Latest movie you saw..

French Kiss

Made in 1995. I just watched this and fell in love! Everything about it was entrancing! Superb acting, fantastic scenery, and you have got to love that soundtrack! I absolutely love Kevin Kline, and he nailed it again in French Kiss. Can I help it if I like him as a French man? Meg Ryan was astoundingly funny. Comedic performances were perfect and the romantic side was so sweet it will break your heart! If you get the chance to see this, whether it be on TV or whatever, watch it. It will make you laugh out incredibly loud and cry at its ending. I give this a 10 out of 10. But, then again, that is just me. You'll have to check this out to be the judge of that yourself.
 
While You Were Sleeping

Made in 1995. A sweet and gentle, romantic film about how love sometimes slips in through the window rather than coming straight in through the front door, it's the one that put star Sandra Bullock into contention with Meg Ryan for the crown of America's Sweetheart. And with good reason, because in `While You Were Sleeping,' directed by Jon Turteltaub, Bullock emerges as the epitome of the modern day `girl next door,' in the best and most sincere sense. This is a film that explores one of the basic tenets of the human condition, the need to love and be loved, and makes no bones about what it's trying to accomplish along the way. Clearly, the filmmakers want to make you feel good and entertain you at the same time. And they succeed on both fronts.
 
Double Wedding

Made in 1937. Watching this movie was like looking through a beautiful, whimsical kaleidoscope. So many facets are perfect: Loy at her peak of gorgeous, wry sophistication; the Deco sets; Powell's gentle irony; the relationships of various characters and the consistency of dialog; even the physical pranks were great--and I don't like slapstick all that much! This film reminded me of Shop Around the Corner. It wasn't as good, that's a tall order, but there was something bigger going on in this movie than just the usual romantic farce. I have to admire the writer's and director's ability to pull off a romantic comedy between two such diametrically opposed people. The heroine is the quintessential control freak; the hero, as laid back and tolerant as a hippie of the sixties. No one apologizes for their quirks, which is refreshing, and neither of them had to change all that much to make the ending work. And as far as acting goes, Loy and Powell don't hold back any punches (literally!) whenever the two characters collide. It is amazing to watch them knowing how they were reacting to Harlow's death during shooting. I love finding old movies, and this one is buried treasure.
 
Love Letters

Made in 1945. When a man asks another man more facile with words to do his wooing for him, there are always complications. The man with no talent for writing marries the girl, confesses one night he didn't write the letters and ends up with a knife in his back. The writer of the letters fell in love with the woman he wrote to and wants to become her second husband even if she did murder husband number one. Singleton doesn't remember the murder or anything about the first 22 years of her life as Victoria Remington. Then at her second wedding she wonders why she said "I take you, Roger," instead of "I take you, Allen."

This is one of the 4 (successful) pairings of Joseph Cotten and Jennifer Jones. The latter receiving 3 Oscar nominations for her (their?) efforts (including this one). The debonair Cotten and the delightful Jones are perfectly cast. The title of the film provides the "connecting thread" for our seemingly doomed lovers. This mystery/love story is a "grabber" beginning to end. The film is a cornucopia of actions and emotions. The English countryside is very effective for this tale. The inevitability of their fates is obvious, but it's a very long and twisted road to get there....... and a very enjoyable road too..
 
Forever and a Day

Made in 1943. In 1943, while the War still raged, an incredible assortment of British performers living in Hollywood got together to make a morale booster of a movie to top all the others. Joining in the production was a first class collection of producers, directors & writers. Although seldom viewed now, FOREVER AND A DAY is a wonderful film, absolutely not to be missed.The story is of 140 years in the life of a London house, right up to the Blitz, and of the two families - sometimes feuding, sometimes merging - that called it home. Its endurance through history's onslaughts becomes a symbol of the British Nation's resolve to fight anything Hitler could throw against them.

A partial listing of the cast illustrates its richness: Claude Rains, Ida Lupino, Merle Oberon, Ray Milland, Charles Laughton, Elsa Lanchester, Dame May Whitty, Dame Gladys Cooper, Dame Anna Neagle, Sir Cedric Hardwicke, Sir C. Aubrey Smith & Buster Keaton. Together, with many others, they combine to serve up cracking good entertainment.
 
Suspicion

Made in 1941. I didn't know what 'Suspicion' was about when I sat down to watch it, so it was a pleasant surprise to have this story unveiled before me. It begins telling a story of love(or obsession if you will). It is one of the finest depictions I have seen of what being in love with someone you've only spent brief time with can do to you. Hitchcock depicts this all-to-common aspect of life beautifully.

