NickD Reviews

Call Me Madam (1953)

An unexpected (pleasant) surprise

[9 May 2004]

I must admit, not having heard much about this film, I watched it with very low expectations. Yes, the plot is silly and Ethel Merman, although a one-of-a-kind treasure, is tough to watch on film. But what a production! This is the kind of all-stops-out musical that MGM is known for -- proving that Fox's musicals are often underrated. Glorious Technicolor (just check out the amazing art direction in every scene, calculated to make the colors come alive) and some astonishing dance/musical numbers with Donald O'Connor and Vera Ellen. O'Connor is more impressive here than he was in "Singing in the Rain." And the Irving Berlin music, although not his best, doesn't hurt either. Biggest surprise was George Sanders, of all people, who reminded me slightly of Christopher Plummer in "Sound of Music" and (if it is really his voice) can actually sing!

And Now Ladies & Gentlemen (2002)

Lelouche can still make them like nobody else

[14 August 2003]

What a pleasure to see another work from one of the world's

greatest directors, Claude Lelouche. "And Now Ladies and

Gentlemen" doesn't disappoint, although it's clearly not in the

league of Lelouche's masterpieces "A Man and a Woman" and --

my favorite film ever -- "And Now My Love" ("Tout un Vie"). There are

all the requisite Lelouche themes here: romance, destiny, faith

and redemption, combined with superb performances by Jeremy

Irons and Patricia Kaas, exotic locales and that wonderful Michel

Legrand music. (Also great to see performers like Claudia

Cardinale and Paul Freeman again!) Nobody else makes films

like Lelouche, and that's both a pity and a reminder of what a

treasure he is.

Next Stop Wonderland (1998)

A wonderful (and surprising) romantic comedy

[6 August 2003]

I viewed this film last night for the third time and was struck again

by how beautifully Brad Anderson tackles a deceptively tricky

genre, the destiny-themed romantic comedy. Particularly, as

another reviewer pointed out, since this film more than echoes

Claude Lelouche's "And Now My Love" (probably my all-time

favorite film), it reaches for something where the bar is already set

fairly high. Even the more gimmicky elements -- the hand-held

camera style, the pervasive Brazilian bossa nova music, the

incredibly horrible dates -- all seem to work. In short -- a wonderful,

charming film that makes you believe in love and romance.

The Mothman Prophecies (2002)

Above-average thriller with a great look

[28 June 2003]

For a mainstream Hollywood thriller, "Mothman Prophecies" is better than most (certainly several notches above the overrated -- and, unfortunately, far more successful -- "The Ring"). On the plus side is a creepy, intriguing premise; creative and atmospheric direction, cinematography and score; and a great cast that includes the always-wonderful Laura Linney and Will Patton and a surprisingly effective Richard Gere. On the down side is a plot that throws in far too many disparate elements to get the viewer truly involved -- the Alan Bates subplot doesn't really do anything but slow the film down. Yet I can't really see how people think this film is boring. There's always a lot (at times too much) going on, with great production set pieces that include a dynamite collapsing-bridge scene that was excellently done.

7 Faces of Dr. Lao (1964)

A missed opportunity

[24 March 2003]

I saw this movie as a child and recalled vague, fond memories of

it. I revisited it yesterday after nearly 40 years and found out why.

The film has a fascinating premise (a mysterious, mystical

stranger enters a small town and proceeds to change the lives of

many people through a series of "life lessons" administered by

mythological creatures and personages). But the execution of the

film is extremely pedestrian. The direction is plodding, the special

effects are borderline cheesy, and the performances -- with the

exception of Tony Randall and, at times, Arthur O'Connell -- are

unremarkable. This had the makings of being a classic but,

unfortunately, didn't come close. Someone should really remake

this story the right way!

Far from Heaven (2002)

A brilliant film that goes beyond homage

[19 November 2002]

It is tempting to dismiss "Far From Heaven" as a stunt – a faithful

copy of the Douglas Sirk/Ross Hunter glossy Technicolor

melodramas of the 50s with a plot that explores more daring

themes than allowed in that time. Certainly it is intriguing to see

weighty issues like sexual orientation and racism explored

through the filter of a parfait-light confection. Yet it quickly becomes

clear that "Heaven" is working on deeper levels than that. Todd

Haynes achieves a delicate balance between the polished

artificiality of his characters' outer lives and their tragically

conflicted inner lives. All the actors do superb work, but it is

Julianne Moore – as the film's central character, Cathy Whittaker –

who brilliantly embodies Haynes' vision. To see her sustain the

smiling, vacuous façade of a 50s upper-class wife while wrestling

with profound doubts and questions coming out of a world

unknown to her – all within the same scene, and even the same

shot -- is astounding. Her performance elevates an already

excellent film into the realm of a classic.

