worldofgabby Reviews

The Wolf of Wall Street (2013)

Good for adolescent boys, I guess.

[3/10 · 28 December 2013]

I didn't like Wolf of Wall Street for a number of reasons. It was very repetitive and ultimately boring. How many times can one watch people snort coke, get drooly on Quaaludes, and have sex with prostitutes? How many smooth-skinned blondes with shaved privates are enough, and how many times do we have to watch mindless machismo and bonding? After the third or fourth scene of juvenile debauchery the excesses of the central characters become mind-numbingly dull. I recognized many attempts to inject a little of the magic of Goodfellas into the proceedings, which made me wish I was watching it instead of Wolf of Wall Street. Don't get me started on the film's attitude towards women (even aside from the aforementioned prostitutes.)The movie had a bit of humor, especially towards the end, but the characters were not developed and many chances to deepen the movie were missed. The movie came alive only in a few scenes, usually ones accompanied by music. It made me sad to see a director I admire making such a hash of it, and reputable actors trying valiantly to turn two dimensions into three.

The Shipping News (2001)

Eh

[2/10 · 30 September 2013]

The novel "The Shipping News" caused quite a splash when it was published. I never read it. I remember hearing about a movie being made from the book, and then not hearing much more about it. Now I know why. The film is a queasy concoction of human depravity, despair, beautiful scenery, colorful stereotypical characters, and clairvoyance. Kevin Spacey and Julianne Moore, two of my favorite actors, perform as if they are on Thorazine, and Judy Dench hams it up shamelessly (to her credit, she deepens up a bit towards the end.) I began to feel displaced, as if I wound up in a cold climate when I expected to be in Macondo. Magical Realism very far afield. I suffered through the entire movie out of laziness and masochism, hoping that at least one of the characters would be put out of their misery at its end.

Cookie's Fortune (1999)

One huge flaw

[8/10 · 8 September 2013]

I watched Cookie's Fortune because of the cast and director. I've always had mixed feelings about Robert Altman but have mostly enjoyed his movies. Aside from Hitchcock, or maybe Scorsese, I tend to view each of a director's movies individually rather than judging it against his/her oeuvre. I truly enjoyed this movie and was especially happy to see (or rather hear, because she was pretty much unrecognizable)Patricia Neal, who played her role with sensitivity and believability. So did the rest of the actors with the exception of Glen Close who veered towards caricature in every scene. The minute she appeared I winced, and continued to do so throughout the movie. Aside from that and despite the confusing "revelation of secrets" at the end (which seemed rushed and forced,)I loved this movie because of the atmosphere of the town, the acting, and the writing which was often laugh-aloud funny. I would recommend this movie to anyone who needs their spirits lifted by some light entertainment with a rueful and forgiving view of community.

Mulholland Drive (2001)

Running on Empty

[1/10 · 26 January 2013]

I watched this movie not knowing what to expect. The only thing I knew was that a lot of people called it their "favorite" movie so I figured, "How bad could it be?" I must admit I was intrigued by its mysterious qualities and its set direction. The longer I watched (and I watched the whole damn thing)the more I felt that I was becoming the victim of an elaborate joke. I'm not a David Lynch fan. I saw "Eraserhead" back in the 70's when I was in art school, and felt compelled to praise it. After all, art is supposed to be weird, right? I was still willing to give Mulholland Drove a chance, as I love movies with suspenseful, twisted plots that reveal dark parts of the psyche (Vertigo is one of my favorite films.) I was totally irritated by the end of this movie. It seemed to be specifically crafted to set off a train of speculation and to intimidate the viewar into thinking "it must be a work of genius because I don't understand it." I propose that, like the "performance" towards the end of the film, it is an empty, pretentious bag of tricks that teaches us nothing about ourselves or the human condition. Unlike Hitchcock, Lynch is a true Master of Pretense.

Day of the Nightmare (1965)

Ed Wood's Bitter Half

[6/10 · 19 January 2013]

The film I saw was neither the one described in IMDb's synopsis nor that described in the other reviews. I watched it on Netflix and assume the more lurid scenes were cut. This is a shame. Although I don't particularly enjoy watching depictions of sadism, etc, I see no reason for a movie not to be shown in its entirety, especially on a site which is generally not so squeamish. That being said, I enjoyed the movie despite its bad acting and lack of continuity (the cars driven by the characters, especially the hero/heroine's station wagon, varied in age and marque.) The subject was interesting and the central character well played. There was an inventive use of cheap sets, and the actors seemed to have been chosen from the director's friends and acquaintances, much like in an Ed Wood production. If you enjoy watching Ed Wood's movies, you won't want to miss Day of the Nightmare. It is one step up and quite a bit darker.