The film then delves into the suspicion that forms in Lina's mind. All the time still paying attention to the initial love that gives strength to the movie. Hitchcock, doing what he does best, builds the suspense. Cary Grant plays this character very well, and I know from the beginning that something fishy is going on with him. I found myself sitting forward, wondering what exactly was going to happen. Was he going to kill Beaky? Was he responsible for her father's death? Would he indeed kill Lina? Thanks to Hitchcock, I didn't know, but I knew it very well could happen. Then came the end. I honestly wish it ended with Grant throwing her out of the car, or at least attempting to. The movie built up too much to that point to settle for this ending. It doesn't seem to fit with the rest of the film. However, the film was very enjoyable throughout that I don't mind it so much.
 
A Matter of Life and Death

Made in 1946. To me A Matter of Life and Death is just that- simply one of the best films ever made. From beginning to end it oozes class. It is stimulating, thought provoking, a mirror to the post war world and the relations between peoples. The cinematography is simply stunning and the effect of mixing monochrome and Technicolour to accent the different worlds works seamlessly. The characters and plot development are near perfect and the attention to detail promotes a thoroughly believable fantasy. No matter how many times I watch the film it never fails to touch me. It makes me smile, it makes me laugh, it makes me think, it makes me cry. It is as fresh today as it was in 1946.

Few movies can be viewed almost 60 years later, yet remain as engrossing as this one. Technological advances have not dated this classic love story. Special effects used are remarkable for a 1946 movie. The acting is superb. David Niven, Kim Hunter and especially Roger Livesey do an outstanding job. The use of Black and White / Color also adds to the creative nature of the movie.
 
Three Blind Mice

Made in 1938. All true romantic comedies have happy endings; otherwise they are not romantic comedies. If I'm not entertained or do not sense good chemistry and witty dialog in the first fifteen minutes, then I turn them off. Three Blind Mice was a last minute decision to watch, but it was billed as a comedy and starred three of my favorites, Loretta Young, Joel McCrea, and David Niven. Surprisingly, I was hooked well before the fifteen minute mark.

I loved the elegant costuming, the plot, the signature dry humor of Joel McCrea, the suaveness and wittiness of David Niven, the twists along the way, the setting, the chivalry, the necessary scheming for this plot, and, especially, the supporting cast. A more classically comic actress might have suited Loretta Young's part, but her elegance made her character credible.Next time you get a chance to see Three Blind Mice, give it a try. It was a pleasant way to spend 90 minutes. If you do not like these actors or the standard romantic comedy, then consider if this genre is really worth your time. Otherwise, I highly recommend it.
 
All About Eve

Made in 1950. Aspiring actress Eve Harrington maneuvers her way into the lives of Broadway star Margo Channing, playwright Lloyd Richards and director Bill Sampson. This classic story of ambition and betrayal has become part of American folklore. Bette Davis claims to have based her character on the persona of film actress Talullah Bankhead. Davis' line "Fasten your seatbelts, it's going to be a bumpy night" is legendary, but, in fact, all of the film's dialog sparkles with equal brilliance.

What a genius Joseph L Manckiewicz was. A literary script that is totally accessible. A melodrama for the thinking man and woman. A film that is as engrossing and entertaining every time you see it. Bette Davis touches all the raw nerves of her mythological career. Anne Baxter never went this far. Thelma Ritter became a sort of icon. Marilyn Monroe gives us a preview of forthcoming attractions as a graduated from the "Copacabana" academy of dramatic arts. Celeste Holm represents us, all of us and George Sanders creates a prototype for a cultured monster that is immediately recognizable. I don't recall another film in which the nature of selfishness is so wittily dissected. A total triumph.
 
Double Indemnity

Made in 1944. This film came out in 1944, the same year David O. Selznick released Since You Went Away (1944). Part of the campaign for the latter film were major ads that declared, "'Since You Went Away' are the four most important words in movies since 'Gone With the Wind'!" which Selznick had also produced. Wilder hated the ads and decided to counter by personally buying his own trade paper ads which read, "'Double Indemnity' are the two most important words in movies since 'Broken Blossoms'!" referring to the 1919 'D.W. Griffith' classic. Selznick was not amused and even considered legal action against Wilder. Alfred Hitchcock (who had his own rocky relationship with Selznick) took out his own ads which read, "The two most important words in movies today are 'Billy Wilder'!"

Double Indemnity is a film which fully embodies its genre, all the classic noir elements are present: venetian blinds, diagonal lines, a femme fatale and a victim of fate. Fred MacMurray takes the central role as victim of fate, Walter Neff; cast against type, MacMurray gives a thoroughly convincing performance as a typical insurance salesman transformed into a calculating killer. The estimable Barbara Stanwyck also delivers a typically faultless performance as the coldhearted and seductive Phyllis Dietrichson who enlists Neff in a plot to kill her husband and cash in on the insurance money. Although this film may seem clichéd today, as many thrillers since have offered similar plot lines, rarely has the story been told so well. For fans of Film Noir, Stanwyck or MacMurray, this is an absolute MUST SEE!
 
