Tetsel Reviews

White Shadows in the South Seas (1928)

Fascinating

[7/10 · 17 January 2000]

In this little-known Van Dyke picture, the brilliant cinematography and acting cancel out the shallow plot and seemingly endless 'docu-footage' of the island. What it all adds up to is a very interesting, beautifully shot representation of an exotic place, with a bit of heavy-handed message to make it a story rather than a documentary. There is one exception to this, though, and it is a stunning one: the scene in which the 'white god' teaches the girl to whistle. It is surprisingly intimate, and acted wonderfully well. I recommend this one to fans of early cinematography.

Snow Falling on Cedars (1999)

Imperfect Visual Poetry

[8/10 · 9 January 2000]

While there may be holes in this morality tale, the combination of Robert Richardson's brilliant cinematography and Max Von Sydow's excellent acting serve as the backbone for a beautifully effective film. It is at times slow moving, and unfortunately Ethan Hawke's character is slightly underdeveloped, yet the film as a whole comes together in the final half an hour, and the result is worth the wait.

The Talented Mr. Ripley (1999)

Fine Suspense Thriller

[9/10 · 26 December 1999]

In the great tradition of Alfred Hitchcock, this thriller is mysterious and suspenseful right to the end. The acting is outstanding throughout, especially Damon, Hoffman and Paltrow. I won't talk too much about it (I HATE spoilers) but I highly recommend it as one of the top three movies of this year.

Any Given Sunday (1999)

Who is this guy, and what did they do with the REAL Oliver Stone?

[6/10 · 22 December 1999]

What a disappointment. Oliver Stone, Al Pacino and football. What a great movie THAT should be. "Should be" doesn't mean "IS", however. Unfortunately, Stone's flashy (and yes, impressive) shots of the the game are not enough to solidify this unfocused movie. The movie is wrought with too many music-videos and shallow characters to whom we cannot relate. If Stone wanted to make "Rudy part II" he should have concentrated more on the characters, and if he was looking for "MTV does the NFL" he shouldn't have wasted our time even introducing half of the characters. But he ends up in the middle here, with a mish-mash of football-music-videos and underdeveloped characters who have mysterious and quick attitude changes just in time to win a playoff game. The greatest let-down is that the great rebel Oliver Stone sells out and gives us a Rudy ending, without making us care for anyone like we cared about Rudy. Of course we have lots of sentimentality about the past, sure. You want to talk about the past, Mr. Stone? Remember Platoon and JFK? I do.

The Green Mile (1999)

Good but not great

[7/10 · 22 December 1999]

"The Green Mile" is one of those movies that has an excellent story, gorgeous cinematography, solid acting, and that's all. While there is nothing particularly wrong about the film, neither is there anything outstanding. Perhaps at times it extends too far into comedy, others too far into violence, but it keeps a fair balance most of the time. Although the concept is intriguing, it seems that it is underdeveloped somehow. Yes, the events in the story are all there, but the "moral" explained at the end does not come across during the action the way I expect the director intended. Michael Clarke Duncan and Tom Hanks give fine performances.

Intolerance (1916)

Griffith's masterpiece

[10/10 · 19 December 1999]

"Intolerance" is D.W. Griffith's masterpiece, and one of the greatest films ever made. It is a film of enormous breadth, daring, and imagination, and the result is one of the most poignant adventures stories ever to be told in cinema. The sets are awe inspiring, the acting first-rate, and the stories that intertwine are impressive each in their own right, and magnificent when combined. It is hard to imagine a film which combines such a wide expansive of time, elaborate sets, stunning cinematography, a direct and important message, and lasting dramatic tension. Yet this is exactly what "Intolerance" does.

The 'High Sign' (1921)

Highly entertaining bit of comedy

[9/10 · 18 December 1999]

Although "The High Sign" is a short film and not very well known, in many ways it is one of Keaton's best. It is non-stop entertainment, especially because the plot is very nearly irrelevant and the gags are so constant. What makes this so special in the development of movie comedy are the shooting gallery scene and the trapdoor house. These are examples of quintessential American slapstick, and they have been copied hundreds of time since 1921. There is also one small special effect in the midst of all the comedy that really caught my eye: Someone spikes Keaton's drink with either alcohol/poison (we are not told) and Keaton sips it. He can tell it is spiked, and looks into the cup, and we see in the drink the image of the rear of a horse kicking it's hind legs. This obvious allusion to the 'drink with a kick' is not only funny, but it is the essence of cinema: show not tell. I highly recommend this one for anyone looking for a short, innovative, hilarious comedy.

