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Reviews
Chinatown (1974)
Successful Noir
Jack Nicholson plays a great noir lead role. His performance as a detective is also commendable. The rest of the cast performs well as well. This is a dark movie even by heavy noir standards. Dabbling in all kinds of taboo subjects. Incest being one of them which most movies don't dare tread. Even though extramarital affairs are the main subject of this movie nudity isn't relied on to portray that even though nudity was becoming much more popular during this time period. Sometimes the movie does move too slow and loses its proper pace. This movie uses subtly well to keep the film classy. This film pays great homage to the classic noir films.
The Night of the Hunter (1955)
Twisted roles and atmosphere
The greatest part of this film is the atmosphere it builds. Not only are you afraid. You can feel the evil. Most horror movies rely on gore, shock value, or startling scares. This movie takes horror much farther. Robert Mitchumm plays the twisted preacher greatly. Taking the concept of the man most trusted and turning it on its head is bold and abrasive. It is also very risky when adding children to the horror movie mix but this film succeeds. Although there is a lack of subtlety that is needed for a movie of this type. Some imagery became a bit too forced and looked cheesy. Styalyzing a horror movie is necessary but it shouldn't go good far or it will break the viewers immersion.
Notorious (1946)
Grant and Bergman's Thrills and Romance
Alfred Hitchcock does not often work with romance but I'm this he excels. Aided by the skilled Cary Grant and Ingrid Bergman he incorporates a great love story into a thrilling tale. Grant plays an out of character role quite well. A subtle approach is out of his usual center of attention style. Hitchcock does a great job of alluding to the illness of alcoholism without it being so obvious it becomes annoying. Hitchcock also touches on the subject of sexuality without being too blatant. This is where his subtly shines. It course the suspense is always palpable. This is a great movie that deserves a high spot on the list of Hitchcock classics.
Apocalypse Now (1979)
War, insanity, and lackluster acting
Apocalypse Now is a movie meant to mess with your head. It succeeds in that for better or for worse. The best part of Apocalypse Now is the way it portrays its atmosphere. It shows the brutality of the Vietnam war. It shows the crazy culture of certain parts of Cambodia. The twisted natives are terrifying. The journalist gone mad shocks you. The flaws of this movie lies in its actors. Nearly all of the actors give just an acceptable performance. No performances stand out as impressive. The characters are just plot pieces fulfilling certain tasks to drive the plot. Martin Sheen doesn't communicate the degeneration of his mind, his environment does. This film would have been greatly enhanced by a performance showing Willard going mad instead of it just being told to you at the last minute.
Psycho (1960)
Thrilling and chilling
Psycho is one of the best thriller movies. It deserves its iconic place in movies history. Everything in this movies feels creepy. The lighting is foreboding. The strange camera angles give a sense of foreboding. The performance of Anthony Perkins as Norman Bates is what ties this film together. Bates' strange naivety yet obsessive personality is shown through his facial expressions alone. The way the tone of his voice changes when sensitive topics come up has a subtle brilliance. The film does have a few immersion breaking moments. The long overly long fall down the stairs, meant to increase suspense, instead reminds the viewer they are in fact just watching a movie. The quick explanation scene at the end breaks the mood as well. However, the film still thrills perfectly except for a very few short instances.
Marty (1955)
Loving chemistry that borders simplicity
There has never been a pair of leading actor and actress with better romantic chemistry than Ernest Borgnine and Betsy Blair. They amplify each others emotion. Mary's loving relationship with his mother is also shown greatly. This movie communicates the stress of finding the love of your life in a heartfelt way. Their are certain points where scenes drag on too long. The awkwardness of the ballroom scene is perfectly timed but the out on the town scene seems to take too long. This movie does seem too simple at times. As if the characters are just going through the motions of life without a purpose but that is also the point of the film. This film has a hard time balancing the realistic feel of the story with monotony. But the chemistry between the lead characters draws it all together.
Double Indemnity (1944)
Noir at its best
Double Indemnity is a true spectacle. It handles every aspect of film making perfectly. The dark lighting illuminating everything bet the character in question heightens suspense. Never showing the murder take place doesn't take away from the impact because Barbara Stanwyck's blank, emotionless expression gives even more of an impact. Edward G. Robinson shines as Barton Keyes. His abrasive yet respectable candor is played incredibly well. Your stomach drops at points when the culprits plan may be uncovered and your heart skips beat when the two perpetrators may be caught. But what really ties this film together is the friendship of Walter Neff(Fred MacMurray) and Barton Keyes which is torn in such a pitiable way.