Fat Man and Little Boy (1989)

Lazy and simplistic

[1/10 · 26 March 2012]

Fat Man & Little Boy plays like the Cliff's Notes version of an important period in history and science. The first moment we see a carefree, laughing Oppenheimer, it is obvious that the film is going to take quite a few liberties with characterization. When Paul Newman strides onto the scene, accompanied by "Patton"-like music, all credibility is immediately destroyed. My major problem with Fat Man & Little Boy is the character of Oppenheimer. Oppenheimer was a complex character, a misfit, a neurasthenic polymath. This film only scratches the surface of his personality, and the actor who plays him is horribly miscast, although he tries his best. Towards the final days of the Project, Oppenheimer had become extremely thin and cadaverous. The constant hounding by Communist hunters digging into his personal life coupled with his moral qualms about the use of the Bomb threw him into a state of nervous exhaustion bordering on paranoia. There is no hint of the inner man in this portrayal. The community of physicists at Los Alamos was a collection of brilliant and unusual men. There were many conflicts and a lot of competition going on which are pretty much ignored. It was frustrating to see all of this potentially rich material cast aside in order to simplify the film and make it accessible. In addition to ignoring the real characters involved in the Manhattan Project and misinterpreting the ones it treats, the film introduces John Cusak as the "Everyman Physicist," a fictional character created to humanize(?)the subject and engage the "average viewer," along with the obligatory love interest. This slows the movie down to a crawl and it was walking pretty slowly to begin with. This movie takes a situation rich in drama and conflict coupled with scientific and historical interest and turns it into a boring, simplistic soap opera.

Session 9 (2001)

My new standard for bad movies

[1/10 · 24 March 2012]

I am a big fan of effective, psychological horror movies (not slasher films,) so the premise of this film intrigued me. What could be better than a creepy abandoned insane asylum coupled with the eery paraphernalia of asbestos abatement? To say I was disappointed would be an understatement. I would say without reservation that "Session Nine" is the worst movie I have ever seen. The only thing good about this movie is the setting. The acting is not too good, but, as others have said, it is difficult to act without material. There are a number of things which turned me off to this movie. The "plot" seemed to be an afterthought, and it was impossible to believe that the characters were actually performing asbestos abatement---the youngest of them is actually wearing a paper mask instead of a real respirator. I seems as if they had one respirator between them. The "circuit breaker" which kept blowing had to be reset by plugging something in---the extension cord? Working under intense time pressure, no one seemed to be working at all, especially the guy who spent all of his time listening to the "sessions" with a "multiple personality case" on a conveniently provided tape player. Granted, everything in a movie doesn't have to make sense in a realistic manner, but, to my mind, the best horror movies (like "The Shining") are effective because of the contrast between the ordinary and the extraordinary. One needs a baseline from which to deviate. The whole movie left me with the feeling that someone saw a really cool building and said "Hey, why don't we get together and make a scary movie here?" I was not surprised to find out that this was actually the case. I could go on about the problems with this intensely boring, stupid, and pretentious film, but I wasted enough time watching it. This review has been written solely to warn others who may be fooled by the film's high rating here.

The Iron Lady (2011)

Brilliant acting or credible impersonation?

[2/10 · 23 February 2012]

This movie is a real mess. It centers around yet another of Streep's impersonations of a well-known figure. While it can be touching at times, the repetition of fugue-state flashbacks is tedious and confusing, and does nothing to illuminate Thatcher's character and political ideals. Okay. Everyone considers Streep a great actress. I question her judgement in agreeing to participate in this shallow project. Perhaps she prefers films which are so bad that her performance will shine. I have enjoyed Streep in movies where she relaxes and embodies her character without prosthetic makeup. The film's attempt at "feminism" is unconvincing. Whenever Thatcher begins to doubt herself, the movie flashes back to her wide-eyed worship of her father. One would think she sprang fully-formed from his head, with no ideas of her own. Did she have a mother?

