pacwarbuff Reviews

Bonanza: All Ye His Saints (1965) Season 7, Episode 14

A Child's Search for God

[10/10 · 21 July 2021]

The questioning of God's existence isn't a common storyline in 1960s American television, but it was wise of this episode's writer to ask the tough questions about God and faith via the young Michael character. Just as science fiction was frequently employed for allegorical purposes, the questioning of God by using a child character better allows the audience to accept the premise. I don't think an adult character would have been as convincing. Children want simple, direct answers to their simple, direct questions. The story is further helped by Clint Howard's brilliant performance.

The scene between Ben and Joe is outstanding. Michael Landon, despite all of his career achievements, is still a criminally underrated actor, and he's so effective in this story. His every line is delivered with conviction and meaning. Joe is so close to falling apart throughout the episode. So many times the Cartwrights help a guest character, but this time a regular character -in this case, Joe-is actually emotionally connected on a personal level rather than just in the usual Compassionate Cartwright way.

Impressive performances by the entire cast. There are lots of layers to Tom Cain (Leif Erickson) and while Tom Cain is a mere man, he possesses a good deal of wisdom.

Special mention should also be made of David Rose, who composed a beautiful music score for "All Ye His Saints."

My Rating: 10/10.

Once Upon a Time... in Hollywood (2019)

Overindulgent and Laughably Bad

[3/10 · 27 July 2019]

A truly awful film. Aimless, pointless, turgid, and overindulgent with all of Tarantino's pet obsessions annoying instead of titilating or gleefully shocking the viewer. This time, the Tarantino Tropes are unable to even entertain the viewer.

Even the "best" parts of this film fall flat. The entire effort lacks any meaningful purpose and lacks onscreen energy. Tarantino is not good enough a writer--or sophisticated enough--to scratch out a poignant character study, which this film attempts to be. It wallows in nostalgia even more than I do when I talk about the DC Comics of my long-dead youth.

As a longtime 1965-75 obsessive, I found much to appreciate "pop culturally speaking", but even so, that stuff had no business taking up as much of the running time as it did. Such things are better suited to DVD bonus features.

Too bad, because I actually liked DiCaprio and Pitt's characters and their performances, as there is lots of "hang out time" with these guys. Pitt is especially good here, and his style of cinematic cool has never been more effectively captured on film; I daresay that this is one of his best performances.

Pitt even maintains his poise during the embarrassing, "Family Guy"-style finale, which is no mean feat when one remembers just how awful and poorly-rendered an ending it is.

But the film itself? It leaves a TON to be desired.

Young people today seeing "Once Upon a Time..." will say "1969 sure had a lot of lame music, movies, and TV shows!" It'll confirm their belief that the 1960s was an "old people's time."

In fact, "Once Upon a Time..." could single-handedly make even the dreaded Baby Boomers question their 1960s acid-flashback memories and even make those go sour.

The film is topped off by a comically-bad, poorly-acted, and just plain dumb finale--think "Family Guy"; I'm not kidding. It's just embarrassing.

My rating 3/10

Man of Steel (2013)

A Flawed, but Worthy Superman Movie (with a Great Music Score)

[8/10 · 23 January 2017]

The 2013 Superman/DC Cinematic Universe reboot film has been roundly trashed and is despised by seemingly everyone, but I loved it. I was immediately impressed with the casting, art direction, special effects, and music score. The film has a more serious, intense tone than the legendary 1978 "Superman: the Movie", but I love both films for what they are, not what I think they should be.

Laurence Fishburne as Perry White, Kevin Costner as Jonathan Kent (whose final scene is most moving), Diane Lane as Martha Kent, and Amy Adams as Lois Lane--were all spot-on for their roles. Man of Steel is exceptionally well cast.

I admired the look of the film. The Krypton visuals, the "organic" black computer technology, and the admittedly shaky concept of one's consciousness being able to interact with others even though the person of said consciousness is long dead. It plays well, especially since Russell Crowe is Jor-El. General Zod, played by Michael Shannon, was superb. I especially liked his motivations as to why he wanted to destroy Earth; it gives Zod a sturdy moral ground, even though his lackey, Faora-Ul (Antje Traue; who's a charismatic performer) claims Zod's group is amoral. Zod is entirely too much of a zealot for his purpose instilled in him from birth to be amoral.

Hans Zimmer really accomplished something special with his score. The themes for Superman, Zod, and the flying sequences are all excellent. The score propels the action and I found myself noticing its effectiveness throughout the movie. I honestly don't know what the problem it is that so many film score buffs had with this music are talking about. It helped that I had already listened to the soundtrack numerous times but I still believe that I would have noticed it and appreciated its effectiveness upon first listen alongside the film. I am incredulous to those who called Zimmer's work here "wallpaper." Utter insanity.

