Reviews

Missed opportunity to make an interesting adaptation of a moderately interesting book. The first third of the book about the round of golf Murphy plays with Irons is the only good part of the book. In the book, Irons instruction on the mental side of the game and it's parallels to reality are worth pondering. That part of the story is given only perfunctory attention here. The rest of the book is devoted to Murphy's vague ruminations on his confused notions of the confluence of science and philosophy. The movie only superficially resembles the book. For starters, Bandon Dunes, Oregon is not Scotland. So when Irons character in the movie talks of learning the lessons of the game "where it was invented" the grounding of the film runs aground. Playing the game in Scotland is an authentic pilgrimage for golfers. The harshness of the North Sea weather conditions can affect anyone playing the game in Scotland on a links course next to the sea in ways that make the game incredibly difficult beyond the mere hitting of the ball. Hence, the line by Shivas Irons in the book, which is something of a mantra to Scottish golfers, if there's no wind and no rain there's no golf, is lost by staging the film in good weather in America. In other words, playing a round of the game on a sunny windless day teaches none of the real lessons of the game or yourself. What Irons lessons are really about are that golf reveals your inner self to you by showing you how you handle tough conditions while hitting a ball with a stick and trying to drop it into a hole in the ground. That way to self revelation is given short shrift in the movie. Put another way, the story is about what you learn about yourself while playing golf, not about the game of golf per se. Technically, an opportunity to use the mystical aspects of the southern Oregon coast is missed by masking daylight with effects to look like sunset. The true mystic qualities of the southern Oregon coast are best seen at dawn, or in heavy overcast and/or fog without effects masking reality. The movie actually turns Irons insights upside down by the use of phony effects lighting. The staging in the movie missed the qualities of the southern Oregon coast that really resemble Scotland. Classic Scottish links courses have no trees anywhere near the course. The setting, and its depiction, used here did not conjure up the mystic qualities of a Scottish links course (or the southern Oregon coast), which could have transformed this film. That could have been done by filming at dawn and in unmasked, imperfect weather conditions. Still, I gave it a five rating because it has Malcolm McDowell, Frances Fisher, Julian Sands, Joanna Whalley and David O'Hara, all of whom are worth watching whatever they do. The Shivas Irons part of the book deserves a filming that scores an eagle. Here, the script, the staging and unnatural lighting add up to a three putt bogey of a missed opportunity.

Very entertaining episode, contrary to the other reviews of this episode. Very little Traylor or Ted, which is a bummer, but the kids on the camping trip are worth the watch. They see through Monk's reason for going on the camping trip, and the repartee between the kids and Monk is genuinely funny. Wish the location section had the name of the lake since most of the episode takes place around it. My guess is that it is Lake Hollywood. To reiterate, the kids make this episode worth watching. Don't be put off by the other user reviews of this episode as they ooze of self importance if not outright rancor. The Kids Are Allright!

Probably based upon The Skull & Crossbones Society at Yale University. Yes, that Yale. It is a real organization and it's members are sworn to secrecy, observed by Presidents (both Bushes and Clinton fir example) and many other pillars of politics and business going back well over a century. This moviecwas gripping when I saw it in 1970 at age 18. The political assassinations of the sixties, the Civil Rights movement, the riots in major cities and The Viet Nam War were all unspoken backdrops in my mind for this story. That it was originally done in 1958 doesn't surprise me, but not unsurprising that it is less known. The above listed actual historical realities make this story quite believable. Ford and Jagger are superb in the lead roles and all supporting players are just as strong. Cliques and gangs are a common thread of human history. Think of Joe Valachi exposing the American Mafia. That the secrecy veil of Skull & Crossbones has been only nominally lifted could be an indication of how deep it's tentacles run. Until Valachi like testimony pulls the veil back significantly, this excellent TV movie will have to suffice to raise the public interest in secret societies.

Classic western story of defending homesteads and holding on to cattle herds. One of the fine westerns of the late forties with alternating settings of awesome Arizona locations and rustic and realistic set interiors. Directed by the gifted Robert Wise, the actors t hrive with revealing close ups and real chemistry in every scene. Mitchum navigates the ambiguities of his conflicted protagonist character with aplomb. Robert Preston portrays an amoral backstabber. I don't agree with another reviewer who describes Preston's character as "a charming, jovial wolf...." More like conniving and patronizing towards dastardly ends. Barbara Bel Geddes plays an independent woman who can stand up to the men. But, the real treat is Walter Brennan in one of his best roles. He is vulnerable, reflective and tough as nails, who has the back of the protagonists that his character has to distance himself from to protect what he has left. Look for the scene with Mitchum where Brennan describes his family situation after the harshest of setbacks. He superbly under plays it with a blank stare while he bares his soul to Mithcum's character. The way Wise captures the key close ups brings out real emotion from the characters that should affect most audiences. The pacing of the story telling is just right. Even reflective scenes do not seem to slow down the story. A most enjoyablecwatch.

