tim777ca Reviews

The Man Who Wasn't There (2001)

The logic that wasn't there

[8/10 · 19 January 2003]

The movie's film noir style is absolutely fabulous, but its plot got me completely confused. Why is McDormand arrested for murdering her boss? Any evidence indicates that she was at the scene of the crime? Since she didn't do it, why does she commit suicide before the trial?

I have the same question for Thornton's character. Any evidence shows that he was there when the con man who had cheated on him was murdered? And how is the UFO stuff related to the plot?

Why this mystery film is made before having those things cleared is really a mystery.

The Paleface (1948)

Pale acting

[5/10 · 6 January 2003]

The tycoon/studio head who discovered Jane Russell had to be a nut. Although a big size, she's not glamorous, doesn't have any sex appeal, nor can she act, or even react to Bob Hope's line. There's only one facial expression of hers throughout the picture, which is impatient with whatever Bob does. It's amazing that they brought her back to do SON OF PALEFACE with Bob again.

THE PALEFACE is simply too childish to be funny, so is every film touched by Frank Tashlin, one of the writers of this movie and later became the director of its sequel. It's hard to imagine anyone over ten-years-old would enjoy his tired kiddie gags.

Norman McLeod is one of the many comedy directors who relies heavily on competent writers and fine actors, otherwise he couldn't invent any joke by himself. It's understandable that most of the better Bob Hope movies are those ROAD pictures he made with Bing Crosby, where the directors would just sit back and let them improvise their scenes on the set.

The FBI Story (1959)

Capable performances, incompetent direction

[5/10 · 4 January 2003]

Several unrelated crime cases are piled up to make a propaganda for FBI, with agent Stewart's domestic life unevenly blended in between them. The straight-forward narrative has little action, no suspense, and no excitement. When the last episode is well built up toward a climax, the director just ends it abruptly, much to the audience's disappointment. Fortunately, it has wonderful James Stewart and underrated Vera Miles in the cast, so it wouldn't be dull to the core.

Mervyn LeRoy was a respected director at the time, who had made some commercially successful movies like LITTLE CAESAR (1930), WATERLOO BRIDGE (1940), and RANDOM HARVEST (1942). He's the kind of director that could get lucky when assigned a good script, otherwise his ability is very doubtful. According to character actor Arthur Hill, who worked with him in MOMENT TO MOMENT (1965), "He knew a lot about the cosmetics of acting. He'd counsel you not to move your lips too much, and he was absolutely right. But when it came to understanding what went on inside an actor, he didn't pretend to have an idea. 'Okay, let's have a good scene now with lots of energy,' he'd say to us. After a while we realized that's what he said before every scene."

3:10 to Yuma (1957)

The foolish trip to Yuma

[8/10 · 3 January 2003]

The tense, suspenseful Western is spoiler by its forced ending, where bandit leader Glenn Ford suddenly gives up his gang's rescue and jumps on the train with Van Heflin. His explanation is that Van saved his life in the hotel room when a guy tried to seek revenge against him. It's too bad that the writer doesn't know how to end the movie and give the viewer such an unconvincing excuse, because we know that Van didn't do it to save Glenn's life, he is hired to take Glenn to Yuma for trial. Besides, Van shot two of Glenn's men, and one of them is his closest bandit member Richard Jaeckel. So why would he help Van and get himself a death sentence at Yuma? This brings out another question: why take him to Yuma for trial? he didn't kill a man there.

Nevertheless, Glenn as the the villain for the first time is at his usual best, and the two actresses give surprisingly subtle performances. But the composer keeps playing the same tune over and over again is a bit annoying.

Paths of Glory (1957)

Actor manipulator

[7/10 · 31 December 2002]

Stanley Kubrick tended to manipulate actor like puppet to serve his camera, that's why I never like his work very much. He had been eager to show off his mise-en-scene ability, which became more and more obsessive in his later films.

Early in this over-praised movie, two generals, played by Adolphe Menjou and George Macready, has a conversation about attacking German-occupied Ant Hill. Kubrick makes them walk around in the room without any motivation, just to move the actors so that he can pan his camera to reveal the well-designed set.

Later, Kirk Douglas is talking to someone on the staircase of the headquarter, Macready walks up and joins him, then they move higher while carrying on conversation, so the camera can change its angle to pick up other parts of the huge set without cutting. After their dialogue is over, Macready steps down the stairway. (Why he leads Kirk to walk up in the first place?)

