DVDJournal.com

DVDJournal.com is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Betsy Bozdech, D.K. Holm, Mark Bourne, Nell Minow
Rating Title/Year Author
4/5 The Work of Director Michel Gondry (2003) Dawn Taylor [Gondry's] ingenuity and technical acumen raise these works from mere promotional tools to cinematic art. EDIT
Posted Jan 21, 2010
The Wasp Woman (1960) Mark Bourne It's poorly written, cheesily acted, low-budget, and completely camp, but because it's Corman it's a touch ahead of its ilk thanks to some clever lines and flavorful directing. Utterly ridiculous but lovable. EDIT
Posted Sep 18, 2007
The Giant Gila Monster (1959) Mark Bourne Camp value is provided by a truckload of 1950s B-movie cliches and dreadful song breaks -- "The Gila Monster Crawl" among other "rock & roll hits" -- by its lead, Don Sullivan, who through this movie rose from nothing to complete obscurity. EDIT
Posted Sep 18, 2007
Alfie (1966) Mark Bourne What makes it work is charismatic Caine and the witty, intelligent script. Both work together to keep this remorseless bastard who uses and hurts women from being completely unlikable or unsympathetic. EDIT
Posted Jul 25, 2007
Fantastic Voyage (1966) Mark Bourne ...our own human interior was revealed, like a Jacques Cousteau travelogue, in screen-filling vistas of surreal canals and chambers filled with floating psychedelia and the amorphous Jell-O colors of a Jimi Hendrix concert. EDIT
Posted Jun 3, 2007
The Third Man (1949) Mark Bourne It's a suspense-thriller-romance steeped in Hollywood's best influences and 'gimmicks,' yet it's crafted with enough looming European 'art-house' style to topple Fritz Lang into an existential funk. EDIT
Posted May 29, 2007
3.5/5 The Prisoner of Zenda (1937) Dawn Taylor Hope's tale of identical cousins, treachery, and adventure touches something in the cultural consciousness in the same manner as Shakespeare's plays. EDIT
Posted Apr 10, 2007
4/5 The Naked City (1948) Dawn Taylor ... a seminal work that's not to be missed. EDIT
Posted Apr 10, 2007
2/5 Fast Food Nation (2006) Dawn Taylor Linklater's Fast Food movie covers all of Schlosser's bases, but is surprisingly anemic in its execution. EDIT
Posted Apr 10, 2007
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) Dawn Taylor Cohen uses his characters to point out our sacred cows, whatever they may be, and then shoot them with a well-placed dart. EDIT
Posted Apr 10, 2007
Bedazzled (1967) Mark Bourne ...the duo's best film, Bedazzled brought the spirit of Swinging London plus impudent pokes at religion, politics, and pop culture itself to their new audiences. EDIT
Posted Apr 8, 2007
Captain Horatio Hornblower (1951) Mark Bourne ...holds its own against Russell Crowe's CGI expeditions from topsail to yardarm, and this one has more plot. EDIT
Posted Mar 5, 2007
The Three Musketeers (1948) Mark Bourne ...enjoyable corn in the 'Classics Illustrated' tradition. You can't believe a minute of it, but neither can you ignore its rollicking bygone Hollywood charms. EDIT
Posted Mar 5, 2007
Corridors of Blood (1958) Mark Bourne ...a musty but good-looking production, with Karloff splendid as the devoted surgeon pulled asunder by his own experiments and exploited by the underworld gang of tavern low-lifes who trick him into officializing their corpses-for-profit scheme. EDIT
Posted Mar 5, 2007
The Haunted Strangler (1958) Mark Bourne [Boris Karloff is] again near the top of his game as the best thing about this slow but effective Victorian who-actually-done-it. EDIT
Posted Mar 5, 2007
The Atomic Submarine (1959) Mark Bourne Even for a meager exploitation film, The Atomic Submarine isn't anything to brag about. EDIT
