The Kingdom (Jamie Foxx, Jennifer Garner), about a terrorist attack on a western housing compound in Riyadh, and the FBI duely investigating.
The film starts off spectacularly well, with flashbacks over a timeline detailing US-Saudi relations setting an informative and detailed background to the plot, and a truly terrifying well-executed terrorist attack at a western housing compound for oil workers. It then rolls at speed into a xenophobic, jingoistic freeride ending in an all too predictable massive gun battle.
The initial character building in the two 'leads', Foxx's FBI agent Fleury and the Saudi police colonel al-Ghazi, is initially quite strong. Agent Fleury is portrayed as a loving father and patriotic agent, while al-Ghazi is a compassionate and committed police chief who winces through his seargent's brutal interrogation (Sgt Haytham, who shot dead two of the killers, is initially suspected in helping them) and is committed at bringing the perpetrators to justice. Sgt Haytham, however, we're never quite sure about - all the way through the film hints are dropped that he's not to be trusted through his facial expressions and cautious loiterings; this, however, comes to nothing, other than just to serve the idea that he's Saudi and therefore not to be trusted.
The rest of the characters, well, meh. The FBI team has Jennifer Garner, who seems to have some sort of connection to an FBI agent killed in the initial attacks, but is never explained. Chris Cooper is the gung-ho, "who gives a sh!t about these raghead's customs and culture" lets-get-em type, and Jason Bateman is just an annoyance. There's the expected angry Saudi National Guard commander, who is introduced and goes nowhere, and the oppulent, self-indulgent prince, who pops up from time to time but again is largely superflous to what's going on. The terrorist ringmaster is one Abu Hamza, a name familiar to Britons as the hook-handed extremist preacher from Finnsbury Park, but in this film is an entirely unrelated terrorist ringleader. I'm quite sure the name choice is no coincidence.
While the relationship between Fleury and al-Ghazi grows and becomes rather believable, the Saudi police and investigative team are clearly incompetent, backward, reticent to assist and their customs (such as the horror shown when Garner's character touches a dead muslim) are portrayed with a negative lilt. Indeed, when the FBI team first arrive, it is mused aloud that "they're in the jungle now". The Saudi incompetence is backed up by stunningly obvious investigative procedures being overlooked, like taking 3 days to find out what type of vehicle had exploded (courtesy of FBI) and only then noting that the ambulance used had been reported stolen, and not thinking to search the only vantage point the attack could've been filmed from.
All the while I was expecting Haytham to be a turncoat, one of the four police SUV's in the FBI convoy DID however contain a bunch of turncoats, none of whom we're ever introduced to (of four SUVs, one is blown up, the other carries the FBI team, the fourth is full of terrorsts - where did the second one go?). By the time the massive firefight breaks out at the end (which takes remarkably long for the Saudi police to turn up, in a neighbourhood that seems to be portrayed as a "no go" area - which, in relatively crime free Riyadh with a fearsome and lethal police force, I doubt) you know it's going to be the decent Saudi that gets the bullet.
The closing statements, of what was whispered at the start of the film to Garner's character from Foxx, and what was whispered from the dying Hamza to his grandson at the end, were almost identical, and just highlighted the futility of the story.
A great promising start, terrific set pieces, but the characters, largely annoying as they mostly are, go nowhere and the only one you end up caring about is al-Ghazi.
If somebody told me a romantic comedy with Peter Sellers and Goldie Hawn might fly, I'd be adverse to counter it with, what!? But these two did have very good chemistry. Sellers plays an older lothario type and famous television chef. The first part of the film deals with his bedding ways as he goes hopping from one to another. Seducing a bride on her wedding day while her husband cuts the cake downstairs! It also should be noted his bachelor pad must've been seen by Mike Myers. A remote that does everything.
Things change when he runs into 19 year old hippie chick Goldie who resembles her Rowan & Martin's Laugh-In look. Goldie doesn't fall for all those lines and moves that seem to work well with others as she counters every question with a question.
You know what's going to happen after the drummer boyfriend kicks her out and she finds solace with Peter. He takes her on a trip to France and love blossoms.
Despite the terrible song, Arrabella Cinderalla, which I muted everytime it played, this is nice little gem with funny bits. Old flame versus new being the highlight, as Sellers' age is used effectively as a humorous starting point. One wishes they made more together and I wonder what Hawn's recollection of PS is today.
I was going to post an image, but the first few pages on google images have pics so dull and portrait style... it's not how I recall it. I'd seen this film 10 years ago on standard telly but reading so much about how wonderful it is I thought I'd better have another look. Wow! On widescreen it's the business. I liked in particular how the period detail looked authentic, none of this shiny vintage car obviously borrowed from the museum or someone's personal collection. I guess it helps that for the first 15 minutes or so you don't know when it is set or anything, they let the characters establish themselves first.
It also helps that the ones who die during the course of the film aren't hugely sympathetic so you don't get sore about it. Really, Pacino takes the acting honours over Brando, not least because it's way before Pacino adopted his hoo-ha! personality. I guess both actors became stereotypes in the end. I loved the scenes in Sicily, the reason Mikey went out there was lost on be before. There are great action scenes but of course it's not an action film. Wonderful stuff, my only gripe is that I lost track of who was who out of the opposing gangsters near the end; I got the feeling maybe a few scenes were cut that would have made it clearer.
I liked in particular how the period detail looked authentic, none of this shiny vintage car obviously borrowed from the museum or someone's personal collection.
Indeed. The art direction, set design and costuming are all superb and enormously accurate.
I guess it helps that for the first 15 minutes or so you don't know when it is set or anything, they let the characters establish themselves first.