Not having military background, Kubrick doesn't know soldiers don't talk that way. If a general wants to talk to a colonel, he would simply yell, "Hey, colonel, come over here!" He would never go to a subordinate officer in real life. Moving the actor up and down for no reason seems rather ludicrous.

Duel in the Sun (1946)

The source of Sergio Leone Westerns

[5/10 · 28 December 2002]

A Western soap opera with forced performances, especially from producer David Selznick's wife would-be, Jennifer Jones.

Still, it's interesting to see how many things in it are copied by Sergio Leone's Spaghetti Westerns in the 1960. Among those are: the gunshot on the movie title; Gregory Peck's ruthless behavior, the way he lights his cigarette, and shooting defenseless people in cold blood; and, of course, the poncho on Lionel Barrymore would later be an important part of Clint Eastwood's outfit. The spectacular railroad building scene would be seen in Leone's ONCE UPON A TIME IN THE WEST. Also, Jennifer's screen persona is clearly reflected by Claudia Cardinale in the same film.

Intended to make the movie a vehicle for Jennifer, Selznick rewrote the script himself constantly. When he began to interfere with the director's authority on the set, King Vidor walked off the picture. Most of the interior scenes were completed by uncredited William Dieterle, including the well-staged party sequence.

Although Selznick and the actors tried hard to squeeze as much emotion as possible into each scene, the audience remains indifferent throughout the picture, chiefly because the characters are too phony to be identified with. Perhaps it wouldn't be so ridiculous if it starred Bob Hope, Bing Crosby, and Dorothy Lamour.

The Fastest Gun Alive (1956)

Smarter than one would expect from its title

[9/10 · 25 December 2002]

Unjustly neglected by most critics, this is definitely the best Glenn Ford Western and one of the top ten Westerns in film history. The unpredictable plot twist and surprising finale make it surpass Glenn's other great Western, 3:10 TO YUMA.

Glenn Ford, as a store keeper in a small town, claims to the townspeople that he is the fastest gun alive, yet he "never draws his gun against anybody," as he later says so in the church. It seems that he has an ego problem of wanting to be someone important and dislike to be look down by others.

This flawed character is much more flesh and blood than any Western hero I can recall, including that self-righteous marshal (Gary Cooper) in HIGH NOON and wooden Alan Ladd in SHANE.

Broderick Crawford's villain character is not so satisfying, as he remains ruthless and easy to lose his temper throughout the film. There are other ways to show how tough and vicious he is instead of shouting at people all the time. I like John Dehner's performance better by comparison. Although a minor villain, he plays it with more depth.

Jeanne Crain's wife role isn't very rich, she has barely another facial expression except miserable. Russ Tamblyn's solo dance number in the farm party shows the other side of town life, but the writer could give him more important jobs in the story. Anyway, the direction is tight and Glenn Ford is simply remarkable!

Pearl Harbor (2001)

Pearl Harbor, Hollywood style

[5/10 · 16 December 2002]

The film's amazing battle sequences are murdered by its foolish love story, which seems more like a TV commercial. If we skip the first 80 minutes of the movie, its rating would be much higher.

Aside from the cliched story, the studio has to use good-looking male leads to attract female audiences. Predictably, the guy who got second billing must die so that to solve the love triangle.

The most unbelievable part of the film is a pilot could take off with a nurse without permission from superior officer. Moreover, he then proceeds to screw her in their military base freely. (What are those nets for? some set decoration!) The screenwriter must have learned something from THE DEER HUNTER, because he also let two childhood pals enlist in the same squadron for plot convenience. Obviously, the director and the writer don't know anything about military service. I suppose beautiful photography and realistic special effects are much enough for them.

When fighting the Japanese in the sky, our two heroes keep yelling at each other through radio. They're certainly the most talkative pilots in film history. Perhaps they were playing computer games while filming, that's why they're so excited!

There is, however, a very true moment: nurses are being shot at by Japanese planes while running in the street. Would they actually shoot at women? Yes, indeed. Anyone who knows a little about how Japanese soldiers did to Chinese women during the war would firmly believe it.

Monsters, Inc. (2001)

Nagging, Inc.

