Corny thriller but it is entertaining and doesn't outstay its welcome. Clint is of course too old and great play is made of this and the love interest is a bit unconvincing. However, the direction is strong as we would expect from this director and the performances are amusing especially Malkovich. Score is good - a strong production overall which passes the time rather well.
One of the best of the historical epics due to the artwork, script and magnificent Rosza score. It is intelligent and political in tone throughout and has clear parallels for today whilst also representing a distant past and way of thinking. It is marred at times by wooden acting but this does not really detract much from the spectacle, although the last hour could do with some intelligent cutting. However, it remains a landmark that needs to be seen on the big screen.
Very well acted and well photographed drama. Great sets too. It is rather depressing and drags now and then as not much happens in this simple story. However, it is very well realised and definitely worth viewing.
One of the Archer's masterpieces. Junge's artwork, the location photography (in an English garden!), the direction and Kerr's performance combine to produce a majestic work of genius. Impossible to categorize. One of the most compelling book adaptations in British cinema along with Great Expectations, from the excellent Godden original. A reminder of how great British cinema was. Repays repeated viewing.
This film tells a well worn story in an elliptical fashion that is not always satisfying and motivation is sometimes pencilled in or unclear. That said it has a remarkable performance from Kidman that drives the film forwards and makes it very watchable. I was not quite sure how to rate it but in this case I think the performance holds it together to some extent nullifying unsure direction and screenplay.
Absurd over long Alistair MacLean adaptation and yet also one of the best by virtue of the cast, energy and superb score. In places it makes no sense but the character actors, locations and key action sequences, especially the closing last half hour make compelling viewing of the boy's own variety. Reviewing it means still not fully understanding the plot and again appreciating all the cameos including Mary Ure, sadly taken from us shortly afterwards. Her smashing the back window of the Postbus with a machine gun and then taking out a whole group of German soldiers sticks in the mind. I remember remarking to my mother at an early age "surely no woman could do that" to which came the quick reply "why not - you've got a lot to learn."..... And indeed I had.
One of the great films and amongst the greatest by this master. The story unfolds as a sort of modern fairy tale. But what is very real is the expression of someone's hidden desires and where that can lead. Luminous performances back up the perfect shots and editing to create a true masterpiece. He makes unlikely behaviour and melodrama seem a logical part of the human condition. Almost liberating in that it allows us to accept and understand - and pay for - our own foibles. There are consequences, but ultimately perhaps no judgement.
If not quite the master's greatest it has many iconic sequences and sticks in the mind. The escape from the school is my favourite sequence. It of course has gained relevance over time with the idea that nature might turn against us and with its ambiguous ending - will the birds attack again? or is it over? Often copied. The score is also superb. However, the acting is not as good as his greatest efforts nor is the plotting and cohesion - understandable as this is from a short story and there is no real development, that is not the point. None of this detracts from the iconic status of the film or its continued impact.
Interesting to see this again after many years. Whilst the location work and to some extent the performances still work, it really registers as a mannered failure. It does not capture the original story and lasts too long to tell such a simple tale. Any symbolic relevance is either obscure or too obvious (malignant grief and guilt) to work in a feature length film. The direction is mannered - imagine what Powell could have made of this material. The colour coding is interesting to begin with but then drags - it is too repetitive. The association of dwarfism and blindness with evil is now of course outdated and inappropriate but that is not really the main reason why it does not work. Interesting to compare with the great films of the 70s that very much still hold our attention such as Godfather and Picnic at Hanging Rock. They too have their mannerisms but they have grasp and forward motion lacking here.
Superb comedy drama which only Lee could do. Very funny and very good performances from the two leads. But despite all the laughs gets you thinking about the subject matter as well. Hardly misses a beat. Very accomplished without being worthy and very relevant yet very entertaining. Hats off to this Director - this is a very difficult note to strike but he does it. More please.