The Ice Storm (1997)

Brilliantly Moving

[9/10 · 3 December 1999]

Like Ang Lee's previous film, 'Sense and Sensibility', this film has a sense of completeness which makes the story seem more real and so all the more poignant. The ensemble cast is wonderful, which is especially impressive because of the number of child actors involved. There are many similarities between this one and this year's 'American Beauty', but I believe 'The Ice Storm' is a better film. There is a better sense of real people in this film, whereas in 'American Beauty' it bordered on caricature, thus distancing the audience just a little more. The last half and hour of 'The Ice Storm' is heart-wrenching, pulling off an effective ending while avoiding any false notes. It deserved Oscar nominations for directing, screenplay and cinematography.

Witness for the Prosecution (1957)

Good, old-style entertainment

[8/10 · 1 December 1999]

This is one of Billy Wilder's most entertaining and easily watchable films. His direction is unintrusive but carefully guided, and again he drags forth masterful performances from his actors. Charles Laughton is brilliant, and if it hadn't been for The Bridge on the River Kwai, he and Wilder would have won Oscars for their work.

Romeo + Juliet (1996)

MTV does Shakespeare

[4/10 · 30 November 1999]

What a sad day it is when the Capulets destroy gas stations and Romeo smokes cigarettes. This new version, in a poor imitation of the 'MTV cross-cutting' style, makes a terrible mess of Shakespeare's classic. The direction is a joke, the editing is ridiculous, and the actors are vacant of any comprehension of the characters. In other words, this is pure trash. See Zeffirelli's 1968 version instead.

The Lost Weekend (1945)

A Punch in the Face

[9/10 · 29 November 1999]

Billy Wilder's 'The Lost Weekend' is an excruciatingly perfect investigation into the life of a drunkard. Wilder directs the film in a compact form, not wasting shots nor allowing worthless dialogue. Every shot is meticulously pointed and meaningful, which brings out the best in the magnificent performances by Ray Milland and Jane Wyman. It must be difficult to present a drunkard in a sensitive fashion while avoiding either glorifying or condemning him. Yet Wilder succeeds in doing just that, and the end product is a beautiful film that delivers its message like a punch in the face.

Mogambo (1953)

Solid John Ford

[7/10 · 28 November 1999]

'Mogambo' is not one of the greatest of John Ford's films, but it is still a solid piece of work. Clark Gable is at his manliest, and Grace Kelly is cast perfectly (though her performance is not so perfect). However, Ava Gardner steals the show. Scenes without her seem dead. Scenes with her are charged with sexy movement and funny double-talk. Of course, Ford himself makes great use of the African landscape, applying his brilliant American West photography to the jungles and rivers of Africa. A good piece of entertainment and recommended for John Ford fans.

Body and Soul (1947)

The usual tale, told well

[8/10 · 24 November 1999]

In many ways, 'Body and Soul' is a very typical Hollywood story. It has the 'local boy makes it big', the 'vamp and the virgin', the 'corrupt businessmen' and of course the final moral fight. However, James Wong Howe's brilliant cinematography and John Garfield's solid acting lift this movie above the norm. Every emotion is heart-felt, and the tension at the end is perfectly presented. One of the best boxing movies.

Sleepy Hollow (1999)

Who better than Burton for the Horseman?

