Commentaires de proud_luddite
Cette page présente tous les commentaires rédigés par proud_luddite, qui partagent ses impressions détaillées sur les films, les séries et bien plus encore.
678 commentaires
A single day is covered in three different time periods: in 1923, real-life author Virginia Woolf (Nicole Kidman) battles severe depression while working on her novel, "Mrs. Dalloway" in Richmond, England; in 1951, Laura Brown (Juliane Moore) is a pregnant housekeeper currently raising a young son in a Los Angeles suburb. Despite having what others would consider to be an ideal life, she is suicidal; in 2001, Clarissa Vaughan (Meryl Streep) is a New York book editor who acts as a co-dependent caretaker to her troubled long-time friend Richard (Ed Harris) who is depressed and living with AIDS.
This film is likely one of the best ever about the subject of mental illness. The various dramas are powerful and believable. The sensitive topic is handled with compassion and understanding in ways that are accurate, in-depth, and courageous while telling three riveting stories.
In addition to the great work of the four actors mentioned, there are other performances in smaller roles that also stand out. One is Toni Collette as Laura's next door neighbour, Kitty. In a short period, she exposes a lot of her life with many subtleties. Her discussions of her husband give us a lot of information about him even though he never appears in the film. He doesn't need to as the descriptions of him (including brief subtexts) are so rich. The writing deserves as much credit as the acting in this scene.
There is also Louis (Jeff Daniels) who is Richard's ex-lover. Louis' conversation with Clarissa about Richard (and themselves) is another powerful scene. Unlike the conversation mentioned in the above paragraph, the main subject of the conversation (Richard) does appear in the film and quite prominently. This contrast and variety add to the film's strength.
There's also Stephen Dillane as Virginia's husband, Leonard. He is in various scenes but his strongest is one where he and Virginia are having an argument at a train station. This one-on-one (like the other two previously mentioned) is very moving.
Kidman's performance can be praised for various reasons including being perfectly steady while portraying someone who is unsteady. It's easy to sympathize with Virginia as she expresses her pessimism on good days when she has no idea if/when the mental illness will return and if so, how bad it will be. There is also a powerful scene when Virginia is interacting with a young niece (Sophie Wyburd) while talking about a dead bird they've found.
There are various subtleties that add greatly to the story with many hints. One is the description of Laura as a teenager recalled by her husband, Dan (John C. Reilly) while their young son (Jack Rovello) listens. This revelation seems to fit Laura as to her future development.
Further praise for acting can go to Moore for her final monologue: a scene which is as rich in acting as it is in writing. The information revealed here is quite compelling.
Each story ends with some similarities as well as startling differences. Overall, the film has great compassion for those affected by mental illness and their loved ones affected in other ways. In addition to praises for acting, writing, and directing, the film also deserves praise for its musical score, costumes, and set design including the use of vintage cars in the 1951 segment.
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
This film is likely one of the best ever about the subject of mental illness. The various dramas are powerful and believable. The sensitive topic is handled with compassion and understanding in ways that are accurate, in-depth, and courageous while telling three riveting stories.
In addition to the great work of the four actors mentioned, there are other performances in smaller roles that also stand out. One is Toni Collette as Laura's next door neighbour, Kitty. In a short period, she exposes a lot of her life with many subtleties. Her discussions of her husband give us a lot of information about him even though he never appears in the film. He doesn't need to as the descriptions of him (including brief subtexts) are so rich. The writing deserves as much credit as the acting in this scene.
There is also Louis (Jeff Daniels) who is Richard's ex-lover. Louis' conversation with Clarissa about Richard (and themselves) is another powerful scene. Unlike the conversation mentioned in the above paragraph, the main subject of the conversation (Richard) does appear in the film and quite prominently. This contrast and variety add to the film's strength.
There's also Stephen Dillane as Virginia's husband, Leonard. He is in various scenes but his strongest is one where he and Virginia are having an argument at a train station. This one-on-one (like the other two previously mentioned) is very moving.
Kidman's performance can be praised for various reasons including being perfectly steady while portraying someone who is unsteady. It's easy to sympathize with Virginia as she expresses her pessimism on good days when she has no idea if/when the mental illness will return and if so, how bad it will be. There is also a powerful scene when Virginia is interacting with a young niece (Sophie Wyburd) while talking about a dead bird they've found.
There are various subtleties that add greatly to the story with many hints. One is the description of Laura as a teenager recalled by her husband, Dan (John C. Reilly) while their young son (Jack Rovello) listens. This revelation seems to fit Laura as to her future development.
Further praise for acting can go to Moore for her final monologue: a scene which is as rich in acting as it is in writing. The information revealed here is quite compelling.
Each story ends with some similarities as well as startling differences. Overall, the film has great compassion for those affected by mental illness and their loved ones affected in other ways. In addition to praises for acting, writing, and directing, the film also deserves praise for its musical score, costumes, and set design including the use of vintage cars in the 1951 segment.
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
- Directing by Stephen Daldry
- Screenplay by David Hare (based on the book by Michael Cunningham)
- Acting Ensemble
- dbamateurcritic (wordpress)
In a small South American town, four European men live impoverished lives and want to leave. In desperation, they accept a dangerous but high-paying assignment to transport nitroglycerin to another region three-hundred miles away in order to extinguish an oil well fire. The men are paired off in two vehicles: Frenchmen Mario (Yves Montand) and Jo (Charles Vanel) in one; and Dutchman Bimba (Peter van Eyck) and Italian Luigi (Folco Lulli) in the other. The film is based on the novel by Georges Arnaud.
Most of the beginning scenes before the main action are good but some feel rather long. The characterization in this section is also less interesting and underdeveloped compared to what follows. They include Mario's overly lovestruck girlfriend, Linda (Véra Clouzot); and a heartless, greedy, one-dimensional American oil-company executive, Bill O'Brien (William Tubbs).
Another criticism of the film is that an important event at its conclusion seems unnecessarily harsh and sadistic with a dose of shadenfreude toward one of the characters. But these flaws are well dominated by the film's many strengths which take place during the treacherous journey.
Some scenes in the main section are long and they need to be. Director Henri-Georges Clouzot does a superb job in paying attention to small details that extend the tension and suspense. Other directors would likely not have succeeded as well.
And the actors playing the four truck-drivers are exceptional. Van Eyck stands out in a scene requiring rescuing skills. And the many conflict scenes between Mario and Jo were so good, they could have been part of a separate movie on their own. The character revelations in these scenes were amazing.
Highly recommended.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
Most of the beginning scenes before the main action are good but some feel rather long. The characterization in this section is also less interesting and underdeveloped compared to what follows. They include Mario's overly lovestruck girlfriend, Linda (Véra Clouzot); and a heartless, greedy, one-dimensional American oil-company executive, Bill O'Brien (William Tubbs).
Another criticism of the film is that an important event at its conclusion seems unnecessarily harsh and sadistic with a dose of shadenfreude toward one of the characters. But these flaws are well dominated by the film's many strengths which take place during the treacherous journey.
Some scenes in the main section are long and they need to be. Director Henri-Georges Clouzot does a superb job in paying attention to small details that extend the tension and suspense. Other directors would likely not have succeeded as well.
And the actors playing the four truck-drivers are exceptional. Van Eyck stands out in a scene requiring rescuing skills. And the many conflict scenes between Mario and Jo were so good, they could have been part of a separate movie on their own. The character revelations in these scenes were amazing.
