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9/10
Elegiac, skeptical and achingly romantic
8 January 2009
Warning: Spoilers
The above description may strike some as odd, or a clash of discordant elements.Indeed one of the most frequent criticisms(misjudged, in my opinion) of 'Robin and Marian' is that it mixes elements that don't fit together. I suspect that many viewers expected a typical swash-buckling Robin Hood film, and judged this film by those standards. Such an expectation will lead to disappointment, since 'Robin and Marian' doesn't put an emphasis on action scenes(though there are a few)or serve as purely escapist entertainment.

Instead it is concerned with questions of heroism and ideals that one lives by, and how they can be out of sorts in a cruel world(this is something Robin has come to realize after years of serving Richard the Lionheart in the Crusades). But at the center of the story is the reunion of Robin and Marian, and the revelation that their love is what has ultimately endured. Sean Connery and Audrey Hepburn are radiant together, both turning in some of the strongest work in their careers(the scene where Marian examines Robin's scars and removes her nun's habit is especially lovely). The two great leads are strongly supported by some of the best English character actors.

My only quibble with the film is the rather rushed pacing of the last half; it could've benefited from taking a bit more development with preparation for the final battle and the sad yet affirming conclusion(those offended by the ending are clearly unfamiliar with the medieval Robin Hood ballads). But this doesn't hinder my enthusiasm for, or make me hesitate to recommend "Robin and Marian".
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Carrington (1995)
10/10
The bafflement of love
15 March 2006
One thing regarding Christopher Hampton's film "Carrington" that bears noting for potential viewers is that previous knowledge is helpful. If you don't have any sort of idea who Dora Carrington and Lytton Strachey are, or the avant-garde world in which they moved, then the movie will seem very obscure and disjointed.

Regarding the movie, it is odd and melancholic, but richly intelligent and rewarding, particularly with repeated viewings.The cinematography is attractive without being showy. Michael Nyman's score is haunting and uniquely beautiful.And the casting is perfect, particularly Jonathan Pryce as the ironic Bloomsbury butterfly Strachey, and Emma Thompson as the strangely alluring Carrington, who's heart beats fiercely with love for him, despite the fact that neither of them will ever be able to do anything about it.

My personal favorite scene is when they are sitting under the tree, and Carrington tells Lytton how she feels, and he understands.They are both so peaceful and content.
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Howards End (1992)
9/10
Improved greatly by comparison with Forster
15 March 2006
I have heard many people complain how boring or monotonous "Howards End" is(look at some of the other user comments). The first time I watched it, I was inclined to concur, though only in regards to the first hour. However I eventually got around to reading the book, and decided to view the movie again.

I now found that none of it could be described as boring. The possible reason for this may be choices made by Ruth Prawer Jhabvala and James Ivory regarding the visual representation of Forster's language and ideals, in ways which make the film and book differ, but enhance the screen drama(ie. having the Beethoven concert be a lecture on "Music and Meaning", and the extended scene of Helen Schlegal and Leonard Bast on the lake). This, combined with lovely art direction and costuming and the brilliant cast(particular credit to Emma Thompson as Margaret Schlegal, who serves as the moral and intellectual center of the story)makes the Merchant Ivory production of "Howards End" excellent.
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8/10
It was worth it
12 September 2005
After years of waiting, I finally got to see "Howl's Moving Castle" last night. While I must admit that it is mildly disjointed in places, this fact did not dampen the enthusiasm I felt for it. The animation of course is beautiful(particularly the eponymous castle itself), the music from Joe Hisaishi fits wonderfully, and the way in which Miyazaki handles his heroine's dilemma(an eighteen-year old cursed with the body of a ninety-year old)is much more mature and insightful than any Disney film could ever think to do.

