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Reviews
Titus (1999)
Bravo!
This is a wonderful example of how staging, acting, and meticulous directing truly make or break a play. "Titus Andronicus" is miles away Shakespeare's worst play, but this film may very well be the best film of 2000 (it's actual release date). Any flaws in this film come from the flaws in the play itself, a turgid, heavy-handed work which was Shakespeare's first, and the fact that there are SO few flaws is a testament to the genius of this film.
Julie Taymor's direction is steady, assured, and always thoughtful. Tovoli's cinematography is phenomenal and adds greatly. Goldenthal's score is always appropriate and extremely well orchestrated. The performances are brilliant to the last. When William Shakespeare is your weak link, you have an amazing work of art.
A few words of warning are in order. Since this is Shakespeare, clearly those who are put off by Elizabethan English (though very intelligibly inflected) should avoid this play. Purist Shakespeare fans should avoid it as well since it is not set in ancient Rome but rather some modern alternate reality thereof. The character of Aaron "the Moor" is African-American and is presented as the epitome of Evil. In my opinion, though, it is greatly to the film makers' credit that they did not at all back off from this modernly controversial element; their solution was to cast Harry J. Lennix who, in a career-making performance, instills the character with nobility and power and, while still evil, makes him the most dynamic and powerful character. Finally, the film is disturbing, violent, and bloody (though not moreso than Shakespeare's original staging), so be warned.
If, like me, none of the above disturb you, then consider this film a must-see. It is a fabulous piece of cinema, and if you ever manage to see a stage production of this almost-never-performed play, it would be extremely hard pressed to outdo this film.
Perceval le Gallois (1978)
pretty awful
This movie deserves credit for its original approach. It combines elements of theater, film, and epic storytelling. Unfortunately, it falls flat on all levels. The films biggest weakness is it's unwillingness to commit to anything; it has camp, moralistic, and epic elements without ever committing to any of them. As for the story itself, Chretien de Troyes is spinning in his grave at this horrible adaptation which turns the lovable, unbearably innocent Percival into a most ungallant and rude churl.
Most likely two types of people will see this, francophiles or Arthuriophiles. Speaking as one of the latter, I found the movie unwatchable and an incredibly shabby, disrespectful treatment of a beautiful story.
The Stepfather (1987)
Frighteningly good performance
It's true that this movie has it's flaws, many of them actually, but Terry O' Quinn's performance more than makes up for them. He brings subtlety and eerie chills to a part that for anyone else would scream for hammy overacting and nervous facial tics. He doesn't play the deranged psychopath but rather the perfect Ward Cleaver with something terrible lurking beneath the surface. When he finally explodes, he is truly terrifying. This is by far the best acting I have ever seen in a horror movie, and the entire movie is worth its silly elements just for the "phone" scene...
Ivanhoe (1952)
One of the best!
Wonderful movie! This film is an exciting adventure-romance which never once loses its pace or feel. Robert Taylor brings depth to a potentially dull lead character. Jean Fontaine is great as his love, the Lady Rowenna. Elizabeth Taylor, though, steals the show with her stunning portrayal of Rebecca of York! This film has aged very well and shows first-hand to a young generation just why Elizabeth Taylor was such a star.
Although this film is an extremely enjoyable adventure, it also has the guts to tackle some complicated issues and resolve them in a very non-Hollywood fashion. As Ivanhoe feels his love for the beautiful Rebecca grow will he defy convention and pursue the lovely Jewish girl or remain with the safe charms of the blond, Anglo-Saxon Rowenna? The answer is intelligently handled and surprising. This film is one of the greatest examples of the classic adventure.
The Corruptor (1999)
Unpredictable but uneven
Those looking for a straight-forward Chow Yun-Fat shoot-'em-up will be disappointed in this film in which the violence is tagged on and is sensationalist and gory rather than the beautiful combat ballets of his John Woo films. Keep an open mind (and a tight stomach), endure the distracting editing and choppy first twenty minutes and there is much else here for a viewer. The story is surprisingly complicated, and plot twists are plentiful and are neither weak nor easily resolved for the characters. The characters themselves are interesting. Chow Yun-Fat and Mark Wahlberg are both superb in their roles and easily transcend the buddy cop formula for which the movie seems to strive. The complexity of their performances gives real depth to this movie if viewed as a thoughtful and balanced study of corruption in the NYPD.
Unfortunately, the violence is so bad (in every sense) that it's offensive. Clearly director James Foley thought that no one would see a Chow Yun-Fat movie which was not hyper-kinetically violent. It would be a shame if he were right because the tagged-on and thoughtless violence cheapens and ruins this otherwise astonishingly good film.
In closing, consider yourself warned: pure action fans will be bored by the character studies and possibly by the action as well, and non-action fans will be disgusted by the violence.
War Requiem (1989)
Misguided music video
A misguided attempt at a music video for Benjamin Britten's piece of the same name, "War Requiem" falls flat because of this very concept. To their credit, the filmmakers add or subtract nothing to the performance of the Requiem but rather present a montage of images to be seen along with the performance (which thankfully is top-notch). Unfortunately, the end result is a long almost MTV quality production which makes one realize how unbearably pretentious the phenomenon of the music video can be.
War Requiem is a work which invites personal involvement, so I can appreciate the obvious love and need to contribute which the filmmakers have for it, but Britten's music and Wilfred Owen's poetry speak so eloquently for themselves that this pretentious performance art approach merely detracts from them.