I love that it starts so casually. It opens with two characters talking, the matter of which is quite brutal, yet the manner of the discussion is low-key. Plus, by opening the film with "I believe in America," Coppola immediately frames the film as an immigrants' tale.
Really, Pacino takes the acting honours over Brando, not least because it's way before Pacino adopted his hoo-ha! personality.
IMO the best performance of the film was delivered by the great Robert Duvall as Tom Hagen. Duvall aside, I really think that that Brando and Pacino were equally brilliant, although I think both delivered better performances in other films. Brando was awesome in The Godfather, so this is in no way a criticism of his performance, but I think his best performance was in On the Waterfront; again, it's not a criticism of his performance in The Godfather, as his portrayal of Vito remains IMO among the very greatest performances of all time and cemented Brando's status as arguably among the best 2 or 3 greatest actors of all time. As for Pacino, he too was extraordinary in The Godfather, and it was certainly among his two or three best ever performances, but I think he was equally good, if not better, in The Godfather Part II.
Amazing to consider that from 1972 to '75, Pacino made the first two Godfather films, Serpico and Dog Day Afternoon.Serpico arguably featured the weakest of his performances from this period, yet he was still fantastic, while he was IMO extraordinary in both the first two Godfather films and incredible in Dog Day Afternoon. Amazing.
I guess both actors became stereotypes in the end.
Yeh, I think it's a shame what happened to both actors. During the past 15 years, Pacino has IMO produced only a couple of performances which I would describe as great, while Brando didn't do much at all in the last decade of his life.
There are great action scenes but of course it's not an action film.
Absolutely. It's such an exciting film. I was quite shocked at uni some years ago, when we saw it, I asked a fellow student who saw it for the first time what she thought of it. Her response? 'Boring.' I don't understand it. One doesn't have to love, or even like, The Godfather, but to call it 'boring' utterly befuddles me.
my only gripe is that I lost track of who was who out of the opposing gangsters near the end; I got the feeling maybe a few scenes were cut that would have made it clearer.
I don't think it makes any difference. Whether you recognised all of the gangsters who got killed at the end, isn't important. What's more important is that Michael was taking his vengeance, and the time that he choose to do it.
As I said, NP, The Godfather is my all-time favourite film, and I am delighted that you love it.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
I didn't find Sonny too likeable, he seemed a bit like a punk, too full of himself. The wife? In a way, this was Mikey's sell-out moment, as he doesn't know her, it's just a carnal thing. I think she's presented as a bit annoying to the audience, tooting on the horn when we hear some tragic news. I know it's not her fault, but I get the feeling we're not meant to like her too much. BTW As you're a fan, is it true that Coppola redid the film as a TV series, with extra footage inserted?
The wife? In a way, this was Mikey's sell-out moment, as he doesn't know her, it's just a carnal thing.
Yes, I agree to a limited extent. He didn't really know her, and she wasn't the love of his life (aka Kay) but I do think he loved her. His reaction when he realised the car was about to blow up indicated to me that he did have deep feelings for her.
I think she's presented as a bit annoying to the audience, tooting on the horn when we hear some tragic news. I know it's not her fault, but I get the feeling we're not meant to like her too much.
That's an interesting take on it. The thing is, I don't think that the film's treatment of women (and ethnic women in particular) is all that amazing, :v so I didn't see a difference between her and Connie, for example.
BTW As you're a fan, is it true that Coppola redid the film as a TV series, with extra footage inserted?
It is indeed true. He actually merged the first two films together, in chronological order, and added extra footage to the second film. I don't know if you've seen the second film before, or if you remember it, but I can tell you about the extra footage if you PM me.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
The wife? In a way, this was Mikey's sell-out moment, as he doesn't know her, it's just a carnal thing. Yes, I agree to a limited extent. He didn't really know her, and she wasn't the love of his life (aka Kay) but I do think he loved her. His reaction when he realised the car was about to blow up indicated to me that he did have deep feelings for her.
Nah... that was for the car! )
Pop quiz hot shot... what's the Bond link to The Godfather?
The wife? In a way, this was Mikey's sell-out moment, as he doesn't know her, it's just a carnal thing. Yes, I agree to a limited extent. He didn't really know her, and she wasn't the love of his life (aka Kay) but I do think he loved her. His reaction when he realised the car was about to blow up indicated to me that he did have deep feelings for her.
Pop quiz hot shot... what's the Bond link to The Godfather?
I have no idea. ?:)
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Pop quiz hot shot... what's the Bond link to The Godfather?
I have no idea. ?:)
Big film buff you are! {:)
Given Napoleon's unfortunate fascination with NSNA, I'd say Talia Shire, who was married to NSNA produce Jack Schwartzman.
As for Michael's unfortunate first wife, I always viewed her as the love of his life, taken from him too soon. He forgot about Kate pretty quickly when he met her and until her death, Michael seemed perfectly happy to remain in Sicily with her and leave his family behind. It was only after she was blown to bits that he decided to return to America, take over the family business and allow his ruthless side to emerge.
Pop quiz hot shot... what's the Bond link to The Godfather?
I have no idea. ?:)
Big film buff you are! {:)
Given Napoleon's unfortunate fascination with NSNA, I'd say Talia Shire, who was married to NSNA produce Jack Schwartzman.
;% I'm afraid my cinematic knowledge doesn't extend to the marital relations of actors like Talia Shire :v (whom I like alot, but is not one of my favourites.)
