trancelucence Reviews

The Serpent's Kiss (1997)

More to be learned from the insightful reviews here...

[4/10 · 18 March 2022]

....than from the film itself, perhaps. I was still puzzled after watching it so I read the reviews here and learned a lot. If only the filmmaker had made these intricate threads clearer in some organic fashion throughout. I recommend reading reviews before viewing as to the philosophical and historical roots of the tale and production. As for me, after my initial viewing I was left with the impression that there was loads of style and less substance, and a preponderance of posturing and meaningful looks leading mostly to very little. Not enough going on, rather boring, dull. The actors did their best, Pete Postlethwaite and Carmen Chaplin in particular, not their fault. Ewan McGregor was perhaps trying to be mysterious, and though a pleasure to look at, I didn't find him very... dynamic (as compared to Richard E. Grant, for example, a bright spark).

I laughed aloud unexpectedly more than once at The Naked Gun-like camera angles in the film- wherein the camera would pull back from a closeup of someone appearing to be surveying something important from afar (such as a person or landscape) only to reveal s/he was standing mere feet from the object. In several scenes the director didn't seem to know what to have the actors doing, or, perhaps wanted them to look like tableaus from old masters' paintings (striking poses?), awkward and distracting, strange people in scenes for no reason. Throughout the film I sometimes didn't have a clue what was going on (and not in a provocative way). The entire theme of the daughter's mental health as analogous to the garden eluded me completely.

As an aside, Ewan McGregor looks so baby-faced in this he scarcely seems old enough to be an architect of fame and renown. (Perhaps a minor gripe, but his hair style in the second half didn't seem in keeping with the era). I liked the ending, but after so much misdirection and confusion I found it too little loo late. A shame, with so much to work with it could have been a winner. I'll definitely be watching it again, perhaps I'll get more out it the second time around.

The V.I.P.s (1963)

I rather liked the star candy and melodrama

[7/10 · 13 March 2022]

I watched this on Cinemoi, somehow missing it until now- largely due, I believe, to a laughable, cheesy trailer promoting it. Everyone was quite good, actually- Liz beautiful and simmering, ditto with Richard Burton. I got a kick out of the many side-stories about the staff behind the VIPS and at the airport. It was filmed in England, and the airport set was the largest ever constructed there. The plot is nothing earth-shattering, and it's more drama than comedy, but I was rooting for Richard Burton, and likewise a young, shy Maggie Smith in an early role, also Margaret Rutherford playing a quirky aristrocrat with some bad habits. A very young David Frost has a cameo. I thought Orson Welles was wasted, for me his story fell a little flat. I was invested enough in other aspects of the script though to give Liz off the cuff advice, e.g., "Don't do it Liz!" (I read that Sophia Loren was originally slated to play Burton's wife, but knowing that Burton was keen on Loren, Liz offered to play the part herself, saying "Let Sophia stay in Rome!")

I was a big fan of Rod Taylor's, sexy, and it wasn't until just recently I learned he was Australian- he did an impeccable American accent- and in this film he plays an Aussie and voices his real accent, wonderful, the first time I've heard it. If you know the stars and something of their careers, you may enjoy this film. The acting is quite good, and it's a window into the sensibilities and styles of 1963 (e.g., costuming by Pierre Cardin), that's for sure. Worth watching? I thought so.

Emma. (2020)

Well-done, Emma, well-done indeed...

[10/10 · 4 March 2022]

SO pleasantly surprised, I LOVED it! A welcome edition to the Emma family of films. My favorite version to date was the Kate Beckinsale/Mark Strong production (though I like them all), but this is the best yet, in my estimation. The cinematography, the attention to detail, the fabulous music, but most of all the cast and casting- all letter perfect- MOST engaging, charismatic, with potent chemistry, the acting top-notch. I actually cried in several places, where I hadn't cried before. The script and direction were perfect. I also love the book, and normally don't like much deviation in Austen works, but the deviations here actually improved on the book, IMO, though it was still faithful to the era and spirit of Austen. Mr. Knightly was somewhat rougher around the edges and slightly more vulnerable. The relationship between Emma And Miss Smith was deeper and more meaningful here (and the latter's character more developed). I think Emma evolved the most from self-centered to someone dear and worth knowing in this film. Wonderful!