Highly recommended.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
- Directing by Henri-Georges Clouzot
- Acting Ensemble (the four actors playing the truck drivers)
- dbamateurcritic (wordpress)
Manuela Echevarria (Cecilia Roth) is a nurse in Madrid dealing with a recent shocking change in her life. She travels to Barcelona where she lived a generation ago in order to resolve issues of her past. Once there, she re-acquaints with her friend Agrado (Antonia San Juan), a transgender sex worker, while also searching for Lola (Toni Cantó), another transgender woman who had a deep connection with Manuela in the past. She also makes new connections with Huma and Nina (Marisa Parades and Candela Peña), actresses playing in a touring production of "A Streetcar Named Desire"; and Rosa (Penélope Cruz), a nun who works in a shelter for battered sex workers. The film is written and directed by Pedro Almodóvar.
This movie is filled with bizarre people who have bizarre connections with each other and share bizarre situations. And it works perfectly. In spite of all the oddities, everything is believable and even amazing. The anarchic supportive community that is created is one which some of us might envy despite the tragedies and difficulties that some individuals face. The communal spirit is best on display in a scene when four characters are laughing hysterically while discussing male genitalia. This is the funniest scene in a film filled with many other hilarious moments.
Taking place in two of the world's most stunning cities, the film has a beautiful, cosmopolitan feel to it while also focusing on tragic issues like drug addiction, AIDS, and Alzheimer's.
Like most of Almodóvar's other films, this one has amazing opening and closing credits with a lot of humour.
"All About My Mother" is one of those rare films that is mostly about women. It's unfortunate that such films are so rare but this one is a gem that helps fill the gap.
The great cast also includes Rosa Maria Sardà, Fernando Fernández Gómez, and Eloy Azorín.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
This movie is filled with bizarre people who have bizarre connections with each other and share bizarre situations. And it works perfectly. In spite of all the oddities, everything is believable and even amazing. The anarchic supportive community that is created is one which some of us might envy despite the tragedies and difficulties that some individuals face. The communal spirit is best on display in a scene when four characters are laughing hysterically while discussing male genitalia. This is the funniest scene in a film filled with many other hilarious moments.
Taking place in two of the world's most stunning cities, the film has a beautiful, cosmopolitan feel to it while also focusing on tragic issues like drug addiction, AIDS, and Alzheimer's.
Like most of Almodóvar's other films, this one has amazing opening and closing credits with a lot of humour.
"All About My Mother" is one of those rare films that is mostly about women. It's unfortunate that such films are so rare but this one is a gem that helps fill the gap.
The great cast also includes Rosa Maria Sardà, Fernando Fernández Gómez, and Eloy Azorín.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
- Directing by Pedro Almodóvar
- Acting Ensemble
- dbamateurcritic (wordpress)
In England of the early 1900s, Louis D'Ascoyne Mazzini (Dennis Price) takes bitter revenge against his mother's aristocratic family who disowned her after marrying below her class. His efforts and actions are also strategic in gaining social status for himself.
The film's brilliant screenplay has the best of beloved British wit served coldly in an atmosphere of mass murder. The story gets even better as the tale, told in flashback, has fascinating twists once the timeline returns to the present. It also succeeds where similar attempts rarely do: it makes the atmosphere of mass murder combined with adultery strangely comical without crossing into bad taste. And like many other great British stories, it delves into a society's self-inflicted prejudice and snobbery.
The cast is also great. In addition to Price, Valerie Hobson does a great job as one of Louis' love interests. But the greatest praise must go to Alec Guinness who plays all the roles of eight siblings (one of them female) who are the target of Louis' revenge. Even when portraying a very dull minister character, Guinness intrigues.
This film is wickedly great.
RATING: 9 out of 10
OUTSTNDING ACHIEVEMENT: Screenplay by Robert Hamer (also the film's director) and John Dighton - based on the novel "Israel Rank: The Autobiography of a Criminal" by Roy Horniman
The film's brilliant screenplay has the best of beloved British wit served coldly in an atmosphere of mass murder. The story gets even better as the tale, told in flashback, has fascinating twists once the timeline returns to the present. It also succeeds where similar attempts rarely do: it makes the atmosphere of mass murder combined with adultery strangely comical without crossing into bad taste. And like many other great British stories, it delves into a society's self-inflicted prejudice and snobbery.
The cast is also great. In addition to Price, Valerie Hobson does a great job as one of Louis' love interests. But the greatest praise must go to Alec Guinness who plays all the roles of eight siblings (one of them female) who are the target of Louis' revenge. Even when portraying a very dull minister character, Guinness intrigues.
This film is wickedly great.
RATING: 9 out of 10
OUTSTNDING ACHIEVEMENT: Screenplay by Robert Hamer (also the film's director) and John Dighton - based on the novel "Israel Rank: The Autobiography of a Criminal" by Roy Horniman
- dbamateurcritic (wordpress)
This legendary film film depicts the legendary criminals (played respectively by Faye Dunaway and Warren Beatty) who terrorize the U. S. south and Midwest during the Depression era. Their criminal gang also includes Clyde's brother Buck (Gene Hackman), Buck's wife Blanche (Estelle Parsons), and C. W. Moss (Michael J. Pollard), a composite of two real-life characters: W. D. Jones and Henry Methvin.
I still highly admire this film even after an eighth viewing. Arthur Penn's directing provides great impact using place, time, and people that are very unique. The atmosphere is sometimes somber (sounds of wind in deserted towns) and sometimes chaotic (amateur criminals that occasionally bungle their crimes while living life on the edge). Credit goes to the cinematography and musical score for enhancing the atmosphere.
Dunaway and Beatty are also brilliant as the title characters. Their chemistry is strong whether in scenes as lovers, in shootouts, or finding unusual ways to have fun. They also do what is nearly impossible for most actors: they make many of us in the audience sympathize with their characters despite the carnage they create.
The film was very bold for its time. It portrayed the leading male as impotent - something rare in the Hollywood culture of the time or in the years that would follow. The violence was also considered shocking in its time and it still has strong impact. It's sad that other films tried to emulate the impact but went too far in the gore department. As the saying goes, this film is often imitated but rarely duplicated.
Sometimes. The movie feels episodic and occasionally underdeveloped. One of the underdeveloped aspects is the relationship between Bonnie and her mother who have a great scene together. (Bonnie's mother was portrayed by Mable Cavitt whose name was criminally excluded in the cast credits.) However, these flaws don't lower the overall greatness of this film.
There are many action-filled sequences that are superbly executed but it is the final scene that remains one of the most impactful in film history. Prior to that scene, the feeling of impending doom is powerful and always getting closer.
Superb.
Rating: 10 out 10
Outstanding Achievements: 1) Directing by Arthur Penn 2) Acting by Faye Dunaway and Warren Beatty
I still highly admire this film even after an eighth viewing. Arthur Penn's directing provides great impact using place, time, and people that are very unique. The atmosphere is sometimes somber (sounds of wind in deserted towns) and sometimes chaotic (amateur criminals that occasionally bungle their crimes while living life on the edge). Credit goes to the cinematography and musical score for enhancing the atmosphere.
Dunaway and Beatty are also brilliant as the title characters. Their chemistry is strong whether in scenes as lovers, in shootouts, or finding unusual ways to have fun. They also do what is nearly impossible for most actors: they make many of us in the audience sympathize with their characters despite the carnage they create.
The film was very bold for its time. It portrayed the leading male as impotent - something rare in the Hollywood culture of the time or in the years that would follow. The violence was also considered shocking in its time and it still has strong impact. It's sad that other films tried to emulate the impact but went too far in the gore department. As the saying goes, this film is often imitated but rarely duplicated.