And, of all the film's secondary characters, I will just say right now that the wheezing dog has got to be the most enduring imaginable. You may understand after you have seen "Howl's Moving Castle" for yourself.
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8/10
Empathetic and Accessible Adaptation
4 September 2005
"The Merchant of Venice" is probably the most challenging of Shakespeare's "problem comedies", not the least because of it's infamous anti-Semitism. It is not an easy choice for a movie, but Micheal Radford pulled it off, partly because of the strong photography and authentic costumes, but principally because of the empathetic characterizations. The primary example naturally being the opening scenes, where we see Shylock(a fiery, utterly unrecognizable Al Pacino)being spit on by Antonio(the eloquent Jeremy Irons); it explains his bitterness and desire for retribution. The actors all did well(Joseph Fiennes the possible exception), but special notice goes to Lynn Collins as Portia. We MUST see her in more films! And as a final note, this movie's appeal is not limited to die-hard Shakespeare fans. I watched it with my mother, who has never read any plays by the Bard, and she was enthralled by it.
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9/10
Bittersweetly wonderful
18 July 2005
It was Howard Hawks who said that the formula for a great movie was three great scenes and no bad ones. Anthony Minghella's "Truly Madly Deeply" could probably multiply this formula by two or three, but if forced to narrow it down, this is what I give for the Three Great Scenes

1. Nina(Juliet Stevenson)and Jaime(Alan Rickman)singing the song by the window with ecstatic abandon.

2. Telling life stories while hopping(hopping?!)

3. The translation of the Neruda poem "The Dead Woman", and the revelations it brings for both characters.

Highly recommended, and not to be confused with the similar, more seen but inferior "Ghost". And also, I think that Juliet Stevenson has automatically become one of my favorite actresses because of this film; she's marvelous.
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8/10
"But no Keats or Shelley; I need poets who can make love without slobbering."
17 July 2005
Lines of dialog like the one above, spoken by the energetic writer played by Anne Bancroft in "84 Charing Cross Road", appeal to those who inordinately enjoy books . And if you are one who is delighted by literary references(in books, music or movies)than this is a film that will hold great appeal for you.

Those who prefer conventional "action" will find this movie far too low-key and dull. Personally I was very involved by it. It is the type of motion picture where you find yourself wanting to enter and befriend the characters, who undoubtedly would be willing to talk with you about most anything. And for those who have actually been to London(myself included)there's the added delight of recognizing many of the locations it presents.
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4/10
Literal interpretation isn't always for the best
1 July 2005
There isn't any real new opinion I can share with regards to George Cukor's version of "Romeo and Juliet". It feels overly long, the two leads are both far to old to play the young lovers etc. However I do wish to say that it does provide an interesting insight into adapting Shakespeare's plays to film: Strict adherence isn't always the right route. Cukor's version is a near literal translation of the play, whereas the Zeffirelli and Lurhmann versions cut at least half the text. However, this paradoxically produces the slow pace which is a fault for this film. This is a story of transcendent, evanescent love, and having it be slow and anemic doesn't do it justice IMO.

In short, the 1936 version may be the most literal, but the Zeffirelli and Luhrmann films both are more faithful to the spirit of Shakespeare's "Romeo and Juliet".
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9/10
Idealistic, but not naive
21 May 2005
"Nausicaa of the Valley of the Wind" was Miyazaki's second movie, adapted from his own comic book. Viewers of the film may become involved in debates regarding the movie's relation to the comic(they are exceedingly different). I personally advise looking at them both as separate, but equally great pieces of art.

Regarding the film: The music is lush(the first film score of Miyazaki-veteran Jo Hisaishi), the animation impressive despite a few passages of static character movements, and the eponymous heroine is a figure of brilliant characterization; gentle, kind, valiant, passionate and pained.

It may lack the cognizant wisdom of "Princess Mononoke", perhaps, but NOTVOTW doesn't suffer by the comparison. I highly recommend checking it out.
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Porco Rosso (1992)
10/10
Funny, beautiful and unabashedly romantic
8 April 2005
I unfortunately had to wait for a few years in order to see "Porco Rosso" for the first time; it was worth the wait.

