Category: Reviews (Page 39 of 120)

Beau Geste

William Wellman’s 1939 hit is the second and best-known version of the frequently filmed adventure novel by Percival Christopher Wren. This 1939 action not-quite-classic features superstar Gary Cooper (“High Noon”) and then-rising stars Ray Miland (“The Lost Weekend”) and Robert Preston (“The Music Man”) as three English brothers and best pals who flee their ancestral home in the wake of the mysterious theft of an extremely valuable emerald. Joining the infamously torturous French Foreign Legion, the brothers Geste encounter the brutal, greedy, thoroughly villainous but entirely courageous Sgt. Markoff (Brian Donleavy), who quickly hears of the stolen jewel and becomes determined to re-steal it for himself between attacks by Arab groups who’d prefer Frenchie goes home.

Unlike other classic-era tales of imperialist derring-do, “Beau Geste” doesn’t go out of its way to glamorize or morally justify the work of the Legion. At the same time, the mystery of the stolen jewel takes the focus away from the setting and becomes a kind of odd distraction. Ironically made in the same year as two similar but superior adventures, George Stevens’ comedic “Gunga Din” and Zoltan Korda’s wondrous, propagandistic “Four Feathers,” “Beau Geste” has been beautifully restored to its black and white glory and is worth seeing for its lucid direction, a moving finale, ans the outstanding cast. Character actor Brian Donleavy’s evil-but-admirable Markoff pretty much walks away with the film. It’s a savagely honest portrait of pure selfish survival instinct that makes this tale of brotherly love and sacrifice work, more or less.

Click to buy “Beau Geste”

Nickelodeon/The Last Picture Show

This two-disc set is basically the agony and the ecstasy from the collected works of film critic/scholar turned boy wonder writer-director-actor Peter Bogdanovich. Placed in reverse chronological and quality order, Disc One is 1975’s agonizing “Nickelodeon,” one of a series of box office and/or critical failures that ended the young director’s early career hot streak. A forced slapstick comedy drawn very loosely from the silent era reminiscences of Hollywood greats Leo McCarey, Raoul Walsh and Allan Dwan, it’s a good-natured but entirely unfocused bore despite the strong efforts of an all-star cast led by Burt Reynolds and Ryan O’Neal, and featuring Tatum O’Neal (“Paper Moon”) and John Ritter (“Three’s Company”), among many others. The disc includes both a brand new black and white director’s cut alongside the original color theatrical version, but it will take more than the majesty of monochrome to save this one. Bogdanovich’s DVD commentary provides better movie history and better entertainment.

“The Last Picture Show” is, of course, something completely different. On his second feature, Bogdanovich blew the 1971’s cinema world’s collective mind and drew comparisons to his friend and mentor, Orson Welles, with this crisply wrought black and white adaptation of an early Larry McMurtry novel. Nominated for eight Academy Awards, it details the late teen years of two high school football players (Timothy Bottoms and Jeff Bridges) and a manipulative beauty (Cybill Shepherd) following in the footsteps of her unfaithful mother (Ellen Burstyn) in a rapidly dying Texas town. A minor cause celebre at the time because of its nudity and blunt sexuality, its glory is its acute visual storytelling and Robert Surtees’ masterful photography, a biting and heartbreaking script, and a large number of genuinely tremendous supporting performances. In particular, Cloris Leachman as a deeply lonely housewife who falls for a high school boy and Western mainstay Ben Johnson (“The Wild Bunch,” “Wagon Master”) as the charismatic walking embodiment of the town, Sam the Lion, won entirely deserved supporting acting awards. A sardonic yet humanistic exploration of fractured relationships and poor choices, it remains a riveting and moving work of cutting edge movie-making from a true cinematic reactionary.

Harry Potter and the ginormous filmgoing hordes (updated)

We’ve got an early and rather light box office preview this week because only one new wide release is coming out. However, it’s already looking to be a doozy. Yes, it’s time for another highly profitable trip to Hogwarts with today’s (actually early as possible this morning’s) release of “Harry Potter and the Half-Blood Prince.”

Anyhow, word of highly boffo early ticket sales outpacing the midnight opening of “Transformers: Revenge of the Fallen” has proven out. Estimates of the Wednesday morning midnight take are roughly $20 million, says Variety and Nikki Finke. THR‘s Carl DiOrio wrote yesterday of roughly a $140 million five day gross and $100 million weekend. However, perhaps taking the fact that the $20 million figure beats both the Wednesday midnight opening of “The Dark Knight” by $2 million and “Transformers” by $4 million, the diviners reporting to Finke are telling her to expect $175-190 million, but with a $90-$100 million weekend a la DiOrio.