[7/10 · 6 December 2002]

The film's advanced computer technology is certainly great to see, but Pixar artists are forgetting one thing: their characters are too talkative - almost nonstop talking from start to finish.

The audiences want to see MOTION picture, especially children in non-English speaking countries. How many climaxes are there in this movie? I think only the final chase sequence is thrilling enough for most people. Cute dialogue isn't equal to good script. That's the reason I like ANTZ better than A BUG'S LIFE, and SHREK than MONSTERS, INC.

I suggest Pixar filmmakers take some lessons from traditional Disney animation features. Hope to see a little improvement in their next project.

The Producers (1967)

Terribly overrated!

[3/10 · 4 December 2002]

The opening title scene is a little funny, but not the rest of the movie. The performances are, especially Zero Mostel's, extremely overacted which belong to the night club, not on the screen. Mel Brooks never learns that "less is more" in terms of film acting. His funniness is somewhere lost between light comedy and slapstick.

The entire movie is like a stage play. Every scene drags too long. I can hardly finish watching it. Wonder how it got an Oscarr Award for Best Screenplay?

Straw Dogs (1971)

Let her move a little, Sam

[4/10 · 28 November 2002]

The wild bunch harass a cowardly scholar and his juicy young wife in their country house. Surely it's the kind of material that vulgar Sam Peckinpah would put his hands on - sexpot gets raped, little people fights back violently.

Some viewers find the final climax very exciting, but that's easy to make. You just break down the action with different camera angles, put in some slow-motion shots, then edit them as fast as possible. Usually it would win you an editing award in a film festival. So let's put aside the technical aspect and focus on what the characters do in the fighting sequence:

Bad guy A shoots bad guy B in Susan George's bedroom.

Dustin jumps on A, they roll down the staircase, and Dustin finishes him with an animal catcher while Susan STANDS IN THE MIDDLE OF THE STAIRCASE, shocked.

Then Dustin goes out of the house to have some fresh air. When he comes back, she is STILL STANDING AT THE SAME SPOT appointed by the lousy director.

All of a sudden bad guy C, out of nowhere, jumps on Dustin from behind. They fight toward the staircase, Susan runs upstairs, takes out a shotgun and kills the enemy. At this moment, she is back to THE MIDDLE OF THE STAIRCASE again.

After that Dustin takes David Warner, a killer sheltered by the couple, downstairs, asking his wife if she's alright. Susan doesn't reply, STILL STANDING AT THE SAME POSITION.

Dustin drives David to town, leaving her with several dead bodies in the house. Who would do such an idiotic thing to his panic wife? It's the most mindless direction I've ever seen.

What a bloody bad movie!

The Sons of Katie Elder (1965)

The dumb son of Katie

[5/10 · 25 November 2002]

This slow-paced Western is a typical example of how a dull action movie can be saved by Elmer Bernstein's powerful music score, just like he does to THE MAGNIFICENT SEVEN and THE GREAT ESCAPE.

Director Henry Hathaway's better films are those crime drama he made in the 1940s. Although he directed several John Wayne pictures in the 1960s, none of them is impressive enough to be treasured by Duke's fans.

The film's simple revenge plot doesn't know how to start its action half of the time, it even lets the 4 brothers have a fistfight in their own house in order to arouse the sleepy audience.

The scene where Dean Martin gets shot in the back by James Gregory is completely unbelievable, as he has Gregory's son (Dennis Hopper) at gunpoint but walks backward facing him. It never occurred to Hathaway that any fool would walk behind his hostage. I wonder why Martin would accept to do such a dumb thing in the movie?

Breakfast at Tiffany's (1961)

Thumb down at Tiffany's

[6/10 · 15 November 2002]

Non-stop talking from Hepburn, with Peppard by her side waiting for his turn to say a few words. This dated, unfunny romantic comedy has hardly any story, and the two main characters are so unreal. Who would believe Hepburn is a high-class hooker and Peppard a novelist kept by a rich woman? Being a Method actor, Peppard didn't even learn how to type a little skillfully before filming.

Nevertheless, Audrey claimed the film was her favorite. The only explanation is that she keeps changing beautiful clothes and sings the theme song with her own voice for the first time in a movie.

