Reviews

I went to the NFT screening where Daniel and Baillie introduced it -as well as one of the producers/backers from Disney.

So what did I think? It's an amazing film and deserves to do really well. So refreshing to know that GREAT films can still be made by the majors. Well done everyone involved with this - you should be very proud.

This is turning out to be a great year for films, where films like this and Juno can made, be successful and receive good viewing attendances. Everyone that worked on this film obviously did so with a view to wanting to create something great - they succeeded.

to tape this off BBC2 which had shown Stage Door, Alice Evans and Bringing Up Baby as part of a short Hepburn season. No need to extol BUB here but I really wasn't prepared for how good Stage Door was going to be - it's all-star cast simply shines as it delivers breakneck speed comic lines (reminding me of His Girl Friday). A fairly good but simple narrative moves swiftly along, which combined with it's stunning cast guarantees it a place as a tremendous film. Don't miss it! 10/10

I don't know really what to say about this film, apart from that I

found it a very upsetting and disturbing piece of cinema - but films

that do that, by tackling subjects that we would leave otherwise

untouched are to be commended. I took a couple of days to get

over it, and even now I still talk to my friends about it, maybe that's

it's power and intention...

if you like action movies with hot chicks, devastating mountain action and a

captivating story then this is for you. If you see yourself as an extreme boarder that likes to get drunk, hike a ridge all night with no snow shoes, peeps or

clearly a clue then this is for you too. Plus if you can still be chucking spins and getting your grabs in whilst trying to outrun a grade 4/5 avalanche then you'll appreciate this too...

I would actually like to see this again, I told so many people about it today on the hill that its become a joke on our mountain - fantastic absolute crap.

A follow-on from "The Glass Key", this film offers the familiar Lake, Ladd and Bendix combo in this Raymond Chandler written film noir. Not as dark as other Chandler scripts, or indeed as other film noirs of the time, it however seems more suited to the acting talents of Lake and Ladd. It offers them both a fine chance to shine, making you understand their star appeal of that era, although for Lake it was to be her last 'big' film. Lake, as in "Sullivan's Travels", looks especially radiant in Edith head costumes, with the art direction of Hans Drier placing and lighting her in sensitive and evocative moods.

A good film to watch to either expand your knowledge of the film noir genre,

bask in Lake's glow, or to simply enjoy on a lazy Sunday afternoon...a classic of its genre. 9/10.

...of a movie - screwball but with a message, where razor-sharp lines are

bandied by Lake, McCrea and a great supporting cast. This is definitely one of Lake's better performances, but with a sympathetic script and McCrea to play

against it would be hard for her not to shine. This would be a great introduction for viewers that are unfamiliar with Golden Era films, ranking alongside "It's a beautiful world" for its pure cinematic feel-good factor. A truly tremendous film, see it or miss out....

I caught this on cable last night and have to say that this was as riveting and shocking in places as Larry Clark's "Kids". To have a movie shot in one location solely relying on its script-writing is unusual, but a script working as effectively as this certainly provides a breath of fresh air. A hugely inventive and original film - see this or miss out.

the combination of De Carlo and Gable then this film would be worth than awful - a parody of all that is wrong with cinema. In fact, in retrospect, it is terrible. The only reason I sat through it was to see Yvonne looking beautiful in period costume - if you're not a fan of hers then just don't bother! A terrible film that has not stood the test of time at all...

comprised of an all-star cast, all of whom are mainly at the end of their careers but all of whom have starred in some perfect Noirs in the past (as well as getting to star with Gene Tierney!): Dana Andrews (Laura - as well as GT in Belle Starr and Tobacco Road), Vincent Price (Laura, Leave her to heaven - and Hudson's Bay and Dragonwyck), George Sanders (The Ghost and Mrs Muir - okay, not a Noir, but still a lovely shot spooky piece of celluloid!) and of course not forgetting the great Ida Lupino and Rhonda Fleming. So, with Fritz Lang directing how can this go wrong?

