gridoon2024 Reviews

Between Heaven and Earth (1959)

Perhaps the only movie ever made entirely about people trapped in a stuck elevator

[6/10 · 8 May 2024]

Perhaps the only movie ever made entirely about people trapped in a stuck elevator: these include a mega-sexy film star, a petty crook, a robber, an escaped lunatic, a pair of illicit lovers, a pregnant woman and her husband, the man operating the elevator, and others. The action also expands to the roof of the building, where a film is being shot and the boyfriend of one of the passengers has a suicide pact with her. It's an intriguing mosaic / microcosm of Egyptian society at the time, and certainly a technical marvel, athough at feature length it feels a little stretched-out, and some of the performances - the lunatic and the director, in particular - are pitched too high. **1/2 out of 4.

Cairo (1963)

Flavorful but routine caper film

[6/10 · 7 May 2024]

"Cairo" (1963) is notable for being set in Cairo (duh...), but otherwise it's a routine caper film. It's quite leisurely - the caper doesn't start until halfway through the running time - and when it does get to the caper, it's totally unbelievable (the crooks enter the barely guarded Egyptian museum in a thoroughly noisy and indiscreet way!). On-location shooting and a good cast are the strongest assets; Faten Hamamah, reportedly the most popular Egyptian actress of all time, has a rather thankless role in her only Hollywood film, but still manages to give a charming performance. *** out of 4.

Cairo (1942)

Slick spy comedy with music

[6/10 · 6 May 2024]

"Cairo" (1942) is a typically polished MGM production - even if it does take place in an entirely Hollywood-studio Cairo. It features some surprising, for the time, "meta" humor, like Jeanette MacDonald's response to the question "Have you ever been to San Francisco?", or the final scene where she "teaches" Robert Young how to carry himself as an actor in front of a supposed camera - which is the actual camera filming them. There is perhaps a tad too much singing, although MacDonald, who looks gorgeous and younger than her age, has a remarkable voice. A fine supporting cast helps. **1/2 out of 4.

The Gods Must Be Crazy II (1989)

Slapsticky follow-up

[6/10 · 5 May 2024]

The two "Gods Must Be Crazy!" films must be credited for bringing more people to African cinema than perhaps any other film, but let's face it: they are made primarily for a Western audience, and their nominal lead, the true Kalahari native N! Xau, is more of a supporting character in both. This sequel consists mostly of endless slapstick shenanigans; the script seems to be running around in circles - often literally. But the slapstick IS occasionally inventive, the photography-stuntwork-animal integration are all good, the unconditionally positive N! Xau is still great, Lena Farugia displays a legendary pair of legs, and there is a heartwarming ending to everything. **1/2 out of 4.

The Gods Must Be Crazy (1980)

Some unique aspects, others less so

[6/10 · 4 May 2024]

"The Gods Must Be Crazy!", African cinema's biggest worldwide box-office hit ever, is a fairly entertaining mix of ethnographic documentary, slapstick comedy, romance, and action movie. I found the first of those ingredients to be the best: I cannot remember seeing another movie about the bushmen of the Kalahari desert. On the other hand, I do remember seeing movies about vehicles out of control, trigger-happy guerillas, and a clumsy guy trying to win over the affections of a beautiful woman, so those aspects were less interesting to me. N! Xau should be the star of the film, but he stays off-screen for considerable periods of time. That said, Sandra Prinsloo is beautiful and game, and Marius Weyers' Buster Keaton-esque sight gags do produce some chuckles. **1/2 out of 4.

No Man's Land (1985)

Personal study in alienation and disillusionment

[6/10 · 2 May 2024]

Leonard Maltin calls "No Man's Land" a companion piece to Alain Tanner's more acclaimed "Jonah Who Will Be 25 In The Year 2000"; true, it too is an ensemble piece, made by the same director in a similar minimalistic style, but it has no "plot" connection to "Jonah" and lacks its political charge and its surrealistic elements. It is also not as engaging. But it is effectively disorienting (we're never quite sure which side of the French - Swiss border we're on, living up to the title), beautifully photographed (especially at night-time, in the forest), and has some wonderfully introspective moments, like a man describing seeing a woman's soul through her eyes ("it's like a well...you don't see the bottom"). **1/2 out of 4.

The Jackpot! (1991)

"True Lies" was overblown; this is undercooked

[6/10 · 1 May 2024]

I always thought that the 1994 Arnold Schwarzenegger vehicle "True Lies" was overrated - a step back into more mindless action films for Arnie after the extra-witty "Last Action Hero". Learning that it was a remake of a French film, and that in fact James Cameron has lifted entire sequences almost identically, certainly did not raise it in my estimation. But if "True Lies" was overblown, "La Totale!" is undercooked: it is essentially a slight, old-fashioned marital farce, punctuated by (very) sporadic action - and some unexpected blood squibs near the end. The two leads, Thierry Lhermitte and Miou Miou, are good, but the film is a little flat. Of course it doesn't help that the "official" English subtitles are rather poor, not making full sense at several points (example: "c'est pas vrai" becomes "superway"!). **1/2 out of 4.

