Reviews

The movie starts with Patrick's father dying, and he is sent to live with his late father's sister, who is, of course, Mame Dennis.

The movie starts off at breakneck pace and maintains that pace, like the book it is based upon.

Rosalind Rusell is stellar as Auntie Mame, an indefatigable character whose outlook on life is, "Life is a banquet, and most poor suckers are starving." (Of course, her wealth affords her her loose grip on the practicalities of life, but no more so than today).

The young Patrick Dennis is surprisingly good as an actor, as is the adult actor, Roger Smith. The whole plot revolves around Patrick's growing up and who will shape him. On one hand, we have the unbearably stuffy Mr. Babcock, who is all rules and regulations (and a snob) and on the other hand, Auntie Mame, ditzy but as loving as can be. And so the clash begins!

The movie is fashionably sophisticated for a 1950's movie passing itself off as a "progressive" outlook on life. Some of the reviews carp on the humour, calling "worn," but I suspect those people were not - like me - alive in the 1950s. I knew this kind of character growing up (not quite that ditzy, though!) and the humor and clever phrasing come at you right and left. Peggy Cass is outstanding as a frumpy woman whose greatest talent is her deadpan delivery in the movie.

Ito is a bit of a Japanese stereotype, and I still wince at how they wrote his lines, as well as Nora, Patrick's nanny. But aside from that, it is a movie to make you laugh, and moreover, to love the unconditional love that Auntie Mame has for Patrick, who she would move Heaven and Earth for. The tenderness in their solo scenes warms the heart unless someone has no sense of whimsy, in which case, go watch something dull and "sensible." A cinematic triumph for it's utter sense of zaniness, but at the same time, maintaining the core value: Lovingness. There's not another movie like it in the 70+ years I've been watching movies. I come back to it whenever I'm sad (which isn't often), but even more when I'm my usual jovial self and just want to watch a controlled pandemonium that Auntie Mame unleashes on its unsuspecting audience.

They could not make a movie like this today: people are too cynical and shut down, although it is great to see Barbie (which is close to this movie in its tone) becoming a smash hit. I have the feeling Barbie and Auntie Mame would really like each other! What could be more enjoyable to watch??

I dislike the tendency for everyone to be called "iconic" "classic" and "legendary," but this movie deserves all those accolades.

And that staircase is the unrecognized star of the movie where magical, moving - and hysterically funny - scenes take place where people come unglued, ascend, descend, or pose at the top (or bottom). It is a metaphor of the most illuminating, heartwrenching, moments of the movie, where tears, sadness, pain, laughter, but mostly Joy, take place. (Auntie Mame's only disagreement with Patrick takes place at the foot of the staircase (when he announces he's met THE girl (who's a snob and a half), but chastises her for her bohemian lifestyle which he doesn't want his precious "Glory" to know about. When she asks him if Glory should know that she finds him the most bourgeoise, babbity, little snob on the Eastern Seaboard....," it looks like a catastrophe is unfolding as he turns to leave, looking terribly hurt, but only saying "Well, it's been nice knowin' ya". And then Auntie Mame, tears in her eyes, calls out "Patrick" and he turns back to her (he's also almost in tears) and says "Auntie Mame" and she runs to him, arms outstretched. He also loves her dearly. And she tells him she loves him so, and she would do ANYTHING for him: join the DAR, "denounce Calvin Coolidge as a Bolshevik". I can't get through that scene without tears coming into my eyes. Unconditional Love - on the staircase! That staircase is a hero, I tell ya!!!

I was, as a very, VERY longtime reader of The Flash comic book, disappointed in the movie.

The concept is cool: Flash wants to save his mother's life, so he goes back in time. (Nothing good EVER comes of this.) But the screenplay, as written, is flat, and has no "life" of its own.

More surprisingly, as someone who cares only a little about special effects, I found the movie surprisingly mediocre in this department. The Flash is forever running in slow motion; it would've made more sense for him to be a blur in at least 2 or 3 sequences to demonstrates that he could run around the world - literally - 3 times in one second, but the over-dependence on slow-motion to give "gravity" to a scene has been overdone since 1990. If you are the fastest being alive, LOOK LIKE IT.

Perhaps having 50 years of Flash comic books (back to 1963) has made me expect at least a little fidelity to the comic book hero, and doesn't matter to the 25 year olds who don't have the history I do, but even without that, the movie moves along in humdrum fashion. And Supergirl is brunette? Can you imagine giving Superman blond hair?

The fight sequences are not much better. I would never turn my head in the middle of a battle without making sure the enemy was dead, yet this happens so often in movies (including this one) that one of the good guys always ends up severely wounded - or dead. One wonders if any of the filmmakers have ever been soldiers (and a solider never just assumes his opponent is terminated: HE MAKES CERTAIN OF IT.) Someone dies just because of poor screenplay writing. Not realistic at all.