This is probably Miyazaki's most personal film and the loving attention it was made with is clearly visible, from the jaw-droppingly realistic flight sequences, to the lovely, Italian-flavored soundtrack. It is also one of the rare films that manages to perfectly balance slapstick humor, poignant yearning for that which is lost, and a notion of enduring, redeeming love(the scene of Gina's reminiscence is absolutely fantastic).

If it has a flaw(IF),it would be the length-about 93 minutes-; I think there could have been at least 15 or 20 more minutes. But that's pure nit-picking. "Porco Rosso" is worth seeing, without a doubt.
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DragonHeart (1996)
8/10
For those who love dragons
7 April 2005
I have read innumerable reviews stating emphatically how "stupid" or "unrealistic" "Dragonheart" is. And, I suppose the largest fault this movie has is not going as in-depth into its own mythology as it could have(Draco being able to share his heart, and the like). But for me, it is great, for one big reason: I love dragons. I always have. I hate how they are always depicted as evil monsters in most fantasy stories(this would be Tolkien's biggest flaw in my opinion). And here is one where the dragon is noble and kind! Sean Connery, by the way, has just about the best dragon voice there is(Gregory Peck might be a close second).

"Dragonheart" may strike casual viewers(or the terminally unimaginative)as a silly, special-effects extravaganza; but, for people who love dragons, it provides something more.
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8/10
The closest American animation can come to Miyazaki
1 December 2004
In 1999, "The Iron Giant" was a box office failure, due in large part(if not entirely)on Warner Bros piss-poor advertising campaign. Which is a shame, because this is a unique, outstanding movie.

Unlike most of the animated films made in the States, TIG relies on characterization rather than on insipid humor(not that there ISN'T humor in it because there is)to propel its story, which in itself is constructed on 50's paranoia,and the damaging effects of fear. I also enjoyed the music by Micheal Kamen,the voice acting(Vin Disel actually has been in a good movie) and the ending, which I will not reveal.

With a new DVD release, hopefully "The Iron Giant" will get some of the recognition it deserves.
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8/10
A great film representation of magical realism
1 December 2004
I'm greatly surprised at some of the negative comments for "Like Water for Chocolate", many of which state how it utterly failed to capture the passion or the mystical tone of Laura Esquivel's book.

I suppose it's only a matter of opinion(like pretty much everything, I guess), but I thought the movie represented the book's magical realism in a great way. The filmmakers knew not to exaggerate or take everything over the top(which could've been very easy), and this gives the fantastical moments-- such as all the guests becoming ill at the wedding or the shower bursting into flame as Gertrudis bathed-- an essential grounding in reality. This fact is also buttressed by the erotic musical score and the whole cast, who fit the characters from the novel perfectly IMO.

I would recommend giving the film of "Like Water for Chocolate" a go; and trying out the book as well.
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8/10
An offbeat, heartwarming fairy tale
21 October 2004
"Strictly Ballroom" was Baz Lurhmann's first film. Although perfection would not be reached until "Moulin Rouge", SB is nevertheless a great launch pad for Baz's unconventional artistry.

Of his three films("Romeo+Juliet" and "Moulin Rouge" being the other two)SB is definitely the most campy, with its extreme close-ups, the bizarre costuming of the dancers(which actually isn't that far from the real thing-at least in the 70's-)and especially the John Waters- like flashback sequence. But SB also contains hints of Baz's talent for mixing music, imagery and emotion- I point out the scene where Scott and Fran slowly dance the rumba to Doris Day's "Perhaps".

It may not be everyone's cup of tea;none of Baz's films are. But I for one would watch "Strictly Ballroom" over any of those lame Hollywood "romantic comedies" any day.
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5/10
A mediocre adaptation of a terrific novel
13 October 2004
Richard Adam's "Watership Down" is probably one of the best fantasy books that I have read, due in large part to his complex treatment of his protagonists. They were real characters- imperfect, resourceful, courageous and visionary-, and while reading the book, you almost completely forgot the fact that they where rabbits.