Double Jeopardy (1999)

Great fun -- who needs logic??

[13 September 2002]

After reading some of the comments here I have to groan, "Oh,

come on!" People are actually taking this film seriously enough to

pick apart all of the plot holes and gaps in logic? They're part of

what makes this ridiculous glossy popcorn thriller so much fun!

There are so many great things here -- beautiful heroine who

looks glamorous even after six years in prison, dastardly SOB of a

husband, back-stabbing best friend, impossibly narrow escapes,

gorgeous locales and photography, and a great mother-finding-her-son-at-all-costs plot. Ashley Judd is perfection

itself -- the fact that she can keep a straight face through all of

these goings-on merits her an Oscar by itself. This ranks right up

there with "Jagged Edge" and "Final Analysis" as a great "style

triumphs over substance" thriller.

The Bridge on the River Kwai (1957)

A timeless epic

[10/10 · 31 August 2002]

Historical inaccuracies aside, "Bridge on the River Kwai" defines the term "Hollywood epic". Everything about it is on a grand scale, from the setting to the cast to the themes. It is also the principal masterwork of David Lean, one of the greatest film directors of our time -- much better, in my opinion, than any of his films that came before or after, including "Lawrence of Arabia."

I make it a point to watch it every few years and am always struck by two things: how affecting it is, even though I know the ending; and how it is so much all of a piece. The acting is excellent, and Alec Guiness in particular is superb, but at no time does it call undue attention to itself. This is true of all the other elements of the film -- the directing, editing, music, set design, etc. All excellent, yet all working together to create a piece of art that works on many levels: as a pure adventure film certainly, but also as a gripping exploration of human motivation in the unreality of war. You lose yourself in the story quickly and forget you are watching a film, which is one of the best compliments that can be paid to any film.

Repeated viewings also point out the deficiencies of so-called "epics" that have come out since. "Bridge" seems to me more timeless than ever as time goes on. (That the real story was far different and far less neatly resolved than in the film is a specious point. At no point does "Bridge" portray itself as a true story.)

A brilliant film. 10 out of 10.

Signs (2002)

Very disappointing

[18 August 2002]

I was looking forward to "Signs" but, unfortunately was let down big time. Stylish and atmospheric, yes, and marginally suspenseful -- but for what? An incredibly silly plot that somehow meshes ex-minister Mel Gibson's loss of faith with a full-scale earth invasion by some pretty dense aliens. Here we have extraterrestrials who are apparently advanced enough to travel umpteem light years to our planet, carve elaborate crop circles all over the globe, yet can't seem to figure out how to enter a boarded-up farmhouse. And what is their goal? It seems to be to abduct earth kids and squirt them with poison gas from an extendable nozzle in their forearms. I mean, this plot would have been laughed off the screen in the 1950s. And what is the aliens' Achilles heel? Water! Who'd have thought? Certainly not these brilliant green E.T.'s who travel to a planet that is 75% water! The ridiculous plot machinations seem all the more insulting because Shyamalan is a very talented director -- but please, PLEASE don't let him direct his own scripts anymore!!

1776 (1972)

One of the last great Hollywood musicals

[1 August 2002]

I love big film musicals, but for some reason -- probably my disdain for history, fostered by dry high school teaching -- I never got around to seeing 1776 until now. I was surprised at how impressed, and moved, I was by it. To place what is, for the most part, a fairly accurate retelling of these amazing events within the Broadway (and film) musical format, and have it succeed brilliantly, is nothing short of amazing. The film still retains a few timeworn musical comedy conventions, and Ken Howard's portrayal of Thomas Jefferson is a bit weak, but overall 1776 is stirring and extremely entertaining. John Cullum's solo turn on "Slaves to Rum" is astounding. And those who know William Daniels mostly as K.I.T.T. in "Knight Rider" or Dustin Hoffman's father in "The Graduate" will get a shock -- he's absolutely perfect here as John Adams. This really is one of the last great Hollywood musicals.

Wet Hot American Summer (2001)

What a mess!

[24 January 2002]

Would anyone other than the guys who made this film find it even remotely funny? I was led to this film by what must have been the only positive review it received. God only knows what kind of film the filmmakers thought they were making. Parts of it looks like they were aiming for an over-the-top farce jokefest like "Airplane," at others a knowing spoof of a revered institution a la "Caddyshack." Whatever, they failed miserably. This isn't even so-bad-it's-good unfunny -- it's just a mess. The worst part is that it tragically wastes the talents of some very good actors, particularly Jeannine Garafaolo, who desperately needs a new agent.