Jonah Who Will Be 25 in the Year 2000 (1976)

Interesting, peculiar and very cerebral film

[7/10 · 28 April 2024]

"Jonah Will Be 25 In The Year 2000" is an interesting attempt to make a modern philosophical film, loaded with ideas and polemics. You can find traces of Luis Bunuel (in the surrealistic passages), of Jean-Luc Godard (in its political charge), of Robert Altman (in the way multiple characters randomly cross each other's paths and make connections), and perhaps of others in it, but writer-director Alain Tanner manages to blend all those influences into a unique package that's quite unlike anything else. There are some wonderful scenes, like the lesson in "time". Entire cast is very good, but Miou Miou is particularly enchanting. *** out of 4.

Dangerous Moves (1984)

Adequate chess drama

[6/10 · 27 April 2024]

"La Diagonale Du Fou" is notable as one of the only two Swiss films to ever take home the Academy Award for "Best Foreign Language Film". It is also notable as being one of only a handful of films about chess which, apparently, is not considered the most cinematic "sport", although with the right director it can be. Richard Dembo may not have been that director: his film is perfectly watchable, but not as exciting as it should / could have been. Unsurprisingly, the brightest moments involve the actual chess games; most of the other stuff (the wise old pro and the rebellious young upstart, the neglected wives, the Cold War tensions, etc.) we have seen before, in different surroundings. The little-known Alexandre Arbatt holds his own against the well-known Michel Piccoli; Leslie Caron receives third billing but is largely wasted; Liv Ullmann fares a little better. **1/2 out of 4.

Loulou (1980)

Shallow and disappointing teaming of two top French stars

[4/10 · 23 April 2024]

It might seem crude to suggest that "Loulou" was made for the single purpose of getting Gerard Depardieu and Isabelle Huppert, two of the biggest stars of the French film industry then (and now), in bed together; on the other hand, it's hard to think of any other reason for making it (or seeing it). They do share a strong chemistry, and Huppert may never have looked better, but their characters, like all the others, lack interest and depth: all they do is eat, drink, argue and screw, in no particular order. The script is void (there is not a shred of plot, and barely any dramatic conflict, in this 105-minute movie), and the direction is totally pedestrian. *1/2 out of 4.

Messidor (1979)

Like "Thelma & Louise" as if directed by Robert Bresson

[7/10 · 21 April 2024]

"Messidor" is the second Alain Tanner film I have watched, after "La Salamandre" (1971); I gave that one zero stars, but I'm giving this one ***. Maybe it's because it's about two girls while "La Salamandre" was about two guys? In any case, "Messidor" is a love poem to aimlessness (its liberations as well as its limitations), to girl-bonding (one girl is working and from the country, the other studying and from the city), and to the magnificent variety of the Swiss landscapes. It is very deliberately paced and decidedly not for all tastes: only put it on when you're in a patient mood. But if you do surrender to it, you may find it quite hypnotic, right up to its bitterly ironic ending. Tanner is a talented director (a conclusion that I came to even in his previous film that I disliked), with a highly distinctive, minimalistic style. The two grls are not exactly likable, but they are real (and beautifully acted).

Olivier, Olivier (1992)

Compellingly ambiguous arthouse thriller

[8/10 · 20 April 2024]

"Olivier, Olivier" is one of the best films I've watched recently, and comes from one of the most creatively fruitful periods for cinema - the early 1990s. It is unpleasant yet riveting, thought-provoking, erotic, ambiguous, and beautifully detailed. The director, Agnieszka Holland, does not feel the need to do anything overly fancy: she relies on the locations (the deceptively quiet French countryside), the acting (powerful across the board, but the young Gregoire Colin and Marina Golovine, in particular, are revelations) and the story (full of twists and turns) to carry the film, and they do. The ending leaves a lot up for debate - just like a work of art should. ***1/2 out of 4.

The Vanishing (1993)

Slick, good-looking, if unnecessary remake

[5/10 · 19 April 2024]

With "The Vanishing" (1993), George Sluizer joins the short list of directors who have remade one of their own films; unlike Alfred Hitchcock and "The Man Who Knew Too Much" (1956), he does not improve upon his original work. With that said, this remake is not as bad as some have claimed; in fact it is perfectly watchable, and Jeff Bridges is well-cast as the well-adjusted psycho-next-door. It's just that, with so many scenes and even pieces of dialogue replicated shot-for-shot and line-for-line, you wonder about the purpose of its existence. If there is one in the mind of Sluizer, it must be the alternate ending; on one hand it's true that it's a conventionally happy Hollywood ending, on the other hand Nancy Travis, in the beefed-up part of the new girlfriend, makes an unconventionally kickass action heroine! (she rescues the male lead before he has to rescue her). In fact, Travis is so much livelier than Bullock (the vanished girlfriend) in this particular film that you can't help but wonder if maybe Kiefer Sutherland should just cut his losses and focus exclusively on her from the get-go. ** out of 4.