As for Michael's unfortunate first wife, I always viewed her as the love of his life, taken from him too soon. He forgot about Kate pretty quickly when he met her and until her death, Michael seemed perfectly happy to remain in Sicily with her and leave his family behind. It was only after she was blown to bits that he decided to return to America, take over the family business and allow his ruthless side to emerge.
{[] That's a brilliant interpetation. I don't agree, but nonetheless that's a very impressive interpretation. -{ (If I sounded patronising in any way, I apologise, as it wasn't my intention.)
Anyway, in all seriousness, I have no doubt that Michael loved his first wife, but she wasn't around long enough for me to get the impression that she was really the love of Michael's life. While he did go to Sicily, I still think that Kay was the love of his life, as she was the one woman who could stand up to him, although she later discovered, that in doing so carried a heavy burden. I can't imagine Apollonia asking him if he had killed Carlo, and I can't imagine him answering her. I guess, it comes down to how one defines 'love of his life.' For me, it signifies one's soul mate; the person one was destined to marry or to be with, and in the case of Michael, although he did go to Sicily and was seemingly happy there, he was always IMO destined to end up with Kay; thus she was the love of his life. Which makes Michael's betrayal of Kay in The Godfather Part II all the more devastating; for she was not simply the mother of his children, but IMO the love of his life.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Le Samourai (1967), Jean-Pierre Melville's film about a Paris hit man (Alain Delon) who lives life much like those ancient warriors of Japan. Absolutely terrific--the first 40 minutes or so, detailing the setup for the hit, the execution, and the killer's dealings with the police, are so taut and suspenseful you'd think Hitchcock was behind the camera. I highly recommend it.
Vox clamantis in deserto
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
FWIW...Appollonia was the perfect traditional Sicilian wife for Michael, which IMO is what he was after...someone who would NEVER ask about the business---just as Mama Corleone never asked Vito.
I believe Appollonia was the love of Michael's life. Kaye is a metaphor for his failed dreams and aspirations...which is why GFII strikes every chord so perfectly, as he slowly spirals into a private hell.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Right on. It is hard to talk of a "soul mate" when you are talking about a damned soul. There are a few of these in this story... These people are screwed....This is what makes these movies heart breaking...
Correctamondo regards Never Say Never Again, a masterpiece every bit as good as The Godfather.
Haven't read the other comments; spoilers. But another surprise about TG was the Las Vegas stuff, I loved all that and could have done with more of it. Read Rat Pack Confidential for more on that Sinatra era stuff.
My fave bit in TG that had be laughing out loud was in Sicily. Mikey is courting the young girl, we see them on a supposedly intimate romantic stroll. The camera pans back and we see a row of Sicilian housefraus in a line some 15 metres behind, to keep an eye on him so nobody does anything untoward to the girl! Then the camera pulls back more and we see Mikey's bodyguards following behind them, so nobody gets to Mikey either! It's a laugh on top of a laugh.
The Man Who Knew Too Much
Poor early Hitchcock thriller enlivened by some excellent scenes and Peter Lorre, who had a line in playing sheepish, sympathetic villains. It's about a couple abroad who find their daughter kidnapped, to prevent them telling about an upcoming assassination in London. It was remade by Hitchcock in the 1950s with James Stewart and Doris Day.
This film is very dated and the couple aren't played by name stars; they're quite bland and forgettable. The trauma of the kidnap is well played out, but then there's some silly humour as the husband tries to track down the spies, it's a bit Enid Blyton and not at all convincing. Credit to Hitch though, he grabs you from the very first minute, and some of the villains are brilliantly cast - you just hate them as soon as look at them.
The remake wasn't great either, I think Hitch is better in these set-ups when it's just one lone guy in over his head, a couple tends to dilute things.
FWIW...Appollonia was the perfect traditional Sicilian wife for Michael, which IMO is what he was after...someone who would NEVER ask about the business---just as Mama Corleone never asked Vito.
I believe Appollonia was the love of Michael's life. Kaye is a metaphor for his failed dreams and aspirations...which is why GFII strikes every chord so perfectly, as he slowly spirals into a private hell.
While I don't agree about Apollonia being the love of his life, I do think that describing Kay (at least partly) as a metaphor for Michael's 'failed dreams and aspirations' is sadly all too true.
Right on. It is hard to talk of a "soul mate" when you are talking about a damned soul. There are a few of these in this story... These people are screwed....This is what makes these movies heart breaking...
Indeed. Looking back at my posts, I think I was all-too willing in describing Kay, or anyone else, as the love of Michael's love. I think that Kay came closer to it, in terms of what Michael allowed her to do, but to have a soul mate, I think you need to be willing to embrace them, and circusmstances and his tragic flaw did not IMO allow him to do so.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Al Pacino's Michael Corleone in both movies is what acting should be all about. An awesome subtle introverted character with multilayered personality. No over the top histrionics, no scenery chewing, and no unintentional opportunities ripe for parody. Never has the phrase "less is more" been more appropriate.
My all time favorite moment occurs after retrieving the hidden firearm. The moment builds a torturous Mount Everest sized piece of suspense accented by the train in the background. Probably the best cinema ever right there.
Like The Godfather, Giuseppe Tornatore's classic is on many a Top 10 list, reason enough to be wary, because if you don't like it you'll feel out of sorts with the world. However, I loved this. I saw Tornatore's Malena and didn't much like it - full of Italian stereotypes who were meant to be funny, and while this too had a few of 'em, it focussed more on the friendship between a fatherless kid in post-war Southern Italy and the projectionist at his local fleapit cinema, the sole source of entertainment in the small town.
