ambimom Reviews

Marketing the Messiah (2020)

Finally Facts Not Wishful Mythology

[10/10 · 1 October 2021]

Coincidentally, in 1995, my master's thesis was on this very topic. As certain factions in the United States are hellbent on sliding our secular democracy into a Christian theocracy, this documentary is very timely. I would have preferred a less comedic tone, but it is well-researched and serious in subject. I, for one, do believe there was a living Jesus. There is mention in the Dead Sea Scrolls of a "righteous man" whom I believe might be him, but that is for future scholars to determine. But there is no way the Jesus depicted in the Christian gospels has anything to do with the living Jesus. If he were to return to earth, Jesus would be appalled. Moreover the Christian followers of Jesus would probably deny it was him, because Jesus was born, lived and died an observant Jew. He preached two things: be better Jews, and revolution against Roman occupation.

Let Them All Talk (2020)

Lifeless, Meandering Mess

[2/10 · 12 December 2020]

The irony of this movie is that it is about a writer. What this film needs more than anything is -- a writer. The actors did their best, but this meandering mess lacks coherence, point of view, or plot. Perhaps his cast of big stars took the lion share of the budget and Soderbergh was too cheap to hire a decent writer. Take it from me, it would have been money well spent.

The three protagonist characters are soul-less cardboard cartoons. I suspect Dianne Wiest, Meryl Streep, and Candace Bergen chalked it up to a free trip on a cruise ship, because each of these women have had amazing careers and wonderfully realized parts. They surely know what a solid script means to a project.

The most believable characters is this drek are the Kelvin character played by Daniel Algrant, and Karen played by Gemma Chan, whom I first noticed in a British potboiler about androids, in which she was an android. I guess they were more comfortable with improvising dialog.

The last thing I saw of Steven Soderbergh's was a film done by "amateurs" about the solving of a murder. It was equally pompous and self-important. He obviously thinks he's more talented than his work displays.

The Lovers (I) (2017)

It makes no sense whatsoever

[4/10 · 27 November 2017]

I love Debra Winger and lament the fact of her too few performances over the past few years. She was the reason I watched this dreck of a movie. It makes no sense whatsoever. Why didn't they admit to each other their dalliances? What was all the secrecy for? And the ending...all I can say is, as predictable as it was given the foregoing plot, oi vey is mere. The direction was watching ketchup flow, the writing was absurd bearing no relation to actual human behavior in the circumstance of boredom in marriage.

Nebraska (2013)

Insult to America's Heartland

[2/10 · 18 November 2014]

I didn't know what to expect in this film but given the Oscar buzz and the quality of the cast and crew, I thought it would be worth seeing. The performances are magnificent, true. Will Forte steals the movie. Bruce Dern, Bob Odenkirk, et.al. are all wonderful. But this movie is just downright insulting to anyone over 60 and to everyone born and bred in America's heartland.

The screenplay defines "elitism." The screenwriter is obviously soooo superior to these folks. My guess is that whomever penned this (and this goes to Alexander Payne too) rarely sets foot out of Los Angeles. They are sooo much smarter than the folks in the "middle" of the USA about which they obviously know nothing.

Not everyone over 60 or who lives in America's heartland is a complete idiot, but you wouldn't know it from this movie. They never read a newspaper or a magazine; they have no Internet; and they watch television, but have no idea what is being transmitted. They're all greedy and ignorant. The family relationships are all superficial or full of scorn. The only laughter is at someone else's expense.

The Will Forte character is the only one who has a genuine human emotion, but in this movie, it is only a plot device.

Run for Your Life (1965–1968)

Once seemed trenchant; now seems silly

[4/10 · 13 July 2014]

I was in college when this first aired and I remembered this series as being "important" and exciting to watch. When I saw it was scheduled on Cozi TV, I couldn't wait to see it again. Yikes, what a disappointment. Despite the charms of Gazzara, who was always better than the material he got to perform, re-watching this series is embarrassing. I feel sad for Gazzara who was a fine actor stuck in this drivel. I hope he made a bundle though he probably didn't because it didn't have much syndication, if any. Most of the people in these episodes are long dead anyway.

The scripts are generally awful, bordering on being sexist, somewhat racist at times, and downright preposterous. Yet, 40 years ago these plots seemed perfectly plausible.

