Reviews

As the title suggests, this film deals with the essence of early 20th century patriarchy and its eternal vagaries that have, invariably, always been, and for the foreseeable future, will be; it will always be relatable just as the the fugitive spirit, which is at the heart of the film will be.

The Fugitives of love, which is what this film may justly be titled in a European Latin language, are the two protagonists at apposing sides of their life stories: one bewildered by the status quo of the imperious, self-satisfaction of upper-class England, and the other insecure in the ageing domesticity of traditional married life.

Enter the serenity of the female, the yang to counter the ying,or vice-versa; not sure which is which :) whichever way around it is, the balance needs re-addressed for all 4 participants in this story, and there is one outsider who mingles as a reminder of the dastardly rules and regulations of the patriarchal society, though his contribution is minor in the film, it's this societal tenet which he represents that is the stumbling block, or stormy sea, which has to be viewed closely for its value or un-value.

The film itself is shot on the littoral of the United States, Massachussets I think, and i think I've misspelt that, but i'm not going to check. It's picturesque and lovely and so on, so it lends itself graciously to the story of intimacy between people; somewhat secluded with a clement climate and the occasional storm - fitting for the human relationships in general.

If you like romantic fantasy, even though this is grounded in tangible reality, interesting and engaging dialogue, a touch of frivolity, and fine representations of character then this film is one you should watch.

It's the nuances of pathos that inspire the spirit of progress.

I started watching this with no knowledge of it, usually the best stance, and was quite quickly engaged with the simple premise and the quaint charm of the eloquent siblings in the protagonist roles.

The title says it all, it's about a tree, and what that represented to the modest, materially underprivileged or sick children of the time. It's a real shot in the arm of jollity, good-will and good, honest graft.

There's a constant sense of the children really enjoying these roles and the youngest revels in the freedom he has to muck about, it's never stale, short in duration and pretty damn difficult not to be absolutely charmed by nearly every scene.

Pure classic of English filmmaking.

Exceptional performances by Jim Broadbent and Susannah York.

Jimmy Broadbent must have wanted to appear in a Superman film in any capacity, and he did - as a speechless French man. But he looked very content in the background listening to Gene Hackman's dastardly dialogue with his associates.

York's ethereal voice lended a soothing touch to an otherwise chaotic film that began with Christopher Reeves contemplating his future and his actions on Earth; with the sage words of his mother ringing in his consciousness. This scene was the highlight of the film, along with the counsel of Krypton giving their opinion on the causality of interference, however that was made farcical by one of the talking heads final words, which was a repetition of an adjective I can't remember - It brought to mind the priest of the subconscious mind in Woody Allen's "everything you want to know about sex..." when he exclaims "Blasphemyyyy"

After these scenes you're left with the odd touching or pathetic scene accompanied by somewhat apt music, although I thought the music in the quasi-revelatory Louis & Kent scene really missed the mark with the choice of music, which was foreboding instead of sentimental.

I never thought I'd watch this film and far less likely I was to review it with atleast a degree of seriousness, but that's what I've done.

It's altogether dreary and forgettable but "Eine Kleine Nachtmusik" was whistled by Gene Hackman: An ode to Mozart and his genius.

And he's still fresh, every time he comes on your tv, laptop, or kindle fire. That being said I'd recommend watching 'fletch' under the following conditions:

Have no one else around to disturb you (fletch time is alone time)

View on a standardised, preferably vintage tv with dimensions no bigger than 40 x 35cm

Make sure you've had a shower before watching - no questions..just do it

Watch in the dark, preferably at night time, but curtains drawn is also viable.

Don't expect anything from fletch and you won't be disappointed.

If you can meet those requisites, you've a fair chance of being able to just about have a good hour and twenty minutes down time after a pissy day in the office, road or other public place with other pissy people who are, more often than not, dutifully derided by Mr Irwin M Fletcher.

Caught this about 15 mins in on tv, i noticed it was a Scandinavian language film with Pierce Brosnan in a leading role, so I continued watching for that reason principally.

It's a familiar premise of two-worlds-collide with an international, interlingual aspect. The film takes place in Denmark and Italy with a disgruntled executive (Pierce) meeting a demure danish hairdresser while both hurrying to get to their respective children's wedding in Italy.

The heart of the film takes place there in Italy, where, in the prelude to the wedding all becomes clear about our protagonists. There are moments of tenderness and angst in equal measure carried along nicely by all actors and all set against sumptuous scenery.

As my title suggests, I doubt Brosnan has ever said "I'm sorry" more times in one film and that was the most -although unintentional - comedic aspect for me in this serene yet quaintly engaging drama/romance. Though I felt the film belonged to the female lead who's dealing with crisis manifold and ultimately finding her place in the world.

It won't make you laugh or cry but the core concepts and nice performances should keep you watching.

I could write a lot about the burbs but suffice to say it's unparralled in its genre and era for originality and nostalgia.

One of my favourite films.

This film follows a quite familiar premise of a father and son discordance through the decades, yet it's warmth and wittiness will keep you engaged throughout.

It's of course familiar territory for Billy Crystal, playing the lead role as the charming, mild-mannered yet disgruntled son and medic, who's recently had a heart attack in his mid-thirties. The story deals with him seeking to reconnnect with his estranged and obsentsibly carefree father, while connecting romantically with Jo Beth Williams, who plays off quite nicely in a supporting role as his fellow professional in medicine.

The film is a consummate work of comedic writers and actors dealing with a a common theme of familial tension and life choices. I found myself grinning and amused at the leads chemistry/dialogue/physical comedy, and not once did I find myself distracted or disengaged with the film.

For 'feel good' comedy dramas, it's up there with the best of its period.