I loved this film and it has "stayed with me" since I first saw it in 2007. If anything, it's even more poignant in light of how its centerpiece character met his ultimate fate. I admire how the filmmakers didn't patronize or make fun of their subjects. Christopher Lloyd Dennis, a genuine oddball, is portrayed in a straight-forward, non-judgmental way, and is actually quite likeable. The film's ancillary characters, most especially the Texas Batman impersonator, certainly less-so. At one point, he even seemingly confesses to have committed a murder. All in all, a well-crafted film and a fairly unfiltered window into an otherwise unknown world.
Reviews
16 Reviews
Confessions of a Superhero
(2007)
Sympathetic Portrayal of Some Genuinely Quirky Folks
21 February 2024
Maestro
(2023)
Bradley Cooper's Bernstein Impression: Truly Extraordinary.
21 December 2023
One of the most spot-on impressions of a famous person ever captured on film. Cooper looks, sounds and moves with such precise accuracy, one has to remind themself that they're not witnessing the actual Bernstein. He has captured the joy and the complicated sorrow that was Leonard Bernstein and he deserves every acting award there is. Especially when portraying the late-life Bernstein, Cooper is so uncannily like his subject, it's hard to find a comparable performance in recent memory that so accurately recreates a famous person as impressively as this. The makeup (in spite of all the ridiculous pre-release carping about the prosthetic nose) was also award-worthy. Bradley Cooper clearly reveres his subject and MAESTRO comes straight from the heart-and perhaps the work of something of a maestro himself.
An adorably restrained Betty Hutton in her best role
13 July 2019
Preston Sturges knew what a talent he had in Betty Hutton when he cast her in MIRACLE OF MORGAN'S CREEK. It would have been the "easy route" to make this a fluffy musical, the sort that she'd already made a big impact in at this point in her career. But instead, he chose to carefully guide her to one of her very best comedic , non-singing performances, as the "good time gal," Trudy Kockenblocker. She is overwhelmingly appealing--and it's hard to imagine another actress of this era investing this much barely-contained hysteria, warmth, appeal as Miss Hutton did. Those who have never fallen victim to the charms of Betty Hutton need to give this film a look (or second look). She was a singularly talented performer who has often been overlooked by those writing "the final word" on the greatest stars of the mid-20th century. She was surely one of them--and it's time for a serious re-consideration of the talent and charms of this wonderful performer.
Diana: In Her Own Words
(I) (2017 TV Movie)
If you only watch one Diana documentary, this should be the one!
4 September 2017
With the 20th anniversary of Princess Diana's untimely death, there was a spate of documentaries from around the world, most especially from The UK and The U.S. Some were as long as four hours long (ABC), others which tried to tell her utterly complex tale in an hour or less. But this particular documentary (which aired on Channel 4 in The UK, and on the NatGeo Channel in The U.S.) is the best and most intimate look into the mind of this compellingly fascinating woman. It relies heavily on the audio tapes from Diana's secret interviews for her secretly self-authorized "autobiography" (though at the time of the book's release, it was much-denied that she had anything to do with the book). Hearing Diana speak of the horrendous world she'd been sucked into, it's easy to see how a weaker person than her would have crumbled under the pressures of living under a paparazzi microscope--trapped in a loveless marriage in which Prince Charles (who comes off as a first-rate cad who did no less than trick Diana into being his "broodmare," to carry on the royal lineage. One almost feels as if Diana is speaking from the grave--and her revelations are sometimes shockingly intimate. This documentary also relies on a voice actress, to recreate some of Diana's own words--a device that can sometimes tarnish a documentary. But in this case, Heather Long captures Diana's speech patterns and accent to a "T"...sometimes, it's hard to tell actually "who" is speaking, she's that good. The research, editing, writing...this is a first-rate look at "the woman" rather than "the phenomenon". It would be hard to imagine a more incisive, respectful and honest portrayal of this complicated, sometimes perplexing woman. For admirers of the late Princess, it is satisfying to see that she is finally being reassessed and being given her due for changing the British Royal Family--seemingly, forever. EXCELLENT DOCUMENTARY!
Hand in Hand
(1961)
A vivid, beautiful film that is still totally relevant!
13 March 2017
Just like many other reviewers here, I saw this film (repeatedly) on "Children's Film Festival" in the U.S. in the 1960's--and though I haven't seen it in about 45 years, seeing it again today on TCM (U.S. vintage movie station), it amazes me how I remember so much of it...and it absolutely holds up as a classic and moving film.
