High Anxiety (Mel Brooks, 1977). Following hits spoofing Westerns, classic horror, and silent movies, Mel Brooks turned his attention to the oeuvre of Alfred Hitchcock, even consulting with the master himself on the screenplay. In its first half or so, … Continue reading Then Playing — High Anxiety; To Sleep with Anger; The Professionals
Cinderella (Kenneth Branagh, 2015). It’s grading on the most generous of curves, but as a crass attempt to develop a new revenue stream for a beloved Disney animated class, the live action Cinderella isn’t so bad. It’s certainly a damn sight better than the grotesque senses assault of Tim Burton’s Alice in Wonderland, which basically established this type of cinematic tomb raiding. Similarly, Kenneth Branagh’s directing is more tightly controlled and snappily efficient than anything else he’s done in ages, the stricter corporate oversight perhaps taming his penchant for dragging indulgence. Most of the acting is merely perfunctory, save for … Continue reading Branagh, Brooks, Leigh, McGrath, Trank
#48 — Cat on a Hot Tin Roof (Richard Brooks, 1958) I believe the current consensus is that Cat on a Hot Tin Roof is supposed to be viewed as, at best, a compromised adaptation of the Tennessee Williams play of … Continue reading Top Fifty Films of the 50s — Number Forty-Eight
#32 — In Cold Blood (Richard Brooks, 1967) The Clutter family of Holcomb, Kansas were murdered in their farmhouse home in November, 1959. Author Truman Capote, with his childhood friend Harper Lee in tow, journey to the Midwestern state to … Continue reading Top Fifty Films of the 60s — Number Thirty-Two
#41 — Elmer Gantry (Richard Brooks, 1960) Though Elmer Gantry was released several years before the MPAA ratings system came into being, it was a bit of a trailblazer when it came to warning potential ticket-buyers of potentially challenging content. … Continue reading Top Fifty Films of the 60s — Number Forty-One
The Quiet American (Phillip Noyce, 2002). Occasionally there will be a movie that adheres to a classic narrative structure that is also stolid, humorless and painfully dull that a small but vocal bundle of critics will tout as a dwindling example of cinematic material created for adults. I get that full-time critics were spending the end of 2002 gritting their teeth and covering their eyes while watching supposed comedies and franchise-killing sequels, but they still needed to grade on a helluva curve to find nice things to say about this dire adaptation of the Graham Greene novel. Michael Caine received … Continue reading Brooks, Hansen-Løve, Noyce, Polanski, Teshigahara
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
The Other Boleyn Girl (Justin Chadwick, 2008). Chadwick’s feature directorial debut suffers from many of the problems that make costume dramas one of the most dreaded of film sub-genres. It shoves needlessly complicated castle intrigue to the forefront in place of thoughtful plotting and intricate characterization. It is marked by static visuals that accomplish little more than sustained examination of the efforts of the costume designers and art directors. And actors emote wildly, flinging words aimlessly at one another with little apparent interest in finding depth in the language. Simply, it entirely forgoes imagination and probing details in favor of … Continue reading Like an old late movie show, you’ve seen it all before
Coffee for Two 