Posted in: Disc Reviews by David Annandale on June 30th, 2003
After the death of his estranged wife, Cary Grant swoops back into his children’s lives,determined to be a proper father. He’s a bit rusty, and his kids aren’t exactly ecstatic about living with him. In over his head, he searches for a maid, and into their lives comes Sophia Loren, who is actually the daughter of a famous Italian conductor. They wind up living on a rickety houseboat, and romantic heat is gradually generated between Grant and Loren while Loren brings father and kids closer together. So basically, the plot is The Sound of Music with a sex bomb in the Julie Andrews role. The problem with this film, apart from its sluggish pace (we don’t reach the houseboat until 45 minutes in), is that it is missing the most vital ingredient for a successful romantic comedy: likable characters. This is a group of self-centred, selfish, oblivious whiners,and their company is well nigh insupportable. Grant does his best to make his inane dialogue sound urbane, but the script is beyond even his skills to salvage.
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Posted in: Disc Reviews by Gino Sassani on June 26th, 2003
Synopsis
Posted in: Disc Reviews by David Annandale on June 22nd, 2003
Set in the Pakistani community in London, this coming-of-age story follows Omar (Saeed Jaffrey), a young man who gets his start in business through his not-entirely-scrupulous uncle.Omar has ambitions of transforming a grotty laundrette into a first-class establishment. To this end, he enlists the aid of an old friend (and soon-to-be-lover) (Daniel Day-Lewis), much to the displeasure of the latter’s skinhead friends. Family, racism, Thatcherism, sexism, homosexuality,organized crime and laundromats might sound like a lot to pack into 98 minutes, but this wry, sly comedy does so with grace and agility.
Audio
Posted in: Disc Reviews by David Annandale on June 21st, 2003
A serial arsonists is terrorizing the Los Angeles area. Investigating are veteran John Orr (Ray Liotta) and his junior partner Keith Lang (John Leguizamo). Before long, it appears that the arsonist is actually a fireman. The synopsis on the case implies that the film is a mystery: whois the arsonist, Liotta or Leguizamo? In fact, this isn’t really a mystery, since the film is based on a well-publicized case, and when was the last time Liotta didn’t play a weasel? In fact, Liotta becomes the prime suspect quite early on, and we see both his double life and the tightening net.This is a stylish tour-de-force, that makes most other based-on-a-true-story movies seem even more staid and boring than they really are. By turns grim and hilarious, Point of Origin is unfailingly intelligent, and even the music conveys more information than simply mood (listen for the sound of a typewriter, audible right from the start of the film).
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Posted in: Disc Reviews by David Annandale on June 21st, 2003
Eleven-year-old Harriet wants to be a writer. Told by her nanny (Rosie O’Donnell) to write down everything she sees, Harriet takes this command to heart and becomes the neighborhood spy. The people she writes about would not be gratified by what she has to say about them, and inevitably, her notebook falls into the wrong hands, leading to some painful lessons for Harriet.The pace is brisk, the editing even faster.
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Posted in: Disc Reviews by David Annandale on June 17th, 2003
This is closer to a being a tone poem than a narrative, so there is hardly any plot as such. We move through Berlin in the company of angels. They can hear our thoughts, but they cannot interfere or feel the physical world. Two of the angels -- Damiel (Bruno Ganz) and Cassiel (Otto Sander) are increasingly disenchanted with their existence, and Damiel, falling in love with a trapeze artist, wants to become mortal. This simple story is built on very gradually, and most of the film consists in our hearing the innermost thoughts of various characters, and all these thoughts are presented in poetic (often elliptical) words. The cinematography is quite extraordinarily beautiful.
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Posted in: Disc Reviews by Gino Sassani on June 14th, 2003
One of Ray Harryhausen’s earliest stop motion projects was a military training film on how to build a bridge. In It Came from Beneath the Sea he got to destroy a famous one and create yet another vivid memory for his legion of fans. It Came from Beneath the Sea was the second film I had the pleasure to discuss with Ray Harryhausen (stop motion pioneer) at the 2003 Wonderfest in Louisville. Again I was joined by Einsiders writer Rusty White. You can find the actual interview at: http://einsiders.com/features/interviews/harryhausen.php.
Certainly this could not be considered one of Harryhausen’s most imaginative films. Still, the stop motion effects were incredible for their day. If the film suffers at all it is from enormous budget constraints, particularly when it came to the creature itself. Ray told me me, “It was a sextapus. If we had cut the budget any more it would have been a tripod!”
Posted in: Disc Reviews by David Annandale on June 6th, 2003
The film opens with Gary Busey (playing a blind man with the world’s biggest cane)investigating a vampire killing. An elaborate flashback then begins, telling us how a vampire came to be among us. Among American mercenaries in Afghanistan back in 1989 are Jack Frost and Nat McKenzie. The latter is bitten by a Russian vampire, and gradually begins to change,going over to the dark side. Frost eventually realizes him must hunt his best friend down. I’ll say this for the film: it is very ambitious on a very small budget, globe-hopping from Afghanistanto Mexico to the States, and is filled with combat and vampire CGI. The script is painful, though,loaded with ungainly exposition, and the action scenes are curiously static. Neat opening credits,though.
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Posted in: Disc Reviews by David Annandale on June 4th, 2003
In 2176, the world is a grey, sterile place. All history has been lost. Four scientists (led by David Cassidy of Partridge Family infamy) travel back in time to recover the American Constitution, and revive history. Unfortunately, their time machine malfunctions, and they windup in 1976. Cue the stupidity. Unfortunately, the laughs are very few and far between. We already know that this period had many risible qualities. Just showing them to us isn’t enough.
Audio
Posted in: Disc Reviews by David Annandale on June 4th, 2003
Synopsis