A Man Alone (1955)

A simple, effective story well-told...

[8/10 · 21 February 2022]

I watch this whenever it comes on (which isn't that often). It's not a big-budget film but it has it all- Good vs. Evil, Ray Milland as both deft director and lead actor, Ward Bond, a menacing Raymond Burr and many reliable character actors, but at its core is a winsome love story. Mary Murphy is the pure and yet spirited woman Milland falls for while on the run. It reminds me of The Rifleman (a favorite of mine), with the same sort of sensibilities, but in glorious "Trucolor" and enough time to create some quiet, thoughtful moods and develop characters, plus it employs the particularly effective use of closeups, I thought. Milland is very good here- his usual effective, understated self, an ostensible outlaw with hidden depths. Ward Bond's very good too, everyone is. The fight scenes and gunfights are clumsily executed (like in the Rifleman), but this film's heart's in the right place, it's utterly sincere. Subtle, absorbing (draws you in), plus Milland puts his own directorial stamp on it re: unusual choice of camera shots/attention to details- I like it very much.

Far North (2007)

No redeeming qualities WHATSOEVER

[1/10 · 15 February 2022]

A gigantic waste of time. It devolves into a horror film at the end, going for shock value, with no point whatsoever. People actually spent time and money writing and making this abomination, I can't believe it. All that atmosphere and potential for NOTHING. A travesty, a letdown. There's literally nothing to be gained from this- don't bother!

Let's Make Love (1960)

TERRIBLE, SUCH a big misfire...

[2/10 · 5 February 2022]

...considering this was written by Norman Krasna (with help from Arthur Miller, Monroe's hubby and not known for comedy writing), directed by George Cukor, and boasting a bevy of capable talent. Krasna wrote many wonderful screenplays, three of my favorites- The Devil and Miss Jones, My Geisha, and White Christmas. I'm also a fan of Marilyn Monroe, Tony Randall and especially Yves Montand, whom I saw in My Geisha when I was about 10 years old and developed a crush that persists to this day. I can't quite figure out what's wrong with this film, but plenty is. Cole Porter tunes don't help. Marilyn is charming, lovely, sweet and engaging. One thing that does stand out is that it's ostensibly a comedy, and in the film the theater company is rehearsing comedy scenes, and whether in the theater or in the film proper, there's not a SINGLE laugh to be had. There's one mildly amusing scene where Milton Berle acts like a flirtatious woman, that's it. EVERYTHING falls flat. Few things ring as hollow as everyone in a movie laughing uproariously at jokes that aren't funny- it happens time and again.

I believe the failure is also largely due to an overly ambitious, talky and complicated script, walk-ons such as Bing Crosby and Gene Kelly obviously just going through the motions, and most of all, my much-loved Yves Montand's stilted speech patterns, plus, he's not given to comedy (not that I've seen anyway- in My Geisha, his most affecting and effective scenes are serious ones). Louis Jourdan might have done a better job. Unless you're a film historian, or the eye candy of a scantily-clad Marilyn Monroe singing and dancing floats your boat, your time would be better spent... doing something else.

Lucy in the Sky (2019)

I let it wash over me

[10/10 · 4 February 2022]

I went into this with an open mind, after reading reviews with no spoilers. Then I watched it again, a couple days later, to look at details, and got even more out of it the second time. The sense of ennui that followed Lucy's trip to space hit me hard, unexpectedly. The longer I watched the more profound it seemed. I think the film's rather brilliant, a quiet psychological masterpiece, full of remarkable insights, infused with subtle ideas and imagery. I thought the character of Lucy's niece Iris was particularly pivotal to the story, amazing, Dan Stevens too. Though Lucy lost it and went into a form of temporary psychosis (much more common than you'd think), I thought it was also an apt metaphor for the journey through depression, of coping with loss in general (in Lucy's case, the loss of meaning in "everyday" life). There are potent parallels to aging- your best days and greatest triumphs receding in the rear-view mirror.