Cozi hasn't yet rerun episodes of the "romance" Paul Bryan had with Claudine Longet (then married to Andy Williams). My sisters and I were completely enthralled when those first aired. They'll probably make me laugh out loud today.

Someone here has remarked on the poor production values and cheesy sets. True, but Star Trek first ran during the same period and had sets even cheesier, yet the writing was typically thought-provoking and reality-based, which is why it became a classic despite the overwrought acting of its star, William Shatner.

Cheesy sets and poor production values aside, Gazzara was 20 times the actor Shatner was. Shatner rested on good writing and is a TV icon. Gazzara rested on preposterous plot lines and was largely ignored except by us baby boomers who remember him.

Corroboree (2007)

A pointless exercise in pretense

[1/10 · 31 December 2011]

I feel sorry for the actors. I suppose they needed the gig to eat. There's no other reason to waste the film stock on this utterly pretentious nonsense. Oh the setting is pretty; the scenery evocative, the boy very appealing, but really? Who are they kidding? One can only assume that the 5 star and above reviews were written by the director and producer. That was all I really had to say but it won't be enough lines for the submission. So I have to add more lines for this review to be submitted.

I am tempted to do in typing words that the the filmmakers did on camera. I might attempt to fill this post with a lot of meaningless drivel strung together with lots of diacritical marks. So here goes. This movie %$:.,/ such as it is, is an insult to any person who actually appreciates film as an art form. Now if you think you're some profound genius by insisting your actors remove all their clothing and stand naked in fields of green with fake blood thrown at you...{}*&%$":, reminiscent of Bambi, perhaps? then this movie is for you. Except Bambi was more legitimate as an art form.

The Accidental Husband (2008)

Silly, overwrought, and seen many times before, only better

[2/10 · 21 January 2009]

I'm beginning to think that if Colin Firth is in it, it'll be another big budget, mediocre, cliché. He's cooked more turkeys than Thanksgiving. It is difficult to understand how actors of such ability as Uma Thurman showed in "Hysterical Blindness") and Colin Firth (once showed in "Another Country" and "Valmont") can sink this low unless they're overdrawn at the bank and needed the money to feed their kids. The plot is ridiculous. If this were a screwball comedy, the plot devices could be forgiven, but we are supposed to believe that there are keen insights on love to be gleaned. I used to admire Griffin Dunne for his intellectual approach. Now I'm wondering, who's kidding whom? Yuck. This movie is one cringe after another.

Atonement (2007)

Great novel -- lackluster film

[5/10 · 29 December 2007]

I saw this movie about 24 hours after I finished reading the novel. To paraphrase someone else's metaphor, to compare the novel to this movie is like comparing a swiss army knife to a spork. The parts are all there, but somehow it never comes together. Much of the enjoyment derived from Ian McEwan's novel comes from his masterful and poetic use of the English language. Though his words are used in the movie dialog, the internal musings are absent. For instance, the scene in which Harriet Walters is shown languishing in her bedroom with a sleeping mask covering her eyes seems out of place unless you know that in the novel Mrs. Tallis suffers greatly from migraine. So much so in fact that she has ceded the running of the household to Cecilia. A third of the novel is devoted to Robbie's war experience and the retreat of troops to Dunkirk. It was hard to read because of the horrors depicted. The movie unfortunately reduces the utter senseless stupidity and violence of war to a series of expensive tracking shots. As for the cast, I think they were fine. James McAvoy and Keira Knightly fit their roles, but the movie never explains things that would have put their love story in believable context. The love story seems bizarre unless you understand that these two characters had been close childhood friends. They both attended Cambridge -- paid by her father and while there, grew apart. He graduated with distinction, she barely passed. Now that they've graduated, her father has agreed to pay for his medical studies. Mrs. Tallis does not share her husband's sentiments. She doesn't think it is a good idea, remarking prophetically,"Nothing good will come of it." Cecilia seems to share her mother's beliefs because she snubbed him socially while they were at university together. It's a shame really because all the elements are there; it's just they sort of hang.

Broken English (2007)

Crap Screenplay, Wonderful Actors, Lousy Movie

[3/10 · 18 August 2007]

This is one very, very long, massive pity party, punctuated by one plot device after another, filled in with uninteresting, unfunny moments that were supposed to appear quirky and charming. Frankly, I would have preferred a plot. This screenplay is a crime against some superb actors. Parker Posey and Melvil Poupaud are two of the best young film actors working today. They didn't deserve to be in this drivel, not to mention Drea de Matteo and Gena Rowlands, two more of my favorites. I am embarrassed for all of them. What a tragedy that they are wasted in this wretchedly excessive exploration of self pity among the pretty and over-privileged. I wanted to love this movie. I hated it. Absolutely hated it. Not only is it NOT a comedy; it makes no sense on any level of reality. The sub-plots are ridiculous. The ending even more so.

