Reviews

"Broken Lance" is an almost scene for scene remake of Joseph L. Mankiewicz's, "House of Strangers". Lightly based on Shakespeare's "King Lear", it tells the story of a family, where the patriarch is forced to break up his empire, and spread the shares among his children(in this case, his sons). His sons, who feel that they are owed the empire, refuse to help the father in times of trouble.

Both "Broken Lance" and "House of Strangers" are led by two powerhouse performances by their leading men. Spencer Tracy in the former, and Edward G. Robinson, the latter.

"Broken Lance" also had a superb supporting cast. Richard Widmark, Robert Wagner, Jean Peters and E.G. Marshall.

The story works well as a western, in that, it enables the movie to have the type of large, sweeping scope and grand story that is "King Lear.

Told in flashback(just like House of Strangers), the story is the search for revenge by the son that truly loved his father(Wagner). Being his father's favorite, the other brothers plot to do away with him.

While the ending is a little contrived, and again, told the exact same way as "House of Strangers", Edward Dmytryk does an excellent job of moving the story along and adding a good deal of action.

*** out of ****

"Man of the Year" is not a movie that I will ever see again, in any year. Despite a top notch cast, this movie is a bomb. And the man who must be held accountable is writer/director Barry Levinson. I can't believe that the same man who made "Diner", "Rain Man", "Liberty Heights", and one of my favorites, "The Natural", could make such a God-awful movie like this.

Never mind the fact that the film is nothing like it was advertised to be. Or the fact that it is the same diatribe all through the film, about "being real", and having every stereotype about politicians it can cram into it. It's the complete, and total absurdity about the way these characters act that is disgusting.

Robin Williams plays Tom Dobbs, a Jon Stewart-like comedian who has his own "fake news" show. He decides to run for President and actually wins the election. Laura Linney is Eleanor, a computer programmer who discovers that the computer run election machines that her company makes, have a bug in the program, and that Williams was not really the candidate who received the most votes.

A good part of the rest of the film is a horrible mix of action-thriller and political comedy fest. While Williams is brilliant, as usual, when he is allowed to let loose with his ad-libbing, and Linney does her best to give some dimension to this annoying character, I found myself hoping that someone would pump a bullet into one of them, if for no other reason than to end this stupid film.

Excellent supporting work is turned in by Christopher Walken and Lewis Black. And Jeff Goldblum is very good as a smarmy lawyer for the computer company.

Barry, the last good movie you've made was "Wag the Dog". Stop with the political films, please. This has my vote for one of the worst films of the year.

4 out of 10

...that shows just how far we still have to go until all people are treated fairly and with respect. It also shows how the criminal justice system is quick to jump to conclusions when it comes to racial questions of guilt or innocence.

It doesn't take a lot of time, when watching this film, to realize the track that this story is going to take. But it is amazing to see the incredible amount of incompetence that is demonstrated by the detectives in this film. And the way that people who are part of a minority, really are guilty until proved innocent, even when all the facts say otherwise.

Thank God for people like the defense attorney in this film. All he really needed to do was ask common sense questions. It's sad that even basic questions and methods of investigation were not carried out by these investigators, and they were able to convict this 15 year old boy.

Important film that will leave you more than a little scared about the criminal justice system.

7 out of 10

"Trouble In Paradise" was the first talkie romantic comedy that Ernst Lubitsch made for Hollywood. Prior to this, he made many very funny silents and a couple of dramas and musicals. But it was on "Trouble in Paradise" where his directorial strengths came into play. With Noel Coward-like sophistication, and Howard Hawks-like timing, Lubitsch rewrites the rules of romantic comedy. While this film may not be as well-known as his "Ninotchka" or "To Be Or Not To Be", it is certainly funnier, and more sexually suggestive.

Lubitsch is at his best when he has his leads (Herbert Marshall, Miriam Hopkins, and Kay Francis) just banter between themselves. His suggestive actions and subtleties are far funnier than straight slapstick.