Put me in mind of SO many things (just one example: feeling you've "overcome" and become the best you can be only to feel that you're just a piece of ass after all. Fill in the blank: Just a _______ after all). The challenger scene hit me hard (as it did at the time), as did many other carefully crafted scenes, along with the music, the poetry. One scene I found especially moving and well-written was one in which a broken, selfless Lucy tries to warn her competitor, the younger female astronaut, of dangers seemingly looming from all sides. I couldn't help but think of other threats that abound, of hundreds of thousands lost to covid, loved ones I've lost, those lost in 9-11 and the Iraq war, in faceless societal tumult, on and on, how to recover and find a valid reason to live, a path forward. It's a sad fact that many don't, they give up. How to to take heart? How to find meaning? I cried at the end, it really hit home for me, even though my path will be different. Highest recommendation, if you can put yourself into Lucy's skin and experience her journey, especially if it helps delineate your own. I was glued to the screen, for me a remarkable experience.

Flying Lessons (2010)

One of the worst movies I've ever seen

[1/10 · 30 January 2022]

Bad in nearly every way. An utter waste of good actors. They do their best, but the script, the plot, the characterizations, and the dialogue are so appallingly bad I can't imagine who green-lighted this. It's a mystery concerning why the lead actress (lovely and charismatic) is promiscuous and a drug addict (unsavory in the extreme, with nothing to redeem it)- what went wrong with her relationship with her mother, former boyfriend, best friend, etc? The answers, such as they are, are slow in coming (the pacing is GLACIAL) and the woeful lack of chemistry between the lead and her lost love is a crime. And as an aside, the depiction of alzheimer's by Hal Holbrook, alternating between doddering and worldly wise, bears little resemblance to reality (the script's fault).

The overly simplistic plot points make little sense, i.e., NOTHING is explained in ways that are psychologically valid (very few explanations are given, and those that are aren't expanded or detailed enough to offer real insights, or make one care)- as if a none-to-bright ten year old wrote it. To make matters worse, little evolution is shown in the characters, a happy ending is just tacked on. If you can see anything of value in this mess, you're a better man than I Gunga Din (and I would secretly say you're a master or mistress of pure projection &/or wishful thinking). Shockingly bad. I'll add that it reminded me a bit of In Her Shoes, but THAT film does everything right, whereas for me, this one has no redeeming qualities whatsover.

Night Into Morning (1951)

Quietly intelligent, absorbing and uplifting drama

[8/10 · 29 January 2022]

Milland has never gotten his proper due as an actor, he's a natural, and Nancy Davis (Reagan) and John Hodiak are very good too. No gratuitous melodrama, just straightforward and relatively subtle story about someone trying to find his way from "night into morning". An intelligent script, including realistic scenes of college life, and the depiction of college professors as people with issues to deal with just like everybody else. Thoughtful, natural character development of both male and female characters, unusual for the time (I realized later). I love subtlety in films, stories that creep up on you, and this one is of that ilk. Surprisingly moving, not dated. Enjoyed it, glad I watched it.

Better Brain Health: We Are What We Eat (2019 TV Movie)

Don't Miss This!

[10/10 · 28 January 2022]

Loaded with fascinating research (with details) from around the world about how different foods affect mood, aggression, decision-making, intelligence, memory, sociability, and much, much more. Both long and short-term effects are shown. Narrated in English and/or English subtitles. Also how foods affect the development of babies in utero (resulting in behavioral and emotional problems). Everyone should see this!

Boys' Night Out (1962)

It's all about the chemistry and there IS none

[2/10 · 28 January 2022]

An interesting premise, and a valiant effort to look at the relations between the sexes in a fresh light, but falls woefully flat. I loved the early 60's interior decorating on display, the colors, the artwork, etc. In the apartment. There are even some valid, incisive observations from a sociological point of view about the sexes (I myself did post-graduate work in sociology).

I'm a rom-com fan and can forgive a lot, especially with favorites of mine like James Garner and Tony Randall in the mix. But the script is bad, FLAILS, way too talky and stilted, and the performances suffer as a result. Worst of all is that there's zero chemistry between lovely Kim and handsome Jim. Awful. So unless you're fascinated by early 60's sociological analysis or mid-century decor, skip this one- I found it tedious and I tend to like such films. For me the chemistry between the leads in a romcom is the main thing, and there's isn't any. IMO, your time would be more enjoyably spent watching My Geisha with Shirley MacClaine and Yves Montand, or The Apartment with Shirley and Jack Lemmon.