The performances by the two children in the film make it especially memorable. I'm delighted to see the comments here by Loretta Parry. May I say, your luminous performance was the highlight for me. Your wide- eyed innocence and commitment to the role is just beautiful to see. It's unusual to witness such a guileless performance by such a young performer...and yours is one you should be deeply proud of. It's a nice legacy to have, to know that you made such an impression on so many people...all these many years later. So...thank you!
The performances by the two children in the film make it especially memorable. I'm delighted to see the comments here by Loretta Parry. May I say, your luminous performance was the highlight for me. Your wide- eyed innocence and commitment to the role is just beautiful to see. It's unusual to witness such a guileless performance by such a young performer...and yours is one you should be deeply proud of. It's a nice legacy to have, to know that you made such an impression on so many people...all these many years later. So...thank you!
The best "Hollywood Studio System" documentary ever made!
16 February 2017
What a surprise treat this series was! All six of the one-hour episodes are available at present on YouTube, which is where I found it. Having never heard of it before, it came as a total revelation to me. Since they had the luxury of having six hours time to tell the fascinating saga of this once-great studio, it contains extensive film clips (some of which are shown here for the first time) and lengthy "talking head" interviews with the men and women who ran RKO, as well as the great stars who acted there (Ginger Rogers, Katharine Hepburn, Robert Mitchum). It's hosted by actor Ed Asner, who provides the perfect light touch and jocularity to host such an undertaking. He is, surprisingly, quite wonderful as a host! The producers of this excellent mini- series (from The UK) had the good fortune of making the series while several of RKO's "major players" were still living and willing to tell their stories (some of them, in the nick of time, too-- Fred Astaire died that very year; Lucille Ball two years later). There is a WEALTH of background information that I'd never heard before, anywhere. If you're a fan of "CITIZEN KANE," you'll be over-the-Moon with glee at the episode that is almost completely dedicated to Orson Welles and his epic RKO masterpiece--and beyond. The series also paints a fairly incisive picture of the enigmatic Howard Hughes, who bought the studio in 1948, later selling it to Desilu (Lucille Ball and Desi Arnaz) for $6 million. Jane Greer is especially compelling, telling her tale of how Hughes kept her under contract at RKO for years--but refused to use her in films--since she refused to sleep with him. There are wonderful cameos throughout--a special surprise was a (sadly brief) appearance by the wonderful Erik Rhodes, who provided such wonderful comic relief in many of the Astaire/Rogers films (and passed away only three years after the making of this documentary).
This invaluable series makes "MGM: When The Lion Roared" seem like lightweight fluff by comparison. There are so many fascinating side- stories. Six hours sounds like quite a commitment--but, rest assured: When it's over, you'll wish it were even longer! Really top-notch stuff! And there won't be another like it, since by now, nearly all of the major players are gone. Can't recommend it highly enough!
This invaluable series makes "MGM: When The Lion Roared" seem like lightweight fluff by comparison. There are so many fascinating side- stories. Six hours sounds like quite a commitment--but, rest assured: When it's over, you'll wish it were even longer! Really top-notch stuff! And there won't be another like it, since by now, nearly all of the major players are gone. Can't recommend it highly enough!
Paper Moon
(1973)
A singular masterpiece!
9 February 2017
It's difficult to watch this film with any impartiality, as it was one of the formative films of my childhood years. Seeing it now, over 40 years after it came out, I'm convinced it's one of the finest American films ever made. Many other viewers here have pointed out the main reasons for its greatness--so I'd like to shine a light on, perhaps, some of the less-credited components of the film's success. I'm calling them "Paper Moon's Unsung Heroes":
Unsung hero #1: There's been little mention here of the actor who truly anchors this film--and gives the finest performance of his career-- Ryan O'Neal. He delivers a fully-realized, multi-faceted performance, more than worthy of an Oscar nomination (if not a "win"), in my opinion-- and he received neither. Try watching Paper Moon with your eye on O'Neal pere, rather than his adorable, scene- stealing daughter. Firstly, of course, he was one of the handsomest actors of his era, which makes such an undertaking a painless effort. But watch the subtlety of his expressions, and his nuanced comic turns. For example, in the hotel scene, where he's having his breakfast, when Imogene comes down to tell him that 'Miss Trixie' is having her "ladies' time," his reaction, turning from concerned to mortified, as he rapidly sits back down, while dropping his voice by an octave...now THAT'S comedy! His comic delivery in his first big scene with Addie (the "diner scene") is also brilliant. In fact, I can't think of a single scene where he is not completely "true-to- character". In the hands of another actor, this deceptively difficult role could have been played as 'malevolent'. O'Neal's performance shows 'Moze' to be a lovable rascal who does what he has to do in order to survive during the Great Depression. Imagine, say, Jack Nicholson in the role...It would certainly have been a different film altogether. (Sidebar comment: I realize one shouldn't judge a film actor's performance with how they are 'off-screen'--but if what Tatum says about him in her books and interviews is true, O'Neal is not quite-as-lovable a rogue, off-screen. She claims that when the Oscar nominations were announced, she did sort of a "Nahh- nah-nah-nah-nahh," to him, as bratty 10-year-olds are known to do-- and he fully punched her in the face! Gulp. All four of his children are either addicts, alcoholics or in major therapy. But I digress).