The Grapes of Wrath (1940)

Quintessential American movie with memorable performances

[10/10 · 9 July 2007]

It is rare when the movie is as good as the novel from which it is adapted, but sometimes the stars align in just the right way and a masterpiece is created. That's this movie. John Ford is remembered for his westerns, but this is his finest work, by far, and he's not alone here. Watching Henry Fonda telling Jane Darwell "I'll be there," gives me goosebumps every time. One of the best actors this country ever produced, this performance is his absolute best in a career filled with memorable performances. Which brings me to John Carradine, the superb character actor. The subtlety of his characterization is so deft, you forget that you're watching a movie. You owe it to yourself to see the finest representation of a soon forgotten art of telling a story in black and white, literally. See this movie. You won't be disappointed!

Hot Fuzz (2007)

Hotshot policeman goes rural

[10/10 · 30 April 2007]

You had me at "Spaced," clinched the deal with "Sean of the Dead." Did I think you could top yourself. Not really, but I was wrong. You did! Simon Pegg and his colleagues are true comic geniuses. This movie is not only hilariously funny, it has true wit. There's real intelligence in this brilliantly conceived and executed screenplay. It was amply supported by equally fine directing, editing and art direction. I love a good sight gag, and the ones here are priceless. Which brings me to the cast which is so chock full of Britain's finest acting talent that they must agree. Good choice because this is a keeper for sure. {Psst...and Simon Pegg is kinda sexy, n'est ce pas?) My one complaint is that the dialog is so fast-paced that my American ear found it a bit difficult to follow. It's a good excuse to see it again.

Hard Candy (2005)

Misogyny Masked as Vigilante Justice Against Pedophile

[2/10 · 2 September 2006]

As much as I admire the bravura performances of Patrick Wilson and the amazing Ellen Page; and think the art direction and the cinematography are brilliant, the theme of this movie is beyond disturbing.

I hated this movie because of its basically dishonest portrayal of the 14-year old. The girl as written by Brian Nelson is just another phony male fantasy that fits with scores of other male fantasy women written by the misogynists that rule Hollywood. Portraying this child, not as an innocent, but as an all-knowing, conniving, cunning, cruel, tormentor gives credence to pedophile's cruel delusional lie that the child seduced him, not the other way around. Worse it gives credence to another lie foisted on young women: castrating bitch.

Isn't it bad enough that we live in a culture that convinces 10 year old girls that they must be "sexy." Do we need another movie that foists the castrating bitch theme on young women? Oh sorry, is it okay if she's doing it vigilante-style? I don't think so!

When Do We Eat? (2005)

Embarrassingly screeching stereotypes

[1/10 · 14 August 2006]

This is possibly the worst movie since Elizabeth Taylor and Richard Burton graced the screen in "The Sandpiper." What a mess! It has a politically correct roundup masquerading as Passover celebrants. You have your lesbian and her Afro-American lover; you have your Hasid; you have your flighty mother; you have your wayward daughter; you have your handicapped child; you have your Holocaust survivor; and you have your bellowing businessman...You get the idea.

Jack Klugman is the best thing in this movie but even he can't elevate the maudlin, pointless, 'stoopid' script. Funny to see Klugman in this piece of crap because I recall him in "Goodbye Columbus," the movie version of Philip Roth's novel, in which Klugman played father to a luminous Ali McGraw. That movie made me uncomfortable, because it rang true. This is anything but true. "When Do We Eat" just made me cringe with embarrassment.

The worst thing about this movie is that the filmmakers (and I use that term very loosely in this case) actually go "art-y" at various times; attempting to equate 40 years in the desert and the Passover saga with the journey of these execrable people. They should live so long!