Eye of the Beholder (1999)

Enjoyed nearly every minute of it...

[9/10 · 12 January 2022]

[Note: regarding the trailer, I thought it pretty poor- made the film look corny and dreary- glad I watched in spite of it.] I knew nothing about this film, stumbled across it on the Roku channel, was riveted from beginning to end. I'm a fan of both Ewan McGregor and Ashley Judd, thought both were very good, the other actors too. K. D. Lang was a bright spark. The film was beautiful and well-filmed, the settings extremely varied with attention to details, a feast for the eyes, for the right hemisphere. Unpredictable, suspenseful, noirish, wildly over the top (suspension of belief-wise), loads of action and atmosphere so thick you could cut it with a knife- what's not to like? HIGHLY original, and quite brilliant, subtly so. The film is a Canadian-British collaboration.

Considering the music that weaves through it (lovely, haunting, punctuating the pathos, e.g., by Chrissie Hynde and Carolyn Lavelle), McGregor's relations with others (real and imagined), facial expressions, and myriad other plot points and elements, if I had to pick one word to describe this movie's core theme, for me it would be "empathy" (vs lack thereof), between characters, as well as in viewers. After reading reviews here and on Amazon, I thought ruefully of the millions who fought back tears of empathy for Joaquin Phoenix's Joker (a comic book character). Far fewer reviewers evince such reactions here- the theme was subtle perhaps, but I found it most evocative.

I admit, I could watch Ewan McGregor read the phone book, and as usual he did not disappoint. He plays an introverted computer surveillance analyst and investigator, a somewhat tortured soul who finds himself growing ever more obsessed with a very disturbed woman, out of his element, and rising to the challenge. He gains...guts...and emotional integrity. Fabulous! Call me sentimental, but in spite of all the mayhem I hoped, watched, on the edge of my seat, for a happy ending. Maybe it's a female thing, but I loved this film. There was a LOT to unpack in it- I'll definitely be watching it again.

Waking the Dead (2000)

Profound

[10/10 · 19 October 2021]

I almost didn't watch this after reading negative reviews. I'm SO glad I did. This is an existential film, about inner realities, that works on many levels. Beware, spoilers follow that might affect you experiencing the sort of ah-hah moments I did, if you're anything like me. I'd say that you might enjoy this film if you've loved someone with your whole being- whether it conflicted with your ambitions or contributed to them, either way- and then lost your love.

There were several parallels to my life that hit like a ton of bricks. First, losing my soul mate & ostensible reason for living. Seldom have I seen the pain and disconnection, the grief expressed so well (a kind of haunting), along with the loss of the joyful respites you got from them from life's trials & travails... and conversely, how they GAVE your life purpose- how you lived to please them (i.e., how you strove to be the best you could be largely for their sake)- but what does that matter, now? It may sound like a downer, but I found the resolution of the film so profound, the quiet sentiments Fielding (Crudup) expressed at the end SO powerful, I was in tears, touched to the core. Ultimately, it didn't really matter whether Sarah was a ghost or corporeal. It wasn't about the physical, it was about other truths. Just phenomenal.

45 Years (2015)

Chilling portrait of the fragility of relationships...

[8/10 · 5 October 2021]

...but not for everyone. I found this intriguing, a quiet mystery with almost imperceptibly mounting suspense, and very well done. The acting is first rate, by a couple of masters. I appreciate subtlety, ferreting out what's significant, the wheat from the chaff. What if you found out something about your partner's distant past that made everything since incomprehensible? There is one scene in which Rampling looks at old slides that packed a powerful punch, moved me to tears, brought everything into focus.

For me the film worked on several levels, including the nature of reality and its subjective roots and how a seemingly small thing can upset the entire balance of what one knows to be true, valid.