I could nitpick it but don't much want to because it did move me. Morricone's score is affecting, even if you note similarities between his work on The Untouchables. It turns out the Director's Cut is a fair bit different to the original, with more ambivalence and a bittersweet ending. I think if you're older you'd prefer the DC. It's a lovely looking film in any case.
Al Pacino's Michael Corleone in both movies is what acting should be all about. An awesome subtle introverted character with multilayered personality. No over the top histrionics, no scenery chewing, and no unintentional opportunities ripe for parody. Never has the phrase "less is more" been more appropriate.
My all time favorite moment occurs after retrieving the hidden firearm. The moment builds a torturous Mount Everest sized piece of suspense accented by the train in the background. Probably the best cinema ever right there.
Agreed. -{ That moment as we close in tight on Michael's face as he prepairs for what is next is probably as good as acting can get. Truly masterful. B-)
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
Quite a diverse selection from a weekend visit to the video store...
"Paul Blart: Mall Cop"
My boys really enjoyed this one, and I'll admit it had its moments. Kevin 'King of Queens' Smith as an overweight, perrenial loser whose hypoglycemia (haha!) cripples his shot at the New Jersey State Police Academy. He's an unarmed security guard at the local mall, and...wow! An attempted robbery/hostage situation ensues. I can't deny there are some good laughs here...but as I sat and watched it ,I thought, incredulously: this script got produced 8-) 2 out of 5 stars.
"Knowing"
Starring Nicholas Cage as a astronomy/mathematics professor whose son attends an elementary school where a recently-unearthed 'time capsule' from 1959 reveals a numerical riddle about the impending
...END OF THE WORLD
I have to admit, I enjoyed the hell out of this one---the VFX are cool, and I found the story riveting---until the Third Act, where IMRO it unravels somewhat. Still, great work from Cage, and from Rose (almost in CR) Byrne as the daughter of a woman who had a gift---or a burden. The individual characters, and their stories, lift this one up and away from its more pedestrian genre competition. 3.5 out of 5 stars.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Starring Nicholas Cage as a astronomy/mathematics professor whose son attends an elementary school where a recently-unearthed 'time capsule' from 1959 reveals a numerical riddle about the impending
...END OF THE WORLD
I have to admit, I enjoyed the hell out of this one---the VFX are cool, and I found the story riveting---until the Third Act, where IMRO it unravels somewhat. Still, great work from Cage, and from Rose (almost in CR) Byrne as the daughter of a woman who had a gift---or a burden. The individual characters, and their stories, lift this one up and away from its more pedestrian genre competition. 3.5 out of 5 stars.
Loeffs, you are spot on with your review of Knowing. I saw it in the theater and thought it might be the best film I has seen in a long time until the third act, where as you said it goes just a little of course. A couple of the scenes in the film blew me away. I think Sci Fi fans like Tony would enjoy this film.
Rose Byrne was very good, and I still think she would have made a much better Vesper.
Frankenstein, the 1931 James Whale classic. Whale went on to direct other horrors including The Invisible Man, but he also did the original and best Show Boat.
I enjoyed it, the opening in a graveyard is wonderfully creepy (though this isn't a film to watch if a loved one has just passed away). From then on it proceeds in somewhat predictable fashion, and while Colin Clive is very good as the scientist Frankenstein, you're half expecting Peter Cushing or even Gene Wilder to show up. The film belongs to Boris Karloff's monster, and the attitude towards it is oddly sympathetic, a bit like Fritz Lang's M, in that we have a creature not responsible for its own actions hounded to its death by a vengeful community. The finale is superb.
In some ways the film is of its time; its hard to feel the fear today as you just think, why can't they take him out with guns? But the story taps into the fear of a defenceless 19th century village tormented by a bogeyman. Today what the Monster does to the little girl, and by accident what's more, is just not on a par with today's vile bogemen.
BTW, on lovefilm, the rental service, I am a 'highly rated reviewer'.
I was proud of this, until I saw a review by another 'highly rated reviewer', for The Godfather. It went like this:
OK
ITS NOT 4 ME BUT IF U LIKE THIS KIND OF FILM A MUST
One star.
Terrible. It reminds me of a letter to a famous critic, attacking him for liking a particular film, which the letter writer referred to as 'boring' and 'crap.' 8-)
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
the attitude towards it is oddly sympathetic, a bit like Fritz Lang's M, in that we have a creature not responsible for its own actions hounded to its death by a vengeful community. The finale is superb.
If my memory serves me well, it's pretty faithful to the novel. In the novel, the monster is presented in a sympathetic and tragic light. The novel doesn't demonise him, unlike many other monster novels where the monster is presented as the spawn of Satan or something.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
Quentin Tarentino directed World War II movie that weaves three separate stories into one. The film heavily promoted Brad Pitt as the leader of a small group of Jewish soldiers who carry out a campaign of terror on Nazi troops by killing and literally scalping them. But , his is only one story, we also have German actor Christoph Waltz, who is marvelous as SS Colonel Hans Landa, aka The Jew Hunter and French actress Melanie Laurent who does a wonderful job of underplaying her role as Shosanna a French Jew whose family was killed by Colonel Landa.
The film is long and at times you feel the length of the film as I found the pacing a little uneven, just when I felt the film started to gain momentum, it would slow down. Tarentino uses his familiar extreme angles and close ups to good effect without over doing it and as with most his films is very inventive with the music to add atmosphere. The film is also, in typical Tarentino fashion, very gruesome and had some scenes I had to turn away from. As I mention previously, all the major actors are very good as is Diane Kruger as a German actress who is actually a double agent for the allies.