Singin' in the Rain (1952)
This film will make anyone like musicals
Singin' in the Rain sets the standard for musicals because it really owns what it is. Other musicals take themselves too seriously and make the musical number seem out of place. Others are too nonsensical and lose the audiences attention. Singin' in the Rain is perfectly balanced. The acting performances are great. Characters meant to be loved are lovable and those meant to be hated are despicable. The musical talent these actors possess is impressive as well. The choreography is wonderful and the singing is amazing. However some songs do go on too long and lose some of their splendor. This does not happen often though. There is also too little character development between the lead actor and actress making their romance a bit unbelievable. But that is forgiven because the nature of the film is meant to be jolly. This would be my number one recommendation to anyone who has never seen a musical.
Mildred Pierce (1945)
An engrossing tale of tragic sentiment
It is very rare that a self destructive character can successfully lead a movie. Mildred Peirce accomplishes that feat. Why that is achieved is most likely because of the way the films time line is portrayed. Since the film starts off with a murder with no suspect and then told through flash backs the viewer is forced to stay engrossed. The film challenges the viewer to solve its own mystery. By doing that, even if the viewer is put off by certain aspects of Mildred's character, they must still keep interest in her. And Mildred's unappealing aspects are not flaws in the writing of the character. Her flaws make her sympathetic. She is a woman proving to the world that a woman in that time period can make something of herself. But she's doing it for all the wrong reasons. Reality constantly slaps her in the face but she preservers only then to trip herself up again. All the while the viewer is still trying to figure out who the culprit is before the crime is even committed. The way this story is woven makes it a great experience to watch.
Patton (1970)
George C. Scott at his best
George S. Patton is done justice by George C. Scott in this film. He makes you feel is if Patton is talking to you himself. The opening monologue itself is spectacular. But what makes this movie impressive is that it stays true to the character, good and poor qualities honestly portrayed. Patton's flaws, such as pride and showmanship are shown as well as his great attributes, being his strategic intellect and all around grit. The atmosphere of World War Two is also well communicated. The practical effects are convincing and the other actor's performances hold up well. The film does tend to drag on a bit at certain times though. And there are times when a viewer who isn't well learned in World War Two history may find him or herself lost. But overall great respect for Patton is seen in this film.
The Graduate (1967)
"Artfully" Pointless
"Mrs. Robinson, are you trying to seduce me?" That is the only memorable line in the film. That is really the only worthwhile moment in the film. The Graduate is devoid of meaningful content. Its characters have little to no growth throughout the film and when they do change the changes make no logical sense. What the movie tells the viewer is happening and what the viewer sees are two entirely different things. Benjamin Braddock is supposed to be seen as a confused young man trying to find his purpose while being corrupted by an charming older woman who then falls in love wither her daughter.. Instead we are shown a weak willed little man who is taunted into sleeping with a cold old woman who then becomes a her daughters stalker. None of these characters are endearing. None of these characters make decisions that would rationally be made even by those caught in the throes of late adolescent confusion. There is some creative direction in the movie. However the long montage scene only serves to throw off the viewer's sense of time. And endless folk rock songs do not aid the films tone if they are way overplayed. This is a movie meant to portray the new generation breaking off from its parents generation. Instead it shows us a series of unbelievable bad decisions made by irritating characters whose nonsensical behavior makes them completely un-relatable or identifiable.
Guess Who's Coming to Dinner (1967)
Guess who's preaching at you
Guess Who's Coming to Dinner is well made film. But well made doesn't equal entertaining. This movie is a message film. It was made to break racial barriers during the time it was released. It succeeded in its cause but lacks in actual entertaining substance. Dialogue is heavy in this film and each actor's performance is great. However every meaningful piece of dialogue is told in a mini speech from one character to another. There is almost no actual conversation. The movie is a series of lectures from one character to another. These are only broken up by characters reflecting on the previous speech while staring off into the distance. Many of these speeches are repetitive. Going over the same topic so many times that it becomes clear that the director is preaching to the audience. The dialogue is superbly written and performed but it becomes boring and irritating when the film starts lecturing the audience. No matter how noble the message, it becomes lost if entertainment value is sacrificed. It is possible to have a film with a noble message and be entertaining. In the Heat of the Night, also led by Sidney Poitier, is a great example. But Guess Who's Coming to Dinner is not.