Also intriguing to me was that there was actually very little exploration of either of the two leads' personalities or history together- these were beside the point. At first, as is the case with many stories about aging and long-term relationships, the husband's behavior suggested he might have dementia, that it might be a story about that particular kind of loss, but that turns out not quite the case, it's something even more profound. Can it be recovered from? I would hope so. You'll have to decide.

For young people in particular this might be about as entertaining as watching paint dry, but as someone both interested in our mutual construction of reality and long-lived relationships in general, I found it very compelling, like nothing else, and no small feat of film-making. I won't be forgetting it any time soon. If you appreciate the details, finer brushstrokes, have a look.

River (2015)

Lots that's wonderful, but...

[8/10 · 17 August 2021]

... River succeeds in spite of the murder case, not because of it, IMO. I read many reviews (ones without spoilers) before viewing, and I was especially eager to watch because people proclaimed it nigh on perfect, a revelation, etc., again and again. I don't agree. While I found River absorbing all the way through, ultimately I was let down by these expectations of everything being tied up in a perfect package with a big red bow- thought maybe I could spare others of like mind a similar fate.

There is much writing that is lyrical, provocative, and inspiring in the script, but the hook, the resolution of the case is mostly gratuitous, not worthy of the lead up. It goes for shock value and surprise over sense and sensibility- in other words, the resolution is tortured and contrived, literally twisted to produce "the big reveal" (as to who committed the murder and why), and I found it both unsavory and implausible, a big distraction, and strongly felt that narratively it was at the expense of the other major theme of the series, though THAT aspect was splendid, succeeded in spite of it. I won't say more than that, I think you'll see what I mean. BTW, I found the treatment of issues involving mental illness, the treatment thereof, and the possible metaphysical/psychic aspects of River's experiences intriguing and well-done (reminiscent of Clint Eastwood's approach in Hereafter, I thought), and integral to the plot, unlike the solution to the murder case.

There is much food for thought here in the writing, the dialogue. There is splendid character development, and Stellan Skarsgård and Nicola Walker are wonders to behold acting and character-wise and in relation to each other, there's chemistry galore. I was rapt- their scenes all the way though to the end are a triumph, and a testament to... well, you'll see. My two cents worth. In any case I think River is worth watching for these reasons alone.

Moving On (2009– )

Profound

[10/10 · 8 August 2021]

I saw this on Brit-Box, a real experience. A series that contains lifetimes' worth of experience. Moving, unvarnished, no holds barred, no sugar-coating. Superb writing and acting, so real you often feel as though you're there. I'm a psychologist and family therapist and I'm amazed at how everyone's perspective is presented, the wisdom condensed into every episode. Not preachy, not necessarily even talky- often subtle, usually following the dictum to "show not tell". Honest, absolutely nothing gratuitous, and usually profound. Often makes sticky, troubling issues, even initially incomprehensible ones, come to life. One of those rare shows that you're better off, wiser for having seen, and yet it's not preachy, quite a feat. At the end of each show someone moves on, in one way or another; inspiring. The full spectrum, the depth and breadth of human experience. One of the best shows, perhaps THE best show I've ever seen. Not for binge-watching.

Gavin & Stacey (2007–2024)

Sorry, but...

[4/10 · 27 July 2021]

I binge-watched Gavin and Stacy July of 2021, a while after positively REVELING in Detectorists and Schitt's Creek, two shows that really are ARE worthy of the kind of accolades accorded to Gavin and Stacy, which to my mind was tepid, somewhat juvenile and often hit and miss by comparison. For me Detectorists was as near perfection as a TV show can get. I give G&S four stars due to the characters and characterization, and the acting and charm of some of the characters- Gavin, Stacy, Mick and Gwen, in particular. I thought Ruth Jones was much more interesting and engaging in Saxondale, and James Cordon is better now (has come into his own, with experience) on the Late, Late Show in the U. S. I'm a big fan of Rob Brydon in "The Trip" series along with the inimitable Steve Coogan- here I thought many of Brydon's talents were wasted. (BTW, I subsequently watched "Cruise of the Gods" (2002) on Brit-Box, with Cordon, Brydon, Coogan and David Walliams (Little Britain) and liked it very much- thought all, including a young Cordon, were splendid.)