Vanilla Sky (2001)

Disappointing film with brilliant moments

[17 January 2002]

I was intrigued -- how was Cameron Crowe going to top "Almost Famous"? How did all those weird scenes in the trailer tie together? Was this the film that would convince me that Tom Cruise has more talent than I give him credit for? Well, for me "Vanilla Sky" was a real mixed bag. Seldom have I had so many loved-it-or-hated-it moments in one film. On the "loved" side was the existential, reality-spinning plot, the usual great Crowe soundtrack of on-target pop/rock songs, and some great performances, particularly by Jason Lee, Cameron Diaz and Kurt Russell (of all people). But that plot gets wrapped up with a tedious pulp-sci-fi explanation at the end that almost sours the preceding two hours. Still, there are so many good moments. In particular I loved the very brief (and barely noticeable) clips from two "Twilight Zone" episodes playing on a Times Square video display at the beginning of the movie. One is from "Shadow Play", where Dennis Weaver relives the same nightmare again and again. The other is "It's a Good Life," where Billy Mumy creates a bizarre reality for the citizens of his small town. Both, of course, presage major themes to come in "Vanilla Sky".

In the Bedroom (2001)

Intelligent look at grief and anger

[12 December 2001]

An intelligent, thought-provoking look at grieving parents wrestling with anger and forgiveness. Everything about the film -- the look, the acting, the pace -- rings true. Others who felt the movie is "tortuously flow" only shows how difficult it is to connect with audiences weaned on the frenetic pace of television, which sacrifices genuine emotions for quick epiphanies and wrap-ups between commercials. In this film, even though the "plot" is simple and somewhat predictable, the underlying emotions are not. People are complex beings, and dealing with the loss experienced in this film is one of the most difficult challenges any of us can go through. When Tom Wilkinson removes the bandage from his injured finger at the end of the film, we see that it has healed. Yet he has a much bigger hurt to deal with. Has he begun to heal with the extreme action he has taken, or impeded the process? "In The Bedroom," as is true of life, offers no easy answers.

Mulholland Drive (2001)

A mind-boggling masterpiece

[28 November 2001]

"Mulholland Drive" is quintessential David Lynch, a one-movie summarization of his style in all its glory and bizarre quirks. Its story seems to be mostly a dream, and nobody portrays dreams in cinema more effectively than Lynch. The surrealism of dreams is not depicted in a wildly over-the-top way (except for occasional flourishes). It's more subtle. Everything is pushed just a little too far or withheld a bit too much to be perceived as "reality". Characters are either slightly too real or slightly not enough. Situations are either ratcheted one or two notches up or down on the believability meter. The resulting effect is one of subtle disorientation, where everything ultimately seems slightly off-kilter. This is not to mention, of course, the identity switching, non-sequiturs, role reversals and just-flat-out-weird occasional visual elements. In anyone else's hands this would have been an incomprehensible mess. In David Lynch's hands it is still incomprehensible, but anything but messy. This might just be -- and time perhaps will tell -- a masterpiece.

Amélie (2001)

A wildly creative fairy tale

[13 November 2001]

"Amelie" is a magic realism fable told with imagination in overdrive. What could have been overly saccharin or cloying is saved by a wonderful combination of humor, inventiveness and the lovely Audrey Tautou as Amelie, the wide-eyed waif who becomes destiny's partner in making miracles happen for her Parisian co-workers and neighbors (and, ultimately, herself). Every moment there is so much going on -- visually, emotionally, narratively -- that it becomes dizzying, but it somehow gels to create a world that is at once dazzlingly complex and profoundly uplifting. Your first thought after the film ends is, "If life could only be like this." And then you think, "Maybe it is!"

Joy Ride (2001)

A Disappointing Mess

[25 October 2001]

I went to "Joy Ride" with high expectations -- having enjoyed the work of Steve Zahn and John Dahl immensely in the past. But what I got was a poorly done by-the-numbers thriller with several numbers missing. "Joy Ride" is typical of movies these days that present a few good set-piece scenes but don't make them come together into a satisfying whole.

The problem here is almost exclusively in the script. The villain is a chillingly evil, faceless trucker who is apparently omniscient. He knows everything about his victims -- who they are, where they are at all times, even where their friends are. But how? This omniscience is never even remotely explained and makes no sense. Without even this semblance of logic, the events in the film have little context and carry little punch. If the kids in the film were dealing with a maniac who, bad as he is, has to play by the same rules of reality as everyone else, and thus can be outsmarted, the film would have some point. As it is, it's just a series of scares that quickly becomes ho-hum.

What a disappointing misuse of a great cast and a talented director. Who green lights things like this? I guess audiences are still going to see it, but they deserve much more.

