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Duncan Shepherd faults *Rashomon* for its "hysterical performances" and *The Wizard of Oz* for being "held down on the MGM backlot," so why is *Bride of Frankenstein*, guilty of the same, exempt from criticism? In this film, acting, as we've come to know it, is entirely absent, and nearly every outdoor scene immediately betrays itself as having been filmed within studio walls. Karloff's growling (and later, monosyllabic) monster looks and acts exactly like a man pretending to be a monster, and was rightly mocked by Martin Landau's Bela Lugosi in *Ed Wood*. There is a subtle thread of humor running throughout, but don't let *subtler* equate to *funnier* when comparing this film to *Ed Wood* or *Young Frankenstein*. There's a nice bit near the end when the bride is brought to life, with its tilted camera angles, facial close-ups and sparking mad-scientist gear, but that scene lasts only a few minutes before we're back to the histrionics. *Bride of Frankenstein* is neither funny nor scary, just queer and campy.— October 31, 2013 9:50 a.m.
Gravity
No doubt Matthew is right that our protagonist's desire to get grounded has a twofold significance, just as the title has two meanings, but the story's spiritual side does little more than add a bit of poignancy to the final scene. The film is essentially a yarn with some fresh visual ideas, and we can happily settle for that. Personally, I would not have guessed that the sacrifice (deserving of a spoiler alert, Matthew) was meant to have Christian overtones; not every sacrifice in fiction needs to carry that weight. My main complaint would be the cloudy, headachy 3D image that made me wonder if I would have been better off with the 2D version. That said, the special effects are spellbinding, especially when things go smashy-smashy.— October 7, 2013 8:12 p.m.
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If you're going to be coy with the *dramatis personæ*, you should at least spell Meinhardt Raabe's name correctly.— September 19, 2013 6:56 a.m.
Skyfall
After starting with an exciting and well-paced chase scene, followed by a captivating title sequence that's full of visual style, you might think you're in for an enjoyable ride, but *Skyfall* slows down considerably once those appetizers are finished. In fact, overly calculated visuals are about all that's on the menu. The personal style of our hero, once the essence of a Bond film, barely peeks through. Even the Bond theme music is all but gone, save for a brief moment that's no more than a nod to a distant and nearly forgotten past. With Daniel Craig as our unsmiling, brooding Bond we're about as far from *Diamonds Are Forever* as it's possible to get; that is, it's Bond without the fun; that is, it's Bond for those who don't realize that the whole thing is a spoof. Or was.— September 12, 2013 6:37 p.m.
Mud
Spot-on review of a great film, especially the comparison to Paul Newman. There's definitely a lot more to be said; for example, having boys that talk and act like boys rather than like young actors following scripts (I'm thinking of *Super 8* and its ilk here). Also, the filmmaking is warm and gorgeous, with its Arkansas houseboats and islands and firelight that contrast with its antiseptic hotels and apartment buildings. It's all measured in just the right proportions, and there's not a false note in the whole thing if you can excuse the normally restrained Ellis's ease with throwing face punches at men twice his size. Kudos to our reviewer Matthew Lickona for never using the phrase "coming of age" because the film's not about all that. What we have instead is aptly described by the director himself: *like Sam Peckinpah directing a short story by Mark Twain.*— September 7, 2013 3:12 a.m.
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It surprises me greatly that Duncan Shepherd prefers *The Band Wagon*, also directed by Minnelli, to *An American in Paris*. While *The Band Wagon* is no doubt one of the better MGM musicals, the song and dance numbers are often disjointed and silly, and sometimes embarrassingly clumsy. *An American in Paris* moves much more smoothly, with noticeably better material, better editing and choreography, and better use of space. More bluntly, one stars Gene Kelly in his prime while the other stars Fred Astaire in obvious decline. The "ballet" is perhaps overlong, but the imaginative, colorful set design is delightful, and there’s nothing in *The Band Wagon* that comes close to matching it.— September 1, 2013 11:04 p.m.
Bond. Favorite Bond.
For me there are four praiseworthy Bond films: *From Russia with Love*, *Goldfinger*, *On Her Majesty's Secret Service* and *Diamonds Are Forever*, with none able to make a first-place claim. The rest are too dull (*Thunderball*, *Live and Let Die*), too ridiculous (*Moonraker*, *Octopussy*) or too brooding (those with Daniel Craig). Some critics dismiss *Diamonds* as camp, but it's full of memorable scenes and characters, and boasts the same director as *Goldfinger* (Guy Hamilton). Bond is primarily a spoof, after all, and this one earns its laughs: from Connery raising his hands in the opening scene to Jill St. John's facility with a machine gun. It also features by far the best song of any Bond film, completely enjoyable outside the context of the movie, and I recommend to you the version by David McAlmont over the Shirley Bassey original. (Let me add here that Propellerheads do a thrilling *On Her Majesty's Secret Service*.) I see nothing wrong with a comic Bond, but if you take your Bond seriously then *Diamonds* will disappoint. As for Bond women, Honor Blackman (hardly a Bond *girl*) is without rival. If I had my pick...— August 27, 2013 10:57 a.m.
Melville’s money movie
First, because not everyone in the Reader audience (including me) lives in the San Diego area, and second, because it's empowering to inform people about their options and to let them decide what works best for them.— July 21, 2013 2:44 p.m.
Melville’s money movie
Those less willing to put down their remotes can find *Un Flic* on Netflix (instantly, even) under the name *Dirty Money*. If this film fails to impress, check out Melville in top form: *Le Samourai*, *Le Deuxième Souffle* and *Le Doulos*.— July 17, 2013 4:53 p.m.
Dammit, Jim
Yes, you're right that Lucas is equally to blame, although if Raiders was an homage to 30's cliffhangers then just as equally Star Wars was an homage to Errol Flynn swashbucklers and Japanese chanbara. Kurosawa could direct an action film with cojones, but Tarantino is just another precocious kid flinging dog shit with a wrist rocket, and "Django Unchained," for all its mayhem, was infantile. Hill has had his lightweight moments, but he can claim more than his share of mature action/adventure films with excellent scripts: Hard Times, The Driver, The Warriors, Streets of Fire, Extreme Prejudice, Trespass. That said, I ruefully admit that he hasn't directed a first-rate film in twenty years.— June 3, 2013 12:07 p.m.