As for performances, Henry Cavill as Superman obviously had the toughest role, as he's playing a legend. However, Cavill acquits himself nicely and works well as the center of the story; he honestly doesn't have to do much but be heroic. It sounds like I'm playing down Cavill's performance but he makes a great Superman. Also, the young actor playing Clark Kent as a boy did a great job in the numerous flashbacks. In fact, in both its plot points, "Man of Steel" does the job of both "Superman: the Movie" and "Superman II" only it does it one film.

The battle scenes between Zod's group and Superman were excellent. This is how beings with such powers should move and it's done well here, but the battle never wears out its welcome. There is an egregious product placement bit involving a department store chain, but it's done more at the end of a light moment so no real harm done. Still, I despise obvious product placement.

The one thing in the film I have trouble with is the absence of any remarks about the destruction of Metropolis (which is never mentioned by name, I don't think). The city also seems miraculously rebuilt immediately after it is essentially leveled by Zod's World Engine, a "terraforming" device similar in function to Genesis in "Star Trek: The Wrath of Khan." I felt that the tone at the end should have been more somber and resolute than it was. It was General Zod who caused the destruction, but it should have been referenced at least once.

However, having watched the "Batman vs. Superman" trailer, the destruction of Metropolis will serve the sequel film and give it its emotional fulcrum.

I also wondered what happened to Jimmy Olsen. There were some other Daily Planet staff in the film but none were Olsen.

Quibbles and criticisms aside, I rate "Man of Steel" an 8/10. It is engaging, visually and aurally interesting, well cast, and never dull. It does not deserve all of the negative criticism that has been heaped on it but then it does have some flaws that I wish had been addressed. Despite that, "Man of Steel" is a film I'm looking forward to seeing again.

Simon & Simon: In Trouble Again (1995 TV Movie)

Simon & Simon Deserved A Series of Movies

[9/10 · 24 December 2016]

Simon & Simon: In Trouble Again aka Precious Cargo originally aired on February 23, 1995. It was trounced in the ratings, as it was scheduled opposite sitcom juggernaut Seinfeld, so the Simon brothers reunion movie vanished without a trace. However, it is an excellent reunion adventure which may have benefited from having been executive produced by stars Jameson Parker and Gerald McRaney but it may also have been helped by it being made a mere six years after the Simon & Simon series ended in 1989, so nobody has accumulated any "rust" as far as how to be their characters after six years away.

From the start, Precious Cargo gets the Simon "tone" right, despite not having its classic theme played over the credits--or at all! There is, however, several instances of the show's trademark slide guitar music often heard when the Simon brothers are in trouble or on the chase. The rest of the score is muddled synth music; indicative of mid-90s TV movie music.

A.J. and Rick look a bit older, with A.J.'s graying mustache and Rick being a little fuller in the face, but the two are still in terrific shape, as witnessed in their fifty-yard dash down the docks of Seattle in pursuit of the OCD bad guy. The brothers haven't lost a bit of their on screen chemistry, as they bicker and disagree over the usual things, but the love and respect the characters have for each other is present as well, shown to superb effect when the boys think their mother, Cecelia, is dead. Parker in particular is excellent in the scene. The supporting cast are also in fine form with everyone but Lt. Abigail Marsh and Myron Fowler from the series appearing. Tim Reid works wonders with his limited but greatly appreciated screen time and it's easy to see that his chemistry with the McRaney and Parker remains strong.

The entire time I watched Precious Cargo I kept saying to myself "This is JUST like the show!" Often times reunion shows are awkward disasters but the Simon & Simon reunion is true to the series. The only thing I didn't like was that A.J. and Janet Fowler, married four years at movie's start are a week from finalizing their divorce with no explanation given, and they never reconcile as is common in these things. A.J. even tells Janet that he is NOT interested in getting back together! Gah!

The ending, with the Simons bickering while taking a speedboat back to San Diego, looked to leave the door open for a new series if the movie was popular enough, but alas, it was never to be.

I rate this movie a 9/10, missing out on a perfect 10 for the complete absence of the classic Simon & Simon theme.

The Cosmopolitans: The Cosmopolitans (2014) Season 1, Episode 1

A Breath of (Parisian) Fresh Air

[10/10 · 29 August 2014]

What a refreshing and exciting change of pace from what passes for a TV show these days. The Cosmopolitans is an intelligent, dryly witty show which follows American ex-pats and their friends who are all searching for something more (though mostly romance) in Paris. The Cosmopolitans is reminiscent of writer-director Whit Stillman's 1990 cult film Metropolitan (which has since been given the Criterion Treatment) as it too chronicled a group of young socialites and their travels (and travails).

