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Reviews
The Godfather Part III (1990)
"Once you go in you'll never be able to go back"
How do you top two of the most acclaimed films of all time? If you are writing a sequel to them, the answer is likely...you don't. But in 1990 Francis Ford Coppola gave it his best shot in his collaborative work with Mario Puzo to create the third (and last) part of the God Father trilogy.
This third film brings with it a very different atmosphere from the previous two, but a large part of that is that due to the lapse of nearly two decades between the previous sequel. "God Father III" is a film of tremendous worth though it does suffer several weaknesses. First I think Coppola lost a lot of series momentum by waiting 16 years to film the concluding episode (A mistake duplicated by George Lucas with his "Star Wars" prequels). The returning cast (though a joy to see again) struggled to recapture their old personas with a script over- burdened in very complex Byzantine politics. Another weakness is Coppola's over zealous attempt to underline Michael's quest for redemption. Yes redemption is an appropriate theme for a person such Michael's character, but every screen moment for Pacino is weighed down by his Coppola-imposed "obligation" to show his continuous, undying contrition. A scene I think Coppola thought was one of the best (Michael's speech to Dom Tominsino's casket) is actually one of most pointless moments of the film. The screen play is also plagued by a number of very awkward lines (very disappointing given the pedigree of the cast)..Kay's "You became my nightmare" was bad,and Connie's "They will fear you now" to Michael was very awkwardly delivered, but Mary's calm,proclaimed "Dad?" with 9mm gunshot wounds to the chest may have needed the most serious review by the screen editors. The other weakness, pointed out in several IMDB reviews, was Coppola's decision to make Godfather III a "family affair". Obviously sister Talia Shire is part of the "God Father" institution, and Sophia Coppola tired her best, but a film of this magnitude can't afford to play favorites in it's casting and production. (It's ironic that incest plays a role in the script!) Despite it's flaws, God Father III is certainly a worth while piece. Coppola was able to bring back most of the characters (those who hadn't been killed in the series) while introducing a new protagonist in the character of Vinny Corleone, played brilliantly by a young Andy Garcia. The over all theme of redemption for Michael was also an interesting study, (His garden confession being the most substantive), but again how much further could a man who had his brother killed fall? Even though Michael in his heart may have wanted redemption, he really never does much to "get out" of the World he entered as a young man. But again that is what Coppola wanted to emphasize in this coup' de grace of the Coreleone dynasty.
Heaven & Hell: North & South, Book III (1994)
Awful, Awful, Awful
For fans of the North and South series, this should never have been produced. Never, never, never never!! (If you have seen the first two Books and enjoyed them as most do, don't even consider viewing the third, it will spoil the greatness of the previous work)
The Man Who Would Be King (1975)
Swashbuckling adventure of epic proportions
"The Man who would be King" is truly a joy to watch for fans of Sean Connery, Michael Caine, director John Huston, or just quality films of epic adventure. "Man" mixes masculine bravado with intellectual-based humor to produce an effective vehicle for it's action stars. Huston's work provides perhaps the best pre-cursor to the "Indiana Jones" movies of the early 80's, as British mercenaries Carnahan and Dravot travel the seeming ends of the earth in 1800's South Asia, getting in and out of as much trouble as Connery's Bond character could ever hope to. Based on Runyard Kipling's novel,The movie is epic in it's adventure, but still deep enough to outline the philosophical roles of the king archetype as well as the absurdity of 19th century British imperialism. Connery (The man who longs to be king) climbs the traditional spire to monarchy through military prowess and the superstition of the masses, (not to mention a little luck!) Yet once king he suffers the same scrutiny that the pharaohs of Egypt and modern dictators face; a ruler's power rests with the people's contentment, when expected services are no longer delivered, the "King" will lose his mandate. Carnahan and Dravot are products of British imperialism, which operated on "racial" mandates of European supremecy. By the time Connery realizes the fallacy of his mindset(Like the tragic hero, when he begins to believe his own myth the downfall follows), it is too late. Still to the end the two men reaffirm the values of bravery, loyalty and brotherhood...The kind of things that make a man a true man.