Apart from the stupid party intended to produce some cheap laughs, the scene where Audrey and George first meet in her apartment is also awkwardly handled, as he asks to use her phone, Audrey finds it in a suitcase but George just stands there talking and listening, with hands in his pockets (like every scene he's in). Does he want to use the phone or not?

Patricia Neal, as the unlucky rich woman, wrote in her autobiography, 'I dominated him (George) in the original story, and he didn't want to be seen in that way. He and Blake almost had a fistfight. Unfortunately, I said, "Let's talk about this," and Blake gave in and shot it his way. I could have killed myself for getting involved. I had fantastic lines, but they wrote my part down for gorgeous George. I always felt that had Blake stood his ground, the film would have been stronger.'

Among Blake Edward's comedies, none of them worthy a position in film history, including his famous PINK PANTHER series. The only really funny one is the big budget THE GREAT RACE (1965). Unfortunately, it flopped at box office.

Suddenly (1954)

So-so production

[3/10 · 28 October 2002]

Sinatra leads two other assassins, disguised as FBI agents, get inside a house on a hill where is a perfect position to shoot the President when he'll arrive at the train station.

As sheriff Hayden and a secret service man visit the house for security reason, Sinatra and his men fire 3 shots and kill the agent, but no policeman or security guard at the train station is aware of the shooting sound, which is quite ridiculous because everyone knows that the house and the station are in shooting distance.

Not only the above scene is handled carelessly, the whole picture is sluggishly directed. Sinatra is passable, but Sterling Hayden and those supporting actors' wooden performances add more stupidity to the movie. It's certainly not a "white-knuckle thriller," praised by Leonard Maltin, at all.

In Our Time (1982)

Taiwan landmark film

[8/10 · 3 October 2002]

IN OUR TIME (1982) is widely known as the film that evoked Taiwan New Wave Cinema in the early 1980s, followed by a commercially more successful THE SANDWICH MAN next year.

It's an episodic film written and directed by 4 new-comers: Teh-Chen Tao, Teh-Chong (Edward) Yang, Yi-Chen Ko, and Yi Chang. All of them have film education backgrounds. Tao gained a master degree at Syracuse University while Ko got his at Columbia College; Chang graduated from Film Program of a college in Taipei and became a famed screenwriter before making this movie; Edward Yang, who studied at USC for a year, has won international reputation for his later works.

The theme of IN OUR TIME deals with 4 stages in life. The first episode titled LITTLE DRAGON HEAD, directed by Tao, is a stylish depiction of childhood misery in 1950s Taiwan. His camera work is impressive, but the pace a bit slow.

Second episode EXPECTATION, directed by Yang, is a simple realization of young girl's yearning for love, set in 1960s. Also sparked by filmic style, but not much dimension.

Third episode THE JUMPING FROG, directed by Ko, is fast-paced comedy about vigorous college life in 1970s. Some absurd vignettes adding to its flavor.

Fourth episode SAY YOUR NAME, directed by Chang, is a sitcom about identity problems of a young couple in 1980s. Interesting idea, fair performances, and tight direction.

What makes the movie so important in Taiwan film history is that most directors before them learned their crafts under studio system, working their ways up step by step for years. After becoming film directors, they don't have individual style or abilities to write their own screenplays, just make routine productions according to what they learned from veteran director.

On the contrary, IN OUR TIME is a conscious creation by 4 young filmmakers with high-level education backgrounds. They know exactly what they want in every single shot instead of telling stories written by others.

The Horse Whisperer (1998)

Turkey Whisperer

[3/10 · 1 October 2002]

Three questions for this turkey:

1) Why does a horse-lover ride her horse on a freezing winter-day

morning?

2) Why does a truck run so fast on the snowy road and cause the

accident?

3) Why does the horse whisperer have to fall in love with the young

girl's mother? Can't he concentrate on their horse?

The most unbearable moment is when Redford and Thomas dance, which reminds us what Douglas and Stone did in BASIC INSTINCT. Apparently Redford doesn't want to lose the charm he once had for women.

Rough Night in Jericho (1967)

Acceptable time-filler

[7/10 · 29 September 2002]

Dean Martin plays the villain for the first time, but doesn't add any dimension to his role. George Peppard steals the movie as a gambler who doesn't want any trouble until situation becomes impossible. Jean Simmons is adorable as usual.