Sometimes. The movie feels episodic and occasionally underdeveloped. One of the underdeveloped aspects is the relationship between Bonnie and her mother who have a great scene together. (Bonnie's mother was portrayed by Mable Cavitt whose name was criminally excluded in the cast credits.) However, these flaws don't lower the overall greatness of this film.
There are many action-filled sequences that are superbly executed but it is the final scene that remains one of the most impactful in film history. Prior to that scene, the feeling of impending doom is powerful and always getting closer.
Superb.
Rating: 10 out 10
Outstanding Achievements: 1) Directing by Arthur Penn 2) Acting by Faye Dunaway and Warren Beatty
- dbamateurcritic (wordpress)
Filmmaker Craig Foster's research is covered in this documentary which takes place in an underwater kelp forest near Cape Town, South Africa. There, Foster follows and observes a young octopus and eventually befriends her.
A couple of scenes stand out in this visually stunning film: one is the first time Foster meets the octopus; another is one in which the octopus is cleverly defending herself against a predator.
While the film works well visually, this is not always the case auditorily. Foster is a fine narrator but the narration is constant throughout the film. The inclusion of a variety of sound options (e.g. Music, the sounds of the sea, silence) would have been an improvement. But the film is still a great exposure of a living non-human creature of high intelligence.
A couple of scenes stand out in this visually stunning film: one is the first time Foster meets the octopus; another is one in which the octopus is cleverly defending herself against a predator.
While the film works well visually, this is not always the case auditorily. Foster is a fine narrator but the narration is constant throughout the film. The inclusion of a variety of sound options (e.g. Music, the sounds of the sea, silence) would have been an improvement. But the film is still a great exposure of a living non-human creature of high intelligence.
- dbamateurcritic.
The title character (voiced by Jenny Slate, one of the film's co-writers) is a talking shell living in an an Airbnb with his grandmother, Nana Connie (voiced by Isabella Rossellini). Through a mishap, they have been separated from other members of their shell family. The home's new occupant, Dean (Dean Fleischer-Camp, the film's director and another co-writer), films Marcel and makes him a star on Youtube. The film is partly animated and partly live-action.
Slate provides the perfect voice for Marcel giving the character a wise innocence with occasional sharp wit. Fleischer-Camp's delightful laugh at Marcel's humour adds to the charm.
This film's greatest asset is its mixing of old well-known themes (including grief and decline while aging) with the modern world (Youtube, selfies, Airbnb). It does so with a wisdom that occasionally takes a swipe at modern attitudes including people who want to be seen as associated with Marcel without showing concern for his family issues.
Overall, this is a fine film with insight that is rare.
Slate provides the perfect voice for Marcel giving the character a wise innocence with occasional sharp wit. Fleischer-Camp's delightful laugh at Marcel's humour adds to the charm.
This film's greatest asset is its mixing of old well-known themes (including grief and decline while aging) with the modern world (Youtube, selfies, Airbnb). It does so with a wisdom that occasionally takes a swipe at modern attitudes including people who want to be seen as associated with Marcel without showing concern for his family issues.
Overall, this is a fine film with insight that is rare.
- dbamateurcritic.
Between world wars in an Italian village, woodcarver Geppetto (voiced by David Bradley) has created a small boy made of wood: the title character (voiced by Gregory Mann). Through magical events, the wooden boy is given human characteristics.
The film is based on the novel by Carlo Collodi and is adapted and restructured (by del Toro and Patrick McHale) to include the rise of fascism in Italy. While this change is much darker than what is in the original story, it is still fascinating.
One of the film's greatest strengths is in the character Candlewick (voiced by Finn Wolfhard). The character's time on screen may be brief but it is very impactful especially during a scene when he's having a tearful talk with Pinocchio. Other strengths include great animation, a beautiful musical score (by Alexandre Desplat), and a very touching conclusion. The film was directed by del Toro and Mark Gustafson.
The film is based on the novel by Carlo Collodi and is adapted and restructured (by del Toro and Patrick McHale) to include the rise of fascism in Italy. While this change is much darker than what is in the original story, it is still fascinating.
One of the film's greatest strengths is in the character Candlewick (voiced by Finn Wolfhard). The character's time on screen may be brief but it is very impactful especially during a scene when he's having a tearful talk with Pinocchio. Other strengths include great animation, a beautiful musical score (by Alexandre Desplat), and a very touching conclusion. The film was directed by del Toro and Mark Gustafson.
- dbamateurcritic.
In 1938 during the Spanish Civil War: Carmela, Paulino, and Guastevete (Carmen Maura, Andrés Pajares, and Gabino Diego respectively) are travelling vaudeville performers touring and performing in Spain on behalf of the Republicans. The film is directed by Carlos Saura who co-wrote it with Rafael Azcona. "Ay Carmela" is based on the play of the same name by José Sanchis Sinisterra.
Saura maintains perfect suspense and tension throughout this fascinating film as the trio of performers are manipulated by fate into so many changes including being forced to do a mediocre show on behalf of their Nationalist enemies. Their fictional story is told within a real-life historical tragedy. One scene involving a view of several fascists sitting in an audience succeeds in being terrifying even though those in that audience are silent and still.
"Ay Carmela" is a great historical film that has within it an intriguing fictional story of life in the theatre. It also covers international involvement in the war including Poles (part of the International Brigade) supporting the Republicans as well as Italian Mussolini-supporting fascists aiding the Spanish Nationalists. Further, the film is greatly acted and greatly photographed (cinematography by José Luis Alcaine).
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Directing by Carlos Saura
Saura maintains perfect suspense and tension throughout this fascinating film as the trio of performers are manipulated by fate into so many changes including being forced to do a mediocre show on behalf of their Nationalist enemies. Their fictional story is told within a real-life historical tragedy. One scene involving a view of several fascists sitting in an audience succeeds in being terrifying even though those in that audience are silent and still.
"Ay Carmela" is a great historical film that has within it an intriguing fictional story of life in the theatre. It also covers international involvement in the war including Poles (part of the International Brigade) supporting the Republicans as well as Italian Mussolini-supporting fascists aiding the Spanish Nationalists. Further, the film is greatly acted and greatly photographed (cinematography by José Luis Alcaine).
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Directing by Carlos Saura
- dbamateurcritic.
This film is a recording of Maria Callas performing on December 19th, 1958 at the Opéra de Paris. The first act is a solo recital performing various renowned arias; the second act is the entire performed Act II of 'Tosca' fully staged with other performers.
The film also includes footage of the arrival of concert attendees who were famous at the time adding to the anticipation of the performance which was Callas' Paris debut.
The first half of the film (the solo recitals) is heavenly; not only because of the magical voice but also the facial expressions which show great emotion. The facial expressions are a bonus in a filmed version; they would less likely have been captured at a live concert depending on where one is seated.
The second half of the film is good but less magical than the first half as there is less emphasis on the great one. The other performers are quite good but not at Callas' level.
The journey back to this time period is a splendid one - a time period when words like 'splendid' might have been used more often than in decades that followed. The audience is given the gift of seeing a legend at her best while also being gracious and modest in receiving thunderous applause: a true 'diva' in the best sense of the word.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Singing and acting by Maria Callas
The film also includes footage of the arrival of concert attendees who were famous at the time adding to the anticipation of the performance which was Callas' Paris debut.
The first half of the film (the solo recitals) is heavenly; not only because of the magical voice but also the facial expressions which show great emotion. The facial expressions are a bonus in a filmed version; they would less likely have been captured at a live concert depending on where one is seated.
