blueangel-76133 Reviews

Shout at the Devil (1976)

Very underrated old fashioned adventure story

[8/10 · 27 October 2019]

This is, as other positive reviewers have noted, a well told adventure story (based on real WWI events) with s strong, realistic script, excellent performances by Marvin, Moore and the wonderful character actor Ian Holm in an unusual role as a mute Muslim servant to Marvin's character. The female ingenue is played with charming demureness and grace by Barbara Perkins, who btw, is an absolute doppelganger for the American actress Joan Hackett. The Kaiser-era Germans are well portrayed as equally cruel and at times restrained as no true villians (or heroic characters for that matter) are simply all good or evil. And the near final scene where Marvin's character uses the film's title to quite meaningful effect (don't wish to spoil the ending), is poignant and deeply bittersweet. All the superhero films so popular today are fine, but if you wish to see genuine heroic characters struggling with not only difficult circumstances but there own all too human frailties, see this both thrilling and perceptive adventure tale.

Titanic (1997)

Famous ocean liner sunk by fatal flaw: its script

[1/10 · 25 October 2019]

I'd like to proudly join the ranks of the minority who found this film to be a tedious, silly, childish serving of ridiculous pap interesting only to juvenile sensibilities. Aside from the presence of the genuinely talented DiCaprio and some admittedly visually striking scenes of the boat's sinking, the film (as any film is) is absolutely mortally impaired by Cameron's Jack and Jill simple script of poor but good boy loves rich but trapped in evil high society girl who are then tragically parted by cruel fate while their love is still young, sweet and fresh. If only genuine real life were actually like this perhaps films like this could be enjoyable, but any sensitive, perceptive mature adult knows that (perhaps unfortunately) that it just ain't so. Cameron is certainly, though, an extremely talented action director with the directing credits of Aliens and Terminator 2 to his name, he just shouldn't write his own scripts as in this department his insight and understanding of the depth and complexity of the genuine human experience is seriously lacking. I'll just keep rewatching Aliens and T2 and hoping that Cameron hires Frank Darabont (who wrote The Shawshank Redemption) to write his scripts, or stays firmly in the director's chair.

Conrack (1974)

Beautiful, bittersweet film

[9/10 · 25 October 2019]

As a teacher myself this film felt so true, real and also humane and poignant that it comes back to me time and again during my own professional experiences. For one, I can testify to the unfortunate truth of Cronyn's petty, ignorant little Napoleon character having come across an individual like this who forced a number of good, dedicated teachers from a school I once worked at. The way that Voight's "Conrack" sees the pathetic state of his students and responds with deep empathy and a passionate dedication to help educate them and give them genuinely better lives is wonderful. And the scene where he describes to the always enjoyable Paul Winfield his own journey from born and bread Southern redneck racist to overly guilt ridden white adult to now just being "a teacher", is a virtual road map of a deeply thoughtful journey from ignorance past self-righteous political correctness to mature understanding and acceptance of himself and what he knows and wishes he can do with his life. If only there were more "Conrack" teachers out there (though there are certainly many) there would be fewer and fewer of Croyny's petty, bureaucratic tyrants, and so many more intelligent, sensitive and conscientious young men and women emerging from our schools. What a wonderful, beautiful film, a must see for teacher, parents, students...for everyone.

Inglourious Basterds (2009)

Not the film that should be considered Tarantino's best

[5/10 · 20 October 2019]

I have to join the minority dissenting opinion who didn't like this Tarantino take on WWII history much at all. The stars are for Christopher Waltz's terrific performance as the wonderfully charasmatic evil "Jew hunting bast@#$" (as Pitt's character puts it) and the talented Brad Pitt's solid performance with wonderful lines like: "I'm in the Nazi hunting business--and business is good." But it's Tarantino's rewriting of history to represent the Nazi's, and particularly the absolutely bufoonish Hitler laughing maniacally in every scene, that cripples this film's chance of being taken, as it clearly wishes to, seriously. I don't believe this is an attempt at farce, but if it is, the genuinely talented Tarantino has badly mischosen his material for such a treatment. A much more realistic and powerful depiction of Hitler's true personality can be seen in Anthony Hopkin's deeply nuanced performance in the film "The Bunker", and there's a wonderful illustration of the way the Nazis slowly but inextribly took over their own country (before going on to attempt to subjugate so many others) in a somewhat forgotten film of Jimmy Stewart's called "The Mortal Storm". Films like these (and many others) give a much more meaningful understanding understanding of why the allies knew they had to sacrifice millions to combat the Nazi menace. As Churchill famously put it, "You can't reason with the tiger when your head is in its mouth!" See Tarantino's other strong films like "Django Unchained" or "Jackie Brown" to appreciate his undeniable talent that will almost surely ultimately net him a best picture award.