I'm not necessarily a fan of shows that go for shock value (e.g., a toilet brush up the arse as foreplay, an elderly cougar neighbor that waxes profane and beds everyone in sight, etc.), unless it's done extremely well and is germaine to the plot, and here, it wasn't. Relatedly, I found Ruth Jones' character dour, unappealing- in many scenes, nearly comatose, bizarre.

I ended up wondering what all the fuss was about. I can see how the show was unexpected and zany when it debuted, but I don't think it's aged well (for me it strove a little TOO hard to be unpredictable and keep you guessing, which grew tiresome). My two cents worth. As an aside, I wracked my brains trying to figure out who Gavin reminded me of, and finally realized it was Anthony Hopkins' dummy "Fats" in the 1978 film, Magic- an eerie resemblance.

Jenny's Wedding (2015)

About individuals, not stereotypes

[9/10 · 22 July 2021]

I happened to see this movie, found it absorbing, and then watched it again and it grew on me even more, and now it's a favorite. It has a certain kind of perfection to it (I'm a family therapist). The parents and their two daughters are well-fleshed out- the other characters are less central. This film just happens to be about a particular nuclear family and their relationships- my take on it is that the lesbian relationship, though pivotal, is somewhat incidental. The only mild criticism I have is that the movie might have evinced more diversity in terms of race and sexual identity (e.g., gay men), especially at the end.

***MILD SPOILER ALERT*** People bring their biases and expectations when watching a film. Some just don't get it- this isn't about a torrid, erotic lesbian relationship, but about a deep, personal relationship that is not, at least initially, any one else's business. Jenny (a Capricorn, apparently) is a relatively serious, introverted, private person. She's a social worker who agonizes over neglected and abused children. Her partner, a grade school teacher, also seems rather shy, neither one especially thrilled at the prospect of drawing a line in the sand over gay rights (they must, but reluctantly so). No chemistry between them? I don't agree- see scenes where they look into each other's eyes. The script is quite subtle but often profound, and gently builds to a satisfying, spirited conclusion.

The acting was very good, and I thought the character development of the central characters spot on, superb (e.g., of the father's best friend, very moving). These are people who love each other, but don't handle conflict well. The parents were great, especially the mother. The younger daughter (Grace Gummer) was a bright spark, and seemed tantalizingly familiar in voice, appearance and mannerisms- finally it dawned on me who she reminded me of- Meryl Streep, her mother. This story is about love between family members, friends, and spouses- about commitment, generosity of spirit and personal growth, and for me it rang very true. I loved the music (bought the soundtrack), and loved the culmination of the ending- triumph, joy, happy tears. Perhaps if you didn't love it the first time around, you'll see depth and universality, and be as inspired as I was, if you give it another chance.

Walking Out (2017)

The ending packs a powerful punch, well worth watching

[8/10 · 25 April 2021]

I liked this quite a lot, in its entirety. For the most part it was quiet and slow moving, I don't mind that. Here it was appropriate- this is not an adventure film. The son was something of a blank slate to begin with- timid, unsure of himself. It was clear the father wanted to teach him something, wanted him to understand him and his way of life (he said as much). There was a parallel in some ways to the father's relationship with his own father (played by Bill Pullman, in flashbacks). I found both the father and son appealing, with chemistry between them. The acting was natural and understated. The cinematography and scenery were beautiful, stark but stunning. Unlike others, I really liked the music (slow, cello and strings). For me the payoff was the ending, anything but formulaic- powerful and fitting, about making choices and forging deep connections. I'll not soon forget it.

Peeper (1975)

Pretty bad- an oddity at best

[2/10 · 31 March 2021]

As a fan of both Michael Caine and Natalie Wood (I met them both- Caine on Catalina Island, and Wood on board the Queen Mary), I read the negative reviews and thought, how bad could this BE with two of my favorites? And one review seemed to suggest it might have been filmed aboard the Queen Mary (the review opined that Ms. Wood died not far from the filming location). I worked on the QM for several years and with Ms. Wood on another filming, The Memory of Eva Ryker, on the Queen Mary (she was a delight in person), so I looked forward to seeing this.

