kimfoto Reviews

Far from the Madding Crowd (1967)

A masterpiece.

[9/10 · 5 February 2012]

I loved this film. Albeit a dramatic departure from John Schlesinger's typical urban fare, it was a tribute to his cinematic intelligence in any genre. I just caught it for the first time tonight on TCM... 45-years later, but still imminently worth the watching. What makes any film great is first the story, then direction and cinematography, and of course, the actors themselves. It succeeded in all categories. Schlesinger's casting was inspired, using the best lead and British character actors of the day, all in fine form. Peter Finch was superb and nuanced, Terence Stamp in his prime, perfect as the soldier of fortune, Alan Bate's raw physicality and tremendous range remarkably reminiscent of a sixties Javier Bardem in nearly every aspect. But what I enjoyed the most was the story's uncommon interplay between the (count them), three suitors. It was played with uncommon grace and visual beauty. The film was lengthy, certainly by today's standards -- in fact, could never even have been produced with today's money -- but well worth the journey.

The Dirty Dozen (1967)

One of my favorite war films of all time.

[10/10 · 21 January 2012]

This is what I refer to as a "perfect film." Perfect casting, perfect screenplay, and perfectly entertaining, the true value of any good film. Unlike many war movies, it was a curious mixture of both drama and broad comedy, but they pulled it off extremely well. I noticed that most people who viewed this film LOVED it, but there were also several who DAMNED it. These few individuals are what I commonly refer to as "imbeciles," people who think of themselves as actual movie critics, but with the mental sensibilities of the brain dead. For example, someone who thought it was "terrible" because it was "inaccurate and over the top." Yes, it was. It's a movie, Einstein, not an historical record. Then another genius criticized the film for singling out the "Christian soldier" (Telly Savalas) as the psychopath as a direct threat against good Christians everywhere. Well, I'm a Christian, and I thought this decision was as valid as any other choice, particularly since there were far more Christian fanatics in the sixties than Muslims or Budddhists, wouldn't you agree? Calling someone a 'Christian soldier' is the ultimate oxymoron, in of itself! Another goofball accused the Jim Brown character as dressing up as a Nazi, further underlining the glaring inaccuracies of some of these wholly negative comments. In conclusion, this film was created solely as entertainment, not to be taken as seriously as films like "All Quiet On The Western Front" or "Paths Of Glory. If you don't know the difference, you shouldn't be criticizing movies, period.

Rome Adventure (1962)

Typical of the genre.

[7/10 · 15 January 2012]

The real star of this film is Italy itself. Combined with the sweeping score and memorable theme song, it's a feast for the eyes, but alas, not for the heart. The fact that the physically perfect Donahue was the gayest leading man on earth at that time was in the very least a passion killer in that department, the "heat" he generated a was nice stab at the brass ring, but in the end, as vacuous as the merry go round it was attached to. Once again, pleasant escapist fare typical of the time in which it was filmed, but without the backdrop of the gorgeous country in which it was made, clearly a pretty pedestrian reason for a great love story. Want to see a better romance? Watch "Love Is A Many-Splendored Thing," a classic of the genre that packs emotional heat with depth of character that goes far beyond simple scenery.

The Happening (2008)

Good night, Shymalayan.

[1/10 · 12 January 2012]

Mr. M should have given up after "The Sixth Sense." Watching this poor excuse for a bad TV movie was nearly as tedious as watching Mel Gibson catch an alien (an underpaid extra in a rubber suit) in his kitchen in the colossal turkey, "Signs." To expect any intelligent person to believe that plant life should suddenly wage war against homo sapiens after 200 million years is asking me to take a leap of "willing suspension of disbelief" that no one but an imbecile with the intelligence quotient of, dare I say it - a plant - would be capable of. If you want a great film about nature gone wrong, then catch Hitchcock's "The Birds." Or if lower life forms wreaking havoc on mankind is your cup of tea, Michael Crichton's "The Andromeda Strain." But how M. Night was even able to raise the capital to make a film of this stultifying dullness is a tribute to his brilliance as a huckster, and producers as the blind purveyors of doom that this film so abundantly supplies.

The Haunting (1963)

Simply, the greatest film on the supernatural ever made.

[10/10 · 12 January 2012]

This is what I refer to as a "perfect movie," regardless of the genre. The casting, the story, the script, the direction, the production -- all first rate, truly inspired. Having a director with the experience and depth of Robert Wise was a coup in of itself, combined with the incredible cinematography and set decoration making this horror classic even creepier. But far and away the most intriguing aspect of this film is that, AT NO TIME IS A GHOST EVER SEEN, wherein lying the brilliance of this master filmmaker. Using sound effects and interesting camera angles alone, Wise managed to create a masterpiece of lasting power and impact. Wise's "wise" decision to shoot the entire opus in black-and-white was even more enlightened, creating yet another dimension in dark drama and stark contrast. When I first saw this film at the theater, I remember the entire audience screaming its lungs out at the scary moments, more terrified than at any other film in my memory, yet there was no horrible monster or creature seen the entire time, the fear was totally psychological in nature. In 1999, "The Haunting" was remade, to the utter shame of its producers, this CGI enhanced piece of cinematic junk as utterly forgettable as the original was memorable.