The Departed (2006)

NOT the film Scorcese should have won an Oscar for

[5/10 · 20 October 2019]

I'll join in the minority opinion dissenting from appreciation of this overdone, absurdly exaggerated mob-cop melodrama. Though I certainly can appreciate all the talent involved here-- I mean, what a cast, Nicholson, DiCaprio, Damon, etc.-- and Scorcese directing (who should have won the Oscar for his masterpiece, Goodfellas) the ridiculous plot (remake of one of the commonly ridiculous Hong Kong cop genre films) is, frankly, an insult to the intelligence, and to watch it attempt to justify itself with ever more absurd plot points--Sheen's character falls off the roof and lands right on top of another character, I mean, PLEASE!!--was tedious, and even painful to watch at times. I give it the stars just for the effort of particularly the actors involved, but the normally extremely talented Scorcese should simply have taken the basic plot and had it rewritten to a more terse, realistic thriller (something Robert Redford and his director Sidney Pollock did with Three Days of The Condor, which came from a book called Six Days of Condor and had much more exaggerated action scenes in it). Hopefully, Scorcese can put out another masterpiece before he's done and then finally be rewarded for the level of work that he's so obviously capable of.

Dragonslayer (1981)

This is the dragon film to see

[10/10 · 17 October 2019]

This is not just a wonderful dragon movie, it's an excellent overall film with an intelligent, taut script, gorgeous dark cinematography and fine performances by all cast members from the legendary Sir Ralph Richardson to a young Peter MacNichol and each of the supporting players. As has been mentioned in most of the other reviews, the dragon itself is amazingly realistic and genuinely terrifying, far better than anything else that's been put on film even with today's much more advanced special effects. The film also nicely captures the atmosphere of medievil Europe and the beginning of the transition from ignorant superstition to enlightened understanding of the rational world. It's beautiful to look at and perceptively tells a very humane and relevant story--not just a terrific fantasy film, a terrific film not to be missed!

Clean and Sober (1988)

Will leave you powerfully changed forever

[10/10 · 13 October 2019]

I'd like to echo the other eloquent, positive reviews of this powerful and intense film. This is surely the best film about addiction yet made, no small feat in topping such other films like Billy Wilder's very good Lost Weekend. It's such a genuine and unflinchingly realistic portrayal of the devastation that addiction brings to the addict's entire life, as well as those he/she is in contact with. Keaton, of course, as noted in other reviews, is absolutely brilliant in the title role and certainly should have been at least nominated for his performance, and perhaps beaten Hoffman's Rain Man for the oscar. The supporting cast, including an early Morgan Freeman role as the rehab clinic manager, are all excellent too in bringing to life a knowing, deeply insightful script about the perils of addiction: the scene where Keaton sits alone in his house next to his phone with nothing to do but wanting to call his drug dealer to have something to do is quietly powerful. As noted, there are certainly other good films about addiction and recovery, but this is by far the gold standard and will leave you with a better understanding of why people fall prey to self-destructive behavior and the difficult but hopeful path that there is back into the light.

The Thief Who Came to Dinner (1973)

This is a seriously underrated film

[9/10 · 11 October 2019]

Everything about this film--great performances, intelligent, sophisticated script, taut, well paced direction, and an awesome 70s jazz rock soundtrack that really sets the mysterious, suspenseful mood--works in a well put together whole with a wonderfully insightful, humanistic ending. This isn't a typical good guy "going bad" scenario as O'Neil's character remains thoughtful, intelligent and even relatively moral in stealing only from the rich and corrupt (Charles Coffi's character in particular) who deserve and can afford it. The scene where he introduces himself to Coffi, whom he's just robbed ("I've recently come into a lot of money, Gene, and some of it is yours"), is wonderfully sly and entertaining. This is echoed by one of the central relationships of the film between O'Neil's thief and the insurance adjuster played by one of the best character actors of all time, Warren Oates. The fact that they clearly grow to like and even respect each other very much, and that it is Oates' own company who eventually abandons him, suggests the question of which side is truly the right, or moral one: the decent, humane man who would never hurt anyone but is a thief, or the greedy, inhumane corporations who use employees and throw them away when no longer useful? It reminds me a lot of "Three Days of The Condor" wherein Robert Redford's honest, peaceful character is literally hunted by a corrupt CIA only wishing to throw away its dirty laundry. The final scene when Oates' character catches O'Neil's character in the act but lets him go is wonderfully played and shows this film's take on that question. This is an eminently enjoyable, attractive film well worth the effort to find it, and the time to view it.

