Change Your Image
BaronVonCount
Ratings
Most Recently Rated
Reviews
Kozure Ôkami: Ko wo kashi ude kashi tsukamatsuru (1972)
Truly lame 'samurai' film
The writing is shallow and clichéd, the acting just as mediocre. Even the child aged about two is poor - although probably the best in the cast!
If you like the sort of samurai movies made by Kurosawa, Mizoguchi, or Kobayashi, then dross like this is torture. I watched it because of its incomprehensibly high rating on Imdb and a poll of favourite samurai movies, but really only finished it due to its one redeeming feature: it is short.
If you like samurai films then please try some movies from the aforementioned directors whose every production is several orders of magnitude better than this deplorable offering.
A Month in the Country (1987)
Does justice to a masterpiece of literature
Firstly, if you haven't read the book, as is usually the case it is best to read the book first, especially as it is not just an exceptionally well-told story, but also only about 100 pages of first-class writing from J. L. Carr. The movie is certainly good enough to stand on its own, though to say it does justice to the book is the highest compliment I can pay it.
Colin Firth is excellent in the lead role, conveying a wide range of utterly believable emotion and action; Natasha Richardson as the luminous beauty Mrs Keach is also superb. Supported by the likes of Patrick Malahide, Richard Vernon, and Kenneth Branagh, as well as a fine cast of supporting players in even the smallest parts, they truly bring the book to life.
The English countryside also plays its part to perfection with some glorious scenery, which is not just window-dressing, but central to the story. The camerawork is subtle and beautifully composed. Indeed it feels like the whole production has been handled with the utmost care.
The traumatising effect of war and the ability to heal that trauma is done in a fairly understated way, with negligible shots of actual battle, or the misplaced heroics and melodrama of many anti-war movies. This contrasts brilliantly with the depiction of life in a small English village a century ago, just as the horse was giving way to the car.
There is an extraordinary amount of life shown simply and naturally, including a depiction of the passage of time worthy of Proust.
The balance of humour and poignancy mirrors the book and, like the book, the movie will stay with you for a long time.
Hollywood Ending (2002)
Woody's worst
Woody Allen always promises so much, with most of his his movies having such really great concepts, that they make most directors seem trivial. Unfortunately, probably because he feels compelled to put out a movie per year whether the script or production merit it, Woody Allen often falls way short of his promise.
Even when he actually delivers a fine movie like "Midnight in Paris' it feels like with another few months honing the script would have made it into a much better film might even put him on the same plane as his beloved Bergman.
In Hollywood Ending, which has the imaginative premise of a blind director, an idea which could have produced something brilliant handled by an in-form Woody falls shrorer than ever due to a half-baked script with some classic lines, but far too few, but mostly due to Woody's unconvincing portrayal of a blind person. While often a great lead in his films, here he is seen time after time talking in the opposite direction of the person he is supposed to be conversing with, which would make sense if he was deaf as well as blind, but just looks totally unconvincing here. Coupled with a so-so script and no really strong supporting roles this made for his weakest effort of all time.
As usual the score is wonderful, but there isn't much else to recommend it.
Crank (2006)
Incoherent trash
A good explosions and car chase movie replete with corny wisecracks is a bodily need for most males.It is one of our burdens. Bond movies deliver our hit very satisfactorily, as do the Bournes, Die Hards, and many Jason Statham movies, and with the dose of cinematic testosterone we can go about our daily lives, often for weeks, or even months before we need some more explosions etc. 3/10 is the lowest score I have ever given a movie and how I sat through the whole thing will always be a mystery to me. Anyone who has overdone a cocktail of substances could relate to Statham's lead character, which is the central theme of the flick, but sadly despite our enthusiasm to suspend disbelief this movie is strained beyond comprehension. Almost certainly the writers and crew were in a more heavily drugged state than Statham's character and the ensuing incoherent mess is just a nasty waste of time. And profoundly unfunny. You are better off rewatching one of the old Transporter movies.
L'uomo che verrà (2009)
A beautiful depiction of the horror of war
This movie is mostly seen through the eyes of the young girl, Martina, who along with the other children provides a depth of innocence which is the counterpoint to the ice-cold brutality of an invading army. The various viewpoints and behaviour of the diverse groups: villagers - old and young; partisans living in the woods;the clergy; the invading forces with their various levels of humanity from ruthless soldiers whose souls are dead to those who can't help but feel compassion for the people they are invading, never seem clichéd even though they may be in so many war movies. This is simply humanity at war, portrayed clearly and credibly without the slightest pretence. The cinematography, direction and acting are supremely natural, creating a fine, memorable movie.
The Honey Pot (1967)
Elegant intrigue in Venice
From the opening scene, with Rex Harrison's lead character watching a private performance of Ben Jonson's "Volpone"in the elegant, neoclassical surrounds of Venice's La Fenice, to the final scene amid the acqua alta in the Piazza San Marco, this sly murder mystery is pretty much note perfect. The script is drily witty, delivered by principally Harrison, Cliff Robertson, with Maggie Smith demonstrating that she was a first-rate comic actress even four decades ago, all played in the matchless surrounds of Venice. Capucine as the Princess, and Adolfo Celi as the police inspector are excellent in their smaller, supporting roles.
Don't Look Now (1973)
A rich, complex thriller
From the first scene to the last, "Don't Look Now" maintains coherence through labyrinthine plot twists, real and abstract, handled by the director, Nicholas Roeg, in masterly fashion. The leads, Julie Christie, with her original beauty, and the reliably interesting Donald Sutherland, are vividly believable as husband and wife, and their monumental grief is never cloying or sentimental, never overplayed. The blind clairvoyant and her companion provide a fine balance of the sinister and the innocent, with the rest of the cast maintaining the high standard. Many films with touches of the supernatural quickly become mired in flakiness, whereas this film effectively opens your mind to many possible interpretations.
Venice is the other major star, its majestic decadence perfectly caught in mostly muted tones, without the film ever looking like a travelogue. The almost unnavigable streets (even locals admit they can still get lost) are brilliantly used to heighten the suspense; the Venetian art and architecture adds resonance at every turn; and, of course, the water...
Although the plot on occasion seems as convoluted as the Venetian street plan, like the streets it can be followed if sufficient concentration is paid.Like most great art, thinking only whatever the auteur was thinking is not the point, even though understanding what they are trying to do usually adds to the pleasure.
One of the great joys of Venice is rowing for yourself around its marvelous canals; much better than being taken in a gondola. Taking that little bit of extra effort will likewise bring great rewards with "Don't Look Now".