elf67 Reviews

Spider-Man (2002)

This is how to adapt comic books to film

[23 June 2003]

Dorky teenager Peter Parker gets bitten by a radioactive spider, and suddenly he has the strength and agility of a spider, plus the ability to stick to walls and shoot webbing. Then he has to juggle his secret superhero exploits with his complex personal life and job. "Spider-Man" is a very good film, thanks to three people. First, Stan Lee, who created the character, came up with a wonderful concept that --unlike Superman or Batman -- presented a very real, human, sympathetic superhero. Second, Sam Raimi, the director of this film, understands comic books and was the perfect filmmaker to adapt the saga; he didn't let special effects overshadow the story and characters here. Third, Tobey Maguire is terrific as Peter Parker/Spiderman, capturing the essence of a science nerd coming to grips with both his new superpowers and his the responsibilities they bring. It's fun, funny, a little tense in parts, and even has its truly touching moments.

Spirited Away (2001)

Different and brilliant

[10/10 · 23 January 2003]

This is truly one of the great animated films of our time, right up there with "Beauty and the Beast" and "Toy Story," although very different from both of those films. Like the director's earlier film, "Princess Mononoke," this mixes Japanese myth with other influences and the filmmaker's own imagination (which includes some really creepy touches) -- but this film is tighter and more focused (and therefore better) than "Princess Mononoke" was. The plot summary doesn't do it justice: A girl and her parents wander into the spirit world, her folks get turned into hogs, and she has to figure out how to rescue them. But this is really a beautiful coming of age story about trust, seeing the good in people, being kind when it isn't expected, and, of course, facing new challenges. A terrific movie that's suitable for anyone age 8 and up.

The Man Who Shot Liberty Valance (1962)

A great, elegaic western

[10/10 · 29 August 2001]

Although "The Man Who Shot Liberty Valance" isn't the landmark that "The Searchers" was, this has to rank up there with the great westerns, and one of director John Ford's best films. Some criticize the predictability -- it's not difficult to guess who shot bad guy Liberty Valance. But that's not the point, and Ford makes it clear that's not the point by telling most of the film in flashback. Instead, the movie depicts the civilization of the West, as the spirit of James Stewart's character, Ransom Stoddard (Stewart's a little old for the flashback scenes, but what the heck), and his law books eventually win out over the spirit of John Wayne and his guns. Wayne's character knows in some inarticulate way that he's being marginalized and there's little he can do it about it -- except perhaps hasten the process, both of statehood and of the love story. Some viewers also say Stoddard doesn't deserve the success that comes his way (this is no give-away, as he starts the film as a senator); but Stoddard deserves credit for showing the bravery (however naive) that Wayne's character is too savvy to display. Stewart is very good; Wayne is excellent, portraying his swaggering cowboy with an atypical sadness to him; Vera Miles is good as the center of the love triangle. The rest of the supporting cast is also good, including Lee Marvin as Valance. I rate it a 10.

She Wore a Yellow Ribbon (1949)

Decent John Ford tale of cavalry officer

[7/10 · 29 August 2001]

This is a decent John Ford western, but not great. John Wayne plays a retiring cavalry officer going on his last mission. The pacing is a bit slow, and Wayne's character isn't as complex as his characters in other Ford films to really hold up a character study. The result is a bit sentimental. But Ford knows how to make even a standard western, so I rate this a 7. Not as good as Ford's other two cavalry pictures, "Rio Grande" and "Fort Apache."

Fort Apache (1948)

Good, but not great, John Ford Western

[8/10 · 29 August 2001]

One of director John Ford's loose trilogy of cavalry movies, "Fort Apache" is a good western but doesn't rank up there with such Ford classics as "The Searchers" or "The Man Who Shot Liberty Valance." By-the-book, and slightly bookish Colonel Owen Thursday takes over as the new commander of Fort Apache. Strict Thursday (Henry Fonda, who carries the film much more than John Wayne) rubs everyone the wrong way, even his daughter (Shirley Temple), and makes wrong decisions about how to deal with them injuns. Don't expect a streamlined battle between Fonda and Wayne; that conflict remains in the background until the last quarter of the story, while Ford takes his time to examine life at Fort Apache and round out a few supporting characters. The last part of the film, including the climactic battle (you knew there would be a climactic battle), reflect a bit on the nature of heroism and the myth of the frontier. Unfortunately, those themes weren't carried through the earlier part of the movie. I rate it an 8.