Caught (1949)

How not to marry a millionaire

[9/10 · 22 January 2012]

This movie grabs one immediately because of its cinematography. As it progresses it becomes an effective, and affecting, critique of the exchange of sexual favors for wealth and the treatment of humans as possessions. Ryan's portrayal of Ohlrig, the psychopathic business wizard, is exceptional: he excelled in the portrayal of hysterical males, and this performance highlights the contrast between his stunning good looks and ruthless personality (albeit in a less subtle way than in his seductive role in Clash by Night.) James Mason is more than adequate as the idealistic doctor who "rescues" Bel Geddes from her oppressive marriage. He gives an honest performance which avoids his tendency to indulge in ironic removal from his characters. Bel Geddes is the somewhat clueless product of cultural oppression: her character vacillates between frustration and despair, unable to reconcile her desire for freedom and self-worth with her position as the neglected toy of a rich man. Although many have wished for a tougher actress, Bel Geddes' rebellious doormat is believable because of her softness combined with intelligence. The cast, look, and attitude of Caught transcend its simplistic plot and bizarre denouement, making it a movie worth watching more than once.

Born to Be Bad (1934)

Almost a movie

[6/10 · 12 December 2011]

This film illustrates the havoc that was caused by the Hays code. Loretta Young tries her best to portray Joan Crawford in the bad-girl role, with little of Crawford's ability to show internal conflict and humor. Grant is adequate in his early cardboard handsomeness. The film, however, does not hold together, and has the look and feel of something that was taken apart and reassembled a number of times. Apparently Born to Be Bad ran into a lot of trouble with the censors, and was cut and tweaked to facilitate its release, leading to some mystifying gaps, puzzling voice-overs, and an ending which strains ones already diminished credibility. Still and interesting film to see for its historical value, being made on the cusp of an era which gutted movies of adult content and moral ambiguity.

Caravaggio (1986)

pretentious and awful

[1/10 · 23 August 2011]

I really hated this film. I have watched many experimental, ambitious, and complex movies that demand much thought and attention from the viewer, but this one was an inexcusable exercise in self-indulgence by the filmmaker. The voice overs contained language which was heartbreakingly beautiful and I wished that more of that intelligence and beauty had been transmitted to the rest of the movie. Instead we get a tawdry pastiche of soft-core pornography which becomes so tedious that, when another perfect male form was displayed I became numb and angry. One would imagine that Caravvagio created his work in a vacuum, and that his art was a product of his violent and transgressive nature only. Having studied art, and being an artist myself, I was looking for some insight into this fascinating man and his revolutionary work. The scenes of him painting were unconvincing and the paintings in progress looked like amateur attempts in figure-drawing. I was able to wrest some meaning from Caravaggio, but that occurred early on and the only reason I kept watching it was the thought that it would kick in and start making some overarching sense. Watching this would lead one to believe that Renaissance Italy was populated mostly by homosexuals with a strong predilection for violent sex, and the clergy who exploited them for their private titillation. "Caravvagio" managed to demean the people it was trying to celebrate, oversimplify a complex individual, and bore and confuse its audience. Only recommended for a committed student of Jarman's work, as the "auteur" was obviously more interested in himself than in the subject.

Golden Salamander (1950)

A pleasant surprise

[9/10 · 22 March 2011]

When I saw the cast for this, I figured the movie would either be very good or awful. Luckily, it was the former. Good acting, great cinematography, editing and a convincing character path make this movie a real classic. Of course there are the "exotic" Arabs, but their depiction is not as offensive as in most films of its era. The somewhat dazed performance by Anouk Aimee leads one to believe that she either had a lot of trouble with the English language, or overplayed her depressive qualities. The boar hunt sequence brings to mind the conclusion of the book "The Alexandria Quartet." Aside from these minor quibbles, I recommend The Golden Salamander to anyone with an interest in character development, intrigue, and film noir that isn't about people unjustly accused of criminal action, innocent people led into same, and heists gone wrong.