The second half of the film is good but less magical than the first half as there is less emphasis on the great one. The other performers are quite good but not at Callas' level.
The journey back to this time period is a splendid one - a time period when words like 'splendid' might have been used more often than in decades that followed. The audience is given the gift of seeing a legend at her best while also being gracious and modest in receiving thunderous applause: a true 'diva' in the best sense of the word.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Singing and acting by Maria Callas
- dbamateurcritic.
The life of the groundbreaking, black transgender singer is highlighted in this Canadian documentary made shortly after Shane's death in 2019 at the age of seventy-eight.
It is rare that a documentary is also a tear-jerker. "Any Other Way" is one of those rarities. It's possible for the viewer to feel like some of Shane's estranged relatives who knew nothing of her until after her death. The more they (and many of us viewers) learn of her, there is regret in not knowing more of this fascinating life (and singing talent) while she was living.
Living her teen years in Nashville in the 1950s, Shane left for Montreal and later settled in Toronto where she performed until she walked out of the spotlight in the early 1970s. The footage of these three cities during the time periods covered is beautiful and nostalgic.
Some shocking history is revealed in the film including the revelations of racism regarding the TV show "American Bandstand" as well as a long-time popular radio station (1050 CHUM) in Toronto.
Recorded telephone interviews of Jackie Shane were made during her last years. These recordings are matched with beautiful animated sequences in the film. Many comments in the recordings of this enchanting person are funny, witty, and wise.
Other sad events are revealed but to find a good side to all of it: the great soul / R&B singer Jackie Shane had a fine career when she wanted to work. Considering the great odds against her, her life and career could be considered victorious. And even if she never performed the song "My Way", she certainly lived it.
It is rare that a documentary is also a tear-jerker. "Any Other Way" is one of those rarities. It's possible for the viewer to feel like some of Shane's estranged relatives who knew nothing of her until after her death. The more they (and many of us viewers) learn of her, there is regret in not knowing more of this fascinating life (and singing talent) while she was living.
Living her teen years in Nashville in the 1950s, Shane left for Montreal and later settled in Toronto where she performed until she walked out of the spotlight in the early 1970s. The footage of these three cities during the time periods covered is beautiful and nostalgic.
Some shocking history is revealed in the film including the revelations of racism regarding the TV show "American Bandstand" as well as a long-time popular radio station (1050 CHUM) in Toronto.
Recorded telephone interviews of Jackie Shane were made during her last years. These recordings are matched with beautiful animated sequences in the film. Many comments in the recordings of this enchanting person are funny, witty, and wise.
Other sad events are revealed but to find a good side to all of it: the great soul / R&B singer Jackie Shane had a fine career when she wanted to work. Considering the great odds against her, her life and career could be considered victorious. And even if she never performed the song "My Way", she certainly lived it.
- dbamateurcritic.
During the Han dynasty in ancient China, the title character (voiced by Ming-Na Wen in the English language version / singing voice by Lea Salonga) is a teen-aged girl and the only child in her family. To spare her father from being drafted into an emerging war (he has difficulty walking), she disguises herself as male and joins the Imperial Army.
"Mulan" has spectacular animation especially in action scenes that take place in a mountainous region as well the concluding scenes in an imperial city. It also has the blessing of great humour including Mulan's grandmother (June Foray, singing voice by Marni Nixon) and Mushu (Eddie Murphy), a miniature dragon who is a spirit guide to Mulan. In typical Murphy style, he deliver the film's funniest line about a "drag show" - a line which also astutely summarizes the film's plot.
This film perfectly challenges sexism without being preachy and is a unique coming-of-age story of a misfit (Mulan frequently fails at others' attempts to make her a traditional-wife-in-training).
The only criticism of the film's ending is that it is so pleasant that I wish it could have been extended.
A true delight.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Animation
"Mulan" has spectacular animation especially in action scenes that take place in a mountainous region as well the concluding scenes in an imperial city. It also has the blessing of great humour including Mulan's grandmother (June Foray, singing voice by Marni Nixon) and Mushu (Eddie Murphy), a miniature dragon who is a spirit guide to Mulan. In typical Murphy style, he deliver the film's funniest line about a "drag show" - a line which also astutely summarizes the film's plot.
This film perfectly challenges sexism without being preachy and is a unique coming-of-age story of a misfit (Mulan frequently fails at others' attempts to make her a traditional-wife-in-training).
The only criticism of the film's ending is that it is so pleasant that I wish it could have been extended.
A true delight.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Animation
- dbamateurcritic.
Raffaella Pavone Lanzetti (Mariangela Melato) is a smug woman of great wealth on a yachting vacation in the Mediterranean Sea while accompanied by her husband and friends. Gennarino Carunchio (Giancarlo Giannini) is one of the yacht employees and he loathes Raffaella's frequent political pontifications. Through various circumstances, the two end up on an uninhabited island together. The film's full title is "Swept Away by an Unusual Destiny in the Blue Sea of August".
The movie is dependent on the performances of the two leads who must carry most of the weight of the film themselves. Thankfully, they are perfect in their roles. Each has a solid character arc that is very well portrayed. In the beginning, it is Raffaella who stands out as despicable; later, it is Gennarino who acts terribly. He is in a position of well-earned revenge but he goes too far with it as he expresses misogyny with violence.
Among many other praises, "Swept Away" is a powerful reflection of its time and place regarding politics and prejudices. The hyper-privileged Raffaella is a devout capitalist while working-class Gennarino is a member of the Communist party. Also, Raffaella is from northern Italy while Gennarino is from the south which results in a regional prejudice (northerners looking down on southerners) that is revealed during their many conflicts.
Director/writer Lina Wertmüller does a great job in capturing the beauty of the locations as well as the raw, twisted sensuality in the connection between the two leads. It's tempting to compare "Swept Away" with the more recent "Triangle of Sadness" (released in 2022). Both films expose class differences and conflicts while characters connect on a sea vessel and later on a deserted island.
In "Swept Away", even if there is occasional discomfort with some scenes of dominance, the viewer is still likely to be 'swept away' by the film's sensuality including the touching score by Piero Piccioni and the beautiful cinematography by Ennio Guarnieri. And its final scenes make for a powerful dramatic conclusion.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS: Acting by Mariangela Melato and Giancarlo Giannini
The movie is dependent on the performances of the two leads who must carry most of the weight of the film themselves. Thankfully, they are perfect in their roles. Each has a solid character arc that is very well portrayed. In the beginning, it is Raffaella who stands out as despicable; later, it is Gennarino who acts terribly. He is in a position of well-earned revenge but he goes too far with it as he expresses misogyny with violence.
Among many other praises, "Swept Away" is a powerful reflection of its time and place regarding politics and prejudices. The hyper-privileged Raffaella is a devout capitalist while working-class Gennarino is a member of the Communist party. Also, Raffaella is from northern Italy while Gennarino is from the south which results in a regional prejudice (northerners looking down on southerners) that is revealed during their many conflicts.
Director/writer Lina Wertmüller does a great job in capturing the beauty of the locations as well as the raw, twisted sensuality in the connection between the two leads. It's tempting to compare "Swept Away" with the more recent "Triangle of Sadness" (released in 2022). Both films expose class differences and conflicts while characters connect on a sea vessel and later on a deserted island.
