Category: Film

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From the Archive: Don’t Tell Mom the Babysitter’s Dead

Dan Seeger

This installment of our “From the Archive” feature offers an example of the way I used to occasionally cheat when writing my scripts for the radio show that I co-hosted during the early nineties. Sometimes this stemmed from a lack of available time to write out a full script, and I believe there were a couple instances when my cohort and I agreed that it was worth trying for a looser feel to the reviews (that instinct towards experimentalism likely had a portion of its inspiration in a shared weariness in banging out hundreds of words every weak on the … Continue reading From the Archive: Don’t Tell Mom the Babysitter’s Dead

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Bendjelloul, Bobin, Boone, Lee, Stiller

Dan Seeger

Muppets Most Wanted (James Bobin, 2014). Once the cinematic franchise is revived, the next task is to prove it can be prolonged and maintained. Muppets Most Wanted is agreeable but oddly inconsequential. Lacking the fanboy passion that Jason Segel seemed to inject into The Muppets all by his lonesome, this new installment is drab and prone to drifting. The plot manages to evoke The Great Muppet Caper, the original Muppet sequel, while also playing around with a mistaken identity gimmick that takes full advantage of the pliability of the characters’ identity. Yes, it’s amusing at times, and the celebrity “guest stars” are … Continue reading Bendjelloul, Bobin, Boone, Lee, Stiller

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Top Fifty Films of the 40s — Number Forty-Four

Dan Seeger

#44 — The Lady from Shanghai (Orson Welles, 1947) After his debut feature accomplished nothing less than redefining the possibilities of cinema itself, Orson Welles never delivered another film that wasn’t compromised in one way or another. Even with his smaller, scrappier efforts, on which he came closest to the unquestioned creative authority of Citizen Kane, he was constrained by tight budgets and his own bad habits, which only grew the further away he got from Hollywood’s irritating controls. And when Welles was trying to work within the system, it often seemed as though he was thwarted at every turn, in part … Continue reading Top Fifty Films of the 40s — Number Forty-Four

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From the Archive: The Rookie

Dan Seeger

When we were doing the radio program The Reel Thing, we got press kits from a few studios and promotion house, but much of the time we had few supplemental resources (of course, there was also no internet to spill every piece of data we might need). So I distinctly remember sitting through the credits for The Rookie with an intense focus, trying to make certain I had Pepe Serna’s name correct for the review. I knew I’d made the right choice in singling the actor out when me colleague on the other side of the broadcast board laughed and nodded … Continue reading From the Archive: The Rookie

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Top Fifty Films of the 40s — Number Forty-Five

Dan Seeger

#45 — My Darling Clementine (John Ford, 1946) I have an abiding fascination with and appreciation for those directors who have an uncommon mastery of the language of film narrative. Much as I might ply my modest critical acumen against certain films, willingly and unapologetically lamenting muddy storytelling or other shortcomings in the vital business of presenting a coherent, compelling beginning, middle, and end, I recognize that the task of adhering to established grammar of traditional Hollywood cinematic narrative is extremely challenging. Even coming close can be reasonably termed a feat of craftsmanship. Given that, I am even more agog … Continue reading Top Fifty Films of the 40s — Number Forty-Five

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From the Archive: Indecent Proposal

Dan Seeger

This was one of the last reviews I wrote for my college newspaper. Indecent Proposal was released in the spring of 1993, when I was weeks from graduation. For some reason, my partner-in-all-things had a scanned copy of this nestled deep into the hard drive of one of her computers and passed it along to me this week. I’ve seen probably no more than a minute of this film since watching it for the review. I’ll bet all the material that I describe as “provocative” seems tame as can be now.  The new movie “Indecent Proposal” has a terrific beginning. Woody Harrelson … Continue reading From the Archive: Indecent Proposal

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Top Fifty Films of the 40s — Number Forty-Six

Dan Seeger

#46 — Beauty and the Beast (Jean Cocteau, 1946) Jean Cocteau’s presentation of the classic French fairy tale La Belle et la Bête begins with a plea. In a written introduction, Cocteau invokes the intertwined sense of ready belief and excited wonderment with which children meet stories. He then calls upon all viewers, regardless of age, to engage his film with a similar openness to enchantment: “I ask of you a little of this childlike sympathy.” Cocteau then introduces the story in only manner suitable: “let me speak four truly magic words, childhood’s ‘Open Sesame’: Once upon a time….” This entry into the … Continue reading Top Fifty Films of the 40s — Number Forty-Six

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Burton, Limon, Melfi, Segal, Tyldum

Dan Seeger

The Imitation Game (Morten Tyldum, 2014). One of the great frustrations of the Oscar season was watching Selma and, to a lesser degree, American Sniper battered by criticism over supposedly terrible transgressions in their depiction of historical record while The Imitation Game, the “true life” story receiving the phoniest treatment among the Oscar contenders, sailed along unperturbed. The story of Alan Turing’s secret, indispensable contributions to the Allied effort in World War II is fully deserving of big-screen veneration, just as his own government’s cruel retribution against him a decade later because his “lifestyle” was considered illegal is the stuff of … Continue reading Burton, Limon, Melfi, Segal, Tyldum

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Top Fifty Films of the 40s — Number Forty-Seven

Dan Seeger

#47 — The Shop Around the Corner (Ernst Lubitsch, 1948) Even though he was consistently billed as James Stewart, we call him Jimmy. He is one of the classic movie actors who represents a nostalgic view of America as a land of benevolent geniality. In the collective imagination he is stalwart and kind, always prone to doing the right thing, even when terrible beset by circumstance. It’s part of the reason his overtly twisted turn in Alfred Hitchcock’s Vertigo is heaped with praise; critics are eager to reward Stewart for playing against type. While Stewart’s placement on a pinnacle of … Continue reading Top Fifty Films of the 40s — Number Forty-Seven