Reviews

Both in a cinema & at home I read George Crile's book as well I also know one of the principles, albeit well after the events in the film the trio of Hanks, Hoffmann & Roberts do the book justice, though the Georgian Roberts had a problem with her character's charming Texas twang & is not as gloriously imperial as Joann either Sorkin's acerbic script witty, but the ending.unsatisfying, with too much implied, perhaps a corporate decision rather than Nichols' the war as a game aspect should have been more emphasized, but that may have flattened the souffle.

Not for the squeamish I've long thought myself fairly desensitized to gore, given my training, but this flick had me turning my eyes away more than a few times good on Patrick Stewart for steadying this young cast hope he had some Pacific oysters while in Portland for his effort the entire cast was spot on as was the atmosphere an amazing venture into the abyss, from the safety of the cinema.

I knew this fascinating Manhattan district, having walked through it from my peripatetic days at WSC & later doing a shorter stint more than a decade later in training ...worth seeing repeatedly as this is a dense tapestry, with many threads celebrating and at the same time questioning worth beautifully photographed & edited maybe not for all tastes, but an outstanding feature documentary about a highly specialized industry with lessons for all Memorable, but inexplicably difficult to find

My favorite Tim Burton flick by far, which is a high bar indeed. Holds up over time & with repeated viewings. Unlike some of Burton's efforts, there are no wincing moments in the grand Southern Fable. Top shelf performances from all, with a distinguished cast, pulling out all the stops. Bold & stunning cinematography from Philippe Rousselot matched by the superb set/art work/special . Daniel Wallace's Big Fish: A Novel of Mythic Proportions, proved the perfect vehicle for Tim Burton's over the top directorial magic. This story requires concentration, but gives back great dividends for the effort expended. Almost bought me a Red Dodge Charger on account of this epic, elegiac, feel good flick. An all time great, IMHO.

I saw this initially in a Boston theater when it was released & at least 10 times subsequently. I love horror/scifi/procedural films and particularly ones with a political edge. Michael Wadleigh's masterpiece was likely a reward for his brilliant documentary on Woodstock. Sadly this brilliant film lost money, perhaps due to its leftward leaning politics alienating crowds from Reagan's America & the liberal use of NYC locations, even for elaborate special effects scenes which had to cost plenty. Gerry Fisher's brilliant cinematography broke ground with use of heat imaging techniques, quite effective for a horror noir & benefiting from the South Bronx & Battery Park locations. Views of the WTC were sad, prescient lagniappe & Central Park never looked so ominous, yet beautiful at night. Albert Finney gave among his best film performances pulling off a war weary Staten Island accent with aplomb. The rest of the cast uniformly outstanding, with particularly notable performances from Gregory Hines, Dick O'Neill, Diane Venora & Tom Noonan, whose character is both quirky & endearing. For fans of Edward James Olmos, of which I am, he gives an intense, on point performance, featuring a full frontal nude ballet on a NYC dock river bank. This isn't Lt. Martin Castillo of Miami Vice fame & perhaps Olmos' most edgy film performance. His work with Finney, particularly on the Brooklyn Bridge tower had this acrophobic on the brink of having incontinence. Having worked in pathology labs, I can attest to the accuracy of the film's depictions, with the story line presaging horror in the film's coda. The patter between characters both natural & entertaining from the well honed script. The Götterdämmerung ending features wonderful on location action scenes (perhaps why the film was so costly) and even a politically incorrect (for 1981) theme. See this beauty on a decent monitor, in a darkened room & with a friend. Doesn't get any better, IMHO.

Well written, acted & filmed amazing true story, with only minor diversions for dramatic effect I was particularly taken with the performances of the Milne family and Christopher Robins as a child and young man the director, Simon Curtis, used flashbacks effectively and milked fine performances from his cast excellent cinematography worthy of the beauties of Southern England always a treat hearing Kelly MacDonald's Glaswegian accent beautiful on all counts and anodyne for our troubled times, particularly as the events depicted occurred not that long ago

Saw it in a theater & subsequently on smaller screens It is not a perfect comedy, but about as scathing satire as every came out of Hollywood Richardson worked with the Hollywood Machine on this one & much of the film's charm & power comes from this usually unhappy alliance, though Waugh allegedly tried to disown it Terry Southern & Christopher Isherwood wrote a trenchant screenplay, if taking liberties in the adaptation A team work from Haskell Wexler whose wondrous photography caught Los Angeles perfectly & aggressive editing (despite the length) from Hal Ashby combined with a stellar cast were woven into this broad adaptation of Waugh's novel. The subject is less about funerals & more extremes of Americana through a West Coast lens. While long, there was much to be said & while some notions may make some wince given contemporary standards, I don't find this as peculiar now as I recall on first viewing. Perhaps at times too broad, but such is the nature of sarcasm, which rarely holds up as well as this flick. Very black comedy from another age & very worth seeing for fans of such

disclaimer: I am a feline person don't have anything against dogs & this film certainly gives insight into why folks hold them in such esteem

what makes this motion picture so extraordinary, is the perspective of warriors and how they adjust to life after the 3 vignettes are all superb

Deborah Scranton did stellar work & kudos to HBO

admittedly not my favorite movie genre, I have long been a fan & sci/fi is high on my second tier

much of my affection comes from the setting, having worked for two years at MSKCC just opposite Rockefeller University where much of this was set

all the leads were commendable, the story plausible, direction tight & with at least one well done gory scene (not gratuitous,) all the more effective for its surprise

the diverse venues (NYC, East Coast & Near Eastern Asia) are lovingly filmed with strong production values

I love the New Age sensibility, though I can understand why some may not

this science is REAL folks, though some may question some of it

speculation is what science is all about, don't you know?

I Origins is a romantic, feel good sci/fi flick, though not long on thrills, replete with wonderful venues well worth a viewing, cuddling with someone you love

¿what more can you want on a Saturday night?

IMDb is having a great injustice, doubtless the misguided influence of political correctness. Keep in mind this was released in 1959. I saw this at the Lawrence Park theater in Broomall, probably age 10, before Valenti. Thanks goodness I looked much older, but I don't believe there were any restrictions anyway at that time. After seeing it shortly after its release, I have probably seen it 30 times or more since, both at the Cinema & on little screens. Clearly one of the greatest comedies of all time & unequivocally one of my top two (with the other being Tampopo.) Some Like It Hot was arguably MM's best role & she was almost up staged by her two drag partners in crime, Jack Lemmon & Tony Curtis, for whom this was arguably their best role as well. Billy Wilder was at the height of his powers & despite his famous difficulties with MM, he managed to squeeze her most endearing performance & provided flattering cinematography. I believe this was Wilder's finest comedy, which is saying something. Keep in mind this was 1959 & was conceived under a long Eisenhower administration. Wilder was way out on this one & I suspect JFK requested the dress MM wore when she crooned him for his birthday come from this flick. Don't write many comments, but trending down ain't right for this MASTERPIECE.

I favor dark comedies bordering on the surreal & Polanski does best. Well deserved kudos from Berlin, which I managed to see shortly thereafter in Philadelphia's wonderful Bandbox Theater which was almost empty, IMSMC. I have seen it once again since years ago in Boston & was delighted to see MGM's digital version on cable, which seems an excellent reproduction. Some of the other reviews here sorely missed the point. The setting is Lindisfarne, a holy island in northern England. Ms. Bisset has a line, which is one of my favorites. This is a very dark comedy indeed that was way ahead of its time, which even today confuses many viewers, including some reviewers here. A pity Françoise Dorléac went the James Dean route shortly after filming this, her best role.