Marshall and Hopkins are a couple of con artists who meet while trying to con each other. They fall in love and get married. They then fall into an opportunity to con Francis. Francis and Marshall fall in love, and you can probably guess the rest of the plot.

The cast is first rate. Marshall walks through this film never losing his sense of sophistication, even when he knows the jig is up. Hopkins turns on the charm as needed and is hilarious in a small bit with Eva McKenzie at the top of the film. Francis is beautiful as their high spending foil.

Nice work is also turned in by Charlie Ruggles, Edward Everett Horton and C. Aubrey Smith. And when is it not nice to see Robert Greig play another butler? I must admit that until I saw this film the other night I was not too familiar with it. I had heard and read about it, but never seen it. I'm so grateful that after 35+ years of movie watching, that there are so many gems out there that I can still discover and enjoy.

"The Hospital" is Paddy Chayefsky's brilliant satire/comment on the medical profession. As he did in "Network" he takes an institution that the American public trusts, but knows very little about, and turns it upside down, exposing it for the hypocritical "institution" that it has become.

He exposes in lack of communication between staffs, the doctor's misguided sense of priorities, how the medical profession is more concerned with expansion over civil obligations, and the idiotic devotion and trust we place in the medical professionals.

George C. Scott gives the best performance of his career as the embattled doctor, who has seen the profession he loves change from one of healing to one of covering up mistakes and making as much money off of the public as possible. His is a very honest, layered performance that really hits the mark.

Diana Rigg is very good as the new aged, twenty-something free spirit who tries to reignite Scott's life. Barnard Hughes is also excellent as her father. Look fast for a young Stockard Channing.

While "The Hospital" was not as prophetic or ahead of its time, like "Network" was, it still broke down illusions that we had about the infallibility of doctors, and took us into an area of life that needed greater examination.

If only Chayefsky could have survived, I wonder what sacrificial lambs he would enlighten us on today.

8 out of 10

"The Last Tycoon" is based on the last unfinished novel by F. Scott Fitzgerald. Harold Pinter took on the task of trying to "finish" the story and adapt it to the screen. Unfortunately, it does not work.

"The Last Tycoon" has a lot of polish and hard work behind it, but it ultimately falls flat from boredom. Which is a shame, because the cast is absolutely first rate and Elia Kazan does a serviceable job on his last picture.

DeNiro plays a mogul/producer based on Irving Thalberg, boy wonder of the 1920/30's movie industry. DeNiro is excellent as the driven genius who's live is empty due to the death of his movie star wife. This is one of DeNiro's most under-appreciated performances. Along with "Guilty by Suspicion", this performance is underplayed, and seemingly simple, but, after viewing it several times, you appreciate the complexity of the performance.

Other good performances are turned in by Tony Curtis, Ray Milland and Robert Mitchum as the President of the studio. Donald Pleasence and Jeanne Moreau are also wonderful in their small roles.

I believe another miscue in this film is the casting of Ingrid Boulting as Kathleen, the woman that DeNiro pursues throughout the film. To me, although she is quite beautiful, there is nothing interesting about her performance. Kathleen should be mysterious in an ethereal way, but Boulting makes her unapproachable, to the point where you don't know why this man is pursuing her.

And while it is nice to see Jack Nicholson and DeNiro on screen together, it feels like a gimmick. The scenes are not brilliantly written, and Nicholson's character is not that interesting.

It's always unfortunate when a movie with such high expectations, and so much going for it, is less than it should be. I'm glad I watched this movie, but like Munroe Stahr, I feel empty after having seen it.

4 out of 10

"The Kennel Murder Case", and other Philo Vance stories, is a light, fast paced precursor to "The Thin Man" series. Thanks to the spirited direction of Michael Curtiz, and the wonderfully underplayed acting of William Powell, you never notice all of the wholes in the story line.