I'm glad others got more satisfaction out of it by overlooking all the not-even-remotely-believable moments, but at least they enjoyed their $12 ticket's worth. Fortunately, as a senior, I only paid half that. And even that half didn't make the movie more coherent. I'm glad I saw it (I want to support Ezra Miller, the actor (the human being is very troubled), but I'd like to be fully engaged while watching. This movie lacks that ability. I'd have liked it more if I was 15. Maybe.

I watched this series from the day it began in 2011. It was an enchanting show, woven with fairy tales cleverly intermixing with characters who never met. (i.e., Peter Pan never met Dr. Jekyll). A great show, and highly entertaining. It went a little overboard with the characters having to go to the Underworld and deal with Hades. Not a fan of that season at all. But Season 7, as others have said, was a waste of time. There is no charm whatsoever, and the newer actors utterly fail to bring any life to the series. I forgot why I stopped watching after Season 6 until today, when I bravely attempted to watch Season 7, and found that no one had an ounce of charisma - or acting skills.

It is akin to hearing Wagner's Ring Cycle and then, after the 20 hour opera (yes, it's actually a 20 hour opera that takes 4-5 nights to experience in the opera house), you're right back at the beginning (the world starts anew in Wagner's Ring Cycle). Don't do it. Just watch seasons 1-6 and stop there. You could even perhaps leave out Season 5, but the first 3 are pretty cool.

And for people watching it 6 years after it went off the air? It probably doesn't have the same flair. It's like watching Bewitched 30 years after it went off the air, and asking why they made Darrin this way or that. Well, because life was different in the 60s. If you weren't alive, it doesn't always make sense, but if you were, it does. Unlike Season 7 of this, which is nonsensical.

Great show to begin with. The premise of Ichabod Crane's original short story by Washington Irving, is great. Great plot, good writing and all that rot, mate!

Season two starts out fine, but by episode 13, an ANGEL shows up - and all Hell breaks loose. Not only does the Angel sound British, but he is an angry angel (shades of Supernatural), and he needs power. (OY!) And you wonder, why is it that an Angel has to walk anywhere?!?! So, a hole plot unlike earlier episodes. And then, it has good episodes and a few that are entertaining (I personally loved the concept of Pandora), but then the fourth season is a disaster (after Nicole Beharie leaves) and the new "Witness" is an 11 year old girl and her FBI mom. The dialogue becomes droopy and dumb, and every episode is a "Wait, are there such things as zombie/demons" or whatever. It gets a little tiresome. And Nicole Beharie pulling out a gun on every single supernatural menace leaves one wondering "Does she not - by now - KNOW that a gun won't kill everyone (or anyone) supernatural???" It does seem she's a tad oblivious. But, well...

Actually, the ever-growing cast of (Scooby-Doo) characters slows down the pace just a little (which explains why Nicole Beharie left), but by the fourth season, it just kills the series.

Still and all, a very, very good supernatural show.

This is really God-awful.o energy, nothing.

The script is clunky. Disagree? Close your eyes, listen to the dialogue and tell me that this doesn't sound like a World War I movie - but without any good dialogue. Moses yells "Go! That's an order!" Does that sound like dialogue from 1300 years before Jesus' birth, or a bad B movie of the 60s or 50s? I suppose some will argue that Moses COULD sound like a 20th century general, but they'd be wrong. Again. The slaves get to practice in the desert? Weren't they slaves making bricks, or serving the Egyptians? I guess they earned "time off" for good behavior and then had the actual equipment to make arrows and bows and string up mock statutes to loose their arrows upon. In other words, no enslaved population you've ever heard of had enough time for mock battles. But these guys do!! Bale is emotionally dead, as is Ben Kingsley. Quite unexpected for such exalted actors. Maybe the actual performance is on the cutting floor of the editor's office, but he must have been sleepwalking when he cut the final film. Good Jesus, save me!! And Ramses talks like Steven Segal. Is this Egypt, 1400 BCE or Europe 1950/60/70. I'm listening to the dialogue without look at the film, and it sounds like 20th century England (ok, 20th century Los Angeles, then). Fascinating to watch it without watching it, trying to figure out the country, the era or anything else. It should have been called 'The Lost World.' And God show up as a preternaturally calm 6 year old sitting on a rock in the desert. Here's some of the dialogue.

Moses to God: Where have you been?

God to Moses: Watching you Fail Moses to God: Wars of Attrition Take Years God to Moses: At this rate, you'll take years. A generation.

Moses to God: I am prepared to fight that long.

God to Moses: I am not Moses to God: I thought were were making progress. Now You're impatient, after 400 years of slavery.

And Moses finally yells at God: Well why did you take me away from my family?!?!?

God: I didn't. YOU did.

And so it goes. (God wins, of course, as if there was any doubt)

For some, it will be entertaining for the special effects (and for some, that's all they require), but a "good movie?" I think not.

This is just laughably bad. For people who just go for visuals, fine. But for people looking for a coherent script, it is as bad as the critics said.

The Sandman is an outstanding series, reminding us of how our dreams - and nightmare - drive us to live, love, hate, fail or succeed and - in some scenarios - die. Which is what happens to the Sandman himself.