Kitty

Made in 1945. This Pygmalion/Grifters hybrid set in 18th Century England does Paramount proud with its sumptuously designed and photographed story of romance greed and deceit. It is the romance (one sided as that might be for most of the film) however that predominates with the opulent costumes, set design and the charm of its stars Paulette Goddard and Ray Milland as bawdy and immoral partners in crime that gives Kitty a ribald charm. Sir Hugh Marcy (Milland), a penniless Henry Higgins with character of even less worth browbeats Cockney Kitty into being a lady which later will get him out of debtors prison and allowing herself to be wife and widow to two wealthy husbands in under a year. All the while she loves the execrable Marcy who remains condescending, yearning for a life of pimpdom ("If I had twelve like you I'd be rich").

Goddard leads the cast with a convincing transition in both nuance and voice even if at first the Eliza Dolittle takes a little getting use to. Milland is an excellent cad with his selfish disdain also beautifully inflected and postured. There's a half dozen supporting performances worth noting with special mention to Reginald Owen and Cecil Kellaway as the artist Thomas Gainsborugh who aides and abets the scam artists. Who would have thought. Everyone does their job well on Kitty and it shows in the sum of its parts that are all excellently honed by this excellently assembled team.
 
Somebody Up There Likes Me

Made in 1956. Paul Newman stars as Rocky Graziano in the middleweight champion's life story, "Somebody Up There Likes Me," directed with spirit by Robert Wise. The film covers Rocky Barbella's young life on the mean streets of New York, made all the meaner by his juvenile delinquent presence and that of his friends. Totally out of control, Barbella steals, runs, and punches his way through his home life, reform school, and prison, including his army stint where he knocks out a corporal and goes AWOL, then assuming the name Graziano. It's not long before his talent is put to good use in the ring. The respectability and success he gains is short-lived, however, when he refuses to take a dive but then fails to report it to the boxing commission or identify the criminals. The film covers Graziano's marriage to his wife of 47 years, Norma, and his historic fights with Tony Zale. Pier Angeli plays the petite but tough Norma, who knows just how to handle her husband; Eileen Heckert is marvelous as Rocky's mother. Harold Stone, as Rocky's disillusioned father, is very good in the difficult role of an unlikeable man with an uneasy relationship with his son. Sal Mineo is effective as Romolo, Rocky's friend from the neighborhood.

James Dean was to play Graziano but after his death, the role went to Paul Newman. Words are not really adequate to describe the young Newman's work in this film. He totally inhabits the character of Graziano and loses what one thinks of as "Paul Newman" in the bargain. One of the hardest accents to do without making it sound phony is a New York one, yet Newman pulls it off with no problem. Though Dean would have been excellent, Newman's portrayal is a treasure. He's angry, sympathetic, scrappy, vulnerable and caring - in short, a flawed human being. It's one of the finest performances on film.
 
Leon (The Professional)

Made in 1994. Luc Besson's movie Léon (The Professional) gives us an intense story which is maximized in potential by the casting of the movie done by Todd Thaler. Every aspect of the movie delivers to the audience and makes an impressive overall package. Jean Reno plays a character named Léon who has learned to repress his emotions in order to perform his job as a "cleaner", or hit-man. His secluded world is shattered by the young girl named Mathilda who lives on the same floor as he does in an apartment building. When she turns to him for help, he learns about living a normal life, even if the circumstances which unite them are far from normal. The performance delivered by then twelve-year old Natalie Portman as Mathilda is nothing short of brilliant. Her ability to relate to others with body movement and facial gestures is matched by few, she really brings raw emotion and believability to a difficult role. Mathilda and Léon are unexpectedly thrown together, but learn to value life from their chance encounter, and how valuable a friendship can be.

Jean Reno as Léon gives us a solemn and calculated character who sets all of his energy on his assignments until he is given something else to care about. Mathilda gives him the daughter that he never had, while Léon serves as a father and friend to her. Gary Oldman, as the corrupt DEA Agent Norman Stansfield, offers the viewers an amazingly wired and electrical performance which pushes the envelope. He moves the story along by his actions. Oldman offers us a memorable portrait of a sadistically obsessed man who stops short of nothing to get what he wants.
 
Avengers: Age of Ultron
Guardians of the Galaxy
Turbo Kid
 
You must log in or register to reply here.

Back
Top