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Reviews
The Human Comedy (1943)
Dreadful.
Possibly the worst major motion picture of the early 1940s. Interminable, corny, and sappy with a barrage of scenes the director did not know how to complete or use as a segue to other scenes. Fay Bainter gives the most embarrassing, cringe-worthy turn in an otherwise great career. Yes, the movie is 80 years old and must have served as a comfort to war-weary citizens, but was America ever really like this? Beyond nicely restrained performances from both Mickey Rooney and Frank Morgan, the only reason to slog through this overbaked ham is to see some future film/TV/stage stars at the start of their careers: Donna Reed, Robert Mitchum, Don DeFore, Barry Nelson, etc.
The Bear (2022)
Shines when it stays on topic
This is a fascinating look at the restaurant business that unfortunately has two major flaws that keep it from being truly excellent all around. First off, the subplots away from the restaurant or culinary-specific themes are either sappy or way off the rails. For example, the cutesy romance between Carmen and Claire just does not work within the framework, and the over-the-top Christmas dinner episode in Season 2 is so needlessly excessive that it becomes laughable and loses it effectiveness; this episode could have been powerful had it been in the half-hour format, but dragging it out for an hour was completely unnecessary. The other problem is that most all of the white actors (who are all uniformly excellent as are the rest of the supporting cast) are greatly miscast. Not for one second do I believe that Abby Elliott, Jeremy Allen White, Jon Bernthal, and Jamie Lee Curtis convincingly play Italian Americans from Chicago.
Maestro (2023)
Alienating and disappointing
This mess of a movie features a brilliant performance from Carey Mulligan and some lovely directorial flashes and early b&w sequences...but that's about it. Cooper mumbles and chews scenery with a generous amount of dialects/ inflections and seems to think his audience is fully aware of the genius and personality of Bernstein prior to viewing. It all makes for a very elitist and alienating biopic that is both short on music (understand this is not the focus) but also on the primary relationship which does not seem deeply felt or realized. And, the end credit "Music by Leonard Bernstein" is an insult to the memory of Gustav Mahler.
Fellow Travelers (2023)
Important history lesson poorly told
Despite solid performances from Bomer, Williams, and particularly Bailey, this is another way-too-long miniseries that ends up diluting fine and vital messages. This could have easily been told in 5 (perhaps even 4) episodes but the length causes redundancy and a dullness to the important subject matter at hand. Add to this the terrible (lack of) aging makeup (no way Bailey looks even close to his early 50s at the end of this; and this overall makeup oversight makes the jumping between eras exceedingly confusing) and you get a very disappointing miniseries that should have been incisive and powerful.
Edward, My Son (1949)
Woefully underrated
Except for unnecessary fourth wall breaks by Tracy's character (would have been more effective as voiceover), this is a terrific and entertaining drama with stellar performances by Tracy, Kerr, and Hunter. Great atmosphere and director Cukor touches in telling the tale of a father's bonkers love for his son at all costs. Tracy is so natural and slips into his slimeball role effortlessly; Kerr is tremendous in her arc that starts her off as a plain innocent newlywed through her tragic alcoholic demise (that osteoporosis touch is genius). Ian Hunter as the faithful smitten doctor throws off pitch-perfect looks and lines throughout. A don't-miss drama.
Hell's Angels (1930)
Remarkable from start to finish
Considering when this was made, Hells Angels ranks among one of the best-made American films of the 20th century. Incredibly fascinating backstory aside, the film on its own offers many wonders: the unforgettable zeppelin sequence, the thrilling air fight finale, a dazzling color sequence at a posh soirée, and of course the major screen debut of luminous Jean Harlow. Howard Hughes had a dubious past to be sure, but as director/producer of this masterpiece he had few equals as far as cinematic spectacles during those early days of Hollywood talkies. The two-plus hour run time literally flew by -pun intended.
Return to Peyton Place (1961)
Quite fun and a delicious Mary Astor
Fun, silly, slick sequel to Peyton Place offers yet another masterclass in acting by the wonderful Mary Astor (too bad she wasn't in the first one). She's the best thing in this admirable and underrated look into small town scandal and gossip. The rest of the performances are adequate (poor Eleanor Parker is sorely wasted, however; Carol Lynley and particularly Tuesday Weld are good replacements for Diane Varsi and Hope Lange) but it's all very entertaining as a whole. Certainly not as poignant or interesting as the original, but one could do a lot worse as is the case with so many other sequels.
Bros (2022)
A tad better than Uncoupled, but that is saying nothing.
What is striking about this mostly unfunny sitcom movie-besides the exceedingly annoying Billy Eichner character-is how very dated this already plays out. To be memorable or have any kind of impact, leave the string of pop culture quips behind and concentrate more on character. Like its streaming "bro" Uncoupled, Bros is very one note and, although nowhere as cliche, just plain dull. Another A for Effort but C- in Execution outing that is immediately forgotten and dispensable before the end credits roll. Sorry that it tanked at the box office but like most of its straight romcom brethren, there is just no there there.