The #2 "unsung hero(-ine) of this movie is the late, brilliant Polly Platt, Peter Bogdanovich's first wife (and soon-to-be-ex-wife, as he had already taken up with Cybill Shepard when this film was made). Ms. Platt designed the costumes and realized the whole "look" of the film, which Bogdanovich fully-credits her for. I can't think of any other American film of the last 50 years that so completely captures the 1930's in such a flawlessly realistic way. The attention to detail is staggering--look at any single "extra" in this film, and they are all absolutely spot-on correct to the look of that era (the hotel clerk in the 'bootlegger hotel,' with her perfect '30s "Marcelle wave" comes to mind.
Unsung hero #3: Gary Chason, who PERFECTLY cast this film, including several first-time actors (Tatum O'Neal, of course...as well as Burton Gilliam, ("Floyd the Hotel Clerk"), P.J. Johnson (Imogene), among many others). I'm hard-pressed to think of another film--ever- -in which every single role is so perfectly-filled...and often by first-time actors!
Unsung hero #4: László Kovács, the brilliant cinematographer. Every single shot is so perfectly thought-out and realized. In the hands of a lesser-visionary, "Paper Moon" would certainly have been a lesser film than it is (and imagine if it had been shot in COLOR!).
FINALLY--he's certainly not "unsung"--but clearly, he's "under- sung": PETER BOGDANOVICH! This film is a work of sheer genius, and all roads lead back to him. I consider Paper Moon the crowning achievement of his career (with apologies to "Last Picture Show"). It's almost as if his career has followed the same "arc" as that of his great hero, mentor and friend, Orson Welles. Both of them had their greatest successes, straight out of the gate...and then were rather hung-out-to-dry by Hollywood, as if considered "passé". I keep waiting for the world to WAKE UP and realize Paper Moon is one of the absolute FINEST films in history--and should be lauded accordingly! Why is Peter Bogdanovich NOT still being given the opportunity to direct major Hollywood studio films?? The man is one of the true cinematic geniuses of our era. And yes, he is certainly a 'peer' of his hero, Mr. Welles. Could we please give him the reverence he deserves?
("Special Mention" to Tatum O'Neal, too! It seems to be "common wisdom" today, that she was simply some kind of "human puppet" for Bogdanovich to manipulate every word and movement of. I beg to differ, strongly. Some of her expressions and line deliveries are so singularly charming and individualistic--proving that she is clearly an innately-skilled and intuitive actress. This performance was no fluke. This girl/lady deserves more credit than she's given, and I say she absolutely deserved that Oscar...though it should have been for "Best Actress,"--with, of course, Madeline Kahn as "Best Supporting Actress"!).
Unsung hero #1: There's been little mention here of the actor who truly anchors this film--and gives the finest performance of his career-- Ryan O'Neal. He delivers a fully-realized, multi-faceted performance, more than worthy of an Oscar nomination (if not a "win"), in my opinion-- and he received neither. Try watching Paper Moon with your eye on O'Neal pere, rather than his adorable, scene- stealing daughter. Firstly, of course, he was one of the handsomest actors of his era, which makes such an undertaking a painless effort. But watch the subtlety of his expressions, and his nuanced comic turns. For example, in the hotel scene, where he's having his breakfast, when Imogene comes down to tell him that 'Miss Trixie' is having her "ladies' time," his reaction, turning from concerned to mortified, as he rapidly sits back down, while dropping his voice by an octave...now THAT'S comedy! His comic delivery in his first big scene with Addie (the "diner scene") is also brilliant. In fact, I can't think of a single scene where he is not completely "true-to- character". In the hands of another actor, this deceptively difficult role could have been played as 'malevolent'. O'Neal's performance shows 'Moze' to be a lovable rascal who does what he has to do in order to survive during the Great Depression. Imagine, say, Jack Nicholson in the role...It would certainly have been a different film altogether. (Sidebar comment: I realize one shouldn't judge a film actor's performance with how they are 'off-screen'--but if what Tatum says about him in her books and interviews is true, O'Neal is not quite-as-lovable a rogue, off-screen. She claims that when the Oscar nominations were announced, she did sort of a "Nahh- nah-nah-nah-nahh," to him, as bratty 10-year-olds are known to do-- and he fully punched her in the face! Gulp. All four of his children are either addicts, alcoholics or in major therapy. But I digress).