In "Swept Away", even if there is occasional discomfort with some scenes of dominance, the viewer is still likely to be 'swept away' by the film's sensuality including the touching score by Piero Piccioni and the beautiful cinematography by Ennio Guarnieri. And its final scenes make for a powerful dramatic conclusion.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS: Acting by Mariangela Melato and Giancarlo Giannini
- dbamateurcritic.
The sequel to "Inside Out" (2015) continues following the life of Riley Andersen (voiced by Kensington Tallman) who is now thirteen. She attends a three-day hockey camp in order to try out for the school team. In the mean-time, a parallel universe shows the battle of emotions in her growing mind. "Inside Out 2" is a Pixar animated film.
Like the earlier "Inside Out", this film uses imaginative metaphors for all the possible emotions when growing up using great humour and an elaborate universe that represents the mind of one person. This is most effective when emotions are conflicted.
In the 'real world', Riley is tempted to betray old friends in order to join a higher social circle. While the film would have been better if it elaborated on this universal theme, it still succeeds as fine entertainment.
Like the earlier "Inside Out", this film uses imaginative metaphors for all the possible emotions when growing up using great humour and an elaborate universe that represents the mind of one person. This is most effective when emotions are conflicted.
In the 'real world', Riley is tempted to betray old friends in order to join a higher social circle. While the film would have been better if it elaborated on this universal theme, it still succeeds as fine entertainment.
- dbamateurcritic.
The eponymous location is the border between Belarus (not a member of the European Union) and Poland (a member of the EU). Since the early 2020s, Belarus has antagonized the EU by attracting refugees from the Middle East and North Africa with the false promise that they can easily enter the EU after arriving in Belarus and crossing borders to Poland, Lithuania, and Latvia. In the dramatic account of this film, the focus is on fictional characters: six members of a three-generation Syrian family; an Afghan woman; a Polish border guard whose conscience gives him trouble regarding his job; and a Polish therapist who takes risks as an activist in helping refugees in crisis. "Green Border" is a co-production of Poland, France, Belgium, and the Czech Republic.
This film can be given credit for having a bold and ambitious focus and going where few other film-makers would dare to go. It also shows compassion for very unfortunate people who have wrongly been used as political pawns. And as expected, the film is very controversial especially in Poland some of whose government institutions and people are highly criticized.
The film's primary focus begins on the refugees and then moves to concentrate on Julia, the activist therapist (played by Maja Ostaszewska) - a character who seems to be a stand-in for Agnieszka Holland (the film's director and one of its co-writers). While this character clearly has a good heart, there are times she seems dangerously naive and maybe heavy-handed in portraying some of the story's ambitions. The portrayal of Jan, the border guard (played by Tomasz Wlosok) is more effective as it shows a more believable character arc.
One might wonder how bad the behaviour of Polish guards really is compared to how the majority of them are portrayed in this film. There are strongly conflicting views about this within Poland. And a later comparison to better treatment of other refugees is unfair and overly forceful as it does not consider Poland's historical relations with other countries in crisis. The film also does not consider the various difficulties (some quite serious) faced by host countries doing what they can within the refugee crisis.
In some ways, "Green Border" is maybe too ambitious and sometimes sanctimonious. But it does succeed in its portrayal of individual dramas in a mass crisis in a unique and compassionate way.
This film can be given credit for having a bold and ambitious focus and going where few other film-makers would dare to go. It also shows compassion for very unfortunate people who have wrongly been used as political pawns. And as expected, the film is very controversial especially in Poland some of whose government institutions and people are highly criticized.
The film's primary focus begins on the refugees and then moves to concentrate on Julia, the activist therapist (played by Maja Ostaszewska) - a character who seems to be a stand-in for Agnieszka Holland (the film's director and one of its co-writers). While this character clearly has a good heart, there are times she seems dangerously naive and maybe heavy-handed in portraying some of the story's ambitions. The portrayal of Jan, the border guard (played by Tomasz Wlosok) is more effective as it shows a more believable character arc.
One might wonder how bad the behaviour of Polish guards really is compared to how the majority of them are portrayed in this film. There are strongly conflicting views about this within Poland. And a later comparison to better treatment of other refugees is unfair and overly forceful as it does not consider Poland's historical relations with other countries in crisis. The film also does not consider the various difficulties (some quite serious) faced by host countries doing what they can within the refugee crisis.
In some ways, "Green Border" is maybe too ambitious and sometimes sanctimonious. But it does succeed in its portrayal of individual dramas in a mass crisis in a unique and compassionate way.
- dbamateurcritic.
In a fictional universe: after the defeat of House Atreides by House Harkonnen, Paul Atreides (Timothée Chalamet) enlists the help of the Fremen tribe to unite against House Harkonnen. During the joint effort, Paul develops a relationship with Chani (Zendaya), a Fremen warrior. The film is based on the latter half of the novel "Dune" by Frank Herbert and is a sequel to the film "Dune" released in 2021.
Despite brilliant special effects, cinematography, and set design (all of them rightly winning many awards), this film is unfortunately as weak as its predecessor - at least to some of us who are not familiar with the source material. "Dune: Part Two" (like Part One) is likely to be more appreciated by those who've read the book.
There are some really good scenes but the movie is confusing other times. It doesn't help that some of the actors are occasionally incomprehensible in some moments while overacting in others.
To its credit, the movie finishes with a thrilling showdown. If there had been more moments like this, the excessive running time of the movie would not have been an issue.
Despite brilliant special effects, cinematography, and set design (all of them rightly winning many awards), this film is unfortunately as weak as its predecessor - at least to some of us who are not familiar with the source material. "Dune: Part Two" (like Part One) is likely to be more appreciated by those who've read the book.
There are some really good scenes but the movie is confusing other times. It doesn't help that some of the actors are occasionally incomprehensible in some moments while overacting in others.
To its credit, the movie finishes with a thrilling showdown. If there had been more moments like this, the excessive running time of the movie would not have been an issue.
- dbamateurcritic.
In rural New England, Karen Wright and Martha Dobie (Audrey Hepburn and Shirley MacLaine) own and run a boarding school for girls from well-off families. When a spoiled bully pupil (Mary Tilford played by Karen Balkin) is punished for a misdeed, she takes revenge by spreading a lie that the relationship between the two headmistresses is "unnatural". The film is based on the play by Lillian Hellman who co-wrote the screenplay with John Michael Hayes.
There were moments when the film felt "stagey" as so often happens in films based on plays. Thankfully, such moments were rare in this film. The best scene takes place in the house of Mary's grandmother, Amelia Tilford (Fay Bainter) when Karen and Martha confront the lie that has been spread. Adding more tension to this scene is the presence of Joseph Cardin (James Garner) who is Karen's fiancé as well as Amelia's nephew. This scene stands out for its acting and writing. As vile as Amelia can be, she also shows a side where she demands righteousness even if this includes the possible correction of the original accusation. And the character of Mary is similar to that of another despicable young schoolgirl around the same age in "The Bad Seed" released just five years earlier. Was there possibly a theme during that time period of "sugar and spice and everything ice"?
There is an interesting inclusion of another character: Martha's aunt Lily (Miriam Hopkins) who works at the school though not the best of employees and not the best of 'family' either. She and Martha have a fascinating conversation that reflected some of the repression at the time against unmarried people who are 'past a certain age'. This is one of many scenes that aptly displays the narrow-minded attitudes of the time.
It seems the accusation (against the headmistresses) is so shocking that it is whispered rather than spoken in two different scenes. This might also reflect similar repression in the film industry of the time where references to homosexuality were rare as they were so discouraged and often forbidden. For this reason, it was brave to make such a film at the time. In later time periods, "The Children's Hour" was criticized for being outdated in its attitudes but this does not consider the paradigms of the time. Overall, it was better to use limited means to expose a forbidden subject than to stuff and stifle it into a closet and express nothing at all.