Five Days at Memorial (2022)
Another criminally overlong miniseries
Like Inventing Anna and countless other streaming miniseries, Five Days at Memorial loses its impact by being at least twice as long as it should be. Why must production companies drag out potentially riveting and relevant stories, and therefore dilute all effectiveness? This should have been a taut story easily told in three to four hours, not seven. Cherry Jones is as usual terrific but most everyone else flails with predictable dialogue. Special effects however are a highlight of this series. All in all this is yet another botched opportunity to properly relate a tragic episode in US history.
Forsvinningen - Lørenskog 31. oktober 2018 (2022)
Frustrating but meant to be
Watching this well made series was as frustrating as the police and family must have been through this whole ordeal...false leads, confusing narratives, suspect characters. Quite enjoyable but what stops this from being a must-see experience are incredibly superfluous backstories: lead detective and her father's Alzheimer's; attorney's assistant and his boyfriend's attack; etc. These scenarios brought absolutely nothing to the story at hand. The only backstory that was appropriate was lead journalist's partner being rightfully terrified for him and their baby thanks to his overzealous penchant for scooping the police in the investigation. Overall a missed opportunity.
Uncoupled (2022)
Forgettable time passer
First off, Uncoupled is Unfunny...very tired lines and premise; however, it is a well done albeit insignificant time passer that can be binged entirely on a summer night. But please, no season 2; there isn't a need for more of the same.
The Gray Man (2022)
Thoroughly entertaining fluff
Completely forgettable (plus a ridiculous final 15 minutes), but if you want mindless yet a very entertaining and very well done caper, this is it. Several fun set pieces. And except for Rene PAge (over his head with these pros), the cast is really terrific.
We Own This City (2022)
Mediocre
This series is just plain dull. Nothing that one hasn't seen before and not at all memorable. Comes with a high pedigree but the overall results are bland and tedious.
Anatomy of a Scandal (2022)
A laff riot; what were they thinking.
A supreme giggle fest from start to finish...from the unbelievable plotting to the absurd direction, this one takes the prize for the year's most unintentionally funny miniseries. Hugely entertaining for all the wrong reasons.
West Side Story (2021)
Why? Again.
After a riveting first 20 minutes, this remake settles into mediocrity fast-with some serious missteps along the way. The Rita Moreno character and treatment are absurd, and the renditions of America and I Feel pretty are flat and misguided. The real attractions here-and the only reasons to see this, yet another pointless remake-are Rachel Zegler and the ever-luminous Bernstein score.
The Furies (1950)
Just about perfect
The great cast, the snappy dialog, the shocking violence (for its time), and some wonderful high-camp sequences make this one a top American Western. Throw in gorgeous landscapes, set design (that hacienda is fabulous), and Franz Waxman's lovely score-and you've got the complete Real Deal. Highly recommended.
The Morning Show (2019)
Watchable soap opera that good be far better
With the exception of episode 8, season 1, this is a very fluffy and silly time passer...great cast-all capable-but there is nothing memorable here (except some of the most awful hair styling in series history). Just missing that extra something to make me want to continue with another season.
Your Honor (2020)
Really awful
You know when a series is bad when you blurt out the line before the character does-in just about every scene. So terribly written and quite laughable. Brian Cranston's nadir; he looks embarrassed...because he is. Lasted three episodes and it was generous to give this clunker that much attention.
House of Gucci (2021)
Only Adam Driver retains his dignity
Beyond bad...bloopers galore (I.e., highlighting pop songs that came out after the prescribed time period), wretched performances (except for Driver), and less than 3 minutes spent on an infamous murder trial. Bottom of le botte. Amazing that Ridley Scott directed one of the worst movies (this dud) and one of the best movies (Last Duel) in the same year.
Nightmare Alley (2021)
Why?
Big, gorgeous, empty, and uninteresting. Why are filmmakers so drawn to Do Overs? Like Star is Born and many others of late, this version brings nothing new or notable to the table ( except the correct ending that Hollywood would not allow in the late '40s). Please stop.
Beat the Devil (1953)
A delight
Delightful caper with lots of wit ( thanks Truman Capote), fast-paced direction (kudos John Huston), and grand on-location flavor. Oh, and that amazing cast having a grand old time. Great fun.
Ragdoll (2021)
Huge disappointment...could have been great
Take away the abominable dialogue and horrible music and you have a really intriguing story. But the aforementioned distractions are so bad, there was no way I could continue with this highly missed opportunity . Really poor.
Silent Night (2021)
Huge missed opportunity
If you can get past a really awful first half hour, settle in for a creepy and disturbing tale that otherwise would have worked brilliantly as an episode of The Twilight Zone. The messy first half almost entirely sunk what could have a been a very good horror entry.
The Split (2018)
If not for Nicola...
Whatever possessed Nicola Walker to sign up for this sorry camp fest will perhaps always remain a mystery. But at least she does it with a straight face. Somewhere between If/Then and Riviera on the schlock series scale, but this does at least provide some really good, unintended guffaws.
Spencer (2021)
Stewart great. Spencer, not so much
A retread of his Jackie: glorious central performance but alternately moving, awkward and ultimately unconvincing narrative. And to those Stewart haters-take that; she is superb.