giuliodamicone Reviews

Sands of the Kalahari (1965)

REVENGE OF THE BABOONS

[6/10 · 14 January 2024]

Following a plane crash, a group of tourists remains isolated in the South African Kalahari desert. Initially they try to organize themselves in order to deal with the emergency, but little by little the situation degenerates, leading to crime. A helicopter will take the survivors to safety. This odyssey in the desert is too long! For almost two hours Stuart Whitman performs shirtless to show off his pecs (without even getting a sunburn), while Stanley Baker initially has a deep wound on his leg which heals completely in the second part. The plot is flavored by the presence, coincidentally, of a beautiful girl obviously threatened by males (except Harry Andrews, perhaps the most successful character). The villain of the group (Whitman in fact) will end up attacked by the same baboons he shot with pleasure. Emphatic music.

I Never Sang for My Father (1970)

WORDY

[5/10 · 2 October 2023]

Wordy family drama constructed in large blocks. The scene of choosing the coffin is too long (and I would even say in bad taste), just as the hospice scene is too long. Today we are perhaps shocked to see Gene Hackman play such a characterless man. Furthermore, when we see him in bed with his partner, the director could have avoided the prolonged exposure of his hairy chest. Then there is a bit of carelessness in the sound mixing: in the interview scene in the hospital you can hear an unjustified buzz in the background, and during the walk in the park the birds sometimes almost drown out the dialogue.

Expend4bles (2023)

DISAPPOINTMENT

[5/10 · 22 September 2023]

The film starts well: the scene in which Megan Fox (beautiful) gives a big shriek to the two leads (Stallone and Statham) is nice and works as an introductory scene. But when the action starts, Stallone - who probably for reasons of age cannot participate in action scenes anymore - devises a scheme to defile himself (a fake death) in order to reappear only at the end. Thus the film consists almost only of a series of gunfights between Statham, others, and the many "bad guys" destined to be exterminated. Too much violence. Moreover, Andy Garcia sets himself up from the start as the usual sneering villain destined for a bad end.

The Judge (2014)

UNPLEASANT

[5/10 · 16 September 2023]

I have the impression that director Dobkin likes to dwell on the most unpleasant details. The film begins and ends in a public men's bathroom, where the characters linger in conversation; three times we witness someone vomiting in the street; during a car journey a guy spits on a window, and the shot persists on the screen for a long time. Apart from this unpleasant propensity, moving from form to content I must note that the reconstruction of the accident which occurred to the elderly Duvall is fragmentary and botched. Finally, as regards the acting performances, rather than Downey and Duvall, I would award first prize to Billy Bob Thornton and the always fascinating Vera Farmiga.

Speed (1994)

TOO SPECTACULAR

[6/10 · 7 September 2023]

Revised after thirty years, in some respects it is dated. Certainly de Bont is a director who knows the technique inside out, so much so that sometimes he gives you the impression of showing you an action exhaustively when in reality he has only just mentioned it (prodigies of editing). But the film cannot escape its blockbuster obligations: the driving of the vehicle is immediately entrusted to a beautiful girl with whom the protagonist hero will eventually begin a story. Dennis Hopper is the usual grinning villain who wants a lot of money and is destined for a bad end. And the hero, an unblemished policeman, after having managed to complete the feat, will continue running and bending over backwards even on the subway, in a frankly redundant and excessive conclusion. But when the bomb had to be defused, why did he try instead of calling a bomb squad?

My Favorite Wife (1940)

RESPECTFUL

[7/10 · 3 September 2023]

A nice comedy that perfectly respects the rules of the time. 1. US homes can be entered easily because they are never locked: and the landlord (or mistress) is not surprised too much when faced with a stranger. 2. In whatever situation she finds herself, the diva (in our case Irene Dunne) always wears full make-up: whether she comes out of the shower or in bed, she wears lipstick! 3. In the exterior scenes, said diva is dressed in ridiculous hats (one could compile a list with photos of the headdresses worn by the divas in the classic period of Hollywood: it would produce a catalog of unintentional comedy). 4. The children (in our case two, a boy and a girl) are unbearable.

Midnight in the Switchgrass (2021)

TOO MANY STEREOTYPES

[6/10 · 27 August 2023]

A good detective story, even if a little too deferential to the stereotypes of the genre. The protagonist is a young agent who stubbornly investigates a serial killer even when his superior invites him not to be interested. When he conducts interrogations, he always leaves a note at the end with the recommendation: "If you remember anything, call me". His colleague is obviously a beautiful woman (Megan Fox, a little less valid as an actress). There is also the scene with his troublesome wife who tells him: "You must remember that you also have a family". The killer then is the usual Jekyll-Hyde: a very affectionate father and ruthless torturer of women (but why? The film doesn't explain it to us). Luckily we are spared the quarrel scenes between colleagues, as happens in many other films of the same genre. Moreover, unlike what the manifesto suggests, the presence of Bruce Willis is limited to a few scenes and is substantially superfluous. Finally, a passing observation: when will they learn that beer is drunk in a glass?

