Tag: catch-up reviews

FilmLeave a comment

Cummings, Hartley, Lord and Miller, Preminger, Truffaut

Dan Seeger

The Last Metro (Francois Truffaut, 1980). One of Truffaut’s last films, The Last Metro is set in a struggling theatre during World War II. The Germans occupy France, causing the acclaimed owner and director of the theatre to hide out in the basement relaying covert suggestions as the troupe upstairs mounts a production that needs to be a success to keep the business afloat. Catherine Deneuve plays his wife and muse, the person trying to keep both him and the theatre safe. Gerard Depardieu plays an actor cast in the latest production, though its his life away from the stage … Continue reading Cummings, Hartley, Lord and Miller, Preminger, Truffaut

FilmLeave a comment

Bunuel, Elliott, Gast, Hill, Weide

Dan Seeger

Easy Virtue (Stephan Elliott, 2008). Based on a play by Noel Coward, Easy Virtue has all the requisite pieces to help the Priscilla, Queen of the Desert director get his artistic sensibilities back on track after the disastrously bad thriller Eye of the Beholder. The story about an English gent bringing his headstrong new American wife home to meet his snobbish, disapproving family is abundant with basic, effective dramatic conflict, and the source material guarantees that the screenplay will be filled with admirable wit. The finished product is sadly in a perpetual state of overexertion, everything ratcheted up to a … Continue reading Bunuel, Elliott, Gast, Hill, Weide

FilmLeave a comment

Allen, Cuaron, Jarmusch, Kazan, Kaufman

Dan Seeger

Stranger Than Paradise (Jim Jarmusch, 1984). A New Yorker’s Hungarian cousin comes to visit, staying with him for an extended period, despite his initial protests. He grows to like her, eventually recruiting his buddy to join him in paying her a visit when she later moves to Cleveland. That trip evolves and the three of them wind up traveling to Florida together. And that’s about it. Jarmusch’s signature aesthetic was forged here as he often seems to be trying to see how little action he can put into any given sequence. Sometimes that can be wearying, but here it works … Continue reading Allen, Cuaron, Jarmusch, Kazan, Kaufman

Film5 Comments

Clifford, Karlson, Mottern, Mulligan, Smith

Dan Seeger

Zack and Miri Make a Porno (Kevin Smith, 2008). I think of Kevin Smith as one of the laziest directors working today because he demonstrates no particular skill with telling stories visually, seems to know this, and, most distressingly, has indicated the awareness of this shortcoming inspires no aspirations to improve. Zack and Miri may have a whiff of desperation about it–up to an including the please-pay-attention-to-me title–but one positive side effect is that Smith does push himself a little more as a director. There are a few moments which demonstrate some care and attention to crafting interesting visuals, even … Continue reading Clifford, Karlson, Mottern, Mulligan, Smith

FilmLeave a comment

Jewison, Pollack, Roemer, Sommers, Spielberg

Dan Seeger

In the Heat of the Night (Norman Jewison, 1967). I guessed that this film would seem painfully dated. Instead, Jewison’s police drama about a black Philadelphia homicide detective called upon to help solve a murder case in a small Southern town where rampant bigotry still rules the culture holds up nicely. It’s somewhat an artifact of its time, but a dramatically sound one. Jewison makes his points with care, always grounding the conflicts in believable situations populated by well-drawn characters. What it lacks in subtlety, it makes up for in clean, gripping storytelling. Rod Steiger won an Oscar for his … Continue reading Jewison, Pollack, Roemer, Sommers, Spielberg

FilmLeave a comment

Beresford, Fletcher, Ford, Hawks, Twohy

Dan Seeger

She Wore a Yellow Ribbon (John Ford, 1949). The film is the second of Ford’s loose “Cavalry Trilogy.” It’s well-regarded, as are most of Ford’s collaborations with John Wayne, but, while it may be a sort of cinematic sacrilege to say so, the film is little more than a plain-footed entertainment. That assessment seems more damning than it is. The film is expert and buoyant and infused with a nice mix of wit and charm, all qualities that seemingly came naturally to John Ford when he was more concerned with making something simply satisfying than a work of grave importance. … Continue reading Beresford, Fletcher, Ford, Hawks, Twohy

FilmLeave a comment

Fraker, Hood, Wilder, Yeatman, Zinnemann

Dan Seeger

Stalag 17 (Billy Wilder, 1953). This unlikely comedy set in a Nazi prison camp has a more famous echo that showed up on CBS around twelve years later. It’s not hard to see why someone might think this could turn into a nifty recurring show. The hook about prisoners of war who’ve cooked up their own unique society in captivity, complete with schemes to dupe the guards and cobbled together contraptions to better hide their small luxuries, is further enlivened by the colorful nature of the characters, a common result when Wilder’s is one of the names on the screenplay. … Continue reading Fraker, Hood, Wilder, Yeatman, Zinnemann

FilmLeave a comment

Brooks, Haskin, Ritt, West, Zinnemann

Dan Seeger

From the Earth to the Moon (Byron Haskin, 1958). In some respects, this is a bit of sci-fi fancifulness typical of the era when imagining trips to the moon was a common cinematic endeavor. The film is distinguished by the fact that it doesn’t imagine a bold future, instead reaching back to the distant past for its interplanetary adventure. It adapts an 18th century Jules Verne novel, sticking with the era of its publication. This means American entrepreneurs enriched by profits generated during the Civil War pulling together an unlikely launch into space. The action is turgid and the characterization … Continue reading Brooks, Haskin, Ritt, West, Zinnemann

FilmLeave a comment

Demme, Hitchcock, Ramis, Scott, Wyler

Dan Seeger

Roman Holiday (William Wyler, 1953). It would take some dedicated hunting through Hollywood history to find another star turn that justifies hanging an entire film upon it as much as the one at the center of this lovely wisp of a romantic comedy. It’s really all about Audrey Hepburn and her swoon-inducing performance as a pampered princess who steals away from her privileged, cloistered world to indulge in a burst of freedom across the streets of Rome. She’s utterly charming in a guileless way, but it’s the levels of personality that she injects into the performance that really sell the … Continue reading Demme, Hitchcock, Ramis, Scott, Wyler

FilmLeave a comment

Friedkin, Jeffs, Kopple, Laughton, Pollock

Dan Seeger

The Night of the Hunter (Charles Laughton, 1955). This tale of nefarious preacher with LOVE and HATE tattooed across his knuckles is often cited as of the finest films ever directed by an actor, at least someone far more noted for their acting. I wouldn’t make that claim, but it sure is a wild, offbeat ride. In particular, it’s unbelievably dark given that copyright date, putting the film’s children in constant, gloomy danger as it send them fleeing from the money-lusting villain. The film has a grand theatrical sense, pulling off impactful bits involving distant silhouettes and stark lighting effects … Continue reading Friedkin, Jeffs, Kopple, Laughton, Pollock