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Reviews
How to Steal a Million (1966)
Lively & Energizing
One particular line, said by Nicole Bonnet (Audrey Hepburn) in a stupefied voice, accurately sums up my overall feelings: "Marvelous."
The comedy! When it comes to the jokes, screenwriter George Bradshaw is a sharpshooter. And of course, with any comedy that works, a portion of the applause should be directed towards the pair of lead actors and their chemistry. EVERY SECOND that Hepburn and O'Toole shared the screen, my smile, which seemed to always be there, widened. My love for Audrey has long since been established, but here is where I fell for Peter, who I'd dare say stole the movie; he was SO damn good, and SO damn charming. It's this couple's likability that contributes to the nervous excitement of the heist suggested in the title.
And that heist! That entire playful sequence, from the planning to the finale, was a blast. Wyler seamlessly wove scenes that filled me with anxiousness with those that had me grinning at the delightful comedy and romance. It was so creative and so much fun to sit through.
I wish I had more words to praise this picture, but a first viewing and a lack of an imagination restrict me. To wrap this up: this being my first Wyler unfairly sets the bar at a dizzying height for the second.
My Man Godfrey (1936)
Enjoyable.
Its SMASHING opening credits - which pans into the pitiful and literal dump that is Godfrey's home, and in doing so, promptly makes clear the prosperity & glamour that neighbors the impoverished - promises a lot; a bit more than what director Gregory La Cava could deliver on.
It *was* quite the chuckle-fest, with few, if any at all, misses, but unfortunately zero laugh-out-loud moments. And the story strung me along efficiently, - a bit of a mystery around our titular man helps - but its completion is just plain unsatisfactory; rushed. Perhaps it would've been more tolerable had Godfrey's old pals been better developed.
The romantic aspect doesn't do the picture any favors either. A more temperate and deserving love interest - which was available - might've instilled within me an ounce of happiness. Instead I've got none for the mismatched lovers. I am glad it wasn't *entirely* out of character for one party - their reluctance made it *slightly* charming - but still, it was a bit disappointing.
All in all, despite what this mostly pessimistic review might indicate, the film is still rather entertaining, and given the conclusion to the mystery, a second watch is made easier with the viewer now being able to see much of the film through a different perspective. Here's hoping I enjoy it more next time!
Double Indemnity (1944)
NEVER a bore
Finally! I've stumbled upon a film noir, in an admittedly short journey, that I can safely say is Great!
It'd be easy to assume that the stupendous Billy Wilder, who is currently batting 1.000 for me, is to blame, but it *may just be* the much-publicized Raymond Chandler, who I had not previously had the pleasure of coming into contact with, who deserves the credit. Who am I kidding; of course shared with Billy.
Who I *have* seen from before, are the three main actors - in three separate films - all making improvements here ranging from meh to good (MacMurray), okay to really good (Stanwyk), and really good to great (Robinson).
To give brief thoughts on the two making changes that I found to be the most eye- catching - Fred & Edward (sorry Barbara, you still killed it) - : Fred's stiff presence is *far* better suited for a 40s noir than a 60s Romantic Dramedy ('The Apartment'), where he was noticeably out-of-place when next to the natural Shirley MacClaine and the vibrant Jack Lemmon. There *are* some issues present, minor however, in that some of the emotions he claims to be feeling don't always seep through his often emotionless exterior. I say minor as this isn't always the case, ultimately he's one smooth momma- poppa.
As for Edward G. Robinson, his performance here *was* better, in my opinion, but not vastly so than his one in 'Scarlet Street'. Why I bring him up is to point out his superb range, visible when contrasted with his performance in said other film. His ability to convincingly go from frail and pathetic to dominant and relentless is beyond impressive. What a talent he was.
Of course they alone (the fantastic Barbara included) are not what make the picture great. No, not by a long shot. They are but enhancing the on-its-own entrancing tale. To slightly change the film's tagline, which speaks on the centered immoral lovers, to express my views: From the moment they met it was GOLD!
Something I found strange in retrospect, was that I was subtlety rooting for the aforementioned lovers - strange, considering I'd never advocate for the things they were doing. My way of discovering this was due to me feeling the impact of the "Oh no" moments - if I wouldn't be slightly on their side I would actually be hoping for their demise. Instead, I was nervous, almost as much as MacMurray, whenever they hit a bump in the road during their *impressively* calculated trip; singularly when that bump came in the form of Robinson's character, the short and aggressive ("Like a little Chihuahua") Keyes. I have a couple of theories as to why this is, but nothing concrete. A second watch is required, because at the moment, I just don't know.