The #2 "unsung hero(-ine) of this movie is the late, brilliant Polly Platt, Peter Bogdanovich's first wife (and soon-to-be-ex-wife, as he had already taken up with Cybill Shepard when this film was made). Ms. Platt designed the costumes and realized the whole "look" of the film, which Bogdanovich fully-credits her for. I can't think of any other American film of the last 50 years that so completely captures the 1930's in such a flawlessly realistic way. The attention to detail is staggering--look at any single "extra" in this film, and they are all absolutely spot-on correct to the look of that era (the hotel clerk in the 'bootlegger hotel,' with her perfect '30s "Marcelle wave" comes to mind.
Unsung hero #3: Gary Chason, who PERFECTLY cast this film, including several first-time actors (Tatum O'Neal, of course...as well as Burton Gilliam, ("Floyd the Hotel Clerk"), P.J. Johnson (Imogene), among many others). I'm hard-pressed to think of another film--ever- -in which every single role is so perfectly-filled...and often by first-time actors!
Unsung hero #4: László Kovács, the brilliant cinematographer. Every single shot is so perfectly thought-out and realized. In the hands of a lesser-visionary, "Paper Moon" would certainly have been a lesser film than it is (and imagine if it had been shot in COLOR!).
FINALLY--he's certainly not "unsung"--but clearly, he's "under- sung": PETER BOGDANOVICH! This film is a work of sheer genius, and all roads lead back to him. I consider Paper Moon the crowning achievement of his career (with apologies to "Last Picture Show"). It's almost as if his career has followed the same "arc" as that of his great hero, mentor and friend, Orson Welles. Both of them had their greatest successes, straight out of the gate...and then were rather hung-out-to-dry by Hollywood, as if considered "passé". I keep waiting for the world to WAKE UP and realize Paper Moon is one of the absolute FINEST films in history--and should be lauded accordingly! Why is Peter Bogdanovich NOT still being given the opportunity to direct major Hollywood studio films?? The man is one of the true cinematic geniuses of our era. And yes, he is certainly a 'peer' of his hero, Mr. Welles. Could we please give him the reverence he deserves?
("Special Mention" to Tatum O'Neal, too! It seems to be "common wisdom" today, that she was simply some kind of "human puppet" for Bogdanovich to manipulate every word and movement of. I beg to differ, strongly. Some of her expressions and line deliveries are so singularly charming and individualistic--proving that she is clearly an innately-skilled and intuitive actress. This performance was no fluke. This girl/lady deserves more credit than she's given, and I say she absolutely deserved that Oscar...though it should have been for "Best Actress,"--with, of course, Madeline Kahn as "Best Supporting Actress"!).
Show Girl in Hollywood
(1930)
Appealing look behind the scenes of early talkies...
2 February 2017
If you're fascinated by early "talkie" musicals, this should be considered a must-see. There's a lot to like about it, most especially, its three lead performers (Alice White, Jack Mulhall and Blanche Sweet). Alice White is adorable as 'Dixie Dugan'--and is ably assisted by Mulhall as her steadfast beau. Mulhall is largely forgotten today, though he shows a fresh naturalness in an era when many actors seemed strait-jacketed by the new technology of sound (the fact that Mulhall had already been acting in films for over 20 years when this one was made may have helped!). Blanche Sweet has some touching moments as the premature 'has-been' actress, 'Donnie Harris'. The film moves along fairly briskly, under the direction of Mervyn LeRoy (in one of his earliest feature film directing assignments). I was struck by the scoring of the film, too. It effectively uses the featured tunes in different variations that are unusually subtle for that era (presumably, scored by Leo Forbstein). The 'big finale' is fairly typical of early talkie musicals--and one can imagine how much more effective it must have been when it was originally released in early Technicolor (no color copy of the final reel is known to exist). All-in-all, a pleasant and appealing little film that's surely worth a peek.
