rejoefrankel Reviews

Rocky (1976)

An inspirational character study that pulls no punches.

[10/10 · 13 March 2000]

Since its initial release ROCKY has been elevated to cinematic myth. And four sequels later, it may be easy to forget ROCKY'S roots. But this gentle tale of an Italian southpaw from the Philadelphia slums is worth returning to. An old fashioned story about the potential for every underdog to achieve greatness. Sylvester Stallone wrote the screenplay in only ten days, when he was little more than a bit performer in low budget films, and its success led him to become one of the most recognized movie stars in the world. His quiet unassuming portrayal of the Italian Stallion, an innocent boxer who gets a shot at the heavyweight title of the world is always intensely moving. A film that is both edgy and sensitive at the same time, ROCKY is every guy's STEEL MAGNOLIAS. And for anyone who's had to fight for what they believe in, it is guaranteed to draw a tear.

Foreign Correspondent (1940)

Forgotten espionage gem by the master of suspense.

[10/10 · 13 March 2000]

Hitchcock came to America in 1939 and in 1940 he released REBECCA and FOREIGN CORRESPONDENT. REBECCA went on to win the Oscar for best picture, and FOREIGN CORRESPONDENT was sadly forgotten. But it remains one of Hitch's most entertaining, gleefully original thrillers, boasting many imaginative adventure sequences including the Windmills, the murder among the umbrellas, and a climactic plane crash. A top notch script by Robert Benchley and Charles Bennet, this is one of Hitchcock's tightest and most suspenseful films. A must for any fans of the master or the genre!

M (1931)

One of the cinema's most chilling portrayals of psychosis.

[10/10 · 13 March 2000]

Fritz Lang's M retains its ability to shock almost 70 years after its conception. This stylized german production by one of the greatest filmmakers of the 20th century, works on the senses in the most methodical insinuating way. A perfect model of subtlety, that provides a powerful counter-argument to the gory modern horror film. M shows us just enough onscreen action to frighten us, and forces us to make up the rest in our mind. By portraying the Peter Lorre child murderer as a sad little wretch of a man, the material becomes twice as disturbing as it would be, if Lang had chosen to exploit his subject. And as a result, we are presented with a timeless film, that has much to say about society. To add to its successes, M suggests its ideas through the images and using early sound techniques to truly chilling effect. Some of the images are unforgettable, and Lorre gives the performance of his career. Do not be put off by the subtitles, this film is a first rate character study and one of the most profoundly disturbing psycho thrillers ever made.

Mission to Mars (2000)

Promise of brilliance marred by frustrating ending.

[12 March 2000]

Why is it that Brian DePalma always comes close to greatness and then fails? Even his very best movies, (Dressed To Kill, The Untouchables, Carrie) are flawed and yet they are sprinkled with such genuine moments of wit and suspense that their shortcomings become doubly frustrating. A director notable for his visual storytelling ability and his constant ripping off of other talented filmmakers. His reputation continues with MISSION TO MARS, a film that works on the senses for it's first 95 minutes in spite of a hokey script and cardboard characters. It is visually thrilling, there is an inspired suspense sequence centred around a rescue drifting through space. The atmosphere is vivid and involving, and the movie seems to be building towards something very powerful......And then the ending, appallingly vague with an overly contrived sentimental climax. Why does MISSION TO MARS end the way it does!? With a promising but derivative build up, the ending seems like a bad salvage job that makes the rest of the movie fall on its face. It is almost as if an ending wasn't even written for the film, and it was left for the editors to piece together on the cutting room floor! Like every DePalma film MISSION TO MARS is shockingly empty, after teasing us with something more.

High Noon (1952)

The model for the classical American Western.

[9/10 · 7 March 2000]

Gary Cooper stars as smalltown marshall Kane, who learns on the day of his wedding that a murderer he sent to prison has been released and is arriving on the noon-day train. Ready to retire and move on, he is forced to reconsider his position. Despite the protests of his new bride (Grace Kelly), he stays behind to fight and finds that none of the townsfolk are willing to back him up. Not even the new Marshall played by a young Lloyd Bridges. For roughly 90 minutes the film builds towards the climactic confrontation at HIGH NOON. Meticulously designed, this movie is the model for the classical American Western. Some elements seem hokey and dated now, but this is mainly because they have become so familiar. There are elements of HIGH NOON in anything from BLAZING SADDLES to DIE HARD. So far reaching is its influence that it should have lost much of its power over the years. But the greatest testament to this superior entertainment, is that despite its old fashioned trappings and corny sentimentality it still remains powerful 40 years later. The themes still speak volumes and inspire mad acts of courage. HIGH NOON reminds us of the importance of patriotism and old fashioned family values years later. A MUST SEE.