Killer Mountain (2011 TV Movie)

UNLIKELY

[4/10 · 25 August 2023]

A decent TV movie, but with some fairly obvious flaws. It is not possible for an expert team of mountaineers to climb the mountain without protective goggles! Only one of them occasionally wears a pair of glasses of which we are given a subjective view of the lens provided with numerous numerical indications: however, it is not clear what it is for. As they progress they first encounter a monster resembling the mythological hundred-eyed Argus, and then a host of loathsome leeches (or similar), but we are not told what relationship there is between the two. One of the climbers discovers a blood-based antidote (!) but the idea is not developed at all. Finally, when the only two survivors leave after having eliminated all the monsters with a strong explosion, they exchange witty banter: completely out of place.

Dredd (2012)

TOO MUCH VIOLENCE

[4/10 · 9 August 2023]

The sets are very suggestive, and this is undoubtedly a strong point of the film. But plot-wise, there isn't much new. "Dredd" resembles many other films, for example "Tango & Cash": a couple of heroes charged with penetrating inside a refuge of a very bad boss (in this case a woman), a refuge protected by entire teams of guards of the body armed to the teeth. Do you think they will succeed? Here the improbability reaches levels that almost offend the intelligence of the spectator: our heroes somehow manage to remain unscathed under the fire of three large-caliber machine guns placed in front! Add to this an excess of violence: when at the end Dredd smugly throws the woman down the stairs, he completely loses our sympathy (already scarce previously).

Tomahawk (1951)

SUPERFLUOUS BEAUTY

[7/10 · 5 August 2023]

Some argue that women have little or nothing to do with western cinema. It's wrong: just think of some gorgeous female characters from Ford (My darling Clementine) or Hawks (Angie Dickinson in "Rio Bravo"). But if you only know this film, you'd have to agree with them. In fact, throughout the film one wonders what role the beautiful Yvonne De Carlo plays. The story is almost entirely set inside a fort, where her life must have been quite hard: however we always see her elegant (she changes clothes at each scene), made up, with earrings and even with lipstick! Her character - obviously created to involve the female audience - is so useless that in the end she disappears! For the rest, I think the film can be counted among the well-made westerns.

Flight to Mars (1951)

SPACE MINISKIRTS

[3/10 · 2 August 2023]

Typical exponent of pauper science fiction. The sets are of a disconcerting paucity: in the shots of the traveling spaceship we don't even see the lights of the stars in the background! Then our heroes arrive on Mars due to an accident: but since they had to land right there, what was the need for the accident? In any case, they are greeted by inhabitants of the underground at a very advanced level of technology who welcome them friendly but who conspire to take over the Earth and (even!) the entire universe. Obviously they will not succeed, so there is no suspense in the development. Note that the Martian men are dressed in useless cloaks, while the women (all beautiful and young) wear vertiginous miniskirts. Director Selander would have been better off if he had limited himself to western.

Deep Impact (1998)

FUNDAMENTAL MISTAKE

[6/10 · 1 August 2023]

Movie disasters always happen in America, and this film is no exception. Unfortunately Deep Impact (a bit menagram) has a fundamental flaw: that of having entrusted the role of the protagonist to Téa Leoni, in the - totally useless - part of a journalist. Take, for example, towards the end, the scene of the drawing of lots for the tickets: what does she have to do with it, that in fact she limits herself to assisting? Furthermore, throughout the film, television announcements are always entrusted only to her, as if she were the only reporter in the whole United States! All the scenes relating to her family problems (especially the problematic relationship with her father, obviously destined to be resolved in the end) are slowdowns of the action that have nothing to do with it and cannot arouse our interest. Téa Leoni probably thought that the film would serve to launch her into the firmament of divas, but her expressionless face did not allow her to achieve this goal. On the other hand, the performances of Morgan Freeman and Robert Duvall were very good: but does it need to be said?