What I do know is that every new road the film took me down, with the regretful voice narrating our journey, was better than the last. And even having known where it would eventually land, due to this being produced during the Hays Code, I still was enamored, up to the last second. That takes skill. Though they may have intensely disliked one another (which makes the success of the story all the more impressive), Billy and Raymond sure were one helluva duo.
The Apartment (1960)
A Classic For a Reason
Every which way - but most notably: Lemmon, MacLaine, and, the integral Billy Wilder - The Apartment is tops!
Lemmon could put anyone at ease with his friendliness, was convincingly frantic/nervous, and had charisma to spare (which is perhaps his finest quality); for Christ's sake, the man makes cooking a dinner for one not only watchable, but entertaining. MacLaine was, inadvertently alluring, with one of the best smiles I've seen to date. More importantly, she earned my respect by way of her ability to overcome such a gargantuan obstacle, with ease, I might add. That obstacle being, having to garner my pity after I'd been made aware of an immoral deed in which she partook, which she was able to do oh so swiftly; her monologues on the situation she was in were nothing short of heartbreaking. And the crème de la crème of the picture is, of course, Billy Wilder. The man behind the words that took me aback and moved me; that had me grinning ear-to-ear (Mildred!); and that will forever stay with me (I will, without a doubt, never hear "-wise" the same way ever again). If that wasn't enough, what really got me to love the man, was him introducing, to me and to the world, the two wonderful schnooks who've been took; both equally lovable and easy to root for. I can't say for sure, but this is definitely a contender for the most I've ever wanted two characters to get together. This is what warrants a standing ovation level of praise from me.
I can't think of much else to add, but if I am missing something, whatever it is would just serve to further state the obvious: I love this film; I absolutely ADORE it!
The Nice Guys (2016)
Good not great
Like that of another film penned (but not directed) by Shane Black, LETHAL WEAPON: it's the film's unlikely duo that pushes the vehicle over the finish line. AGAIN, I get the impression that Shane put all of his effort behind fleshing out each of the disaccording partner-partner dyad, and their relationship, rather than the story they were placed in. Though, to be fair, THE NICE GUYS' tale was extensively more interesting - however, considering how lackluster LETHAL WEAPON's was, that ain't saying much; NICE GUYS' was only half-assed, whereas LETHAL's was about a 1/16 of a buttock. Still, there are no "oooohhhh" moments whenever a piece to the puzzle comes into place, BUT there are a few very convenient moments that force the story forward, so that's um...not so good. Pretty yawn-inducing stuff, to be honest.
Beside Gosling and Crowe (and their characters) arduously keeping me engaged, there was also very consistent snappy dialogue that kept me smiling, and Black's subversion of the crime genres' norms - the usual slick and effortlessly cool are replaced with the clumsy (Gosling excels at this) and quasi- realistic - kept me on my feet and entertained. I'm aware this subversion isn't new to Black - he's done it once before (that I'm aware of) with yet another conflicting-couple crime film, KISS KISS BANG BANG. Speaking of which: I'm keeping my fingers crossed that KKBB doesn't follow the same path as the two I've seen.
One last point: The soundtrack is severely lacking solid 70s jams. It's ALWAYS a joy to nod my big head up and down while mouthing/silently singing "Ay, Ay, Ayyy! Ba de ya - say do you remember" to September, but I need more! C'mon, Shane! If you want to keep this simple- minded person entertained, you've gots to give me some catchy tunes! Wuswrongwitchu!?
The Circus (1928)
Chaplin's Most Under-appreciated, and Perhaps His 2nd Best
I'm in utter disbelief at the fact that the first time I watched this film, I barely liked it. My only conclusion would be that I saw it at the wrong time, as it's taxing for me to uncover its blemishes. The tight rope scene stalls a bit, and...um...well that's all.
A feeling of sheer and absolute elation overwhelms me whenever I set my eyes upon that (unreasonably) hoity-toity, jealous, hopeful, and altruistic little tramp. And my heart, it shatters(!) the moment I see him in pain; when I see him constrained, watching the dropped-from-heaven sole bright spot of his life, being taken from him; or when he cowers away, out of fear of being seen for what he actually is; or when he's lonely. Which brings me to what I wanted to discuss — I wish I could say it was Chaplin, but I can only stretch out the compliments "he's funny" and "his physical comedy is the best I've seen, bar none" (Keaton has him beat in the gag department though) so far — the ending.
Conflicted, conflicted, conflicted am I. One hand: I LOVE different. I was actually thinking about this days before; about how most of the silent comedies I've seen end with their protagonist, figuratively or literally, in the arms of a woman — and if not that, at least on a happy note. Which is why I appreciate The Circus' ending. To an extent. Because, on the other hand: I want the character, that I love so dearly, to be happy. I was teary-eyed at the sight of him all alone in that abandoned circle. I mentioned that I've seen this once before, and halfway through, while filled with joy, I was reminded of the not-so- happy ending that awaited me...and I didn't want it to be true. I hoped that I was mistaken, or that there was a clue, that I had previously missed, insinuating that he wouldn't be so alone. But, unfortunately...you know. Thankfully, it isn't too somber, as we get a glimpse of the Tramp's well-known optimism, but still...damn.