[UPDATE: The midnight gross turned out to be an even more whopping, more record breaking $22.2 million. Nikki Finke is now talking about the possibility of the fantasy flick breaking the $200 million mark in its first five days.]

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True Blood 2.4 – Put On Your Wig, Woman!

I don’t want to start any blasphemous rumours, but those guys from the Fellowship of the Sun have a sick sense of humor, don’t they? Criminey, talk about playing on poor Jason’s worst nightmares! Of course, he recovered pretty quickly, offering up that militaristic monologue (its effectiveness aided in no small part by the score) behind him. Come the next morning, he’s smirking like nobody’s business, offering up great lines about how maybe Jesus was the first vampire, what with all the blood drinking going on. It’s a pretty heavy debate for breakfast, with the discussion about the first evil – was it Cain, or was it Eve? – but it all comes to an abrupt end when Jason gets called off to see the Rev. It’s nothing ominous, though: he just wants to take Jason on a vampire target-practice run. Afterwards, it’s back to the Rev’s homestead for Ribs a la Sexy Sarah. Whew, was there any better song than Sammy Kershaw’s “Louisiana Hot Sauce” to serve as the soundtrack for that display of culinary excellence? I don’t know what kind of career Anna Camp has in store for her as an actress, but I think we can count on a couple of good Maxim layouts in her immediate future, don’t you? Obviously, the other guys in the Fellowship are jealous that Jason appears to be on the verge of sliding into Sarah’s good graces…and, yes, that is a double entendre…and when she turns up in his bedroom in her nightie, there’s every reason to believe that something is going to happen between them.

Sam and Daphne are still skinny-dipping when we pop back in on them, but Sam’s also laying bare his feelings a bit as well. Everything looks like it’s sittin’ pretty between the two of them until she climbs out of the water and Sam spies those nasty claw marks on her back. Still, it’s been the kind of evening that’s made him rethink his plans to depart…or, at least, it’s served to delay them slightly. Sookie’s ego forces her to presume that it’s because of her that he’s decided to leave, resulting in a angry conversation between them. Unsurprisingly, things at the bar remain a little tense for the rest of the night, though it’s also in no small part because of the total lack of customers (the exception being a highly drunk Detective Andy), and the evening takes a surprising turn when Tara’s apparently-still-sober mama turns up to deliver a birthday present for her absent daughter. When he gets over to Sookie’s place, he has brief words with Maryann before Daphne turns up, and he and Madame Clawback start to smooch. They stop briefly, but before Sam can reveal his secret to Daphne, she claims she already knows what he is. Why do I have this feeling that they might not be on the same wavelength?

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Will “Brüno” stimulate hot moviegoer-on-box office action? (Updated)

Okay, so a lot of things have changed in this country with regards to attitudes towards gays, but just how will America deal with the envelope-pushing antics of Sacha Baron Cohen’s latest creation? “Brüno” has already offended a few in the gay community, but is also certain to be utterly avoided by America’s sadly larger homophobic community. As far as I’m concerned, just how this obviously risky material will fare is anyone’s guess, since from all accounts “Brüno” is no cuddly “Will and Grace” or “The Birdcage” and really puts its confrontational money where it’s transgressive mouth is, however comically presented. It’s R-rating has been deemed by Roger Ebert and many others as “very, very hard.”

Reviews are positive, more or less, but critics are somewhat divided. Ebert liked it a lot. Owen Glieberman awarded it a fairly rare A-. Anthony Lane of The New Yorker, however, was less amused and trotted out a variation of the “queerface” meme some were concerned with a few weeks back. On the other hand, as I’ve discussed at my other blog home in another context, Lane’s statements are often, to be extremely easy on him, ill-informed. Joe Morgenstern, on the other hand, makes his point simply enough: he doesn’t think it’s funny, just kind of gross.

Hollywood Reporter box office prognosticator Carl DiOrio is fairly high on the film regardless, calling about $30 million or more for the Larry Charles directed stunt comedy. Pamela McClintock, his opposite number at Variety is saying it should debut in vicinity of Baron Cohen’s prior out of the box hit, “Borat,” at somewhere near $28.5 million. Apparently, the logic here is that Cohen’s now far greater fame will be canceled out by subject matter/content that some audience members who liked the earlier film may just want to avoid this time around. There’s obviously general agreement about the numbers, but I wouldn’t be surprised if this one proved the prognosticators wrong either by making a lot less or a lot more money than expected.

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