Young Mr. Lincoln (1939)
Just Interesting
Young Mr. Lincoln is interesting. That's really all there is to it. Nothing about this film pulls you in nor does it push you away. Henry Fonda does a decent enough job playing a humble, endearing young Lincoln. All this movie does is create a fictionalized world for which Lincoln to participate in. There isn't much recounting of historical facts. The movie breaks down to a series of events John Ford thinks Lincoln would act in and act like. This movie isn't meant to be a history lesson. Its meant to portray Lincolns great ideals. It does so well I would think. But for the sole sake of entertainment this movie does little.
The Maltese Falcon (1941)
One of Humphey Bogart's Best
The Maltese Falcon isn't about the treasure of legend. Its about Private Detective Sam Spade's undertaking to find it. Humphrey Bogart play the part of aloof detective perfectly. Yet even though Sam doesn't personally care about anything in the mystery he still controls the scenes. The rest of the cast's performance don't match his but do perform considerably well. Although Mary Astor's performance as Brigid O'Shaughnessy is lacking. She never gives the impression she has any sort of plan or purpose, that she is weaving things behind the scenes, even though the script tells us she does. This stands out starkly when Sam and Brigid are alone together. The mystery is quite intricate as well, never once confusing the viewer but still not letting on any concrete clues. One flaw is that the score does not match the tone of the film. Whenever Sam successfully tricks another character in the film dainty lighthearted music plays. Supposedly this is to inform the viewer this is a clever "I gotcha" moment but it is unnecessary and lasts too long. Dainty music does not fit well in a dark crime mystery. Bogart's great performance holds this film together despite some immersion breaking flaws.
Casablanca (1942)
Cinematic Masterpiece
Casablanca is a truly spectacular movie. The script being the most impressive. Not once is there a wasted line. Nor is there ever a poorly delivered line. Rick Blaine has a frank and direct manner in which he speaks and Humphrey Bogart delivers perfectly. The rest of the cast is great as well. Ingrid Bergman communicates Ilsa's anxious and stressed demeanor perfectly. Claude Raines portrays Louis Renault's wit and charisma is a wonderful fashion. The films atmosphere is presented flawlessly as well. The set is crafted with fine detail. The lightning and direction is amazing. From Rick's silhouette scene, to the bar fight scene where Rick rights the fallen glass. The subtleties bring this film together. This film is rightfully placed as one of, if not, the greatest film in history.
My Man Godfrey (1936)
Screwball at it's finest
My Man Godfrey is a masterpiece of screwball comedy. Never once does a scene go by without a hilarious joke, or site gag. Godfrey's quick wit is smart and eloquent. The zany antics of the Bullock family he is employed by never becomes over drawn or tedious. Every time the family's outlandish behavior comes close to crossing the too ridicules line, Godfrey comes in to wrap the scene in clever way. Every single character is engaging. There is never a throwaway line. And the story entwining all this wonderful comedy is heartwarming as well. The theme being showing the stark contrast of lives between the super rich and the extremely poor never comes across as judgmental or defaming of either side. Its message is uplifting. It shows that the individuals of both parties are not so different from each other. That if one gives enough effort the gap can be bridged. Godfrey bridges that gap.
King Kong (1933)
Kong Rules All
King Kong is an amazing film. Its writing. direction, special and stop-motion effects hold up to this day. The cast and crew give excellent performances. Ann Darrow's terrified screams ring spectacularly. The movie is also satisfyingly brutal. While most films of this time tend to tone down the violence for the sake of propriety, King Kong does not. Kong kills many in very graphic ways. This upfront brutality makes a stark contrast to Kong's gentleness when holding Fay. Both the city and jungle sets are perfect. The miniature versions are also very accurate to their life size counterparts. The stop motion animation is great as well. There really are no flaws in this film.
Nothing Sacred (1937)
Nothing sacred, Nothing entertaining.