The plots are quite routine, the action scenes passable. It's a bit unreasonable that Simmons would let Peppard, a stranger who rides to town on her stagecoach, stay in her house. Although such arrangement is made by the writers, it's a shame that their relationship is not fully developed.

Fortunately we see some familiar supporting actors, including Don Galloway (of TV series IRONSIDE), John McIntire (of WAGON TRAIN), and it's interesting to watch comic actor Slim Pickens as mean, sadistic character again after his wonderful performance in ONE-EYED JACKS (1961).

Life Is Beautiful (1997)

Imaginative Nonsense

[3/10 · 25 September 2002]

Roberto plays a very, very nice guy. He speaks lots of supposed-to-be-funny lines, unfortunately he's the only who laughs. Roberto marries a very, very nice girl whom he adores like a princess, then they have a very, very nice boy. This Jewish family is perfect.

The tearjerker formula is to throw the happy family from heaven to hell, so they're sent to Nazi's concentration camp naturally. The very nice daddy lies to his very nice son that this is only a contest game. Upon seeing those miserable prisoners wearing dirty clothes, this bright boy is still idiotic enough to believe daddy's words. The actor-director's trick is that no one in the background is allowed to say a word except himself, so the boy wouldn't hear any complaint from those poor Jewish.

Everyday Roberto and other prisoners are sent to work, he simply hides the kid in their bedroom where there's no food, water, or toilet. I suppose there's no need to explain how the kid can survive to the viewer either.

Though the depiction of concentration camp, built purely from Roberto's mind, is quite laughable, he claimed the movie is a fantasy about "power of imagination." Ironically, it ends with a voice-over saying, "This is my true story."

The simple-minded movie is covered up by its beautiful score and fools millions of audiences, including members of Academy Award who use to think a foreign language film is definitely a great film.

Crouching Tiger, Hidden Dragon (2000)

One Bad Acting

[9/10 · 19 September 2002]

Everybody talks about the film's stunning fight scenes and fantastic music score. I have something else to say:

Chen Chang, as Ziyi's barbarian lover, is totally unconvincing. His makeup can't hide his boy accent; his performance can't match up with other 3 stars; his role unnecessary; his lines become unbearably poetic after they fall in love. If the subplot involving the relationship between Ziyi and Chang were removed from the film, it wouldn't hurt the narrative a bit.

Near the end of the movie, Chang is put in Wu-Dong monastery by Chow Yun-Fat to wait for Ziyi. When she arrives, they make passionate love in western style (again). I must point out it's impossible that she could stay in his room due to strict rules in the monastery.

Then comes the bizarre ending as Ziyi jumps into the river from a bridge high above. Chang Chen, who stands beside her, doesn't even have any response to her suicide. He just looks at another direction like wood. Ang Lee should have had a better judgment when choosing an actor.

My Darling Clementine (1946)

Some problems with this renowned Western

[9/10 · 17 September 2002]

Just when you thought the film is about Wyatt Earp seeking revenge against his brother's murderers in Tombstone, the story line oddly changes its course toward Doc Holliday's women problem. Henry Fonda, as Wyatt, becomes an observer of Doc's private affairs who doesn't attempt to solve the murder case until something on Linda Darnell's neck reminds him of his purpose there.

Just when Darnell is about to reveal one of the murderers, played by John Ireland, to Wyatt and Doc. Ireland, who hides outside the window, shoots her instead of killing the two tough guys who would definitely give him a hard time later. Wyatt's another brother (Tim Holt) chases after him, they exchange bullets along the way, but when the pursuer reaches Clanton's ranch, Ireland is already dead on bed surrounded by his folks. If the two horses they rode were in shooting distance, how come Holt arrives Clanton's house so late?

Just when you thought Doc should be a good gunslinger, he is shot before he opens fire in the gunfight of O.K. Corral.

Walter Brennan, as the villain for the first time in his career, stands out from a fantastic cast. He reportedly refused to be John Ford's whipping boy on the set and decided not to do any movie with this tyrannous director again.

It's said the film was re-edited by producer Zanuck to eliminate some unnecessary vignettes. No wonder Ford never claimed this film was one of his favorite pictures.