First of all, it was filmed on the Norwegian Cruise Line Ship the Starward, which was a Caribbean cruise ship based in Miami, not LA/Long Beach, so the shipboard scenes were likely filmed there (not that it matters). Secondly, sadly, for me the entire film rang hollow, just didn't work. Everyone seemed to be trying too hard, flailing in vain. No chemistry whatsoever between Caine and Wood. Natalie was the worst I've ever seen her, to my surprise and dismay, and I'm not sure why (the awful dialogue, perhaps). If this had been the only Natalie Wood movie you'd ever seen, you'd never dream she would be a shining star (which she was, in numerous films, e.g., Bob and Carol and Ted and Alice, and Love with the Proper Stranger, to name just two). The marvelous Kitty Wynn (Panic at Needle Park, The Exorcist) was equally lacklustre, wasted here. There were no high points in the film. I thought the script was convoluted, and neither charming nor funny. I found the incessant, staccatto, "snappy" wise guy delivery of inane dialogue and the frenetic pace grating- intended to lend a zany air to the proceedings perhaps but didn't. Michael Caine did his best, but he couldn't save it. And last but not least, despite the vintage cars it didn't strike me as noirish or reminiscent of the 1940's at all, to me had a pronounced 70's vibe. The colors and lighting, as well as the fashions, makeup and hair styles were all wrong. I would say see this only if you would enjoy watching Michael Caine read the phone book (are an ARDENT fan). The only part I found mildly interesting was comparing the Starward to the Queen Mary- the rest left me cold.

The Homesman (2014)

NOT for the tender of heart

[7/10 · 15 March 2021]

*No spoilers, except whether this film has a happy ending.* This movie bothered me for days. I found it quite good otherwise, frequently charming and disarming, and then, a SHOCK more than halfway through, one of the most tragic scenes I've ever seen. I'm a mental health professional and I've encountered many terrible things in real life, generally I'm pretty thick-skinned but this REALLY stuck with me. My purpose here is to warn those who are tender of heart that not only does this not have a happy ending or positive outcome, many may find it downright disturbing, depressing. The main redeeming qualities of his film are that it's very well-acted and directed, and an extremely astute, frequently brilliant character study. But there's little recompense for or erasing this sad, sad, heartbreaking scene and what led up to it. If you're sensitive you may want to skip this one.

Are You Here (2013)

Stick with it, well worth it...

[9/10 · 21 February 2021]

This movie zigzags a bit, not readily pigeon-hole-able, or predictable, which adds to its coming together beautifully at the end, in just the way it should. I don't mind profanity, nudity or graphic sexual content if it's germaine to the story, not purely gratuitous, so I was poised to turn this off. Glad I didn't- it was mostly in the first 15 minutes or so and turned to be relevant to the plot, pacing, and resolution. The reviews here are all over the place- for me, afterwards, I thought every scene had meaning and import, I just didn't know what they were until later (pieces of the puzzle), and the whole was definitely greater than the sums of the parts. I was thinking about midway through that it reminded me of one of my favorites- The Giant Mechanical Man (not sure why), and who pops up soon after but Jenna Fischer, one of the stars of TGMM. Odd.

A subtle, casual, and magical little film, with hidden depths, I thought, and the actors, the direction, and the script were all very good, and original. It's packed with scenes, about a lot of things- it seemed longer than it actually was, and this was a rare time when that was a GOOD thing, seemingly alot to digest and suss out. I didn't want it to end. Ultimately though, sussing things out logically was unnecessary. It's about feelings, and cumulative small but powerful a-ha moments that build to the perfect ending- just let them wash over you. Loved it! I'll be eager to see if I enjoy it as much or more the second time around.

Hotel (1967)

Pretty poor in terms of characterization, and dated

[4/10 · 13 January 2021]

I watched this because I'm a fan of the stars-Michael Rennie, Merle Oberon, Karl Malden, Melvyn Douglas, Richard Conte, Kevin McCarthy, and particularly Rod Taylor, on whom I had a BIG crush when I was kid (did you know he was Australian?). I also read the book (and others of this genre) by Arthur Hailey, enjoyed them very much.

