous as the boyfriend. I expected this to be a campy spoof. Instead, to my delight, I found a gentle and thoughtful comedy about some very important issues in our changing world.

Just Like a Woman (1992)

Hidden gem is a gentle comedy

[10/10 · 10 August 2001]

When I heard that Adrian Pasdar was in drag in this movie, my expectations that I would watch the entire movie were low. The only reasons I gave it a chance were the magnificent Julie Walters and the recommendation of a friend.

What i thought would be a broad "Mrs. Doubtfire" type of farce turned out to be a gentle and insightful comedy. Pasdar is entirely credible and empathetic as the ambitious business man who needs to release the female part of his being by cross-dressing on occasions. He transmits these needs to the audience in a thoroughly believable fashion. Julie Walters is magnificent, is as her habit, as the landlady who teaches him unconditional love.

Dead Poets Society (1989)

Overrated self-indulgence

[4/10 · 10 August 2001]

The brats in this film cannot act, but they can scream, ever so stridently. Robin Williams puts a lot of energy into his performance, but the events are too pat and too predictable. The homilies are much too preachy. The attempts to tug at the heartstrings are much too obvious. In short, the whole thing is self-indulgent pablum.