Tightrope (1984)

NOT EXCITING

[6/10 · 31 July 2023]

Set in an underdeveloped New Orleans, the film begins and ends at night; but the beginning is frankly disheartening. How many times have we seen a girl go home alone in the middle of the night crossing totally deserted streets, chased by a maniac? Luckily this time she manages to escape, so that the sequence can be read as an ironic quotation. The rest of the film, however, does not have a great rhythm: the modest director Tuggle limits himself to following the policeman Eastwood in an orderly manner in search of an inveterate serial killer of women (the reason for such ferocity will not be known). The environments, often sordid, are described without exaggeration, perhaps for fear of censorship; and as in "Dirty Harry", it is suggested more than once that the killer represents the other face of the policeman. To conclude, a small observation: we see Genievieve Bujold attacked and almost killed by the maniac: hadn't we known her as a female self-defense instructor?

Lucky You (2007)

LARGELY PREDICTABLE

[5/10 · 25 July 2023]

It consists of an endless series of poker games, the rules of which are often incomprehensible, at least for most of us viewers. But it is very clear that in the end they would have remained to confront father and son. The love story is also very predictable: harmonious beginning, strong quarrel in the middle, and reconciliation (we are not spared even the final embrace). Among the interpreters, Robert Duvall offers a great performance as always, while Eric Bana appears a bit bewildered and Drew Barrymore tries hard to appear nice. Also the golf sequence is clearly forced in, just to pause between the poker games.

The Witch's Curse (1962)

A HELL WITHOUT MONSTERS

[3/10 · 23 July 2023]

A strange and unsuccessful mix between peplum and medieval film, with the people furious against an alleged witch condemned to the stake who sends the classic curse to posterity. Maciste arrives, with a low forehead and accentuated prognathism, always strictly bare-chested and in long johns, and he solves everything for some unknown reason (and without earning anything). Throughout the film we see his face contracted because he is busy lifting huge boulders, bending iron bars, fighting with wild beasts... and even avoiding a herd of oxen! In any case, this homemade hell (filmed in the caves of Castellana near Bari) is somewhat disappointing. And the solemn dialogue is stereotyped and consequently sounds fake, as it always is when a touch of irony is missing.

The Teahouse of the August Moon (1956)

DEADLY BORING

[2/10 · 21 July 2023]

I don't think an actor like Marlon Brando wearing Japanese make-up is sustainable nowadays. And not only because he looks ridiculous with almond eyes, but also - and above all - because his movements are like a Westerner, like a professional from the Actors Studio. Moreover, the film has a non-existent plot, and drags on for two whole hours without reasons of interest. Naturally, the Japanese society shown to us is the one that responds to a perfect stereotype: smiling and very elegant geishas, dancing to the sound of local instruments, sacrosanct traditions to always be respected... while the US military are either dumb or losers. Maybe the intentions were meant to be witty.

Sleepless (III) (2017)

JAMIE FOXX OR VAN DAMME?

[5/10 · 8 April 2023]

The screenplay of this latest detective story could be described as cross-eyed. The lead cop is corrupt, but there's another cop who's more corrupt than him; his gangster enemy is very bad, but there is another even worse (and even another, "the father", who is never seen). This makes the action messy, frayed, and hard to follow. Jamie Foxx (whose acting skills I have some doubts about) seems to have glued hair to his skull and left-handed Michelle Monagham is obnoxious. In the second part we see so many beatings that Van Damme would be envious of. The scene inside the garage, with smoke and the bad guy in the gas mask, would like to be a quote from "Criss Cross" with Dan Duryea: forget it, it's better.

Deception (1946)

SOPORIFIC

[6/10 · 11 March 2023]

Movie theater almost never works. Even in this long film, nothing happens until the end, when the protagonist decides to kill her ex-lover, but on the other hand we have heard a lot of chatter between husband and wife, always locked up in their homes, around the same theme: the past as a kept her. Paul Henreid isn't very expressive, Claude Rains is as obnoxious as ever (he basically always plays the same character) and Bette Davis makes extensive use of her big eyes to cast devout or rancorous glances depending on the occasion. One can enjoy seeing the various headdresses worn by her, including the hilarious one decorated with daisies!

The Quiller Memorandum (1966)

LOW BUDGET MEMORANDUM

[6/10 · 19 February 2023]

Honestly a strange film. The protagonist Quiller is in charge of defeating a group of neo-Nazis residing in Berlin, and of course he succeeds. But when these criminals are introduced to us, we never hear them express their ideology or extol their plans: they could be any association of criminals. Moreover, the film, made in 1966, i.e. In full "Bond fever", follows some traits of that cycle: the protagonist assumes an ironic attitude responding to the "bad guys" - who instead are granitely calm and sure of their superiority - and under torture gives in. After all, it is clear that it is a "low budget" film: the meetings between Quiller and his superior take place in a deserted stadium. Perhaps the screenwriter Pinter wanted to make fun of the character of James Bond, but in this case he has not succeeded well in his intention. Finally: George Segal is good and nice enough, but why does he always have to act with his arms hanging down?