Posted Mar 5, 2007
First Man Into Space (1959) Mark Bourne Space Age hardware footage (including cockpit shots of Chuck Yeager) meets rampaging space-mutant theatrics. EDIT
Posted Mar 5, 2007
Pandora's Box (1929) Mark Bourne Give all due credit to Pabst, but Brooks pretty much single-handedly raises Pandora's Box above being just another doomed-bad-girl melodrama.... She makes Lulu unfathomable, a well that always has more to give. Therefore, so is the film. EDIT
Posted Dec 11, 2006
Forbidden Planet (1956) Mark Bourne ...an enduring best-of-breed favorite, a CinemaScope spectacle that's terrifically entertaining, smartly written, memorably cast, briskly paced, and production-designed to the hilt. EDIT
Posted Dec 11, 2006
3.5/4 Kung Pow: Enter the Fist (2002) Betsy Bozdech Steve Oedekerk's ode to bad '70s Hong Kong cinema is a gleefully bizarre combination of loving homage and merciless satire, bad special effects and unexpected jokes. EDIT
Posted Nov 9, 2006
3/4 Dinner Rush (2000) Betsy Bozdech Bob Giraldi's tight, well-paced movie is an example of what ensemble filmmaking can be when it's done correctly. EDIT
Posted Nov 6, 2006
1.5/4 Serving Sara (2002) Betsy Bozdech A trite, forced bore that squanders the talents of everyone involved. EDIT
Posted Nov 6, 2006
The Spirit of the Beehive (1973) Mark Bourne ...a graceful, lyrical masterpiece wound around one of the most natural and engrossing performances by a child actor we've ever seen. EDIT
Posted Sep 17, 2006
Young Frankenstein (1974) Mark Bourne ...an unswervingly funny yet loving and beautifully crafted homage, something more artful and lasting than the usual pull-my-finger farce or focus-grouped Scary Movie lowballer. EDIT
Posted Sep 10, 2006
This Island Earth (1955) Mark Bourne ...even though its increasingly camp elements have aged poorly, it deserves respect as one of the more ambitious, grandiose, and important science fiction adventures of its time. EDIT
Posted Sep 4, 2006
Silent Movie (1976) Mark Bourne While Blazing Saddles and Young Frankenstein stride across the land with seven-league boots, Silent Movie glides on tip-toe like Bugs Bunny in ballet slippers. EDIT
Posted Sep 4, 2006
Let's Make Love (1960) Mark Bourne Cukor ... directs with all the panache of an unwanted contractual obligation. Indeed, Marilyn disliked the script but accepted Let's Make Love to fulfill her Fox contract. EDIT
Posted Jul 26, 2006
4/4 Some Like It Hot (1959) Mark Bourne Wilder gave his audience credit for being as smart as he was, and, boy, they don't make 'em like that anymore, but they oughtta. EDIT
Posted Jul 23, 2006
Murder by Death (1976) Mark Bourne So it all doesn't amount to much, and -- some knuckle-dragging 'he's gay'/'no I'm not' humor aside -- it's more Scooby Doo than Alfred Hitchcock Presents. Still, it's an amusing tea-cozy of a spoof with an enjoyable cast. EDIT
Posted Jun 27, 2006
Frenzy (1972) Mark Bourne Rather than classic Hitchcock, Frenzy feels more like a lesser director's cookie-cutter 'Hitchcockian' knock-off. EDIT
Posted Jun 27, 2006
I Love You, Alice B. Toklas (1968) Mark Bourne It's conventional and derivative and middlebrow enough to fall back on broad stereotypes of what audiences in Omaha thought of the 'hippie movement.' EDIT
Posted Jun 18, 2006
Patton (1970) Mark Bourne George Patton was born (at least once) for these big-screen dimensions. By the end of the movie you may hate the half-crazed son of a b!tch, but you can't not admire him. EDIT
Posted Jun 11, 2006
It! The Terror From Beyond Space (1958) Mark Bourne Proudly displays all of the limitations of its bargain-basement budget. EDIT
Posted May 31, 2006