Director William Wyler succeeds in keeping the tension alive throughout. And he is at his best in the later scenes where he lets the camera linger on the faces of the main characters. His framing of the climactic scene with the use of shadows and lighting is perfect. One has to look carefully within the frame to understand the major event that has happened.
MacLaine, Hepburn, and Bainter stand out in a superb cast especially MacLaine during a pivotal scene near the film's end. Veronica Cartrwright also has an important supporting role as another bad pupil.
In the end, "The Children's Hour" is another superb story on how vengeful rumours can spread like wildfire in small communities. And when the subject of a rumour is something so despised and feared that its name cannot even be spoken at normal volume, the tension is pitch perfect.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by William Wyler
* Acting Ensemble
There were moments when the film felt "stagey" as so often happens in films based on plays. Thankfully, such moments were rare in this film. The best scene takes place in the house of Mary's grandmother, Amelia Tilford (Fay Bainter) when Karen and Martha confront the lie that has been spread. Adding more tension to this scene is the presence of Joseph Cardin (James Garner) who is Karen's fiancé as well as Amelia's nephew. This scene stands out for its acting and writing. As vile as Amelia can be, she also shows a side where she demands righteousness even if this includes the possible correction of the original accusation. And the character of Mary is similar to that of another despicable young schoolgirl around the same age in "The Bad Seed" released just five years earlier. Was there possibly a theme during that time period of "sugar and spice and everything ice"?
There is an interesting inclusion of another character: Martha's aunt Lily (Miriam Hopkins) who works at the school though not the best of employees and not the best of 'family' either. She and Martha have a fascinating conversation that reflected some of the repression at the time against unmarried people who are 'past a certain age'. This is one of many scenes that aptly displays the narrow-minded attitudes of the time.
It seems the accusation (against the headmistresses) is so shocking that it is whispered rather than spoken in two different scenes. This might also reflect similar repression in the film industry of the time where references to homosexuality were rare as they were so discouraged and often forbidden. For this reason, it was brave to make such a film at the time. In later time periods, "The Children's Hour" was criticized for being outdated in its attitudes but this does not consider the paradigms of the time. Overall, it was better to use limited means to expose a forbidden subject than to stuff and stifle it into a closet and express nothing at all.
Director William Wyler succeeds in keeping the tension alive throughout. And he is at his best in the later scenes where he lets the camera linger on the faces of the main characters. His framing of the climactic scene with the use of shadows and lighting is perfect. One has to look carefully within the frame to understand the major event that has happened.
MacLaine, Hepburn, and Bainter stand out in a superb cast especially MacLaine during a pivotal scene near the film's end. Veronica Cartrwright also has an important supporting role as another bad pupil.
In the end, "The Children's Hour" is another superb story on how vengeful rumours can spread like wildfire in small communities. And when the subject of a rumour is something so despised and feared that its name cannot even be spoken at normal volume, the tension is pitch perfect.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by William Wyler
* Acting Ensemble
- dbamateurcritic.
The O'Hara and Wilkes families respectively own Tara and Twelve Oaks, neighbouring plantations in Georgia. The lives of some of their family members are highlighted before, during and after the U. S. Civil War. The main characters include Scarlett O'Hara (Vivien Leigh) who is in love with Ashley Wilkes (Leslie Howard) who is engaged to marry his cousin Melanie Hamilton (Olivia De Havilland). One of the many suitors interested in Scarlett include Rhett Butler (Clark Gable), a man of questionable reputation who is a friend of the Wilkes family and lives in Charleston, South Carolina. "Gone with the Wind" is based on the novel by Margaret Mitchell.
While there is much to praise in this film, it is incomplete due to its exclusion of the perspectives of the black slave characters whose experiences during this history would have been the most profound. Some of the opening text also shows a very outdated nostalgic yearning for the "gallantry" of the pre-Civil War Confederacy. History has later shown that some people were definitely not treated with "gallantry" during this time period. Nevertheless, the narrow viewpoint of the story is expressed with exceptional film-making that is mostly touching, often inspiring, and always spectacular.
The film's first half is better than its second as it contrasts the grandeur of the prosperous plantations at the very beginning (including a large party) with the post-war desolation and poverty that follow. And the war scenes are brilliant and rightly praised among the best in movies.
The second half is also good but there are some moments that seem inconsistent and confusing. Still, the many emotional moments in the last half hour were genuine and lead to a grand finale.
The acting is great but occasionally some lines are said so quickly, it's difficult to understand what is said. Despite this, praise is still due.
Leigh impresses greatly as as someone who is very unlikeable but is also alluring and intriguing. Hattie McDaniel also stands out as Mammy, a character who is strong-minded and good-hearted. And after this viewing (my ninth), I had more appreciation for the performances of Gable and De Havilland.
Gable does very well in delivering the film's best lines especially in his ability to see through Scarlett's scheming character. He also shows versatility as Rhett is strong and smart in some scenes while being very vulnerable in others.
And in previous viewings, it seemed the character of Melanie was a weak spot as she seemed "too good" but in this viewing, it seemed slightly more possible that maybe such goodness is believable. There's also a great scene where Melanie steps out of character and takes full authority when waiting with other women for the men in their inner circle to return from a "political meeting".
The film's production values are magnificent especially in scenes that show Scarlett's silhouette against a sunset when the iconic theme song is playing - one of those times standing with her father. These are truly "goosebumps" moments.
This grand movie is well-deserving of its high status.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by Victor Fleming (credited); and also George Cukor, Sam Wood, and Cameron Menzies (uncredited)
* Production Values: Cinematography, Set Design, Costumes, Musical Score, and Film Editing
While there is much to praise in this film, it is incomplete due to its exclusion of the perspectives of the black slave characters whose experiences during this history would have been the most profound. Some of the opening text also shows a very outdated nostalgic yearning for the "gallantry" of the pre-Civil War Confederacy. History has later shown that some people were definitely not treated with "gallantry" during this time period. Nevertheless, the narrow viewpoint of the story is expressed with exceptional film-making that is mostly touching, often inspiring, and always spectacular.
The film's first half is better than its second as it contrasts the grandeur of the prosperous plantations at the very beginning (including a large party) with the post-war desolation and poverty that follow. And the war scenes are brilliant and rightly praised among the best in movies.
The second half is also good but there are some moments that seem inconsistent and confusing. Still, the many emotional moments in the last half hour were genuine and lead to a grand finale.
The acting is great but occasionally some lines are said so quickly, it's difficult to understand what is said. Despite this, praise is still due.
Leigh impresses greatly as as someone who is very unlikeable but is also alluring and intriguing. Hattie McDaniel also stands out as Mammy, a character who is strong-minded and good-hearted. And after this viewing (my ninth), I had more appreciation for the performances of Gable and De Havilland.
Gable does very well in delivering the film's best lines especially in his ability to see through Scarlett's scheming character. He also shows versatility as Rhett is strong and smart in some scenes while being very vulnerable in others.
And in previous viewings, it seemed the character of Melanie was a weak spot as she seemed "too good" but in this viewing, it seemed slightly more possible that maybe such goodness is believable. There's also a great scene where Melanie steps out of character and takes full authority when waiting with other women for the men in their inner circle to return from a "political meeting".
The film's production values are magnificent especially in scenes that show Scarlett's silhouette against a sunset when the iconic theme song is playing - one of those times standing with her father. These are truly "goosebumps" moments.
