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Reviews
Dadetown (1995)
Brilliant
This mock-umentry works on so many levels. How the director got such realistic performances from his myriad actors might probably be due to the reality that the film faces, i.e. the demise of the middle-class in America. Be afraid, be very afraid. But yuck it up at the same time. The film encourages us to laugh at the past, and move on. Also watch "Wonderland", a true documentry, that covers similar grounds.
8½ (1963)
The Creative Life
The agonies and absurdities of the creative life have never been so lovingly shown as in "8 1/2". Self-indulgent, yes. What artist is not? But Fellini's bemused honesty does nothing to elevate his ego, but a great deal toward elevating the spirit of his audience. I first saw this film when I was 17, and, now as I approach 50, I find that tears of joy still roll down my face at it's wishful ending. In it's conclusion, the films theme opens to include all who harbor regrets, and if you think that does not include you, give it time, give it time.
Un chien andalou (1929)
A call for sanity
Bunuel shows the absurdity of our convictions. He was a teacher. From "Un Chein Adalou" to "That Obscure Object of Desire", he taunted the norm, made us think. Bunuel is one of the greatest film-makers.
Snow White and the Seven Dwarfs (1937)
Phenomenal
One of the most important films of all time, "Snow White and the Seven Dwarfs", is,now, often denigrated as old-fashioned and kitsch. But at the time of it's release, Snow White drew in more customers than any film ever made up to that point. And, if we are to believe Roy Disney, it made more money that year than all other films released that year combined. It was bigger than "Jaws", "Star Wars", and everything starring Pauley Shore.
But, then, it was released in 1937. In 1937, these other films were released. (And I love them all.)
The Awful Truth, A Star Is Born, The Good Earth, Camille, The Life of Emile Zola, Dead End, A Day At The Races, and Stage Door.
Snow White, like it or not, was the beginning of a new genre. And it is a genre unique in that it is limited to film, not theatre. Though it utilizes actors in it's beginnings, the imagination of the artist takes over in it's ultimate realization.
And,frankly, I don't have a problem with that.
A phenomena. And bless it's heart.
Great Performances: June Moon (1974)
Lame, but interesting
Perhaps in the wake of "The Boy Friend", this revival of Twenties fluff seemed a good idea, but the material is thin and rather embarrassing. However, it is great fun to see some great actors before fame had swept them up. There is Susan Sarandon, Estelle Parsons, Jack Cassidy, and most interesting, there is Stephen Sondheim serving as a piano-tickling narrator, crooning his observations laconically.
A Midsummer Night's Dream (1999)
Unexpected pleasure
Though a bit uneven at times, this lush interpretation boasts a brilliant performance by Kevin Kline, and a great many understated, surprising, and satisfying turns by some all too familiar faces. The most wonderful moment occurs at the end of the rustic's presentation at the Duke's wedding celebration, the riotously fumbling "Pyramus and Thisby". Sam Rockwell,portraying Francis Flute, portraying Thisby, follows the farcical line through most of the skit, but, then, at Thisby's final monologue bemoaning Pyramus' death, he turns sorrowfully serious with such great skill that I found tears in my eyes. It greatly enriched the ending of the film, and, indeed, strengthened the entire theme of the joys and sorrows of love.
The General (1926)
Epic Hilarity
To all those who find themselves squirming through the pompous epics of the Silent Era, may I recommend THE GENERAL. Hilarious, astonishing, and touching, this film outclasses all of those moral pronouncements of Griffith and DeMille. It has heart, joy, and a cinematic athleticism that has had a greater influence on today's films than INTOLERANCE and POTEMKIN combined. A great masterpiece.
Love with the Proper Stranger (1963)
What is this?
Though I agree that the acting, music, cinematography, and, yes, direction were all top-rate, the film feels like it was taken over by Hollywood execs. The first half of the film is gritty and wonderfully evocative of winter in New York City. The actors appear so fragile, vulnerable against such a setting. But, the second half is suddenly Neil Simon; beautifully played, by the way. Very jarring. It's kind of like watching a double-bill of "The Pawnbroker" and "Barefoot In The Park".
The Iron Giant (1999)
A major accomplishment in animation, and story-telling
Why this wonderfully realized film didn't get a bigger publicity push from the WB, is way beyond me. This film is a gem. A beautifully crafted and imaginative script, terrific voice-overs, and an animation style that seamlessly integrates traditional cel work with computer graphics. A must have for any animation buff, and a must see for all.
Mononoke-hime (1997)
A beautiful and complex addition to animation
If you have ever delighted in the artwork of Hiroshige or been intrigued by the mythologies of Japan, you MUST see this film. Even if you've only seen anime on Saturday morning TV and only have a bare tolerance for tea, you should see this film. It is a work of wonder and terror and sublime beauty. Far more complex and real than Disney outings, it is definitely not for kids younger than, say, nine or ten. For the rest of us, this film affords a rare look into Japanese culture and sensibility. "Mononoke" could easily play a double-bill with the best Kurosawa films.
Thrilling, awesome, and fascinating.
The Sixth Sense (1999)
The Script
I think the reason for this film's great success lies in the fact that it the first film in quite a while that gives it's audience a satisfying ending, the feeling that a wonderful tale has just been told. The sketch mentality pervades in the caldrons of collabrative writing. Structure gets subsumed in moments. But this film brings us back to the solid, thought-out script. It works backwards and forwards, smoothly, and as curious as a mobius strip. It's the first film in years where the script is the hero.
Taxi Driver (1976)
Personal History
I saw the film on Hollywood Boulevard the first week of it's release. I left the theatre shaking. Later, I would find out that Hinkley lived in the same area and had seen TAXI DRIVER in the same time period. That made me shake even more. However, it's brilliance out-shines such coincidences. I have watched it regularly, on tape, and now on DVD. It is relentless, brutal, and still timely. Harrowing in a way that rings true.
8½ (1963)
The Creative Life
The agonies and absurdities of the creative life have never been so lovingly shown as in "8 1/2". Self-indulgent, yes. What artist is not? But Fellini's bemused honesty does nothing to elevate his ego, but a great deal toward elevating the spirit of his audience. I first saw this film when I was 17, and, now as I approach 50, I find that tears of joy still roll down my face at it's wishful ending. In it's conclusion, the films theme opens to include all who harbor regrets, and if you think that does not include you, give it time, give it time.
Paulie (1998)
The voice of Paulie
I was entranced by this touching and hilarious film, not to mention surprised. I was also surprised to find that the voice of Paulie was performed by Jay Mohr. The performance was so finely nuanced, neither wavering into schmaltz nor becoming too hard under the New Jersey swagger, that I thought that this must be some unsung old pro, not the baby-faced Mr. Mohr. A very impressive performance, indeed, and it's gratifying to see his talents being taken seriously in a string of quirky, indie films.