I can only give this film a moderate thumbs up as I found it overly long and was disappointed by the ending which brings all the main characters into the same building, but fails to deliver a satisfying ending. If you're a Tarentino fan you might want to check it out, but others can wait for the DVD,
Russell Crowe and Ben Affleck political thriller which despite some minor plot holes is quite entertaining. Ben Affleck is an up and coming U. S. Congressman investigating a soldiers for hire corporations that has been receiving large Defense Department appropriations. Crowe is an old fashion investigative newspaper journalist and former college roommate of Affleck. While Crowe is working a murder story he stumbles upon evidence that the suicide of one of Affleck's top staffers may actually have been murder. From there the story twists and turns into a major conspiracy with Crowe trying to work the story the old fashion way, verifying sources, etc, while Rachel McAdams the new on-line reporter wants to publish every revelation confirmed or not. Helen Mirren is along for the ride as the manager of the paper under pressure from corporate bosses to sell papers.
The acting is good, the story is timely and compelling, and the film is entertaining. So a thumbs up from me, definitely worth a rental.
I was quite disappointed with this film. While I never expected it to be as good as a film like All the President's Men, I had hoped it would have been alot better, as it looked great on paper, yet IMO it seemed as if the cast and crew were simply going through the motions. That said, I did enjoy the film, however I didn't come away nearly as satisfied as I had hoped.
I recently re/watched three films. I won't say too much about each film.
1)The September Issue. A look at the making of a special issue of Vogue, and at Anna Wintour in particular. Wintour is the editor-in-chief of American Vogue, and was the inspiration for Meryl Streep's character in The Devil Wears Prada. Wintour is an extremely stylish woman who has been criticised for being cold and emotionally distant. Personally, however, I think it's nonsence, as she acts no differently to men who are in similar positions of power in the business world. Rather, IMO, she is a fascinating woman, who is regarded by many to be the most powerful person in international fashion.
The September Issue is interesting as an insider look at the world of fashion (and some of the designs are beautiful), but as someone who isn't overly interesting in fashion, I was, for lack of a better word, bored at times. I would recommend it, but only to those who are interested in fashion. Those who are not would be advised to approach it with caution. I would not advise them to stay away as I do not believe that those who are not interested, would not find anything to like. As I said, I'm not all that interested in fashion, and it was interesting to see how a high-profile magazine operates. But I'm in no rush to see it again.
2)Beautiful Kate. A beautiful Australian film about a man returning home to see his dying father in which family secrets are revealed. It's a superb film which is less about the secrets than it is about the relationship between a son and his father, and about coming to terms with the past. Directed by actress Rachel Ward (The Thorn Birds), and featuring Brian Brown, it is perhaps a typical Aussie film as it isn't particularly cheerful or fun. However it's completely worth it. Its subject matter is difficult, but is handled in a tasteful and delicate manner. In a great year for Australian films, this was among the best. I would most certainly recommend it.
3)Shrek the Third. This was on television last week, and I rewatched it. I had previously seen it at the cinemas, and this is, by far, my second favourite Shrek film. I love it. While not as good as the original, it is alot more creative, freer, better written, more focused and much more entertaining than the second film. The first film was a masterpiece, the second film was a disappointment, while the third film was a joy.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
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The film starts off spectacularly well, with flashbacks over a timeline detailing US-Saudi relations setting an informative and detailed background to the plot, and a truly terrifying well-executed terrorist attack at a western housing compound for oil workers. It then rolls at speed into a xenophobic, jingoistic freeride ending in an all too predictable massive gun battle.
The initial character building in the two 'leads', Foxx's FBI agent Fleury and the Saudi police colonel al-Ghazi, is initially quite strong. Agent Fleury is portrayed as a loving father and patriotic agent, while al-Ghazi is a compassionate and committed police chief who winces through his seargent's brutal interrogation (Sgt Haytham, who shot dead two of the killers, is initially suspected in helping them) and is committed at bringing the perpetrators to justice. Sgt Haytham, however, we're never quite sure about - all the way through the film hints are dropped that he's not to be trusted through his facial expressions and cautious loiterings; this, however, comes to nothing, other than just to serve the idea that he's Saudi and therefore not to be trusted.
The rest of the characters, well, meh. The FBI team has Jennifer Garner, who seems to have some sort of connection to an FBI agent killed in the initial attacks, but is never explained. Chris Cooper is the gung-ho, "who gives a sh!t about these raghead's customs and culture" lets-get-em type, and Jason Bateman is just an annoyance. There's the expected angry Saudi National Guard commander, who is introduced and goes nowhere, and the oppulent, self-indulgent prince, who pops up from time to time but again is largely superflous to what's going on. The terrorist ringmaster is one Abu Hamza, a name familiar to Britons as the hook-handed extremist preacher from Finnsbury Park, but in this film is an entirely unrelated terrorist ringleader. I'm quite sure the name choice is no coincidence.
While the relationship between Fleury and al-Ghazi grows and becomes rather believable, the Saudi police and investigative team are clearly incompetent, backward, reticent to assist and their customs (such as the horror shown when Garner's character touches a dead muslim) are portrayed with a negative lilt. Indeed, when the FBI team first arrive, it is mused aloud that "they're in the jungle now". The Saudi incompetence is backed up by stunningly obvious investigative procedures being overlooked, like taking 3 days to find out what type of vehicle had exploded (courtesy of FBI) and only then noting that the ambulance used had been reported stolen, and not thinking to search the only vantage point the attack could've been filmed from.