Beetlejuice (1988)

Not Burton's best

[5/10 · 8 October 2019]

I guess I'll be in the minority opinion here in saying that as a whole I don't think this film really works at all. It's rather a series of comic scenes and vignettes played alternately for humor and zany, oddball kookiness (the scene where the ghosts posses the house guests to sing "Day--Oh!" as their levitated) rather than a meaningful, coherent story. Having said that, I give it a number of stars for the enjoyable performances of Alec Baldwin and Gina Davis in the title roles, and of course especially the absolutely outstanding portrayal of the used car salesman like poltergeist "Beetlejuice" by the extremely talented Michael Keaton. I have literally watched only that part of this movie again a number of times just to watch him say his memorable lines like "Hey, you're workin' with a professional here!" or "Now, where does a guy like me, just a regular Joe, go when he's feeling kinda 'anxious'. . .? Still hilarious now many years later (perhaps they could develop another film just around that character). Also, I have definitely liked much of Tim Burton's other work, and he's impressive in his ability to do both sweet, deeply humane movies like "Edward Scissorhands" and very dark, haunting films like "Sweeny Todd". So see "Beetlejuice" for Michael Keaton's amazing performance, but see Burton's other films to see Burton at his best.

Raising Arizona (1987)

Cohen brothers comedy as hilarious as their dramas are haunting

[10/10 · 6 October 2019]

This movie is an amazingly well written and filmed (the camera shot that literally runs up the ladder and into the bedroom as the distraught mother screams upon discovering her baby missing) flat out gut-bustingly funny comedy that also wryly comments on endless aspects of American culture. From our penal and adoption systems to how we value material success over moral goodness as depicted by H. I's boss being more prosperous but much less moral than him ("You keep your God damn hands off of my wife, Glen!) it's hilarious and intelligent humor. All of the acting is also terrific, from the literal/figurative outlaw biker--"Why, I myself as a pup fetched $25,000 on the black market"-- to his actual outlaw friends who broke out of jail" "We released ourselves on our own recognizance." The film is filled with so many memorable, insightful (and again hilarious) one-liners, from "HI, you're young and you got your health, what do you want with a job?" to the oft-quoted "Son, you got a panty on your head!" that alone would make it worth considerable praise. But of course it's much more than that, being at it's core a very sweet and compassionate look at a young couple struggling against "biology and the prejudices of others" to make a good life for themselves in the often cold and superficial world they face. This is not only one of the best American comedies ever made, but one of the best period.

Jeremiah Johnson (1972)

Jeremiah's Long Journey to Peace

[10/10 · 6 October 2019]

This is one of the very best of the excellent Redford/Pollock collaborations (another being "Three Days of The Condor"). Such a stark, honest and beautiful depiction of a man trying to find a peaceful, humane and fulfilling way of life, very well captured in the moment when Jeremiah tells his mentor character, played by the wonderful Will Geer, that he's come to the mountains because "I been to a town." The cinematography of the stunning mountain landscapes is a breathtaking backdrop to Redford's character's often painful learning process of the mountain's "own ways". And of course the terrible moral conundrum that the party of white settlers put him in that forces the conflict with the Indians wherein he must trespass on their sacred land or be responsible for the settlers deaths, mirrors lose-lose conflicts that any of us could, and probably will, face at some point in life. Then the moment when he meets his mentor again late in the film, and asks him what month it is and then gives such a deep, wrenching sigh when Geer says, "Yes, winter's a long time going this high up," and we understand fully what he's truly gone through to, as Geer's character says, "come far, pilgrim". This journey is perfectly book ended by the opening scene where he makes wary, alienated contact with the Indian while fishing in the river, and then his plaintive, outstretched hand across the valley to that same Indian now greeting him that finally welcomes him to the peace and humanity we all must fight to find for ourselves. Again, what a beautifully humane, fulfilling film.

