Posted in: Disc Reviews by Archive Authors on October 26th, 2005
Synopsis
India, 1938. Dissolute ex-pat Brit George Brent is amused when old flame Myrna Loy, now married to an aging aristocrat, arrives, but is less amused when he sees her set her sights on Indian doctor Tyrone Power (all done up in dark make-up). Power is so decent that Brent doesn’t want him corrupted. But it soon turns out that Loy really loves Power, as she demonstrates by helping selflessly after the city is savaged by torrential rains, flooding and an earthquake.
Posted in: Disc Reviews by Archive Authors on October 20th, 2005
Synopsis
Two playwrights argue over whether life is inherently tragic or comic. To illustrate their point, they each tell the tale of Melinda (Radha Mitchell) who unexpectedly bursts in on a dinner party, creating all kinds of romantic complications. The film then alternates between the two stories. The set-up could hardly be more utterly Woody Allen, simultaneously pretentious and shallow. One story is comic (with Will Ferrell taking Allen’s usual role), the other is tragic, but you’d be hard-presse... to tell the difference. All the characters spout the same kind of incredibly stilted and self-conscious dialogue, which is neither funny nor revealing. The result is a halfway interesting idea with a talented cast outgunned by their God-playing director. Based on the evidence at hand, it turns out that life is, in fact, inherently boring.
Posted in: Disc Reviews by Archive Authors on October 17th, 2005
Synopsis
A merchant ship is sunk by a U-boat, but the submarine is itself destroyed by the ship’s shells. All of this happens prior to the credits. The survivors of the ship wind up in a damaged lifeboat, and they pick up a survivor of the U-boat. Is he a mere crewman, or the captain himself? What ensues is a tense drama of conflicting personalities, ranging from the plotting German to the hard-headed newswoman unforgettably incarnated by Tallulah Bankhead. Despite the claustrophobic setting, the fil... never feels constricted. The script may be overly didactic at times, but the results are never less than compelling and suspenseful.
Posted in: Disc Reviews by Archive Authors on October 16th, 2005
This release is identical in every respect but one (the colourization) to the previous Studio Classics edition, and so what follow below is the same review, with an additional note about colour.
Synopsis
Posted in: Disc Reviews by David Annandale on October 3rd, 2005
Synopsis
The son of Seth Brundle, the unfortunate man-fly, is born with his mixture of human and fly DNA. He turns out to be uncannily brilliant, but also reaches adulthood (played by Eric Stoltz) in only five years. He grows up in the Bartok Industries facility, and is asked to carry on his father’s work. Inevitably, the fly genes make themselves felt, and he begins to transform, and love interest Daphne Zuniga wants to save him.
Posted in: Disc Reviews by David Annandale on September 17th, 2005
Synopsis
Seth Brundle (David Goldblum) is on the cusp of perfecting an functioning teleporter, a device that will transform the world. Eager to share his creation with someone, he strikes up an acquaintance with science journalist Geena Davis. She is initially skeptical, but is soon converted, and as the work progresses, the two fall in love. Then, in a fit of misplaced jealousy (he believes that Davis is seeing ex-boyfriend John Goetz), Goldblum teleports while drunk, not knowing a fly is also in th... machine with him. Their DNA is fused, and the man slowly starts transforming into a fly, his relationship and his identity crumbling along with his flesh.
Posted in: Disc Reviews by Archive Authors on September 16th, 2005
Fever Pitch is an American-ized version of the Nick Hornby novel and subsequent British Film. American-ized usually means “watered downâ€, and there’s no doubt a lot of the bite from the original source material is missing. But I am a big fan of the movies High Fidelity and About a Boy. Instead of soccer, the protagonist’s obsession, in this Fever Pitch is baseball (in particular the Red Sox). This obsession gets in the way of having healthy relationships. I think the change of...sport still works; pitch is an apt baseball term. And the correlation between heartbreak in love and heartbreak in Red Sox fans is also relevant. But how is the movie?
Well, the movie is directed by the Farrelly Brothers. So there’s the typical physical and gross out humor one might expect from the fraternal duo. But this is a more, shall we say, “mature†work? The Farrelly’s are really subdued here (sometimes bordering on tepid). Shallow Hal this ain’t. But the material doesn’t lend itself to their hi-jinks. Jimmy Fallon and Drew Barrymore are the stars of this truthful romantic comedy. After the embarrassing Taxi, Fallon shows some range here. Barrymore also surprises with the degree of emotional truth in some scenes. The movie gains steam as it goes along, much like a baseball season, and the combination of smarts and schmaltz (from veteran writers Lowell Ganz and Babaloo Mandel) did win me over in the end. And I’m a Red Sox fan.
Posted in: Disc Reviews by Archive Authors on September 14th, 2005
Synopsis
John Cusack had done the 80’s adolescent romantic comedy thing to death. In one fashion or another, The Sure Thing, One Crazy Summer, Better Off Dead and Hot Pursuit had some mix of smooching and laughs to them, and Cusack was the main character. So why did he decide to do another in Say Anything, the directing debut for Cameron Crowe?
Posted in: Disc Reviews by Archive Authors on September 10th, 2005
Synopsis
Gene Tierney plays the kleptomaniac wife of respected psychiatrist Richard Conte. When she is caught shoplifting a pin, she is rescued from embarrassment by con artist and hypnotist Jose Ferrer, who wins her confidence, and then sets her up for a murder wrap. His alibi is airtight, and the evidence all points to her guilt.
Posted in: Disc Reviews by Archive Authors on September 9th, 2005
Synopsis
John Hodiak plays a soldier who wakes up after being wounded with no memory. All he knows is what he is told: that his name is George Taylor. He makes his way to LA, and before long is looking for one Larry Cravat, a man who is apparently his friend. But lots of other people are looking for Cravat too, both hoodlums and cops, and our hero is quickly up to his neck in danger, without even knowing why.