Frances
(1982)
Jessica Lange: A luminous performance--in a ridiculously-fictionalized film
12 November 2016
I'll stand by my original review, as I walked out of a theater in NYC when I was 21-years old, after watching this film in 1982. I recall as if yesterday, my sister asked, "What did you think?" I was actually angry..since I'd practically memorized the books,"Shadowlands" as well as Frances Farmer's own 'autobiography' (which has since been largely-credited to have been written by her partner, Jean Ratcliffe). I replied, "Frances Farmer spent her whole career, fighting against the phoniness of Hollywood--and this film is an insult to her memory-- since hardly ANY of this ever happened!" Jessica Lange doubtlessly gives a stunning performance. But WHY ALL THE LIES? The completely made-up character played by Sam Shepard, "Harry York," was created out of whole-cloth. The whole POINT of Frances Farmer's "real life" was that she had no one on her side! Why did they add this "romantic interest," who keeps popping up, out of nowhere, whenever Frances needs a friend? It's ludicrous and completely taints this essentially false film. As if the Frances Farmer story, itself, wasn't dramatic enough?! The script, in fact, is remarkably poor (one of the credited writers is the son of Elia Kazan, too). They add all these false notes that never happened--yet they leave out actual moments from Farmer's life (such as how she picked up an inkwell and threw it at the judge of her trial) which WOULD have added drama to the story. There are some glaringly shoddy performances, too (a completely-overacted performance by the guy who plays the fictionalized version of Frances' actual husband, Leif Ericson, "Dick Steele"--he's allowed to sail straight over the top, making a meal out of the scenery in his only real scene). And, sorry, but I think Kim Stanley's ham-bone performance as Mother Lillian is pretty false, too (though, full-disclosure: I don't really like her in anything). The direction by first-time director, Australian Graeme Clifford, is sloppy and strikes false notes at nearly every turn.
But back to Jessica Lange: In certain shots, it is uncanny how she physically resembles Frances Farmer. She's often said that she felt as if Farmer actually "inhabited" her while making this film. I only wish she'd had the clout when making this film to rail against bad writing like Frances Farmer did, against the writers of a third-rate scripts like this...to get the quality bio-pic Farmer deserves.
But back to Jessica Lange: In certain shots, it is uncanny how she physically resembles Frances Farmer. She's often said that she felt as if Farmer actually "inhabited" her while making this film. I only wish she'd had the clout when making this film to rail against bad writing like Frances Farmer did, against the writers of a third-rate scripts like this...to get the quality bio-pic Farmer deserves.
One Sunday Afternoon
(1933)
One of Cooper's most multi-faceted performances...
24 September 2015
This is a real gem of a little film--filled with wonderful performances by its leads. Fay Wray very nearly steals the film with her boisterously show-boaty performance. And it's hard to watch the luminous (and almost totally forgotten) actress, Frances Fuller, without wondering why she didn't become one of the all-time greats of that era! Her patented look of pained disappointment in life really reaches the heart. But it's Gary Cooper who's the real revelation here. This performance is unlike anything else he ever filmed. Dark, complex, insecure--and yet strangely self-satisfied-- it's really a well- wrought role, and Cooper adds just the right touches to make the character of "Biff" likable and sympathetic. As noted by other reader/reviewers here, his best scene is the awkward, first date "courting" scene at the carnival. This is Cooper at his finest. It seems this film might have been a real breakthrough for Cooper. He shows a sure-footed confidence that had been previously under-realized. I suggest you take this film at face value--and don't judge it for something it isn't. It's pure entertainment--and Gary Cooper (who was then at the very peak of his startling handsomeness) is an absolute pleasure to watch, in every scene he's in.
The Houstons: On Our Own
(2012)
Appalling...and ultimately, tragic...
21 August 2015
"The Houstons: On Our Own" is the television equivalent of a "snuff film": Watch an unbalanced, desperately lost 19-year old stumbling toward her own suicide! One wonders what in the name of God these people were thinking--the year after Whitney Houston's death, her "loving family" put a camera on Bobbi Kristina Brown and her fiancé/brother...and a largely uninteresting menagerie of hangers- on, leeches and shirttail relatives. Now that both Whitney and Bobbi Kristina are both dead, this absolutely atrocious "show" acts as a perfect companion piece to "Being Bobby Brown"--which is commonly considered to be the very worst "reality" show in television history. Poor, lost little Bobbi Kris is clearly either drunk or stoned throughout the episodes--but never mind letting the girl grieve in peace or getting her to a rehab! Let's fire up the cameras and watch as she begins her inexorable spin toward the grave. Nearly three years to the date of her mother, Whitney's own death, Bobbi Kristina was found face down in her own bathtub, surviving in a coma for seven more months before being taken off life support, dead at just 22 years old.