First Blood (1982)

The "first" John Rambo: an American vet, an American story

[9/10 · 5 October 2019]

I heartily agree with the other reviews of this film that it's utterly unlike it's silly, testosterone fueled sequels (that I frankly don't understand why Stallone even agreed to do--perhaps the money?). Here Rambo is a genuine, three dimensional person, a trouble Vietnam vet struggling to fit back into civilian life. As he himself says in the powerful final scene: "In nam' I was in charge of million dollar equipment. Here I can't even keep a job parking cars!" The film begins with him searching for an old friend, something, anything, to connect with, but instead he's run out of town for his long hair and dirty clothes by the corrupt small town sheriff, played perfectly by the always watchable Brian Denehey. Even after this he attempts to give up after one of the other corrupt local cops is killed, but Denehey will have none of it, and he and his posse then hunt him like an animal until he's finally forced back into town for a final showdown, with it's intense final scene. After sparing Denehey's life, his Army colonel confronts him to end the standoff and we hear and see all the terrible turmoil churning inside this man for so long, particular the horrible experience of his friend blown up literally all over him that Stallone renders powerfully with the lines "I can't find your legs . . . I can't get it out of my head . . . I can't get it out of my head." This is a taut, well told tale of a man just trying to cope with everyday life after some horrific experiences while in the honorable service of his country, a story many Americans share, and certainly all can deeply relate to.

Léon: The Professional (1994)

Intensely brutal, intensely beautiful

[9/10 · 1 October 2019]

What absolutely amazing performances by Natalie Portman, Jean Reno and Gary Oldman. And what a brutally honest but realistic portrayal of the life of a young girl from such a despicable family and circumstances. When Portman's character asks Reno's if life is always this bad and you expect him to give her a banal platitude but he says, true to his character, "Yes, always like this." it sets the intense but powerful tone of this film. This all of course is complimented by Oldman's mesmoring insantity with lines such as when his fellow police officers ask him who they should call for backup and he screams "EVERYONE!" This is truly a film that stays with you for a lifetime.

Whiplash (2014)

Compelling at times, but over the top

[6/10 · 1 October 2019]

While I thoroughly enjoyed the performances by the two lead actors, as a drummer myself I feel the musical situations/scenarios of the film are often exaggerated and overblown. I've been in many of the same situations as both teacher and student, and any teacher who acted the way this one does wouldn't last out the week (I actually know of a teacher who struck a student and he was dismissed the same day). Additionally, although I understand the student's intense desire for success, the lengths he is depicted going to are often counterproductive and even absurd (playing until his finger bleed for instance). I would welcome a little more balanced, intimate look at the often very complex relationship between an experienced but demanding mentor and his/her ambitious, aspiring student.

Saving Private Ryan (1998)

Spielberg's genius and a very talented cast make history of history

[10/10 · 1 October 2019]

Without a doubt the greatest film about WWII ever made, and perhaps the greatest war film ever made (rivaled only by Platoon and Apocalypse Now). And while the opening Normandy beach scene is gripping, the final battle scene where the soldiers attempt to defend the bridge in the French town is so stunningly realistic, so brutally real and full of pathos that it is the best battle scene yet put to film. What an amazing, intense reminder of the depth of the sacrifice those who've given their lives in the horrors of combat have truly given to the rest of us.

Se7en (1995)

See David Fincher's later work to enjoy better films

[5/10 · 1 October 2019]

Despite the presence of the surely very talented Freeman and Pitt, this early David Fincher film is, like his other early films such as Alien 3, marred by his strange artistic obsession with grime and filth (every location and even the look of the film is dirty, scummy and excessively grimy for no realistic reason). Having said this, in his more recent films, such as The Game (Sean Penn and Michael Douglas), Fincher has grown out of this style and made some excellent movies.

How the Grinch Stole Christmas (2000)

Ron Howard, Jim Carey and an adorable Cindy Lou Hoo make magic

[9/10 · 1 October 2019]

A wonderful modern adaptation of a Christmas classic! Ron Howard doesn't flinch away from modernizing this tale with some dark shades to it's humor, which are expertly delivered by (need I point it out?) Jim Carrey's comedic genius. Carrey's Grinch lines such as "Be it ever so heinous, there's no place like home" when describing his filthy mountaintop lair, or that he's looking forward to his night in that home so that he can "slowly slip into madness" are genuinely funny. And Cindy Lou Hoo is that rarest of phonomena, a cute youngster who isn't precocious, as rather than that cuteness it's her intelligence and perceptiveness of the Grinch's hidden humanity that are highlighted. I realize that the film received mixed reviews and only moderate box office success as I think many people were expecting merely a live-action version of the original classic animated piece, but kudos to Howard and all the cast and crew for making the Grinch relevant and meaningful for many more years to come.