abbyart Reviews

Midnight (1934)

Morality Tale, Or Noir?

[8/10 · 12 December 2005]

One must judge this movie along-side its contemporaries. It is an outstanding example of the numerous "women with law problems" pictures of the Thirties. It avoids the sentimentality and masochistic suffering that the female lead predictably, and monotonously undergoes. Instead of a simple morality tale, with the focus on a single character's torment, we are presented with one of the earliest examples of Noir that I know, complete with dark despair, pessimism, and cynicism. The Law, in-laws, ambitious DAs, insensitive fourflushers and amoral bourgeois relatives, and an ambiguously moral reporter all serve to subvert the movie's latent sentimentality and cause us to question our moral bearings. Bogart is excellent in his brief role, but it is ridiculous to judge this movie by his screen time. All the acting is excellent (save Ms. Fox?) and the casting superb. The direction is inventive, especially considering the confining main set, with many startling close-ups, camera angles, and tableaux. Consider this movie in terms of the original "Chicago" (the play, 1927), its remake as the movie Roxie Hart (W. Wellman, 1942) and "Chicago," 2002. You'll see it has a lot to add to this theme, and is worthy of consideration in its own right.

The League of Extraordinary Gentlemen (2003)

Fictional characters are assembled to fight a phantom menace threatening to blow up Venice in the late 1800's

[1/10 · 10 June 2005]

This movie illustrates everything that is wrong with America, and the American film industry. In it, the characters are secondary to the demonstration of martial skill, and the incoherence of the excessively violent action bespeaks a special effects machine gone wild. I wasn't bothered by the fantasy elements of the plot, but by the callous disregard for the audience exhibited by the film's creators. It was, as others have stated, often impossible to figure out what was going on, and I eventually had to turn my eyes from the omnipresent smoothly rhythmic unfolding of computer-generation. This movie made me yearn for the comparatively adult fantasies of the past, with special effects by Ray Harryhausen. I know that I do not belong to the movie's target audience, being over the age of twelve, but I wonder what sort of child would be attracted to this violent, ugly mess.

Contact (1997)

This movie makes the Universe itself seem shallow

[4/10 · 14 January 2005]

This movie is hopelessly inept, which is a shame since it initially promises entertainment AND enlightenment. We root for Dr. Arroway, the strong non-sexualized female scientist/protagonist. All is crushed, however, by the weight of solemn movieplex convention: shouting into the wind, unfolding steadycam vista with soaring soundtrack, eccentric billionaire and nefarious black shoe, and technology so shiny it resembles a high-end cosmetic counter. Ideationally, the movie has all the intellectual courage and wisdom of a Howard Hughes anti-commie second feature of the fifties starring a semi-sober star in retrograde. More specifically, the faith vs science argument is propped up, referenced, alluded to, and even enacted (at times), but nothing is resolved in a meaningful way. We learn that space is very very big, space travel is like a waterslide, that ancestor worship can pay spiritual dividends, and that science is very similar to religion, in that both can be overlaid with sloppy sentimentality and imbued with supernatural talismans of womblike delight. This movie makes the universe seem shallow.

The Marrying Man (1991)

An excellent romantic comedy; great tunes and real stars

[9/10 · 1 January 2005]

An excellent romantic comedy. Kim Basinger is superb in the role of a cabaret singer. She is gorgeous, immediate, and really puts over a song. She radiates true star quality and the staging of the songs is stunning. The screenplay is fresh and funny, and creates a delightful artificial reality that is validated by the emotional truths it conveys. Alec Baldwin is appealing and natural. Elizabeth Shue is perfectly cast in a subsidiary role and delivers with conviction. Minuses are the supporting four Baldwin buddies and major lapses in mise en scene. A touching, funny, and underrated movie. If, like me, you've passed by the video box for eons, turned off by the Art Disco graphic design, take a deep breath and give it a try.

There's No Business Like Show Business (1954)

Possibly the worst classic-period movie musical made.

[8 November 2004]

This movie is over-the-top without ever being entertaining. A vapor thin plot punctuates the inane parading that is to signify song and dance. One groans to see familiar show tunes berthed into position under the brooding glare of whatever talent is called upon to pilot the ship. Most numbers fall exceedingly flat, unenlivened by what must be the most frenetic, jam-packed, overdressed, over staged and over lit production ever. Ethyl Merman seems about to explode and each number she is in is an exercise in underwater breathing. Marilyn is demeaned and ghoulish in her most pornographic presentation. Donald O'Conner's talent is evident, but smothered by poor casting and staging. Dan Dailey is, as ever, a smug non-entity. This movie weighs a ton, and sinks like an anchor.