Not much is revealed in the pilot episode, but it does set the premise up and provides an excellent introduction to the characters. The character most worthy of your attention is Fritz (Freddy Åsblom), who gets the best lines throughout the pilot. His "If they (women) are prone to making bad choices, then there's hope for us" is already iconic to those in the know.I was also quite taken with Hal (Jordan Rountree) whose casual, deadpan air masks his off-and-on relationship with the incessantly- mentioned Clémence.

Everything works in "The Cosmopolitans", and I am eager to continue following the adventures of these characters. Watch it for the talented cast, the sharp writing, the clothes, the sights of Paris, and the superb song selections, but by all means, do give "The Cosmopolitans" a try; you won't be disappointed.

Magic in the Moonlight (2014)

Lightweight Woody, but the Dedicated Fan Will Enjoy It

[10/10 · 4 August 2014]

The film itself is one of Woody's lighter efforts but thoroughly enjoyable nonetheless. The costumes, sets, photography, choice of music (mostly Bix Beiderbecke) were all exquisite. Fans of '20s jazz will love the soundtrack. Cast performances were all consistently good, with no weak links, though Marcia Gay Harden had nothing to do whatsoever. She was utterly wasted here, which is a shame. Emma Stone was delightful and cute. She gets to wear the most gorgeous clothes and is charming as the young woman who may or may not be a spiritual medium. She and Firth had nice chemistry together with their banter sounding natural and completely unforced. It may be testament to their acting ability but they made a believable couple, which of course doesn't happen until the end, so the two maintain the tension necessary until the denouement. The infamous age gap "issue" was never a factor at any time.

Woody's script is not one of his finest. Though necessary, there is a lot of exposition at the beginning and the story's "big twist" is easily figured out. I had it in about ten minutes or so, but that can be forgiven by the dedicated Allen fan. Too many scenes lack the punch of making Sophie and Stanley a romantic couple. There's a brief bit in an observatory and on their many drives along the French coast, but they feel padded; however, thanks to Firth and Stone as well as the cinematography and music, these scenes are never dull, but there should have been more substance to them.

The real attraction in "Magic in the Moonlight" is Colin Firth. He plays an aspect of the Woody persona usually farmed out to great actors like Max Von Sydow; the caustic, sarcastic, and unlikable cynic, though Firth is so talented that he is likable despite his character's arrogance and rudeness which is displayed right from the time we meet him. The other characters comment on this but deal with it in that classy 1920s upper class way.

Recurring Allen themes and motifs: escaping the thunderstorm to take refuge in an observatory (Manhattan), the older man wanting to take on the younger woman as his protégée and lover, the cruelty and pointlessness of existence, illusion as palliative, magicians, and the transient nature of beauty.

Vicky Cristina Barcelona (2008)

Woody Allen's Disdain for Seemingly Everything...and it's Brilliant

[7/10 · 14 November 2013]

At first I couldn't get into this movie, but now I officially love Vicky Cristina Barcelona. It took me three viewings to fully appreciate this film, but now I can say it's simply outstanding. Great performances all around, cinematography, music, location shooting. I think of VCB as a "tormented tourist's postcard." It's as though tourists cannot handle the "real thing" that is an artist's often chaotic life: full of fits and starts and sends them running away from what they believed they wanted. It's as cynical a look at the romanticism of being involved with an artist as I've ever seen.

The movie truly takes off when Maria Elena (Penelope Cruz) enters the picture. From then on, I bought into her crazed, "tortured artist" melodrama though I found the kiss scene with Johannson to be a total failure; Penelope Cruz is definitely not interested in kissing girls (and neither is Johannson)! Javier "Speak English" Bardem plays the artistic stud well and his voice and appearance remind me of a young Raul Julia. The kind of men that Vicky (Rebecca Hall; also excellent) and Judy (Patricia Clarkson; wonderful and hotter than her younger co-stars)are involved with are tepid businessmen not unlike my brother-in-law; decent and "safe" guys, but certainly not compelling.

In regards to Cristina's disdain for American life, I realize Woody's gone on record via his films with his admiration for Europe, yet I still felt that everything being said by the narrator was sarcastic. I'm not sure why, but the entire film had a caustic tone and I felt that everything was being flayed, even the things that Allen usually revers and that there was disdain for every character. VCB is among Allen's most vicious, I think.

The final scene with Cristina and Vicky walking through the airport, both with "damaged" looks on their faces, is brilliant.