Fiend Without a Face (1958) Mark Bourne And honestly, how much animus should any percipient genre enthusiast ever direct at a movie bearing the tagline, 'Invisible monsters suck out your brains!'? EDIT
Posted May 31, 2006
The Roman Spring of Mrs. Stone (1961) Mark Bourne The prose is so purple and the tone so overripe that ... what wants to be mature, sensual romance-novel boilerplate becomes instead a plodding exercise in intriguingly cast camp. EDIT
Posted May 14, 2006
2/4 Sweet Bird of Youth (1962) Mark Bourne When approaching 1962's Sweet Bird of Youth, go for the parts rather than the whole.... [T]he film is a long drive through swampy melodrama. EDIT
Posted May 7, 2006
Cat on a Hot Tin Roof (1958) Mark Bourne Still, this potentially over-scrubbed production kept enough of Williams' energy and poetic Americana intact, fleshing it up with an ensemble of career-imprinting performances and MGM production lavishness. EDIT
Posted Apr 30, 2006
Ziegfeld Follies (1946) Mark Bourne Technically it's magnificent overkill, from Minnelli's swooping crane shots to the turning, floating 'Hello Dali!' carnival-wedding-cake scenic design to the intense Technicolor that burned holes in retinas. EDIT
Posted Apr 23, 2006
The Grapes of Wrath (1940) Mark Bourne ...it proves that a Hollywood film can be both socially engaged and a work of lasting, entertaining art. EDIT
Posted Apr 17, 2006
The Day the Earth Stood Still (1951) Mark Bourne The naivete of some of the film's thinking is trumped by the virtue that it's thinking at all, and that it asks us to do likewise. EDIT
Posted Apr 15, 2006
Dr. Strangelove Or: How I Learned to Stop Worrying and Love the Bomb (1964) Mark Bourne 'Purity of essence'.... Superbly crafted satire that's neocon fresh to this day. EDIT
Posted Apr 15, 2006
A Woman of Paris (1923) Mark Bourne Its vintage melodrama does creak with age nowadays. But it remains a Chaplin masterwork that deserves rediscovery. EDIT
Posted Apr 15, 2006
The Kid (1921) Mark Bourne Beautifully reflecting his growing maturity as a filmmaker as well as his ardor for the work, The Kid stands as a splendid introduction to Chaplin's movies. EDIT
Posted Apr 14, 2006
The Gold Rush (1925) Mark Bourne Chaplin said that it was the movie he most wanted to be remembered for, and damn if he didn't get his wish. EDIT
Posted Apr 14, 2006
The Circus (1928) Mark Bourne In some ways The Circus is Chaplin's Stardust Memories, his reflexive self-observation in which Woody Allen's line, 'We like your earlier, funny movies,' flashes subliminally among the frames. EDIT
Posted Apr 14, 2006
Modern Times (1936) Mark Bourne What we have is not just a story about a funny little man, but a morality fable, or cautionary tale, about people on the chuckholed road to the American Dream. EDIT
Posted Apr 14, 2006
The Great Dictator (1940) Mark Bourne So Chaplin may not have halted a war, but he still left us with more than just a funny movie. EDIT
Posted Apr 14, 2006
Monsieur Verdoux (1947) Mark Bourne The intensely felt social criticism that audiences had seen growing in Modern Times and especially The Great Dictator is elevated to an astonishing level of sarcasm and subversive irony. EDIT
Posted Apr 14, 2006
Limelight (1952) Mark Bourne Premiering in 1952 when Chaplin was 63 years old, this melancholy reverie is a heartfelt expression of nostalgia for the Edwardian London music-halls of his youth, rich with deeply personal sentiment and warmly realized autobiographical fantasy. EDIT
Posted Apr 14, 2006
A King in New York (1957) Mark Bourne Taking a fire hose to HUAC is an impulse worth applauding, but the overall movie is so tone-deaf and tired that the method sinks the message. EDIT
Posted Apr 14, 2006