All the while I was expecting Haytham to be a turncoat, one of the four police SUV's in the FBI convoy DID however contain a bunch of turncoats, none of whom we're ever introduced to (of four SUVs, one is blown up, the other carries the FBI team, the fourth is full of terrorsts - where did the second one go?). By the time the massive firefight breaks out at the end (which takes remarkably long for the Saudi police to turn up, in a neighbourhood that seems to be portrayed as a "no go" area - which, in relatively crime free Riyadh with a fearsome and lethal police force, I doubt) you know it's going to be the decent Saudi that gets the bullet.
The closing statements, of what was whispered at the start of the film to Garner's character from Foxx, and what was whispered from the dying Hamza to his grandson at the end, were almost identical, and just highlighted the futility of the story.
A great promising start, terrific set pieces, but the characters, largely annoying as they mostly are, go nowhere and the only one you end up caring about is al-Ghazi.
If somebody told me a romantic comedy with Peter Sellers and Goldie Hawn might fly, I'd be adverse to counter it with, what!? But these two did have very good chemistry. Sellers plays an older lothario type and famous television chef. The first part of the film deals with his bedding ways as he goes hopping from one to another. Seducing a bride on her wedding day while her husband cuts the cake downstairs! It also should be noted his bachelor pad must've been seen by Mike Myers. A remote that does everything.
Things change when he runs into 19 year old hippie chick Goldie who resembles her Rowan & Martin's Laugh-In look. Goldie doesn't fall for all those lines and moves that seem to work well with others as she counters every question with a question.
You know what's going to happen after the drummer boyfriend kicks her out and she finds solace with Peter. He takes her on a trip to France and love blossoms.
Despite the terrible song, Arrabella Cinderalla, which I muted everytime it played, this is nice little gem with funny bits. Old flame versus new being the highlight, as Sellers' age is used effectively as a humorous starting point. One wishes they made more together and I wonder what Hawn's recollection of PS is today.
Tailor of Panama-fantastic to see Brosnan shed his Bond persona fully.
I was going to post an image, but the first few pages on google images have pics so dull and portrait style... it's not how I recall it. I'd seen this film 10 years ago on standard telly but reading so much about how wonderful it is I thought I'd better have another look. Wow! On widescreen it's the business. I liked in particular how the period detail looked authentic, none of this shiny vintage car obviously borrowed from the museum or someone's personal collection. I guess it helps that for the first 15 minutes or so you don't know when it is set or anything, they let the characters establish themselves first.
It also helps that the ones who die during the course of the film aren't hugely sympathetic so you don't get sore about it. Really, Pacino takes the acting honours over Brando, not least because it's way before Pacino adopted his hoo-ha! personality. I guess both actors became stereotypes in the end. I loved the scenes in Sicily, the reason Mikey went out there was lost on be before. There are great action scenes but of course it's not an action film. Wonderful stuff, my only gripe is that I lost track of who was who out of the opposing gangsters near the end; I got the feeling maybe a few scenes were cut that would have made it clearer.
Roger Moore 1927-2017
Indeed. The art direction, set design and costuming are all superb and enormously accurate.
I love that it starts so casually. It opens with two characters talking, the matter of which is quite brutal, yet the manner of the discussion is low-key. Plus, by opening the film with "I believe in America," Coppola immediately frames the film as an immigrants' tale.
IMO the best performance of the film was delivered by the great Robert Duvall as Tom Hagen. Duvall aside, I really think that that Brando and Pacino were equally brilliant, although I think both delivered better performances in other films. Brando was awesome in The Godfather, so this is in no way a criticism of his performance, but I think his best performance was in On the Waterfront; again, it's not a criticism of his performance in The Godfather, as his portrayal of Vito remains IMO among the very greatest performances of all time and cemented Brando's status as arguably among the best 2 or 3 greatest actors of all time. As for Pacino, he too was extraordinary in The Godfather, and it was certainly among his two or three best ever performances, but I think he was equally good, if not better, in The Godfather Part II.
Amazing to consider that from 1972 to '75, Pacino made the first two Godfather films, Serpico and Dog Day Afternoon.
Yeh, I think it's a shame what happened to both actors. During the past 15 years, Pacino has IMO produced only a couple of performances which I would describe as great, while Brando didn't do much at all in the last decade of his life.
Ah yes, they were wonderful. :x (That smiley is mostly reserved for his first wife, however the scenes in Sicily really were fantastic.)
Absolutely. It's such an exciting film. I was quite shocked at uni some years ago, when we saw it, I asked a fellow student who saw it for the first time what she thought of it. Her response? 'Boring.'
I don't think it makes any difference. Whether you recognised all of the gangsters who got killed at the end, isn't important. What's more important is that Michael was taking his vengeance, and the time that he choose to do it.
As I said, NP, The Godfather is my all-time favourite film, and I am delighted that you love it.
I didn't find Sonny too likeable, he seemed a bit like a punk, too full of himself. The wife? In a way, this was Mikey's sell-out moment, as he doesn't know her, it's just a carnal thing. I think she's presented as a bit annoying to the audience, tooting on the horn when we hear some tragic news. I know it's not her fault, but I get the feeling we're not meant to like her too much. BTW As you're a fan, is it true that Coppola redid the film as a TV series, with extra footage inserted?
Roll on Godfather II...
Roger Moore 1927-2017
Yes, I agree to a limited extent. He didn't really know her, and she wasn't the love of his life (aka Kay) but I do think he loved her. His reaction when he realised the car was about to blow up indicated to me that he did have deep feelings for her.
That's an interesting take on it. The thing is, I don't think that the film's treatment of women (and ethnic women in particular) is all that amazing, :v so I didn't see a difference between her and Connie, for example.
It is indeed true. He actually merged the first two films together, in chronological order, and added extra footage to the second film. I don't know if you've seen the second film before, or if you remember it, but I can tell you about the extra footage if you PM me.