I think that is one of the cardinal problems with Martin Rosen's film of "Watership Down";we see what we see, which is a bunch of fluffy bunnies hopping around. Granted, the filmmakers tried not to soften the harsher elements of the story, and the voice acting generally was appropriate(particularly John Hurt as Hazel),but I must confess that I found the audio to be far too low-at times nearly inaudible- and the animation has unfortunately not aged well.

Overall, I'm sadly disappointed with this effort. Now if Miyazaki had done "Watership Down"...now that could have been quite a movie.
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4/10
Definitely the weakest in the Colors Trilogy
9 October 2004
I found "White", the second part of Krzysztof Kieslowski's Colors Trilogy(the others being "Blue" and "Red") to be the least involving and the least successful.

Strangely enough, despite being the shortest of three films("White" clocks in at ninety-two minutes, "Blue" at ninety-seven and "Red" at ninety-nine), this is the one that felt the longest. I'm sorry to confess that I became bored at about the one hour mark and started fidgeting like mad until the movie reached its unsatisfying and seemingly unfinished ending.

I would go with "Red" or "Blue" personally, though "White" may be worth seeing for the sake of comparison.
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8/10
The most thematically satisfying of the Colors Trilogy
9 October 2004
Following up "Blue" and White", "Red" is the most complete and satisfying entry in Kryzysztof Kieslowski's Colors Trilogy, improving upon the weaknesses of the other two.

The story involves an odd friendship that develops between a young fashion model and a reclusive retired judge when she accidentally hits his dog with her car. The essential theme of the film(as in the other Colors)is the mysteries and subtle complications involved in human relationships, and in the ways that we are all interconnected with one another. Kieslowski ties this up at the climax, with a move that links together all his films.

The film's color scheme, and the strong visuals help support the meditative story. "Red" is the last, and the best.
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7/10
Rather cold and distant, but very pretty to look at
9 October 2004
The first in Krzysztof Kieslowski's Colors Trilogy, "Blue" will frustrate those in search of action or a brisk plot, as well as those who wish to become intimently attached to the characters. But the patient and reflective will be greatly rewarded by the films poetic images.

The entire film is lite in blue tones,scored with classical music and dialogue is sparse.The best way to approach it is a painterly appreciation for moments where a sugar cube is slowly saturated with coffee, or of a hand being dragged along a stone wall.

Juliet Binoche deservedly won the Venice Film Festival award for her understated performance.

Recommended for the patient and cerebral.
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8/10
A bittersweet parable about conformity(possible spoiler?)
5 October 2004
I love most of Tim Burton's movies, but I would have to say that "Edward Scissorhands" is my favorite. The art direction and set design are all wildly imaginative and a treat to behold. The hauntingly emotional score by Danny Elfman is also his best IMO.

And at the center is the fantastic, indispensable Johnny Depp in the title role. Edward is a character for whom very little can be expressed verbally;Depp uses body language and(above all) his eyes to depict emotion, and it works perfectly.

Though there are moments of humor(ie Edward and the water bed)this movie is ultimately a sad elegy for all of those that are ostracized by the "normal people". The highest emotional moment(for me) is when Kim(Winona Ryder) and Edward part;she's finally awakened to genuine emotion,but it is just too late.

"Edward Scissorhands" is without a doubt my favorite Burton movie.
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Innocence (2000)
9/10
Luminous
2 October 2004
Paul Cox's "Innocence" is a beautiful, poignant gem that deserves your attention. It is a film that manages to be both realistic and completely uncynical at the same time(an unusual achievement these days).

The story concerns two people who were lovers as teenagers, separated, and meet again fifty years later. Upon meeting again they realize that they're still in love. It probably sounds sickeningly corny but it doesn't play that way. Cox details how the reigniting of their affair affects the people around them(friends, his daughter, her son and husband)and allows time for exquisitely intelligent conversations, my favorite of which takes place between the male protagonist(Charles Tingwell)and a priest concerning the reality of God.