The Cameraman (1928)
My first feature-length Keaton...has been a triumph!
The films kickoff — the first 15 minutes or so — had me exceedingly apprehensive. The slapstick was easy and uninspired, and to top that off, was shot and edited awkwardly; the Keaton that I knew was unrecognizable. Very worried was I at the thought of the first feature film of Buster's that I'd see, going on to be the first bad one as well. Perhaps that level of anxiety is what caused the eventual, stretched sigh-of-relief, I let go of, to be *so* heavy.
The exact point where the dispassionate- faced, insecure, and unwittingly suave Buster that I've quickly grown to love, done with his stretching, came to play, was at the scheduling of the walk. That second onwards: smooth sailing! Whatever the task was — slips, slides, and falls, to something as elementary as running — Keaton performed it to perfection, and all, *impressively*, topped, and perhaps made, with his facial expressions (or lack thereof). *This*, and his creative touch are what were missing in those drab 15 minutes.
The, as always, inventive gags, while each being funny, steadily improved. Beginning at the simple and grin-inducing stairs sequence, and ending at the invigorating spectacle that was the Tong War — where, unlike the muddled parade scene at the start, it was able to be chaotic/hectic while simultaneously being comprehensible.
If you've seen the picture, you've probably realized I've gone without speaking of the final 10 minutes. I wish I could say that because its predecessor (Tong) was such an exhilarating experience, the ending just couldn't follow and ultimately underwhelmed me. But the sad truth is that it simply felt tacked on. I'd like to think that there wasn't enough room in the budget, rather than them just not knowing how to end it. But whatever the reason, it's a bummer. That the film's edges were both disappointing is, well...disappointing; the scenes linking the two were such a delight however, that in the end, the film won me over.
Room (2015)
I was a bit let down with this one.
Now, I don't think it was bad, thought it was ehh , I just wish the filmmaker had done more. Never while in Room did I get the sense of claustrophobia to emphasize just how tiny the area that the characters were in was (which really makes the fact that they actually filmed in that tiny area pretty pointless), or hopelessness, and imprisonment, to highlight the unbelievable amount of time that they've been there; Instead, we are just told this information. In addition, due to not really getting what situation these characters were in, made it really underwhelming when they made their rather fortunate escape; there was no feeling of awe at this, seemingly, new and strange environment (like in Oldboy, The Hurt Locker,and The Descent), and it's clear with the slow-mo, and shots of Jack's (Jacob Tremblay) face that was what they were attempting.
Aside from what I'd wish they'd done, there were also some questionable and unfitting music choices throughout, and two scenes: during and immediately following the escape. The two scenes came off as awkward, unrealistic, and contrived; and the acting and characters in these scenes were both bad and annoying.
Besides the already mentioned, the acting in this film was good, with Brie Larson being the standout. And though I thought Jacob Tremblay was good, for a kid, I didn't think his performance was amazing or award worthy, like I had heard previous to watching Room. Just because his performance was better than most child performances doesn't mean it's great.
I appreciated the way they decided to take the story, and I liked the way Brie's character's struggles were handled, and to be honest, that's it.
With all this pessimism, it may be hard to believe that I didn't hate this film, but I didn't; I just thought it was meh. Nothing special, and I won't be seeing it again, though it is watchable.
I Love You Phillip Morris (2009)
This movie had so much potential to be great, but it was just okay for me.
Now, while most comedies are pretty bland, as direction goes: I was actually really surprised and I REALLY appreciated the fact that the filmmakers genuinely put effort and creativity into making this. The film got quite a few laughs out of me from it's cinematography and editing. However, I wasn't getting much laughs from the script, which is a problem. Another problem I had was that the movie felt so rushed. They included so much that you never really got the chance to grasp anything.
I thought Jim Carrey's character, Steven Russell, was pretty interesting, but Carrey's performance stopped me from really caring for him. His performance was just out of place; his over the top southern accent felt like it belonged in a SNL skit rather than a movie. There was a scene where Carrey was delivering, what was supposed to be, an emotional monologue, but due to his performance, it just did nothing for me.
ALTHOUGH, his co-actor Ewan McGregor, who played Philip Morris, was pretty great. I heard Ewan put a lot of work and research into this role, and it shows. His child-like naiveté and trusting nature felt very believable, and unlike Carrey, I actually got choked up during an emotional monologue that Ewan delivered. EVEN THOUGH I knew exactly where that movie was heading, his performance still got me.