The acting was fine, the actors did their best, but the script is plot-driven and soapy with very little character development, and what little there is mostly unsatisfying and often problematic.

The film is very dated, tried hard (without success, at least nowadays) to seem cosmopolitan, trendy, daring, and hard-nosed regarding business dealings, corruption, and casual sex. For example, scenes of semi-nude go-go dancers and illicit goings-on involving "B" girls/hookers were painfully gratuitous and self-conscious (i.e., not germane to the plot, designed to shock). The "cool" jazzy music throughout was distracting and annoying. Arguably neither Grand Hotel nor Dinner at Eight, similar offerings and products of the early 1930's, are scarcely dated at all, thanks to better scripts, good direction and plenty of character development.

I found Karl Malden's character annoying and tiresome, not the least bit charming or humorous. As a former general manager of several hotels myself I took special interest in the inner workings of the hotel depicted in the film, and Malden's exploits were simply ridiculous. Staff in a hotel are ultra-aware of their guests and security issues, down to the last towel, dirty ashtray and missing matchbook, and have eyes in the back of their heads- someone like Malden would have been detected immediately. (As for the the details of a general manager's job, it was quite accurate, although most would be very unlikely to hobnob or drink in the hotel bar.) I did like the way African-American staff were depicted, as individuals and valued employees.

I suppose if you're willing to suspend disbelief you might find this entertaining enough, but personally I found the lack of character development enough to outweigh my interest in the outcomes for the individual characters (in other words I wasn't invested enough in the characters to much care). IMO the story would've been improved by more details of the two romantic relationships featured, as well as the characters/personalities of the owner and general manager. It could've also ended with a bigger bang. Worth watching? I think so, but you'll be the judge of that. It presents a very particular view of the late 60's, one very different from The Graduate or Dr. Doolittle or Hell's Angels on Wheels.

Reaching for the Moon (1930)

Enjoyed this thoroughly

[8/10 · 6 December 2020]

As another reviewer mentioned, the art deco decor on steroids in the office and the penthouse is FABULOUS, must be seen to be believed. I worked on the Queen Mary, and the sheer scale of the settings throughout, and aboard the "L'Amerique" even dwarfed her's (the real L'Amerique sunk in 1904, so the gorgeous recreations were on a series of sets). The dazzling gadgets of the time are also featured (headphones, complex telephony, intercoms, etc). I looked to see who the set designer was- Julie Heron. This film cost a staggering one million dollars to make, unheard of at the time, and settings and art direction obviously had much to do with it. (She had a long list of film and TV credits spanning some six decades, including many notable films, e.g., King of Kings.)

I found this absorbing and engaging - e.g., the witty repartee and the chemistry between the main players. Bebe Daniel's character (stunning in some shots) is every bit as witty and self-assured as Fairbanks'. Both, as well as Edward Everett Horton, are in top form. Fairbanks is a live cannon, incredible, over the top (and VERY athletic). He is the lynch-pin of the film, personality plus- really shines. The word "hell" was used and there was a (funny) tongue in cheek allusion to homosexuality. The sexual innuendo was much more daring than after the imposition of the notorious "Code". Bing Crosby (young and red hot at the time), performs as himself. The ending was somewhat abrupt, and not much is made of Bebe's profession as an aviatrix, but otherwise, as someone who's a film history buff, I liked it very much.

Strange Lady in Town (1955)

Decided worthy of viewing (for me), but not taping

[7/10 · 21 September 2020]

I watched this on TCM first, didn't think it good enough to keep, though there were parts I really liked. I'm a big fan of both Garson and Andrews- I thought Garson's character well-acted and inspirational (strong, principled, etc.), while Andrews' was bizarre and his character development made little sense. He acted like a nutcase. This had partly to do with the writing, of course. That said, there were lofty, and quite profound, ahead-of-their-time ideas expressed (like "enabling"), one reason I think it worth watching. Also, I found the character development of supplemental characters (Garson's brother and Andrews' daughter) intriguing and integral to the plot. The main critique I have is of Andrews' whacko behavior and a failure to show how he went from point A to point B. The way Latinos were depicted was also cringe-worthy. But I never found the film boring, and I liked the ending.