Telefon (1977)

RONDO'

[6/10 · 26 January 2023]

Reviewed after a few years, it confirms that it is one of the weakest titles in the filmography of the great Siegel (who, moreover, fulfills his task with his usual mastery, especially in the Pleasence assassination scene). First of all, the couple of the protagonists cannot inspire much sympathy since they are assassins: and above all they are a badly matched couple. Especially Lee Remick appears out of place (perhaps for this reason that the murder scene in the hospital is resolved in half with a dissolve). Next to her (who moreover understands her part as a fashion show, because she changes clothes at each scene) we have Charles Bronson, woody as always and equally improbable in the part of a Russian agent, who the more badly he treats his partner, the more she , predictably, falls in love with it. The screenplay written as a rondo (the fixed theme of the phone calls alternates with action scenes) could perhaps have worked with two better amalgamated actors.

Camino (2015)

GOOD DIRECTION, MUCH LESS SCREENPLAY

[5/10 · 19 January 2023]

Good versus bad, actually very bad. A journalist, sent to South America for a photographic reportage, in the middle of the forest meets (or rather collides) with the leader of the rebels, a bad guy capable of killing children. The film consists of a series of chases, up to the just conviction of the offender. The protagonist is neither beautiful nor nice, while her antagonist suffers from logorrhea (every time he opens her mouth we can't wait for him to finish speaking). The scenes of violence, in addition to being too brutal, are doubly unlikely: first of all because she reveals that she is a fierce fighter without us knowing why; and secondly because a person so affected and also injured would not have been able to survive, or at least continue. Finally, the final scene (the editor-in-chief who insists that she stay) is false: why is she giving up a secure profession? It's not explained. The ending with the close-up of her turning around with an ironic quip is unbearable.

Legal Eagles (1986)

USELESS

[3/10 · 3 December 2022]

I finally decided to see this movie after many years of its release because I didn't trust it. And I was right. The botched plot revolves around a picture (authentic? False?) without being able to involve us. The psychology of the characters is little or non-existent. The love development between Redford and Winger is totally predictable; and we don't fret when he gets fired because we know everything will be fine. The actors are only correct, even Dennehy who is the usual brutish; and you can't employ a great actor like Terence Stamp to deliver a few lines. Three stars are too many, just for the correctness of the packaging.

I Wake Up Screaming (1941)

TYPICAL

[7/10 · 1 December 2022]

Typical 1940s-1950s crime film: the policemen wear hats even when conducting interrogations (always at night, with blinding lamps); on the street there is always a little boy who shouts "Extraordinary edition!" even when there is nothing extraordinary; the protagonists are not frightened when turning on the light in the middle of the night they find a policeman sitting in front of them in the bedroom (and they never ask him how he managed to get in); and actresses wear lipstick even when they sleep. The characteristic element is the light, always edged, fringed, to signify an atmosphere of suspicion; but above all the plot is entirely based on the everlasting motive of the innocent unjustly suspected. Don't worry: in the end he will be exonerated and he will find love.

The Stone Killer (1973)

IMPENETRABLE BRONSON

[5/10 · 17 November 2022]

Those were the golden years of Charles Bronson, who came to success - after years of supporting roles - after playing Harmonica in "Once Upon a Time in the West". This is one of the many detective stories in which the law is valid according to which the shots fired by the assassins miss, while the hero kills them on the first shot (moreover, in our case, as in many other cases, the gun does not discharge never). And indeed this unlikable and impenetrable Torrey kills quite a few without batting an eye. The other actors don't put much effort into it, including the uncommitted Martin Balsam. Scarce or better to say zero female presences. The story, not always linear, unfolds between New York and Los Angeles showing us the usual meetings between thoughtful mafia men in suits who make decisions that will inevitably be thwarted by the brave policemen. A doubt remains in the end: who is the stone killer?

Black and Blue (I) (2019)

PREDICTABLE

[6/10 · 16 November 2022]

First of all, Naomie Harris absolutely does not have the features to support a leading part, and the supporting actors are not that great (Frank Grillo plays the usual part of the villain). Then there are some inconsistencies: she is wanted in a closed place and calls with her Walkman; again she who immediately after having healed a wound by herself seems in better shape than before; her friend who, although he was hung on the wall and beaten badly, nothing seems to have happened to him. The screenplay is not lacking in invention and the direction is technically spot on: however the development and ending are largely predictable.