Well, it's not that it's a bad film, it's just maybe it just doesn't really go anywhere...it's not dark enough, the killer not revolting enough, maybe the back-biting just not quite catty enough. And the Lupino/Andrews cab scene is a tough one - even at this point of her acting career Lupino is still a babe - you're almost wishing him to do it! Nancy just seems insipid in comparison - the character's just don't seem involving. With a cast like this, this film should have sizzled - snappy dialogue, catty looks and a sense of pizazz - unfortunately it just doesn't seem to happen. Shame.

p.s. another piece of GT trivia, apparently she was infatuated with George Sanders for quite a while, even when she was still married to Oleg Cassini - can't understand it, even Hedy Lamarr was mad about him!

None-the-less, still watch this film if you get the chance: it is a star-studded ensemble and an interesting late-Noir - not a classic, but don't forget about it, too good to forget purely because of it's cast....

I saw this as part of the Ernest Lubitsch season at the NFT and have

to say that I was pleasantly surprised having not known what to

expect. It's light pleasing approach carries the film along nicely,

where you will Garbo and Douglas to get together. Lubitsch's take on

human emotions came as a surprise, being warm without being

over-sentimental or forced.

My only gripe would be with Melvyn Douglas, as I couldn't help but

wonder if Cary Grant hadn't turned the film down how much more

dynamic the film/central characters would have been: Garbo and

Grant - what a pairing that would have been! Other than that, a

highly entertaining and delightful film for any lover of well-told,

human stories that will make you laugh and smile...

one of the worst films that I've ever had the misfortune to see. At least the Brat-Pack films of the '80s, through to today's nu-school slasher pics, have a sense of irony, fun and knowing that make them a worthwhile watch. But this, what can I say? Having watched the ultra-stylish "Boiler Room" the night before, this is beyond comparison.

Whereas that has a gritty urban soundtrack, a narrative that goes somewhere and a visual style steeped in cinema, music video and advertising, "Bring it on"? Shouldn't even have got as far as the video store. If social stereotypes are your thing then this could be for you (and believe me there are more than you can even mention). Are Clash t-shirts, henna tattoos and bad inner city 'tudes a real threat? I'll be accused of missing the point - I know this is a feel-good movie, but ultimately it's insulting, juvenile, not very well-done and not even very entertaining. I'd love to talk to the script-writer and director - good work, you blew it. I know that it's supposed to be ironic, that's the point, but do it well guys. So why did I watch this? My flat-mates request, but even they admitted that it was pretty bad. Don't bother, rerent "Bill&Ted"...

to possibly describe how great this movie is! It seems like Cary Grant is currently undergoing a reappraisal both in Film studies and in general perception - a week of screenings on BBC2 and the impending (and well timely) two month season at the NFT seem to indicate that Cary Grant is once more back in vogue. And once you start to watch his films in any number you realise why - because he's a damn fine actor, if not one of the all-time greats.

This film ended the BBC2 week, and what a finale! This film is superb - funny, warm, well-told and highly entertaining. I laughed constantly from start to finish and I guess that with repeat viewings it will get better as you pick up more of the dialogue. It's not often that I instantly want to watch a film again, but this certainly made me want to - this is Golden Age cinema at it's finest - oozing with grace, style and flair. A truly wonderful film...

tale of a matriarch and her family. The first time I saw this was in a packed arthouse cinema in Southampton, and by the end of it almost everyone was in tears, including myself. The narrative opening and conclusion doesn't disappoint, only heightening the emotion felt by engaging with the characters. A truly amazing, emotional but heart-warming film.

Having just viewed this for the first time I must admit that I rather enjoyed it: its principal character, Joan Fontaine's Lina, is both engaging and delightful, causing you to feel and care for her throughout the film. However, I found dashing debonair Grant and his friend' Beaky' rather annoying, making me want to shout 'get a grip' at Grant - surely no-one could be that unaware of Lina's beauty and desire for security?! That aside though, I found none of the irritating class divisions that annoyed the hell out of me in "In which we serve" - life is just portrayed in a form of romantic beauty and simplicity.

In my mind therefore the film has two stars - Fontaine and the house (of fairy-tale-like dreams): Hitchcock lights both with depth and feeling, at no time does the house seem threatening, it just seems magical. After the police leave a shot reveals how she almost appears dwarfed by the house which seems to be pressing in on her in all its grandeur, enveloping not drowning. Does the house in darkness, lighting up the milk, protect her?