The Sandman is the Lord of Dreams and rules over the dreams and nightmares of mankind. That is, until he is captured by a mortal using spells, one who hopes to capture Death and bring his son back to life. For 100 years, The Sandman is held captive by the mortal sorcerer. But that is not the story.

The plot is excellent, and each episode demonstrates that even Entities can learn lessons.

The acting is superb: Tom Sturridge as The King of Dreams exudes a dark, foreboding presence, from the beginning to the end of Season 1. And every actor is excellent.

I've seen the other reviews, and all I can say is that if you need constant "action" and special effects, put that down to a lack of curiosity about life. This series is for the perceptive, receptive person asking existential questions. The Lord of Dreams is himself lost, and only finds himself after going to Hell Itself, and even then, he finds something more powerful than him - or his sister, Death. And his mischievous brother, Loki...I mean, Desire.

And for once, the writers write elegantly, where - in a fantasy world - no one uses modern words, such as "seriously" or "lets do this." The pace of the writing keep The Sandman firmly anchored in the realm of fantasy. Not for those who need the quick fix of action, action, action. In fact, the slower pace (including not having one single actor who rushes thru his/her lines) gives the series a gravity not often found in modern tv (where everyone talks overly fast, makes a declarative sentence sound like a question).

One stays gripped in uncertainty, because, do we ever know how our dreams will end? Are they not different every night? As is each episode. Just excellent. I'd give it a 10, except, after 7 decades, I've learned to avoid hyperbole.

A series particularly captivating for those who have lived past the first 40 years of life, a time when our dreams must be recast. And in astrology, the greatest time of sad reflections occurs from 40-43 the Neptune/Neptune square (a square = a challenge). Neptune rules our dreams, visions - and delusions. And if one has many unpleasant Neptune aspects in the natal chart, one lives in delusion (along with the imbibing of drugs and alcohol, because the real world is too harsh, and dreams are a way to avoid them.) A series reflecting Life - its dreams, fantasies and delusions, delusions we maintain until the Mid-Life. If you're not there yet, you will see this for yourself. I found myself wondering if the writers have any knowledge of astrology, because this series certainly delivers on the gift of dreaming. Or the curse of illusions.

Moon Knight is an excellent series, particularly if you enjoy the complexities of the human mind.

The main character has what most people would consider schizophrenia (if they think about it at all), but it's actually Dissociative Identity Disorder. This is what makes for a confusing beginning, straight through to the middle episodes and will drive those with no understanding of psychology crazy. But if you stick with it, all those weird things, like reflective surfaces where one personality "talks" to another begin to make sense.

Isaacs, the main character (Steven/Marc) does a great job of portraying someone who believes he is simply dreaming half the time, but then wakes up in other Countries (hard to square with simply thinking you're crazy), and convincingly - although reluctantly - allowing his other "alter" personality to take over in certain situations.

Some things make you crazy, such as (as someone else pointed out), the other Gods can't tell when one character (the bad guy) is lying. Something not very credible (If you're a God, shouldn't you KNOW someone is lying?!?) but hey, that's how the cookie crumbles in this series.

Konshu, the God of the Night (and the God who creates his Moon Knight avatars through the centuries) is acerbic, brusque and sharp in his speech ("Oh no, the idiot's back!") when Steve, the mild-mannered (Clark Kent?) personality is in ascendance. Konshu's a hoot. He's also as manipulative as Palpatine in Star Wars! But he has a genuine sense of justice, and punishing the bad guy, so... Anyway, a good series, even if it doesn't satisfy the lets-have-a-fistfight-in-every-episode crowd. You know, the ones who think Superman should be always throwing a punch at his enemies instead of using one of his fifty other powers. Oy vey!

If you can't get through an episode that has quiet, introspective periods for 15 minutes, don't watch this. Sort attention span has its own drawbacks, and this series will aggravate it!!!

I have watched parts of this series 3 times (some episodes twice, because they were so riveting) and they hold up as well the third time as they did the first.

And please, ignore reviews that claim that anyone who gives it a low review is a "hater." There is such a thing as critical evaluation, and some people watch it just for the kicks, and others watch it for how smoothly the storyline flows. Jeez, people nowadays cannot seem to tolerate that someone else will hate what they like, or vice versa. So, you find "10" ratings as a reaction to someone else giving it a "3", and not for the series on its own merits. I guess you have to be an old coot like me to know that we don't all agree on ANYTHING.

Watch it for yourself. I find it quite well-done, and after 70 years of watching movies, I trust my own opinion. That doesn't mean that you should! But it does manage to transport you in a way that many other movies/series to not. You can believe you are in Egypt, and the detail to the mummies and symbols of ancient Egypt are accurate, especially episodes 4 and 5 (the explanation of the Eye of of Horus is correct in its translation of each of the six senses (smell, touch, hearing, etc.)) Most series do not decipher symbols in such detail and it's pretty cool to learn something new while being entertained.

The surprise ending, with Dissociative Identity Isorder being much more complex than it originally appeared, is superb. It is, shall we say, the 'Twist' in psychological terms. And the 'twist' in the plot. It's a real killer!

For ME, it's a winner. For you, who knows??