Accusée... levez-vous! (1930)

Uneven but worthwhile courtroom whodunit

[6/10 · 17 April 2024]

"Accusée.... Levez-Vous!" begins well, as a celebration of sound and female flesh (in the form of underdressed French showgirls). In its combination of murder and show business, it predates the minor Hollywood classic "Murder At The Vanities" (1934). But when the action moves to the courtroom (as the title implies that it will), it becomes talky and overindulgent, especially in the case of an elder ex-actor / now-stage manager who is allowed to ramble on for centuries, for supposed comic effect. Still, the film boasts excellent use of sound, a well-done final unmasking of the killer, and a beautiful female lead (Gaby Morlay). **1/2 out of 4.

Deep Water (1981)

Very much in the Claude Chabrol vein, though not quite as good

[5/10 · 16 April 2024]

"Eaux Profondes" is based on a Patricia Highsmith novel, but to the book-illiterate it may look more like an unofficial remake of Claude Chabrol's "La Femme Infidele" (although the book came out in 1957 and Chabrol's film in 1969, making you rethink who influenced whom first). It is a calm, dispassionate story about infidelity, jealousy, and murder, with some interesting transitions by director Michel Deville and two excellent leads: Jean-Louis Trintignant (he's at his best when he puts on a wolfish smile) and a young, frequently nude Isabelle Huppert. But it is also repetitive, feeling longer than it is (93 minutes), without enough psychological depth. Also the music score sometimes gets too loud and annoying. ** out of 4.

Sweetheart (1992)

Offbeat crime movie begins with promise, goes nowhere

[5/10 · 14 April 2024]

"Toutes Peines Confondues" begins with some promise (if somewhat confusingly), as it runs through the events that bring a cop (Patrick Bruel) and a criminal (Jacques Dutronc) together. But after the first 20 minutes or so, the film seems to lose its way - and its sense of purpose. There is so much small talk and so many word games between the two men that at times you may wonder if they are flirting and if that's the subtext of the film, which is further marred by the distasteful treatment of its secondary female character (Sophie Broustal). The acting is good by all and there is some nice scenery, mostly in Switzerland. ** out of 4.

The Cry of the Owl (1987)

Medium-grade Chabrol

[6/10 · 13 April 2024]

"Cry Of The Owl" is one of the most obscure mid-1980s Claude Chabrol films, and frankly, not among his best (I prefer his "Masques" from the following year). It is very low-key, and doesn't ignite - to the extent that it ever does - until it's too late. Mathilda May is radiant and gives a touching perforance, but it is a little disconcerting that this story is based on a book written by a woman (the famous Patricia Highsmith), considering the behavior and, especially, the fate of both main female characters. Then again, you could say that the men don't fare much better, either. **1/2 out of 4.

Blood Relatives (1978)

Absorbing policier dvelops into moody, compelling psychological thriller

[7/10 · 7 April 2024]

One of Claude Chabrol's most underrated movies, "Blood Relatives" begins as a police procedural, with interrogations, police line-ups, red herrings, etc., but gradually transforms into a psychological family drama, with long flashbacks that take up nearly the entire second half; the ultimate solution of the murder is guessable for fans of the genre, but remains chilling to see unfold on the screen. Aude Landry (why did she have to quit acting so early? She shows huge potential here) and Lisa Langlois give haunting performances, and Donald Sutherland is effectively introspective as the inspector who, much like Hercule Poirot, tries to understand the psychology of the crime in order to get to the truth. The Montreal setting is refreshingly different and just right for this moody, understated film; it stays in your memory. *** out of 4.

Australian Survivor: Master and Apprentice (2024) Season 9, Episode 15

Masterclass in smart storytelling that pays off

[8/10 · 6 April 2024]

(Warning - Heavy Spoilers!) This is a rare case of a Survivor episode that tells a complete, enclosed mini-story within about an hour. Having Eden put so much work into bringing the two fractions (Mark & Val and Caroline & Kitty) of the OG Titans together again, only to have his "protegè", to whom he had been "teaching" the game, take initiative and blow up his plans and his spot in the game was the ultimate ironic payoff. This season has an impressive fluidity in alliances: yes, in this episode, as JLP observed, it was mostly OG Titans vs. OG Rebels, but in the previous episode it was very different! A non-elimination episode, a unanimous vote and a quit stopped the season's momentum for a while, but now it seems to be back on track. 8/10.