As a story? Romantic? Cold? It would have been more exciting it he'd died, leaving her never knowing... Not an amazing ending, but still worth watching for it's two stars...

Having only discovered Gene Tierney in "Laura" recently I'd taped this, but had never got beyond the first ten minutes. Last night after a hard day at work I thought I'd give it a go and boy was I surprised - this is a GREAT film: moving, subtle, eloquent and with a great story that gradually unfolds drawing you in. At times it's dark, sometimes funny, sometimes comical, which as a period drama/romance adds to its charm. Both Harrison and the ever beautiful Tierney are superb, believably tender in their acting, slowly developing their rapport and intimacy. The ending is a surprise, which although we might now conventionally term 'cheesey' is actually very touching. The art direction and cinematography are excellent, accentuating both the beauty of Tierney, the house and surrounding countryside. In the scene where Harrison's character appears for the first time a great long shot unfolds, moving from angle to angle, but all in one long take. Similarly, the feel is dark and mysterious, present but never threatening.

This is yet another GREAT film that deserves to be seen and preserved as a classic for all to see. Going straight into my top ten without a doubt, fantastic.

Intrigued by Maltin's four star rating I decided to give this a try and to

see if this is as fantastic film as so many people seem to say...

Certainly, its unfolding narrative and clever structure of linking

different characters and their lives together is interesting, presenting

people with a dignity which never condescends their class or speech

mannerisms, uniting each in a common cause where death and

suffering are expected but never discussed. Likewise, Its battle

scenes are lucid, adept and fast-moving, showing the human

condition where courage and resilience are demanded, united in a

defence of the 'old country'. That this mythical place is alluded to,

more as a realm within the imagination or of a dream-like status is

where I think that this film starts to show its age... dogfights above the

Downs, a Plymouth of painting, class structures where no-one

seems to actually listen or express any emotion, kisses on the cheek

• did no-one really kiss, death as virtue - hello? This is war, not just a

last gasp goodbye, "you did your bit old chap".

Not often I laugh out aloud at dialogue or characterisations - if only

life was so sweet I'd sign up now! "Any more of the Kinross special

left in the shaker darling before the dinner?" (of grouse of course...)

art direction, photography, Gene Tierney and Clifton Webb. This film is soooo stylish it's untrue, as well as having a well-written story that unfolds through carefully told narrative which keeps you guessing to the end. Tierney (and indeed all the cast) are stunning, both stylistically and in character.

This is a classic, which deserves to rate alongside Citizen Kane and the other classics - miss this at your peril!

the story/narrative seems somewhat short, un-engaging and at times fairly tedious in its character portrayals which at times lean towards the comical, i.e. the grandfather, the natives etc. Every character seems like a parody of what you would expect.

BUT... it is worth watching for the sheer fact that to have a film with both Gene Tierney and Frances Farmer in is pretty damn unusual! Tierney is not given the best of lines, in fact they are pretty awful - however, she's young and radiant before her starring roles in Laura and Leave her to Heaven. Likewise, Farmer is elegant and poised.

An okay film, worth watching for Tierney and Farmer, but not worth buying IMHO.

After reading many film books such as the Hurrell one and "The image makers" I had really started to wonder about Veronica Lake. Having never seen any of her films I really wanted to see her in something...and to be honest to see if she was as gorgeous as in her photo's. Not being available in the UK my flat-mate picked me up a copy of this on a shopping-trip to NY.

Well-what can I say?! Veronica is more than I ever expected, BUT I really DO like the film too. I think it's funny, just the right length and the story has a certain charm and warmth to it that just leaves me smiling. Other viewers have complained about the darkness of it due to the film quality, but I find the beginning vaguely similar to Whale's Frankenstein. Okay, the start and indeed the whole film are slightly silly, but that's its naive charm. Lake has this naughty but loveable air about her that bounds around the screen - I love it and her! I'm really glad I own it, can't wait to both watch it again and see Veronica in something else...