Category Archives: film criticism

Skip’s Quips: Give ‘To Be or Not to Be’ a Medal

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Blog Sketch 082813I love Ernst Lubitsch’s To Be or Not to Be.

Brilliant script. Terrific performances by Jack Benny, Carole Lombard, Sig Ruman and the rest of the brilliant cast. And of course perfect, sly direction by the immortal Lubitsch.

Sure it’s in questionable taste – what with a story concerning a company of Polish actors and their wartime efforts to foil a Nazi plan – and even now some of the material seems iffy. But it remains razor-sharp, as well as still topical to this day. I watched this film again last night for what may have been the 45th time, and it’s still fresh. That’s the mark of a great movie. It just doesn’t get old.

I’ve seen the remake with Mel Brooks, too, and it’s just not the same. The Lubitsch version is tops; there’s no comparison. I’m giving the medal to that one for quality.

Setter’s ‘Spectives: A Failing Grade for ‘At Middleton’

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Setter Drawing for Blog 082613I want to tell you something about the movie At Middleton.

IT WAS HORRIBLE!!!!!!!!!! UGH!!!!!!!!!

OK, now that I’ve gotten that out of the way, let’s proceed to why this rom-com was so wretched. It had some talent in front of the camera, including Andy Garcia and Vera Farmiga as parents visiting a college with their kids and finding romance in the process. Unfortunately, the script was dreadful, creating a host of unbelievable situations in the name of character development, including a completely unrealistic scene in which the duo crashes a campus acting class and provides a clinic in method theory.

Can you say, “Ludicrous?” I can.

Another problem: Many sequences went on for far too long, with the effect that they became tedious. The conversations between the two parents were so uninteresting that they didn’t foster any definition; instead, they removed it. What we, as viewers, were left with were skeletons of characters speaking poor dialogue and becoming more and more insufferable as the film went on.

Oh, and I really dislike forced quirkiness, which was broadcast through Farmiga’s free-spirit mom. Yuck.

Much of the blame for this nonsense could be put on the direction by Adam Rodgers, who co-wrote the film, too. But the script’s issues were really insurmountable. If only it were better paced. If only the characters were credible. If only … if only …

Can I watch something good now?

Skip’s Quips: Hey, There, ‘Georgy Girl’ Still Impresses

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Blog Sketch 082813In watching Georgy Girl last night, I was struck by how adult the subject matter was … and how tastefully it was handled.

It’s not just a Swingin’ Sixties trifle. It’s a mature film,  with poignant, realistic situations and complex erotic problems. It’s also got terrific performances, including from Charlotte Rampling, who has an unusual, remarkably upsetting scene in which she rejects her newborn baby that’s one of the disturbing highlights of the film. This portion of the movie upset me greatly when I was younger; I couldn’t fathom how a woman could hate her own child. To this day, it bothers me, and seeing it once more yesterday evening reinforced my opinion.

I’ll tell ya one thing, however: I’m not itching to see Georgy Girl again. It has a great script and crisp cinematography, as well as a catchy theme song, but it’s a bit hard to watch. Perhaps that’s because it feels so realistic; there’s powerful stuff here, despite the movie’s glossy style. Still, I’m glad I watched it, as it’s something to revisit now and then.

So. On to the next picture.

Setter’s ‘Spectives: Now I Can Die in Peace After Seeing ‘Godzilla’

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Setter Drawing for Blog 082613It took me a while, but I finally watched Godzilla, King of the Monsters! all the way through last night.

I’d never seen it straight through before, so this was important. It’s surprisingly effective, despite the fact that special effects have come a long way since the days of destroying model sets. A little slowly paced, but for the most part it was well done. It also provided an interesting comment on Japanese and American post-war relations.

Of course, there was the creature Godzilla, too.

I think it’s easy to see why this flick was so influential. You do see the monster, but it’s almost always in shadow, so you never get a true close-up of all the scaly details. Leaving a little bit in the dark when it comes to monster movies is always a good idea, methinks. The mayhem was also well photographed, though I was a bit dismayed that Takashi Shimura was so underused. C’est la vie.

Good movie. I’m not gonna run to see it again, but I’m glad I have it under my belt.

Skip’s Quips: Losing No Sleep Over My Guilty Pleasures

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Blog Sketch 082813Don’t hate me because I watched Major League II on TV. Hate me because I kinda enjoyed it.

Yep. Just like Peter O’Toole’s character in Lawrence of Arabia. Except without all of the scary sadistic connotations.

Maybe it’s a masochistic enjoyment of sorts. After all, Major League II can’t be said to be a great movie. It isn’t even good. Actually, it’s rather bad. The script is blah. The cinematography is unimaginative. The performances are along the lines of “what am I doing in this picture? I should’ve tried out for Forrest Gump.”

Yet there are some humorous lines here and there. And I’m a sucker for baseball movies. It’s definitely a guilty pleasure; I’ll admit that freely.

There’s no shame in that, right? Or in watching Marked for Death whenever it’s on? All right, maybe there’s a little shame in that. But nothing to lose sleep over.

Kurosawa observed it rightly: The Bad Sleep Well. Or in this case, those who watch junky films and enjoy them as guilty pleasures.

I know I’m not alone.