Enjoy!
Nah... that was for the car!
Pop quiz hot shot... what's the Bond link to The Godfather?
Roger Moore 1927-2017
I have no idea. ?:)
Big film buff you are!
Given Napoleon's unfortunate fascination with NSNA, I'd say Talia Shire, who was married to NSNA produce Jack Schwartzman.
As for Michael's unfortunate first wife, I always viewed her as the love of his life, taken from him too soon. He forgot about Kate pretty quickly when he met her and until her death, Michael seemed perfectly happy to remain in Sicily with her and leave his family behind. It was only after she was blown to bits that he decided to return to America, take over the family business and allow his ruthless side to emerge.
;% I'm afraid my cinematic knowledge doesn't extend to the marital relations of actors like Talia Shire :v (whom I like alot, but is not one of my favourites.)
{[] That's a brilliant interpetation.
Anyway, in all seriousness, I have no doubt that Michael loved his first wife, but she wasn't around long enough for me to get the impression that she was really the love of Michael's life. While he did go to Sicily, I still think that Kay was the love of his life, as she was the one woman who could stand up to him, although she later discovered, that in doing so carried a heavy burden. I can't imagine Apollonia asking him if he had killed Carlo, and I can't imagine him answering her. I guess, it comes down to how one defines 'love of his life.' For me, it signifies one's soul mate; the person one was destined to marry or to be with, and in the case of Michael, although he did go to Sicily and was seemingly happy there, he was always IMO destined to end up with Kay; thus she was the love of his life. Which makes Michael's betrayal of Kay in The Godfather Part II all the more devastating; for she was not simply the mother of his children, but IMO the love of his life.
I believe Appollonia was the love of Michael's life. Kaye is a metaphor for his failed dreams and aspirations...which is why GFII strikes every chord so perfectly, as he slowly spirals into a private hell.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Haven't read the other comments; spoilers. But another surprise about TG was the Las Vegas stuff, I loved all that and could have done with more of it. Read Rat Pack Confidential for more on that Sinatra era stuff.
My fave bit in TG that had be laughing out loud was in Sicily. Mikey is courting the young girl, we see them on a supposedly intimate romantic stroll. The camera pans back and we see a row of Sicilian housefraus in a line some 15 metres behind, to keep an eye on him so nobody does anything untoward to the girl!
The Man Who Knew Too Much
Poor early Hitchcock thriller enlivened by some excellent scenes and Peter Lorre, who had a line in playing sheepish, sympathetic villains. It's about a couple abroad who find their daughter kidnapped, to prevent them telling about an upcoming assassination in London. It was remade by Hitchcock in the 1950s with James Stewart and Doris Day.
This film is very dated and the couple aren't played by name stars; they're quite bland and forgettable. The trauma of the kidnap is well played out, but then there's some silly humour as the husband tries to track down the spies, it's a bit Enid Blyton and not at all convincing. Credit to Hitch though, he grabs you from the very first minute, and some of the villains are brilliantly cast - you just hate them as soon as look at them.
The remake wasn't great either, I think Hitch is better in these set-ups when it's just one lone guy in over his head, a couple tends to dilute things.
Roger Moore 1927-2017
Indeed. Looking back at my posts, I think I was all-too willing in describing Kay, or anyone else, as the love of Michael's love. I think that Kay came closer to it, in terms of what Michael allowed her to do, but to have a soul mate, I think you need to be willing to embrace them, and circusmstances and his tragic flaw did not IMO allow him to do so.
My all time favorite moment occurs after retrieving the hidden firearm. The moment builds a torturous Mount Everest sized piece of suspense accented by the train in the background. Probably the best cinema ever right there.
Like The Godfather, Giuseppe Tornatore's classic is on many a Top 10 list, reason enough to be wary, because if you don't like it you'll feel out of sorts with the world. However, I loved this. I saw Tornatore's Malena and didn't much like it - full of Italian stereotypes who were meant to be funny, and while this too had a few of 'em, it focussed more on the friendship between a fatherless kid in post-war Southern Italy and the projectionist at his local fleapit cinema, the sole source of entertainment in the small town.
I could nitpick it but don't much want to because it did move me. Morricone's score is affecting, even if you note similarities between his work on The Untouchables. It turns out the Director's Cut is a fair bit different to the original, with more ambivalence and a bittersweet ending. I think if you're older you'd prefer the DC. It's a lovely looking film in any case.
Roger Moore 1927-2017
Agreed. -{ That moment as we close in tight on Michael's face as he prepairs for what is next is probably as good as acting can get. Truly masterful. B-)
"Paul Blart: Mall Cop"
My boys really enjoyed this one, and I'll admit it had its moments. Kevin 'King of Queens' Smith as an overweight, perrenial loser whose hypoglycemia (haha!) cripples his shot at the New Jersey State Police Academy. He's an unarmed security guard at the local mall, and...wow! An attempted robbery/hostage situation ensues. I can't deny there are some good laughs here...but as I sat and watched it ,I thought, incredulously: this script got produced 8-) 2 out of 5 stars.
"Knowing"
Starring Nicholas Cage as a astronomy/mathematics professor whose son attends an elementary school where a recently-unearthed 'time capsule' from 1959 reveals a numerical riddle about the impending
I have to admit, I enjoyed the hell out of this one---the VFX are cool, and I found the story riveting---until the Third Act, where IMRO it unravels somewhat. Still, great work from Cage, and from Rose (almost in CR) Byrne as the daughter of a woman who had a gift---or a burden. The individual characters, and their stories, lift this one up and away from its more pedestrian genre competition. 3.5 out of 5 stars.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
Loeffs, you are spot on with your review of Knowing. I saw it in the theater and thought it might be the best film I has seen in a long time until the third act, where as you said it goes just a little of course. A couple of the scenes in the film blew me away. I think Sci Fi fans like Tony would enjoy this film.