[21 November 1999]

Tim Burton was born to make 'Sleepy Hollow'. The Master of Creepiness takes this classic tale and presents it with the expected awesome visuals of any Burton film. The art direction and cinematography are fabulous, and it is fun to see the allusions to his older films (such as 'A Nightmare Before Christmas' and 'Batman'). However, the screenplay dialogue is atrocious, and some of the acting even worse. Depp and Ricci are fine, but some of the more villainous characters seem to have been ripped from a Power Rangers tv show. Still, the Burton Effect is there, and overall the movie works as a classic presentation of a classic tale. This year's Top Films (so far): 1) American Beauty 2) The Insider 3) Eyes Wide Shut 4) Bringing Out the Dead 5) The Matrix 6) *SLEEPY HOLLOW* 7) The Blair Witch Project 8) Tarzan 9) Fight Club 10) The Sixth Sense

Scarface (1932)

The Original Gangsters

[8/10 · 21 November 1999]

This film is nothing short of brilliant. Beginning with a long, moving take to rival the one in Touch of Evil (though some 24 years earlier) it ends with one of the most heart-wrenching scenes in any gangster movie ever. Muni's performance is controlled and particularly impressive, and the steady pace created by Hawks leaves a realistic feel which makes the ending all the more poignant. Much better than the 1983 re-make.

Dogma (1999)

...and Frank Capra rolls over in his grave...

[12 November 1999]

Kevin Smith's new movie 'Dogma' is a mishmash of heavy-handed, silly, and hilarious religious comedy. The movie is very entertaining, but it is also very low-grade, in more ways than one. The acting across the board is downright second-rate, and the plot (if there really is one) is jumbled, and runs a distant second in importance to one-liners. The back-and-forth of religious ranting and plain-old silliness makes it hard to figure this one out. But, like I said above, it IS entertaining, and that's about all you can hope for with Kevin Smith.

Stagecoach (1939)

The Greatest Western

[10/10 · 10 November 1999]

This is perhaps John Ford's greatest film, and is definitely one of the greatest Westerns ever made. The sparse, pointed dialogue is the best in any Western, and the characters themselves are exceptionally interesting. To top it all off are the many-layered plot and the typically awesome photography of a John Ford film. John Wayne was never better, and the supporting cast even at it's worst is solid. Claire Trevor as Dallas is especially wonderful, carrying the dual role of love interest and outcast brilliantly. A must-see for all Western fans, and for all film fans.

Aparajito (1956)

Another Masterpiece from Ray

[10/10 · 7 November 1999]

'Aparajito', the second film of Satyajit Ray's brilliant 'Apu Trilogy', is one of the great masterpieces of film. The gritty realism melds expertly with the beautiful shot selection and cinematography. In fact, I would say Ray's India is presented at least as well as John Ford's American West. What is essentially a simple tale of one particular family turns into an epic of emotion and the difficulties of growing up. Truly amazing.

The Insider (1999)

Solid, Impressive Film

[8/10 · 5 November 1999]

This film is powerful and high-charged with tension. Despite a storyline that would appear dull on paper, Mann's direction and the fantastic acting of Crowe and Pacino keep it moving with the dynamics of a 90 minute thriller. Mann has a knack for pulling the human side out of even the most horrible of situations, and here again he shows us high drama and still makes it a character piece. The film deserves Oscar nominations for acting, directing ,cinematography and editing.

Vampires (1998)

Sleek and Silly

[6/10 · 1 November 1999]

Though the 'Master Vampire' is very cool and creepy, the rest of this mess of a horror film is ridiculous and inane. Alright, because it is a horror film, I suppose we can excuse the bad dialogue, and maybe most of the acting. However, what CANNOT be excused is the lack of horror, or even suspense. This film certainly did not drag, but instead darted through a loose plot which ended up nowhere except a lame showdown. A waste of an interesting idea and a great vampire.

The Wrong Man (1956)

Weaker of Hitchcock's Films Saved by Fonda

[7/10 · 31 October 1999]

Though the very premise of the film, the "wrong man" syndrome, seems to fall perfectly into the realm of Hitchcock, this film is one of his weakest of the period. The initial mistake and the process of his imprisonment are intriguing, but unfortunately, the plot does not reach much further than that. The suspense ends soon after the original mistaken identification, and devolves into the bizarre story of a wife gone mad and a rather boring court case. Vera Miles is bland and her part is ambiguous and irritating more than mysterious. The one saving grace for the film is Henry Fonda, whose heartfelt performance was the sole interest for me for most of the film.