Le parfum de la dame en noir (1931)

Weaker story, stronger technique than its predecessor

[6/10 · 2 April 2024]

One of the earliest "talkie" sequels made in any country, "Le Parfum De La Dame En Noir" follows up on the events of the previous year's "Le Mystère De La Chambre Jaune", made by the same director, reuniting most of the same cast. The story this time is weaker: the villain's secret identity had already been revealed in the previous chapter, and nothing much seems to be happening until well over an hour in. But the filmmaking technique is more advanced: Marcel L' Herbier's camera is restless and spry, it frequently finds itself is strange places (the film is set in a huge chateau overlooking the Monte Carlo sea). There are also some rub-your-eyes acrobatics performed by Rouletabille. **1/2 out of 4.

The Mystery of the Yellow Room (1930)

Early talkie is very "talkie" indeed

[5/10 · 31 March 2024]

"Le Mystère De La Chambre Jaune" is undeniably a historically important film as one of the earliest French talkies, and what's more, one of the earliest talkie locked-room murder mysteries / old-dark-house thrillers / courtroom dramas. It is stilted, static, confusing (there are a lot of people to keep track of, and sometimes it's not clear who or why all those people are in a scene together), and technically rough-around-the edges, but it does boast an acrobatic amateur detective, a surprising resolution and occasionally creative use of sound (meow!). The film also begins and ends rather originally: at the start it verbally announces its credits, and at the end its own sequel. ** out of 4.

A Kiss for a Killer (1957)

Sluggish thriller

[5/10 · 28 March 2024]

"What Price Murder?" suffers from a way, way, way too sluggish first half where almost nothing happens and which could potentially cause viewers to shut the film off early: it largely appears to be a travelogue of the French Riviera and the Italian Venice, but for that purpose it would have benefitted majorly from being shot in color. The film does get better in the second half, when it embraces the pulpiness (and the bleakness) of James Hadley Chase's story: there are some interesting plot developments and one "bit of business", in particular, involving a phone call and a recording machine, that I would honestly describe as brilliant. Still, that is not enough to recover from the sluggishness of the first half. Mylene Demongeot is very good here and shows again why she was arguably Bardot's most serious French rival at that time. ** out of 4.

Cette nuit là... (1958)

Decent Parisian noir

[6/10 · 25 March 2024]

According to IMDb trivia, in 1963 Stanley Kubrick listed this film as one of the ten best of all time (until then); you are not likely to agree. The fact that it was Maurice Cazeneuve's ONLY feature / non-TV film ever may be more telling. The first half is slow and uneventful, but the film picks up energy with the arrival of the polite-yet-slimy blackmailer played by Hubert Noël: even though he is a face unknown to me, whereas the three leads are famous French film stars, he gives the best performance here. There is also a fairly tense climactic sequence. Overall, an average example of its genre. **1/2 out of 4.

The Black Sleep (1956)

Standard mad-scientist shenaningans, worth seeing primarily for Basil Rathbone

[5/10 · 24 March 2024]

In a classic case of a marketing ploy, "The Black Sleep" promotes itself as an unprecedented gathering of horror stars, when in fact it is largely an one-man show: a terrific Basil Rathbone carries the proceedings almost single-handedly, delivering lines such as " I will destroy a hundred men to restore my wife for just one day" with utter conviction. He gets some support from an utterly slimy Akim Tamiroff as his "assistant" / body snatcher, but the other names are mercilessly underutilized: Bela Lugosi and Lon Chaney Jr never even speak (!), while John Carradine and Tor Johnson (who also never speaks) appear only near the end. The film begins well, gets overly talky in the middle, but still offers some jolts, especially when it cribs stuff from "Freaks". ** out of 4.

House of the Long Shadows (1983)

Saved by double-whammy ending and legendary supporting cast

[5/10 · 22 March 2024]

"House Of The Long Shadows" is an anachronistic old-dark-house movie that wearily plods through a long list of dusty clichès (would you believe there are TWO black cat jumps, a rat sighting, and multiple spider webs?). Desi Arnaz Jr doesn't cut it as a sub-Chevy Chase lead. And yet, the film is partially saved by occasional atmosphere, an once-in-a-lifetime supporting cast of horror legends (Vincent Price, in particular, has some choice moments: "Please don't interrupt me whilst I'm soliloquizing!" or "Piano wire. He must have heard her singing"), and a double-whammy ending which, however, will not surprise those who have seen the 1929 version of "Seven Keys To Baldpate", of which this film is a loose remake: it maintains the same initial setup, then invents a completely different story, but the ending(s) is (are) almost exactly the same. ** out of 4.