Mary Astor and Eugene Palette offer up excellent supporting work, as does Etienne Giradot as the local medical examiner, who can't quite seem to finish a meal.

There is a lot to absorb in this 75 minute film, so don't allow yourself to get bogged down in the details. Besides, Powell will take the last 15 minutes of the film to explain it all to you anyway.

Not a classic, but good fun.

"Uncle Vanya" is a wonderful bare bones adaptation of one of the theater's classic plays. Let's face it, the average American who had to read Checkov in some required high school English class, was probably bored to tears. Same with Ibsen, Shakespeare, O'Neill, and any other classic dramatist.

Mamet's adaptation gives us a "Vanya" that has truths that are universally identifiable. We can easily sympathize or empathize with all of the characters. This "toned down" version is perfect for getting the audience absorbed without having to rely on costumes or Russian settings.

Malle is at his best with this film. He tells the story simply, and allows his actors to take the time to find truth in the moment. Though you know that you are watching a presentation of a play, it never feels "staged" to the point of being false.

The acting is magnificent, all the way around. Larry Pine shines as the doctor who is a friend to Vanya. Julianne Moore is wonderful as the woman whom Vanya and the Doctor love.

My only problem with the film was the casting of Wallace Shawn as Vanya. His whiny voice and too often closed eyes irritated me to the point where I found his scenes difficult to watch.

This says a lot about the other performances and other aspects of the film. That to have a pivotal character be miscast, and yet find the rest of the film compelling, is a credit to the others involved.

"Son of the Mask" and "The Mask" should never be mentioned in the same conversation. Two totally different movies aimed at totally different audiences. I won't bother to compare the two, because that would really be impossible.

"Son of the Mask" is a silly, not very well developed kids film that has its share of terrific CGI. Yes, most of the best parts of the movie can be seen from the trailer. But there are still a few surprises that make it a good "family night" movie.

The best part of the movie for me was Alan Cumming. He is very funny as the son of Odin, looking for his long lost mask. This was clearly the best written role in the film.

Jamie Kennedy is okay in the lead role, although the character as written, is not exactly likable.

"Son of the Mask" is nothing more than it sets out to be, a simple somewhat enjoyable family film. I just don't understand why they budgeted $70 million to make it.

Charley Chase may not have achieved the type or level of fame or acclaim that Chaplin or Keaton or Arbuckle have, but he was another comedic genius during a golden period of comedy.

"Isn't Life Terrible" tells the story of an average Joe trying to make his way in the world, while he is saddled with his wife's brother (pre-Laurel Oliver Hardy), who complains of chest pains when he hears the word "Work".

This film is not one of Chase's best, but it is still packed with many good laughs, especially when the family goes on a cruise. Look quickly for Fay Wray purchasing a pen.

Howard Hawks has crafted a wonderful noir-style picture with "The Big Sleep". This is the type of film that could only be told in beautiful black and white. The shadows that fall over the faces and scenery are breath-taking.

Bogart is Philip Marlowe a private investigator who works for the unbelievably sum of $25 per day, plus expenses. He more or less is playing his Sam Spade character from "The Maltese Falcon" with a little Harry Morgan from Hawks' "To Have and Have Not" thrown in for good measure. But this is the type of movie and role that no one does better than Bogart.

Bacall is as smoking hot in this film as she was in "To Have and Have Not". She radiates sensuality, and knows it. But really, she should not be singing.

One of my favorite bits in this movie is the fact that every woman who comes in contact with Bogart is beautiful and acts kittenish towards him. Whether it's a cab driver, book seller or cigarette girl, they all want him.

The screenplay by William Faulkner is involved and often times confusing. There is a lot of dialogue to listen to, and yet it still feels as though some part of the story or exposition is being left out. Perhaps this is explained in the deleted scenes. A lot of characters that are interrelated, and many sets that look similar also add to the confusion.

But the performances and brilliant direction more than make up for any shortfalls in the script. You will want to see "The Big Sleep" more than once.