Local Hero (1983)

Cinematic garbage at it's absolute worst.

[1/10 · 6 January 2012]

Are the first people to review this colossal stinker all paid shills, are just on mind-altering drugs?? The only reason I gave this piece of crap one star is because it was the lowest rating possible, unfortunately. I have never in my entire life seen such a grand concept reduced to such an inane, perpetually boring train wreck. There are so many disastrous problems with this film that it's impossible to list them all. Suffice it to say that I've never seen such amateur acting since watching my last NYU student film. And the writing was so cliché-ridden, that the screenwriter, at the very minimum, should be barred from the Writers Guild for the remainder of his professional life. As far as the fatal flaws in the casting of this turkey went, let begin with poor old Burt Lancaster -- his character, an oil tycoon with a pathological fixation on astrology and the stars. If he represented the actual mindset of the typical oil baron, we'd all still be getting around on horse drawn carriages. Then, to see this once mega star lowering himself to his final scene, spending one Scotch-infused night with The World's Oldest Living Beach Bum, emerging the next morning to tell his shell shocked cohorts in crime that he has suddenly changed his mind about building a gigantic oil refinery worth billions of dollars to his company, and now wanted to build a planetarium and oceanographic institute there instead? In reality, he'd be reduced to the office janitor, if he was lucky. The only other "high point" of this monstrous waste of good film stock was the brief introduction of a rabbit who started as potential road kill, only to be resurrected as dinner. Fortunately for the rabbit, he died a swifter death than this movie did. It's rather short length (111 min.) felt like watching a back-to-back screening of "Gone With The Wind." But the most tragic part of this cinematic pile of excrement was in it's utter failure to turn it's high concept theme into something of true value. Instead, it lowered itself to the level of say, Julia Roberts' fantasy showboat, "Pretty Woman," that sent thousands of prepubescent school girls flocking to Hollywood, believing that whoredom was the fast track to happiness and success. It's shame that no one realized their blunder until it was too late.

Sherlock Holmes: A Game of Shadows (2011)

A nice, high-priced cartoon.

[2/10 · 15 December 2011]

Has anyone noticed how LOUD motion pictures have become? Ear-splitting special effects always signify empty Hollywood pot boilers, and this installment is certainly no different. As fantastic an actor as Robert Downey is, I feel that the biggest flaw in this film is the casting. He's so short, so dark, and so grungy that he reminds me of a young Al Pacino in "Panic in Needle Park" playing the heroin addict. Comparing him to the Sherlock Holmes versions of the past (like the incomparable Basil Rathbone) made me cringe. And paring him with Jude Law only added to the enormous mismatch (that same sex dance scene at the ball made him look like Downey's gay lover -- I can't believe that in Victorian England that this little stunt didn't even raise an eyebrow!! In those times, he would have been sent to prison at hard labor for the rest of his life). Then, all of those life saving measures that "Doctor" Law administered on Holmes hadn't even been INVENTED for another hundred years!!! Chest compressions with a direct shot of adrenalin into the heart? Not. It reminded me a rewrite of "ER," as out of sync as dinosaurs walking down Madison Avenue, a suspension of disbelief that I was simply unable to make. SH2 will certainly make the studio millions, then the inevitable sequel... Sherlock Holmes XVI, anyone?? Better than Prosac.

A Christmas Carol (1984 TV Movie)

This version of "A Christmas Carol"... stinks.

[1/10 · 7 December 2011]

In spite of all the glowing reviews of this colossal waste of time, this version is the most soulless, least moving one I've ever watched. Even the Mr. Magoo cartoon version had more heart. And at the epicenter of the problem is George C. Scott, may he rest in peace. For all of his acting ability, he utterly fails to bring any sense of true emotion or moral redemption to the part of Scrooge, speaking his lines by rote and walking though this nicely decorated rendition as though he couldn't wait to begin collecting residuals. He never revealed a man truly redeemed, he only pasted on his best Hollywood smile and hoped it would pass as honest emotion. Anyone who believes this stultifying turkey was "The Best" of the lot has obviously never seen the original "Scrooge," starring the incomparable Alistair Sim, without question the greatest exponent of the role that God ever put on earth, the true embodiment of Dickens' little holiday masterpiece. Just because something is newer, or in color, or any of the other reasons why imbeciles think the remake of a classic film is "better" than the original, this version goes over like a gay, black Republican -- a study in sheer confusion.

Working Girl (1988)

Breakout role for Miss Griffith.

[12 August 2011]

Melanie Griffith, never one of my favorites, was born for this role. She was ready, she was luminous, and she owned the part. It remains my favorite Griffith film, lightweight certainly, but surprisingly satisfying. It also cemented Alec Baldwin as the uber asshole he was to become in so many future roles. The single slip in the entire movie, however, was the one line where in a drunken moment she says to Harrison Ford: "I HAVE A HEAD FOR BUSINESS AND A BOD FOR SIN." This was the single worst line of the past decade, so stultifyingly awful that it literally stopped the show for me. But any actress who could pull this bit of cinematic dribble off with such aplomb and believability deserves a special Academy Award:)

Silent Night (2002 TV Movie)

Bravo, Hallmark!!