Deconstructing Harry (1997)

Allen's most underrated film

[9/10 · 4 August 2001]

It isn't as lovable as "Annie Hall" or "Hannah and Her Sisters," and it's not as overtly philosophical as "Crimes and Misdemeanors." And that's probably why "Deconstructing Harry" is underrated by film/Allen fans. Still, it ranks among the Top 5 Allen films. Woody plays a Philip Roth-like fiction writer who is lecherous, unlikable, and disloyal; in dropping his "cute loser" shtick, the performance rings with more honesty than he's had in years. In a nod to Bergman's "Wild Strawberries," Allen's character has a chance to reflect on his life as he travels to a university for an honor. Memories mix with scenes this writer's fiction, providing opportunities for the large and excellent ensemble cast. Many of Allen's later films seem tired, but the neurotic jumpiness he brings to "Deconstructing Harry" reinjects energy into his work. If you loved "Husbands and Wives," try this. I rate it 9.

The Player (1992)

Terrific satire underneath the guest stars (spoiler ahead)

[9/10 · 4 August 2001]

(Warning: Plot spoiler ahead) Don't be distracted by the many guest stars helping realize this satiric portrayal of Hollywood. Instead, focus on the great movie that director Altman and writer Tolkin have cooked up here. Tim Robbins is terrific as a studio executive who accidentally kills someone, but gets away with it. The film takes a neat twist when he decides to pitch a movie based on the idea of getting away with murder. In a metafictional touch, Altman/Tolkin leave you wondering whether their film is the movie he ends up producing. Some dead-on satire of moviemaking. As you'd expect from Altman, there are quirky supporting turns from Whoopi Goldberg, Lyle Lovett, and Cynthia Stevenson; also, Greta Scacchi has never been sexier. It doesn't rank up there with Altman's "Nashville," but I rate it 9.

Hannah and Her Sisters (1986)

Maybe Woody Allen's best film

[10/10 · 4 August 2001]

With all due respect to "Annie Hall" and "Manhattan," this great comedy/drama may be Woody Allen's finest all-around work. But what else could you expect from a brilliant, humanistic script and the surest direction Allen has provided (he guides the camera through scenes as though he's been studying with Scorsese). Terrific ensemble cast, especially Dianne Wiest, Michael Caine, Barbara Hershey, and even Max Von Sydow. I rate it 10.

The Miracle of Morgan's Creek (1943)

Another Sturges masterpiece

[10/10 · 4 August 2001]

Preston Sturges does it again with this brilliant WWII comedy that, as usual, mixes cynical satire with sentiment. Betty Hutton is great as a woman who thinks she married an anonymous soldier in what may or may not have been a one-night stand (how did this one get past the censors of the time?) and hapless Eddie Bracken does his usual good work as the lovestruck loser willing to help her out. Standouts in the cast also include the sterling Diana Lynn, who should have become a star based on her performance here, and Sturges regular William Demarest at his crustiest. Unlike many comedies, the plot is completely unpredictable, although it all makes sense. Sturges provides his typical crackling dialogue and manages to get in some patriotic moments. I rate it a 10.

Sherlock Jr. (1924)

Underrated silent classic

[10/10 · 4 August 2001]

I'm one of those people who rates Buster Keaton above Charlie Chaplin, and "Sherlock Jr." is one of the reasons why. Keaton's stony-faced modernist holds up better than Chaplin's Victorian crowd-pleaser. In this film, Keaton is wonderful as a film projectionist who imagines himself as a movie hero even as he tries to woo the girl he loves. Although it's only 1924, Keaton evokes the dreamer's love affair with movies as well or better than "Walter Mitty," as the film explores the tenuous boundary between reality and fantasy. It also has a perfect ending. I rate it a 10.

Gladiator (2000)

Good, but a poor man's Spartacus

[7/10 · 2 August 2001]

"Gladiator" is a good action movie, but it's overrated. The battle sequences in the Colisseum are excellent, but outside of those scenes the film moves too slowly and is too long. I rate it 7. Russell Crowe's character is fighting for an ideal that is never really explained (what - a slightly less oppressive Roman Empire?), and so some of the drama seemed thin to me. Basically, Stanley Kubrick's "Spartacus" (1960) does everything "Gladiator" wants to do, and does it much better (including the fact that Spartacus is fighting for the more noble cause of ending slavery).

Schindler's List (1993)

Good, not great, film

[6/10 · 2 August 2001]

"Schindler's List" is terrific filmmaking, with Spielberg at his peak as a director and wonderful cinematography. My big criticism is that for a "Holocaust" film, it doesn't let us into the Jews' world -- they remain, mostly, faceless victims. For a better portrayal of life inside concentration camps, try reading "Maus."