Raiders of the Lost Ark (1981)

Sublime, Exuberant, Old Fashioned Entertainment!

[10/10 · 6 March 2000]

RAIDERS OF THE LOST ARK has been one of my personal favorites for as long as I can remember. I have probably seen it over 100 times, and it never seems to get old. This wonderfully comical, old fashioned adventure film is still (20 years later) one of the most exciting, adrenalizing, thrill rides ever crafted for the screen. Easily watchable any time any day, I frequently return to it if I am in need of a surefire smile. For some reason I have always found myself fonder of The Indiana Jones trilogy than I have Star Wars. Both films feature eye popping stunts and special effects, entertaining sympathetic characters and old fashioned acts of courage. But the Indy trilogy has always hit a nerve with me. Directed by the grand master entertainer Steven Spielberg, RAIDERS manages to take every man's most potent childhood fantasies and put them magically on the screen. The opening with the giant boulder, the room full of snakes, the remarkable chase sequence on the truck. If I had to make a list of films that most entertain me every time I see them, Raiders would be at the top. Phenomenal filmmaking that introduced to the world the now legendary character of Indiana Jones. Harrison Ford is the perfect everyman, and he leaves an indelible impression in the role.

Raging Bull (1980)

Quite possibly the best film of the 80's.

[10/10 · 6 March 2000]

Raging Bull is one of the most shattering dramatic films ever brought to the screen. Shot in stark black and white, this is Scorsese's masterpiece. A most unflattering biographical portrait of boxer Jake LaMotta, made that much more shocking knowing that he contributed to the making of the film himself. Poetic, human, deeply penetrating; Robert DeNiro gives the performance of his career as the Italian from the Bronx with a ferocious temper inside and out of the ring. There are certain transcendant moments in Raging Bull, where events onscreen overpowered me and ceased to be merely part of a movie. Sad, unsettling scenes where it is almost embarassing to watch. As if we as viewers are invading on something too intimate to be exploited. Masterful filmmaking and a powerhouse script make this one of my TEN BEST FILMS OF ALL TIME.

What Planet Are You From? (2000)

Several funny bits in mediocre film.

[5/10 · 4 March 2000]

WHAT PLANET ARE YOU FROM is never boring so much as it is forgettable. There are many big laughs scattered throughout, with the cast in fine form and Shandling giving a particularly hilarious deadpan performance. The problem is that this is essentially a one joke movie being milked for two hours. Many of the scenes feel as if they are merely filler. Although it is amusing, it is frequently lacking in momentum, and its deadpan humor at times just comes out flat. After a while, you just have to feel that you've got the idea already, and all the jokes begin to amount to nothing. A disappointment from a usually reliable cast and crew. The main weakness in the film is its script. But as harmless entertainment, there are worse things you could find to do with two hours.

Reindeer Games (2000)

Appalling misfire for all involved.

[1/10 · 3 March 2000]

What exactly is a "reindeer game?" It's the title of the movie, there is a point in the script where Gary Sinise's painfully ridiculous villain exclaims: "don't be playing those reindeer games on me...." and still it is never explained!! Reindeer games is a pitiful mess of a feature, guaranteed to be one of the worst movies of the year. So seldom are action movies invested with any sort of novelty or wit nowadays, that it is sad to imagine some people may actually enjoy this film. After solid work on RONIN, another John Frankenheimer thriller seemed promising, but it is every bit as bad as his ISLAND OF DR. MOREAU. Crude, unnatural camera angles. Awkward performances from all involved and a sloppy repetitive plot that exploits its audience in the most insulting way. Why does Chelize Theron take her clothes off twice in this movie? Why is it that Gary Sinise is walking around in sleeveless shirts all the time in the middle of Winter? (Perhaps because he appears to have been working out and wanted to show off?) The entire plot consists of a juvenile mistaken identity gag, played over and over as Sinise holds a gun to Affleck's head every fifteen minutes and threatens to kill him before instead changing his mind and agreeing to let him live. The entire movie is one big mess penned by the writer of Arlington Road and Scream 3. Ehren Kreuger is shaping up to be Hollywood's king of plot holes, just the same way Akiva Goldsman became the king of bad Hollywood one-liners. But the biggest letdown is Frankenheimer, who should have known better than to take on this pathetic project.

Pinocchio (1940)

A hallmark masterpiece of animation.