Monroe sings and acts at playing an acoustic guitar for several songs, which are original for the film by Ken Darby and Lionel Newman. The guitar appears to me to be a Martin acoustic with a aged patina that could be a coveted pre-war (WWII) model. I wonder what happened to the guitar. If it is a pre-war Martin handled by Monroe on camera it could be worth serious money. Any pre-war Martin can fetch $10k or more, and with the Monroe provenance this one could make for a lively auction fetching many times more than a similar pre-war Martin. Monroe's singing is very good, and her acting is more natural and less like her later breathy, sexpot stereotype. The scenery is spectacular. Mitchum gives his usual fine performance. Definitely worth a watch.

There is a lot to like about this movie despite Leonard Maltin's hack review. I never gave much weight to any of his criticisms of actors. He never understood the profession anyway. This us a great cast with Tracy, Widmark, Wagner, EG Marshall, Earl Holliman, Jean Peters and Katy Juradp. The acting is uniformly excellent, including Jurado, whom Maltin dismisses without justification. He also criticizes the final battle between brothers Widmark and Wagner, but that sequence is excellent action and a logical end to the story line of those two characters. While the screenplay could have been improved upon it still holds up as a take on King Lear family politics with a dash of The Lion in Winter, regarding the struggle between brothers Widmark and Wagner, set in the the rancher vs rancher West of the 19th century. The cinematography is superb, with a large majority of the filming on location. Tracy's on camera presence is commanding and draws out complimentary performances from all the others. This is one of Wagner's best performances. I enjoyed watching the movie late at night and didn't yield to the temptation to turn in early. Jurado's knowing glances in the final scene captures the through line of the story, which I leave for you all to interpret.

Beautiful cinematography. The surprise is the acting, which is good,probably due to good directing. Kenny Rogers gives a believable performance, unlike his usual stiff attempts as the gambler. Tritt is a real surprise, with genuine mood swings and subtle eye work. Judd displays a vulnerability that is interesting. Nice supporting work from Brion Jones, Stacey Keach and Bruce Greenwood. Greenwood is unrecognizable as Jones' hot headed brother, which is an example of some real acting hoing on. The prisoner bride to be needed to be more than just eye candy, which points out that the writing is too formulaic at important plot points. Still you could do worse for a late night entertainment. It has Nevada Smith or Pat Garrett and Billy the Kid qualities in several spots in the story that holds one's interest. Remember, this is a TV movie, not a theatrical release unlike Smith and Garrett . Who will survive at the end isn't completely telegraphed during the storytelling. Actually a plus IMHO that the story isn't larded up with songs by Rogers,Tritt or Judd. Kenny's beard is a bit too well kept in spots, but doesn't overshadow an honest performance. Worth seeing how it ends even if not completely satisfying.

In Brenda Vaccaro's first scene her face is narrow and she looks slim, basically like she did in Midnight Cowboy. In the rest of her scenes her face is noticeably fuller and her body is heavy set. There must have been a break in the filming of this episode. She looks totally different for all her scenes after the first scene. I like seeing her because she is such a good actress, much better than Andrew Stevens who overacting this whole episode, but Brenda look changed very noticeably after her first scene. Always great to see Janet Margolin in any of her roles. She didn't get enough parts IMHO. Also, where is Columbo's beat up Volvo sedan? They should have had shot of it next to the red Jaguar two seat sports car that Stevens character drove around in.

William Talman turns in maybe his best performance ever as the aging gunman. He shows a depth not possible in the other roles he had where his role had to be narrow in scope as a supporting lead. The writing of this episode is also exceptional. There are moments of true poetry expertly delivered by Talman. The direction is spot on too. The final shot on Boot Hill is not only a classic Gunsmoke shot, it is a classic western shot whether for tv or film. One of the best Gunsmoke episodes ever.