Nothing Sacred isn't just boring, its aggravating to watch. None of the characters are endearing. I don't mean likable because there can be unlikable yet endearing characters. Characters the movie makes you hate but still want to root for them. Nothing Sacred does not do that. Fredric March is supposedly the best reporter in the city who makes one career ruining mistake. Then in an attempt to redeem himself he then immediately makes the exact same mistake. He rushes into another feel good story without doing any research. Hazel Flagg is meant to be seen as a pitiable girl in over her head but acts like a spoiled child. Dr. Enoch Downer can't make up his mind between being a reluctant participant or complete imbecile. And the movie's message is that newspapers always lie to get a story and readers are foolish and selfish to latch onto sob stories. The worst part of it all is that this screwball comedy just isn't funny. Site gags and clever wit are very rarely seen and even more rarely successful. The final joke of the movie is the doctor waking up and thinking the hotel he is in has sunk underwater because he hasn't realized he's on a boat. That joke belongs in a Looney tunes cartoon. Although hats off to Nothing Sacred for being the first color comedy.
Frankenstein (1931)
Frankenstein
This movie is very nearly classic horror perfection. The moral questions it asks itself and the terrifying answers it gives is an amazing site to behold. Colin Clive gives a great performance. Henry Frankenstein's intense obsession is portrayed perfectly. Clive is a true mad scientist. The atmosphere created matches the setting and tone of the movie. Never once does the viewer stop feeling the creepy vibe. Just the site of the tower makes the hairs on the back of your neck stand up. Throughout nearly the entire film this continues save for a few moments. And those few out of place moments make a difference. On occasion there are awkward joke scenes thrown in, usually regarding Henry's father, that feel out of place. And the final climactic scene's impact is tragically tarnished by the brief lame wine drinking joke that follows it. This movie is very nearly perfect but you have to forgive its clumsy comic relief.
I Am a Fugitive from a Chain Gang (1932)
A hollow propaganda flick
I am a Fugitive of a Chain Gang's purpose was to expose the brutality of the chain gangs during the 1930s. It succeeded. But that's all it did. I was certainly made aware of the brutal practices used on prisoners and I experienced the rightful amount of outrage. But I was never entertained. And however noble a goal film has, its main purpose is still to entertain. And keep in mind topical films can still be entertaining. Paul Muni's Scarface exposed the lawless brutality of organized crimes but still entertained along the way. But had no attributes other than topical reference. The main character wasn't particularly endearing. The plot was simple and dry. I never felt like the movie was enticing me to keep watching. Instead I felt as though I was being dragged along for the ride. I am a Fugitive of a Chain Gang felt more like a history lesson than a film.
Scarface (1932)
Brutally Enticing
There is nothing about Tony Camonte to like. There is not a single moment in this movie where you find yourself sympathizing with him. He is absolutely repulsive. But you still want him to progress. Not because you side with him. Not even because the story is particularly engrossing. You just want too see what he'll do next. What disgustingly gruesome act he'll perform. Its not as if the movie makes you twistedly enjoy his brutality. Its an intense curiosity. The need to see how far he'll go. The way he callously dismisses his violent behavior only adds to its impact. His indifference to the terrible acts he commits keeps you from getting tired of it either. Seeing him crack up is just icing on the cake.
The Circus (1928)
My Thoughts
Charlie Chaplin's comedy style shines in this film. In some of Chaplin's other works the character of the Tramp is purely a set piece through which the sight gags are shown. A tool to express comedy. A spectacularly entertaining tool but a tool nonetheless. It is not so for this movie. The Tramp is seen as a person with heart in the film. One you want to succeed because you sympathize with him. Of course this is also because the Tramp's relationships with the other characters make you sympathize for them as well.The almost nonstop comedy does not interfere with this narrative making the bittersweet ending all the more satisfying.
Sherlock Jr. (1924)
My Thoughts
Buster Keaton never smiles. Not once. Yet every other facial expression is crystal clear. Instances of intense awkwardness, moments of smug satisfaction, confusion, sadness, and fear. Keaton has mastered the art of expression through subtlety. The perfect executions of these expressions make the lack of smiles stand out while making the viewer feel for the character. This also makes the sight gags funnier. Because you are invested not only in the comedy. But the outcome of the gag. Whether or not the outcome will hinder or boost the character. Thus making the whole experience more entertaining. This really is one of the best works in silent filming.