Whose idea WAS this? Who is responsible for this horrific train-wreck? HOW could this have seemed a good idea, especially in light of how "Being Bobby Brown" pretty much signaled the end of Whitney's own dignity (and, by extension, her career...and life)? In what possible way could this have been a positive thing for this clearly unstable young woman? Presumably--the fault lays at the feet of "Executive Producer" (and executor of Whitney's estate), Patricia Houston--the wife of Whitney's charm-free brother, Gary (who admitted, after Whitney's death, that he was the one who introduced her to cocaine). Watching this mercifully brief series (a pilot and 12 episodes)in its entirety, this shameless woman, "Auntie Pat," constantly talks about how her entire life is about "protecting Bobbi Kris" and how nothing bad will happen to BKB "on my watch". Her words seem even emptier, now that her niece has essentially killed herself.
There are a few, brief moments that are truly touching...such as in Episode 4, when BKB breaks down and tearfully admits how painful it is to deal with her mother's legacy. And hearing the 80-year old Cissy Houston positively wailing out a from-the-gut rendition of "Bridge Over Troubled Water" at a rehearsal for a Whitney Houston tribute--one wishes these producers had taken their money and their energies and just did a tribute show to this remarkable woman, whose life is most certainly worthy of a full-fledged appraisal. Not these idiotic, vain, uninteresting fools, preening for the camera, while Bobbi Kristina is teetering on the edge of her grave.
This show should be packaged with "Being Bobby Brown" and marketed as a different kind of "reality show": Shows that actually contribute to the death of their subject! SNUFF TV! What a world we live in....
Whose idea WAS this? Who is responsible for this horrific train-wreck? HOW could this have seemed a good idea, especially in light of how "Being Bobby Brown" pretty much signaled the end of Whitney's own dignity (and, by extension, her career...and life)? In what possible way could this have been a positive thing for this clearly unstable young woman? Presumably--the fault lays at the feet of "Executive Producer" (and executor of Whitney's estate), Patricia Houston--the wife of Whitney's charm-free brother, Gary (who admitted, after Whitney's death, that he was the one who introduced her to cocaine). Watching this mercifully brief series (a pilot and 12 episodes)in its entirety, this shameless woman, "Auntie Pat," constantly talks about how her entire life is about "protecting Bobbi Kris" and how nothing bad will happen to BKB "on my watch". Her words seem even emptier, now that her niece has essentially killed herself.
There are a few, brief moments that are truly touching...such as in Episode 4, when BKB breaks down and tearfully admits how painful it is to deal with her mother's legacy. And hearing the 80-year old Cissy Houston positively wailing out a from-the-gut rendition of "Bridge Over Troubled Water" at a rehearsal for a Whitney Houston tribute--one wishes these producers had taken their money and their energies and just did a tribute show to this remarkable woman, whose life is most certainly worthy of a full-fledged appraisal. Not these idiotic, vain, uninteresting fools, preening for the camera, while Bobbi Kristina is teetering on the edge of her grave.
This show should be packaged with "Being Bobby Brown" and marketed as a different kind of "reality show": Shows that actually contribute to the death of their subject! SNUFF TV! What a world we live in....
Kids for Cash
(2013)
A shameful and disturbing scandal...and an unforgettably moving documentary film!
7 July 2015
Warning: Spoilers
In the past 20 years or so, documentary films seem to have become as much about the films' directors as they are about their subjects (Michael Moore, Nick Broomfield, et al.). This absolutely compelling film feels almost nostalgic in its straight-ahead, no-frills documentary film style. When this scandal finally reached its resolution in 2011, I very much hoped that a skilled documentary filmmaker would dig into this awful story to reveal how this absolute desecration of the American judicial system was allowed to happen. And that is just what director, Robert May, has given us, with his marvelously incisive--yet amazingly impartial--feature- length documentary, "Kids For Cash". The most amazing thing of all, May was somehow granted what seemed to be fairly unlimited access to both of the disgraces jurists, Michael Conahan and Mark Ciavarella-- in addition to the victims and their families. I'm almost ashamed to admit, I actually started feeling pity for Ciavarella--and found myself sort of "buying" his "Poor me" act! But by the end of the film, it becomes quite clear that both men are pathological liars and/or are so completely deluded, they really DON'T believe they've done anything wrong (though that is highly, highly unlikely). More than that, it shows the human wreckage that can be wrought by just a few corrupt opportunists, with zero compassion or care for the hundreds of lives they ruin, for their own enrichment. The film has a "happy ending" for those who appreciate justice. And I can only wish that these tormented victims, whose youth was robbed from them, can find peace in knowing that these monsters will likely only leave their prison, feet-first, in a pine box. To Charlie, Justin, Hillary, Amanda--and the late Ed-- and the countless hundreds of other Pennsylvania youths whose young lives were shattered by these sociopathic monsters, God bless you all, and I hope you know that you can overcome this awful chapter. Those bastards lives are over-- and now, it's time for yours to begin! Brilliant film--a total TEN.