Setter’s ‘Spectives: Thinking About ‘Ugetsu’ and Other Flicks

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Setter Drawing for Blog 082613I like Kenji Mizoguchi’s films. I think he’s a top-class director.

Is he greater than Akira Kurosawa, though? I’m not sure. I will admit, I’ve been thinking about Ugetsu more than The Seven Samurai recently, and I don’t know why.

There’s a haunting moment in the former flick that has stuck in my mind. After the potter Genjuro escapes from the clutches of the ghost of Lady Wakasa, he finds himself in a field bestrewn with the ruins of her mansion. A song she once sang for him is played as he wanders, stunned, among the skeleton of the house.

What a sad, wonderful, evocative moment. So eerie. It’s part of what makes Ugetsu the best ghost story put on film … next to Masaki Kobayashi’s Kwaidan. But where the latter movie was daring in its use of color and sound, Ugetsu is relatively conservative, using stately, composed shots and wistful music to move the action, as well as provide tangible atmosphere.

I’ll be debating for a long time whether Mizoguchi is better than Kurosawa. With pictures such as Ugetsu, however, I wonder if there really is any debate.

Setter’s ‘Spectives: Does the World Really Need ‘Iron Man 3’?

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Setter Drawing for Blog 082613I don’t. I can safely say that after seeing it yesterday.

It had little of the wit and charm of the original Iron Man. Lots of confused, slam-bang “action,” though. Not as much heart.

There were some reliably good turns in Iron Man 3: Robert Downey Jr. as the titular superhero, Gwyneth Paltrow as girlfriend Pepper Potts, Ben Kingsley (who nearly steals the show) as an evil terrorist who’s not what he seems. But it all felt like stuff I’ve seen before, and there wasn’t as much of a focus on Downey’s character’s own demons … his alcoholism, for example. So there’s no real growth or arc. He doesn’t really change.

OK, I’m not expecting a kind of Shakespearean transformation here. It is a superhero movie, after all. Still, the strength and smarts of the first Iron Man made me expect something a bit larger-scale, from a psychological perspective, than what Iron Man 3 turned out to be – which was merely modest entertainment. A good superhero flick can transcend its genre. This one didn’t.

I’m assuming this franchise will continue to churn out additional installments. So be it. Do we need them, though? I say: Only if they approach the quality of the original. And I’m not sanguine about the prospects of that.

Skip’s Quips: Picking Apart ‘The Oranges’

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Blog Sketch 082813There’s a lot of good stuff in The Oranges – so much that I wonder why it got such a low rating on IMDb.

This tale of adultery with your New Jersey neighbor has a pretty tight script, some good direction by Julian Farino and fine casting that results in sparkling turns by the likes of Hugh Laurie, Oliver Platt, Alia Shawkat, Catherine Keener and Allison Janney. The plot features some not-so-credible points, and I feel everything wrapped up in an all-too-pat manner, but there’s humor and drama in hefty amounts along the way, plus sensitive treatment of a familiar subject.

And no, I didn’t turn it off halfway through. That’s something in itself.

OK, it’s not a great film. I don’t think it tries to be, though. Surprisingly, it’s quite unpretentious; I think that’s partly why I enjoyed much of it.

Director Farino has done a lot of TV work in the past. Perhaps that’s one reason why it felt so crisp. Maybe the ending was a little TV-esque, too, but there’s potential here.

Good show.

Setter’s ‘Spectives: Revisiting ‘A Hard Day’s Night’ Is Still a Pleasure

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Setter Drawing for Blog 082613Some things stay fresh centuries after they’ve been created. I have a feeling Richard Lester’s A Hard Day’s Night will be one of them.

I caught it on TCM yesterday, and it was as good as it ever was – and possibly better. I marveled at the quick editing and snappy cinematography. I chuckled at the charming script and deadpan performances. And I tapped my feet to the sounds of The Beatles’ John, Paul, George and Ringo.

This never gets old, in my opinion. It’s a seminal rock film constructed like a music video with virtually no plot and one-liners zinging around. Everything has a “you are there” feel, which adds to the intimacy of the picture. And it retains an off-the-cuff feel, though it was scripted (well) by Alun Owen.

This is really the benchmark for all such rock ‘n’ roll pictures. In its genre, it bests Elvis and everything that came after it. It’s so good that it transcends its category, becoming a comedy to be placed with the likes of The Marx Brothers, Laurel and Hardy and other comedy teams.

It’s true: Some things always stay fresh. Fifty years after it debuted, A Hard Day’s Night still rings true.

Skip’s Quips: Another Day, Another Film Not Finished

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Blog Sketch 082813I don’t know what’s going on, but these days, it’s hard for me to watch a single new movie straight through.

The latest cinematic example of this was In a World…,  Lake Bell’s mildly diverting comedy about a young woman trying to succeed in the movie trailer voiceover industry. Much of this flick didn’t ring true; perhaps it was too self-conscious for its own good. But I was able to view a couple of amusing moments before I lost interest and went to immerse myself in fantasy baseball.

That’s right. I gave up a night of movie viewing for a fake baseball game. Nothing says “this picture’s blah” more than that.

I think it was the script. There was something about it that seemed a little flat, as if there were potential joys it missed. It certainly was well cast, with actors such as Demetri Martin involved. I, however, just couldn’t get into it.

Perhaps the next one I’ll sit through fully. I think I’m on some kind of streak here.