The Night of the Hunter (1955)

Praise the Lord

[2/10 · 24 January 2010]

I remember seeing this movie many years ago and being disturbed by it. I just watched it again and was also disturbed by it, although in a different way. There is an overbearing religious content to this film which breaks loose in the last half hour and undoes all of the tension that was effectively created at its onset. Aside from the laughable moment when Mitchum chases the children up the cellar stairs like Frankenstein's monster, the first two thirds of the "night" are thrilling, if one suspends a bit of disbelief. When the children escape with the boat, the corner is turned. We are off into blessed nature, and then to the good witch in the forest. The sins committed in the name of religion are forgotten, save the Preacher's, and we all sing a mighty Hallelujah.

Swamp Water (1941)

A big surprise

[9/10 · 10 January 2010]

I'm not really familiar with Renoir's movies: I watched "The Woman on the Beach" a number of years ago and enjoyed it for Robert Ryan's performance, and its unusual plot and characters (especially Charles Bickford as the blind artist.) Unlike others, my appreciation of "Swamp Water" was not affected by its comparison to other films by the great French director. I came across "Swamp Water" online and, not knowing anything about it, initially thought it was either a horror movie or one of those cornpone looks at the "poor ole souls" of the deep South. The film's credits lifted my spirits, and assured me that I was in for a surprise. And I was. I love this movie: the cinematography, the subtle characterizations, the dialogue (especially Brennan's cosmic musings.) Dana Andrews (never my favorite actor, always to me a poor man's Robert Ryan) is superb, Walter Brennan, as usual, transcendent, the women complex and not condescended to, and the array of familiar character actors round out the cast with their usual more than competent contributions. Swamp Water has a psychological and emotional complexity unusual for such a simply plotted film, and its haunting evocation of the mysterious region in which it is set assures it will remain one of my favorites.

Victim (1961)

An amazing movie!!!

[10/10 · 25 October 2009]

This movie is sensitively played and beautifully filmed, advocating tolerance but not being didactic, making its point through intense acting and intelligent scripting. Dirk Bogarde and the other members of the cast, as well as everyone else involved, were taking a big risk in dealing with the controversial subject of the damage that the Sodomy Laws caused to individuals of all social classes. This film was initially banned in the United States, as it was the first English language film to use the word "homosexual" in its script. It is interesting to note that is was loosely based on a German film, Anders als die Andern (1919,) prints of which were subsequently burned by the Nazis as "perversion". The film is credited as influential in rescinding the Sodomy Laws in 1967. Many states in the US still considered homosexuality illegal well into the 1970s, and vestiges of this intolerance can be seen in the current gay marriage "controversy."

The Cowboy and the Lady (1938)

A lovely movie

[9/10 · 23 October 2009]

I really loved this movie. Merle Oberon, who is not my favorite actress, was charming as the frustrated daughter of an ambitious, controlling politician. Gary Cooper, handsome as always, was less wooden than usual, and totally believable, and the supporting players all handled the witty dialog with ease and pleasure. Suspension of disbelief came easily, and although the ending was somewhat hurried, it did produce the desired amount of tears and surprise. One must remember when this movie was made (when FDR was president,) and the populist message manifests itself throughout. The dialog and cinematography were excellent, and despite the fact that the action was a bit hokey at times, both the cowboy and elite milieus were beautifully contrasted and the main characters' emotions sensitively handled.

Mirage (1965)

Trite and disappointing

[3/10 · 12 May 2009]

I watched this movie on the recommendation of a fellow film buff, who referred to it as "like Hitchcock." As are most movies labeled as "Hitchcockian," it was a great disappointment. Gregory Peck gives his usual irritatingly blank and wooden performance, and, aside from excellent performances by the incidental characters, the film was a waste of time. There were so many echoes of earlier movies that I found myself waiting for the next. Others have noticed some of them, but there were more: The shot of the murdered man falling to his death---opening credits of Vertigo, his speech in the office when he is standing by the window: Orson Welles in "The Third Man," cinematography and use of New York locations---"Odds Against Tomorrow." The "working for world peace while attempting to subvert same": George Saunders in "Foreign Correspondent," and undoubtedly more. Some things that make Hitchcock's "wrong man" or "lost character" appealing are his resourcefulness and wit and our ability to empathize with him. Peck demonstrated none of these. He didn't even demonstrate the swooning weakness he displayed in "Spellbound," and Diane Baker was no Ingrid Bergman. I'd recommend potential viewers skip "Mirage" and watch any of the movies I've mentioned above, or those mentioned by others as its antecedents.