The Matador (2005)

Hit-man and Everyman

[8/10 · 28 February 2006]

This is surprisingly entertaining with solid performances by everyone, most notably Pierce Brosnan whose deft portrayal of a multi-layered hit-man is outstanding. Plot details can be found elsewhere in these pages. What makes this movie really good are solid acting, superb writing, fine direction and clever editing. The three protagonists, Brosnan, Hope Davis and Greg Kinnear are fully-realized adults not cartoon-characters, which in itself is a change of pace for most comedies these days. Mercifully the audience is saved from the all too common movie bloat of the last few years. The movie's length is perfect for this kind of story; about 90 minutes. Given the typically wretched excess of most Hollywood films in this genre, everyone associated with this film must be congratulated. I never realized before how easy Brosnan makes things look. I enjoyed myself thoroughly.

Bubble (I) (2005)

Haunting, well-made

[6/10 · 17 February 2006]

Who hasn't sat around a lunch table at work with people you hardly know or even like and found yourself divulging or being told the most mundane and the most intimate details of life? Mercifully, this is just about the right length. Soderbergh's pacing and direction move the plot along very nicely, helped greatly by the clever musical scoring. The performances are outstanding, especially "Martha." Monosyllabic dialog, very true and familiar, add to the rich texture of the film. The art direction and locations are right on. Technically, there a few complaints. Yet, this movie is disturbing. Certainly depicted in all their superficial details, the characters have an underlying nastiness underpinned by a total lack of emotion. No one cares enough about anything to bother that much about anything. The police detective is the only character that makes any sense. Albert Camus would be proud. What is the motive for the murder? Boredom? Envy? Perhaps, but I didn't buy it for a minute.

The Thing About My Folks (2005)

Oi Vey Is Mere

[4/10 · 10 February 2006]

This should have been a movie about Sam and his wife, the glorious Peter Falk and equally glorious Olympia Dukakis. That would have been a movie worth seeing. Instead it's a Paul Reiser vehicle, with a little Falk thrown in. The wonderful Elizabeth Perkins is also in this movie, but you'd hardly know it. I presume Reiser is under the impression that he's a giant movie star who needs an appropriate vehicle. He's not. Even more galling is that Reiser took the trouble to hire some of the best women character actresses on the screen today and then shoved them all into his background. Dukakis does not show up until the last 15 minutes, but when she does, the screen glows. The story is about Falk and Dukakis really, but we're subjected to a pointless, silly, preposterous road trip in which Reiser gets to show how very cute, precious and oh-so-deep with psychological insight (wrong!) he can be. For instance, In a restaurant scene that I imagine Reiser had hoped was "Cassavetes-like" there's a laughably false confrontation between Reiser and Falk that is so patently ridiculous, I was embarrassed for Falk.

Nowhere in Africa (2001)

Movies rarely get this good!

[10/10 · 8 June 2005]

I rarely get to see German films, but I serendipitously happened upon this one. First mesmerized by the beauty of Africa, I was drawn in by the story. No need to rehash the plot. It is described here elsewhere. Don't be put off. This is not your typical suave Nazi thugs maiming, torturing and pillaging. It is much more subtle, and therefore achingly effective. Regardless, the horrors of those times are exquisitely drawn in this movie. Indeed, they are so much more horrible when depicted against the story of this family's survival and longing for lost loved ones, including the homeland that sought to destroy them. I was utterly captivated by the young Regina's acceptance of her life in Africa and the effect on her mother, Jettel. The actress who portrays Jettel does an amazing job of showing a slow transformation from a selfish, self-centered, spoiled child into a full-blown adult.

Searching for Debra Winger (2002)

Good Intentions Gone Awry

[21 August 2003]

I wanted to like this movie, I really did, but it's a mess. As well-intentioned as is Roseanna Arquette, there's no real point to this film.

Obviously, Arquette was able to secure the confessions of some of the finest actresses of our times, but instead of drawing on the "Red Shoes" theme, we are subjected to an inchoate collection of let's face it, silly laments.

Though not meant to be, a lot of these diatribes are insulting to women who struggle along in boring jobs, barely able to make ends meet while juggling marriages, kids and art without benefit of nannies, private jets and personal assistants.

Instead of discussing the struggle of art v. children, or career v. marriage as was promised in the opening monologue, this movie is about extraordinarily beautiful women who want our sympathy because they no longer receive the enormous privileges they received when they were more desirable to the men who make movies.

I love Theresa Russell, I really do, but she comes off like a selfish, prom queen who isn't getting enough attention. Laughable but sad is Melanie Griffith who obviously knows the joys of Botox and collagen but still cringes at the sexism to which she is subjected by the industry that made her rich. Jane Fonda, on the other hand, is as loopy as she was when Ed Murrow interviewed her 40 years ago on "Person to Person."