[10/10 · 2 March 2000]

Pinocchio is easily one of the most powerful, complex, layered children's fables ever captured onscreen. It has lost none of it's ability to impress 60 years after it was first released, with its charming big hearted characters, masterful animation and and unforgettable music. This version of the mythic poetic tale is the definitive screen realization, a film that could only be fully realized as illustrated by the brilliant cartoonists at Disney. The modern films pale by comparison. Overproduced and formulaic, they do not even come close to touching the natural charm of this handcrafted gem. There is no superlative strong enough to describe Pinnochio. Quite possibly the greatest animated feature ever, it ranks with The Wizard of Oz and E.T. as one of the greatest children's films of all time. A MUST SEE!

Eyes Without a Face (1960)

Engrossing atmospheric shocker.

[9/10 · 29 February 2000]

Although we know that there is a macabre sense of humor behind Les Yeux sans visage, it still effectively gets under the skin. The entire world of the film is so nightmarishly off centre that the result is a consistently unsettling film, elegantly staged and subtly terrifying. The plotline concerns a doctor who's daughter has been horribly disfigured in a car accident. To try and restore her to her original beauty he kidnaps several beautiful young women and removes their faces before killing them, leaving only their eyes. This grisly premise is executed more in the mind than onscreen, wisely leaving most to the imagination. But there are still segments which visualize the horror. Overall a strong film, recommended for those who can stomach it and are looking for something different. Based on a story by the writers of Diabolique and Vertigo.

Wonder Boys (2000)

Wonder Boys is Wonderful.

[9/10 · 26 February 2000]

Wonder Boys is a movie that offers many delicate and subtle rewards for the attentive viewer. Warm hearted without being overly sentimental, witty without being pretentious. It is a literate movie about literate dignified people. Much happens in Wonder Boys, but the clever plotting takes a backseat to character and atmosphere. The atmosphere in this movie is so rich that it actually lingers on the pallet after viewing. Curtis Hanson's evocative, natural approach to the material is appropriate and fresh. The movie has a wonderful flow and feel to it, an intangible quality that is both believable and true. Michael Douglas gives a wise and likeable performance that any patron of arts & lit. community will relate to. Tobey Maguire is suitable understated in his role, Robert Downey Jr, is typically credible and Katie Holmes offers the best work of her career. It is the performances that stand out, because they are the backbone of the film. Each of the actors gamely throws out any traces of professional vanity, and avoids the impulse to try and steal the show. There are so many little details that help add to the richness of these characters without actually spelling it out to the audience. In essence Wonder Boys has the texture of a European film which lends it a compulsive sense of reality. Poetic, witty and insightful. The first great movie of 2000.

Scream 3 (2000)

An awkward finale to a self assured trilogy.

[5/10 · 16 February 2000]

Scream 3 starts promisingly. It plays on the expectations generated by the first two films and their countless predecessors, and opens with a scene that you want to like! The problem is, it doesn't quite live up. You've come to the film to be entertained. And entertaining it is, sporadically. But this Scream has the most awkward blend of gags and chills thus far. In other words, parts of it are funny and parts of it are creepy, but the two approaches clash. It no longer has any truly novel jokes to play out. It keeps throwing in self referential puns and gags, but they are merely designed to distract from the thin material. To distract from the fact that Scream 3 has become no different from all of the other movies that the first two films spoofed so well. This doesn't mean that the movie doesn't have it's moments. Wes Craven makes the most of his material, but Kevin Williamson's presence is sorely missed in this Scream, which doesn't know where to draw the line, and leaves its audience somewhat confused. The revealed identity of the killer at the end is so unsatisfying, that I would rather have not found out. And the final moments are a little too conventional. Overall, if you liked the first two Screams you should still check out the third. It is designed as a timepasser and on that level it succeeds. The one real standout is Parker Posey, who makes the most of her role as a spoiled movie star, who is targetted in the adventure. Otherwise, marginal thumbs down.

The Game (1997)

The Game definitely worth playing.

[10/10 · 16 February 2000]

A fascinating, original absolutely pitch perfect thriller that is mysterious, suspenseful and rich in character. Michael Douglas stars as a successful business man celebrating his birthday. As a gift for "the man who has everything," his brother (Sean Penn) gives him a ticket to a corporation called Consumer Recreation Services (CRS). Reluctantly Douglas follows his curiousity to CRS and after filling out a lengthy questionaire, undergoing a rigurous medical examination and disclosing personal information about himself, he is told that his game will begin soon. Almost immediately afterwards strange things start happening. Things that seem so real that Douglas begins to question if people are actually trying to set him up, or if it is all just a game. His life is threatened multiple times, he meets a beautiful, mysterious woman with whom he becomes involved and the plot takes a series of roller coaster dives until it reaches it's shocking conclusion. Many people were unsatisfied with the ending of the film, possibly because there is no clear expectation generated by the midsection. But I feel that it is suitable and just. The Game is a thriller that thrills, and it doesn't sell out for cheap violence, sex, or explosions (although it has a little of all these things). It is a masterful film that demands multiple viewings, tautly directed and cleverly scripted. One of the best thrillers of the 90's!