Miller's Crossing (1990)

An excellent movie

[9/10 · 2 August 2001]

What a great movie. Well-done, entertaining drama of machinations among criminals. Gabriel Byrne, Marcia Gay Harden and John Turturro are great. The plot is complex, so pay attention. Rich dialogue and good visuals, as is typical with Coen Brothers films. I rate it an 8 and rank it up there with "The Usual Suspects" and "Memento."

My Fair Lady (1964)

One of the great movie musicals

[9/10 · 2 August 2001]

This is one of the great movie musicals, with a fantastic score and a witty book that owes a lot to George Bernard Shaw. I rate it a 9 or 10. Rex Harrison owns his role, thus carrying much of the film (the way Yul Brynner carries "The King and I" or Robert Preston carries "The Music Man"). Stylish direction, as usual, from Cukor. The one flaw is Audrey Hepburn's lack of singing -- her songs are actually sung by Marni Nixon. Nothing against Hepburn, but one wonders how Julie Andrews would have shone in the film.

Charade (1963)

Cute star vehicle

[7/10 · 2 August 2001]

Entertaining comedy-suspense movie that's carried by the charisma of stars Cary Grant and Audrey Hepburn. I rate it 7 or 8. Hepburn finds herself being chased by some crooks who claim they're owed money by her late husband, and Grant tries up helping her even though she's unsure of his motives. The movie kind of winks at us through these questions, because the happy ending is never really in doubt. This is the kind of film Hollywood tries to make these days but can't get right.

Touch of Evil (1958)

A milestone in film noir

[9/10 · 2 August 2001]

If you like film noir, "Touch of Evil" mixes that genre with the sort of American expressionism Welles pioneered in "Citizen Kane." It's great, and strange. I rate it 9. Much has been made of the opening, which is one long tracking shot; but the rest of the picture is also bravura filmmaking, including the ending. Heston is good (he tones it down) and you can't take your eyes off Welles. Watch this one in the dark.

Sullivan's Travels (1941)

Perhaps the greatest mix of silliness and sentiment

[10/10 · 2 August 2001]

The great writer-director Preston Sturges happily mixed serious themes into his screwball comedies, and "Sullivan's Travels" is his greatest mixture -- it veers back and forth between farce and drama in a way that no other filmmaker could manage (only Billy Wilder and Woody Allen come close). Sturges' masterpiece, this is one of my favorite films and I rate it 10. A director of comedies wants to direct a "serious" movie about the plight of the common man, so he decides to do research disguised as a hobo. Complications, of course, ensue. The last half hour is stunning. I can't recommend this enough.

His Girl Friday (1940)

One of the great screwball comedies

[10/10 · 2 August 2001]

Howard Hawks realized that "The Front Page" had a love story in it, so he turned it into the hilarious "His Girl Friday." Cary Grant and Rosalind Russell have never been better in this fast-paced movie that combines a romance with a satire of crime and media. Thanks to the vibrant energy and cynicism, and the overlapping dialogue, this movie is just as fresh 61 years later. Also, anyone who likes this film should check out the films of Preston Sturges.

The Great Dictator (1940)

Fascinating

[8/10 · 2 August 2001]

Okay, it's too long and it's too satisfied with itself. Still, "The Great Dictator" is a fascinating movie. Chaplin does a terrific job satirizing Hitler and trying to portray the oppression of the Jews in Nazi Germany (this was before the concentration camps were common knowledge). Not a Chaplin masterpiece, but still worth seeing.

The Grand Illusion (1937)

Deservedly one of the all-time classics

[10/10 · 2 August 2001]

One of the 100 greatest films of all time, this anti-war tale really brings home the absurdity of WWI. Director Renoir is characteristically subtle, relying on understatement and the quite accumulation of detail. Terrific performances from Gabin, Fresnay, and von Stroheim: some moments are indelible. Emotion, humor, and a few dramatic flourishes. Renoir is one of the great directors, and this film ranks just behind "Rules of the Game" in his canon.

Duck Soup (1933)

One of cinema's great comedies

[10/10 · 2 August 2001]

Chaotic, unruly, and sometimes messy, "Duck Soup" is not only the best Marx Brothers film, but one of the best film comedies. It may play better now than when it opened (and was not a success), given our era's comfort with whiz-bang, "Airplane"-paced comedies.