Anyways, I really wish I could love this movie, but the problems I had with it were just a bit too much. Although, I would say it's worth checking out for the effort and creativity, Ewan, and the pretty interesting story, to say the least.
One Flew Over the Cuckoo's Nest (1975)
Amazing!
From the moment R.P McMurphy is admitted into the mental institution, he's instantaneously likable. He's daring, thoughtful, witty, and affable; He's the type of guy that can become friends with anyone, and Jack Nicholson plays him Perfectly!
I have 0 complaints with the acting department on this film. The patients were all great, and while they weren't really developed (with the exception of a few), they (most of them) felt like their own thing and were interesting (particularly their reasons for being in the institution), rather than just copies of each other or stereotypical crazy people. Louise Fletcher was also phenomenal at being hateable. Her character is such an evil, threatening, controlling killjoy, and it's actually frightening for a person like that to have such excessive authority over people.
One thing I really loved about this film were the relationships. The relationship between the patients was immensely charming. --This is not really a flaw, but I wish there was more on-screen time between them. I can honestly watch them together for hours.-- The brotherly relationship between McMurphy and Chief is just wonderful, and, of course, the relationship between R.P and Nurse Ratched is just fantastic to watch; From their immediate annoyances with each other to their nail-biting climax. Apart from their confrontations they're also able to build their relationship just with stares.
On top of that, the film was successful at playing with my emotions Masterfully! It went from Joyous and Hilarious scenes where I felt like cheering and I laughed aloud, to chilling scenes where I was just appalled. Even up to the bittersweet ending where I, unashamedly, cried both tears of sadness and joy within minutes, and my god that ending theme is so damn inspirational.
There were however a couple of moments I didn't like. One minor thing was in a scene where McMurphy does something bold, AND HE DOESN'T GET INJURED AT ALL. I just thought it was stupid. Also, near the end of the movie there's something that McMurphy doesn't do that just annoys the hell out of me.
Aside from that, I genuinely loved this film. It's beautiful, inspiring, and really took me on an emotional roller-coaster. It's also possibly the best anti establishment film I've seen.
Dog Day Afternoon (1975)
An Amazing cautionary tale of a miscalculated bank robbery.
The best thing this film has to offer is, undoubtedly, Al Pacino's authentic performance, and his very well-written character, Sonny Wortzik. ALTHOUGH, the best part is also the cause of the worst: next to Pacino MOST other performances felt mundane. There were important scenes, while still great, would've been far more impactful had both actors been on the same level, rather than just being carried by one.
Now I did emphasize "most", because there was an exception: Mulvany played by Sully Boyar. Boyar delivered a solid supporting performance, and while others beside Pacino felt bland, Boyar was able to play off of him very well and vice versa; The acting and dialogue during their intense confrontation scenes were Electrifying! -- Not really important, but Boyar was totally snubbed. Chris Sarandon (Leon) was okay (I guess), but he was not worthy of a Best Supporting Actor nom, Boyar was though.--
Anyways, in addition to Pacino's and Boyar's great performances, the film is successful at getting you to understand the criminals. By showing you Sonny's struggles, altruism, and possible mental disorder (PTSD), you're able to sympathize with, worry, and in a way root for him. There were moments throughout the film where I found myself actually becoming annoyed with the police's slick attempts at trying to capture Sonny, AND THEY'RE THE GOOD GUYS! More credit needs to be given to Sidney Lumet, whose craftsmanship was Excellent! Every new complication that arose felt organic, the developed relationship between the hostages and robbers felt believable, and the characters actions felt reasonable; nothing felt contrived.
So, aside from a few uninspired performances, this film is pretty freakin' fantastic. While other bank robbery films make robbing banks out to be sexy, it's pretty refreshing and unique, to me at least, to see how one can go wrong. It's a pretty great deterrent.
Weekend (2011)
A Beautiful, Realistic Love Story!
I feel like this is such an under- appreciated and under seen film. In JUST the span of a couple of days (a Weekend), the characters and their relationship, are more realistic and developed than most on-screen relationships (imo). It's a pretty simple, yet very effective film: It follows two guys who, after a one night stand, realize there's something more between them. It's funny, heart breaking, and inspirational. The dialogue feels so natural; and the chemistry between the actors (who are also newcomers, which is amazing) is so fantastic, that it truly helps you believe these characters are real, and belong together. You DON'T need to be gay to enjoy this film. Like the critic who recommended this film to me said "You don't need a superpower to be able to feel human emotion". This is truly a hidden gem; See it!
Also, it's edited, written, and directed by the same guy, which is pretty awesome!