Kingpin (1996)

Pitifully unfunny gross-out film.

[1/10 · 16 February 2000]

Kingpin wants to be the film that people talk about and grimace with a smile. It wants to be the ultimate in politically incorrect, tasteless, gross-out comedy, but it fails miserably. There is virtually nothing in this film that warrants two hours of the discriminating viewer's time OR the usually gifted cast. A waste of celluloid. As forgettable as it is unfunny.

The Age of Innocence (1993)

One of the most visually lavish films ever made.

[10/10 · 16 February 2000]

Martin Scorsese's underrated AGE OF INNOCENCE ranks with CITIZEN KANE,and LAST YEAR AT MARIENBAD as one of the most visually lush, lavishly produced films ever made. Stylistically it is a tour de force. Daniel Day Lewis, Wynona Ryder and Michelle Pfeiffer all shine, in this psychologically comlex film that has the energy and pace of Scorsese's most feverish gangster films. My personal vote for greatest costume drama of the screen. It is subtly sinful and sexy, with just enough suggestion to please 90's film goers. A compelling work from start to finish.

Halloween (1978)

Ranks with Psycho, Silence of the Lambs and The Exorcist.

[10/10 · 16 February 2000]

The original slasher film by John Carpenter is also the best of the best. It initiated an entire genre of teen horror films, and psycho killer thrillers. In its own way it is as effective as Hitchcock's Psycho. First rate use of the subjective camera, and an emphasis on suspense rather than gore. It still has the capacity to get under the skin, even if you keep telling yourself it's only a movie.

The Godfather (1972)

The greatest film ever made next to the sequel.

[10/10 · 16 February 2000]

Much of my male wisdom and philosophy on life is derived from THE GODFATHER. It is one of the most powerful, poetic, dramatic, stories in history, elevated from pulp to high art by a brilliant ensemble cast, mythical direction and a riveting script. Brando is forever enshrined by his performance as Don Vito head of the powerful Corleone crime family. Al Pacino stars in his breakthrough role as the Don's son Michael, who is ironically transplanted from war hero to mafia chief during a pivotal existential murder scene. It is a comment on the fallibility of the American dream. How every good boy has the capacity for bad. Every character resonates with authenticity. Every subplot relates back to the theme of redemption through dedication to family. THE GODFATHER above all raises moral questions about how far one should go for their family. It is a tribute to an age long before organized crime had been washed away by drugs and rock and roll. When loyalty was ensured through family connections, and the power of the mafia was as strong as the national government. A film that is truly epic in scope, and all encompassing in wisdom. A masterpiece.

A Shot in the Dark (1964)

Hilarious screwball farce

[10/10 · 16 February 2000]

Peter Sellers is at the peak of his powers in this hilarious screwball farce. The best of The Pink Panther series, highlights include the nudist colony, and the first in a long running series of fights between Sellers' Inspector Clouseau and Kato his live in housekeeper. Brilliant pacing, absurd situations, and Sellers' blind love for Elke Sommers make A SHOT IN THE DARK unforgettable. One of the funniest films ever made!

An American in Paris (1951)

The best of the best!

[10/10 · 16 February 2000]

Timeless musical gem, with Gene Kelly in top form, stylish direction by Vincente Minnelli, and wonderful musical numbers. It is great entertainment from start to finish, one of those films that people watch with a smile and say "they don't make 'em like they used to!" But they never did quite make them like this. The climactic 25 minute musical sequence without any dialogue is among the most beautiful in film history. Movie magic, clearly derived from the heart and soul of everyone involved. A must see!

Stray Dog (1949)

An overlooked masterpiece from the master

[10/10 · 16 February 2000]

Akira Kurosawa's STRAY DOG (English title) is a riveting, poetic vision of a young Tokyo officer (Toshiro Mifune) who's handgun is stolen from him on a bus. Driven to obsession, he follows the trail of the pickpocket through the seedy underworld of post-war China, in an attempt to regain his honor. A rare film of great social and philosophical significance. The deceptively simple story grows more complex as the man who gains possession of Mifune's handgun begins killing people and Mifune starts to blame himself. Every single second of this film rings true. An incredible atmospheric combination, of noirish melodrama and dark comedy. Every bit as good as Kurosawa's celebrated samurai pictures.