The Robe (1953)
Beautiful mix of history and fiction
"The Robe" is a Hollywood classic designed in the old pre-60's movie making style. Based on the fictional character of Marcellus Gallio and set in the historical backdrop of first century Rome, The Robe delivers a beautiful story of the early Christian movement. Though certainly not a pure historical or theological work, the film still presents a powerful model of faith and redemption through the protagonist Tribune Marcellus Gallio.
In addition the film is well acted and the plot very engaging. Jay Robinson's over-the-top portrayal of Caligula is exagerated, but memorable, and Jean Simmons meets the dramatic performance offered up by her opposite Richard Burton. Some of the reviews turned in on "The Robe" dismiss it as overly soft "fluff", but this is a film that should be given a closer look by it's critics. It's intent is more to inspire the viewer then to tandelize. Yes, it is unlikely that there ever was a Roman officer who carried the robe of Christ to his death, but certainly there were first century Christians (and other groups) who sacrificed everything for a cause others saw as foolish. The film demonstrates the power of faith without being preachy. It provides strong sets and action but doesn't over do itself in it's presentation. "The Robe" is a film that can be enjoyed by a wide age group whether they reap the theological message or not. Fifty years later directors are still unadmittingly trying to recreate the power of "The Robe", but have come up short. (See "Gladiator")
The Naked Prey (1965)
A Great Action Movie....And Mythological!
If you want a basic movie review you may want to skip this entry. However, if you are a fan of the late Joseph Campbell, or enjoy attempts at mythological interpretation, you might find this interesting. On the surface, Naked Prey may appear as just a neat Tour-de-Force action film, but having viewed it numerous times over the past 15 years, I have found the film to reveal a much deeper critical significance then most works of the celluloid genre can offer. Cornell Wilde's survival trek across the wilds of South Africa portrays an immensely symbolic experience that mirrors the primal journey of every human mind and spirit. Filled with archetypes instead of personalities, (Notice there are no names in the movie, only "Man" and the "Pursuers", as if they are only ideas of something) Naked Prey is a showcase for the figurative battle that every human "fights" in their subconscious mind.(The sparse dialogue of the film underlines the fact that this is a movie of the mind) The film's chase scenes appear as a model of the universal/eternal cycle of life. In the film's opening, Cornel Wilde sets off from the fortress like an infant from the womb, and influenced by choice and chance, goes through a figurative cycle of birth-life-death-rebirth. A few of the movie's "props" play important roles: The harsh flora and fauna of the savanna act as the world of obstacles that we all must struggle and compete within. "Stripped down", literally in this film! The naked man must become a part of his environment in order to conqueror it. (Just as Wilde becomes both hunter and hunted in many scenes of the film). Other major archetypes include the Masai tribesmen, who are not so much the "villians" of the story as they might represent the elements of primal fear. They are part of the danger, and their pursuit to catch the man is as relentless as the uncertanties/trials we must face as human beings. The "Man" is not the target of their hunt solely by chance. Though demonstrating some "nobleness" of character, he has paritally put himself in this position by the reluctant choice of company he kept with the Safari.
The Man must therefore confront the unknown possibilites of the wild, and be willing to "die" (As he appears to briefly when dragged from the river) before he can get back "home". His goal of "settling down" on his farm must be put-off until he completes this "rite of passage". Ultimately as the late mythological expert Joseph Campbell would say, we come to the task of the mythical hero, to accomplish that unknown goal that brings spiritual fulfillment. Obviously, this is the "Man" who is able, well almost able...to return to the seminal place from which he came. With the help of some outside support, (The little girl, the sentry guards at the fort) "Man" becomes a survivor and fulfills his quest. He is able to look back at his struggle (As we sometimes reflect on our past) with an almost wry smile. Though not very movie-buff would care much to turn entertainment into philosophical study, it is to me as if these sub-conscious archetypes in Naked Prey are unlocked gradually through the viewer's very natural relationship to them. I don't necessarily believe that Wilde read as deeply into the story as I have, but then again that's the subconscious mind at work. Naked Prey is a very entertaining action picture. Like Boorman's Deliverance, it just also happens to an inconspicuous mythical masterpiece.