This grand movie is well-deserving of its high status.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by Victor Fleming (credited); and also George Cukor, Sam Wood, and Cameron Menzies (uncredited)
* Production Values: Cinematography, Set Design, Costumes, Musical Score, and Film Editing
- dbamateurcritic.
Hortense Cumberbatch (Marianne Jean-Baptiste) is a young optometrist living in London who was adopted in the family that raised her. Seeking her birth mother, she finds Cynthia Purley (Brenda Blethyn), an emotionally unstable woman who works in a factory. A complication to their connection is that Hortense is black while Cynthia is white.
The cast is exceptional individually and especially in tandem particularly Blethyn whose runaway emotions are a force on their own. Among the exceptional scenes:
Director/writer Mike Leigh also provides a lot of fun in a few montage scenes of Maurice at work taking photographs of a great variety of people. These scenes are the film's most comical moments especially one involving a dour medical student.
While much is known about Cynthia's family, there's very little information about Hortense's. And while the climactic scene is amazing, it concludes in a way that is not fully believable considering past animosities. But these are small complaints for a film that is overall an outstanding family drama.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble - especially the performance of Brenda Blethyn
* dbamateurcritic.
The cast is exceptional individually and especially in tandem particularly Blethyn whose runaway emotions are a force on their own. Among the exceptional scenes:
- the reunion scene between Hortense and Cynthia; Hortense is relatively (no pun intended) the rock of stability in this scene despite having her own emotional problems;
- later bonding scenes between the two where it becomes apparent that each needed the other to fill gaps unfulfilled by any of their other family members;
- earlier phone call scenes between the two women before they meet in person;
- an awkward scene between Cynthia and her estranged brother Maurice (Timothy Spall), a successful photographer whose wife Monica (Phyllis Logan) dislikes Cynthia and vice versa;
- Hortense trying to hide emotions while at the adoption agency;
- an extended scene in the backyard of the home of Maurice and Monica for a 21st birthday gathering of Cynthia's other daughter Roxanne (Claire Rushbrook); here the spontaneity of everyone involved is splendid;
- Cynthia's reaction when Roxanne opens a birthday gift from someone else;
- the climactic scene later at the same party which is powerful and highlights the gifts of the actors involved.
Director/writer Mike Leigh also provides a lot of fun in a few montage scenes of Maurice at work taking photographs of a great variety of people. These scenes are the film's most comical moments especially one involving a dour medical student.
While much is known about Cynthia's family, there's very little information about Hortense's. And while the climactic scene is amazing, it concludes in a way that is not fully believable considering past animosities. But these are small complaints for a film that is overall an outstanding family drama.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble - especially the performance of Brenda Blethyn
* dbamateurcritic.
The life of military officer Clive Wynne-Candy (Roger Livesey) is depicted during three different wars: the Boer War when he is on leave in Berlin in 1902; the end of World War I in France; and in the "current" time during World War II when he is a senior commander in the British Home Guard.
This film has an epic perspective of the changes of British/German relations during each of the wars during a period of four decades. This is also portrayed in a personal relationship after Clive befriends German military officer Theo Kretschmar-Schulkdorff (Anton Wolbrook) in the earliest time period while in Berlin - a friendship that still lasts during and after the other wars that follow.
There is so much about this film to praise. Its directing is always sharp while using special techniques particularly regarding the passage of time. The cinematography and costumes are breathtaking. The film begins in the latest time period before going into flashback. Its gradual return to the "current" time is very effective as there is much more clarity to what seemed like an odd start. And of course, the main performances are great.
Livesey ages perfectly in the later time periods. The same can be said of Wolbrook who is also superb in the latest time segment during a scene when he is speaking with immigration officials in England. Then, there's Deborah Kerr who plays different characters in each of the time segments. She is best in the first segment as a sharp-witted fast talker who is effortless and casual in being hilarious. For that matter, the whole film is filled with great lines.
As the movie was made during WWII, it has an edge and urgency that is superior to other films on this subject made in later time periods. This is best shown in discussions of the great differences between the world wars and the fact that the evil of Nazism is shocking even to those who lived through the first world war.
No doubt: "The Death of Colonel Blimp" is an exceptional film.
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by Michael Powell and Emeric Pressburger
* Screenplay by Michael Powell and Emeric Pressburger
This film has an epic perspective of the changes of British/German relations during each of the wars during a period of four decades. This is also portrayed in a personal relationship after Clive befriends German military officer Theo Kretschmar-Schulkdorff (Anton Wolbrook) in the earliest time period while in Berlin - a friendship that still lasts during and after the other wars that follow.
There is so much about this film to praise. Its directing is always sharp while using special techniques particularly regarding the passage of time. The cinematography and costumes are breathtaking. The film begins in the latest time period before going into flashback. Its gradual return to the "current" time is very effective as there is much more clarity to what seemed like an odd start. And of course, the main performances are great.
Livesey ages perfectly in the later time periods. The same can be said of Wolbrook who is also superb in the latest time segment during a scene when he is speaking with immigration officials in England. Then, there's Deborah Kerr who plays different characters in each of the time segments. She is best in the first segment as a sharp-witted fast talker who is effortless and casual in being hilarious. For that matter, the whole film is filled with great lines.
As the movie was made during WWII, it has an edge and urgency that is superior to other films on this subject made in later time periods. This is best shown in discussions of the great differences between the world wars and the fact that the evil of Nazism is shocking even to those who lived through the first world war.
No doubt: "The Death of Colonel Blimp" is an exceptional film.
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
* Directing by Michael Powell and Emeric Pressburger
* Screenplay by Michael Powell and Emeric Pressburger
- dbamateurcritic.
During the Prohibition era of the late 1920s and early 1930s, the titular club is the backdrop for ambitious talented people who perform at the club and various mobsters who profit from it. This review below is for "The Cotton Club: Encore", the director's cut which was released in 2019. The film is directed by Francis Ford Coppola.
Adding to the various dramas - some of them based on real-life characters - is the fact that the club, located in Harlem, had many black performers onstage but excluded blacks as customers.
The various sub-stories are relatively light and have been done before but there are never any missteps. Coppola carries the stories forward with ease and great skill. Near the end, there is a hilarious scene involving Fred Gwynne and Bob Hoskins regarding a watch. And the finale is magnificent.
The true joy of watching "The Cotton Club" is the brilliantly executed musical numbers that take place and the many exceptionally talented people who perform them. Thankfully, there are many such numbers. The production values add to a visual and aural treat that combine to re-create a legendary place with a time period that was as difficult as it was fascinating.
In addition to Gwynne and Hoskins, the fine cast also includes Richard Gere, Gregory and Maurice Hines, Diane Lane, Lonette McKee, James Remar, Nicholas Cage, Gwen Verdon, Allen Garfield, Joe Dalessandro, and Larry (Laurence) Fishburne.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
Adding to the various dramas - some of them based on real-life characters - is the fact that the club, located in Harlem, had many black performers onstage but excluded blacks as customers.
The various sub-stories are relatively light and have been done before but there are never any missteps. Coppola carries the stories forward with ease and great skill. Near the end, there is a hilarious scene involving Fred Gwynne and Bob Hoskins regarding a watch. And the finale is magnificent.
The true joy of watching "The Cotton Club" is the brilliantly executed musical numbers that take place and the many exceptionally talented people who perform them. Thankfully, there are many such numbers. The production values add to a visual and aural treat that combine to re-create a legendary place with a time period that was as difficult as it was fascinating.