Network (1976)

Brilliant satire

[10/10 · 15 February 2000]

Network is the most brilliant satire of media journalism ever put on celluloid. It is a witty, intelligent, and savvy character study, with themes that resonate long after viewing. Peter Finch's "mad as hell" speech is justifiably famous, but just one of many highlights. A film so rich and layered that you can almost taste it. Top notch.

Liberty Heights (1999)

Liberty Heights an unassuming gem.

[8/10 · 11 December 1999]

Barry Levinson's LIBERTY HEIGHTS begins telling it's story through a variety of different viewpoints, and at the outset may give off the vibe of being somewhat unfocussed, but do not be misled by the elusive opening! Although unexceptional in terms of it's standard coming of age plotline, as the film progresses it becomes increasingly thoughtful and observant. It is the small details that make LIBERTY HEIGHTS seem so rich--and I wouldn't dream of giving any of them away--but needless to say, by the end of the film anyone who remembers their childhood fondly is bound to leave the theatre with a smile on their face. In a quiet and unassuming way, the movie manages to throw out many messages to its audience. Every single subplot in the film relates back to the family. Joe Mantegna plays the racketeering patriarch of a nice uppper-middle class Jewish family that resembles a lighter version of the Corleone's in THE GODFATHER. One of the sons falls for a Catholic girl, while the other pursues the black daughter of a prominent city doctor. They all live with their grandmother who is blinded to the "gentiles" by the Holocaust. The relationships between the youngsters naturally conflict with the views of their parents, and they are forced to form their own opinions on racial boundaries.

What is so refreshing about LIBERTY HEIGHTS is that it doesn't pull obvious punches or go for the cheap thrills that more sensationalized Hollywood films normally would. Not even in a subplot with an eccentric drug dealer do the characters resort to violence as might be expected with this sort of material. The characters in LIBERTY HEIGHTS are just ordinary people in relatively ordinary situations. It is not a fast paced film, some may find the midsection to be a little over-inflated. Personally I enjoyed the film a great deal. It grew on me to the point that by the end I was drawn to tears. Even fully aware of its old fashioned Hollywood corniness the movie touched a nerve with me. I found the performances very moving--in particular that of young Ben Foster, who we should exepect to see again in the near future. Adrien Brody is appealing and sympathetic as the eldest son. Bebe Neuwirth manages to create some interesting moments in her role as matriarch of the Kurtzman family--particularly in the final scene. LIBERTY HEIGHTS is not a perfect film to be sure, but in a season with a shortage of intelligent family oriented films LIBERTY HEIGHTS is a solid bet.

One Magic Christmas (1985)

One Magic Christmas very magical, perfect for the Christmas season!

[8 December 1999]

One Magic Christmas seems to fall under the category of fantasy films that are suitable for the whole family, but especially relevant to adults. Like E.T. the movie is designed to tug at the heartstrings, and in the beginning it will initially strike viewers as somewhat heavy-handed and sad. But this film is worth sticking with, and it lives up to its title.

I went into this movie expecting a somewhat conventional Hollywood fable...complete with gooey sentiment and multiple climaxes. What I got instead was a thoroughly engaging, sensitively directed film that left me with a genuinely warm feeling in my heart, following in the tradition of It's A Wonderful Life, and A Christmas Carol. One Magic Christmas is a touching story with an ending that pays off. It should be a must see on everybody's list during the holiday season!!

Sullivan's Travels (1941)

Sullivan's Travels a uniquely moving satire by Sturges.

[6 December 1999]

Sullivan's travels is easily one of the best films ever produced in Hollywood. Directed in 1942 by the gifted playwright/screenwriter/director Preston Sturges, it achieves a near perfect balance of humor and pathos--characteristic of much of his work. Joel McCrea plays a popular filmmaker (riding high on the success of his comedy pictures) who decides to visit the slums of America and experience life as a basis for his latest film. He talks about the transcedent nature of film as an art which can educate and speak to people on an emotional level. His pals at the studio think that he's gone crazy. But during his journey he learns much about himself, and society, falls in love and arrives at an epiphany. The details of his journey I will not divulge, but rest assured that I started out laughing, and by the end I had tears in my eyes. A successful Hollywood Satire, an elegant sophisticated comedy, and a social critique all rolled into one. Sullivan's Travels, helps remind one what great movies are all about:magic.