Many excellent reviews here. While all the actors turned in stellar performances, including best ever roles for Jack Cassidy and William Shatner IMHO, I consider Richard Basehart's performance as one of the all time great performances by anybody, male or female, on stage or screen. The movie is riveting because of his performance. He doesn't overact or upstage anyone. He inhabits Wirz and let's the script lift the whole story. Undoubtedly a career directing accomplishment for George C Scott. All the performances are uniformly pitch perfect. Scott helped every single actor live their roles. But, Basehart takes the whole enterprise to the highest form of performance art. His refrain of Wirz, "And STILL you badger me," is haunting every single viewing. A must see of historical drama that posits the Socratic Method to the telling of a true story based largely on the actual trial transcripts. You are left to draw your own conclusions to continually perplexing questions about the human condition under the most grim circumstances.

Marian Marsh is incandescent; she glows on the screen. At only the age of eighteen, she acts with poise and confidence opposite the legendary John Barrymore who embodies Svengali. The cinematography is a master class of multiple angles, close ups and tracking shots, but not in the overdone or self-indulgent manner of so many modern filmmakers. The acting is uniformly excellent devoid of grandstanding or upstaging. The story is served, not anyone's ego. An engrossing film of the classic du Maurier story. Many rewarding moments for the viewer. Deserves a much higher rating than the average of the reviewers herein.

The show gets better every week. Julie White is an excellent addition who adds a lot to the overall story lines. Definitely prefer this to Scott Caan struggling to resemble an actor in the last version of Five-O. Vanessa Lachey is growing into the role as the leader of the stories.

Vera Miles is a treat to watch in this episode. Strong, smart and vulnerable. Rare role for a female TV character in 1960. Sandcrab's review sounds like sour grapes; as tasteless as a crab apple. John Smith also exhibits seldom required range of emotions in this episode. Strong support from several veteran character actors. Strong episode.

While most reviewers, pro and user, concentrate on the comedy and satire, there is serious dramatic and spiritual content too. If you are patient and wait for the stories, plot and subplots, to develop you will be richly rewarded. Make sure you do not miss the first minute that sets up the alien relationships. This is my favorite Sayles movie and I like them all. Sayles is one of the best, and most genuine, screenwriters in moviemaking. Enjoy the Brother and all he encounters.

While it may have seemed outlandish in the 50s, since the ascension of Trump this movie is now totally prophetic, not only about the fickleness of the masses, the power of social media, and the deviousness of power brokers, but also of how quickly a cult of personality can thwart democratic processes. Brilliantly written and performed; I only wish it had been directed by someone who didn't fold to the paranoid power brokers of post WWII who foisted McCarthyism on America and brought Kazan to his knees. One wonders what a John Huston or Stanley Kubrick would have brought to the project. At any rate the premise of a political gadfly corralling the popular political process egged on by bigwigs devoid of morals and steeped in greed based exercises of power is sadly too accurate as of 2020. This film should now be taught not only in film classes, but in history, sociology and political science classes as well. The film now needs to be fully re-evaluated in light of how prescient it has become and how the acute vision of Schulberg is only now coming into full focus.

The story line of the government planning to use copters and technology to break up neighborhood protests or "riots" is more timely than ever now that Trump has actually used copters in DC to scatter "rioting" peaceful protestors, even "dusting" them as Roy's character says when taking the copter very low to send high wind and dust flying around a people on the ground. The stakes have actually been raised by Trump sending federal enforcement agents with battle gear to Portland, Chicago et al. This movie narrative nails the continuing (unfortunately) misuse of hardware and technology by nefarious government officials to control the general population by force. The acting. directing and camera work are all first rate. This movie deserves higher than a 6 point rating.

Supposedly Lee Harvey Oswald's favorite show, which raises many interesting questions not the least of which is : Was Oswald living out the main character of the show for real? Another question: If so, was that how Oswald was set up as a patsy on 11/22/1963, as he maintained on TV (recording still exists - search YouTube) while being dragged down a hallway of the Dallas police station past TV and print reporters?

Just finished watching episode 12. Wish they had started with the last 3 episodes to begin the series. End of year one encapsulated much of the past notoriety of notorious LAPD history with a solid teaser about the Mayor's future entanglements. Episode 12 is well written and continually engaging unlike many of the "this is the family and my personal baggage" moments littered throughout the previous episodes. Why do producers think that stuff needs to come out first in new network dramas? Falco is perennially fascinating despite the network mindset. Would like to see more "Tommy" and less explanation of peripheral family and personal baloney.

Clayburgh and Spencer were wasted here. Supporting cast very weak except for Tate Donovan and Bobby Cannavale. Didn't even shoot all 13 pilot episodes. Stronger supporting cast of family members might have helped. Think pseudo Blue Bloods attempt at NYC family drama.