American Beauty (1999)

A beautiful film about nature, human and otherwise

[30 November 1999]

This is a remarkable and surprisingly touching film about the masks we all wear -- the faces we present to our families and the world to hide our insecure and vulnerable selves. Although exaggerated for effect (and to address logically in a 2-hour movie), the relationships in "American Beauty" are as complex as any in life. And while the catharses that most of the characters undergo are a bit overly contrived, the truths that the film puts forth -- among which is that the joys in life can be found in being true to one's own nature and in nature itself -- are amazingly potent. This is a beautifully directed, photographed, scored and acted film -- everyone concerned does a masterful job. Much has been said about Kevin Spacey's performance -- it's great -- but I was particularly impressed by Wes Bentley as the film's "control subject": the one character who is honest in his actions and emotions, a boy to whom the whole world is an amazing spectacle. Yes, "American Beauty" is popular mass entertainment, but even within that often constrictive form it is a true -- and memorable -- work of art. I think its stature and regard will grow over time.

Eyes Wide Shut (1999)

Fascinating but dated and illogical

[4 August 1999]

If this film is really about a couple exploring their attitudes toward sex and marriage -- and that's one of a possible zillion explanations -- it misses the mark completely for a film made in the 1990s. Far from being bold and frank, EWS doesn't go nearly far enough. The "orgy" centerpiece scene comes across more silly than anything else. Most of the male characters are overplayed and exaggerated stereotypes, and most of the women are demure and interchangeable -- why? The lapses in logic are almost endless, yet I did find this film fascinating to watch. Kubrick is a marvelously skilled filmmaker -- he has to be to make claptrap like this as mesmerizing as it is. If only he had a decent story and the willingness to be push the envelope more sexually.

Where the Boys Are (1960)

Not great, but better than you'd think

[26 May 1999]

Even for its time, this movie featured "teens" that were so different from any teenager I knew that they could have been from another planet. Still, "Boys" is a strangely affecting and entertaining movie, thanks mostly to its great cast. The plot, such as it is, features some strange detours to say the least. Dig Connie Francis launching into a huge impromptu production number at a beachside cafe! Marvel as cool Dolores Hart and preppie George Hamilton tell each other their IQ scores! Thrill as sultry sexpot Yvette Mimieux wanders, stoned, into oncoming traffic after being "used" by one guy too many! All wrapped up with requisite MGM Technicolor gloss, "Boys" may not be great moviemaking, but it is certainly entertaining.

The Last of Sheila (1973)

More fun than a celebrity cocktail party

[5 May 1999]

This movie is my favorite guilty pleasure. Wonderfully witty and a great mystery to boot, "Last of Sheila" is filled with bitchy dialogue, lots of Hollywood "in" jokes (for the 70s)and a few wonderfully over-the-top performances, including a great turn by the late and sorely-missed Joan Hackett. The puzzle is intricate and clever, but still possible to figure out unless you're simply enjoying the jokes and inspired casting (Dyan Cannon! James Coburn!! Raquel Welch!!!). I could watch this a million times and still be entertained.

Charade (1963)

Heaven = Hepburn + Grant + Paris

[9/10 · 5 May 1999]

Audrey Hepburn. . .Cary Grant. . .what more could you want?!? Plus, they're both at the top of their form -- glamorous and hypnotic -- in a pretty good Hitchock-ish suspense thriller. This is Hollywood fantasy filmmaking at its finest. Colorful, glitzy and slightly other-worldly, all coated in a shimmering Henry Mancini score, "Charade" has many pleasures, including a frenetic chase through the Paris Metro and a great supporting cast including James Coburn, Ned Glass, George Kennedy and a marvelously villainish Walter Matthau. Pop this one in the VCR!

The Grasshopper (1970)

Jackie Bisset shines in an all-stops-out performance

[7 April 1999]

This is undoubtedly the best performance of Jacqueline Bisset's career. Unfortunately, it's in an over-the-top trash-fest that is so audaciously (and probably tongue-in-cheek) cheesy that it's pretty damn good. I saw this thing about a hundred times working as a movie usher in the early 70s, and practically any other film would have become dull after that many viewings -- not "The Grasshopper"!

The plot is completely implausible, but in a nutshell it has Jackie starting out as a fresh-faced farmgirl and, after being used and betrayed by gigolo boyfriends, horny old businessmen and the Mob, ending up an embittered prostitute. And all within the space of one year! The final skywriting scene would have become a classic had an audience of any size actually seen this film. Definitely worth a look!

And Now My Love (1974)

One of the best films of all time

[30 March 1999]

This is a complex, gimmicky, manipulative and insanely romantic film, and it's my all-time favorite movie, bar none. And I prefer the U.S. version, which was truncated somewhat from Lelouche's original, because it punctuates the essence of the film -- that we are all somehow destined to our fate, even going several generations back, but we must cooperate by following our hearts and souls. I've seen this movie more than 20 times and it still fascinates me.