In addition to Gwynne and Hoskins, the fine cast also includes Richard Gere, Gregory and Maurice Hines, Diane Lane, Lonette McKee, James Remar, Nicholas Cage, Gwen Verdon, Allen Garfield, Joe Dalessandro, and Larry (Laurence) Fishburne.
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENTS:
- Production Values: Cinematography, Set Design, Costumes, Film Editing, and Sound
- All Musical Numbers
- dbamateurcritic.
O. J. and Em Haywood (Daniel Kuuluya and Keke Palmer) are siblings who own and run an inherited family horse ranch in southern California. The horses are used in film productions in nearby Hollywood. Evidence shows that show their ranch is being visited by UFOs.
During the film, the Haywoods develop a connection with Jupe Park (Steven Yuen) who also uses horses for show purposes. Jupe also has a past as a child actor in a television series that included a chimpanzee as one of its stars. The film places a subtle lens on the use of animals for show particularly animals who have a natural strength that could kill humans.
"Nope" is a mixed bag. Sometimes, it is bizarre and not always understandable. Other times, it can be engaging, entertaining, and thrilling. It certainly is unique and Palmer gives a great performance.
During the film, the Haywoods develop a connection with Jupe Park (Steven Yuen) who also uses horses for show purposes. Jupe also has a past as a child actor in a television series that included a chimpanzee as one of its stars. The film places a subtle lens on the use of animals for show particularly animals who have a natural strength that could kill humans.
"Nope" is a mixed bag. Sometimes, it is bizarre and not always understandable. Other times, it can be engaging, entertaining, and thrilling. It certainly is unique and Palmer gives a great performance.
- dbamateurcritic.
Angela (Ilinca Manolache) is an overworked, underpaid movie production assistant who drives around Bucharest in order to arrange a 'safety at work' video.
The film is a perfect exposé on the modern economy and all of its exploitations and deceptions. The video production within the film is funded by a company whose purpose seems to be glossing over the liability of companies where work injuries occurred. There is a very special scene involving an injured man and his family at home.
The film's style is interesting though some scenes are over-long as is the film overall at two and three-quarters hours. This is unfortunate as its message is strong and relevant and could have been more effective with a shorter length.
The film is a perfect exposé on the modern economy and all of its exploitations and deceptions. The video production within the film is funded by a company whose purpose seems to be glossing over the liability of companies where work injuries occurred. There is a very special scene involving an injured man and his family at home.
The film's style is interesting though some scenes are over-long as is the film overall at two and three-quarters hours. This is unfortunate as its message is strong and relevant and could have been more effective with a shorter length.
- dbamateurcritic.
In 1941 in the titular Vichy-occupied Moroccan city, Rick Blaine (Humphrey Bogart) is a smart-talking, highly respected American who owns a nightclub. His customers include Vichy French and Nazi officials, resistance fighters, and refugees who want to escape from the horrors of World War II and settle in the USA. The latter group include Ilsa Lund (Ingrid Bergman), a Norwegian who is Rick's former lover; and Ilsa's husband Victor Laszlo (Paul Henreid), a Czechoslovakian resistance leader. "Casablanca" is based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison.
In what may be Bogart's best performance (which is saying a lot), his portrayal of Rick is rich in so many ways. He's confident, witty, and strong. He sometimes appears as unethical but this is due to having to adjust to rampant sleaze in a particular place and time. And of course, he does so with flair. While he can be strong, he is also seen as vulnerable. And his shocking decision in the final scene leads to one of the most famous (and sublime) moments in film history. It also shows his true inner-strength under the occasionally corrupt veneer.
Bergman is also powerful as Ilsa, a character who lives with much inner-conflict. Her pairing with Bogart has to be among the best in moviedom. Also standing out in a great cast is Claude Rains as police chief Louis Renault. His character is blessed with great lines (from a sharp screenplay by Julius Epstein, Philip Epstein, and Howard Koch) and Rains delivers them perfectly especially in a scene when he claims he was unaware that gambling occurred at Rick's. Rarely have corruption and sleaze been so delightful in a single character.
With a perfect set design (Rick's Café Américain) and so much else to praise, "Casablanca" continues to be a sophisticated story with many idiosyncrasies. Its energetic opening-night scene is astounding. So is the famous scene with the battle of national anthems.
It was likely very bold to have produced and released such a film while the war was taking place. In any case, Michael Kurtiz has co-ordinated a classic that rightly deserves its high status. The erudite film critic Roger Ebert summarized it perfectly: "As we leave the theater, we are absolutely convinced that the only thing keeping the world from going crazy is the concerns of three little people who do, after all, amount to more than a hill of beans."
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble - especially Humphrey Bogart
In what may be Bogart's best performance (which is saying a lot), his portrayal of Rick is rich in so many ways. He's confident, witty, and strong. He sometimes appears as unethical but this is due to having to adjust to rampant sleaze in a particular place and time. And of course, he does so with flair. While he can be strong, he is also seen as vulnerable. And his shocking decision in the final scene leads to one of the most famous (and sublime) moments in film history. It also shows his true inner-strength under the occasionally corrupt veneer.
Bergman is also powerful as Ilsa, a character who lives with much inner-conflict. Her pairing with Bogart has to be among the best in moviedom. Also standing out in a great cast is Claude Rains as police chief Louis Renault. His character is blessed with great lines (from a sharp screenplay by Julius Epstein, Philip Epstein, and Howard Koch) and Rains delivers them perfectly especially in a scene when he claims he was unaware that gambling occurred at Rick's. Rarely have corruption and sleaze been so delightful in a single character.
With a perfect set design (Rick's Café Américain) and so much else to praise, "Casablanca" continues to be a sophisticated story with many idiosyncrasies. Its energetic opening-night scene is astounding. So is the famous scene with the battle of national anthems.
It was likely very bold to have produced and released such a film while the war was taking place. In any case, Michael Kurtiz has co-ordinated a classic that rightly deserves its high status. The erudite film critic Roger Ebert summarized it perfectly: "As we leave the theater, we are absolutely convinced that the only thing keeping the world from going crazy is the concerns of three little people who do, after all, amount to more than a hill of beans."
RATING: 9 out of 10
OUTSTANDING ACHIEVEMENT: Acting Ensemble - especially Humphrey Bogart
- dbamateurcritic.
Based on her autobiographical novel, "Find a Way": Diana Nyad (Annette Bening) is an American long-distance swimmer now in her sixties. She still has the goal of swimming from Cuba to Florida -a goal which failed three decades earlier. The film takes place in the 2010s.
Bening is solid as a hyper-determined archetype who is equally fascinating and annoying. And she has a great connection with Jodie Foster who plays her long-time friend, Bonnie Stoll, whom Nyad enrolls as her swimming coach. The banter between Bening and Foster is moving and sometimes funny. They also have a great confrontation scene in the film's second half.
One of the praises of this film is its focus on a certain demographic often overlooked in Hollywood: women 'past a certain age' playing age-appropriate roles. Let's hope for more.
Bening is solid as a hyper-determined archetype who is equally fascinating and annoying. And she has a great connection with Jodie Foster who plays her long-time friend, Bonnie Stoll, whom Nyad enrolls as her swimming coach. The banter between Bening and Foster is moving and sometimes funny. They also have a great confrontation scene in the film's second half.
One of the praises of this film is its focus on a certain demographic often overlooked in Hollywood: women 'past a certain age' playing age-appropriate roles. Let's hope for more.
- dbamateurcritic.