Reviews

This version offers a marginal/vague coherence to the story as we all know it. But as the film rolls, this vagueness begins to be increasingly troublesome when the other obvious deficits of the film begin to weigh in.

The soundtrack is poorly executed, reminding me of listening to a second rate TV station late at night, when the commercials are horrendously too loud in relation to the program. In this case, the musical score is loud, and the character voice track is muted, but the similarity is obvious to even a casual listener. And it is every bit as annoying, especially since you are viewing a package that is supposedly offered by a single entity, without advertisers inserting later leverage with after-the-fact dollars.

The animation is okay but not exceptional in any way. And it is a far cry from that in the original Disney classic. And the biggest problem is that the animation is the strong point for this version. The rest of it all trails off rather miserably after that.

The story is pretty badly corrupted, and the nuances of the original are largely lost in this very weak imitation. If you have seen the Disney original (and who hasn't?) then you will likely be sorely disappointed with this rendition. But there may be those who can dispute this. Who can say? If you have not seen the Disney feature, then the original story is so strong (even corrupted to this degree) that you might see this version as exceptional.

Quentin Tarantino has not done himself any favors with the presentation of Kill Bill. Some have lauded this film as an example of Tarantino's established expertise. I felt that exactly the opposite was true.

While Pulp Fiction still has the ability to elicit feelings of appreciation for its fresh, new approaches after many viewings, Kill Bill left me with the impression that I had already seen more of it than I would have liked to.

There are some plot holes that are weakly patched, and some scenes that were apparently intended to be eye-popping bloodbaths of combat with Samurai swords. There is even a Japanese Anime portion inserted unexpectedly into the movie, which is interesting in its own right, but seems to draw the viewer out of the film rather than more deeply into its plot.

At one point, possibly as an apology for the blatant (almost funny in its exaggeration) bloodbath, Tarantino switches from color to a black and white format. While the switch to b/w, as well as the change to Anime, might be considered examples of Tarantino's brilliant, renegade movie-making style, here they come off as weak props, manipulating the viewer's commitment in an effort to keep us watching a little longer.

I did stay with the film to the end. I also followed it with a viewing of Kill Bill 2. My impression did not change much over the course of the entire viewing.

Kill Bill is an attempt to make a Clint Eastwood Spaghetti Western, with the fragile-looking Uma Thurman as the macho protagonist. Uma does look striking in her leathers, and carries off the performance with style. But she is not convincing as a fighter, no matter how strong and sharp her steel blade might be. The believability factor is stretched so thin at one point, Uma takes on a large group of trained fighters all at once, and of course, whips them like so many playthings. They spew a lot of blood, and die spectacularly. So what.

I will probably enjoy Pulp Fiction many more times. I won't be watching any more Kill Bill.

The Last Time I saw Paris

Reviewed by Dan Cooper

This film was made in 1954, and by virtue of its age it becomes an easy target for those who would use it as a vehicle to pump up their own egos with a verbal bashing that will likely go unchallenged. The film has indeed been bashed, here on this database among other places, as unimportant and unworthy of your time as a possible rental choice.

I disagree completely with the uncalled for bashing, and with the judgement that the movie is unworthy of your time. See it for yourself. And if you are young enough to be completely unfamiliar with all of the actors, so much the better for you to judge it fairly on its merits rather than be snowed by the reputations of Hollywood personalities.

The plot has depth and very few weaknesses, the acting is good to very good, and the story has interest value in both historical and social frames of reference.

The plot concerns the uniting of two people whose tragic flaws are not well matched, with the obligatory tragic results. The pair gets together spinning out of a near-miss love triangle. The man (Van Johnson) has no idea of the existence of the triangle, as he is completely taken with Taylor and just as completely forgets his earlier attraction to the other woman (Donna Reed). Reed, the rejected third wheel, is actually not rejected, per se, but becomes the "odd man out" none the less when her sister (Liz Taylor) successfully steers the affections of the duped Johnson in her own direction instead.

Reed adopts the persona of the rejected party to a relationship that never was, and exacts her revenge later in the film.

While the big name actors of the day are no longer influencing moviegoers today, they undoubtedly sold the film in 1954. I find some weaknesses in both acting and directing, but the film is definitely worth seeing if you have never had the pleasure. Van Johnson's role is that of a fairly shallow character with a good heart but no follow-through to carry him to victory until way too late to do much good. Johnson possibly could have done more with the role, but the weakness of the character should not be confused with some partially perceived weakness in Johnson's delivery of the part.

Taylor does a nice job as the sly and experienced older sister, the one with the better looks and the Machiavellian technique to get whatever she wants, again at the expense of little sister Reed. The film is actually carried more by the acting of the supporting cast than by the efforts of the leads. Two very strong performances are put forth by Walter Pidgeon and George Dolenz. Pidgeon plays the opportunistic pretender to wealth and father of the two women. Dolenz is the earnest lover of Reed, who inherits her full-time attentions only after Johnson is fully occupied with Taylor. Dolenz marries Reed and in the end does a very nice job of becoming the film's heroic figure.

Eva Gabor at the peak of her youthful beauty does a good job as yet another love triangle component for the easily side-tracked Johnson after his marriage to Taylor. Another triangle develops with a very young Roger Moore finding the eye of Taylor.

Do yourself a favor and see this movie.

Dan Cooper is a freelance writer/editor. He has been writing for over 30 years and has done book and movie reviews sporadically since the 1970's.

Andre Braugher delivers the convincing element to carry this picture with his intensity and involvement as Cleveland. A little bloody but it had to be. The hero (Scott Wiper) gets messed up worse than Bruce Willis in a Die Hard Movie. The film is long on action and direction, and if you like a lot of blood (or can get past it to see the rest of the picture) you will like following two or three fairly similar ways to die in this one.