"Innocence" is luminous.Seek it out.
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7/10
A movie that must be watched straight from the beginning
2 October 2004
I was channel surfing one evening and came across "The Name of the Rose" on FMC. It was about halfway over when I tuned in and I didn't have a clue about what was going on. However, I was intrigued enough by what I did see to rent it and watch it from the beginning.

When all is said and done, I liked it very much. The acting was good and solid by all involved, from the charismatic Sean Connery to Christian Slater(this is the only film I've liked him in)to the ensemble cast of European unknowns.The movie also truly excelled in its depiction of a fourteenth century monastery;this probably has some of the most accurate period detail of any movie I can think of.

It is incredibly dark(story and lighting both)and violent, but for those who enjoy suspenseful mystery and anyone interested in medieval church politics, "The Name of the Rose" is good choice.
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10/10
My favorite Merchant Ivory film
1 October 2004
James Ivory and Ismail Merchant(together with screenwriter Ruth Prawer Jhabvala)have produced some of the best period movies of any given time. "A Room With a View" is my personal favorite.

Adapted from a fabulous book by EM Forster, ARWAV has fantastic photography(particularly the first half in Italy, which was all filmed on location), a solid musical score and top-notch performances from all involved- my two favorites being Daniel Day-Lewis as the foppish twerp Cecil Vyse and Maggie Smith as Miss.Bartlett, the "prematurely aged martyr"(to quote my favorite line from the book)_.

It also contains IMO one of the best screen kisses: a field of wheat overlooking Florence... it's just about perfect.

The one thing I felt was unnecessary was the scene with George Emerson in the tree shouting. But that's a minor compliant.

I highly recommend "A Room With a View".
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7/10
A film that has held up surprisingly well
1 October 2004
When I was really little, "The Last Unicorn" was one of those movies that my sisters and I loved to watch over and over. I went for years without seeing it, but after reading the fantasy novel of the same name, I decided to revisit it.

Though it didn't have quite the same affect on me, I still enjoyed it. In fact on closer examination, "The Last Unicorn" is built upon a foundation of sadness and bittersweet reflection(as much of the best fantasy is).I think this is one of the reasons why so many people love this feature as much as they do.

The animation is dated and a bit scratchy and I agree with a previous comment that the two moments later in the movie where the characters burst into song break the tone of the story(all the other songs,by America, are in the background and fit the mood perfectly). All in all, I felt satisfied revisiting "The Last Unicorn".
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3/10
Oh, the bitter disappointment...
1 October 2004
Warning: Spoilers
I tend to be disappointed with venerated "classic" films. This was no exception, though I had hoped it would be.

I can see how it truly could have been an tour-de-force psychological thriller. The basic story has great potential and the filmmakers did manage to produce a few evocative images-the best of which are the children's dead mother in the river and the preacher on the horse during sunrise.These two moments were also the only ones that were genuinely disquieting; everything else either was simply not or(much worse)was intentionally humorous. For examples here I cite the moment when the preacher runs up the stairs after the kids(it looked ridiculously contrived) and the entire climax(pathetically out of place).

"The Night of the Hunter" for me is just another undeserving "classic". For "classic" thrillers that are genuinely creepy, stick with Hitchcock.
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Cold Mountain (2003)
9/10
Moving away from violence to love
29 September 2004
I feel that "Cold Mountain" not getting more recognition- box office or award- is a shame(at least Renee Zellweger won an Oscar for Best Supporting Actress). To me this movie was excellent in all departments: terrific acting, epic cinematography and set design, and above all else a meaningful story.

As director Anthony Minghella says on the DVD commentary track, this movie is about the virus of violence, how violence is spread like a disease-the innocent have violent acts committed against them and in turn become violent themselves-. Moving away from violence toward what makes life worth living(love)is the journey that Inman is on.

Cudos to all involved, as well as to Charles Frazier for penning the novel that was the basis for the film.

In closing, a movie that deserves much more credit and praise then it has received; well-worth watching.
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