Entertaining character study with good performances from Clint and Cooper. It rolls along nicely and while containing little new it works well at the level of corniness and home spun philosophy. I don't say that sarcastically because it is a good piece of film making which works as entertainment. And one can only admire the staying power of Clint. Not up there with his great work like Letters from Iwo Jima, but passes a pleasant evening.
One of the most beautiful and enchanting films ever made. A happy marriage of the casting, score, direction and art direction produces a work of enduring genius. There is inventiveness at every turn. To say that Day and Marais shine would be understatement. This story will never be realised again with such beauty, magic and meaning. My only reservation is that the beast is not unpleasant enough to bring out the ambiguity of the attraction!
One of the best animal movies told from the point of view of the animal it has many beautiful sequences. Inevitably it lacks forward drive or theatricality. These are limitations of this particular genre. However, within these limitations it is extraordinarily well done.
Usually called the Battle of the River Plate this is one of the least effective films from these two masters. Some of the shooting and editing is up to their usual standards and of course it has the great Peter Finch in it. But the story telling is flawed and is either confusing or at the end boring and pedestrian. Worth reviewing as part of the Archers work but way below the greatness of so much of their output.
Strong Batman film at least for the first one and a half, with good sets and performances. But it outstays its welcome a little bit towards the end and gets a bit too obvious. However, worth the money and its an entertaining ride. Some of the in jokes like the Joker's dislike of televisions are amusing. Jack Nicholson is of course Jack Nicholson.
Up there with the best of Coen brothers movies this boasts great performances all round, great sets and plenty of humour. The symbolism is sometimes a little obscure but it does not overwhelm the effect of the film as a whole or detract from the forward motion. Hard to characterise but a tour de force of its kind (if there is a kind). To some extent Joel Coen is a relative of Hitchcock but Bunuel is also there and the confection is subtly different. Stand out character playing from John Goodman.
For me one of the greatest films ever made. The portrayal of the failure of the heterosexual (or really any couple) relationship and the impact of obsession and mental illness has never been so well portrayed. The colour photography and the use of locations intercut with studio shots is right up there with the best the Master has ever produced. Stewart gives a profound sense of the character of a man who has lost touch with reality and lives on the boundaries of madness. Novak and Bel Geddes are also superbly cast. Contains some of the greatest scenes in the cinema including the hotel room sequence with the unforgettable green neon light, the Golden Gate sequence and the department store sequence. The score is one of the greatest ever written for film and adds a huge amount. As near to perfection as the cinema can get. "God have mercy" on us all, especially obsessive males. "Each man kills the thing he loves....."
Undoubtedly one of the greatest gangster films ever made it also dissects male failure, ageing, death and other themes in Leone's work but with much greater seriousness and impact than most. A directorial masterclass in story telling and construction with great work by so many including Woods, De Niro, McGovern and Williams amongst others. Beautiful score by Morricone and great sets and artwork. The unusual elements include the gangsters being Jewish and also the humorous treatment in places of some of themes such as the role of chance in life in the baby swopping scene. Moments of violence though are intense and explicit as usual. And so many great lines too. In the end we feel that Leone has taken genre cinema about as far as it can go with the sense of theatre and symbolism which dare I say it is almost Shakespearean as the circle is completed at the end and there is a deliberate reference to the theatre of the medium. Probably the nearest to great art that genre cinema can achieve leaving a deep sense of sadness and unusually for this director more of a sense of how can the male move forward rather than celebrate his dysfunction as in the spaghetti westerns (some of which were directorial tour de forces too despite the obvious severe limitations).
Awful rerun of a tiny part of Diana's life. Absurd studenty direction, no development, no action and no real points of interest. Unconvincing and unrealistic portrayal of mental illness. Jarring detail e.g. at the beginning a convoy of military police deliver the Christmas food to Sandringham. Why?? Boring and repetitive with an intrusive score. Many tiny details are so wrong - e.g. Sandringham looks like a low Countries palace rather than a country home, Diana drives a Porsche and so on. But generally very stilted and very boring with no obvious point that could not have been made better in 30 minutes. Worst film so far this year for me.