Tattooed Tears
(1979)
Powerful, impressive and unforgettable...
1 July 2015
Nick Broomfield calls this film "a voyage into Hell" in his contemporary commentary on "Tattooed Tears"--and that it is. Seemingly straight out of the gate, he (and his partner, Joan Churchill) really "got it". Their "fly on the wall" style kept me asking, while watching this searing documentary, "How did they ever get THAT shot?".
Echoing the comments of the other reviewers here before me, it's a pity that Nick Broomfield is now very much the co-star of his documentaries these days, whereas in this 1978 film, there's no commentary whatever, and he certainly doesn't insinuate himself into the story as he does now. For my taste, he had it right early on. I found this film far more affecting than, say, "Kurt & Courtney". The claustrophobic realism of "Tattooed Tears" is unlike any other documentary on this subject that I've ever seen. I found myself 'feeling for' these poor, lost boys. I found myself wishing fervently that somehow, beyond hope, these tormented souls could have turned their lives around and found a little peace.
In short, this is a must-see for documentary fans--and certainly, for fans of Nick Broomfield's other work. What DID ever happen to this style of documentary filmmaking--this heroic, shoot-at-all- costs style that seems to have disappeared almost completely? I've seen most of Broomfield's films and this one stands above and beyond any of his other work. A truly shattering film. (This comment may 'date' my review, but it's currently available on Amazon Prime, free to Amazon Prime members--and highly worth seeking out elsewhere, too!).
Echoing the comments of the other reviewers here before me, it's a pity that Nick Broomfield is now very much the co-star of his documentaries these days, whereas in this 1978 film, there's no commentary whatever, and he certainly doesn't insinuate himself into the story as he does now. For my taste, he had it right early on. I found this film far more affecting than, say, "Kurt & Courtney". The claustrophobic realism of "Tattooed Tears" is unlike any other documentary on this subject that I've ever seen. I found myself 'feeling for' these poor, lost boys. I found myself wishing fervently that somehow, beyond hope, these tormented souls could have turned their lives around and found a little peace.
In short, this is a must-see for documentary fans--and certainly, for fans of Nick Broomfield's other work. What DID ever happen to this style of documentary filmmaking--this heroic, shoot-at-all- costs style that seems to have disappeared almost completely? I've seen most of Broomfield's films and this one stands above and beyond any of his other work. A truly shattering film. (This comment may 'date' my review, but it's currently available on Amazon Prime, free to Amazon Prime members--and highly worth seeking out elsewhere, too!).
The Bad Seed
(1956)
Not just "Bad"....it's truly AWFUL!
19 April 2014
Scanning the other readers' reviews, I'm really wondering if I somehow saw some other movie altogether. This film ranks near the top of the "ALL-TIME WORST" lists in several categories: Atrocious, amateurish acting (worst offenders? Nancy Kelly, Evelyn Varden, William Hopper), extremely poor writing (yeah, yeah, it's the venerable Maxwell Anderson and all that--but some of this dialogue is just DRECK!) and ham-fisted direction by Mervyn LeRoy. One can hardly forget for one minute that these actors are just parroting the same lines, by rote, that they performed hundreds of times on stage.
The central offense of this film is the over-the-top, scenery-chewing and inappropriate performance of Nancy Kelly. She strikes absolutely the wrong note in just about every scene and her bizarre body language and just plain odd line readings are impossible to take seriously. Most amazingly of all, she was nominated for an Oscar for this film (as were Patty McCormick and Eileen Heckart for "Best Supporting Actress"...HUH?). Mervyn LeRoy was clearly asleep at the wheel of this runaway train. Very sloppily directed...these actors were clearly crying out for some kind of guidance, but it seems that LeRoy merely said, "Just do whatever you did on stage!" Even the often wonderful actress, Eileen Heckart, is allowed to flail her limbs and stumble roughshod through her two scenes--with some direction, her performance might have been somewhat contained and touching, rather than the campy harridan she 's allowed to present. And finally, Patty McCormick. Okay, she's memorable alright...but her stagy, disingenuous performance in this film is pretty tough to take. Again, had she been taken in hand by a firm director, it might have worked. Instead, what we're left with is a real hoot-fest.