American Beauty (1999)

Powerful and Disturbing

[8/10 · 28 October 1999]

This is the darkest of dark comedies, and part of the humor is how the viewer is pulled in and dragged down with the characters. At first, the film seems quirky but funny, with Kevin Spacey and Annette Benning playing a disfunctional but almost cartoon-like suburban couple with a rebellious child. Nothing new there, right? Well, soon it becomes obvious that there is a lot more to it than that, and we are pulled along by a fantastic script as the conflicts emerge. I have never before witnessed such a beautifully accurate portrayal of modern dilemmas. Like much of the 1990's, this film is in-your-face and has no compassion for the light-hearted. Homosexuality, young lust, identity crises, bigots and power-mongers seeth through the film, tearing apart two families and leaving no pure hero, and no obvious villain. We are allowed to see both sides of all characters, and so instead of caricatures, we see real human beings, and so the tragedy of it all hits even harder.

Bringing Out the Dead (1999)

It's no 'Taxi Driver', but...

[9/10 · 23 October 1999]

The problem for a master director like Martin Scorsese is that each new film is compared and contrasted with his best work. I am not surprised, therefore, when I read reviews from people who were "disappointed" in the film. That is too bad. I suggest that people take a film for what it is, rather than enter the theater thinking "Martin Scorsese, Martin Scorsese" and expecting a masterpiece. Just like 'Kundun', this film is a near masterpiece in it's own right that accomplishes what Scorsese wished to accomplish at the time he made the film. Even someone so skilled at creating driving dramas (no pun intended) can take a step back to focus on something new. I will agree that 'Bringing Out the Dead' is not as easy or enjoyable to watch as 'Raging Bull' or 'Goodfellas'. However, it's psychological impact is only slightly below those other masterpieces. As for the acting, I'm beginning to really see that Scorsese has a magical touch with actors. Obviously, he was lucky enough to meet Robert De Niro for his best work, but there have been other actors along the way who benefitted greatly from working with him. Harvey Keitel, Joe Pesci and Ray Liotta all did their best work with Scorsese. Sharon Stone became credible for the first time in Scorsese's 'Casino', and now it seems he has lifted Patricia Arquette to the next level as well. No, Arquette is no Katherine Hepburn, but this is the most gritty, real performance of her career. Joined by the heartfelt portrayal by Nicholas Cage and solid work by Ving Rhames and John Goodman, the ensemble cast is one of the best this year. I think one of the key problems people have had with 'Bringing Out the Dead' is that there are no 'up-points'. In 'Mean Streets'(Johnny Boy and his antics), in 'Taxi Driver'(Travis' attempts at Cybil Shephard), in 'Raging Bull' (Jake's fierce battles) and so on, he always gave the audience something juicy to bite into in the midst of all the despair. In 'Bringing Out the Dead', we are forced to live every gruelling moment with Frank (Nicholas Cage), and perhaps it is too much for some people.

Fight Club (1999)

Powerful but Flawed

[8/10 · 17 October 1999]

Edward Norton has a gift for choosing powerful films, and an even greater talent for performing his roles. In 'Fight Club', he does not disappoint. In fact, even Brad Pitt makes a decent showing of it, and the angelic Helen Bonham-Carter completes an impressive trio. Much of the script is darkly poetic, and the direction is fast-paced and in many parts fascinating. However, the initial shock of the plot loses steam about 2/3 in, and the plot becomes a bit muddled. Yes, it is intended to be mysterious and even a bit ambiguous, but somehow a message is lost somewhere in the montage of realization near the end. Unfortunately there are some short, lame moments of dialogue that seem cut-and-pasted in from other movies, and are glaringly out of place in this off-beat film. In summary I would say that this is an excellent alternative to the typical Hollywood movie, with a powerful message that was ALMOST delivered expertly.

The Long Voyage Home (1940)

A Solid Tale

[8/10 · 12 October 1999]

This is a powerful piece from John Ford, and a masterpiece of cinematography from Gregg Toland. Though it drags at times, the characters on the ship make the wait worthwhile. While Wayne IS a central figure in the story, it is his shipmates that carry the film. Wayne is merely the focal point of their dilemma. While there are a few misfires (such as the patriotic image of the British flag after an Englishman's heroic death), it is all-in-all a fabulous picture, a rugged tale of friendship, durability, disappointment and resignation.