Lonely Are the Brave (1962)

Kirk's Best Western

[9/10 · 12 September 2002]

An outstanding modern-day Western and Kirk Douglas' own favorite. The plot of Kirk escaping from jail, fleeing to the mountains, pursuing by cops, and shooting down the helicopter is ripped off 20 years later by FIRST BLOOD. (They even asked Kirk to play Richard Crenna's colonel part!)

The numerous cutaways of Carroll O'Connor driving a big truck, which eventually hits Kirk and his horse, are needless because the screenwriter never develops this character or provides any event on his side.

Kirk's vivid portrayal of a cowboy belongs to the past is definitely his best performance. Walter Matthau is marvelous as bored sheriff who provides many laughs with his assistant William Schellert unpretentiously. No wonder he later became a great comedian. George Kennedy as detestable deputy sheriff is also very effective. He repeated this villainous image in CHARADE(1963), MIRAGE(1965), and COOL HAND LUKE(1967), which won him an Oscar.

Director David Miller made an excellent thriller called SUDDEN FEAR ten years earlier. He's a much underrated filmmaker.

Heat (1995)

A masterpiece?

[6/10 · 8 September 2002]

The narrative of mental and physical duel between Pacino and De Niro is expanded to include needless subplot of other robbers' private lives. It becomes more and more boring except that memorable shootout in the street after bank robbery.

Pacino spends the whole picture chewing gums and shouting at everyone in sight; Kilmer is as stiff as usual. Diane Venora, as Pacino's wife, always speaks in a low tone while Pacino's voice over the top. It's irritating to watch these two actors in conversation, because the viewer has to adjust the sound volume continuously.

On his way to the airport, De Niro suddenly drives off the highway and gets to the hospital to eliminate a traitor who worked for him. After he finishes the job unconvincingly, Pacino finds him on the street and chases after him. It's absolutely ridiculous that they can run from the hospital to the airport without cars. More silliness in the final showdown: De Niro is stupid enough to jump out of his hiding spot to be shot by Pacino. I wouldn't say the film is a masterpiece.

Rio Bravo (1959)

Tired Hawks!

[7/10 · 30 August 2002]

Hawks' anti-HIGH NOON western has interesting intention, but is terribly dated for its slow-moving tempo.

We see lots of Wayne entering the hotel, walking up the stairs, marching in the hallway, knocking on the door, finally going into Angie's room to have little quarrels, not to mention how Hawks shows us how Wayne exits the hotel. It's easy to cut off 20 minutes footage and tighten the whole structure. What happened to the Hawks that made fast-moving comedy HIS GIRL FRIDAY (1940)? Apparently he was getting old and tired when making this movie.

Wayne is in his usual bossy style; Martin good as alcoholic deputy sheriff; Brennan terrific as Wayne's side-kick; Ricky Nelson seems out of place as experienced gunslinger; Dickinson's role didn't help her career too much.

As Good as It Gets (1997)

As Bad As It Gets!

[1/10 · 26 August 2002]

Trio of star are at their worst playing irritable characters in the movie. One minute they'd be nice to each other, the next minute they'd be mad at each other without any apparent reason. The performances are exaggerated to the Nth degree.

Nicholson still acts with that too-familiar sly manner, but runs out of steam this time. He's thrown out of the restaurant where Hunt works for bad behavior, but after a few scenes, he sits in there enjoying his meal again. It's either the restaurant owner or writer-director of this movie is out of his mind. Besides, do you believe a waitress can have long chats with customer without getting warned by her boss?

As for the story, there're not enough events to sustain it; just full of ludicrous dialogue from irritating characters. The Oscar winners of this film should have learned how to make a better romantic comedy from "It Happened One Night" (1934).

The Sound of Music (1965)

Lovable film, unlovable male lead

[9/10 · 22 August 2002]

I have to question this Captain von Trapp character, a retired Naval officer, who is always acting to people around him, including his own children.

He lets the kids under control by hired governess (Isn't it against the law not sending them to schools?), so he has time to fool around with rich baroness, an equally pretentious character. You can imagine how he supports his huge property without working. After the new governess, Sister Maria, appears in his premises, he finds her his new target and dumps the baroness, then succeeds in winning this innocent nun's love with another performance. (Look how he acts to Maria under the moonlight in the garden)

I like all those music numbers and the family's three youngest girls in the movie very much, but this Captain von Trapp is really a phony. Plummer and director Wise should take most of the responsibility.