[10/10 · 25 December 2010]

For producing this quality little gem. I've grown pretty tired lately of the poorly-written fluff that passes as "holiday entertainment" this time of year. I'm a WWII buff as well, so I was happy to see this theme so appropriately and meaningfully depicted in this special television event. There are only three other Christmas classics in my collection-- "Scrooge" starring Alistair Sim ( the only true 'Scrooge' in my opinion, everyone else is just trying to keep step)-- Willy Wilder's "Ben Hur" (containing the greatest single action sequence in history, Heston's chariot race), and another wonderful surprise for me, Jim Carrey doing a star turn in "How the Grinch Stole Christmas" (like Mr. Sim, no one else in Hollywood possessed the necessary skills to do these roles justice). But, I'm happy to say, "Silent Night" has taken it's rightful place of honor in my sadly minescule collection. I was most surprised with Linda Hamilton's effective German accent in the telling, and the forceful performance and singular power of Martin Neufeld playing the over-zealous German Lieutenant as a dramatic counterpoint. I'm only surprised that apparently none of the cast outside of Hamilton ever achieved much bigger screen success as a result. Welcome to Hollywood.

Love Is a Many-Splendored Thing (1955)

This is the single greatest Hollywood romantic film of all time...

[17 December 2010]

... in my opinion, of course. There are films that come close-- An Affair To Remember, Rome Holiday, and several others. But for sheer appeal to die-hard romantics like myself, Love Is A Many-Splendored Thing is the absolute pinnacle. It qualifies as a "perfect" romantic vehicle in my mind because of it's perfection in all areas of the cinematic art-- story, script, location, acting, even in it's controversial subject matter, illicit love. But in the capable hands of William Holden and Jennifer Jones (a truly inspired bit of casting), both still in the prime of their careers, it became a thing of beauty forever. In fact, one totally forgets the racial context of their love affair, leaving only the passion and romance. I even loved the theme song, which like the film itself, has become a romantic standard over the many decades since it was made. This was the first movie that made me cry like a baby, the dramatic emotional impact in my life, totally unforgettable. This epic film, exploring everything from racism to the the horrific toll of war, is one for the ages.

The Twilight Zone: Walking Distance (1959) Season 1, Episode 5

My all-time favorite episode.

[10/10 · 19 May 2010]

I believe "Walking Distance" was Rod Serling's singular masterpiece. According to the additional notes in the boxed set, many people, including Serling himself, tend to agree.

Not only does it express the longing of nearly everyone to return to a gentler, more innocent time in their lives with aching melancholy, but succeeds on far more levels than that.

Let's explore the casting for a moment. One of my favorite things about Mr. Serling was his penchant to take a chance on relatively unknown talent or use established ones again and again in different ensembles. The choice of Gig Young was inspired, and the sturdy matching of Irene Tedrow and Frank Overton as Mom and Pop respectively, made this installment all the more memorable. With the addition of Ronnie Howard as the neighborhood boy, could there ever be a more perfect vision of small town America?

Combined with the moody, often surrealistic camera work of George Clement, this episode in my opinion, was Serling's greatest achievement. I wonder how many fans realize that the man who created the atmospheric soundtrack for this particular episode was none other than the great Bernard Herrmann, the composer of "Psycho"(one of his many landmark collaborations with Alfred Hitchcock) and the monumental "Citizen Kane."

It was more ironic still that Gig Young actually committed suicide later in life, making me wonder that if he'd actually managed to find a quiet place like "Homewood" within, perhaps he could have conquered his many inner demons and given this story a happier Hollywood ending.

The Twilight Zone: Mr. Denton on Doomsday (1959) Season 1, Episode 3

A redemption play, well told.

[9/10 · 18 May 2010]

It was nice to see an aging yet durable Duryea once again in a leading role. And he more than holds his own.

I thought it an inspired touch of casting on Serling's part to cast this once uber-villain in a part that could singularly reveal both aspects of this character in one, brief 1/2-hour episode. Martin Landau was effective as the black-clad heavy (a role hauntingly foreshadowing his role in "North By Northwest"), and it was a singular pleasure seeing a nearly post-pubescent Doug McClure in what may qualify as a cameo at the conclusion. Morality tales can be tricky, but once again Serling the supreme storyteller, pulls it off with aplomb.

It always amazes me how these wonderful B&W episodes still hold up after all these years (and multiple viewings) later. I never, ever seem to grow tired of watching them. I noticed that many years later they tried (in vain) to bring back this much venerated series, only to have it fail miserably. When you combine superior writing, inspired directing, and casting the strongest character and leading actors alive into one television program, it's a tough combination to beat.

On my very favorite TZ episode, "Walking Distance," the sound track was actually written by, for my money, the greatest film composer of all time, Bernard Herrmann ("Psycho," Citizen Kane"). That fact, more than just about anything, stands in tribute to the kind of talent that Serling's landmark TV series attracted. After all of the great television I've enjoyed over the years, there is no one series that has engendered the kind of devotion and wonder that these thought-provoking episodes inspire in their loyal following, myself heartily included.