At least two of the screen goddesses interviewed -- Diane Lane and Sharon Stone-- have already altered their pronouncements: Lane who allegedly can't fit a man into her life is remarrying and Stone who finally met the perfect mate is divorcing.

The only person in this documentary who makes any sense at all is Terri Garr. I've always liked her and now I like her even more. The problem is no one is listening to Garr, though she still works all the time, even with a disability. And thankfully, Debra Winger comes off sane and sensible.

Get a grip girls. The rest of us mortal women of a certain age struggle throughout life, not just when we enter menopause. I am competing with 20 year olds in my workplace, just the same as you.

What was it that F. Scott Fitzgerald said? "The rich are different from you and I?" I guess the same is true of actresses.

Down with Love (2003)

Affectionate Homage with Clever, Funny Script

[20 May 2003]

Ewan McGregor brought me into the theatre -- and don't get me wrong, he's very, very good -- but the very best thing about this movie is David Hyde Pierce. I was prepared to be disappointed by a hokey send-up of a genre, but I was pleasantly surprised by this affectionate homage. Though the chemistry between Rene Zellweger and McGregor lacks heat, her fantastic wardrobe and absolute comedic integrity make up for it with style. The split screen is used to hysterical advantage that Rock and Doris or Cary and Ingrid might have loved. This is an intelligent script with a lot of laughs and a director who is total control. A delightful movie.

Queen of the Damned (2002)

Fine Cast, Lousy Script, Bad Editing, Great Special Effects!

[4/10 · 14 March 2003]

Unless you have already read, as I have, each volume of the vampire chronicles written by Ann Rice, there is no way this movie makes any sense. It's a shame too because it's a fantastic cast that is totally wasted. Stuart Townsend ("About Adam") one of the sexiest screen presences in many years, plays Lestat as if he were impersonating Larry Hagman doing J.R. Ewing. I suppose the reason for his performance is shame about accepting money for it. He looked as if he couldn't wait for this movie to wrap. Victor Perez, another fine actor with enormous sex appeal who was devastatingly touching and heroic in "Indochine" seems equally embarrassed to be in this turgid mess. The homo-erotic connection between Lestat and Marius in Rice's novel of the same name might have been powerfully kinetic in the hands of these two sexy actors, but this movie cares more about admittedly stunning special effects showing bodies self-immolating. Akasha's hand in that is explained in the novel but not here, nor is Jesse's fascination with Lestat ever explained, or the reason for the Talamasca or the importance of Maharet (played by the always wonderful Lena Olin). These are important recurring themes in Rice's vampire chronicles that drove the novel, "Queen of the Damned." Without them, the final coupling of Jesse and Lestat makes no sense at all or anything else, come to think of it. If Ann Rice was upset about Tom Cruise playing Lestat, I can't imagine what she thinks about this mess.

The Importance of Being Earnest (2002)

Much Better Than I Ever Imagined

[8/10 · 19 February 2003]

Don't know why this movie got such lackluster reviews. I liked it a lot. It's pleasant, well-acted, and very funny. The cast is superb. The play is witty and bright. Colin Firth, as always is deliciously controlled and seething with sex appeal. (Why did they cut off his lovely curls? Loved the wire rimmed glasses though!) Judi Dench is hilarious, Frances O'Connor is luminous, Reese Witherspoon is adorable and Rupert Everett is terribly sexy, even if he prefers boys to girls. Anna Massey and Tom Wilkinson are very funny too. This version is a vast improvement on the original Michael Redgrave version. Well worth the time spent.

Two for the Road (1967)

Impeccable, incomparable, and wonderful!

[10/10 · 19 February 2003]

This is one of the best movies of all time. Frederick Raphael's sophisticated, adult script describes modern marriage with all of its glories, sorrows, and horrors. Better still, Albert Finney and Audrey Hepburn are in their prime and in love for real when they made this. The chemistry between these two very intelligent, very pretty, very emotional, and ultimately flawed humans is palpable. Jacqueline Bisset has a bit part as an ingenue femme fatale. William Daniels and Eleanor Bron are hilarious. Henry Mancini said that the music he wrote is his favorite composition. I've seen this movie hundreds of times and it still holds up. It's a great movie!