Perhaps it's not fair to give "The Bad Seed" only 1 star...since if you're as "into" really bad, campy films as I am, this is an excellent choice. If you surrender to the fact that this film is NOT to be taken seriously and enjoy it for all its wonderful badness, you're in for a treat!
The central offense of this film is the over-the-top, scenery-chewing and inappropriate performance of Nancy Kelly. She strikes absolutely the wrong note in just about every scene and her bizarre body language and just plain odd line readings are impossible to take seriously. Most amazingly of all, she was nominated for an Oscar for this film (as were Patty McCormick and Eileen Heckart for "Best Supporting Actress"...HUH?). Mervyn LeRoy was clearly asleep at the wheel of this runaway train. Very sloppily directed...these actors were clearly crying out for some kind of guidance, but it seems that LeRoy merely said, "Just do whatever you did on stage!" Even the often wonderful actress, Eileen Heckart, is allowed to flail her limbs and stumble roughshod through her two scenes--with some direction, her performance might have been somewhat contained and touching, rather than the campy harridan she 's allowed to present. And finally, Patty McCormick. Okay, she's memorable alright...but her stagy, disingenuous performance in this film is pretty tough to take. Again, had she been taken in hand by a firm director, it might have worked. Instead, what we're left with is a real hoot-fest.
Perhaps it's not fair to give "The Bad Seed" only 1 star...since if you're as "into" really bad, campy films as I am, this is an excellent choice. If you surrender to the fact that this film is NOT to be taken seriously and enjoy it for all its wonderful badness, you're in for a treat!
Summer Holiday
(1948)
An amazing star-turn by Marilyn Maxwell...
28 September 2012
A perfectly enjoyable bit of mid-era Freed Unit MGM, with many of the hallmarks of their greatest musicals. But the real surprise in this film is the extended bar room sequence in which Mickey Rooney is led astray by a wanton showgirl named "Belle," played in an extraordinarily vivid way by Marilyn Maxwell. She positively glows in her many extreme close-ups as she tries to vamp Mickey Rooney down the path of corruption. Her Technicolor costume changes color throughout the scene, reflecting Rooney's increasing drunkenness. As mentioned by other reviewers here, the number is sort of a stand-alone scene that seems rather transplanted from another film altogether...but for this viewer, it's a welcomed shot of "oomph", incongruous or not. One is left wondering why it is that Miss Maxwell is largely forgotten today and wasn't really handed any other roles that fulfilled the promise she showed in "Summer Holiday" (with the possible exception of her equally vivid showing in "The Lemon Drop Kid"). She had a long and busy career, mostly in television...yet her name rings few bells today. Could it be that a certain "Norma Jeane Baker," in largely co-opting her name, sort of pulled the rug out from under her in the process? Bottom-line: If you don't want to see the whole film, tune in about halfway through and catch an indelible star-turn by an indelible star: Marilyn Maxwell. It's her film.
Trucker's Woman
(1975)
Brilliant horridness!
22 July 2008
Starting with its title, which contains a typo ("Truckers Woman," with no apostrophe) this little gem is the ne plus ultra of truly bad film-making. The cast consists of an oddball group of truly bad "actors". Michael Hawkins (who is actually Christian Slater's father)gives a hilariously off-kilter performance as the ersatz butch "Mike Kelly". His leading lady (Mary Cannon) is probably the most unattractive actress ever to be featured in a "starring" role, and couldn't act to save her life. She wears a helmet-like, streak-frosted fright wig throughout, even in her unfortunate nude scenes (she repeatedly exposes only one breast, mysteriously). Doodles Weaver (Sigourney's uncle) play's Mike Kelly's sidekick, Ben, and is obviously smashed throughout. Also, in a bone-chillingly over-the-top performance as "Diesel Joe," Larry Drake (who later won multiple Emmys for his role on TV's "L.A. Law") is hilarious. The writing, the dismal sets and appalling 70's polyester fashions all combine to make this one heck of a great bad film. I'm surprised more folks haven't caught onto this one yet. It's on DVD now on the Turner Classic Movies site...I suggest you RUN to get a copy!
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