Rose Byrne was very good, and I still think she would have made a much better Vesper.
I enjoyed it, the opening in a graveyard is wonderfully creepy (though this isn't a film to watch if a loved one has just passed away). From then on it proceeds in somewhat predictable fashion, and while Colin Clive is very good as the scientist Frankenstein, you're half expecting Peter Cushing or even Gene Wilder to show up. The film belongs to Boris Karloff's monster, and the attitude towards it is oddly sympathetic, a bit like Fritz Lang's M, in that we have a creature not responsible for its own actions hounded to its death by a vengeful community. The finale is superb.
In some ways the film is of its time; its hard to feel the fear today as you just think, why can't they take him out with guns? But the story taps into the fear of a defenceless 19th century village tormented by a bogeyman. Today what the Monster does to the little girl, and by accident what's more, is just not on a par with today's vile bogemen.
Roger Moore 1927-2017
I was proud of this, until I saw a review by another 'highly rated reviewer', for The Godfather. It went like this:
OK
ITS NOT 4 ME BUT IF U LIKE THIS KIND OF FILM A MUST
One star.
Roger Moore 1927-2017
Two Lane Blacktop
Re-watched Mask of the Phantasm
A Matter of Life and Death (Stairway to Heaven) blew me away-love Niv to death!!
If my memory serves me well, it's pretty faithful to the novel. In the novel, the monster is presented in a sympathetic and tragic light. The novel doesn't demonise him, unlike many other monster novels where the monster is presented as the spawn of Satan or something.
Quentin Tarentino directed World War II movie that weaves three separate stories into one. The film heavily promoted Brad Pitt as the leader of a small group of Jewish soldiers who carry out a campaign of terror on Nazi troops by killing and literally scalping them. But , his is only one story, we also have German actor Christoph Waltz, who is marvelous as SS Colonel Hans Landa, aka The Jew Hunter and French actress Melanie Laurent who does a wonderful job of underplaying her role as Shosanna a French Jew whose family was killed by Colonel Landa.
The film is long and at times you feel the length of the film as I found the pacing a little uneven, just when I felt the film started to gain momentum, it would slow down. Tarentino uses his familiar extreme angles and close ups to good effect without over doing it and as with most his films is very inventive with the music to add atmosphere. The film is also, in typical Tarentino fashion, very gruesome and had some scenes I had to turn away from. As I mention previously, all the major actors are very good as is Diane Kruger as a German actress who is actually a double agent for the allies.
I can only give this film a moderate thumbs up as I found it overly long and was disappointed by the ending which brings all the main characters into the same building, but fails to deliver a satisfying ending. If you're a Tarentino fan you might want to check it out, but others can wait for the DVD,
just as silly as I remembered it to be :x
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Russell Crowe and Ben Affleck political thriller which despite some minor plot holes is quite entertaining. Ben Affleck is an up and coming U. S. Congressman investigating a soldiers for hire corporations that has been receiving large Defense Department appropriations. Crowe is an old fashion investigative newspaper journalist and former college roommate of Affleck. While Crowe is working a murder story he stumbles upon evidence that the suicide of one of Affleck's top staffers may actually have been murder. From there the story twists and turns into a major conspiracy with Crowe trying to work the story the old fashion way, verifying sources, etc, while Rachel McAdams the new on-line reporter wants to publish every revelation confirmed or not. Helen Mirren is along for the ride as the manager of the paper under pressure from corporate bosses to sell papers.
The acting is good, the story is timely and compelling, and the film is entertaining. So a thumbs up from me, definitely worth a rental.
I recently re/watched three films. I won't say too much about each film.
1)The September Issue. A look at the making of a special issue of Vogue, and at Anna Wintour in particular. Wintour is the editor-in-chief of American Vogue, and was the inspiration for Meryl Streep's character in The Devil Wears Prada. Wintour is an extremely stylish woman who has been criticised for being cold and emotionally distant. Personally, however, I think it's nonsence, as she acts no differently to men who are in similar positions of power in the business world. Rather, IMO, she is a fascinating woman, who is regarded by many to be the most powerful person in international fashion.
The September Issue is interesting as an insider look at the world of fashion (and some of the designs are beautiful), but as someone who isn't overly interesting in fashion, I was, for lack of a better word, bored at times. I would recommend it, but only to those who are interested in fashion. Those who are not would be advised to approach it with caution. I would not advise them to stay away as I do not believe that those who are not interested, would not find anything to like. As I said, I'm not all that interested in fashion, and it was interesting to see how a high-profile magazine operates. But I'm in no rush to see it again.
2)Beautiful Kate. A beautiful Australian film about a man returning home to see his dying father in which family secrets are revealed. It's a superb film which is less about the secrets than it is about the relationship between a son and his father, and about coming to terms with the past. Directed by actress Rachel Ward (The Thorn Birds), and featuring Brian Brown, it is perhaps a typical Aussie film as it isn't particularly cheerful or fun. However it's completely worth it. Its subject matter is difficult, but is handled in a tasteful and delicate manner. In a great year for Australian films, this was among the best. I would most certainly recommend it.
3)Shrek the Third. This was on television last week, and I rewatched it. I had previously seen it at the cinemas, and this is, by far, my second favourite Shrek film. I love it.