Dark Night of the Scarecrow (1981)
atmospheric and errie mystery morality tale; pretty good for tv
"Dark Night of the Scarecrow" is an excellent made-for-tv thriller that mixes a good, if not familiar plot with great atmospheric direction from Frank DeFelittia. DeFelittia's work is a versatile mystery/thriller "good verses evil" tale. For those who may remember seeing this movie on Halloween night of 1981, numerous moments from the film have lingered for more then twenty years to make it an enduring Halloween classic. Larry Drake and Charles Durning's acting create a great dicotomy of the innocently persecuted and the fiendishly corrupt, and the rest of the cast fit nicely into each of those two opposing camps. As a viewer you may develop a good idea very early on in the film as to what will eventually happen, but just how it will happen is what will keep you on the edge of your seat.The dialogues are done very well and the settings of the film are above average for a tv movie. "Dark Night" actually is good enough that with a few touch ups could be released today at the box office and be a respectable work. If one hasn't seen this yet, chances are you'll find this film a worthwhile experience.
Signs (2002)
A spiritual encounter of the first kind
"Signs" is a multi-demensional film that isn't what it first may seem. Mel Gibson is given one of his most challenging roles here and delivers quite well. What presents itself as a 25 year remake of Spielburg's "Close in counters" builds itself to be much more than just a movie about alien contact. This movie explores deep spiritual issues while providing enough sci-fi jargon for the most rabid fans of the supernatural. There are plenty of "jumps" to keep you on the edge of your seat also. Some scenes of the film at first seem a bit awkward but by movies end, all elements of previous dialogue are tied together to underline the film's main theme. This movie will be pleasing to people of many different tastes and is unique, even if Mel Gibson doesn't build a gigantic clay mountain in his living room.
Halloween: The Curse of Michael Myers (1995)
Halloween 6 or Dr. Loomis'last hurrah
"Curse of Michael Myers" is a very frustrating piece to deal with for a fan of the Halloween series. After a very disappointing letdown in Halloween 5, the series reached a near ebb in plot lines, with a silly devolution into witchcraft and a teenage cult dedicated to the worship of Michael Myers. "Curse of Michael Myers" ups the ante in blood and gore, but really represents a decay in the series' integrity. It's too bad to, as this is the last movie for Donald Pleasance as the character of Dr. Loomis. Pleasance has some good screen moments (precious ones if your a fan of the series) as the now very aged and as he says "very retired doctor". Sadly he died before the movie was completed, and it is very apparent at the conclusion of the film that the stories original climatic scene was never realized. Right from the beginning credits, Halloween 6 has more of the feel of a made-for-TV movie then that of the block-buster horror flick that it started out as in 1978. Any loyal Halloween alumni should have demanded more from this film,... Dr. Loomis and Donald Pleasance deserved more.
The Funhouse (1981)
hybrid cross between "Texas chainsaw" and "Halloween" at the circus
Much of what can be said about "Funhouse" has already been so in the reviews above. However,this is one that should catch the attention of any fans of the horror flick genre. This above-average thriller doesn't have a great plot, but is very atmospheric thanks to the carnival sets and stage props that underline the Lon Chaney truth that there's "nothing scarier than a clown at midnight". "Funhouse" clearly utilizes many of the slasher-flick cliches and borrows liberally from both "Halloween" and "Texas Chainsaw massacre." The acting performances are adequate, especially from Elizabeth Berridge. Still there are some questionable elements to the film. Berridge's brother in the film is given numerous scenes wandering around the funhouse, but never really plays a significant role in the stories outcome. Also some of the attack scenes take place in such poorly lit settings that the viewer goes away wandering what really happened to our four hero/heroines.
Necrophagus (1971)
Typical early 70's horror genre with a few unique touches
This Spanish-made horror flick suffers from many of the common short-comings of this type of genre; a disconjuncted plot, many awkward cuts and innane dialogues, actresses chosen for their looks more then acting ability, as well as a poor English over-dub of the Spanish screen play. The opening scene grabs your attention, but soon on "Graveyard of Horror" keeps you wondering not only what will happen next, but why what you just saw actually took place. That aside, the film does have some qualities which still can provide an attraction to the most-avid horror fan. The graveyard/castle settings provide a few atmospheric, though not chilling scenes. Best of all is the periodic use in the score of an uniquely errie whistled tune very similar to the melody of "Morning has Broken" which offers a seeming tranquil juxtaposition to the gory nature of this topsy-turvy grave robbing tale.